Acting out

University theater company plays out students' "real life" for education

In 1992, the University caught its first glimpse of the University Park Ensemble.

Dealing with issues of a social, health and academic nature, the ensemble broke into the world of campus theater with their first one-act play, Not Just Fooling Around.

This play addressed issues of safe sex, sexually transmitted diseases and homophobia, and as with all of the Ensemble's performances, was an attempt to encourage students to reflect on the behaviors of themselves and of their peers.

Not Just Fooling Around was written by the University of California at Los Angeles Student Health Services' Kaleidoscope Theater, and was used by the Ensemble as a pilot program.

The use of Not Just Fooling Around as a pilot program gave the ensemble the opportunity to see what they were and what they wanted to be, said director Barry Kur, associate professor of theatre arts.

After this production, the ensemble began to take a different path.

Kur, working in cooperation with the Division of Undergraduate Studies, the Division of Student Affairs, Residence Life and University Health Services -- specifically Natalie Croll assistant director of the Office of Health Promotion and Education -- decided the group needed to begin doing original work that more specifically met the needs of University students.

This prompted the Ensemble to write their own material from a Penn State perspective.

Each production is written to last only about an hour and is brought to an end with a discussion facilitated by the counseling staff of University Health Services.

Theater of this nature tends to rely heavily on student participation. It is described as "interactive" because the students are encouraged to take part in a discussion of the scenes.

"The mission," as stated by Kur, "(is) to show true behavior, motivate, empower and to always do theater that is a true, representative voice of the students."

Though several of the Ensemble's alumni have had continued success in the area of social health theater, not all of the members have a background in educational theater.

This leaves the extensive knowledge of the subject matter and the facilitation of the closing discussions to the professionals of University Health Services.

"The purpose of the actors," said Jennifer Onopa (senior-theatre arts), "is to bring out the emotions and the concerns of the issues."

Actors who perform in the company are students from the School of Theatre Arts.

"There are students who train to do all kinds of theater, and some of the same actors can be seen in the productions of the University Resident Theatre Company," Kur said.

Onopa is one example of this. In addition to the Ensemble, she works with the URTC and a more underground type of theater group called Outlaw Theater.

Since its start in 1992, the Ensemble has been doing about 12 productions per semester for audiences ranging from 1,200 at Schwab Auditorium to 25 in the residence halls. The different audiences make the performers more flexible.

"(The ensemble) has been challenging because we have to adapt to different venues," Onopa said.

In addition to the frequent change of venue at the University, the group has also done performances at the Altoona, Berks, Deleware, Hazelton and Mont Alto campuses.

This Sunday at 7 p.m. in the Findlay/Johnston Commons the Ensemble will continue with their attempts to "mirror" the actions of the students and have them reflect on these actions.

The company will perform their version of a daytime talk show. The topic of conversation will be roommates, and the people who survive them.

The group will begin doing productions on their new topic of alcohol and drug use in the fall. Story ideas for these productions are welcomed.

For now though, they will continue to perform some of the older and more dramatic pieces such as "Body Loathing/Body Love," which, according to Onopa, is one of the Ensemble's "most effective and emotionally charging shows."

The submissions of actual experiences from students are encouraged because the future of the Ensemble, as stated by Barry Kur, "is based on the needs of the University community and its well being."