In the news
Thunder River Theatre Company's Mission
To better understand the human experience, Thunder River Theatre Company creates professional and provocative theatre for the Roaring Fork Valley.
Through our live theatre, educational outreach, a Latino theatre initiative and our TRTC for Young People, we participate in an ongoing dialogue with our audience on
theatre's uniquely immediate terms. Our audience has proven itself to be discerning about art. TRTC aspires to meet their expectations. In today's technological world,
we believe that it is imperative to maintain the legacy of live theatre. Our goal is to challenge and inspire our audience and ourselves.
"With the opening of its state-of-the-art performance space, TRTC, a repertory company
whose innovation and talent would do credit to a big-city troupe,
and whose community spirit exemplifies small-town conviviality, trades a nomadic existence
for a venue to match the quality of its performances."
Judy King, Special to the Valley Journal
TRTC is extremely proud to announce
that it has been named the 2012 winner of the
Colorado Theatre Guild's "Henry Award" for
OUTSTANDING REGIONAL THEATRE.
TRTC was one of Three Finalists for the 2006 El Pomar Foundation's
Award for Excellence in Arts & Humanities
The Selection Commission evaluates the nominated organizations according to their community impact,
effective use of resources, commitment to their mission,
degree of success with program implementation and overall excellence of the organization.
The 2004 & 2005 Classics Association of New England's Summer Institute.
Lon Winston, TRTC's Founding Artistic Director and Valerie Haugen,
Founding Associate Artist, were invited by the Classics Association of New England (CANE)
to participate in their Summer Institute (CSI). CANE is housed at Dartmouth College in Hanover, New Hampshire.
During the 2004 CSI, Winston and Haugen taught a course in ritual acting for teachers and professors, and then Winston gave a talk at the banquet
on their production of Greek Shards - Medea, and Haugen performed a monologue from the play. They were invited back for the 2005 CSI, and taught a course entitled,
"Aristophanes and Michael Moore: The Golden Boys of Art and Social Criticism." The article below appeared in CANE's 100th Anniversary book celebrating
their history. The article is by Heidi Wilson, Ph.D., and Director of the CSI.
The year 2004 barely qualifies as part of the "history" of CANE, but it included an event that, for me, foreshadowed CANEs
continued creativity for the next hundred years. At the 2004 CANE Summer Institute, participants experienced some much earlier history they were able to
enter into the emotional experience of Athenian tragedy, carrying on CANEs mission of keeping antiquity a living presence in the modern world.
At that CSI, Lon Winston and Valerie Haugen of the Thunder River Theatre Company taught a theatre workshop, helping teachers introduce Greek
tragedy to their students through maskmaking and acting. Lon and Valerie were also booked for a performance after the closing banquet, based on the companys
recent Medea, an original play encompassing all facets of the myth of Medea in the ancient world. Sign-ups for the workshop were a bit light after all, these were
New Englanders, not given to vigorous public expression, far less performance. At registration, one of the workshop group noticed the announcement of the banquet
performance and asked me nervously, I dont have to be in that, do I? I reassured her that the workshop and the banquet presentation were unconnected.
As the week went by, the class made plaster masks and, wearing them, worked on scenes from Medea, reaching for an inner experience of the myth
and an understanding of its place in the tragedy. Banquet night came. The crowning moment was Valeries performance of Medeas monologue as she kills
her children (onstage in the modern production.) All lights were out except for the spotlight on the stage. The terrible murders were committed, and Medea rushed out of
the light, crying, Aie! Aie! And from the surrounding darkness, one by one, cries went up, softly at first and then louder, Aie! Aie! Slowly,
white-masked figures rose at every table, a chorus of grief that raised the hair on the back on my neck. In only four days, the workshop students had
entered so far into the myth that all of them had volunteered to be part of the banquet performance. And the whole audience found themselves, not safely seated in the front of the house but in the midst of the chorus at the crisis of a Euripidean tragedy.
This was my peak experience as Director of CSI and, for me, real proof that after one hundred years, CANE is a continuing force for
the use and experience of antiquity, not merely for its preservation.
Heidi Wilson, Ph. D.
Lon Winston, Artistic Director
Thunder River Theatre Company
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