I dedicate this website to those teacher/mentors who have encouraged,assisted, and supported me in my life and career.

 

FRANCES COKE, who encoureged my creative spirit at Harry Ells Junior High School in Richmond, California. I still fondly recall those little classroom skits and "radio shows." She also cast me in my first real stage play - "The Still Alarm."

 

DENNIS GARREHY, who taught and directed me at St. Mary's College High School in Berkeley, California. He cast me as the Stage Manager in "Our Town," and Grandpa Vanderhof in "You Can't Take It With You, " among other shows. I decided here that I wanted to be a high school English teacher. (That was before I discovered that there was such a thing as a theatre major.)

 

DAVID N. MORGAN, who taught and directed me at Chico State College, California. He cast me in some great parts, including Captain Fisby in "Teahouse of the August Moon," Jean in "Miss Julie," and Ensign Pulver in "Mister Roberts," for which I was named the Alpha Psi Omega Best Actor, 1957-58. Here, I decided that I really wanted to be a college theatre professor. Dave encouraged this and arranged for me to be awarded a graduate assistantship at the University of Utah. His best advice was to skip the Master's Degree and go straight for the Ph.D.

 

CALVIN K. QUAYLE, who mentored me in stage design and arrangement at Chico State.It was a great honor to be chosen to design the lighting for the Chico State production of "Brigadoon," with great assistance and instruction from V. Dale Palmer, the Stage Manager/Shop Supervisor. Cal's patience and good humor kept us all on an even keel.

 

RALPH MARGETTS, C. LOWELL LEES, ROBERT HYDE WILSON, BYRON McGRATH, AND VERN ADIX at the university of Utah. The first four gave me four varied approaches to stage direction and acting which have contributed in varying degrees to my own style. It was Wilson who first told me that I was a "character" actor. And working with Vern Adix on the technical aspects of staging made me a much more informed stage director when collaborating with designers.

 

Last, but not least, I must give credit to RAYMOND J. LAMMERS, my colleague for 32 years in the University of Minnesota, Morris Theatre Discipline. His support, encouragement, and prodding were invaluable. He is missed.

 

 

 

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