Hamlet:
Syracuse Shakespeare in the Park's 2024 production of Hamlet in Thornden Park Amphitheatre. Rose stepped in 2 and half weeks before opening to learn the part of Horatio and fight direct.
Syracuse Shakespeare in the Park's 2024 production of Hamlet in Thornden Park Amphitheatre. Rose stepped in 2 and half weeks before opening to learn the part of Horatio and fight direct.
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CAST - in alphabetical order
Hamlet...............................................................Basil Allen Attendant/Gentleperson..........................Maggie Ariotti Guildenstern/Osric/Messenger...............Wilson Belbin Ophelia........................................................Sarah Bottino Gertrude..............................................Jacqueline DeJohn Horatio..............................................................Rose Hays Bernardo/Player Queen/1st Gravedigger/English Ambassador.................................................Julia Jaremko Marcellus/Prologue Lucianus/Lord...Alexander Minta Player King/2nd Gravedigger......................Josh Mumm Laertes..........................................................Miles Reding King Claudius/Ghost.................................Jack Sherman Rosencrantz/Priest/Norwegian Ambassador/Francisco.................................Anna Shuff Polonius..........................................................John Triano |
PRODUCTION TEAM
Stage Manager...................................Haylee Salmonsen Sound Operators...........Dusten Blake, Kristina Parker Costumes..............................................Bear Hutchinson Costume Assistant...........................................Ariel Long Fight Coordination .............Sarah Bottino, Rose Hays, Haylee Salmonsen House Manager.........................................Devin MacNeil Photography................................................Shawn Tysco Poster Design............................................Victoria Pierce Program Design-GMD............................Neil Fennessey Producing Artistic Director........................Dan Stevens Co-Directors.......................Anne-Margaret Childress, Jay Merante |
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"Rose Hays is suitably ardent as Bassanio..."- Len Fonte, Syracuse.com
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The Merchant of Venice:
Syracuse Shakespeare in the Park's 2023 production of The Merchant of Venice in Thornden Park Amphitheatre. Rose stepped in 3 weeks before opening to learn the part of Bassanio.
Syracuse Shakespeare in the Park's 2023 production of The Merchant of Venice in Thornden Park Amphitheatre. Rose stepped in 3 weeks before opening to learn the part of Bassanio.
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CAST - in alphabetical order
Solanio/Jailer ................................. Maggie Ariotti Prince of Arragon ........................... Bella Cadena Jessica ............................... Megan Rose Campbell Portia ............................................ Maria Coleman Salarino ............................................ Kristen Davis Antonio .................................... Jacqueline DeJohn Launcelot Gobbo/Tubal .......... Eva Guggenheim Bassanio ................................................ Rose Hays Gratiano ................................................ Lynn King Lorenzo .................................... Mackenzie Moran Shylock ................................................ Nora O’Dea Prince of Morocco ................. Debra Richardson Balthazar/Stephano ............... Haylee Salmonsen Duke ................................................... Judy Schmid Nerissa ............................................... Heidi Walko |
PRODUCTION TEAM
Director ..................................................................Dan Stevens Producer .....................................Ronnie Bell, Maria Coleman Stage Manager/Sound Designer/A1 ........Michael Dougherty Associate State Manager .......................................Sara Tucker Assistant Stage Manager ...............................David Hitchcock House Manager ........................Jay Merante, Casandra Sharp Costume Designer ..............................................Nina Williams Scenic Designer ......................................................Eugene Lee Marketing Director .................................................Alexis Leah Prop Coordinator ...........................................Casandra Sharp Poster Art ..............................................................Anna Phuong |
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2022 Reel:
A collection of both stage and film acting done by Rose with various partners through the 2022 year. |
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Traces of Memory:
A performance of Ann Wuehler's short play Traces of Memory for a Scene Study class. The play shows the meeting of two women, Ruth (Rose Hays) and Phoebe (Ally Stupin) at a bus stop, where some disturbing truths from both women's recent pasts come to light and details how different people snap under the pressures of their own lives. |
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Stupid F*cking Bird:
A scene from Aaron Posner's sort of adaption of The Seagull by Chekhov, this video shows the reunion scene of former lovers Conrad (Rose Hays) and Nina (Lizzie O'Neil) after 4 years-- contains swearing and themes of infant death, adultery, unhealthy relationships, and mental health. Performed for a Scene Study class. |
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Obsessed:
The showing that earned Rose a recommended pass in her Unarmed Stage Combat certification, with dialogue taken from the 2009 film Obsessed. Partner was the incredible Michaella Kilijanski. |
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"Kung Fu" Scene:
Based on the style of old kung fu movies, with cheesy plots and bad dubbing, this showing is inspired VERY loosely off of a Pokémon scenario. Scene partner was the amazing Aidan Conklin, with voices/sound effects provided by Jay Gleason and Adrianna Eldridge. |
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The five self-choreographed solo dances created by Rose Hays during the course of the Fall 2021 semester of the State University of New York at Fredonia. Created in the Choreography I class taught by Anthony Alterio.
Project One:
The goal of this project was to choreograph a one minute solo dance. We were originally given a song to choreograph to and told to take five candid photos of things we see in our daily lives with interesting shapes. These could be people, architecture, animals, weather, etc. My pictures for this were a small plastic seagull figurine, an oddly shaped tree branch, a poster with the SUNY at Fredonia mascot on it, and two photos of my friends relaxing. When choreographing, we had to include those shapes in our choreography and we performed it to the song Fake Fealty by Balmorhea. The following week, we performed the same choreography but without any song or sound. The final version, shown here, was to perform the same choreography with some minimal changes but to a song or soundscape that we chose. The final version of my choreography for the one minute piece is performed to the song Record Player by Daisy The Great & AJR.
The goal of this project was to choreograph a one minute solo dance. We were originally given a song to choreograph to and told to take five candid photos of things we see in our daily lives with interesting shapes. These could be people, architecture, animals, weather, etc. My pictures for this were a small plastic seagull figurine, an oddly shaped tree branch, a poster with the SUNY at Fredonia mascot on it, and two photos of my friends relaxing. When choreographing, we had to include those shapes in our choreography and we performed it to the song Fake Fealty by Balmorhea. The following week, we performed the same choreography but without any song or sound. The final version, shown here, was to perform the same choreography with some minimal changes but to a song or soundscape that we chose. The final version of my choreography for the one minute piece is performed to the song Record Player by Daisy The Great & AJR.
Project Two:
For this project, the goal was to end with a two minute self choreographed solo dance. We could use whatever song or sound we wanted to set our piece to, but throughout the process of creating our choreography we had to focus on working with either time, space, or force. I chose to focus on the usage of time, and the song I used for this project was Forbidden by Todrick Hall, featuring Jade Novah and Keala Seattle. My reasoning for choosing to focus on time instead of space or force was because I had a tendency to make more choreography always move into the next move, the next phrase, the next thing, instead of allowing myself to take the time to stretch out any part of it. I didn’t trust that the choreography would still be interesting to an audience if I let it slow down, so I wanted to force myself to learn how to use timing more effectively in choreography.
For this project, the goal was to end with a two minute self choreographed solo dance. We could use whatever song or sound we wanted to set our piece to, but throughout the process of creating our choreography we had to focus on working with either time, space, or force. I chose to focus on the usage of time, and the song I used for this project was Forbidden by Todrick Hall, featuring Jade Novah and Keala Seattle. My reasoning for choosing to focus on time instead of space or force was because I had a tendency to make more choreography always move into the next move, the next phrase, the next thing, instead of allowing myself to take the time to stretch out any part of it. I didn’t trust that the choreography would still be interesting to an audience if I let it slow down, so I wanted to force myself to learn how to use timing more effectively in choreography.
Project Three:
The aim of this assignment was to focus on creating a three minute solo dance with a story arc or structure to build the choreography around. We were given various structures to choose from, such as beginning/middle/end, ABA, and theme and variation, and were allowed to set it to whatever song or sound we chose. I chose to use the idea of climax and I set my piece to the song Do Me A Favor by Anson Seabra. In this song, I actually varied my choreographic process a little. Whereas normally, I would start out by improvising to the song and finding the pieces I liked from the improvisation to put into the choreography, this time I came into the process with about a minute and a half of choreography that I hadn’t set to any song yet. Adding the choreography to this song in particular definitely changed the feeling I attached to it, and led to further exploration in my fourth project.
The aim of this assignment was to focus on creating a three minute solo dance with a story arc or structure to build the choreography around. We were given various structures to choose from, such as beginning/middle/end, ABA, and theme and variation, and were allowed to set it to whatever song or sound we chose. I chose to use the idea of climax and I set my piece to the song Do Me A Favor by Anson Seabra. In this song, I actually varied my choreographic process a little. Whereas normally, I would start out by improvising to the song and finding the pieces I liked from the improvisation to put into the choreography, this time I came into the process with about a minute and a half of choreography that I hadn’t set to any song yet. Adding the choreography to this song in particular definitely changed the feeling I attached to it, and led to further exploration in my fourth project.
The Aftermath:
With project four, our goal was to create a four minute solo dance based on the research we did about a single topic as well as to give our piece a name for the first time. My title for this solo is The Aftermath, and as I previously mentioned, I returned to my third project to create my fourth. I utilized the same song, Do Me A Favor by Anson Seabra and I modified my existing choreography to better reflect the research I had done, which was on the effects of narcissistic abuse on children, particularly after they are no longer living with their abuser. This was a topic that was particularly close to me, and the aspects I chose to focus on were the constant focus on upholding appearance, how that affects one’s mentality both before and after the period of abuse, the struggle to recover from the cycle, and how it’s something that will always be carried with you. I hope that I did this justice, and I plan to continue working on it in the future.
With project four, our goal was to create a four minute solo dance based on the research we did about a single topic as well as to give our piece a name for the first time. My title for this solo is The Aftermath, and as I previously mentioned, I returned to my third project to create my fourth. I utilized the same song, Do Me A Favor by Anson Seabra and I modified my existing choreography to better reflect the research I had done, which was on the effects of narcissistic abuse on children, particularly after they are no longer living with their abuser. This was a topic that was particularly close to me, and the aspects I chose to focus on were the constant focus on upholding appearance, how that affects one’s mentality both before and after the period of abuse, the struggle to recover from the cycle, and how it’s something that will always be carried with you. I hope that I did this justice, and I plan to continue working on it in the future.
Astraea:
For the fifth and final project for this course, we had to create a five minute solo dance. The dance had to have a title and costumes, and could be set to whatever song or sound we wanted. I chose to further explore research, storytelling, and the usage of props for this project. I had decided that I wanted to base this project off of a myth, and my research led me to Astraea, the Greek virgin goddess of justice, innocence, purity, and precision. Also known as the Star Maiden, she was the last immortal to leave the human world behind, when she was chased out by the rampant lawlessness and fled to the stars to become the constellation Virgo. Her myth states that some day, she will return to the world and bring back a utopian golden age. Since her ascent, she has been linked poetically to several major historical figures, such as Aphra Behn, who was a spy for King Charles II, and Queen Elizabeth I. For the soundtrack, I used Audacity to mix the songs Sunrise ambient soundtrack by Hans Hylkema, Conquest of Our Freedom (Heroic Action Adventure) by Maxime Luft, Fantasy World Music - Celestial Temple by BrunuhVille, Eleanor Rigby by Cody Fry, as well as a cymbal sound effect and a twinkle sound effect. I also recorded several narration lines and placed them throughout to further explain the storyline.
For the fifth and final project for this course, we had to create a five minute solo dance. The dance had to have a title and costumes, and could be set to whatever song or sound we wanted. I chose to further explore research, storytelling, and the usage of props for this project. I had decided that I wanted to base this project off of a myth, and my research led me to Astraea, the Greek virgin goddess of justice, innocence, purity, and precision. Also known as the Star Maiden, she was the last immortal to leave the human world behind, when she was chased out by the rampant lawlessness and fled to the stars to become the constellation Virgo. Her myth states that some day, she will return to the world and bring back a utopian golden age. Since her ascent, she has been linked poetically to several major historical figures, such as Aphra Behn, who was a spy for King Charles II, and Queen Elizabeth I. For the soundtrack, I used Audacity to mix the songs Sunrise ambient soundtrack by Hans Hylkema, Conquest of Our Freedom (Heroic Action Adventure) by Maxime Luft, Fantasy World Music - Celestial Temple by BrunuhVille, Eleanor Rigby by Cody Fry, as well as a cymbal sound effect and a twinkle sound effect. I also recorded several narration lines and placed them throughout to further explain the storyline.
Special Effects Makeup
TW: Fake gore
