III. TEACHING EFFECTIVENESS
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C. RECOGNITION
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1 . EDUCATIONAL RECOGNITION
a. Fullerton Award for Excellence in Undergraduate Teaching (Limestone College 2019) • Limestone College Academic Achievement Award for Faculty b. Faculty Lighting Design Nominee: Anything Goes (Limestone College 2018) • KCACTF Region 4 Faculty Recognition Award c. Faculty Costume Design Nominee: Anything Goes (Limestone College 2018) • KCACTF Region 4 Faculty Recognition Award d. Faculty Technologist Award: Creativity in Costume Production and Green Practices (Limestone College 2017) • KCACTF Region 4 Faculty Recognition Award e. Puffin Foundation Grant (Awarded 2014/2015) • Sustainability Grant for the Arts • The Green Room: www.the-g-room.com f. Hester Fellowship (UNCG Awarded 2013/2014) • Academic Scholarship g. Andreas Nomikos Scholarship ( UNCG Awarded 2013/2014) • Departmental Design Scholarship |
2. PROFESSIONAL RECOGNITION
a. KC/ACTF Region XI Award for Excellence in Set Design (Awarded 2012) • Set Design of Woman and Scarecrow • Villanova University b. L.A. Weekly Award (Awarded 2009) • Best Overall Production Design of Fat Boy • Need Theatre Company c. L.A. Weekly Award (Nominated 2007) • Nominated for Best Costume Design for Urinetown • Interact Theatre Company d. Honor Roll (CSU Fullerton) • 2001 & 2002 e. KC/ACTF Region VIII- Irene Ryan Award (Nominated 2000) • Nominated for role in How I Learned to Drive • CSU Fullerton MISC. RECOGNITION a. "Most Likely to Fix Anything (High Point University 2021) • Student Superlative- Alpha Psi Omega |
3. REVIEWS
Urinetown: The Musical : Variety. By Bob Verini Sept. 19th, 2006 (mention on p.3)
“Two Caveats. Matt Scarpino’s set, while serviceable, is the only aspect that says ‘low budget theater.’...though Vandy Scoates’ costumes in those scenes and elsewhere look like a million bucks...”
Chess: LAstagescene.com. By Steven Stanley Sept. 18, 2007 (mention on p.2)
“With dancers garbed half in black and half in white (snaps to costumer Vandy Scoates for leaving the males bare-chested), the two chess matches featured balletic and acrobatic moves that had the audience gasping and cheering.”
The Who’s Tommy: Backstage West. By Les Spindle. June 25, 2008 (mention on p.1)
“Glittering design efforts come from...and Vandy Scoates (costumes).”
Hamlet: Accessibly Live Offline. By Rich Borowy. July 17, 2008 (mention on p.2)
“And Vandy Scoates’ costuming of the members of the mental ward is plain, simple and rather mismatched; Just as one could expect in such a vast place that shows small hope and smaller cures!”
The Dining Room
Los Angeles Times. By David C. Nichols. Jan. 29, 2009 (mention on p.1)
“The narrative depicts various 20th century families and servants in vignettes that overlap an iconic dining room (well rendered by designer Vandy Scoates)...Effortlessly switching age and status in Scoates’ all purpose costumes, they form a beautifully balanced unit...”
Backstage West. By Dany Margolies. Jan. 28, 2009 (mention on p.1)
“Vandy Scoates’ costuming helps differentiate eras and ages: With a perky pair of shoes or a saggy cardigan, we’re instantaneously clued in to the many characters...”
L.A. Weekly. By Sandra Ross. Jan. 22, 2009 (mention on p.1)
“With minimal costume changes, the actors use vocal mannerisms to carve out distinct characters...The events take place on Vandy Scoates’ expansive and well-appointed set...”
Burbank Leader. My Mary Burkin. Jan. 27, 2009 (mention on p.2)
“The play itself does half the work-asking for no real food, no particular set design or costuming (although Vandy Scoates does a fine job with both)...”
516:
Philadelphia Weekly. By J. Cooper Robb. May 25, 2010 (mention on p.2)
“Vandy Scoates’ everyday costumes, though, are more effectively ordinary, particularly in the case of Sigurd, who boasts a fetching nipple ring, and Annalee, whose well-worn attire suggests a young woman barley making ends meet”
Woman & Scarecrow
Stagepartners.org. By Ellen Wilson Dilks. Nov.13, 2011 (mention on p.2)
“[The direction] is supported magnificently by the design work. Scenic designer Vandy Scoates has created a simple yet evocative playing space in the Vasey’s very deep thrust. From the faded wood planking of the raked floor to the over-large armoire upstage, one is given the feeling of an old Irish ‘council house’. The large bed of entwined branches adds the element of other worldliness.”
Delconewsnetwork.com. By Rosemary Fox. Nov.16, 2011
“Set designer Vandy Scoates creates a simple yet stunning bedroom that is a functional work of art painted beautifully by the brush of Jerold Forsyth’s lighting.”
Spamalot:
Online Arts Journal in North Carolina by Brandon C. Jones. Oct 2, 2013 (Mention on p.1)
“Vandy Scoates (scenic design) and Lauren Pivirotto (costume design) achieved excellence in this production with diligent attention to detail. This was evident with strategically placed breasts throughout the scenery and attire ranging from medieval rags to glamorous showgirl sequences.
Newsies:
Broadway World: Atlanta by Amy Zipperer. June 19, 2018
“The metal scaffolding cubes, effortlessly moved forward, backward, and in circles, capture the gritty feel of a city that's constantly in motion.” (These scaffolding units were made of wood)
Urinetown: The Musical : Variety. By Bob Verini Sept. 19th, 2006 (mention on p.3)
“Two Caveats. Matt Scarpino’s set, while serviceable, is the only aspect that says ‘low budget theater.’...though Vandy Scoates’ costumes in those scenes and elsewhere look like a million bucks...”
Chess: LAstagescene.com. By Steven Stanley Sept. 18, 2007 (mention on p.2)
“With dancers garbed half in black and half in white (snaps to costumer Vandy Scoates for leaving the males bare-chested), the two chess matches featured balletic and acrobatic moves that had the audience gasping and cheering.”
The Who’s Tommy: Backstage West. By Les Spindle. June 25, 2008 (mention on p.1)
“Glittering design efforts come from...and Vandy Scoates (costumes).”
Hamlet: Accessibly Live Offline. By Rich Borowy. July 17, 2008 (mention on p.2)
“And Vandy Scoates’ costuming of the members of the mental ward is plain, simple and rather mismatched; Just as one could expect in such a vast place that shows small hope and smaller cures!”
The Dining Room
Los Angeles Times. By David C. Nichols. Jan. 29, 2009 (mention on p.1)
“The narrative depicts various 20th century families and servants in vignettes that overlap an iconic dining room (well rendered by designer Vandy Scoates)...Effortlessly switching age and status in Scoates’ all purpose costumes, they form a beautifully balanced unit...”
Backstage West. By Dany Margolies. Jan. 28, 2009 (mention on p.1)
“Vandy Scoates’ costuming helps differentiate eras and ages: With a perky pair of shoes or a saggy cardigan, we’re instantaneously clued in to the many characters...”
L.A. Weekly. By Sandra Ross. Jan. 22, 2009 (mention on p.1)
“With minimal costume changes, the actors use vocal mannerisms to carve out distinct characters...The events take place on Vandy Scoates’ expansive and well-appointed set...”
Burbank Leader. My Mary Burkin. Jan. 27, 2009 (mention on p.2)
“The play itself does half the work-asking for no real food, no particular set design or costuming (although Vandy Scoates does a fine job with both)...”
516:
Philadelphia Weekly. By J. Cooper Robb. May 25, 2010 (mention on p.2)
“Vandy Scoates’ everyday costumes, though, are more effectively ordinary, particularly in the case of Sigurd, who boasts a fetching nipple ring, and Annalee, whose well-worn attire suggests a young woman barley making ends meet”
Woman & Scarecrow
Stagepartners.org. By Ellen Wilson Dilks. Nov.13, 2011 (mention on p.2)
“[The direction] is supported magnificently by the design work. Scenic designer Vandy Scoates has created a simple yet evocative playing space in the Vasey’s very deep thrust. From the faded wood planking of the raked floor to the over-large armoire upstage, one is given the feeling of an old Irish ‘council house’. The large bed of entwined branches adds the element of other worldliness.”
Delconewsnetwork.com. By Rosemary Fox. Nov.16, 2011
“Set designer Vandy Scoates creates a simple yet stunning bedroom that is a functional work of art painted beautifully by the brush of Jerold Forsyth’s lighting.”
Spamalot:
Online Arts Journal in North Carolina by Brandon C. Jones. Oct 2, 2013 (Mention on p.1)
“Vandy Scoates (scenic design) and Lauren Pivirotto (costume design) achieved excellence in this production with diligent attention to detail. This was evident with strategically placed breasts throughout the scenery and attire ranging from medieval rags to glamorous showgirl sequences.
Newsies:
Broadway World: Atlanta by Amy Zipperer. June 19, 2018
“The metal scaffolding cubes, effortlessly moved forward, backward, and in circles, capture the gritty feel of a city that's constantly in motion.” (These scaffolding units were made of wood)