Carolyn Coefield, instructor of voice, 406.839.0379,
Jayme Green, director of campus safety, 406.238.7293,
RMC Media Team, 406.657.1105, 

Opera Singer and Fight Director from RMC tread boards in Carmen’s Tragedy

BILLINGS, March 17, 2014 – Two stage artists, both RMC alumni and employees, are performing March 29 and 30 in Carmen's Tragedy, an adaptation at NOVA Center of the Performing Arts of perhaps the most popular of operas about lovers in the thrall of fate, Bizet’s Carmen

A Montana native and RMC alumna, Instructor of Voice Carolyn Coefield (’99) has performed with opera companies and chamber music ensembles in Montana, Oregon, Wyoming, and Stuttgart, Germany. Her opera roles include: High Priestess, Hannah Glawari, Micaëla, Gianetta, Pamina, Musetta, Mother in Hansel and Gretel, Countess, Second Lady, and Papagena. Ms. Coefield sings with The Borgh Trio, which she helped to form at RMC.

Coefield says, “I am really looking forward to the opportunity to sing Micaëla in Carmen's Tragedy.” Though she sang the role in 2009 on a grander stage, she says, “Opera on a smaller scale is very rewarding. It gives the audience and the artists the chance to experience the art form in a more visceral way.” 

Jayme Green (’02) has campus safety as his daily work responsibility. In theaters after dark, he keeps actors safe as they skewer each other, tumble down flights of stairs, pitch into a pit orchestra, or draw fake blood. Green is an actor, fight choreographer, director, and playwright and also a member of the Society of American Fight Directors. Recent projects include Les Miserables, Boeing Boeing, and Lysistrata.

In February, Green offered the workshops “Stabby Stabby Slash Slash: An introduction to knife fighting on stage,” “Punching Kicking Biting: Intro to unarmed stage combat,” and “Oh, Just Hit Him,” a consideration of stage combat accidents, at the regional Kennedy Center American College Theater Festival in Boise, Idaho.

Green plays both Zuniga, captain of dragoons, and Garcia, doomed first husband of Carmen in the 1845 novella by Mérimée that inspired Bizet’s opera. He said, “Zuniga and Garcia are driven by the same emotions and goal in life (the love of Carmen) but have very distinct demeanors and principles. They appear for only short periods of the story, but tell the story of just how captivating and seductive Carmen truly is. Their stories help set the stage for the ultimate conflict between Don Jose and Escamillo.”