John Stix: Theatre acting was my primary interest. And, pronto, there was Wunsch, rehearsing. To my untutored eye, the acting seemed very real, very professional!

Will Hamlin: Wunsch might ask, "Why did you get up on that line?" etc. If we could give a reasonable reason (motion coming out of emotion), OK; if not, we didn't get up for the line the next time we rehearsed. At first I thought this would make for very static productions; my experience in The Cherry Orchard quickly disproved that, so intensely could feelings be communicated when movement and gesture were limited to those directly called for by the feelings.

John Stix: Bob Wunsch always started out a rehearsal period by our deciding how each line should sound: with Bob's system of up and down arrows, we decided on emphasis and inflection.... My third year Wunsch scheduled Chekhov's The Cherry Orchard. Same process: up and down arrows. Mechanics. I had learned to act – mechanically! ... Ironically, my acting the wrong way helped me immensely to grasp principles of the right way.... But I can never forget the first play I ever directed was at BMC, and it was thanks to Bob Wunsch who encouraged me.

Robert Sunley: Other faculty, although lacking the stature of Rice and Albers, also absorbed and reflected the underlying principles of BMC. Though I did not take drama with Wunsch, I gained much from watching plays he produced with student actors – I did have minor parts in several plays. Here again, the closeness to the process was important, and closeness to the performance as well, seeing the transformation of familiar students and myself into figures in an Ibsen or Odets or Maxwell Anderson play.