We all know that actors undergo psychological and emotional changes in order to better portray their given characters. These changes can, and most often do, include physical aspects as well.

For most actors, the physical change is done through make-up and hair transformations such as cutting and wigs, but for junior Justin Munoz, the process demands a little more.

Munoz has taken on the role of Carl, an AIDS patient in the middle of his battle with the disease, in the Sacramento State Theatre and Dance Department’s upcoming production of “The Baltimore Waltz.”

Directed by Barbara Norris and written by Paula Vogel, the show is a hilarious tale of Carl and his sister Anna (junior Nicole Fierstein), who travel to Europe.

For this role, Munoz had to drop roughly 20 pounds in a five-week period as well as shave his head, pierce both his ears and loose his tan.

The physical change in Munoz from the first week of this semester is apparent to those who have watched his daily change.

“He was robust and very tan at the auditions and callbacks,” said Norris. “I called him the day after the shows were cast and told him to start staying out of the sun and start watching what he ate.”

Munoz, whose frame is tall and broad, began limiting his carbohydrate and fat intake and staying active by taking dance classes in the theatre and dance department as soon as he was cast.

He was also seen around campus wearing long-sleeve shirts, sunglasses, and long pants in the first weeks of the semester, despite the high summer temperatures at that time.

With his exercise and diet habits, Justin has managed to drop somewhere around the target 20 pounds.

He finds it beneficial in helping to develop his character.

“Losing the weight has made me a lot more aware of my body and my movements. Plus, during rehearsal I was just getting over being sick, so on stage I felt weak which really helps me understand what the character is feeling physically,” he said.

As for the shaving of his hair, Justin had no problem letting it go – he has kept the short buzz cut since the first week of rehearsal. Shaving his head, he believes, has helped him appear slimmer.

Piercing his ears was also an easy task for him.

“I used to have one of my ears pierced, so when Barbara asked if I’d be willing to do it, it wasn’t such a big deal to get both done,” Munoz said.Munoz’s dedication to the production in his appearance alone is an example of the hard work that the entire ensemble, cast and crew, is putting into the show. Along side Fierstein and Munoz, are Sarah Gonzalez as the The Third Woman and Jonathan Wright as The Third Man, playing the people who Anna and Carl meet along the way.

Their rehearsal process started five weeks ago, almost immediately following the posting of the cast list. The cast has spent five to six nights a every week collaborating on this piece.

“This cast has been great. They’ll take anything. They’ll take things home, work on them, and bring back new things to try,” said Norris, who finished her master’s project with “M. Butterfly” last spring and who directed another of Vogel’s shows, “How I Learned to Drive” in the spring of 2000.

“I chose this script, because Vogel is one of my favorite playwrights. She takes taboo subjects and somehow gets the audience to laugh. She disarms the audience with laughter and then hits them with a serious subject.

“They ask themselves ‘Why am I laughing at this?'” Norris said.

The set for “Waltz” is very minimal, as the show is actor-driven, and allows for the transformation from Baltimore to the various places Anna and Carl visit in Europe.

At first look, the set is a simple thrust stage covered in cold, white tile, and the walls are an off-white that resembles those of a hospital.

However, during the pre-show, Norris plans to project a scene from the movie “The Third Man,” which Vogel refers to heavily in the script, in a continuous loop onto the set’s back wall and use projections throughout the rest of the show as well to create the illusion of different places.

“The Baltimore Waltz” runs Oct. 9-12, and Oct. 16-19, with performances starting at 8pm and Sunday performances at 2 p.m.

Tickets can be purchased at the University Union Box Office (916) 278-4323, $15 general/$8 for students and seniors.