Volume LXI Number 1 • Winter 2020 • $8.00
The TD Drought An Opportunity for Students, a Challenge for the Industry
Join a Union?
Explore When, Why, Which and If One Is Right for You
Piano Man
20
20
I
C N Tr & P oll SI ai r eg D n of e E D ing es , U : ir ec Pr sio niv to og na er ry ra l sit m y
SETC’s Accompanist Shares His Story, Auditions Advice
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THEATRE COMPANY
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DARING, DYNAMIC, DEFIANT: YOUR WORLD IS OUR STAGE.
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• Access to professional theatre artists • Access to industry standard software in theatrical sound, lighting, costume, and scenic design • Performance and design opportunities starting in freshman year • Design lab, lighting lab, sound recording studio, large scene shop, and new costume shop • Internship programs (local, national, international) • Practical experience in all facets of theatrical production • Student scripts from playwriting course are produced in regular season • Student-directed and designed theatre productions
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FOR MORE INFORMATION 678-839-4700 or theatre@westga.edu westga.edu/theatre
Contents
Volume LXI Number 1 l Winter 2020 l Southern Theatre – Quarterly Magazine of the Southeastern Theatre Conference
Features Departments 4 Hot off the Press
Plays About Uncomfortable Truths by Zackary Ross
6 Outside the Box: Design/Tech Solutions Stone Cloth: Create Rocks with Aluminum, Muslin and Glue by David Glenn
48 Index to Volume LX Cover This photo from a dress rehearsal for Sotoba Komachi by Yukio Mishima was chosen from college and university submissions as the winner in our annual cover contest. The show opened April 23, 2019, at the Forbes Center for the Performing Arts at James Madison University in Harrisonburg, VA. In this scene, Noah Heie (left) portrays The Poet, while Tony Woods (right) plays Morita. Sotoba Komachi was directed by Michele Minnick, with scenic design by Richard Finkelstein, costume design by Pamela Johnson and lighting design by Emily Becher-McKeever. (Photo by Richard Finkelstein; cover design by Deanna Thompson)
8 The Piano Man
If You're Auditioning at SETC, Jose Simbulan Has Some Notes for You interview by Richard St. Peter
16 The Technical Director Drought A Career Opportunity for Students and a Challenge for the Industry
by J.K. Curry
30 Should You Join a Union?
Explore When, Why, Which and If One Is Right for You by Stefanie Maiya Lehmann
44 From High School to College
Be Ready for the First Day of Class by Matthew Miller
Special Section D-1 2020 SETC College, University & Training Program Directory Find the perfect school for you in this comprehensive directory, which lists SETC member institutions and the degrees they offer. (Special section begins after Page 24.)
Winter 2020 x Southern Theatre x 3
Plays About Uncomfortable Truths by Zackary Ross
P
lays often reveal characters coming to terms with themselves in profound ways. As a result of circumstance, they become aware of a previously unknown or unspoken truth about their nature and their relationships to others. The Greeks spoke of these as moments of
recognition and believed them central to the very nature of drama. What follows is a collection of newly-published plays from major play publishers that feature characters grappling with uncomfortable truths about themselves or their community. Following each description, you’ll find information about the cast breakdown and a referral to the publisher who holds the rights. Human Rites, by Seth Rozin
in life can sometimes be painful and confus-
an invitation to the school’s upcoming
After reading a controversial paper on
ing, our mere act of existence has meaning
Sadie Hawkins dance, a springboard to
female circumcision practices to his
in and of itself.
his rise to the top. This poignant, funny
undergraduate class, Alan Friedman is
Cast breakdown: 3 females; 2 males
and thoroughly engrossing play offers a
summoned to Dean Michaela Richards’
Publisher: Samuel French
brilliantly nuanced and complex study of
office to discuss his students’ objections.
www.samuelfrench.com
disability on stage.
Complicated by their romantic history
Cast breakdown: 4 females; 2 males* (*re-
years earlier and the racial differences
Amy and the Orphans,
quires one actor with cerebral palsy and
that exist between them, the conversation
by Lindsey Ferrentino
one wheelchair user)
quickly becomes heated and the two trade
When adult siblings Maggie and Jake
Publisher: Dramatists Play Service, Inc.
assertions of white privilege and Western
must tell their sister Amy, who has Down
www.dramatists.com
superiority. When Dean Richards brings
syndrome, about their father’s death, they
in a third party – an African graduate
unwittingly discover that they know very
A Good Farmer, by Sharyn Rothstein
student familiar with the people studied
little about their parents’ decision to place
Bonnie is a widow struggling to keep her
in Dr. Friedman’s paper – to contradict his
Amy in a state home for most of her life.
small cabbage farm operating with the
findings, tensions boil over and the ground
Touching, deeply funny and, at times,
help of her best friend, Carla, an undocu-
shifts dramatically under their feet.
heartbreaking, Amy and the Orphans ex-
mented worker. Set against the immigration
Cast breakdown: 2 females; 1 male
plores the slowly expanding rift that can
battleground that is our current political
Publisher: Broadway Play Publishing
develop between siblings when adulthood
landscape, A Good Farmer puts a human face
www.broadwayplaypub.com
changes their relationship.
on the nature of this conflict and examines
Cast breakdown: 4 females*; 2 males
the humanity we lose when differences are
A Life, by Adam Bock
(*requires one actor with Down syndrome)
used as a wedge to divide us.
Lamenting yet another breakdown of a
Publisher: Samuel French
Cast breakdown: 5 females; 3 males (flex-
relationship due to his “intimacy issues,”
www.samuelfrench.com
ible casting)
Nate Martin looks for meaning outside
Publisher: Dramatists Play Service, Inc.
himself – first in the astrological charts he
Teenage Dick, by Mike Lew
has come to depend on and later through
In this retelling of Richard III, one of
the advice given to him by his best friend,
Shakespeare’s most iconic villains is
Curtis. Ultimately, he discovers the futility
reimagined in the form of a 17-year-old
of his endless search for life’s answers in a
high school student with cerebral palsy.
shocking twist midway through the play.
Plotting his ascent to high school royalty –
Bock’s darkly humorous A Life reminds
and the class presidency – young Richard
audiences that while the search for answers
plays on Anne’s liberal guilt to secure
4 x Southern Theatre x Winter 2020
www.dramatists.com n
Zackary Ross, an assistant professor of theatre at Bellarmine University in Louisville, KY, also works regularly as a director and a dramaturg.
Theatre s o u t h e r n
EDITOR
From Fromthe theSETC SETCPresident President…
Deanna Thompson
SETC EXECUTIVE DIRECTOR
Susie Prueter SETC EXECUTIVE DIRECTOR EMERITUS
Betsey Horth ADVERTISING
Clay Thornton, clay@setc.org BUSINESS & ADVERTISING OFFICE
Southeastern Theatre Conference 1175 Revolution Mill Drive, Studio 14 Greensboro, NC 27405 336-272-3645 PUBLICATIONS COMMITTEE
J.K. Curry, Chair, Wake Forest University (NC) Gaye Jeffers, University of Tennessee at Chattanooga Laura King, Gordon State College (GA) Derrick Vanmeter, Clayton State University (GA) EDITORIAL BOARD
Tom Alsip, Oklahoma State University Lamont Clegg, Osceola County School for the Arts (FL) Larry Cook, University of North Georgia Amy Cuomo, University of West Georgia F. Randy deCelle, University of Alabama Kristopher Geddie, Venice Theatre (FL) Bill Gelber, Texas Tech University Scott Hayes, Liberty University (VA) Edward Journey, Alabama A&M University Stefanie Maiya Lehmann, Lincoln Center (NY) Tiffany Dupont Novak, Lexington Children's Theatre (KY) Richard St. Peter, Northwestern State University (LA) Jonathon Taylor, East Tennessee State University Student Member: Laura Falcione, Liberty University (VA) PROOFREADERS
Catherine Clifton, Freelance Copy Editor (NC) Denise Halbach, Independent Theatre Artist (MS) PRINTING
Clinton Press, Greensboro, NC NOTE ON SUBMISSIONS
Southern Theatre welcomes submissions of articles pertaining to all aspects of theatre. Preference will be given to subject matter linked to theatre activity in the Southeastern United States. Articles are evaluated by the editor and members of the Editorial Board. Criteria for evaluation include: suitability, clarity, significance, depth of treatment and accuracy. Please query the editor via email before sending articles. Stories should not exceed 3,000 words. Color photos (300 dpi in jpeg or tiff format) and a brief identification of the author should accompany all articles. Send queries and stories to: deanna@setc.org. Southern Theatre (ISSNL: 0584-4738) is published quarterly by the Southeastern Theatre Conference, Inc., a nonprofit organization, for its membership and others interested in theatre. Copyright © 2020 by Southeastern Theatre Conference, Inc., 1175 Revolution Mill Drive, Studio 14, Greensboro, NC 27405. All rights reserved. Reproduction in whole or part without permission is prohibited. Subscription rates: $24.50 per year, U.S.; $30.50 per year, Canada; $47 per year, International. Single copies: $8, plus shipping.
T
The winter issue of Southern Theatre traditionally focuses on students and teachers, emerging professionals and career paths. This year, we offer stories designed to help performers pull off their best auditions, to assist emerging artists in making a union decision, and to counsel high school seniors on what will be expected of them in college. We also spotlight a job that presents both opportunities for students and challenges for the industry: the technical director (TD). Many people who work in theatre believe there is a TD shortage. Tapping into data from two SETC surveys and interviews with people who work in the field, J.K. Curry explains the challenges, the potential causes and solutions for the problem, and why – despite all of this – the job of the TD presents a good opportunity for students today. Moving to onstage work, we introduce SETC members to a player they should know: the SETC accompanist. In an interview with Rick St. Peter, Jose Simbulan shares the route he took to become SETC’s professional auditions accompanist a quarter century ago. He also provides targeted advice on how SETC auditionees can make the most of their singing auditions. Whether you aspire to work onstage or backstage, one of the decisions you will face is whether to join a union – and, if so, when. Stefanie Lehmann outlines the major unions and trade organizations for the theatre industry, explains their benefits and their costs, and offers up advice from others on the pluses and minuses of joining. We also share advice for high school students and their teachers on making the transition to college theatre. Using results from a survey, Matthew Miller offers suggestions to help students make the leap. Still looking for an undergraduate or graduate school in theatre? Students and teachers seeking the best schools for a theatre education will find comprehensive help inside this issue: the 2020 SETC College, University & Training Program Directory, which lists SETC member institutions and provides details on the degrees they offer. All involved in theatre will find helpful ideas in our two regular columns. In “Hot off the Press,” Zackary Ross provides a sampling of new plays with a common theme: people coming to terms with truths about themselves. Finally, in our “Outside the Box” column offering innovative design-tech solutions, David Glenn explains how you can create onstage rocks using stone cloth made from a few simple ingredients. As you can see, this issue is packed with many helpful ideas and great advice for theatre professionals – regardless of where you are on your career journey. I hope you learn and enjoy!
Jeff Gibson, SETC President Winter 2020 x Southern Theatre x 5
outside
the box DESIGN/ TECH SOLUTIONS
Stone Cloth Create Rocks with Aluminum, Muslin and Glue
The rocks for this production of Children of Eden, presented in April 2018 in the Wright Center Concert Hall at Samford University in Birmingham, AL, were created from aluminum rolls, muslin and Elmer’s glue. by David Glenn
the logistics of creating and painting all of
rolls: .003" and .005". Commercially avail-
the pieces presented some challenges. We
able stone cloth uses a .0039" aluminum
ew projects are as challenging as
had at least 12 large foam billets in stock,
backer, so I took a chance and ordered the
replicating items found in nature.
but we were still going to need to order
.003" roll, which cost $129 per roll. I hoped
Creating a realistic tree or, in this instance, a
almost $2,000 in additional bulk foam.
that it would be thick enough to create the
stage full of rocks, can be a costly and time-
With production deadlines approaching,
right effect. However, we quickly decided
consuming endeavor. Natural textures are
our confidence in finishing the project
that the .005" rolls – which are almost 30%
not impossible to produce, but creating
using foam began to wane, and we began
thicker than the backer used on the pre-
them often requires a great deal of work
looking at ways to buy our way out of the
manufactured material – would perform
and resources. Traditional materials such as
problem.
better in this application. The thicker rolls
polystyrene blocks or sheets are expensive,
A Plan to Make Stone Cloth
were $165 each.
F
and carving them creates a large-scale
One of the options we had considered
Our plan was to bond scenic muslin to
mess. Cutting them with hot wires or
earlier in the process was commercially
the aluminum. We tested Elmer’s glue as
hot knives also requires ventilation of
available stone cloth, which has an alu-
the bonding agent and achieved a solid
fumes.
minum foil-backed canvas that can be
bond with the low-cost glue. However, we
The show that required us to think
quickly “crinkled” into organic shapes.
quickly found that theatrical muslin sized
creatively about rocks was a production of
Having used it before, I loved the idea of
too much due to water we added to the
Children of Eden at the Wright Center Con-
this time-saving product. However, it was
white glue.
cert Hall at Samford University. The stage
expensive – about $6,000 for the 13 or more
has a 58'-6" proscenium opening, and the
rolls we would need.
A quick search on the internet led us to a de-sized muslin that cost $7.99/yard
design called for the rocks to extend past
But what if we could create our own
in a 118" width from FabricMill.com. One
the opening about 4' on each side of the
stone cloth at a lower price? That would
of the most important lessons we learned
stage. Originally, the plan called for carv-
become the answer to our dilemma.
while using this product is that we needed
ing Styrofoam billets that we had in stock
We started with a search for heavy-
30-40% more material than our initial esti-
and supplementing those with additional
gauge aluminum foil, which led me to a
mates due to the contour of the rocks and
billets from our supplier.
familiar supplier, Grainger. Grainger offers
the material needed to wrap around the
two thicknesses of aluminum in 4'-0" by 100'
back of the structure.
As we moved forward with that plan, 6 x Southern Theatre x Winter 2020
Step-by-Step Instructions for Creating Stone Cloth
Step 1: Laminate de-sized muslin to the aluminum with Elmer’s glue.
Step 2: Paint the stone cloth to the desired finish.
The Process
Step 3: Crumple the cloth to form a natural texture.
• The aluminum stone cloth may cause
Step 4: Staple the cloth to a support frame and add highlight and shadow.
1'-wide material for use as a large, self-
Once we determined the best approach
interference with wireless microphones.
supported ribbon.
to creating the stone cloth, we began the
We had already introduced the micro-
Bottom Line
process of fabricating the massive amounts
phones before we began adding the rock
The choice to go with the homemade
needed. By the end of the project, we had
facades, and the addition of the material
stone cloth allowed us to complete Children
created approximately 460' of the 4'-wide
caused the microphones to lose their
of Eden on budget and on time, and it gave
cloth. Laminating the fabric to the alumi-
signals. With a little experimenting, we
the stones a natural texture that would
num and base painting the panels proved
were able to relocate the receivers and
have been hard to match with foam carv-
antennas to eliminate this issue.
ing. A project that had initially looked to
to be good projects for our lab students. Our scenic charge then stepped in to give
Additional Uses for the Cloth
overwhelm the production crew ended up
the rocks the textured look that we wanted
After the production, we separated the
finishing in about 10 days, and the stone
to achieve, and we were able to produce all
material into individual sheets and rolled it
cloth ended up being the most cost-effective
of the panels needed in just over a week.
for reuse in the future. We have since reused
option. n
We chose to make the panels 9' tall, and we
the cloth to create smaller stack stones and
were able to get 11 panels per roll of alu-
even as bark for some oversized tree limbs.
minum. We ended up ordering four rolls of
The usefulness of the cloth as a repurposed
the .005" aluminum after purchasing the
stock item helps justify the initial cost of the
initial roll of .003" material (which we also
materials by spreading the expense over
used).
several show budgets.
MATERIALS AND COSTS (for 1,840 feet of product)
The move to stone cloth allowed us
Since producing the muslin backed with
to rough in the shape of the rocks using
aluminum, we have tried experimenting
Hollywood flats and frames that loaded in
with other fabrics, and the pairings have
easily to the concert hall. It took us about
created some exciting possibilities for
Aluminum rolls 1@.003 ($129/each) 4 @.005 ($165/each) Muslin 75 yards ($7.99/yard) Elmer’s glue 8 gallons ($11/gallon)
four days to finish applying the stone cloth
future use. Fabrics with more nap than
Total cost:
material. The cloth is heavy enough to be
muslin could be used to increase the
stapled into step facings and then onto the
inherent textures of the surfaces and offer
tread below to achieve stone step facings.
different paint properties. The aluminum
The overall process was quick, and we were
can be doubled up to increase its thickness
able to avoid the mess created by a major
for even greater rigidity of the material, and
Styrofoam undertaking.
we have even experimented with folding
Two Important Notes
the 4'-wide material into a four-layer thick,
$129.00 660.00 599.25 88.00
$1,476.25
David Glenn, director of technology and design at Samford University in Birmingham, AL, and a professional technical director for 27 years, is editor of the Outside the Box column.
• The heavy-gauge aluminum is extremely sharp on its edges. Care should be taken during the handling of the material and the prepping of the set for actors.
Do you have an idea for an Outside the Box column? Email Outside the Box Editor David Glenn at djglenn@samford.edu for information on submission requirements. Winter 2020 x Southern Theatre x 7
THE PIANO MAN If You’re Auditioning at SETC, Jose Simbulan Has Some Notes for You inter view by Richard St. Peter
Caitie McMekin
J
Jose Simbulan holds the keys to success for thousands of auditionees. At most of SETC’s Professional Auditions for the last 25 years, he has been the unflappable pianist at the keyboard who, every 60 to 90 seconds, accepts another auditionee’s sheet music and – seconds later – plays it with precision and flair. At the 2020 SETC Convention in Louisville, he’ll be back again, sight-reading tune after tune for up to eight hours a day for three days straight. By his own estimation, Simbulan has played approximately 35,000 auditions – just in his 25 years playing auditions for SETC and his 20 years playing auditions for United Professional Theatre Auditions (UPTA). Although his work is behind-the-scenes, SETC brought him center stage in 2019 to recognize his skills and years of service as the SETC accompanist, inducting him into the SETC Hall of Fame. To call Jose Simbulan the SETC accompanist, though, is to diminish the impressive body of professional work he has accomplished outside the auditions room. From playing in the pit on Broadway shows to musical directing and conducting at theatres like Arena Stage, Baltimore Center Stage, Virginia Repertory Theatre, the Shakespeare Theatre Company and the National Asian Artists Project, Jose has a flourishing career that has taken him across the country. In the interview that follows, I asked Jose about his piano training, his work, how he got started with SETC and his advice for auditionees. Our interview has been slightly edited for clarity and length.
‘There are still too many singers who come into the audition room
How did you get involved with music? When did
albums that I would check out from the local library.
you start playing?
I had always liked music in elementary school and
in piano performance at Virginia Commonwealth
heard someone
even performed in school shows and choirs. My mom
University, I spent a good amount of time “on the
signed me up for some piano lessons at a mall music
other side of the building,” the theatre side, playing
play the notes on
store when I was nine years old, and that’s when the
for directing projects and departmental productions.
music bug formally bit. (Truth be told, the “reward” of
a cone from the mall’s ice cream shop after each lesson
ing auditions came quite naturally and easily for
was a big motivator early on – and sort of still is.) My
me. Once I was able to drive, I became involved in
their song with a
dad was in the Coast Guard and got transferred to a
the community theatre scene around Washington,
new duty station every few years, so I went through
pianist. Why would
DC, and I would continue to play for community
a series of piano teachers as we moved from city to
theatre productions when I was home from college.
you leave that
city, but we eventually settled in northern Virginia
As some of those actors and directors started to
crucial part out
when I was in the sixth grade. While in middle school,
make the transition from community to profes-
I started accompanying the choirs and musicals. I was
sional theatre in DC, so did I. I landed my first re-
far from what anyone would consider a child prodigy
gional theatre credit as a music director in the fall
but had enough talent and facility to be featured dur-
of 1993 at Virginia Stage Company in Norfolk, VA,
ing a school assembly every now and then.
and then spent the next couple of years building
How did you go from musician to playing for
my career between Richmond and the DC area.
theatre and auditions?
How did you start playing auditions for SETC?
My love for musical theatre really developed in
I got a taste of playing in “the big room” in the spring
high school. I owe a huge debt of thanks to my
of 1993 when the annual convention took place in
high school drama teacher, Mr. Mike Garcia, as well
Arlington, VA. I went up there to play for some of the
as one of my fellow classmates, Bryan Louiselle,
students from VCU. The following year, it turned out
who served as a sort of mentor and inspiration to
the previous pianist was not going to be available, and
me. I played for some of the drama club produc-
through a series of phone calls to the office at Theatre
tions, sometimes even doing double-duty: playing
VCU, I was hired. I actually don’t remember much
piano in the pit for some songs, then running up
about playing the auditions themselves that first
to the stage to be in some of the larger ensemble
year, just that I did, and, apparently, without major
numbers, and then back down to the pit. I also saw
incident. What I do remember from that spring is
shows when I could and listened to numerous cast
flying out of DC in the middle of a snowstorm – they
Even while pursuing my BM [bachelor of music]
I was always sort of a good sight-reader, so play-
who have never
their sheet music, or even performed
of your audition preparation process?’ - Jose Simbulan
Winter 2020 x Southern Theatre x 9
ran out of deicing fluid twice! – and then
a very real possibility, I thanked her and
The auditions that truly stand out to
landing in near summer-like conditions in
thanked her mother for remembering me.
me are the ones where the connection,
Savannah: I had to buy shorts in the hotel
It felt good knowing that I was helping out
the chemistry between me and the actor,
gift shop. With the exception of three spring
a second generation of performers.
goes beyond “singer and pianist,” and I
conventions – all of which were held in
The only quibble I have each year is
have been fortunate to have had many of
Florida (coincidence?) – I have played for
the lack of personal time to check out the
those. And, yes, I am purposely not name-
the Professional Auditions ever since.
various other offerings at the convention:
dropping.
What do you like most about playing
the workshops, exhibits and vendors. But
Have there been any major changes
for SETC? What do you like least?
I do make a point of taking a few strolls
over your years of playing for the
Each year, it is a wonderful combination
through the convention center when I can,
auditions? What is different now from
of getting together with old friends and
as well as checking out the local restaurants.
when you started?
colleagues, coupled with meeting and
I know you have played thousands
The only notable change in my eyes (and
making many new ones. I particularly like
of auditions. Are there any that
fingers) is the amount of new repertoire
watching the progress of students who
stand out? Do you ever find yourself
and new shows that have been written
go from “summer-only” hires to “year-
thinking, “I’m going to remember this
over the past 25 years. Point of reference: I
round” theatre professionals. There’s also
person. They are going places!”
started playing for SETC before Beauty and
a wonderful and literal sense of longevity
There are many people I fondly remember,
the Beast and Rent opened on Broadway.
amongst many of the company reps and
including some that happened to get their
There is the relatively recent possibility of
actors, some of whom I have now known
big break while I just happened to be at the
someone bringing in their sheet music on
and worked with through SETC for 25
piano that day. There are also many actors
an iPad, but, otherwise, there really hasn’t
years. A few years ago, one young woman
that I’ve had the true pleasure of watching
been much of a change in the general
mentioned to me: “You played for my
go from SETC to their first audition in New
process of auditions. An actor still brings
mother.” After taking a few seconds to do
York City, and then on to booking their first
in a piece of music they wish to perform,
the math and realizing that was indeed
major tour or Broadway show.
and I play it for them. I sight-read their
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Man of La Mancha, 2019 Photo by Andrea Hallgren
10 x Southern Theatre x Winter 2020
Caitie McMekin
Jose Simbulan plays for an auditionee as the next performer waits at the piano.
Five Do’s and Don’ts for Your Musical Audition from Jose Simbulan DO
have a good copy of your sheet music. It can be in a book, three-ring binder (with or without sheet protectors), or taped/glued/stapled to a file folder so that it will stay on the piano. And, yes, page turns are acceptable.
DON’T
put your music on the piano and say, “I’m sorry this is hard to read.” If I’m not able to read it, I won’t be able to play it. And no loose sheets of paper – it’s too easy for them to fall off the piano. The same goes for “accordion folds” over three pages – if one piece of paper starts to fall, the rest will follow.
DO
practice your music at least once with a pianist before your audition. Or, at the very least, have a pianist read through your music to make sure it’s readable and clearly marked.
DON’T
find out while you’re auditioning that your sheet music is in the wrong key, and/or not correctly marked.
DO DON’T
sing a song (or songs) that you like to sing.
DO
know what you want for your intro: a note, a couple of notes, a measure or two of music.
DON’T
decide on-the-fly where and how you want to start.
DO
give me a complete piece of sheet music to read – a vocal line and a piano accompaniment, or a lead sheet with chords, melody and lyrics.
DON’T
provide me with a copy of the “vocal book” to play from. A “vocal book” is just that – it will only have the melody with no piano part/accompaniment.
DO
sing something that you think you have to sing – or should sing. A good performance of a “bad” song is better than a “bad” performance of a good song.
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And a bonus DO! remember that I like playing auditions. I want to play well for you. I want you to have a good audition. I want you to get a callback. If you and your music are prepared, then I will be prepared.
Winter 2020 x Southern Theatre x 11
sheet music and accompany them without
help them, or are simply unaware of them,
any prior consultation or practice, and we
or just ignore them altogether. While there
somehow, almost miraculously, begin and
are many examples of general cluelessness
end at the same time.
and mediocrity on platforms such as You-
Alas, one other thing that hasn’t changed
Tube, and on programs such as American
over the years is a certain degree of “un-
Idol, there are also many examples of good
education” among all levels of actors. This
singing, good stage presence and good
is even more disheartening and frustrating
technique out there as well.
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material. Make the effort to find a compe-
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ers who come into the audition room who
• Access internship opportunities in the New York City area
Can you elaborate a bit more on what
have never heard someone play the notes
you mean when you say “un-education”?
on their sheet music, or even performed
I am still surprised at the number of bad
their song with a pianist. Why would you
auditions that happen. I am still surprised
leave that crucial part out of your audition
by the number of aspiring performers who
preparation process? Especially an audition
either don’t make the effort to access the
situation where a registration fee, as well
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as travel and hotel expenses, are involved.
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A chance to explore all aspects of theatre—acting, design, directing, playwriting, history, and theory. The Tennessee Williams Center—a state-of-the-art facility featuring two theatres, design and scenery studios, and more.
And it actually angers me at SETC when it
Oh, I have to know! What was your
becomes evident that a college professor
Broadway debut?
or director simply signed a student actor’s
The year was 2006. The show was (the
form, and then made no further effort to
short-lived) Lestat. I was one of the key-
ensure their student’s success.
board players. That’s really all that needs
What keeps you coming back year
to be said, if said at all!
after year to play for SETC’s auditions?
Fair enough! What do you do the rest
Do you enjoy the pace? The challenge?
of the year, when you’re not playing
When I first started playing for SETC, I was
for auditions? Perhaps share a few
usually looking for work for myself as a
examples of other shows you have
pianist and music director as well. Since
worked on?
most of the companies typically had their
I spend a good deal of my professional
summer staff lined up by the time they
life in New York City playing even more
arrived at SETC, many of the connections I
auditions, as well as vocal coaching.
made during the convention were for work
I like the “day job” aspect of audition
later in the year. I would also regularly
playing since it leaves my evenings free
play callbacks in the evening for some of
to see shows and concerts, check out new
the companies to make a little more money
restaurants and hang out with friends. I
during the convention. I look back on those
also travel regularly – usually to Chicago,
early years and marvel that I had the energy
San Diego, Los Angeles and Boston – to
for such a schedule: playing auditions all
spend time with family and friends, eat
day in the main ballroom and then onto
at my favorite restaurants and see even
another four to five hours of callbacks in
more shows and concerts. I spent this past
the evening.
summer at Barrington Stage Company in
Audition playing has never really scared
Pittsfield, MA. I served as the music director
me. Yes, I’ve gotten nervous a few times,
for their Musical Theatre Conservatory
Major and minor in theatre arts, minor in dance.
but since I’ve never had a fear of sight-
program for the first part of the summer,
reading – sight-reading is just something
and then switched over to the music staff
The Sewanee Pledge—study abroad, get funding for an internship, and you’ll graduate in four years. Guaranteed!
I’ve always been able to do – playing au-
for the new musical Fall Springs by Niko
ditions has never been a source of anxiety.
Tsakalakos and Peter Sinn Nachtrieb. A
While the pace and span of the day can
good chunk of my work outside of NYC
try my mental and physical endurance at
has been in DC at Arena Stage; I have been
times, I do relish and appreciate the chal-
a part of 15 productions since 1997. I have
lenge and responsibility of complementing,
also worked with Baayork Lee’s National
supporting and showcasing the talents of
Asian Artists Project (NAAP), and I have
the actor. As I state in my briefing at the
played workshops and recitals for the
start of each day: “This is your audition,
Amy Murphy Studio both in NYC and
not mine.” (And then I parenthetically add
Birmingham, AL. n
Expanded financial aid program to meet the full need of those who qualify.
under my breath, “I have work …”, as a way of breaking the ice even more, hopefully.) Each 60- to 90-second audition slot is an opportunity for success and satisfaction. I come back year after year because I can,
More Audition Advice? Follow Jose Simbulan on Twitter and Instagram at @JoseSPiano or his blog at josespiano.wordpress.com.
and because I want to. It is very satisfying to be a part of an annual event for a number of years running. And the three times I was
Learn more at theatre.sewanee.edu
not able to attend the spring convention were due to conflicts with a production I was working on, one of which was my Broadway debut.
14 x Southern Theatre x Winter 2020
Richard St. Peter is an assistant professor of theatre at Northwestern State University of Louisiana. He is the chair of SETC’s Directing Committee and a member of the Editorial Board of Southern Theatre.
AWAKEN BROADEN SHARPEN
highpoint.edu/theatre
®
THE TECHNICAL DIRECTOR DROUGHT
A Career Opportunity for Students and a Challenge for the Industry by J.K. Curry
The job of the technical director typically includes oversight of all the technical crafts that go into the creation of a set. At left, student carpenter Brendan King checks the scenery transitions for a production of Guys and Dolls at the University of North Carolina School of the Arts. Photo by Christine Rucker
W
“Where have all the TDs gone?” was the title of a workshop at the 2019 SETC Convention. It’s also a question that is asked repeatedly as theatres seek to hire technical directors (TDs). The job of the TD is challenging, and theatres need skilled, well-trained, hard-working people to perform it. Concerns about a growing shortage of candidates for the job prompted Camden Simon, production manager and technical director at Oak Ridge Playhouse in Tennessee, to organize the SETC session, which had an estimated 55 to 60 people in attendance. Simon noted “almost all agreed there is a problem” filling TD positions with well-qualified individuals. Difficulties in finding qualified TDs also were reported by most of the respondents to a recent informal survey of SETC member companies and theatre departments. More than 97% of the 76 respondents said there is a shortage of candidates for TD and other technical positions. In a related survey of current and former technical directors, 80% of the 40 respondents said they believe there is a shortage. Some of those who disagreed that a shortage existed said that enough qualified applicants would exist if employers provided adequate compensation for the skill level of TDs and the hours of work required.
while two additional respondents reported 35 and 40
what is a full-time TD job at a university.” Tracy Nunnally, professor and technical director at Northern Illinois University, agreed that “the role and expectations of the TD vary wildly from place to place.” Nunnally, who is also owner of the flying effects company Vertigo, shared a TD mission statement he wrote many years ago and still finds apt: “The primary mission of the traditional technical director is to coordinate resources (time, information, money, room/space and people) to ensure that the team of technical craftspeople have the necessary resources
the profiles with this article.
believe there is a shortage?
specific skills varied considerably. While six of the
particular, he noted, “We don’t have good rubrics for
spotlighted in
positions? If yes, why do you
for the job in terms of education, experience and
a TD is. It’s a different job in different places.” In
shortage are
shortage of people to fill TD
the number of applicants considered fully qualified
in Detroit, “is that there is no good definition of what
about the TD
Do you believe there is a
applicants, respectively. Within this candidate pool,
Brinker, technical director at Michigan Opera Theatre
SETC’s survey
Jacksonville, AL
respondents reported six to 20 applicants per search,
“One challenge in discussing the issue,” said Dan
responded to
Jacksonville State University
zero to five applicants for each position. Another 14
What Is the Job and Why Is It Hard to Fill?
directors who
Technical Director
TD searches in recent years, 45 reported that they had
applicant was qualified for the position.
technical
John A. Davis
Among respondents who had conducted one or more
fully qualified, 24 respondents said none or only one
and former
CURRENT TD
Respondents to the surveys noted varying levels of success in finding qualified applicants for TD jobs.
respondents found that 100% of their applicants were
Selected current
Yes. Many companies will not pay a fair rate to their TDs, and then expect them to work ridiculously long hours. They also have unrealistic expectations of what their shop and staff can accomplish when it comes to a design for a show, which adds unfair stress to the TD. If yes, what do you believe should be done to alleviate the shortage? As upper management for a theatre company, you need to be versed in what the TD’s role is and what is expected from them. For many years, theatre has used a slave-for-the-art model: working late into the night, weekends and holidays. This model is outdated, and most TDs do not want to work this way anymore. What advice do you have for young people about this career? Learn as much as you can. Stay organized. Don’t assume you know it all. What advice do you have for those educating future TDs? Stay relevant. Just because you did it that way in the past doesn’t mean there isn’t a better way to do it today. What advice do you have for theatres looking to fill TD positions? Pay a reasonable salary, and don’t handicap your TD by questioning all of their choices. Remember, you hired them for a reason. Winter 2020 x Southern Theatre x 17
Camden Simon Oak Ridge Playhouse
Tracy Nunnally Northern Illinois U.
Chuck Meacham U. of Evansville
to bring the vision of the team of artisans
sign, safety and health, [and] fire codes, as
to the performance space, and ensure that
well as an understanding of theatre history,
the environment is safe for the performing
lighting, sound, props, costumes, shipping
artists, audience and staff.”
and trucking, storage facilities, contracting,
Along those lines, many technical di-
power tools, modern media design and
rectors view their primary responsibility
production equipment. If a production
as serving as a project manager. However,
wants to fly a performer, use running water
as a result of the great variability in duties
on stage, turn down the temperature in a
at different places of employment, TDs at
rehearsal hall, drive a golf cart in a produc-
some theatres may be expected to perform
tion, use live flame, know how to use a 3-D
a myriad of jobs, such as constructing the
printer, or fix a period buffet table damaged
scenery, serving as the master electrician
in rehearsal, the TD is most often the one
and engineering the sound. Even when
expected to be knowledgeable.”
not providing all the hands-on labor, the
At some theatres, the job might involve
TD is expected to be knowledgeable about
translating designs into technical drawings
all areas of technical theatre. Simon com-
for construction, devising solutions for
pares the TD to the structural engineer
requested special effects or scenic trans-
and lead contractor for a house build (with
formations, supervising professional staff,
the designer in the role of architect.) “You
students or volunteers, and being respon-
don’t need to be the carpenter, welder and
sible for everything that goes on stage. A
painter, but you must know whether that
technical director at a college or university
wall will hold, recognize a good or badly
might teach classes for academic credit and
assembled joint, and understand the phys-
have additional faculty responsibilities.
ics of materials,” Simon said.
Whatever duties are included with any
The variety of knowledge and skills a TD
given TD job, the most common problem
may be asked to contribute to the making of
in keeping the position filled seems to be a
a piece of theatre is vast. “I feel there is no
perception that wages offered for many TD
position in theatre production today that is
positions are low and not commensurate
expected to possess the depth and breadth
with the skills brought to the job.
of knowledge and technical expertise of
So, what is the typical salary for a TD? It
technical directors,” said Paul Brunner,
is difficult to obtain specific data on salaries
former technical director and head of the
because many job listings describe pay only
theatre technology program at Indiana
as “competitive.” A perusal in October 2019
University and current business develop-
of TD job listings that specified a salary
ment manager for the Minnesota-based
range included jobs:
Thern Stage Equipment. He notes that
• At a small, nonprofit theatre in Califor-
TDs must have knowledge of “structural design, mechanical design, automation controls and design, rigging, theatrical de18 x Southern Theatre x Winter 2020
Michael Kelley UNC School of the Arts
nia ($41,000-49,000). • At a community college in California ($60,168-82,944).
• As an assistant professor/TD in Utah
cluding nights and weekends. During Tech Week, TDs may start early in the morning
($50,000+). • At a community theatre in Texas
and not get home until midnight or later. Production opening dates are fixed, and
($38,000-42,000). • At a professional theatre in California
any unanticipated technical problems can
($52,000-55,000).
lengthen the TD’s workday. Simon noted
To be fully qualified, a technical director
that typically a TD is “not compensated
candidate usually has years of professional
like a lawyer or someone with similar long
experience and formal education, with
hours, who is able to provide a certain
many academic TD positions requiring an
lifestyle to their family” in exchange for a
MFA. Closely tied to the issue of low pay
grueling work schedule.
is the assumption that a technical director
Beyond relatively low pay for long
is often expected to work long hours, in-
hours of work, technical director positions
CURRENT TD Tom Watson
Technical Director Bucks County Playhouse New Hope, PA Do you believe there is a shortage of people to fill TD positions? If yes, what do you believe should be done to alleviate the shortage? Yes. The No. 1 reason that I will not pass on or have interest in a job posting has to do with salary. Time and experience are valuable, and I often see postings for all kinds of positions that do not adequately offer a salary that balances the duties expected of that job. What advice do you have for young people about this career? Learn a little bit about any and every skill you can. You never know when knowledge and experience in any given trade will be applicable to your current project. Research. Read about it, read the directions, watch YouTube videos, contact manufacturers. Most importantly, do not go it alone. Do not isolate yourself or think that you have to do it all yourself. Contact colleagues, other theatres and friends. Ask questions on forums. Know when to bring in persons with greater expertise than you. What advice do you have for those educating future TDs? Teach your students how to teach themselves and problem-solve. Theatre is a collaborative art form. Theatre artists are going to turn to their TDs and ask them to make things that have never been made before, or have been made before, just not in that way. There’s always a chance that it is something that TD has zero experience making happen. So, instill the confidence in your students that they can take that desired effect or set piece and break it down and figure out a way to make it happen. Safely, of course. What advice do you have for theatres looking to fill TD positions? Be honest about what duties you need your person to perform. Do you need someone who can run boards and work backstage? Do you need someone who manages a shop? Do you have touring shows coming in? What kind of hours are required for this position? Winter 2020 x Southern Theatre x 19
BA in THEATRE
can be stressful due to the responsibility
However, the need to avert a looming
the TD has for everyone’s safety, which
TD shortage seems more urgent today as
is an essential aspect of the job. The TD is
theatre educators and professionals become
the person who ensures that scenery will
aware of a potential pipeline problem. Few-
not collapse under actors or crew or fall
er students are even aware that technical
on their heads.
theatre careers exist. (Many respondents to
Other stressors mentioned by TDs in-
the SETC survey about a TD shortage also
clude a lack of respect for their skill set and
noted potential shortages in related fields,
contributions to the making of a theatrical
such as carpenter, master electrician, props
production, and limited opportunities for
construction, costume and scene shop
SCHOLARSHIPS AVAILABLE
advancement, including difficulty obtain-
supervisor, scenic artist, sound engineer,
ing tenure in faculty positions. Usually, TDs
costume staff, rigger and stitcher.)
Apply online at: utc.edu/apply
do not publish research, the typical route
“Kids today are not told they can make a
to obtaining tenure, and their contributions
profession in the arts – high school counsel-
may be less apparent to a college-wide
ors say they can’t make a living,” said Mi-
tenure committee than the work of a scenic
chael Kelley, dean of design and production
designer, for example. Busy college TDs are
at the University of North Carolina School
likely to have very limited opportunities
of the Arts in Winston-Salem. “The idea that
to gain additional professional credits, a
there is no work in the industry is a lie.”
strategy often used by designers, directors
Chuck Meacham, professor at the
and performers pursuing tenure. Contrib-
University of Evansville and past commis-
uting to the issue, some TDs believe that
sioner for technical production with USITT,
some organizations seem simply to expect
also noted a lack of awareness of theatre
burnout and high turnover in the TD posi-
careers. “Students are encouraged to do
tion, so they do not make efforts to improve
other things, pursue other careers – ones
the situation.
that the adults in their lives understand
In recent years, many TDs have opted
ACCREDITED BY
to take their skills to the entertainment
In addition to not knowing about techni-
industry and beyond, where they can enjoy
cal theatre job opportunities, students today
better pay and work schedules. This, in
often lack experience working with their
turn, has created more TD job openings,
hands – an activity that may have helped
which are sometimes filled by early career
those in past generations start on the path
individuals trying to tackle the job before
to work as a technical director. A number of
they are ready – which can lead to even
respondents to SETC’s surveys mentioned
more burnout and turnover.
the elimination or reduction of shop classes
Pipeline Issue Adds Urgency
at many high schools as a major contributor
Concern about a high turnover in TD
UTC is a comprehensive, community-engaged campus of the UT System. UTC is an EEO/AA/Titles VI & IX Section 504/ADA/ADEA institution.
20 x Southern Theatre x Winter 2020
more fully.”
to the shortage.
positions is not a new problem. In 1989,
Young digital natives, as a group, also
Theatre Design & Technology published an
appear to spend less of their free time on ac-
article, “Job Satisfaction Among Technical
tivities that develop manual dexterity, such
Directors,” by Dennis Dorn and Lisa Anne
as building models, sewing, woodworking
Schlenker Aitken, based on a 1987 survey
or repairing machinery. A recent article in
of technical directors. They reported that,
The New York Times noted that a widespread
while most TDs found some satisfaction in
decrease in fine motor skills is a concern
their job, issues such as long hours and low
for medical schools training surgeons, but
pay were leading many to consider a move
other fields are likely to feel the effect, too.
to a different career. Follow-up surveys
Students who are not accustomed to build-
conducted by Mark L. Engler in 1997 and
ing and tinkering on their own may be less
2011 found similar concerns, but no mass
likely today to pick up a hammer in a high
exodus from the field.
school theatre program.
EVAN YIONOULIS Richard Rodgers Director of the Drama Division RICHARD FELDMAN Associate Director KATHERINE HOOD Managing Director
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Michael Braugher in Bill Gunn’s The Forbidden City PHOTO: T. CHARLES ERICKSON
Dave Foster Regent University
Jeremy Day Verendus Industries
Verda Beth Martell DLR Group
Matthew Leckenbusch Clemson University
While some high schools, especially arts
In addition to a lack of training at the
magnet schools, provide rich curricular and
high school level, some survey respondents
extra-curricular experiences in technical
also linked the shortage of TDs to an em-
theatre, reports from the field suggest that
phasis on design over technical education
overall fewer students are gaining hands-
in colleges. William Cruttenden, associate
on technical theatre experience in middle
production manager at Two River Theater
and high school. Many schools outsource
in Red Bank, NJ, attributed the shortage of
scene design and construction to parent
TDs to “colleges emphasizing their design
volunteers or hired professionals.
tracks and not realizing that, in the end, we
“More and more high school students
need people to actually build these ideas.”
are not being allowed to learn scenic con-
Others suggested the pipeline issues
struction and actually touch power tools,”
could be alleviated with a change in the de-
said Adam Zonder, production manager
grees that theatres and universities require
at Hangar Theatre Company in Ithaca,
of their TDs, noting that many of the skills
NY. “They are being allowed to use mov-
might be taught through trade schools at a
ing lights, run light boards, operate digital
much lower cost to students. “Many com-
sound consoles, etc., so those areas are con-
panies want a college-educated person for
sidered ‘fun and sexy’ while working with
a position that doesn’t always require a col-
plywood is what someone’s parent does.”
lege education,” said Jeff Allen, production
BA Theatre & Dance with concentrations in:
Blake Minor, head theatre director at
manager at Pacific Conservatory Theater in
Dulles High School in Sugarland, TX, noted
Santa Maria, CA. “Don’t make the hurdle of
Acting/Directing Dance Design
several reasons schools might not allow
tuition be a challenge to a career.”
students to build sets. Teachers assessed
Wally Eastland, resident designer and
on their public performances may want to
production manager at Southern Arkan-
assure the highest possible quality of tech-
sas University, also suggested altering the
nical elements by relying on skilled adults.
education path: “We should have a trade
Individual teachers may not possess skills
school/apprentice program approach to
in technical theatre that would allow them
training people who want to be technicians.
to train students in appropriate construc-
Keep the four-year programs for people
tion techniques. Some schools lack scene
who are on a design track.”
shop facilities. Concern for student safety
Opportunity for Students
Follow the Creative Impulse BFA Theatre & Dance with concentrations in: Acting/Directing Dance Design Musical Theatre
Located close to Nashville, in Clarksville, Tennessee, APSU is a student-centered training program that is focused on giving you the skills you need to work in a competitive industry. With six shows a year and multiple sh connections to professional troupes, our students get opportunities from day one to work collegiately and professionally in a supportive environment.
apsu.edu/theatre-dance Austin Peay State University does not discriminate on the basis of race, color, creed, national origin, sex, sexual orientation gender identity/expression, disability, age, status as a protected veteran, genetic information or any other legally protected class with respect to all employment programs and activities sponsored by APSU. www.apsu.edu/policy. AP71/8-19/1 Policy 6:003
22 x Southern Theatre x Winter 2020
and administration concern with liability
So, given the many warnings about
can also prevent students from getting
the TD job, why would a student want to
hands-on experience. “I do believe there
consider preparing for a career as a TD?
is a ton of interest from students but very
It turns out that good jobs do exist – and
little trust from adults to challenge their
a potential labor shortage may lead more
students and build in enough time to edu-
organizations to make their TD positions
cate [them on] proper building techniques,”
attractive. Many TDs find great satisfaction
Minor said.
in their work, and well-trained TDs can
easily move their skills to desirable jobs in
Tracy Nunnally is even more enthusiastic about technical directing: “I, like many
the wider entertainment industry. “You can make something tangible that
of us, do the job because I think it is the
looks great,” said Dave Foster, technical
greatest job in the world. Where else can
director and production manager at Regent
I have a hand in turning the dreams and
University in Virginia Beach, VA. “You will
visions of master storytellers into a reality
know what you contributed.”
that is shared by thousands of people?”
The opportunity to make things happen
Of course, the job is more fulfilling when
quickly is another appeal of tech direct-
performed for an organization with good
ing, according to Jeremy Day, president
working conditions and pay. Such jobs do
of Verendus Industries, who holds a BFA
exist. “Many theatre companies are great
in technical direction and now focuses on
places to work and give their employees a
finding unique mechanical solutions to
voice to express themselves on stage and
automation and rigging problems for cli-
in their work environments,” said Verda
ents in the entertainment industry. “What
Beth Martell, a former technical director
kept me from becoming an engineer was
who is now a theatre design specialist with
impatience with how long it takes to realize
DLR Group, an integrated design firm with
a project,” he said. “In the entertainment
offices around the world. Dan Brinker
field, everything is on a faster timeline. That
noted that there are “many fabulous
led me to the industry.”
companies where TDs love to work,”
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Concord Creative (custom scenery shop for theatre, live events and film) Clarkston, GA If you are no longer a TD at a theatre, why did you leave the position? Burden of work vs. pay scale. Do you believe there is a shortage of people to fill TD positions? If yes, why do you believe there is a shortage? Yes. A combination of lack of people being developed to fill the job and a lack of adequate compensation for the burden of work. If yes, what do you believe should be done to alleviate the shortage? Development of young talent and an increase in compensation, whether it be monetary or otherwise (time off, benefits). What advice do you have for young people about this career? Get a solid foundation in as many areas of theatre as you can, and find somewhere and someone who will help you grow. What advice do you have for those educating future TDs? TDs need to understand all elements of the business but don’t have to be on the forefront of every emerging trend. Build solid foundations in all types of theatre.
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What advice do you have for theatres looking to fill TD positions? Take a chance on developing talent and work with them to grow in the position. Do not expect to find a perfect candidate. Winter 2020 x Southern Theatre x 23
but those jobs do not open up frequently. Finding TD jobs that pay well can be a challenge. “The truth is that those who have
are being compensated very reasonably for
beginning a job search can also benefit
their services, but how to find those posi-
from guidance offered by professors and
tions is a skill in and of itself.”
professional contacts. New graduates and
the highly paid positions usually hang on to
Technical theatre jobs are listed frequent-
other job seekers can use their networks to
them, so they don’t become available very
ly on SETC’s Theatre Job Board and other
gain an idea about which positions may be
often,” Nunnally said. “I am proud to say
sites, such as the Theatre Communications
worth accepting.
that a high majority of my TD alums are
Group ArtSearch, Jobs USITT, OffStage
If individuals are not able to find a TD
working with organizations where they are
Jobs.com and general employment sites
position with satisfactory compensation
happy with their working conditions and
such as Indeed.com. Of course, students
or working conditions, they can take the range of skills developed through technical
FORMER TD Steve Boone
Assistant Professor/ Undergraduate Coordinator Bowling Green State University Bowling Green, OH If you are no longer a TD at a theatre, why did you leave the position? My job was redefined when a new person was hired. The new person took over all TD and production management responsibilities. Do you believe there is a shortage of people to fill TD positions? If yes, why do you believe there is a shortage? Yes. 1) The quantity of people who build stuff when they’re young is lower, so fundamental skills are often not there when they get to the point of going into a career as a young adult. This extends to all areas of theatre tech (costume shop, lighting equipment repair). 2) People need communication skills and a genuine love for teaching and leading new students in technical theatre to be a good TD. I think this is where “burnout” comes from – people who can’t develop good relationships with their co-workers and bosses, as well as people who can’t stand going into the shop and dealing with untrained masses every day. If yes, what do you believe should be done to alleviate the shortage? In the TD training programs, learning how to work with management and crew is essential. There really is a way to communicate effectively that leaves everyone happy (not grumpy and burned out). What advice do you have for young people about this career? It’s a lot of work, and you have to not only be good at tech, but also enjoy working with and showing others how to do this stuff. What advice do you have for those educating future TDs? 1) Seriously, make sure that students are learning how to work with and teach others. This can’t happen by simply assigning future TDs to the shop and expecting them to learn this the hard way. 2) Incorporate appropriate parts of ESTA, OSHA and similar work-related training programs. 3) Make sure future TDs learn to estimate. What advice do you have for theatres looking to fill TD positions? The salary and job expectations have to be good to hire good people. The possibility for advancement in pay and rank needs to be realistic. Conversely, cost of living pay increases for an entire career will not attract and keep a qualified and good TD around for long in these positions. 24 x Southern Theatre x Winter 2020
theatre training to many other fields. Noting that the $400-billion global entertainment industry encompasses much more than theatre, Michael Kelley said he wants students to “see all they can do for a living with theatre degrees.” According to Kelley, the skill set developed through technical theatre training can lead to many job opportunities, including work at places such as Cirque du Soleil, Tait Towers, theme parks, museums, water parks, science centers, the Olympics, Super Bowls, heritage sites, escape rooms, drone shows, and themed restaurants, casinos and shops, as well as in film. Martell noted that many older TDs who decided to change jobs “are staying in the larger profession, but moving to manufacturing, commercial shops, regional or national sales, engineering, project management and architectural consulting. Younger technicians might move from production into events technician, installer, shop management, sales, technical support or project management.” Technical directors interviewed for this story also pointed to colleagues and students who had moved into a variety of other fields, such as construction, engineering, facilities management and business consulting. “TD skills are generally transferable,” Martell said, noting that TDs are typically “technically savvy, good communicators and leaders, who can read and interpret complex documentation and are organized.” Challenge to Theatres and Academic Theatre Departments
People who have worked as technical directors are keenly aware of the low pay and overwork that go along with many jobs in (Continued on Page 26)
2020 College, University & Training Program Directory Looking for the best setting to launch your career in theatre? Or perhaps you’re seeking the perfect place to pursue an advanced degree in one of the theatre disciplines? To help you make those choices, we have compiled the most comprehensive directory available anywhere listing degrees and special programs offered at SETC member colleges, universities and training programs. Data for the profiles is provided by the institutions.
2020 SETC College, University ACCADEMIA DELL’ARTE San Fabiano 9 Arezzo, Italy 52100 Degrees: MFA: Physical Theatre; Study Abroad: Physical Theatre (Performance and Devising) Profile: Accademia dell’Arte is a performing ar ts school in Arezzo, Tuscany, Italy. Housed at Villa Godiola, a Renaissanceera villa overlooking the city, we offer multiple levels of study abroad Physical Theatre training: One-Semester, One-Year, Summer and Winter Intensives, an MFA in Physical Theatre, plus a Summer Faculty Symposium. Contact: Bob Shryock 270-300-1146 robert.shryock@dellarte.it www.dellarte.it ACTORS STUDIO DRAMA SCHOOL AT PACE UNIVERSITY 1 Pace Pl, W527 New York, NY 10038 Contact: 212-346-1531 ActorsStudioMFA@Pace.edu www.pace.edu/dyson
Department of Theatre
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ALABAMA STATE UNIVERSITY Department of Theatre Arts PO Box 271 Montgomery, AL 36101 Degrees: BA: Performance, Technical Theatre, Theatre Generalist; BFA: Dance; Minor: Theatre, Dance Profile: Graduates are qualified theatre practitioners in acting, audience development, directing, dramaturgy, costume construction and design, set construction and design, light and sound design, theatrical makeup application, theatre history and theatre management. Graduates who earn the BFA in dance are qualified for further study or professional companies to begin dance careers. Contact: Brian Martin 334-229-6739; bmartin@alasu.edu www.alasu.edu ALMA COLLEGE 614 W Superior St Alma, MI 48801 Degrees: BA: Theatre (Acting, Technical Theatre, Design, Management) Profile: Theory in class is combined with extensive experience in production. Liberal arts are emphasized while the fine arts of theatre are practiced – a meaningful cooperation. Alma is completely undergraduate-driven, which means you will be given every opportunity to be involved right away with one of four mainstage productions. Contact: Kristen Bennett 989-463-7242; kbennett@alma.edu www.alma.edu/academics/theatre AMDA COLLEGE AND CONSERVATORY OF THE PERFORMING ARTS 6305 Yucca St, Los Angeles, CA 90028 211 W 61st St, New York, NY 10023 Degrees: BFA: Dance, Musical Theatre, Acting, Performing Arts; AOS: Studio (Acting for Stage, Film & Television), Dance Theatre (Theatrical, Commercial & Concert Dance), Integrated (Acting, Music Theatre & Dance); Two-Year Conservatory Certificates: Studio (Acting for Stage, Film & Television), Dance Theatre (Theatrical, Commercial & Concert Dance), Integrated (Acting, Music Theatre & Dance) Profile: Founded in 1964, AMDA provides rigorous, performance-based training and an industry-focused education experience that prepares students for professional careers as performing artists. Students enjoy the option of studying at both campuses while completing their degrees. Scholar-
ships offered through an audition process. Visit www.amda.edu for list of prestigious alumni. Contact: Jonathan Juarbe; Samantha Ciccone 212-957-3336 jjuarbe@amda.edu; sciccone@amda.edu www.amda.edu AMERICAN ACADEMY OF DRAMATIC ARTS 120 Madison Ave, New York, NY 10016 1336 N La Brea Ave, Los Angeles, CA 90028 Degrees: AOS: Acting; Certificate of Completion: Acting; Options to continue at partnered schools for bachelor’s degree Profile: The American Academy of Dramatic Arts was the first conservatory for actors in the English-speaking world. Its purpose is to provide students with the tools to make acting their profession. Faculty are working professionals and master teachers whose goal is to prepare students for acting in theatre, television and film. Contact: 800-463-8990 (NY); 800-2222867 (LA); admissions@aada.edu www.AADA.edu ANDERSON UNIVERSITY South Carolina School of the Arts 316 Boulevard Anderson, SC 29621 Degrees: BA: Theatre (Directing, Dance, Theatrical Design); BFA: Theatre (Acting), Musical Theatre Profile: A Christian university providing excellence in performance, technical and arts administration opportunities; four venues (large and small proscenium, concert hall, black box); multiple dance spaces; and courses in acting, directing, musical theatre, design, dance, stage movement, stagecraft, theatre history, theatre ministry and theatre forms. Auditions are required. Scholarships are available. Contact: Laura Beth Cannon 864-760-1170 lcannon@andersonuniversity.edu www.andersonuniversity.edu APPALACHIAN STATE UNIVERSITY Department of Theatre and Dance PO Box 32123 Boone, NC 28608 Degrees: BA: Dance Studies, Theatre Arts (Theatre Design/Technology, General Theatre, Theatre Performance, Theatre Education/K-12); Minor: Theatre Arts, Dance Studies, Somatic Sustainability Profile: Appalachian State University’s
& Training Program Directory Department of Theatre and Dance offers challenging coursework, a dynamic cocurricular production program and a facultystudent ratio of 7:1 – all in a liberal arts setting. It provides exemplary theatre and dance experiences to departmental students, as well as outreach opportunities within the community and the region. Contact: Emily Daughtridge (Dance); Keith Martin (Theatre) 828-262-2404; daughtridgee@appstate.edu 828-262-8179; martinkt1@appstate.edu theatreanddance.appstate.edu ARCADIA UNIVERSITY 450 S Easton Rd Glenside, PA 19038 Degrees: BA: Theatre Arts; BFA: Acting, Acting (Musical Theatre); Minor: Theatre Arts Profile: The Theatre Arts programs go beyond a traditional conservatory-style approach – immersing you in all aspects of theatrical creation. The university’s intimate size provides close interaction with faculty in a liberal ar ts setting. Proximity to Philadelphia’s dynamic theatre community connects students with industry professionals who are regular instructors and guest artists. Contact: Mark Wade 215-572-2146; wadem@arcadia.edu www.arcadia.edu/arcadiatheater ATLANTIC ACTING SCHOOL 76 Ninth Ave, Suite 537 New York, NY 10011 Degrees: Cer tificate: Professional Conservatory, Evening Conservatory, Spring Comprehensive, Summer Intensive, Summer Teen Ensemble; BFA through NYU Tisch School of the Arts Profile: Founded by David Mamet and William H. Macy, Atlantic Acting School offers rigorous training in the acting technique Practical Aesthetics. The mission of the school, affiliated with the award-winning Atlantic Theater Company, is to ensure that graduates master essential analytical and physical disciplines of acting and are empowered for success. Contact: 212-691-5919 admissions@atlantictheater.org www.atlanticactingschool.org AUBURN UNIVERSITY Telfair Peet Theatre 350 W Samford Ave Auburn, AL 36849 Degrees: BA: Theatre; BFA: Acting, Music Theatre, Design/Technology, Management
Profile: Auburn Theatre offers rigorous practical training in a liberal arts context. A high percentage of graduates proceed to industry employment and graduate theatre training programs. Contact: Chase Bringardner 334-844-4748; cab0023@auburn.edu www.auburn.edu/theatre AUBURN UNIVERSITY AT MONTGOMERY Communication & Theatre PO Box 244023, Room 351 Liberal Arts Montgomery, AL 36124 Degrees: BA: Communication (Theatre, Broadcast Journalism) Profile: Theatre AUM is a small theatre program run in the style of a resident theatre company, with four full-time faculty dedicated to training students who are interested in learning all aspects of theatre. Contact: Katie Pearson 334-244-3632; kpearso2@aum.edu www.aum.edu/TheatreAUM AUSTIN PEAY STATE UNIVERSITY 601 College St Clarksville, TN 37044 Degrees: BA: Theatre & Dance (Acting/Directing, Dance, Design Tech); BFA: Theatre & Dance (Acting/Directing, Dance, Design Tech, Musical Theatre) Profile: We prepare the student to become a working professional in the entertainment industry by being well-versed in many disciplines and skills. Our season consists of six performances, with no restrictions on freshmen auditioning. Scholarships and out-of-state tuition waivers available. Check out theatredance.apsu.edu for audition info. Contact: Margaret Rennerfeldt rennerfeldtm@apsu.edu theatredance.apsu.edu AVERETT UNIVERSITY 420 W Main St Danville, VA 24541 Degrees: BA: Theatre, Musical Theatre, English/Theatre with or without Teacher Licensure; BS: Theatre with Teacher Licensure; Minor: Musical Theatre Profile: Averett has a small, energetic and extremely active theatre department where students are offered a variety of opportunities to learn their craft. Students are guided by a dedicated professional faculty. Contact: Jackie Finney 434-791-5710; jackie.finney@averett.edu www.averett.edu
BELMONT UNIVERSITY 1900 Belmont Blvd Nashville, TN 37212 Degrees: BA: Theatre; BM: Musical Theatre; BFA: Theatre (Performance, Directing, Production Design, Theatre Education with Licensure), Musical Theatre Profile: Belmont is a Christian university with a practical, professional theatre and musical theatre training program, three state-of-the-art theatre facilities and a compassionate, student-centered faculty. Contact: Paul Gatrell 615-460-6012 paul.gatrell@belmont.edu www.belmont.edu CALIFORNIA STATE UNIVERSITY LOS ANGELES 5151 State University Dr Los Angeles, CA 90026 Degrees: BA: Theatre (Performance, Design & Tech); MFA: Television, Film & Theatre (Acting, Production, Writing) Profile: Located in the heart of the entertainment industry, with multiple productions throughout the year in various theatre spaces, we offer students ongoing opportunities
Baylor Theatre BA Theatre Arts BFA Theatre Performance optional concentration in musical theatre BFA Theatre Design and Technology MFA Directing MA Theatre Studies
National Unified Auditions in Chicago February 3-7, 2020 In-state auditions listed at baylor.edu/theatre Theatre Department acceptance by audition/interview only Baylor University application deadline February 1, 2020
Accredited by the National Association of Schools of Theatre 2019 production pnoto of Peter and the Starcatcher
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2020 SETC College, University to apply class training in performance and production. Professional guest instructors, directors and speakers provide ongoing opportunities to engage with the professional community. Contact: Meredith Greenburg (Theatre); Tanya Kane-Perry (TV) 323-343-4110 mgreenb@calstatela.edu mfatvft@calstatela.edu www.calstatela.edu/theatredance CALIFORNIA UNIVERSITY OF PENNSYLVANIA 250 University Dr California, PA 15419 Degrees: BA: Theatre (Acting/Directing, Design, Technical Theatre, Musical Theatre, Management) Profile: Our program allows one-on-one study to help you find what makes your heart sing. You are not just a number, you are family. First-year students participate in a show all their own during their first semester. Accredited by the National Association of Schools of Theatre. An Estill Voice Educational Affiliate.
Contact: Michele A. Pagen 724-938-5578; pagen@calu.edu www.calu.edu CAMPBELLSVILLE UNIVERSITY 1 University Dr, #872 Campbellsville, KY 42718 Degrees: BA or BS: Theatre (Performance, Technical Theatre); Minor: Dance Profile: A unique partnership with a local production company offers six opportunities a semester where students can gain performance or design experience. CU offers hands-on engagement with your craft and a personalized approach from faculty. CU offers a diverse campus and provides opportunities to visit and study around the world. Contact: Starr Garrett 270-789-5266 sgarrett@campbellsville.edu www.campbellsville.edu/theater CARNEGIE MELLON UNIVERSITY School of Drama 5000 Forbes Ave Pittsburgh, PA 15213 Degrees: BFA: Acting, Musical Theatre, Design (Scenery, Lighting, Costume, Sound, Media), Production Technology & Management (Technical Direction, Stage & Production Management), Directing, Dramaturgy; MFA: Design (Scener y, Lighting, Costume, Sound, Media), Production Technology & Management (Technical Direction, Stage & Production Management), Directing, Dramatic Writing Profile: The School of Drama presents an intense conservatory training ground for students who want consistent individual attention leading to a career in professional theatre. A faculty of professional designers and technicians provides a hands-on education. By graduation, students are wellplaced to move directly into the industry in all areas. Contact: Dick Block rblock@andrew.cmu.edu www.drama.cmu.edu CATAWBA COLLEGE 2300 W Innes St Salisbury, NC 28144 Degrees: BA: Theatre Arts; BS: Theatre Arts Management; BFA: Musical Theatre, Performance (Acting, Directing), Technical Theatre (Lighting Design, Set Design, Costume Design, Technical Theatre) Profile: Catawba College is ranked ninth in the nation for “Best College Theatre” according to The Princeton Review’s 2017 edition of “The Best 381 Colleges.”
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We have a large production season and three wonderful theatres. Scholarships are available. Contact: Lisabeth Slate 704-637-4440; lfslate@catawba.edu www.catawba.edu/academic/theatrearts CATHOLIC UNIVERSITY OF AMERICA Drama Department 620 Michigan Ave NE Washington, DC 20064 Degrees: BA: Drama (Performing Arts Management, Digital Art & Design, Video Production and Digital Storytelling); BA/MA: Accelerated degree in Drama & Theatre Education; MA: Theatre History & Criticism, Theatre Education (MATE); MFA: Acting, Directing, Playwriting Profile: CUA’s BA offers a liberal arts education with opportunities for performance and technical work. The MFA provides professional theatre training. The MA provides advanced theatre studies. The MATE provides training for theatre in education. Students work with professional companies as they transition into the professional world. Significant scholarships are available for MFA. Contact: Matt Ripa 202-319-5358; cua-drama@cua.edu drama.cua.edu CHRISTOPHER NEWPORT UNIVERSITY 1 Avenue of the Arts Newport News, VA 23606 Degrees: BA: Theatre (Acting, Ar ts Administration, Design/Technical Theatre, Directing/Dramatic Literature, Music Theatre/Dance, Theatre Studies); Minor: Dance Profile: Dedicated to undergraduate, professional-level training, CNU offers a dynamic, challenging program of theatre study. Located in the Ferguson Center for the Arts, Theater CNU enjoys state-of-theart facilities. All instructors are professionals in their fields. Small class sizes ensure oneon-one attention. Scholarships available for all grade levels, including incoming freshmen. Contact: Gregg Lloyd 757-594-8793; glloyd@cnu.edu www.theater.cnu.edu CLEMSON UNIVERSITY Department of Performing Arts 221 Brooks Center Clemson University Clemson, SC 29634-0525
& Training Program Directory Degrees: BA: Performing Arts (Theatre, Music, Audio Technology) Profile: An interdisciplinary program in which students focus on a specific concentration within performing arts, while learning skills that integrate all areas. The program combines aspects of performance, design and playwriting. Department productions are staged in our black box and proscenium/road house. Affiliated with SETC, USITT, KCACTF, and London’s Rose Bruford College. Contact: Matthew Leckenbusch 864-656-6961; mlecken@clemson.edu www.clemson.edu/PerfArts COASTAL CAROLINA UNIVERSITY Department of Theatre PO Box 261954 Conway, SC 29528-6054 Degrees: BA: Theatre; BFA: Musical Theatre, Acting, Physical Theatre, Design & Production Profile: A nationally accredited program with working graduates in the industry. Steeped in traditional studies and innovative training methods, the accomplished faculty guide students into the profession through intense classroom study and contributions from guest artists and a rigorous production season. Contact: Monica Bell 843-349-2287; mbell@coastal.edu www.coastal.edu/theatre COKER COLLEGE Department of Dance, Music and Theatre 300 E College Ave Hartsville, SC 29550 Degrees: BA: Theatre (Writing, Musical Theatre, Performance, Technical Theatre), Music (Piano, Voice, Music Education), Dance (Dance Education, General); BFA: Dance (Performance, Choreography); Minor: Dance, Music, Theatre Profile: A major in the arts isn’t a choice – it’s a calling. If you want to succeed, it also takes dedication, practice and training. Coker’s Department of Dance, Music and Theatre is designed to help you put all these pieces together, so you can turn your passion into a career! Contact: Angela Gallo; Joshua Webb 843-383-8381; agallo@coker.edu 843-383-8378; jwebb@coker.edu www.coker.edu/theatre COLLEGE OF CHARLESTON Department of Theatre and Dance 66 George St Charleston, SC 29424 Degrees: BA: Theatre (Theatre, Per-
formance, Costume Design & Technology, Scenic/Lighting Design & Technology, Theatre for Youth), Dance (General Dance Studies, Performance); MAT: Performing Arts – Theatre Profile: CofC provides broad instruction in theatre and dance in a liberal arts setting, as well as in-depth instruction and experience in the practice of theatre and dance. The melding of theory and practice stimulates the skills necessary for a successful life both in and out of the professional arts. Contact: Janine McCabe 843-953-6306; mccabej@cofc.edu theatre.cofc.edu DELL’ARTE INTERNATIONAL 131 H St PO Box 816 Blue Lake, CA 95525 Degrees: MFA: Ensemble-Based Devised Physical Theatre; PTP (One-Year Professional Training Program): Movement, Devising, Character, Neutral Mask, Commedia Dell’Arte, Melodrama, Clown; Summer Intensive; Study Abroad in Bali: Mask Carving, Mask Dance, Shadow Puppetry Profile: Dell’Arte International is the North American center for theatre training, research and performance for the actorcreator. Nestled in the heart of the redwood forests on California’s North Coast, we offer an MFA in Ensemble-based Physical Theatre, one-year certificate program, studyabroad Bali program, summer intensives and workshops throughout the year. Contact: Pratik Motwani 707-668-5663; Pratik@dellarte.com www.dellarte.com
EAST CAROLINA UNIVERSITY School of Theatre and Dance Messick Theatre Arts Center Greenville, NC 27858-4353 Degrees: BA: Theatre Arts; BFA: Theatre Arts (Professional Actor Training, Musical Theatre, Stage Management, Design and Production, Theatre for Youth), Theatre Arts Education Profile: Accredited by the National Association of Schools of Theatre, our programs emphasize real-world practical preparation. Our grads are ready to go to work and compete in the professional theatre, film and entertainment world at any level. Contact: 252-328-6390; theatre@ecu.edu www.ecu.edu/theatredance EAST TENNESSEE STATE UNIVERSITY Department of Theatre and Dance PO Box 70626 Johnson City, TN 37614 Degrees: BA: Theatre (Acting, Design/ Production, Musical Theatre); Minor: Theatre, Dance Profile: We prepare students for careers in performing arts, theatre education and
DICKINSON COLLEGE Department of Theatre and Dance Box 1773 Carlisle, PA 17013 Degrees: BA: Theatre (Acting/Directing, Dance, Design/Technology, Dramatic Literature) Profile: Dickinson offers a comprehensive liberal arts education in theatre. In addition to many performance and production opportunities, students are encouraged to explore connections between theatre and other fields of interest. Dickinson’s program offers students both internship and study abroad opportunities. Contact: Sherry Harper-McCombs 717-245-1239 theatre&dance@dickinson.edu www.dickinson.edu/academics/programs/ theatre-and-dance
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2020 SETC College, University advanced graduate or conservatory study, providing a broad foundation in theatre, musical theatre, design/technical theatre and dance through individualized mentoring. Scholarships are available. NASTaccredited. Contact: Karen Brewster 423-439-5827; brewster@etsu.edu www.etsu.edu/theatre ELON UNIVERSITY Department of Performing Arts 2800 Campus Box Elon, NC 27244 Degrees: BA: Theatrical Design & Production, Drama & Theatre Studies, Arts Administration; BS: Dance Science; BFA: Acting, Dance Performance & Choreography, Music Theatre Profile: Elon offers conservatory-style training and professional-quality productions at a supportive liberal arts institution. Our alumni are extremely successful because we teach “the business” as well as the art. Contact: Kimberly Rippy 336-278-5600; krippy@elon.edu www.elon.edu/perarts
www.ecu.edu www.theatredance.ecu.edu 252.328.6390
FAIRLEIGH DICKINSON UNIVERSITY Visual & Performing Arts Department 285 Madison Ave M-DB0-01 Madison, NJ 07940 Degrees: BA: Theatre Arts (Acting, Musical Theatre, Directing, Design & Technical Production) Profile: This degree program features practical learning experiences, international theatre studies and the opportunity to study with highly accomplished theatre professionals. Five concentrations are offered: Acting, Musical Theatre, Directing or Design & Technical Production. An audition is required – dates and times can be obtained from the Admissions office. Contact: Stephen Hollis 973-443-8467; stephen_hollis@fdu.edu www.fdu.edu/audition FLORIDA INTERNATIONAL UNIVERSITY 11200 SW 8th St WPAC 131 Miami, FL 33199 Degrees: BA; BFA Profile: We offer both BA and BFA degrees in theatre, and students may focus on acting, costume design, set and lighting design, or technical theatre. We have a broad curriculum taught by experienced faculty who continue to work professionally in acting, directing, design and playwriting. Contact: Lesley-Ann Timlick 305-348-2895; timlickl@fiu.edu carta.fiu.edu/theatre FLORIDA SCHOOL OF THE ARTS St. Johns River State College 5001 St. Johns Ave Palatka, FL 32177 Degrees: AS or AS+AA: Acting, Musical Theatre, Dance, Stage Management, Theatre Technology (Costume Design, Scenic/ Lighting Design), New Media Design, Photography, Studio Arts, Animation; Certificate: Stage Technology Profile: “FLO” is a two-year, state-supported, professional arts school offering intense creative instruction in the classroom combined with many practical opportunities during our rigorous production schedule of plays, musicals, dance events, exhibits and a new film festival. Admission is by audition or portfolio review only. Contact: Kitty Clarke 386-312-4304; kittyclarke@sjrstate.edu www.floarts.org
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FLORIDA SOUTHERN COLLEGE 111 Lake Hollingsworth Dr Lakeland, FL 33801 Degrees: BA: Theatre Arts, Dance; BFA: Performance, Musical Theatre, Technical Theatre, Dance Profile: Ranked in the top 20 college theatre programs by Princeton Review, FSC is a four-year, private liberal arts college that emphasizes one-on-one instruction, hands-on experience and a high degree of professionalism. A theatre major has opportunities to perform major roles freshman year; design students will see their work produced sophomore year. Contact: Paul Bawek 860-680-4184; pbawek@flsouthern.edu www.flsouthern.edu FLORIDA STATE UNIVERSITY School of Theatre 239 Fine Arts Building Tallahassee, FL 32306 Degrees: BA: Theatre; BFA: Acting, Music Theatre; MFA: Acting, Costume Design, Directing, Technical Production, Theatre Management; MS: Theatre Education; MA: Theatre Studies; PhD: Theatre Studies Profile: The School of Theatre at FSU offers a comprehensive education in theatre. In addition to its academic offerings, the school presents a six-show season, including two musicals, on its three stages annually. Also, an active student theatre association presents a number of shows annually. Contact: Michele Diamonti 850-644-7234; mdiamonti@admin.fsu.edu www.theatre.fsu.edu FRANCIS MARION UNIVERSITY Department of Fine Arts, Theatre Program PO Box 100547 Florence, SC 29502 Degrees: BA Profile: We are a small theatre program “big” on giving students experience; students are given the opportunity to participate in all facets of production. Francis Marion University is a fully accredited institution with the National Association of Schools of Theatre (NAST). Contact: Glen Gourley 843-661-1538; agourley@fmarion.edu www.fmarion.edu/finearts/theatrearts FURMAN UNIVERSITY 3300 Poinsett Hwy Greenville, SC 29613 Degrees: BA: Theatre Arts Profile: Furman is a private liberal arts
& Training Program Directory institution founded in 1826 and is nationally acclaimed for its academic excellence, Engaged Learning program and campus beauty. The Theatre Arts Department offers dynamic coursework with the primary goal of producing graduates who excel in all areas of the theatre world. Contact: Jay Oney; Maegan Azar 864-294-2128; jay.oney@furman.edu 864-294-2127; maegan.azar@furman.edu www.furman.edu/theatrearts GAINESVILLE THEATRE ALLIANCE PO Box 1358 Gainesville, GA 30503 Degrees: AA: Theatre; BA: Theatre (Performance, Design/Tech, Directing, Theatre Education, Playwriting, Theatre Management); BFA: Acting, Design/Tech, Musical Theatre; One-Year Certification: Technical Theatre Profile: The Gainesville Theatre Alliance is a nationally acclaimed collaboration between the University of North Georgia, Brenau University and theatre professionals who work together to create a dynamic educational/training program. Students learn from a rigorous academic curriculum while building solid resume credits working with industry professionals from across the country. Contact: Jim Hammond 678-717-3624; jim.hammond@ung.edu www.gainesvilletheatrealliance.org GEORGE MASON UNIVERSITY 4400 University Dr, MS 3E6 Fairfax, VA 22030 Degrees: BA: Theatre (Performance, Design/Technical, Theatre Studies/Playwriting & Dramaturgy); BFA: Stage & Screen Studies (Performance, Musical Theatre, Design/Technical); Accelerated MA: Arts Management; Graduate Certificate: Teaching Theatre Arts PK-12 Profile: Located near the vibrant DC arts community, we encourage our students to engage their artistic and academic skills in regional and global communities. Theatre at Mason blends excellence and rigor using state-of-the-art resources to provide a professional approach in a liberal arts environment. Contact: Kevin Murray 703-993-1120; theater@gmu.edu theater.gmu.edu THE GEORGE WASHINGTON UNIVERSITY 800 21st St NW, Suite 227 Washington, DC 20052
Degrees: BA: Theatre, Dance, Design/Production; MFA: Production Design (Costume, Lighting, Scenery), Dance; Certificate: Exhibit Design Profile: The George Washington University’s Program of Theatre and Dance, part of the Corcoran School of the Arts and Design, is located in the heart of rich, cultural Washington, DC. Students develop and showcase their creative talents immersed in this exciting community studying with professionally engaged and experienced faculty. Contact: Carl Gudenius 202-994-8072; cfg@gwu.edu theatredance.columbian.gwu.edu GEORGIA COLLEGE & STATE UNIVERSITY Department of Theatre, CBX 119 Milledgeville, GA 31061 Degrees: BA: Theatre; Minor: Theatre, Dance; Certificate: Film Production Profile: Georgia College is Georgia’s designated Public Liberal Arts University. The Department of Theatre produces a variety of theatrical works, hosts acclaimed guest artists and offers a number of performance, design and directing opportunities for students. The Department of Theatre is located in the renovated historic Campus Theatre in downtown Milledgeville. Contact: Karen Berman 478-445-1980; karen.berman@gcsu.edu www.gcsu.edu/theatre
Degrees: BA or BS: Theatre (Acting, Costuming, Design/Technical, Directing, Musical Theatre, Stage Management, Teacher Education) Profile: We provide many production opportunities for freshmen (no graduate students competing for roles/designs or teaching courses), and individual end-ofsemester and production evaluations. We host the state theatre festival and SETC’s Summer and Outdoor Theatre Auditions and make internships available at the local Equity theatre. Contact: Perry Morgan 336-272-7102 x5744 perry.morgan@greensboro.edu theatre.greensboro.edu HEIDELBERG UNIVERSITY School of Music and Theatre 310 E Market St Tiffin, OH 44883 Degrees: BA: Theatre (Acting, Musical Theatre, Production); Minor: Theatre Profile: At Heidelberg University, we provide professional theatre training within the liberal arts tradition. Students learn the art and business of theatre through intense
GEORGIA SOUTHERN UNIVERSITY 2434 Southern Dr Sanford Hall, Box 8091 Statesboro, GA 30460 Degrees: BA: Theatre; Minor: Theatre Profile: The award-winning theatre program at Georgia Southern University is an institutional member of NAST and has a longstanding reputation for excellence in artistic achievement among industry professionals. Students have the opportunity to perform, design and direct in four state-of-the-art performance facilities on two campuses. Contact: Kelly Berry (Statesboro campus); John Wright (Savannah campus) 912-478-0106; ksberry@georgiasouthern.edu 912-344-2705; johnwright@georgiasouthern.edu cah.georgiasouthern.edu/commarts/majors/ theatre GREENSBORO COLLEGE 815 W Market St Greensboro, NC 27401
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2020 SETC College, University hands-on experiences. Our students become writers, designers, directors and actors who fully understand how to navigate the professional theatre world. Contact: Stephen Svoboda ssvoboda@heidelberg.edu www.heidelberg.edu HIGH POINT UNIVERSITY 833 Montlieu Ave High Point, NC 27262 Degrees: BA: Theatre (Performance, Technical, Collaborative), Dance; Minor: Theatre, Dance, Musical Theatre Profile: Students can expect active participation in personal transformation, as our expert faculty (professional artist-mentors) “walk the walk” with everyone. Theatre & Dance students become self-motivated, courageous, and decisive company members in a welcoming, supportive environment. Choose a journey spurred by unlimited opportunities, exceptional resources, and many ways to be involved. Contact: Doug Brown 336-841-4525; dbrown@highpoint.edu www.highpoint.edu/theatre
M.F.A.
Little Women (2019), photo by Nina Donville
Acting, Costume Design, Costume Technology, Directing, Dramaturgy, Lighting Design, Playwrighting, Scenic Design, and Theatre Technology
B.F.A.
Musical Theatre Contemporary Dance
B.A.
Theatre & Drama Nationally Recognized Faculty Member of URTA & USITT NAST Accredited Professional Summer Theatre
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HOLLINS UNIVERSITY 7916 Williamson Rd Box 9602 Roanoke, VA 24020 Degrees: BA: Theatre; Minor: Theatre; MFA: Playwriting (Applied Theatre, Dramaturgy, Plays with Music, Plays for Youth, Performance, Directing) Profile: The Hollins Theatre Institute provides classroom instruction and experiential learning in acting, directing, playwriting, design, stage management, musical theatre and technical production for undergraduate women. Playwright’s Lab is a unique highintensity/low-residency MFA coeducational graduate program (six-week sessions over four to five summers), also offering professional certificates in directing and performance. Contact: Anna Goodwin 540-362-6313; agoodwin@hollins.edu www.hollins.edu/academics/theatre www.hollins.edu/grad/playwriting ILLINOIS STATE UNIVERSITY School of Theatre and Dance Campus Box 5700 Normal, IL 61790 Degrees: BA or BS: Acting, Dance Education, Dance Performance, Design/ Production, Theatre Education, Theatre Studies (Cinema Studies, Creative Drama, Directing, Dramaturgy/History, Integrated Performance, Theatre Management); MA or MS: Theatre History, Criticism; MFA: Acting, Design/Production, Directing Profile: The School of Theatre and Dance has an over 40-year legacy with many distinguished alumni, including the founders of Steppenwolf Theatre Company. Extensive production opportunities are available in three diverse performance venues and include student-produced work. Student internships are available for the nationally recognized Illinois Shakespeare Festival. Contact: Janet Wilson 309-438-8783; jmwilso4@ilstu.edu www.finearts.IllinoisState.edu/theatre ILLINOIS WESLEYAN UNIVERSITY School of Theatre Arts 2 Ames Plaza E PO Box 2900 Bloomington, IL 61701 Degrees: BA: Theatre Arts; BFA: Acting, Design/Tech, Music Theatre; Minor: Theatre Arts, Dance, Arts Management Profile: Illinois Wesleyan theatre students receive pre-professional training in a liberal arts setting and frequently work individually
with professors while developing artistry as theatre practitioners. Contact: Theatre Recruitment Office 309-556-3944; theatre@iwu.edu www.iwu.edu/theatre INDIANA UNIVERSITY Department of Theatre, Drama and Contemporary Dance 275 N Jordan Ave Suite A300U Bloomington, IN 47405 Degrees: BA: Theatre; BFA: Musical Theatre, Contemporary Dance; MFA: Acting, Directing, Costume Design, Lighting Design, Scenic Design, Theatre Technology, Costume Technology, Playwriting Profile: In addition to an outstanding faculty, the Department of Theatre, Drama and Contemporary Dance at Indiana University has over 25 guest artists and scholars on campus each year. The department is housed in state-of-the-art facilities and also operates the Indiana University Summer Theatre, a professional summer theatre. Contact: Linda Pisano 812-855-0809; lpisano@indiana.edu theatre.indiana.edu INDIANA UNIVERSITY OF PENNSYLVANIA Theater and Dance Department 401 S 11th St Indiana, PA 15705-1065 Degrees: BA: Theatre (Performance, Design/Tech/Management, Theory/Criticism), Musical Theatre, Dance Arts; Minor: Theatre, Dance Profile: Offering breadth and depth of study with great individual attention, IUP’s programs balance classroom learning with active participation in Theater-bythe-Grove and IUP Dance Theater. Freshmen are eligible to audition for mainstage productions. Approximately 20 studio productions each year provide opportunities for student playwriting and directing. Contact: Brian Jones 724-357-2965; brjones@iup.edu www.iup.edu/theater JACKSONVILLE UNIVERSITY Division of Theatre and Dance 2800 University Blvd N P111 Jacksonville, FL 32211 Degrees: BA or BFA: Theatre (Performance, Technology) Profile: The Theatre Program is housed in the College of Fine Arts, which includes a SACS-accredited, rigorous BFA pre-
& Training Program Directory
JAMES MADISON UNIVERSITY School of Theatre and Dance 147 Warsaw Ave MSC 5601 Harrisonburg, VA 22807 Degrees: BA: Dance, Musical Theatre, Theatre (Performance, Design & Technology, Theatre Studies, Theatre Education); Minor: Dance, Theatre Profile: We provide professionally focused training within the context of a broader university liberal arts experience. Numerous student-directed, student-choreographed, student-designed, student-acted and student-danced productions complement mainstage faculty- and guest-directed/ choreographed productions in the Forbes Center for the Performing Arts. Interview/ audition or portfolio review is required for entrance to the majors. Contact: School of Theatre and Dance 540-568-6342; theatredance@jmu.edu www.jmu.edu/theatredance JUILLIARD SCHOOL Professional Apprentice Program 60 Lincoln Center Plaza New York, NY 10023 Contact: Helen Taynton 212-799-5000 x7102 htaynton@juilliard.edu www.juilliard.edu KD CONSERVATORY COLLEGE OF FILM AND DRAMATIC ARTS 2600 N Stemmons Fwy Suite 117 Dallas, TX 75207 Degrees: AAA: Acting Performance, Musical Theatre Performance, Motion Picture Production Profile: KD gives students a fast-paced path into the world of professional acting, musical theatre or film production. Our faculty of working professionals provides the same passion and desire that we ask of all our students. In 15 months, students prepare for a successful career in the entertainment industry. Contact: 214-638-0484 www.kdstudio.com
KENT STATE UNIVERSITY School of Theatre and Dance B141 Center for the Performing Arts Kent, OH 44242 Degrees: BA: Theatre Studies (Performance, Production, Management, Theatre & Society), Dance Studies; BFA: Musical Theatre, Dance Performance, Design & Technology; MFA: Acting, Lighting Design, Scene Design, Costume Design, Theatre Technology, Acting for the Returning Professional Profile: The School of Theatre and Dance offers individual mentorship; low student/ teacher ratio; close proximity to professional theatre, opera and dance companies; an established guest director series; and the award-winning summer professional Porthouse Theatre. Contact: Eric van Baars 330-672-0102; fvanbaar@kent.edu www.kent.edu/theatredance KING UNIVERSITY Department of Theatre 1350 King College Rd Bristol, TN 37620 Degrees: BA: Theatre Profile: King University’s theatre program offers a small program with individualized attention and instruction; students can pursue independent studies in acting, directing, design, theatre ministry, theatre for young audiences, radio drama, playwriting and more in a hands-on environment. Contact: Alaska Reece Vance 423-652-4839; crvance@king.edu www.king.edu/academics/programs/theatre. aspx LAGRANGE COLLEGE 601 Broad St LaGrange, GA 30240 Degrees: BA: Theatre (Performance, Production & Design), Musical Theatre Profile: Our undergraduate program focuses on providing students with the mentorship and production experience they need to succeed in professional and academic theatre after graduation. LaGrange College’s committed liberal ar ts program, small class sizes and professionally active, full-time faculty offer students a quality education that is unique in the Southeast. Contact: Kim Barber Knoll kbarber@lagrange.edu www.lagrange.edu
LEE UNIVERSITY 1200 N Ocoee St Cleveland, TN 37312 Degrees: BA: Theatre; BAT: Musical Theatre, Theatre Education, K-12 Profile: Our theatre program is designed to educate the whole theatre student for a variety of options in the theatre world. Because we provide students with many opportunities, both onstage and offstage, including opportunities for leadership, design and directing, graduates from our program are well-equipped to move on to the next step in their theatre careers. Contact: Christine Williams 423-614-8227; theatre@leeuniversity.edu www.leeuniversity.edu/theatre LEES-MCRAE COLLEGE PO Box 128 Banner Elk, NC 28604 Degrees: BA or BS: Theatre; BFA: Musical Theatre, Theatre Arts, Theatre Arts Education (K-12 Teacher Licensure); Minor: Theatre Arts, Technical Theatre Profile: Lees-McRae is a small, private college located in the beautiful mountains of North Carolina. Lees-McRae educates
PHOTO: T. CHARLES ERICKSON
professional degree. Our students enjoy small class sizes, one-on-one instruction, hands-on experience, the opportunity to perform major roles in their freshman year, individual mentoring and a high degree of professionalism. Contact: Deborah Jordan 904-256-7349; djordan@ju.edu www.ju.edu/cfa
Apply by December 1 juilliard.edu/drama
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2020 SETC College, University and inspires students to approach life and work from a creative, collaborative and critical perspective. Focus of study is on the integration of artistic, technical, performance, management and historical perspectives. Contact: Danielle Curtis 828-898-3478; curtisd@lmc.edu www.lmc.edu/academics/programs/ musical-theatre/index.htm LESSAC TRAINING AND RESEARCH INSTITUTE 60 Seaman Ave, New York, NY 10034 600 S Locust St, DePauw University, Greencastle, IN 46135 Certifications: Practitioner; Certified Trainer Profile: The Lessac Training and Research Institute, a worldwide organization devoted to the pursuit, growth and evolution of Arthur Lessac’s Kinesensic Voice and Body Training, offers participants in workshops and students at select university programs an opportunity to earn certification. Contact: Sean Turner sean.turner@lessacinstitute.org lessacinstitute.org
KDSTUDIO.COM | 214.638.0484 | DALLAS, TX
ASSOCIATE DEGREE PROGRAMS IN:
ACTING | FILMMAKING MUSICAL THEATRE
LIBERTY UNIVERSITY 1971 University Blvd Lynchburg, VA 24515 Degrees: BA/BS: Theatre Arts; BFA: Acting, Musical Theatre Profile: With eight productions a year, four being musicals, we emphasize storytelling and the development of skills required for employment in the industry. Students have opportunities to gain hands-on experience, hone their craft and jump-start their careers by earning professional credits with the Alluvion Stage Company, the department’s resident professional company. Contact: Linda Cooper 434-582-2078; lncooper@liberty.edu www.liberty.edu/theatre LIMESTONE COLLEGE 1115 College Dr Theatre Dept Gaffney, SC 29340 Degrees: BA: Theatre, Theatre/English, Musical Theatre; BFA: Theatre (Tech/ Management/Design, Performance), Musical Theatre (Performance); Minor: Theatre Profile: Limestone College is one of the few academic institutions in the area to offer a BFA within the framework of a liberal arts education. We are committed to the artistic development of both major and non-major students in the performing arts and offer students the undivided attention of our faculty. Contact: Vandy Scoates 864-488-8234; theatre@limestone.edu finearts.limestone.edu/theatre LIPSCOMB UNIVERSITY 1 University Park Dr Nashville, TN 37204 Degrees: BA: Theatre Education, General Theatre; BFA: Musical Theatre, Acting, Directing, Design/Production Profile: We are a Christian university in the heart of Nashville, TN, committed to leading the future in arts education through rigorous training, interdisciplinary collaboration and faith-focused community. With 60 students in the department, five main productions each year and several second-stage opportunities, we offer strong, individualized training and mentorship. Contact: Nat McIntyre 615-966-5187; nemcintyre@lipscomb.edu www.lipscomb.edu/theater LONDON ACADEMY OF MUSIC & DRAMATIC ART (LAMDA) 155 Talgarth Rd London, W14 9DA United Kingdom
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Degrees: BA: Professional Acting; MA: Classical Acting for the Professional Theatre; MFA: Professional Acting; Semester Programme: Classical Acting (study abroad); Shakespeare Summer School (8 weeks); LAMDA Short Courses: Shakespeare (4 weeks), Audition Technique (2 weeks), Introduction to Screen Acting (2 weeks), Introduction to Drama School (2 weeks), Acting in English (2 weeks) Profile: A world leader and pioneer, LAMDA provides exceptional vocational training in the dramatic arts. Our outstanding new facilities provide creative spaces where students can take the risks necessary to explore their potential. Located in West London, LAMDA, the UK’s oldest drama school, has been training artists since 1861. Contact: Brian Nocella 917-720-3836; brian.nocella@lamda.ac.uk www.lamda.ac.uk LONG ISLAND UNIVERSITY/POST (LIU POST) College of Arts, Communications and Design, School of Performing Arts, Department of Theatre, Dance and Arts Management 720 Northern Blvd Brookville, NY 11548 Degrees: BA: Theatre; BFA: Acting, Musical Theatre, Production & Design, Arts Management, Directing, Playwriting, Dance Studies; MFA: Acting, Directing, Playwriting Profile: We offer opportunities to train with professional New York City theatre artists on a beautiful suburban campus 30 miles from Manhattan, with low student/ teacher ratios, individual mentoring and vast performance resources, preparing students to enter the profession with a variety of skills and professional connections. Generous scholarships are available. Contact: Cara Gargano 516-299-2353; cgargano@liu.edu www.liu.edu/post/theatre LOUISIANA STATE UNIVERSITY School of Theatre 105 Music and Dramatic Arts Building Baton Rouge, LA 70803 Degrees: BA: Arts Administration, Design/ Technology, Film/Television, Performance, Physical Theatre, Theatre Studies; MFA: Acting, Costume Technology & Design, Properties Technology & Design, Scenic Technology & Design; PhD: Theatre/History/ Literature/Criticism Profile: LSU Theatre is one of only a handful of departments in the country that supports a full-time, year-round professional
& Training Program Directory theatre, Swine Palace. Many students are Equity-eligible by graduation. Our entire physical plant was renovated in 2009. Contact: Kristin Sosnowsky 225-578-4174; ksosno1@lsu.edu www.theatre.lsu.edu LOUISIANA TECH UNIVERSITY School of the Performing Arts PO Box 8608 Ruston, LA 71272 Degrees: BA: Communications (Theatre); MA: Theatre Profile: The Department of Theatre, School of the Performing Arts, is one of five unique areas of excellence at Louisiana Tech University, offering specialized expert training in stage combat, stage management, acting, directing and playwriting. Contact: Cherrie Sciro 318-257-2930; lulu@latech.edu www.latechuniversitytheatre.com LYNN UNIVERSITY 3601 N Military Trl Boca Raton, FL 33431 Degrees: BFA: Drama (Acting, Musical Theatre Performance) Profile: Our BFA is a concentrated acting and musical theatre training program that prepares students to be professional actors in theatre, movies, television and musicals. The unique and comprehensive curriculum blends traditional and contemporary theatrical training methods through innovative approaches that keep pace with the demands of the industry. Contact: Adam Simpson 561-237-7461; asimpson@lynn.edu www.lynn.edu/artsprograms MARS HILL UNIVERSITY 100 Athletic St Mars Hill, NC 28754 Degrees: BA: Theatre; BFA: Musical Theatre Performance Profile: The study of theatre at Mars Hill University engages students in an exploration of the world from multiple perspectives; develops artistic skills and cultivates their capacities for collaboration, critical thinking, creative problem-solving and effective communication; and provides real-world career opportunities at our in-house professional theatre (Southern Appalachian Repertory Theatre). Contact: Sue Fair 828-689-1377; sue_fair@mhu.edu mhu.edu
MARSHALL UNIVERSITY 1 John Marshall Dr Huntington, WV 25755 Degrees: BA: Theatre; BFA: Performance, Production; Minor: Theatre, Dance Profile: As one of the oldest theatre programs in West Virginia, MU Theatre operates in one of the largest and bestequipped theatre facilities in the Southeast region. All BFA students participate in a professional internship experience. All students are invited to explore regular regional theatre and study abroad experiences. Contact: Lang Reynolds 304-696-2546; reynoldsh@marshall.edu www.marshall.edu/somt/theatre MARY BALDWIN UNIVERSITY 101 E Frederick St Staunton, VA 24401 Degrees: BA: Performing Arts (Theatre, Music, Film); BA or MLITT: Shakespeare & Performance; MFA: Shakespeare & Performance; Accelerated MFA (as part of a professional internship with American Shakespeare Center) Profile: Coed undergraduate program; intimate black box theatre; undergraduate season produces five plays per year. Coed graduate program; MFA company model focuses on collaboration and ensemble practices; graduate productions perform at the American Shakespeare Center’s Blackfriars Playhouse. Contact: Doreen Bechtol dbechtol@marybaldwin.edu www.marybaldwin.edu/arts METROPOLITAN STATE UNIVERSITY OF DENVER 890 Auraria Pkwy Denver, CO 80204 Contact: Scott Lubinski 303-615-0768; theatre@msudenver.edu www.msudenver.edu/theatre MICHAEL HOWARD STUDIOS The Professional Acting Studio for Theatre, Film and Television 152 W 25th St 10th Floor New York, NY 10001 Degrees: Certificate: Summer, One-Year and Two-Year Conservatories (Theatre, Film, Television, Business of Acting) Profile: Michael Howard Studios has guided Meryl Streep, Michael Douglas, Kerry Washington, Lea Michele and others into successful careers in theatre, film and television. Our philosophy is to help actors
develop a technique that is their own. Conservatories provide real-world exposure while training actors with the tools for a professional career. Contact: Jessica Corn 212-645-1525 jessica@MichaelHowardStudios.com www.michaelhowardstudios.com MIDDLE TENNESSEE STATE UNIVERSITY Campus Box 43 Murfreesboro, TN 37132 Degrees: BS: Theatre, Theatre Teacher Licensure; Minor: Entertainment Arts Design, Dance, Musical Theatre, Theatre Profile: Located 30 miles from Nashville, Middle Tennessee State University offers diverse training options for undergraduates only, in areas such as acting, design, directing, youth theatre, musical theatre and dance. MTSU features 130 undergraduate majors, 15 full-time faculty, two theatres and a full complement of state-of-the-art production facilities and technology. Contact: Jeff Gibson 615-898-2640; jeff.gibson@mtsu.edu www.mtsu.edu/programs/theatre
ROCK THE BARD A RENAISSANCE EDUCATION IN RENAISSANCE DRAMA MLitt/MFA in Shakespeare & Performance at Mary Baldwin in partnership with the American Shakespeare Center marybaldwin.edu/shakespeare
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2020 SETC College, University MIDWESTERN STATE UNIVERSITY 3410 Taft Blvd Wichita Falls, TX 76308 Degrees: BFA: Acting, Design Tech, Teacher Certification; Minor: Theatre Arts Profile: We offer a hands-on, practical approach to learning. Small class sizes mean students receive personal attention. From first semester, students are involved in all aspects of production and have ample opportunities to apply skills onstage and offstage. Graduates are well-equipped to work in the professional world. Scholarships available. Contact: Christie Maturo 940-397-4395; christie.maturo@mwsu.edu mwsu.edu/academics/finearts/theatre MILLIGAN COLLEGE 1 Blowers Blvd Milligan College, TN 37682 Degrees: BA: Musical Theatre, Music Performance, Fine Arts (Theatre) Profile: Milligan College is a Christian liberal arts college in Johnson City, TN, whose vision is to change lives and shape culture through a commitment to servant leadership. Intimate class sizes allow students to explore all aspects of music
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and theatre while thriving in an encouraging environment. Contact: Carrie Klofach 423-461-8793; CAKlofach@milligan.edu www.milligan.edu/people/klofach-carrie MISSISSIPPI STATE UNIVERSITY 130 McComas Hall 216 President’s Circle Mississippi State, MS 39762 Degrees: BA: Communication (Theatre) Profile: Aligning with the mission of MSU, the Theatre Concentration in the Department of Communication is dedicated to inspiring and nurturing theatre audiences, developing professionalism and self-expression in student theatre artists, and offering university, local and regional communities with theatre experiences that entertain while promoting thoughtful dialogue that is culturally relevant. Contact: Cody Stockstill 662-325-7954 cstockstill@comm.msstate.edu www.comm.msstate.edu
MURRAY STATE UNIVERSITY Department of Global Language and Theatre Arts 106 Fine Arts Bldg Murray, KY 42071 Degrees: BA or BS: Theatre, Theatre/Musical Theatre, Theatre/Film; Minor: Theatre, Performance, Musical Theatre, Design/Tech Profile: Our students practice skills in a liberal arts context that will assist them with employment opportunities in the entertainment industry and beyond. The department offers four to six productions each academic year, with students participating in all facets of theatre production, including acting, dance, management, technical theatre, design and directing. Contact: Brent Menchinger 270-809-4421 bmenchinger@murraystate.edu www.murraystate.edu/theatre
MISSISSIPPI UNIVERSITY FOR WOMEN 1100 College St, Box W-1619 Columbus, MS 39701 Degrees: BA: Theatre (can include Teacher Certification); MFA: Theatre Education Profile: The MUW Theatre Program offers complete coursework in theoretical and practical aspects of the art of making theatre. Hallmarks of the program are a rigorous production schedule, individual attention throughout the training process and first-rate production values. Contact: David Carter (Undergraduate); Lee Crouse (Graduate) 662-329-7353; dbcarter@muw.edu 662-329-7260; dlcrouse@muw.edu www.muw.edu/theatre
NATIONAL THEATER INSTITUTE AT THE EUGENE O’NEILL THEATER CENTER 305 Great Neck Rd Waterford, CT 06385 Degrees: Certificate: National Theater Institute, National Music Theater Institute, Advanced Directing, Advanced Playwriting Semester, Theatermakers Summer Intensive, Moscow Art Theatre (up to 20 hours college credit per semester) Profile: With a singular schedule and an unmatched breadth of training, our six semester-long programs offer students a springboard to the professional world. NTI’s credit-earning theatre intensives, taught by industry professionals and master teachers, train actors, singers, directors, dancers, designers, playwrights and composers. Contact: Brittany Ayers 860-443-7139; bayers@theoneill.org www.nationaltheaterinstitute.org
MISSOURI STATE UNIVERSITY Department of Theatre and Dance 901 S National Ave Springfield, MO 65897 Degrees: BA: Theatre; BS: Theatre, Theatre Education; BFA: Acting, Musical Theatre, Design/Stage Management, Dance Profile: Conservatory-style training in a supportive liberal arts setting. Nationally competitive programs and top-notch faculty contribute to the significant success of MSU graduates. Program houses an Equity (AEA) affiliate theatre. Contact: Joseph Price 417-836-5268; jprice@missouristate.edu theatreanddance.missouristate.edu
THE NEIGHBORHOOD PLAYHOUSE SCHOOL OF THE THEATRE 340 E 54th St New York, NY 10022 Degrees: Certificate: Performing Arts, Acting Profile: Our conservatory offers individualized and concentrated training designed to prepare graduates for the professional demands of theatre, film, TV and new media. Each rigorous curriculum offered incorporates movement, voice and performance technique classes in tandem with rigorous Meisner Technique training. The second year culminates in performances and an industry showcase.
& Training Program Directory Contact: NP Admissions 212-688-3770 admissions@neighborhoodplayhouse.org www.neighborhoodplayhouse.org NEW YORK CONSERVATORY FOR DRAMATIC ARTS Film + Television + Theater 39 W 19th St New York, NY 10011 Degrees: AOS: Film and Television Performance, Musical Theatre Performance; Summer Musical Theatre Training Program (four-week musical theatre intensive on voice, dance and acting) Profile: Film & Television program offers intensive acting and business training to develop professionals ready to compete for work. Musical Theatre program focuses on acting, while offering dance and private voice lessons to develop the voice into a powerful storytelling tool. Working faculty and business classes prepare actors for the industry. Contact: Office of Admissions 212-812-4080; admissions@nycda.edu www.nycda.edu NEW YORK FILM ACADEMY 17 Battery Pl, New York, NY 10004 3300 Riverside Dr, Burbank, CA 91505 420 Lincoln Rd Suite 200, Miami Beach, FL 33139 Degrees: AFA, BFA or MFA: Acting for Film, Filmmaking, Producing, Cinematography, Screenwriting, Broadcast Journalism, Documentary Filmmaking, Photography, Graphic Design, Illustration, 3D Animation, Game Design; One-Year and Two-Year Musical Theatre Conservatory Profile: NYFA is designed for a new generation of storytellers: artists who share a mutual passion and want to “learn by doing.” Our practical experience trains students to be the best filmmakers, visual artists and performers they can be, achieving more in less time than at other film or acting schools. Contact: Blake Babbitt 212-966-3488 x214; blake@nyfa.edu www.nyfa.edu NORTH GREENVILLE UNIVERSITY Department of Theatre PO Box 1892 Tigerville, SC 29688 Degrees: BA: Theatre (Performance, Musical Theatre, Design/Tech, Applied Theatre) Profile: Christian university providing excellent liberal arts education designed to
develop well-rounded individuals and accomplished artists. Coursework includes a core of fundamental theatrical knowledge, advanced classes in chosen track, experience onstage and backstage, audition coaching, internships and opportunities for community outreach. NGU supports KCACTF, Alpha Psi, CITA and a student-run improv team. Contact: Amy Dunlap 864-895-1580; amy.dunlap@ngu.edu www.ngu.edu/theatre NORTHERN ILLINOIS UNIVERSITY School of Theatre and Dance DeKalb, IL 60115 Degrees: BA: Theatre; BFA: Acting, Design and Technology, Dance Performance; MFA: Acting, Design and Technology Profile: NIU provides intensive artistic and academic training for students preparing for careers in theatre and theatre-related areas. The course of study is rigorous and realistic, designed to develop, challenge and broaden the skills and attitudes of all theatre students, especially highly motivated students who take responsibility for their own growth. Contact: 815-753-1334 theatreinfo@niu.edu www.niu.edu/theatre
Profile: Founded in 1835, Oglethorpe is a private liberal arts college that unites a close-knit campus community with big city culture. Oglethorpe offers an active theatre program with connections to Atlanta’s professional theatre and film scene. Contact: Matt Huff 404-504-3409; mhuff@oglethorpe.edu www.oglethorpe.edu OHIO NORTHERN UNIVERSITY 525 S Main St Ada, OH 45810 Degrees: BA: Theatre; BFA: International Theatre Production, Musical Theatre; Minor: Dance, Arts Administration Profile: ONU offers a dynamic liberal arts education with a strong international focus. Opportunities include: auditioning your first semester; being cast as a freshman; small classes with personalized attention from dedicated faculty; 30-35 national and international guest artists each year; internships; and international study abroad. Talent awards available. Contact: Kathe DeVault 419-772-2049; k-devault@onu.edu www.onu.edu
NOVA SOUTHEASTERN UNIVERSITY College of Arts, Humanities and Social Sciences; School of Communication, Media and the Arts 3301 College Ave Davie, FL 33314 Degrees: BA: Theatre (Acting for Stage and Screen, Musical Theatre, Design and Technical Production, Film and Dramatic Media), Dance, Music, Art and Design Profile: NSU is a private not-for-profit university located on 300 acres in Davie, FL. Students have performance opportunities, with coursework in acting, technical theatre, directing, design, dance and musical theatre. Students are fully prepared for theatre careers and graduate study. Professional internships are available to all students. Scholarships are available. Contact: Shanti Bruce 954-262-7632; bshanti@nova.edu nova.edu/arts OGLETHORPE UNIVERSITY 4484 Peachtree Rd NE Atlanta, GA 30319 Degrees: BA: Theatre; Minor: Theatre, Shakespeare and Renaissance Studies
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2020 SETC College, University THE OHIO STATE UNIVERSITY 1849 Cannon Dr Columbus, OH 43210 Degrees: BA: Theatre; Undergraduate Minors: Theatre, Musical Theatre, Media Production & Analysis, Video Arts; MA: Theatre Studies; MFA: Acting, Design; PhD: Theatre Studies; Graduate Minors: Theatre & Performance, Cinema/Video Profile: Our program develops original work from writing/devising to production, and exploring new media in live performance. We are committed to training students who are civically engaged through performance. We provide our students numerous opportunities in performance and design with a six-show season and a student-driven theatre lab producing 15 shows a year. Contact: J. Briggs Cormier 614-292-8241; cormier.5@osu.edu www.theatre.osu.edu OHIO UNIVERSITY School of Dance, Film and Theater Theater Division 307 Kantner Hall 1 Ohio University Athens, OH 45701
OHIO UNIVERSITY THEATER
Professional Training Programs B.F.A. Performance – Acting Performance – Musical Theater Playwriting Stage Management Production Design & Technology B.A. Theater SCHOOL OF THEATER
Kantner Hall 307 1 Ohio University Drive Athens, OH 45701 740.593.4818 • theater@ohio.edu www.ohio.edu/theater Ohio University is an accredited member of the National Association of Schools of Theatre, URTA Member School
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Degrees: BA: Theatre; BFA: Production Design and Technology, Performance, Stage Management; MA: Theatre; MFA: Acting, Production Design and Technology, Directing, Playwriting Profile: Our programs are aimed at students interested in professional careers. We blend classroom training and production to produce a mainstage series, studio productions, play readings and a new play festival. Undergraduates enter on the BA degree and interview/audition for BFA programs at the end of the first year. Contact: Michael Lincoln 740-593-4818; theater@ohio.edu www.ohio.edu/theater OKLAHOMA CITY UNIVERSITY Theatre Department 2501 N Blackwelder Ave Oklahoma City, OK 73106 Contact: Brian Parsons 405-208-5720; bdparsons@okcu.edu www.okcu.edu PALM BEACH ATLANTIC UNIVERSITY 901 S Flagler Dr West Palm Beach, FL 33416 Degrees: BA: Theatre Arts (Musical Theatre, Acting for Stage and Screen) Profile: PBA is a private Christian university located in beautiful South Florida. First-year students may audition for any of our four productions staged annually. Theatre majors spend 65-66 credit hours in their concentration, which enables us to offer more extensive and specialized BA training positioning our graduates for successful careers. Contact: Allen McCoy 561-803-2487; allen_mccoy@pba.edu www.pba.edu PIEDMONT COLLEGE 1021 Central Ave Demorest, GA 30535 Degrees: BA: Theatre, Musical Theatre, Technical Theatre and Design, Theatre for Youth, Theatre Education (Georgia Teaching Certificate, grades PK-12); BFA: Arts Administration Profile: We are a small, private college located 60 miles north of Atlanta in the northeast Georgia mountains. Our students experience rigorous academic training as well as professional training. We offer four to six shows a year, plus various student showcases. Contact: William Gabelhausen 706-778-8500 x1320
wgabelhausen@piedmont.edu www.piedmont.edu/fa POINT PARK UNIVERSITY Conservatory of Performing Arts 201 Wood St Pittsburgh, PA 15222 Degrees: BA: Theatre Arts (Performance and Practices); BFA: Acting, Musical Theatre, Theatre Production (Technical Design/Management, Stage Management, Design [Scenic, Costume, Lighting, Sound]) Profile: As one of the top programs in the country, Point Park’s Conservatory provides real-world experience and rigorous training with nationally and internationally recognized master teachers, directors, designers, managers and technicians. Over 15 shows/season are performed each year in our brand-new, state-of-the-art Pittsburgh Playhouse facility located in downtown Pittsburgh. Contact: Troy Centofanto 412-392-3452; tcentofanto@pointpark.edu www.pointpark.edu/Academics/Schools/ COPA POWERHOUSE THEATER AT VASSAR COLLEGE 124 Raymond Ave Box 225 Poughkeepsie, NY 12604 Profile: A training program for theatre artists since 1985. Students from around the country participate in this program for actors, directors and writers. Explore theatre with peers and professionals alike by living, breathing and creating theatre every day. Contact: Ed Cheetham; Michael Sheehan 845-437-5907; powerhouse@vassar.edu powerhouse.vassar.edu PROFESSIONAL ACTOR TRAINING PROGRAM AT CHATTANOOGA STATE 4501 Amnicola Hwy Chattanooga, TN 37406 Degrees: AFA: Theatre Arts (Performance, Design/Tech); AA: Theatre Arts; AS: Theatre Arts; Certificate Profile: A two-year program for students pursuing careers in theatre, television and film. Unique. Intensive. Affordable. Modeled after The New Actors Workshop (New York City) founded by three theatre visionaries: George Morrison, Mike Nichols and Paul Sills. Free tuition for Tennessee Promise students. Contact: Rex Knowles; Sherry Landrum 423-697-3246 theatre@chattanoogastate.edu www.chattanoogastate.edu/theatre
& Training Program Directory RADFORD UNIVERSITY School of Dance and Theatre Box 6969 Radford, VA 24142 Degrees: BS or BA: Theatre (Performance, Directing, Design and Technical Theatre); BA: Dance; BS: Dance Education; BFA: Dance (Performance) Profile: The School of Dance and Theatre offers liberal arts and pre-professional studies. Students of cinema, dance and theatre receive instruction rich in diverse perspectives and cross-disciplinar y experiences. Dance, theatre and cinema departments are supported by strong programs which contribute to the cultural life of the university and community. Contact: Richard Dunham 540-831-5012; rdunham6@radford.edu www.radford.edu/theatre RANDOLPH COLLEGE Theatre Department 2500 Rivermont Ave Lynchburg, VA 24503-1555 Degrees: BA: Theatre (Acting, Directing, Design, Management, Technical Production); BFA: Theatre; Interdisciplinary (Visual Arts, Dance, Music, Film, Creative Writing) Profile: Randolph College is a small, liberal arts college nestled in the foothills of the Blue Ridge, with vibrant guest artist programs and personalized instruction. Students explore all areas of theatre, collaboratively producing a three-show season and uniquely earning key production positions as their capstone experience. Contact: Stephanie Holladay Earl; Ken Parks 434-947-8563; searl@randolphcollege.edu 434-947-8564; kparks@randolphcollege.edu www.randolphcollege.edu/theatre REGENT UNIVERSITY 1000 Regent University Dr, COM 240 Virginia Beach, VA 23464 Degrees: BA: Theatre Arts; BFA: Acting; MA: Theatre; MFA: Acting; Certificate: Theatre Practices Profile: From our foundational BA program to our Professional Actor Training Program (MFA), our professionally active faculty offers a cutting-edge education in the synthesis of theatre artistry, culture and faith. Contact: Office of Admissions 888-777-7729; comadmissions@regent.edu www.regent.edu/sca REINHARDT UNIVERSITY 7300 Reinhardt Cir Waleska, GA 30183
Degrees: BA: Theatre (Performance, Technical, Academic); BFA: Musical Theatre Profile: Reinhardt University offers a conservatory-style approach to its theatre training in a small liberal arts setting. Class size remains small, and individual instruction is provided by faculty that have all been professionals in the performance community. Contact: David Nisbet 770-720-5860; dsn@reinhardt.edu www.reinhardt.edu ROLLINS COLLEGE Department of Theatre and Dance 1000 Holt Ave #2735 Winter Park, FL 32789 Degrees: BA: Theatre; Minor: Dance Profile: We offer a liberal arts degree which provides students with a well-rounded education. Students study all aspects of theatre, including directing, performing, musical theatre, design, technical and history/criticism. We hold auditions once a year for scholarships for high school seniors. The Priscilla Parker Scholarship offers up to $10,000 per year. Contact: Alexandra Feliciano 407-646-2501; afeliciano@rollins.edu www.rollins.edu/theatre ROWAN UNIVERSITY College of Performing Arts Department of Theatre and Dance 201 Mullica Hill Rd Glassboro, NJ 08028 Degrees: BA: Theatre (Acting, Musical Theatre, Dance-Theatre, Design/Technical, Pre-Teaching), Dance; MA: Arts Administration (online); BA/MST: Theatre Education Profile: We educate students in the contemporary practice of theatre and dance within a liberal arts curriculum. Accredited by the NAST, Rowan offers a broad-based education that integrates physical, vocal, technical and performance skills with the intellectual development necessary for lifelong learning, as well as master classes and productions with visiting artists. Contact: Elisabeth Hostetter 856-256-4500 x3314; hostetter@rowan.edu www.rowan.edu/theatredance SAMFORD UNIVERSITY 800 Lakeshore Dr Homewood, AL 35229 Degrees: BA: Acting/Directing, Technical/ Design; BFA: Musical Theatre; Minor: Theatre, Dance, Film Production Profile: The Theatre and Dance Depart-
ment aspires to be a leader in undergraduate theatre and dance education, with a commitment to the artist as a community partner and contributor. At the core of the department’s mission is a commitment to character, ethics and artistic excellence. Contact: Katie Overturf 205-726-4111; kovertur@samford.edu www.samford.edu/arts SAVANNAH COLLEGE OF ART AND DESIGN PO Box 2072 Savannah, GA 31402 Degrees: BA; BFA: Production Design, Performing Arts, Dramatic Writing, Film; M.Arch; MA; MAT; MFA: Production Design, Performing Arts, Dramatic Writing, Film; MUD Profile: SCAD prepares students for professional careers, emphasizing learning through individual attention in a positively oriented university environment. Program offers performance opportunities and classroom training in new media, digital media, film, TV and live theatre. SCAD has an inhouse casting office and hosts an annual agent showcase with New York agents.
3-YEAR CONSERVATORY EVENING CONSERVATORY MUSICAL THEATER SUMMER INTENSIVES
Audition for us at SETC in Louisville!
212-689-0087 | StellaAdler.com classes@stellaadler.com
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2020 SETC College, University Contact: Admissions 800-869-7223; admission@scad.edu www.scad.edu SEWANEE: THE UNIVERSITY OF THE SOUTH 735 University Ave Sewanee, TN 37383 Degrees: BA: Theatre; Minor: Theatre, Dance Profile: The Department of Theatre and Dance is housed in the Tennessee Williams Center, a state-of-the-art performance facility. Sewanee offers the students a strong foundation in all areas of theatre: acting, directing, design, dance, playwriting, history, literature and performance theory, while studying in a unique liberal arts program. Contact: Jennifer Matthews 931-598-1126; jmatthew@sewanee.edu www.sewanee.edu SHENANDOAH UNIVERSITY 1460 University Dr Winchester, VA 22601 Degrees: BFA: Musical Theatre, Acting, Theatre Design and Production (Stage
OFFERING
General BA–Performance/Design/Production and BFA–Musical Theatre PARTICIPATE IN
Over 300 opportunities each year as a writer, actor, technician, designer, running crew, stage manager, dramaturge, or director 5 fully mounted annual productions, numerous showcases, 4 year-long touring companies 2 state-of-the-art performance facilities and 3 state-of-the-art production facilities Annual participation in the Kennedy Center American College Theater Festival
uab.edu/cas/theatre
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Management, Costume Design, Scenic Design, Lighting Design, Sound Design & Reinforcement, and/or Technical Design) Profile: We provide comprehensive, preprofessional, undergraduate training at one of the country’s leading conservatories, with a dedicated faculty of active professionals in theatre, music and dance. Contact: William Ingham 540-665-4558; wingham@su.edu www.su.edu/conservatory/theatre-home SHORTER UNIVERSITY 315 Shorter Ave Rome, GA 30165 Degrees: BA: Theatre (Performance, Design/Technical Theatre); BFA: Theatre, Musical Theatre Performance; Minor: Dance, Theatre, Musical Theatre Profile: Placing equal importance on academic and artistic excellence, we focus on every student, offering performance opportunities to first-year students and a high percentage of professional and graduate placements. The black box theatre, completed in 2019, features LED lighting and updated design equipment to better prepare students for the field. Contact: Tara Warfield 706-233-7362; twarfield@shorter.edu www.shorter.edu/theatre-department/#faculty SLIPPERY ROCK UNIVERSITY OF PENNSYLVANIA Theatre Department 214 University Union Slippery Rock, PA 16057 Degrees: BFA: Acting (Musical Theatre Performance, Theatre Performance); BA: Theatre (Design & Technology, Acting, Theatre Arts Management, Theatre Studies); Minor: Theatre Profile: World-class education and training – at state university prices! Students in SRU Theatre programs develop their artistry through hands-on experiences beginning year one. A brand-new performing arts center, professionally run shops, biennial trips abroad to perform at Edinburgh Festival Fringe, and small classes all contribute to the solid training SRU students receive. Contact: Rebecca Morrice 724-738-2333; rebecca.morrice@sru.edu www.sru.edu/theatre SOUTHEAST MISSOURI STATE UNIVERSITY The Jeanine Larson Dobbins Conservatory of Theatre and Dance 1 University Plaza, MS 7850 Cape Girardeau, MO 63701
Degrees: BFA: Acting, Dance, Design/ Technology, Musical Theatre; BA: Theatre, Dance Profile: NAST- and NASD-accredited. We prepare students for professional theatre/ film/television careers. Programming is divided into three areas: technique training, production and career preparation. We have world-class facilities, 18 full-time faculty and 220+ majors. Annual productions include six mainstage, four second-stage, multiple one-acts and showcases, Fault Line Film Festival, River Campus Summer Arts Festival, and both NYC and LA Showcases. Contact: Kenneth L. Stilson 573-986-6818; kstilson@semo.edu www.semo.edu/theatreanddance SOUTHERN ILLINOIS UNIVERSITY Department of Theatre Mail Code 6608 Carbondale, IL 62901 Degrees: BA: Theatre (Performance, Design, Production, History, Dramaturgy); BFA: Musical Theatre; MFA: Directing, Scene Design, Lighting Design, Costume Design, Technical Direction, Playwriting; PhD: Interdisciplinary with Speech Communication in Theatre History, Criticism, Dramaturgy, Performance Studies Profile: SIUC blends scholarship with practice in an intensive production program and maintains a professional summer stock theatre company. Contact: Admissions 618-453-2121; admissions@siu.edu www.theater.siuc.edu SOUTHERN METHODIST UNIVERSITY PO Box 750356 Dallas, TX 75275 Degrees: BFA: Theatre (Acting, Theatre Studies) Profile: Our undergraduate BFA program has two tracks: Acting and Theatre Studies. The Acting track is designed for those students who choose to train in solely acting skills during their junior and senior years. The Theatre Studies track is designed for those students who wish to connect their acting study with other disciplines in the theatre arts, e.g., directing, playwriting or stage management. Contact: Benard Cummings 214-768-3932; abcummings@smu.edu smu.edu/meadows
& Training Program Directory SOUTHERN UNION STATE COMMUNITY COLLEGE 750 Roberts St Wadley, AL 36276 Degrees: AS: Performance Profile: With a curriculum geared toward transferring, our program has excelled in matriculating students into college and university theatre programs. Our small size allows students to immerse themselves in all aspects of theatre, from set construction to performance. Auditions are held in March. Contact: Michael Williams, Jr. 256-395-2211 x5811 mwilliams@suscc.edu www.suscc.edu/campus-life/theater.cms STAGECRAFT INSTITUTE OF LAS VEGAS 2232 S Nellis Blvd #112 Las Vegas, NV 89104 Degrees: Certificat de reussir: technical training for live entertainment industry; Seal of Qualification: Audio, SFX Special Effects, Lighting Technology, Lighting Systems and Programming Profile: SILV offers a one-of-a-kind, handson approach to training for live entertainment at levels required today for state-ofthe-art technologies. SILV is dedicated to teaching by doing. Instructors are working professionals dedicated to sharing their experiences with the next generation. Industry partners ensure that the most current gear is available to support training. Contact: Jane Childs 702-388-7458; info@stagecraftinstitute.com www.stagecraftinstitute.com STATE UNIVERSITY OF NEW YORK AT FREDONIA 280 Central Ave 212 Rockefeller Art Center Fredonia, NY 14063 Contact: Lisa Schrantz 716-673-3596; theatre.dance@fredonia.edu www.fredonia.edu/theatredance STELLA ADLER STUDIO OF ACTING 65 Broadway, Floor 2 New York, NY 10006 ART OF ACTING STUDIO 1017 N Orange Dr Los Angeles, CA 90036 Degrees: BFA: Acting (through NYU); Certificates: Three-Year Conservatory, Two-Year Evening Conservatory, Two-and-a-Half-Year LA Conservatory Program, Summer Training Profile: Since 1949, the Stella Adler Studio has trained some of the most important
American actors and has evolved into one of the most culturally rich environments in NYC and now LA. In addition to the Conservatory, the studio offers a BFA through its partnership with NYU Tisch School of the Arts. Contact: Ryan Chittaphong 212-689-0087; classes@stellaadler.com www.stellaadler.com www.artofactingstudio.com STUDIO SCHOOL 1201 W 5th St Suite F-10 Los Angeles, CA 90017 Degrees: BFA: Acting (Film and Television), Film and Digital Content, Commercial Dance, Contemporary Musical Theatre and Film Profile: Studio School is shaping the entertainment professionals of tomorrow by fostering an educational experience rooted in collaboration and innovation. Our programs inspire excellence in a projectoriented learning environment designed to unleash the imagination and bring creative ideas to fruition under the mentorship of industry professionals. Contact: Addy Green 800-762-1993; agreen@relativityschool.org www.studioschool.org TEMPLE UNIVERSITY School of Theater, Film & Media Arts 1301 W Norris St Philadelphia, PA 19122 Degrees: BA: Theatre (Acting, Design and Production, Directing, General Theatre Studies); BFA: Musical Theatre; BA and MEd: Theatre Education 4+1; MA: Musical Theatre Studies Profile: Temple’s distinguished faculty is dedicated to professional training within a rigorous liberal ar ts foundation by challenging students to learn and create in a variety of classroom and production settings. Opportunities are plentiful on campus, in the community and in Philadelphia, one of the most vibrant of America’s theatre centers. Contact: Paury Flowers 215-777-9135; tfma@temple.edu tfma.temple.edu/theater TEXAS STATE UNIVERSITY 601 University Dr San Marcos, TX 78666 Degrees: BA: Theatre; BFA: Musical Theatre, Theatre (Acting, Performance and Production, Technical Production, Teacher Certification), Dance (Dance Studies, Performance and Choreography, Teacher Certification);
MFA: Theatre (Design, Directing, Dramatic Writing) Profile: Our department offers a diverse range of degrees in theatre and dance, allowing students to find a program suited to their skills and interests. Eight major productions, along with workshops and lab performances, offer excellent opportunities to work on professional skills. Faculty are active professionals working in the industry. Contact: 512-245-2147 theatreanddance.txstate.edu TEXAS TECH UNIVERSITY School of Theatre and Dance Box 42061 Lubbock, TX 79409 Degrees: BA: Theatre, Dance; BFA: Acting, Design, Musical Theatre; MA: Dance, Theatre Arts; MFA: Performance and Pedagogy, Design, Playwriting, Arts Administration; PhD: Fine Arts; Minor: Dance Profile: Seasons consist of 10-13 productions a year, festival of new student work, Wildwind Performance Laboratory and the Marfa Intensives for Devised Theatre. We cast undergraduate and graduate students and assign student designers/choreogra-
The University of Kentucky Department of Theatre and Dance offers comprehensive training in musical theatre, theatre, and dance. Mainstage season and studentproduced works. Scholarships available. Education abroad opportunities.
@uktheatre finearts.uky.edu/theatre
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2020 SETC College, University phers to mainstage productions. Fine Arts PhD is a unique interdisciplinary program combining scholarship and practice. Contact: 806-834-1683 theatre.dance@ttu.edu www.depts.ttu.edu/theatreanddance THEATRE OF ARTS College for the Contemporary Actor 1536 N Highland Ave Hollywood, CA 90028 Degrees: AOS: Acting Profile: Founded in 1927, Theatre of Arts’ actor training programs for theatre, television and film are taught by currently working and experienced actors, directors and casting directors. Conservatory training offers 700 hours of on-camera scene work designed to prepare the student for professional casting and auditions. Contact: Harrison Butler 323-463-2500; harrisonbutler@toa.edu www.toa.edu TOUCHSTONE THEATRE AT MORAVIAN COLLEGE 1200 Main St Bethlehem, PA 18018
It’s love. Not a lark. uncsa.edu/drama
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Degrees: MFA: Performance Creation Profile: Part arts incubator, part apprenticeship. This full-time, two-year (yearround) program is a unique opportunity for artists to earn a degree steeped in both the practical and the theoretical. Students will be taught by and work alongside the awardwinning, working professionals of Touchstone Theatre (Bethlehem, PA). Contact: LaKeisha Thorpe 610-625-7716; thorpel@moravian.edu www.moravian.edu/theatre/mfaperformance-creation www.touchstone.org TROY UNIVERSITY Department of Theatre and Dance Malone Hall 132 Troy, AL 36082 Degrees: BS/BA: Theatre (Performance, Musical Theatre, Design, Technical Theatre, Management, Playwriting/Dramaturgy); BSE: Theatre Education (Grades P-12); BFA: Dance Profile: Troy offers a competitive program that is demanding and nurturing, with highly qualified faculty in the framework of three performance spaces and a high level of collaboration and integration between Theatre and Dance. Departmental talentbased scholarships, student staff and leadership opportunities available. Troy offers lucrative academic, leadership and opportunity scholarships. Contact: Department of Theatre and Dance 334-808-6142 theatreanddance@troy.edu www.troy.edu; www.troytheatre.org TULANE UNIVERSITY Department of Theatre and Dance 215 McWilliams Hall New Orleans, LA 70118 Degrees: BA: Theatre (Performance, Design, Performance Studies); BFA: Musical Theatre, Dance, Design; MFA: Design, Dance; Minor: Performance, Producing, Dance Profile: TUTD offers seven mainstage shows a year. Faculty and majors from all areas work on all shows. Set in a city famous for art and music, we break forms yet still demand rigor and provide a solid grounding in technique which allows emerging artists to develop their unique voices. Contact: Antony Sandoval; Barbara Hayley 504-314-7760 fsandova@tulane.edu; bhayley@tulane.edu tulane.edu
THE UNIVERSITY OF ALABAMA Department of Theatre and Dance Box 870239 Tuscaloosa, AL 35487 Degrees: BA: Theatre, Musical Theatre, Dance; BFA: Acting, Musical Theatre, Design and Technical Production; MFA: Acting, Arts Management, Costume Design/ Production, Directing, Lighting Design, Scenic Design, Technical Direction, Dance Profile: UA offers comprehensive academic and practical training on a liberal arts foundation to prepare students for professional success. Contact: Nancy Calvert 205-348-5283; ncalvert@bama.ua.edu theatre.ua.edu UNIVERSITY OF ALABAMA AT BIRMINGHAM ASC 255 1720 2nd Ave S Birmingham, AL 35295-1263 Degrees: BA: Theatre (General, Performance, Design/Technology); BFA: Musical Theatre Performance Profile: A production-oriented program with a liberal arts foundation. We provide professional training in musical theatre, acting, design/technology and management while expanding students’ cultural and aesthetic awareness, developing their research and communication skills and fostering critical thinking, discipline and collaboration through practical application of learned skills and theoretical study. Contact: Kelly Allison 205-934-8776; kallison@uab.edu www.uab.edu/theatre UNIVERSITY OF ALABAMA IN HUNTSVILLE 342 Morton Hall 301 Sparkman Dr Huntsville, AL 35899 Degrees: BA: Theatre (Performance, Technical, Dramaturgy) Profile: UAH Theatre is dedicated to providing both a broad and a deep dive into the world of theatre. With four productions per season, our students are able to gain employable skills in all the different areas of theatre, providing them with an entrepreneurial mindset to take into the industry. Contact: David Harwell 256-824-6871; theatre@uah.edu www.uah.edu/theatre
& Training Program Directory UNIVERSITY OF CENTRAL FLORIDA 12488 Centaurus Blvd Orlando, FL 32816 Degrees: BA: Theatre; BFA: Acting, Musical Theatre, Design/Tech, Stage Management; MA: Theatre; MFA: Acting, Youth Theatre Profile: BFA and MFA programs are highly selective, rigorous, professional training programs that emphasize theatre theory, practice and preparation for a successful career in theatre. UCF is the country’s second largest university, and productions occur year-round. MA and BA in Theatre provide more generalized degree programs. Contact: Michael Wainstein 407-823-2519; theatre@ucf.edu theatre.ucf.edu THE UNIVERSITY OF GEORGIA Department of Theatre and Film Studies Fine Arts Building Athens, GA 30602 Degrees: BA; MFA; PhD Profile: The department offers rigorous training in all traditional areas of theatre performance, design and scholarship, coupled with training in interactive media, computer animation and robotics. Contact: David Z. Saltz 706-542-2836; saltz@uga.edu www.drama.uga.edu UNIVERSITY OF KENTUCKY Department of Theatre and Dance 114 Fine Arts Bldg Lexington, KY 40506 Degrees: BA: Dance, Theatre (Performance, Design/Technology, Playwriting); Minor: Dance, Theatre; Certificate: Musical Theatre Profile: Students get hands-on training and one-on-one mentorship from professional theatre faculty. Our liberal arts focus is coupled with career counseling for successful transition to professional life. Students are encouraged to find their passion and pursue it – with most students pursuing internships and study abroad opportunities. Contact: Nancy C. Jones 859-257-3297; nancy.jones@uky.edu finearts.uky.edu/theatre-dance UNIVERSITY OF LOUISVILLE Department of Theatre Arts 2314 S Floyd St Louisville, KY 40292 Degrees: BS: Theatre, Production, Performance; MFA: Acting/Performance; Graduate Certificate: African-American Theatre; Minor: Black Performance Studies
Profile: The department trains students in the fine art of theatre, voice, movement, scene study and design, and also teaches the historical and literary context of the theatre as a humanist and liberal art. Contact: Nefertiti Burton 502-852-8445; nefertiti@louisville.edu www.louisville.edu/a-s/ta UNIVERSITY OF MEMPHIS Department of Theatre & Dance 144 Theatre Building Memphis, TN 38152-3150 Degrees: BFA: Theatre (Performance, Design and Technical Production, Musical Theatre, Dance); MFA: Theatre (Directing, Design and Technical Production) Profile: We offer quality mentoring, dedicated individual advisors, a richly varied production program, a state-of-the-art design lab, a new musical theatre curriculum and casting opportunities beginning your first year. Contact: Kristin Shupe 901-678-2523; kshupe@memphis.edu www.memphis.edu/theatre UNIVERSITY OF MISSISSIPPI PO Box 1848 Isom Hall Room 110 University, MS 38677 Degrees: BA: Theatre Arts; BFA: Acting for Stage and Screen, Musical Theatre, Design & Theatre Production, Film Production; Minor: Theatre Arts Profile: Comprehensive training, rigorous academics and great performance, design, and film opportunities prepare students for professional employment or graduate study. Individualized attention is provided by a professional and dedicated faculty. Courses and practical experiences ensure that every student can create, learn and discover their artistic path at Ole Miss! Contact: Michael Barnett 662-915-5816; mbarnett@olemiss.edu theatre.olemiss.edu
over 100 majors providing numerous handson training opportunities, including a very diverse production season and guest artist workshops on and off campus. We train students for professional careers within the context of a first-rate liberal arts education. Contact: David Callaghan 205-665-6210; callaghand@montevallo.edu www.montevallo.edu/thea THE UNIVERSITY OF MOUNT UNION 1972 Clark Ave Alliance, OH 44601 Degrees: BA: Theatre (Acting, Musical Theatre, Design/Technology) Profile: Recognized as the No. 1 college in the Great Lakes region for “return on investment,” Mount Union combines smallschool accessibility with the opportunities of larger institutions. An $11.7-million performing arts center opened in January 2015, with two theatres, costume and scenic shops, and recital hall. Performance and technical scholarships available. Contact: Kevin P. Kern 330-823-3875; kernkp@mountunion.edu www.mountunion.edu/department-of-theatre
UNIVERSITY OF MOBILE 5735 College Pkwy Mobile, AL 36613 Contact: 251-442-2896 www.umobile.edu UNIVERSITY OF MONTEVALLO Station 6210 Theatre Montevallo, AL 35115 Degrees: BA: Theatre; BFA: Musical Theatre, Acting, Directing, Design (Scenic/ Lighting, Costume) Profile: UM Theatre is a department of
Urinetown, The Musical
Photo by Michael Bailey
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2020 SETC College, University UNIVERSITY OF NEVADA LAS VEGAS Department of Theatre 4505 Maryland Pkwy, Box 455036 Las Vegas, NV 89154 Degrees: BA: Stage and Screen Acting, Design-Technology, General Studies; MFA: Performance, Design-Technology, Stage Management Profile: UNLV offers a diversified curriculum allowing students to train in all aspects of theatre, while taking advantage of the entertainment richness of Las Vegas. In the classroom, onstage or in TV/film acting, we foster creative development and growth that prepares students for the world’s stage in entertainment. Contact: Norma Saldivar 702-895-3666; norma.saldivar@unlv.edu theatre.unlv.edu UNIVERSITY OF NORTH CAROLINA CHAPEL HILL CB 3230, Center for Dramatic Art Chapel Hill, NC 27599 Degrees: BA: Dramatic Art; MFA: Acting, Technical Production, Costume Production Profile: The BA program offers a student-
UNIVERSITY OF WEST GEORGIA
THEATRE COMPANY
BACHELOR OF ARTS (BA) IN THEATRE BACHELOR OF FINE ARTS (BFA) IN THEATRE ACTING DESIGN/TECHNOLOGY BACHELOR OF INTERDISCIPLINARY STUDIES (BIS) IN FILM: PERFORMANCE TRACK PRODUCTION DESIGN TRACK FOR MORE INFORMATION 678-839-4700 or theatre@westga.edu westga.edu/theatre
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driven production schedule with the flexibility to also pursue a second major. The MFA programs work closely with PlayMakers Repertory, a professional (LORT/AEA) theatre named by the Drama League of New York as one of the 50 best regional theatres in the country. Contact: David Navalinsky 919-843-9857; navalinsky@email.unc.edu drama.unc.edu UNIVERSITY OF NORTH CAROLINA CHARLOTTE 9201 University City Blvd Charlotte, NC 28223 Degrees: BA: Theatre (Applied Theatre, Design/Tech, Directing, Dramaturgy and Dramatic Writing, Performance, Theatre Education leading to NC State Licensure); Certificate: Musical Theatre Profile: UNCC faculty work closely with students as mentors in classroom and production settings, emphasizing collaboration, critical thinking and leadership skills. Our alumni work as actors, directors, designers, technicians, playwrights, dramaturgs, teachers, teaching artists and arts administrators, as well as in a host of positions outside the arts. Contact: Lynne Conner 704-687-0237; lconner@uncc.edu www.uncc.edu
tomation, Stage Properties, Wig & Makeup Design, Sound Design, Technical Direction Profile: UNCSA is a conservatory that trains the whole artist for professional careers in dance, design and production, drama, filmmaking, music and visual arts. Contact: Admissions Office 336-770-3290; admissions@uncsa.edu www.uncsa.edu UNIVERSITY OF PITTSBURGH 1617 Cathedral of Learning 4200 Fifth Ave Pittsburgh, PA 15260 Degrees: BA: Theatre (Performance, Technical Theatre, History/Literature/ Criticism); MFA: Performance Pedagogy; PhD: Theatre Profile: Our program seeks to provide the widest possible spectrum of practical and educational opportunities to the theatre artists and scholars of the future. We pursue our mission through rigorous course work, combined with direct practical experience in theatre research, performance, design and production as occasions for selfdevelopment and artistic challenge. Contact: Gianni Downs gdowns@pitt.edu play.pitt.edu
UNIVERSITY OF NORTH CAROLINA GREENSBORO PO Box 26170 406 Tate St 201 Taylor Theatre Bldg Greensboro, NC 27402 Degrees: BA; BFA; MFA Profile: UNCG offers programs in Acting (including concentration in musical theatre), Directing, Theatre for Youth, Design/Technology Production and Theatre Education. Contact: John R. Poole 336-334-4112; jrpoole2@uncg.edu theatre.uncg.edu
UNIVERSITY OF SOUTH ALABAMA 5751 USA Drive S Laidlaw Performing Arts Center Room 1052 Mobile, AL 36688 Degrees: BA: Dramatic Arts; BFA: Theatre (Performance, Design & Technology, Music Theatre) Profile: We offer distinctive options for degrees within a department devoted exclusively to a balance between production experience, training and achieving preprofessional skills and expectations. Contact: Lars Tatom 251-460-6305; tatom@southalabama.edu www.southalabama.edu/drama
UNIVERSITY OF NORTH CAROLINA SCHOOL OF THE ARTS Schools of Drama and Design & Production 1533 S Main St Winston-Salem, NC 27127-2188 Degrees: HS Diploma: Acting, Directing; BFA: Acting, Directing, Costume Design & Technology, Scene Painting, Stage Properties, Lighting, Sound, Scenic Technology, Scene Design, Stage Management, Wig & Makeup; MFA: Costume Design, Costume Technology, Production & Project Management, Scene Design, Scenic Art, Stage Au-
UNIVERSITY OF SOUTH CAROLINA AIKEN 471 University Pkwy Aiken, SC 29801 Degrees: BA: Fine Arts (Theatre) Profile: Dedicated to giving students a comprehensive theatre education, we offer the opportunity to explore all areas of theatre, both onstage and offstage. A professionally active faculty, strong classes, internships and a cutting-edge production program prepare students for the theatre of the 21st century.
& Training Program Directory Contact: Dewey Scott-Wiley 803-641-343; DeweyW@usca.edu etherredge.usca.edu/academics UNIVERSITY OF SOUTH CAROLINA COLUMBIA Longstreet Theatre 1300 Greene St #402 Columbia, SC 29208 Degrees: BA: Theatre, Dance (Performance/Choreography, Dance Education); MA: Theatre; MAT: Theatre; MFA: Theatre (Acting, Directing, Costume Design, Lighting Design, Scenic Design); Minor: Theatre Contact: Stephanie Milling 803-777-4984; smilling@mailbox.sc.edu www.cas.sc.edu/thea UNIVERSITY OF SOUTH FLORIDA School of Theatre and Dance 4202 E Fowler Ave, TAR 230 Tampa, FL 33620 Degrees: BA: Theatre (Acting/Performance, Design/Technical Theatre, Theatre Arts); Minor: Theatre Profile: This program is committed to facilitating artists and scholars through training in the studio, classroom and performance. The program, with 3-5 mainstage and 2-3 black-box productions a year, provides the opportunity for intensive study in performance, design and theatre arts that prepares students for graduate school or the professional world. Contact: Nadine Niforos 813-974-1739; nniforos@usf.edu theatreanddance.arts.usf.edu UNIVERSITY OF SOUTHERN INDIANA 8600 University Blvd Evansville, IN 47712 Degrees: BS or BA: Theatre Arts (Performance, Design & Technology); Minor: Music Performance Profile: The department has five fulltime faculty members who actively work in theatre. Facilities include a 299-seat mainstage teaching theatre (four-show season, including one musical) and a 100seat black box (student-produced work). USI manages and partners with New Harmony Theatre, where students gain professional experience and membership in Actors’ Equity’s EMC. Contact: Eric Altheide 812-464-1750; eaaltheide@usi.edu www.usi.edu/liberal-arts/usi-theatre
THE UNIVERSITY OF SOUTHERN MISSISSIPPI Department of Theatre 118 College Dr #5052 Hattiesburg, MS 39406 Degrees: BA: Theatre; BFA: Performance, Design/Technology; MFA: Performance, Directing, Costume Design, Scenic Design, Lighting & Sound Design Profile: The Department of Theatre offers undergraduate major and minor degrees and graduate programs in theatre. The program provides the student with sound theory and intensive practical training as well as opportunities for extensive performance experiences and exposure to visiting professional artists. Scholarship opportunities are available for undergraduate majors. Contact: Sandra Whittington (Undergraduate); Erin Sessions (Graduate) 601-266-4161; Sandra.Whittington@usm.edu 601-266-6877; Erin.Sessions@usm.edu www.usm.edu/theatre UNIVERSITY OF TENNESSEE CHATTANOOGA Department of Performing Arts Theatre Division 615 McCallie Ave Chattanooga, TN 37403 Degrees: BA: Theatre Profile: Located in the beautiful city of Chattanooga, UTC Theatre offers students an opportunity to work closely with faculty and staff in fully equipped shops and performance facilities in an active, challenging, hands-on theatre program within the context of a liberal arts education. Our school is NASTaccredited. Contact: Steve Ray 423-425-4374; Steve-Ray@utc.edu www.utc.edu/theatre
UNIVERSITY OF VIRGINIA Department of Drama 109 Culbreth Rd Charlottesville, VA 22903 Degrees: BA: Drama; MFA: Acting, Lighting Design, Costume Design & Technology, Scenic Design & Technical Production; Minor: Dance, Drama Profile: Our undergraduate and graduate students learn from accomplished faculty and guest artists, as well as experience hands-on learning in our mainstage productions and dance concerts in our state-of-the-art facilities. Many of our MFA students gain professional experience working with Heritage Theatre Festival and Virginia Repertory Theatre. Contact: Colleen Kelly 434-924-3326; drama@virginia.edu drama.virginia.edu UNIVERSITY OF WEST FLORIDA Theatre Department 11000 University Pkwy Pensacola, FL 32514 Degrees: BA: Acting, Performance Studies, Design & Technology; BFA: Musical Theatre
UNIVERSITY OF TENNESSEE KNOXVILLE Department of Theatre 206 McClung Tower Knoxville, TN 37996 Degrees: BA: Theatre (Acting, Design & Technology, General); MFA: Acting, Costume Design, Lighting Design, Scene Design, Sound & Media Design Profile: The department is affiliated with a LORT (professional) theatre, the Clarence Brown Theatre Company. Contact: Terry Weber 865-974-6011; tweber@utk.edu www.utk.edu
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2020 SETC College, University Profile: The UWF Theatre Department is an undergraduate-only program. Students work closely in classes and on the stage with faculty who provide training and experience to accelerate students to the next level. The quickly growing program affords the opportunity to hone your craft with industry professionals. Contact: Charles Houghton 850-474-2149; choughton@uwf.edu www.uwf.edu/theatre UNIVERSITY OF WEST GEORGIA Department of Theatre Martha Munro and Old Auditorium 1600 Maple St Carrollton, GA 30118 Degrees: BA: Theatre; BFA: Theatre (Acting, Design/Technology); BIS: Film (Performance, Design/Production) Profile: The UWG Theatre Department trains and inspires students in all areas of theatre arts. Our accomplished faculty offers students a professional and supportive environment with outstanding facilities, technology and opportunities. Students regularly perform, design, manage and devise productions. The program often
employs professional guest artists and has been NAST-accredited since 2003. Contact: Shelly Elman 678-839-4700; theatre@westga.edu www.westga.edu/theatre VALDOSTA STATE UNIVERSITY 1500 N Patterson St Valdosta, GA 31698 Degrees: BFA: Theatre (Performance, Production, Musical Theatre, Theatre Management), Dance Profile: Our NAST-accredited program has a six-production season and produces Peach State Summer Theatre, “The Official Musical Theatre of the State of Georgia.” Scholarships are available; auditions/ interviews are in early spring. Contact: Jacque Wheeler 229-253-2914; jwheeler@valdosta.edu www.valdosta.edu VILLANOVA UNIVERSITY 800 E Lancaster Ave Villanova, PA 19085 Degrees: MA: Theatre Profile: Our flexible, comprehensive degree program prepares students from a variety of disciplines to succeed as directors, playwrights, dramaturgs, performers and educators. The comprehensive MA can be completed in two years full-time or at your own pace as a part-time student. Scholarships and assistantships are available to qualified applicants. Contact: Program Coordinator 610-519-4760 kevin.esmond@villanova.edu theatre.villanova.edu VIRGINIA COMMONWEALTH UNIVERSITY 922 Park Ave, PO Box 842524 Richmond, VA 23284 Degrees: BA: Theatre; BFA: Performance, Scene Design, Lighting Design, Costume D e s i g n , S t a g e M a n a g e m e n t ; M FA : Pedagogy, Scene Design, Costume Design Profile: The theatre program at VCU offers pre-professional training in a liberal arts setting with highly qualified faculty and staff working professionally in their field. Contact: Bonnie McCoy 804-828-1923; bsmccoy@vcu.edu arts.vcu.edu/theatre VIRGINIA TECH School of Performing Arts Department of Theatre 250 Henderson Hall E (0141) Blacksburg, VA 24061
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Degrees: BA: Theatre Arts (Performance, Design/Tech, Cinema Studies/Production, General); MFA: Theatre Arts (Directing & Public Dialogue, Stage Management, Costume Design, Lighting Design, Scene Design, Props Design, Technical Direction, Arts Leadership) Profile: Uncommon experiences and unexpected opportunities await you in the beautiful Blue Ridge Mountains. Nationally recognized faculty and professional ties help make us a highly successful and innovative theatre program rooted in the liberal arts tradition. Students reap the benefits of a small, close-knit department within a large, comprehensive university. Contact: Natasha Staley 540-231-5335; theatreandcinema@vt.edu www.performingarts.vt.edu WAKE FOREST UNIVERSITY Box 7264 Reynolda Station Winston-Salem, NC 27109 Degrees: BA: Theatre Profile: With high academic standards, professional faculty and staff, numerous guest artists, exceptional production values, numerous production opportunities and a low student-teacher ratio, WFU equips theatre and dance students for future success in theatre or another profession. Study abroad, interdisciplinary programs and multiple major/minor courses of study offer additional value. Contact: Nina Lucas 336-758-5294; theatre@wfu.edu www.wfu.edu/theatre WAYNE STATE UNIVERSITY Maggie Allesee Department of Theatre and Dance 4841 Cass Ave Suite 3226 Detroit, MI 48202 Degrees: BA: Theatre; BS: Dance; BFA: Acting, Dance, Design & Technology; MFA: Performance, Scenic Design, Costume Design, Lighting Design, Theatre Management, Stage Management; MA: Arts Administration, Theatre & Dance Pedagogy Profile: Professional faculty, new stateof-the-art production and performance facilities, eight rehearsal/dance studios, four performance venues, scholarships including in-state tuition, talent and housing awards, and graduate stipends. Comprehensive, hands-on training with 19 productions. Interact with guest directors, choreographers, renowned alumni and artists in Detroit’s vibrant art scene and five Broadway touring theatres.
& Training Program Directory Contact: 313-577-3508 theatreanddance.wayne.edu WEST VIRGINIA UNIVERSITY School of Theatre & Dance Creative Arts Center PO Box 6111 Morgantown, WV 26506 Degrees: BA: Theatre; BFA: Theatre (Acting, Design & Technology, Puppetry/ Creative Dramatics); MFA: Theatre (Acting, Costume Design, Lighting Design, Scene Design); Minor: Dance, Theatre Profile: Fully NAST-accredited, WVU offers undergraduate and graduate training in acting, theatre studies and design and technology with a challenging production season that includes theatre, opera, musical theatre and dance. The faculty members are dedicated industry professionals teaching a rigorous curriculum in modern and wellequipped facilities. Contact: Joshua B. Williamson 304-293-2020; theatre@mail.wvu.edu theatre.wvu.edu WEST VIRGINIA WESLEYAN COLLEGE 59 College Ave Buckhannon, WV 26201 Degrees: BA: Musical Theatre, Theatre Arts (Acting/Directing, Technical Theatre/ Design, Pre-Drama Therapy); MBA: Arts Administration/Theatre Profile: Freshmen regularly perform on the mainstage. We offer personalized classroom instruction, and a major emphasis on marketing skills ensures that our graduates have an edge. Contact: Thomas Schoffler 304-473-8810; schoffler_t@wvwc.edu www.wvwc.edu WESTERN CAROLINA UNIVERSITY School of Stage and Screen 389 Centennial Drive, Belk 278 Cullowhee, NC 28723 Degrees: BA: Stage and Screen (General Theatre); BFA: Theatre (Acting, Musical Theatre, Entertainment & Design Technology), Film and Television Production Profile: At WCU, immerse yourself in dynamic academic programs that offer a variety of undergraduate degree concentrations and minors. You’ll combine your chosen discipline’s concepts and theories with hands-on experience, both inside and outside the classroom, through faculty-student collaborations, internships, cooperative work experiences and productions – both onstage and in film.
Contact: Jayme McGhan 828-227-7491; sas@wcu.edu stageandscreen.wcu.edu WESTERN ILLINOIS UNIVERSITY Department of Theatre and Dance 101 Browne Hall Macomb, IL 61455 Degrees: BA: Theatre (Performance, Production/Design); BFA: Musical Theatre; MFA: Acting, Scenic Design, Lighting Design, Costume Design; Minors: Dance, Theatre, Stage Combat Profile: WIU creates 15-20 productions a year. Our liberal arts and pre-professional programs are led by dedicated and experienced faculty in acting, movement, stage combat, dance, design, management and production (fully NAST-accredited). WIU serves approximately 10,000 students at its Macomb, IL, campus. Acting and Directing MFAs recruiting for 2020. Contact: 309-298-1543; theatre@wiu.edu www.wiu.edu/cofac/theatre WESTERN KENTUCKY UNIVERSITY Department of Theatre & Dance 1906 College Heights Blvd #71086 Bowling Green, KY 42101-1086 Degrees: BA: Theatre, Dance; BFA: Performing Arts (Acting, Musical Theatre, Theatre Design and Technology) Profile: WKU’s Department of Theatre & Dance offers conservatory-style training in a liberal arts environment. Contact: David Young 270-745-5845; theatreanddance@wku.edu www.wku.edu/theatre-and-dance
Scholarships are awarded annually based on audition/portfolio review. Contact: Daniel Gordon 803-323-2287; theatredance@winthrop.edu www.winthrop.edu/cvpa/theatredance THE YORK THEATRE Musical Theatre Training Program 619 Lexington Ave New York, NY 10022 Degrees: Winter Intensive for College Students; Summer Intensive for 6th to 12th Grade Students Profile: Off-Broadway’s York Theatre company offers a Musical Theatre Training Program drawing from its vast network of connections to NYC’s most successful theatre artists as teachers and guest artists. We offer the unique opportunity of classes and showcase performances on an actual off-Broadway stage near the heart of NYC’s theatre district. Contact: Michael Unger 212-935-5824 x220 munger@yorktheatre.org www.yorktheatre.org
WILKES UNIVERSITY 84 W South St Wilkes-Barre, PA 18766 Contact: Joseph Dawson 570-408-4431; joseph.dawson@wilkes.edu www.wilkes.edu WINTHROP UNIVERSITY Department of Theatre and Dance 115 Johnson Hall Rock Hill, SC 29733 Degrees: BA: Theatre Performance, Theatre Design/Tech, Theatre Education, Dance, Dance Education, Musical Theatre Profile: Fostering students’ aesthetic, intellectual and creative development within the context of a liberal arts education, we afford opportunities for students to develop significant competency in one emphasis in theatre or dance. Production program includes 10-12 shows per year, including musicals.
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Audition for Graduate School Programs in Fall 2020 7th Annual LiNK AUDITIONS & INTERVIEWS November 2020 u Atlanta, GA SETC and USITT partner each fall to bring graduate theatre degree programs together with people considering options for advanced education in one convenient, affordable location, where they can conduct interviews and exchange information. Discover your dream graduate school or recruit talented candidates.
LiNK auditions and interviews will be offered in: acting, directing, arts management, stage management, production management, technical direction, stage technology, scene design, lighting design, lighting technology, costume design, costume technology, sound design, makeup & wig design, media design and properties design.
Schools that recruited at the 2019 LiNK included: Actors Studio Drama School at Pace University Boston University California Institute of the Arts Carnegie Mellon University Florida State University Hollins University Illinois State University Indiana University Long Island University/ Post Campus Louisiana Tech University Mary Baldwin University and American Shakespeare Center Minnesota State University, Mankato Neighborhood Playhouse School of Theatre Northern Illinois University The Ohio State University Penn State University Purdue University
San Diego State University Savannah College of Art and Design Southern Illinois University Southern Methodist University Texas State University Theatre of Arts Touchstone Theatre/ Moravian College The University of Alabama University of Arkansas University of California San Diego University of Cincinnati, College-Conservatory of Music University of Georgia University of Idaho University of Illinois Urbana-Champaign University of Memphis University of Missouri- Kansas City
University of Nebraska University of North Carolina at Chapel Hill University of North Carolina at Greensboro University of North Carolina School of the Arts University of Southern Mississippi University of Tennessee, Knoxville University of Texas at Austin Utah State University Villanova University Virginia Commonwealth University Virginia Tech Wayne State University West Virginia University Western Illinois University Winthrop University Yale School of Drama
More info: www.setc.org/link
2020 SETC College, University & Training Program Directory Published by Southern Theatre Quarterly magazine of the Southeastern Theatre Conference 1175 Revolution Mill Drive, Studio 14 Greensboro, NC 27405 336-272-3645 • info@setc.org • www.setc.org Follow SETC on Facebook, Twitter and Instagram
OPPORTUNITIES FOR STUDENTS THROUGH SETC Apply for a Scholarship SETC awards more than $20,000 in scholarships to individuals pursuing undergraduate and graduate degrees in theatre. SETC’s Scholarship/Awards Fund supports each award. Apply now for 2020-2021 scholarships. More info: www.setc.org/scholarshipsawards
Audition for Graduate or Undergraduate School at the SETC Convention Students seeking admission or transfer to graduate or undergraduate theatre schools can audition and participate in design-tech interviews for multiple programs in one location at the Feb. 26 - March 1 SETC Convention in Louisville, KY. Application deadline is noon ET on Jan. 22, 2020. More info: www.setc.org/auditions/school
Learn About Schools at Education Expo Looking for a school? Meet representatives of more than 100 theatre schools at the Education Expo at the SETC Convention. More info: www.setc.org/ed-expo
(Continued from Page 24) the field. Greater attention from other the-
According to Brunner, some members of
or making too many technical demands for
the League of Resident Theatres (LORT) are
its current staffing level? Are the actions of
atre professionals and faculty who rely on
starting to restructure their technical direc-
other employees – such as designers miss-
the work performed by TDs may be needed
tion and management areas to address this
ing deadlines – putting an undue burden on
to remedy the situation. Fair pay and decent
issue. “Some have moved to hiring more
the TD? Are there other ways an organiza-
working conditions for the technical direc-
than one TD (splitting up responsibilities
tion could support and encourage a TD? Do
tor and other technical theatre staff should
between multiple theatre spaces), or [creat-
they ever provide resources or time off to
be issues of concern to everyone working
ing] co-TD arrangements,” Brunner said.
allow a TD to attend a conference or other
in theatre. It is worth considering: How
“Others have added multiple assistant TDs
professional development opportunities?
much do you depend on the knowledge
in the past 10 years, and [some are] even go-
Matthew Leckenbusch, technical direc-
and skill of your TD? What would you do
ing to assistant and associate TD structures,
tor at Clemson University, recommends
if you couldn’t hire one?
all in an effort to spread the load out more.
that theatres take steps proactively to ad-
So, what can theatres do to help solve
Other LORT theatres have added specialty
dress the issues. “Talk to your TD, and [do]
the problem? “One place to start might be
positions that dedicate expertise to scenery
not wait for there to be a problem,” he said.
a standardization of what is expected of
automation or 3-D drafting.”
“Take them out to lunch. Back them up if
a TD,” said Nunnally. This would make
Even if organizations are not able to add
they make a decision about a show. If the
it more apparent that an organization is
more staff, they can take a careful look at
TD is saying they need help, figure out a
expecting a single individual to perform
the TD’s work schedule and opportunity
way to do that. Start setting up ways for
more than one job and help make a case
for time off and make adjustments. Is the
succession, [such as] having an assistant
for additional hires.
organization producing too many shows
TD to help alleviate the pressure and give your TD a sounding board to work issues
FORMER TD Michael Katz
Retired Technical Director Former TD at Boston area professional
on shows with. Hire one that could possibly step into the position one day.” Recognizing the job’s importance also is key. Day suggested theatres might try altering “where the TD falls on the organi-
theatres, MIT and UMass Boston
zational chart. At universities, they often
If you are no longer a TD at a theatre,
a separate category like maintenance staff.
why did you leave the position? I worked for over 40 years as a TD before retiring. Do you believe there is a shortage of people to fill TD positions? If yes, why do you believe there is a shortage? Yes. Disrespect by producers and department chairs for the role of the TD. That results in low pay and ridiculous hours. If yes, what do you believe should be done to alleviate the shortage? Increase pay. Respect the position for all of the responsibilities it encompasses, including life safety, facility maintenance, artistic and applied engineering responsibilities, scenic construction and management. What advice do you have for young people about this career? It is an amazing and wonderful career, but burnout is high as well. What advice do you have for those educating future TDs? Teach engineering principles, management principles, theatre literature, construction techniques and an understanding of the skills needed by the rest of the production team. What advice do you have for theatres looking to fill TD positions? Good luck. Look for someone who is passionate about the kind of theatre you do, not just the most experienced on-paper candidate. 26 x Southern Theatre x Winter 2020
fall at the bottom of the design staff. Or, in I would be curious to see the TD alongside the production manager or theatre directing faculty.” Respondents to the SETC surveys, whether TDs or people searching for TDs, overwhelmingly cited low pay as a hindrance to recruitment. Raising the pay for the typical TD position would likely improve applicant pools, retention and job satisfaction. However, this can be a challenge for a university theatre department, particularly those whose institution puts a greater emphasis on faculty salaries. TDs in staff positions may have salary levels set in relation to facilities or custodial staff, rather than in relation to theatre department faculty. At the least, concerned colleagues can advocate on behalf of TDs with decision makers, urging them to provide adequate compensation for the important TD position. At many colleges and universities, the
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TD is not a tenure-track position, limiting
that job candidates can take their skills
opportunities for advancement. Nunnally
elsewhere could potentially create change.
suggests that is one area where a change
Looking to the Future
could make a major difference. “I am a
Professors, company managers and
strong advocate for converting academic
current and former TDs made some
staff TD positions to tenure/tenure track”
additional suggestions of steps that could
to improve compensation and to “recognize
be taken to address the shortage:
the TD as an academic equal,” he said. Even
• Companies could pay interns, summer
when a TD position remains classified as a
workers and apprentices enough so that
staff position, tenured and senior faculty
it is possible for them to gain experience
members may be able to exert influence
• The theatre industry, including com-
means, such as revising a job description
mercial producers and professional
or explaining to college administrators the
trade groups, could promote potential
unique skills and contributions of a TD.
technical theatre careers to middle and
Of course, hiring TDs on tenure track
high school students.
lines is only a solution if there is a reason-
• Training programs could put greater
able path to tenure. Brinker noted, “We as
emphasis on technical theatre careers
institutions of theatre have accepted that
rather than focusing primarily on design.
TDs are going to come and go, so we don’t
• Undergraduate students interested in
have to make conditions better for them.
K-12 education could be encouraged to
We’ll just get somebody cheaper after a
gain more training in technical theatre,
few years.” Perhaps if qualified technical
and perhaps a teaching certification in
directors grow even more reluctant to ac-
technical theatre could be developed, so
cept low-wage, burnout positions, more
more high school teachers can execute
theatres will figure out ways to improve compensation and working conditions. Individual TDs can influence their
and teach basic technical theatre skills. • More high schools could be encouraged to have a technical director.
circumstances through frank discussions
• Formal mentoring programs could be
with employers about working hours and
developed to help professionals new to
what can be safely accomplished within
the field develop their skills.
resources, including time. Individuals can
• Career guidance could be provided for
also take their skills elsewhere if the salary
members of underrepresented com-
they are offered is not commensurate with
munities, such as women and people of
the demands of the job. Martell advised
color, who may lack information about
early-career TDs to “choose jobs that stretch your skills, but are otherwise the right size
how to enter the field. • All theatres could be encouraged to
for you right now. You’ll be better off in the
adhere to IATSE contract rules.
long run. Too many employers take advan-
With increased attention to the issues
tage of young TDs by hiring them right out
and more efforts to address known prob-
of school at low pay. If it doesn’t work out,
lems, the technical director drought can
they too often blame the employee, rather
be reversed and skilled TDs can thrive at
than looking inward at the company or the
jobs where they contribute significantly to
job. Additionally, taking bad jobs encour-
the well-being of theatre in this country. n
ages employers to keep posting them.” Of course, not everyone is in a position to be choosy about their employment, and the entire burden of improving working conditions should not fall on people who need a job. However, greater recognition 28 x Southern Theatre x Winter 2020
without going further into debt.
to raise the TD salary through various
J.K. Curry is an associate professor of theatre at Wake Forest University in WinstonSalem, NC, and the chair of SETC’s Publications Committee.
Louisville, Ky
SETC Annual Convention www.setc.org
•
Feb. 26 - March 1, 2020
Connecting You to Opportunities in Theatre Nationwide
Should You Join a Union? Explore When, Why, Which and If One Is Right for You by Stefanie Maiya Lehmann
O
One hundred years ago, in August 1919, war broke out between actors and producers when Actors’ Equity Association declared a strike and actors walked out of their theatres. For 30 days, theatres went dark, scheduled productions were abandoned, and millions of dollars were lost. The public rallied behind their beloved entertainers to the point that restaurants provided free meals, landlords let rent payments slide, cab drivers ferried picketers to strike locations (and were known to kick out strike breakers and producers), and even a dentist got in the act, offering free treatment to striking members. What began with only New York City walkouts soon spread to major cities nationwide and Equity membership exploded from just a few thousand to 14,000. The 1919 “revolt of the actors” is a perfect example
IATSE: For Behind-the-Scenes Workers
of how unionization can bring about major change.
The International Alliance of Theatrical Stage
Each of the previously powerless and isolated actors
Employees, Moving Picture Technicians, Artists and
had been left at the will of the Producing Managers’
Allied Crafts of the United States, Its Territories and
Association, like a single fish subject to larger prey.
Canada (IATSE or The IA) was founded by 17 men
The union, however, gathered all those small fish into
in 1893 as the National Alliance of Theatrical Stage
a large, synergized school of fish that stuck together, swimming in the same direction. Equity reminds its members today that it continuously relies on their collective agreement, saying, “Unions work on a foundation of solidarity.” Theatrical unions are now a major component of the theatre industry nationwide. Just about every type of individual necessary to mount a production has access to some kind of protective trade or union organization. But many young professionals find themselves confused on which unions might be right for them. New entrants to professional theatre may easily feel as if they are wading through an alphabet soup of union acronyms, leaving them asking: “What do they mean? Will they really help me? And how do I even join?” Although many industry organizations can touch a theatrical professional’s career (see sidebar at right), there are four must-know trade associations and unions that represent different groups: behind-thescenes workers, actors, stage managers, directors, choreographers and playwrights: • IATSE. • Actors’ Equity Association. • Stage Directors and Choreographers Society. • And, although not an actual union but rather a professional organization, the Dramatists Guild of America. These organizations have become instrumental forces in the protection, support and direction of the American theatre.
Alphabet Soup: The Industry Labor Acronyms You Should Know Actors’ Equity Association (Equity) Represents actors and stage managers in the live theatrical performance industry. American Federation of Musicians (AFM) Represents musicians for orchestras, backup bands, festivals, clubs, theatres, film, recording and television. American Guild of Musical Artists (AGMA) Represents singers, production personnel and dancers at principal opera, concert and dance companies. American Guild of Variety Artists (AGVA) Represents performers working in variety entertainment, such as circuses, Las Vegas showrooms, cabarets, comedy showcases, dance revues, magic shows, theme park shows, and arena and auditorium extravaganzas. Association of Theatrical Press Agents and Managers, IATSE (ATPAM) Represents company managers, house managers and press agents. Dramatists Guild of America (DGA or the Guild) Represents playwrights, composers and lyricists. International Alliance of Theatrical Stage Employees, Moving Picture Technicians, Artists and Allied Crafts of the United States, Its Territories and Canada (IATSE or The IA) Represents technicians, artisans and craftspersons in the entertainment industry. Screen Actors Guild-American Federation of Television and Radio Artists (SAG-AFTRA) Represents actors and artists working in film, digital, television, commercials, video games and radio. Stage Directors and Choreographers Society (SDC) Represents theatrical directors and choreographers on Broadway, national tours, off-Broadway, and in resident, regional, stock and dinner theatres. United Scenic Artists, Local USA 829, IATSE (USA 829) Represents scenery, costume, lighting, sound and projection designers and craftspeople. Winter 2020 x Southern Theatre x 31
Employees to unite a number of protective
are commonly recognized:
ing nonunion jobs
associations for stagehands that had been
• Association of Theatrical Press Agents
vary by local, often
developed in the 1880s in response to
and Managers.
due to the region
unfair and unsafe treatment. According to
• Theatrical Wardrobe Union.
or market where it
IATSE, in 1893, the highest-paid stagehands
• United Scenic Artists.
is located. For ex-
“worked for about 50 cents a day, if they
• Makeup Artists and Hair Stylists.
ample, a large local
were lucky enough to get paid,” and were
• Treasurers and Ticket Sellers.
will likely insist on
“expected to work around the clock, doing
• Stage Employees.
your working under
whatever was asked of them.”
• Studio Mechanics.
IATSE agreements,
Joseph Oshry
Today, IATSE has more than 140,000
• Motion Picture Projectionists, Opera-
whereas a smaller local may be more flex-
members. They work in all areas of the
tors, Video Technicians and Computer
ible and only require payroll reporting. By
entertainment industry, including theatre,
Technicians.
becoming a member, you agree to obey the
film and television production, trade shows
Each IATSE local is its own independent
union’s overall goals and values, so if a
and exhibitions, broadcasting, concerts, and
entity. This means that the application for
potential job conflicts with or undermines
equipment and construction shops. Virtu-
membership, minimum requirements,
those objectives, you would need to turn
ally every “behind-the-scenes” production
constitution/bylaws, dues structure and
down the work.
job is represented by IATSE.
negotiated labor contracts regarding
Joseph Oshry, a lighting designer based
There are more than 375 IATSE “local”
wages, benefits, work rules and grievance
in central Florida, has been a member of
unions organized by geographic location
procedures all vary from local to local. This
IATSE Local 412 in Sarasota for over 30
and craft jurisdiction. Depending on your
also means that an individual may need
years. When he decided to join the union,
region and your area of production, you
to become a member of multiple IATSE
Oshry says he was attracted by the high-
could have one local or several locals to
locals if they wish to work across a variety
quality work opportunities offered to
consider. The following are just a small
of fields or focuses.
members, with guaranteed pay. “Local 412
sample from the long list of local types that
Limitations and policies on accept-
provided many work opportunities with
Setting the Stage
for a Professional Career
USI.edu/theatre University of Southern Indiana Performing Arts Department eaaltheide@usi.edu 812-465-7047
32 x Southern Theatre x Winter 2020
IATSE Example 1: Local 479, State of Georgia Film Industry
MAJOR BENEFITS: • Collective bargaining guaranteeing minimum rates, calls, overtime provisions and workplace conditions. • Employer-paid pension, annuity, health and welfare fund (medical coverage). • Emergency relief fund. • Disability/life insurance. • Training and scholarship funds.
MEMBERSHIP CATEGORIES: Art Department, Craft Services, Electrical, Rigging, Construction, Props, Greens, Special Effects, Grip, Paint, Plaster, Wardrobe, Set Décor, Sound/Video, and Miscellaneous (Medic, Tutor, etc.). REQUIREMENTS TO JOIN: Prospective new members must have four references, two of which come from members of Local 479 in good standing, as well as have a Local 479 member agree to sponsor the application. In addition, they must complete the application packet and attach a resume, a license showing proof of residency, and any relevant certifications. INITIATION FEES: $100 application fee, plus $1,400 initiation fee. ANNUAL MEMBERSHIP DUES: $68 quarterly. Working dues: 3% of salary.
IATSE Example 2: Local 122, San Diego and Imperial Counties Stage Employees MEMBERSHIP CATEGORIES: Audio, A/V, Carpentry, Electrics and Rigging. REQUIREMENTS TO JOIN: Although “cold applications” may be submitted, the recommended path to membership is to first sign up with Local 122 to be added to the call list. This automatically enters a stagehand in the Pre-Apprentice Program. Once the required hours are met, the Pre-Apprentice takes the Apprenticeship exam. If that exam is passed, the individual becomes an Apprentice member. Six months prior to the completion of the three-year Apprenticeship period, the member is invited to take the Journeyman exam, although it is possible to petition to take the exam early. Applicants must pass the Journeyman exam with a score of over 70%. If Pre-Apprentices show exceptional promise, they may be “invited” into membership early. INITIATION FEES: $1,000 initiation fee. ANNUAL MEMBERSHIP DUES: $65 quarterly. Working dues: 4% of gross salary.
Collaborate. Create. Contribute. LEE NEIBERT (864) 503-5987 LNEIBERT@USCUPSTATE.EDU WWW.USCUPSTATE.EDU/THEATRE Winter 2020 x Southern Theatre x 33
decent pay and continues to do so,” he
He notes that “829’s leadership is ex-
the nebulous “unbecoming conduct,” and
said. In addition, he valued the ability to
tremely helpful in providing information
requirements that actors pay for their own
learn from veteran professional stagehands,
regarding contract negotiation. The local’s
costumes were standard practices. Eventu-
saying, “Working with a local union pro-
concern is that a member candidate be
ally, the unfair compensation, uncontrolled
vides educational opportunities as well as
able to generate work in approved contract
scheduling demands and unsafe working
work.”
scenarios. This helps keep pension contri-
conditions that actors were subject to be-
butions coming in and lowers the overall
came untenable and, in 1913, a small group
costs of health insurance.”
of 112 actors met and founded Actors’ Eq-
The union also provides an opportunity for networking and camaraderie with others in the field, which helps avoid feelings
Joshua Davenport, a lighting specialist
uity Association. Today, Equity negotiates
of isolation, Oshry said: “It’s great to know
based in New York City and a younger
compensation and working conditions and
one is not alone in a big industry: to be one
member of IATSE who is affiliated with
provides a range of member benefits for
of a voice of many for the betterment of all.”
the organization’s Associated Crafts and
over 51,000 professional actors and stage managers nationwide.
Oshry also is a 28-year member of an-
Technicians (ACT), says “the most sig-
other IATSE affiliate, United Scenic Artists
nificant benefits to membership are edu-
Equity has more than 40 national and re-
(also known as Local USA 829), which is
cational aspects and devotion to safety. I’m
gional contracts covering work performed
dedicated to the protection of designers,
never expected to take a risk to get the job
as a principal actor, chorus member or stage
artists, craftspeople and department coor-
done, and there are enough people for the
manager. The contracts aim to protect mem-
dinators. “The decision [to join] was made
task.”
bers’ financial and personal well-being.
in order to allow me access to potential
Actors’ Equity Association (Equity)
The first rule on the back side of a
work opportunities that regularly employ
For an actor in the early 1900s, harsh
member’s Equity card is: “Under no cir-
USA designers,” Oshry said. “My affiliation
working conditions and exploitation by
cumstances may you rehearse or perform in
with 829 has provided work in situations
producers were a part of daily life. Un-
any company without a properly executed
where I wouldn’t otherwise be considered
paid workdays, no holidays, steep fines
and signed Equity contract.” This strict rule
qualified.”
for anything from talking too loudly to
is often a deterrent for young professionals
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34 x Southern Theatre x Winter 2020
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ASSOCIATE DEGREE PROGRAMS IN:
ACTING MUSICAL THEATRE FILMMAKING
Jacqueline Springfield
considering union
auditions, protection from bad work con-
health and pension
membership. When
ditions and membership discounts for
benefits, and vari-
a young profession-
entertainment and travel.”
ous employment
al opens the door to
Jayson T. Waddell, a stage manager
protections, which
the opportunities
based in Atlanta who also is a seven-year
are negotiated and
provided by Equi-
member of Equity, says he particularly
administered via
ty, the door to the
appreciates the many protections afforded
nine collectively
large pool of non-
by the union. “Having a guaranteed day
bargained employ-
union jobs closes.
off, good pay for good work, and know-
ment agreements
with over 1,000 employers nationwide.
Marisa Levy
It is worth noting,
ing that the cost of living increase is in the
however, that nonunion venues such as
books is always deeply comforting,” he
According to Marisa Levy, SDC’s associ-
universities, nonprofit community theatres
said. In addition, he said, “it feels nice to
ate director of member services, the union’s
and nonprofit groups operating within
be part of a group of people who are all
mission is “to foster a national community
an educational or community framework
focused on common goals – the view that
of professional stage directors and choreog-
are able to apply for special Guest Artist
the individual does better when the group
raphers by protecting the rights, health and
or Special Appearance Agreements so
does better.”
livelihoods of all our members; to facilitate
that they may hire a limited number
Stage Directors and
the exchange of ideas, information and
of union actors under special contract
Choreographers Society (SDC)
opportunities, while educating the current
terms.
Founded in 1959, the Stage Directors and
and future generations about the role of di-
Jacqueline Springfield, a New York-
Choreographers Society is a theatre union
rectors and choreographers; and to provide
based actress and voice/speech instructor,
that provides representation for more than
effective administrative, negotiating and
says the most significant benefit she has
4,300 stage directors and choreographers
contractual support.”
seen from her seven-year membership in
across America. SDC has established
SDC also is dedicated to preserving the
Equity is “having access to union-only
minimum standards for compensation,
rights of members to own their creative
Capture your horizon BFA Theatre Arts Education BFA Theatre Arts BA Theatre Arts
www.theatredance.ecu.edu 36 x Southern Theatre x Winter 2020
The Three Musketeers 2018-19 Season
Actors’ Equity Association
MAJOR BENEFITS: • Equitable salary and job security standards. • Access to pension and health plans. • Equity-enforced work rules for safety, sanitation, exposure, rehearsal commitment, media promotion and publicity. • Wage and benefit bonds to guarantee salaries and benefits from employers. • Audition and exclusive notice board access.
MEMBERSHIP CATEGORIES: Principal, Chorus and Stage Manager. REQUIREMENTS TO JOIN: There are three pathways: • Join while employed under a valid Equity contract. • Join through membership in a sister union (e.g., Screen Actors Guild-American Federation of Television and Radio Artists (SAG-AFTRA), American Guild of Musical Artists (AGMA) or American Guild of Variety Artists (AGVA), where you have held membership for at least a year and have worked as a performer under one principal contract, under one “under-five” contract or under three extra contracts. • Join by earning points in the Equity Membership Candidate Program (EMC). After gaining work at a participating theatre and payment of a $200 nonrefundable registration fee, paperwork can be submitted for the EMC Program. Actors and stage managers must complete 25 weeks of EMC creditable work. Upon completion of the program, candidates have five years in which they are eligible to get their Equity card. INITIATION FEES: Initiation fee of $1,700 must be paid in full within two years. ANNUAL MEMBERSHIP DUES: Basic dues of $86 are paid twice a year, in May and November. Working dues of 2.5% (effective 11/2019) of your salary are automatically deducted from your paycheck by your employer on your behalf.
products. In 1972, the union secured the
choreographers’ work.
agreements with SDC. Therefore, SDC
first “property rights clause” in a contrac-
SDC’s contracts include options for
members are able to work with any theatre
tual agreement, designed to protect the
participation with theatres and produc-
or producer that is willing to sign a contract.
intellectual property rights of directors’ and
ers that do not have collective bargaining
Pirronne Yousefzadeh, a theatre director
• Hone your craft as an actor • Serious musical theatre “triple-threat” training in acting, voice and dance • Learn the business of the Biz • Sink your teeth into production design and management skills • Enjoy master classes and coaching taught by agents and industry professionals • Production and performance opportunities from day one
FOR MORE INFORMATION: Dean College — School of the Arts 99 Main Street, Franklin, MA 02038 1-877-TRY-DEAN • dean.edu/arts
Winter 2020 x Southern Theatre x 37
and the associate artistic director/director
As Alley transi-
of engagement at Geva Theatre Center in
tioned from a ca-
Rochester, NY, has been a member of SDC
reer as an actress
since 2016. “Beyond the invaluable sense
to working as a
of protection the union offers in regards to
teacher, director and
my livelihood, wages and health insurance,
choreographer, she
SDC truly fosters a sense of community
sought out a union
and the open exchange of ideas through
that would match
countless outlets for artistic development,”
her career goals and
OFFERING
she said. “Moreover, in these ever-changing
“support those of us on the other side of the
General BA–Performance/Design/Production and BFA–Musical Theatre
times, SDC remains in constant dialogue
table.” She also notes the value of having
with the issues of our cultural moment and
an advocate for your vocation, explaining,
continually advances the values of equity,
“Because it is often hard to understand
diversity and inclusion.”
what we as directors and choreographers
PARTICIPATE IN
Over 300 opportunities each year as a writer, actor, technician, designer, running crew, stage manager, dramaturge, or director 5 fully mounted annual productions, numerous showcases, 4 year-long touring companies 2 state-of-the-art performance facilities and 3 state-of-the-art production facilities Annual participation in the Kennedy Center American College Theater Festival
uab.edu/cas/theatre
Stacy Alley, head of musical theatre at
do, I appreciate the organization’s efforts
the University of Alabama, decided to join
to not only ‘define’ it but to recognize and
SDC many years ago after attending a panel
defend it.”
discussion led by SDC’s former president
SDC offers two membership levels:
on the benefits of union membership. “At
associate and full member. An associate
this point in my career, the protection SDC
membership provides access to some of the
provides puts me at ease, but the decision
educational opportunities and discounts
to join was initially about a sense of com-
that a full member receives, making it “a
munity and pride in what we do as artists
perfect stepping stone for young profes-
and collaborators,” Alley said.
sionals,” Levy said.
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38 x Southern Theatre x Winter 2020
Stacy Alley
- Sanford Meisner ¾
Stage Directors and Choreographers Society
MAJOR BENEFITS Associate Membership: • Access to fellowship opportunities and other programs. • Access to the SDC Contract Affairs Department. • Access to Actors Federal Credit Union. Full Membership: • Contract protection wherever you work. • Eligibility to participate in the negotiation of collectively bargained agreements. • Ability to qualify for a pension and for coverage under a health plan. • All associate level benefits.
MEMBERSHIP CATEGORIES: Associate and Full Membership. REQUIREMENTS TO JOIN: To apply, submit an application and a current resume. For Full Membership, applicants must provide proof of paid prior engagement as a stage director or choreographer for any theatrical production or for companies organized under Actors’ Equity, American Guild of Variety Artists (AGVA), American Guild of Musical Artists (AGMA), or Screen Actors Guild-American Federation of Television and Radio Artists (SAG-AFTRA). INITIATION FEES: Associate: $325. Full: $2,000. ANNUAL MEMBERSHIP DUES: Associate Annual Dues: $75. Full Annual Dues: $240, plus working dues of 2.5% on all fees and royalties earned under SDC contracts.
AUDITIONS FOR INFORMATION GO TO: norwegiancreativestudios.com
Vastly different. BA | BFA | MA | MFA | PHD theatre.ttu.edu
Winter 2020 x Southern Theatre x 39
Emmanuel Wilson
Sell tickets & classes, manage marketing & members, and everything in between.
Paul Donnelly
Denise Simon
Dramatists Guild (DGA or the Guild)
resources, gatherings to connect with fellow
The Dramatists Guild of America was
writers both locally and digitally, educa-
founded in 1919 as the first and only trade
tional opportunities and the only national
association for American theatre writers.
publication devoted to the business and
The Guild describes itself as a community
craft of playwriting, The Dramatist.
of writers for writers, uniting over 8,000 members nationally and internationally.
Andrea Lepcio, a playwright based in Maine, is a member because “they are dili-
Although the Guild provides some of
gent at protecting my rights. My career has
the same benefits that a union might, it
advanced because of their work to solidify
was purposely formed as a trade associa-
my contracts. I am proud to be among so
tion – not a union. This is because the Guild
many great fellow dramatists. The Dra-
emphasizes copyright ownership – that
matists Guild is a wonderful community.”
playwrights’ work is truly their work. As
Paul Donnelly, a playwright based in
a consequence, the Guild explains, “Play-
Tallahassee, FL, says “the Guild can rep-
wrights are viewed by the law as prop-
resent my interest and concerns far better
erty owners who license the use of their
than any playwright could on their own. I
property, rather than employees entitled
value the Guild’s legal resources and the
to collectively bargain for the conditions
fact that the Guild offers educational op-
of their labor.” Although the Guild does
portunities online to serve those of us who
not provide union benefits, it does work
don’t live in New York.”
as a collective that provides advocacy, assistance and standards.
40 x Southern Theatre x Winter 2020
Eric C. Jones
The support that the Guild provides to dramatists living outside of New York is
“We are making sure that we are the
also important to Eric C. Jones, a librettist
thought leaders on how writers should be
and lyricist in Houston, TX. “When I joined
treated and how writers should treat them-
the Dramatists Guild, I finally found a voice
selves,” said Emmanuel Wilson, director of
that would defend my artistic integrity,” he
membership for the Guild.
said. “This is an organization where I can
Wilson says many playwrights miss out
express my art as a musical theatre librettist
on opportunities by turning down work or,
and lyricist in a state that is not known for
conversely, by accepting opportunities that
original musical theatre writing. The Guild
undervalue them because they don’t have
encourages me to know that I am not alone,
the knowledge centers and support teams
doing what I do and love.”
to make decisions and protect their work.
Wilson says the Guild helps writers
“Our goal is to make sure that writers can
in their quest to strengthen community
write, that they can make a living, that they
and connect to a larger purpose. “You are
can make new and interesting work that
following in the footsteps of every writer
is great for actors and good for directors,”
that has done this before you and will come
Wilson said. “To write without fear.”
after. It’s not a writer alone, it’s a writer in
The Guild’s goal is to provide the tools
a community of other writers that has been
that a playwright needs to thrive. That
building over a hundred years and will
includes providing sample contracts, legal
continue for the next hundred.”
Dramatists Guild of America
MAJOR BENEFITS Associate: • Searchable listing in Member Directory. • Access to sample contracts. • Access to Business Affairs Department. Member: • Searchable DG profile. • Discounted membership to the New Play Exchange. • Access to all associate level benefits.
MEMBERSHIP CATEGORIES: Associate Member and Member. REQUIREMENTS TO JOIN: Associate: Complete the online application. Applicants must have written a full script. Submit the completed script or a program from a reading or workshop. Member: Complete the online application. Applicants must have had a theatre production performed in front of a paying audience or a script published by a recognized publishing/licensing house. The application must include a program, a poster, a review link or a link to the published work. INITIATION FEES: None ANNUAL MEMBERSHIP DUES: Associate: $90. Member: $130. Student Rate: 50% discount on dues while in school.
To Join or Not to Join: That Is the Question Many young professionals find them-
learning opportunities in the profession.”
selves asking, “Should I join?” or “Am
Being in the union doesn’t automatically
I ready to join the union?” The benefits
open doors, she warned: “Membership in
are certainly attractive and many of the
the union doesn’t give someone preferential
work opportunities restricted to union
treatment as far as agents, managers or cast-
membership are exciting. However, part
ing directors are concerned. Industry pro-
of the nature of being exclusive is that you
fessionals are interested in talent and actors
are not available to others. In the case of
who will make their project successful.”
union membership, that means you are not
Rachel Hirshorn-Johnston, an assistant
available to employers who are unwilling
professor of voice and speech at Texas Tech
or unable to contract under your union’s
University, emphasizes the importance
requirements.
of building your resume, experience and
Denise Simon, a New York-based acting
network before joining a union. “Building
coach and author of Parenting in the Spot-
up a body of work, a positive creative repu-
light, How to Raise a Child Star Without Screw-
tation, and a solid relationship with area
ing Them Up, often is called on to consult
casting is really key to getting consistent
with young actors about joining the union.
union contracts,” she said. “If you join the
For actors, Simon says level of experience
union before these elements are in place,
should be the most important factor: “Ac-
you’re asking the theatre to take a risk on
tors need to be skilled, and the best train-
someone they don’t know and pay them
ing comes through working hard, along
union rates.”
with stage and screen experience. There is
Hirshorn-John-
a lot of nonunion work available and, if a
ston also points out
young actor joins too soon, they will miss
the significance of
wonderful learning opportunities.” For
location: “If the city
example, she notes that “gaining experience
or town you live in
in student and independent films, local and
has no professional
community theatre and even web series
theatre available,
adds experience to a resume and provides
and you don’t plan
Rachel HirshornJohnston Winter 2020 x Southern Theatre x 41
on moving, obviously don’t join the union,
want to join if you are still building your
– folks are investing significantly in you
until/unless your area theatres become
resume with nonunion work,” she said.
and your ability to story-tell. You have to
union houses.” Also, if you are new to a re-
“You also may not want to join if you do
make sure they have return on their invest-
gion, you may not be able to compete with
not have representation yet, since you will
ment by taking care of yourself (physically,
other union members who have already
be limited in being able to self-submit for
mentally, emotionally, creatively). It’s a
built relationships or gained recognition
projects. Most of the union breakdowns will
business now.”
in that market, Hirshorn-Johnston noted.
come from agents and managers.”
Making the Call
Davenport, the New York-based light-
However, if you are ready to pursue only
Debates between union and nonunion
ing designer associated with IATSE’s ACT
union work, Equity can open the door to
artists are often as impassioned as the de-
local, urges potential union members to
greater compensation, Springfield said: “I
bates between liberals and conservatives.
“consider the cost of joining versus the
have worked less since becoming a member
In deciding whether union membership
benefits of membership. Do your research
of both unions (Equity, SAG-AFTRA), but
is for you, consider where and for whom
and have enough contacts to keep yourself
I am able to audition for and book much
you want to work, opportunities for union
employed, and be willing to learn.”
more lucrative acting work.”
work in your location, and the level of
Waddell, the Atlanta-based stage man-
Hirshorn-Johnston found that beyond
support and benefits you require. Balance
ager who is an Equity member, recom-
the obvious positive career impact, her
that against the costs of joining. In the end,
mends against joining the union for just one
Equity membership impacted her own per-
union membership is a personal choice
job. “If you believe your first union gig will
ception of the responsibilities of a life-long
based on your needs and career goals. n
be a one-off, it might be worth waiting till
artist. “Being a union member, there’s a real
later in your career to join,” he said.
ownership of your craft, a confidence, and a
As an actress and Equity member,
professional responsibility that comes with
Springfield seconds that advice, suggesting
the card,” she said. “You are paid more, get-
that actors should make sure they are ready
ting taken care of professionally, medically,
to pursue only union work. “You might not
creatively. This is a whole new ballgame
Stefanie Maiya Lehmann is business manager of Lincoln Center Concert Halls in New York City and a member of the Southern Theatre Editorial Board.
theatre.indiana.edu Nationally Recognized Faculty Member of URTA & USITT NAST Accredited Professional Summer Theatre
M.F.A.
Acting, Costume Design, Costume Technology, Directing, Dramaturgy, Lighting Design, Playwrighting, Scenic Design, and Theatre Technology
B.F.A.
Little Women (2019), photo by Daniel Meeks
Musical Theatre Contemporary Dance
42 x Southern Theatre x Winter 2020
B.A.
Theatre & Drama IU Midsummer Theatre Camp for High School Students
From High School to College: Be Ready for the First Day of Class by Matthew Miller
W
What do high school students need to know prior to beginning their first year of college as a theatre major? And what types of preparation are many of them not receiving? I set out to answer those questions by posing the following query to more than 300 current college theatre freshmen, recent college graduates, current college faculty, freelance designers and professional actors, with feedback and experiences spanning several decades: Going into your first semester as a freshman theatre major (no matter what year that was), what were a few topics/lessons/skills you wish you would have known? In other words, what do you wish your high school drama program (or drama classes) had taught to prepare you to be a theatre major? Here are some key insights from that survey that should be helpful to both high school students and their teachers: Every Student Entering a College Theatre Program Should Have:
reading plays (not just Shakespeare, which is empha-
• An elevator pitch.
plays) would have been a great help: Strindberg, Ibsen,
At orientation and during the first few days of
sized too much in high school, but classic and modern O’Neill, August Wilson, current playwrights, etc.”
classes, college freshmen are going to meet a lot of
A faculty member stressed: “Students should have
people. Students should be able to tell a professor
a basic knowledge of the arc of history from caveman
or peer who they are, where they are from and why
to spaceman. They don’t need to know everything
they decided to pursue theatre as a major in a few
– they don’t need to be theatre historians – but any
sentences.
major should know what the Theatre of Dionysus is
• A general understanding of the theatre industry.
and the historical movements and timelines of drama
A college professor noted: “I wish my drama theatre was different from academic and professional theatre.” A current student said: “I wish I had known what exactly each department in a company does. As a high schooler, I had no idea that working in theatrical admin (marketing, development, production management, etc.) was even an option!” A graduate student reported that, when she was in high school, she wished that she “knew more information about the business and the many people and positions in it.” s
SUGGESTION FOR HIGH SCHOOL TEACHERS:
The best way for high schoolers to learn about the industry is to talk to people in the industry. If their teachers are connected to professional settings, great! If not, reach out to a local professional company. If your school is in a remote area, contact the nearest company – even if it’s a great distance away – and ask for a Skype session. I find that most people in our industry have a soft spot for passing knowledge on to the next generation. • Knowledge of theatre history and literature. A recent graduate of my program noted: “I think
in Europe.” s
teachers would have specified how my high school
SUGGESTION FOR HIGH SCHOOL TEACHERS:
Create a summer reading list for seniors. Or make it a research-based final semester project for them. When you stress the value of having a broad base in history and literature before entering college to a dedicated soon-to-be theatre major – and put the onus on them to study it – you will set them on a trajectory for success.
Actors Should Know How to: • Find appropriate audition material. By the time freshmen get to fall mainstage auditions, faculty have been through audition season for admission to their program and have seen every cliché monologue and 16 bars ever used. Be unique. Try to find underutilized monologues and music that show you’ve done some research. Be sure the piece is appropriate for you and pay attention to the director’s instructions, if any, regarding choice of material. • Use basic acting skills. These include objectives, actions, characterization,
Opposite Page: Whether they act or work behind the scenes in high school plays, students need help from teachers to be ready for collegelevel productions. At left: University of Alabama students Desirée Wilkins, Cindy Spitko, Melaina Corey Rairamo, Anne Dillon Loflin and Joelle Gill (left to right) appear in the school's November 2018 production of Little Women, book by Allan Knee, music by Jason Howland and lyrics by Mindi Dickstein, based on the novel by Louisa May Alcott. The play was directed by Elizabeth Kirkland, scenic design was by Jordan Bohl, lighting design was by Therrin J. Eber and costume design was by Andrew L. Haueter, all of whom were MFA candidates at the time of the production. Photo by Porfirio Solorzano.
motivations, positions, basic movement and vocal work. One actor who has been out of school a few years wrote: “One thing I wish I had a stronger grasp on is the basics. In high school, they didn’t teach us Winter 2020 x Southern Theatre x 45
those things. We just learned choreography
body, pace, mood, feel). This role-play will
is an expectation that they’ve already
and music, and if you were good, you were
greatly enhance student actors’ abilities to
built some scenery and hung some lights.
good. If you weren’t, you weren’t. This was
land roles.
Students should know the basics of how
similar with the acting. If you knew how
Design/Tech & Stage Management Students Should Know:
to read scale; the industry’s drawing and
to deliver a line and follow basic direction, you were good! If not, you weren’t. We never learned any technique or skills – we just used what we had.” • Do warm-up exercises for the body and the voice. While classes at the college level often period, that’s usually not the case with productions. The cast is expected to show up at call time ready to move/dance/speak.
of stagecraft; essentials of lighting design; basics of QLab, the most common sound design program; and introductory costume design information. Often in high school settings, the parents
safety; tech theatre vocabulary; electricity; how to analyze a script from a production point of view; and the path a production takes from page to stage (departments involved, design process, budgeting a show – even if only learned in paper projects). s
include warm-ups at the top of the class
• The tools, materials and basic methods
drafting standards; shop and backstage
SUGGESTION FOR HIGH SCHOOL
or teachers do all the construction work,
TEACHERS: If you have a tech-minded
and students either just handle the paint-
student, let them take on some leadership during build and backstage time. Have
while someone else executes the set. One
them do more than back-paint flats and
TEACHERS: Acting teachers should send
graduate told me: “How to operate any of
hold things for others. Show them the pro-
students into their final spring semester and
the basic power tools that come with shop
cess (paperwork, drawings, and more). n
senior summer with solid monologue ma-
work is essential. Getting at least a little
terials, which students will need the first
comfortable with the basics will put them
week of school to audition. As part of a class
miles ahead in their Welcome Backstage or
activity, the teacher should play the role of
Stagecraft-type class.”
s
ing or are relegated to holding scenery
SUGGESTION FOR HIGH SCHOOL
director and challenge the student to per-
In other words, if someone is going to
form a monologue in a different way (voice,
college to pursue technical theatre, there
Matthew Miller is an associate professor of technical theatre and head of theatre education at Temple University in Philadelphia, PA, and a freelance designer. He taught high school drama for five years.
OHIO UNIVERSITY THEATER M.F.A. Acting, Directing, Playwriting, Production Design & Technology B.F.A. Performance – Acting, Performance – Musical Theater, Playwriting, Stage Management, Production Design & Technology M.A.
General Theater
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TANTRUM THEATER ARTISTS: TANTRUM THEATER IS OHIO UNIVERSITY’S PROFESSIONAL THEATER Rick and Christian Sordelet, Fight Directors, Broadway Chuck Smith, Resident Director, Goodman Theatre Jason Ardizonne-West, Scenic Designer (Emmy Award: NBC’s Jesus Christ Superstar Live) Robert Barry Fleming, Artistic Director, Actors Theatre of Louisville Marc dela Cruz, Actor, Hamilton on Broadway Melanie Chen Cole, Sound Designer Alan C. Edwards, Lighting Designer Lex Liang, Costume Designer And many others!
www.tantrumtheater.org
Ohio University is an accredited member of the National Association of Schools of Theatre, URTA Member School 46 x Southern Theatre x Winter 2020
Index for Southern Theatre, Volume LX Volume LX, Number 1, Winter 2019
Volume LX, Number 3, Summer 2019
Ross, Zackary Hot off the Press Plays About Social Division LX/1/2019/4
Ross, Zackary Hot off the Press Plays By, For and About Women LX/3/2019/4
Reynolds, Matthew Outside the Box: Design/Tech Solutions Cable Management: Hang Cables with Materials You Already Have LX/1/2019/6-7
deCelle, F. Randy Outside the Box: Design/Tech Solutions Mirror, Mirror on the Set: Which Is the Fairest Alternative to Standard Shrink Mirror Products? LX/3/2019/6-7
Hayes, Scott Digital Branding Lehmann, Stefanie M. To Tour or Not to Tour Geffken, Andy Make Your Best Impression on Potential Is Life on the Road or Open Seas for You? Employers LX/3/2019/8-15 LX/1/2019/8-21 Taylor, Jonathon Dare to Dream as a Designer H. Duke Guthrie Could Theatre Management, Arts Advice from SETC’s 2019 Administration or Arts Leadership Be the Distinguished Designers Career for You? LX/3/2019/16-23 LX/1/2019/24-36 DeTitta, Tom Outdoor Theatre Reynolds, Matthew Theatre Etiquette Historical Dramas, Shakespeare Festivals 10 Principles to Help You Avoid Offstage Weather a Changing Climate Faux Pas LX/3/2019/24-32 LX/1/2019/38-43 Unbylined Index to Volume LIX LX/1/2019/44 Unbylined
2019 SETC College, University & Training Program Directory LX/1/2019/D-1 – D-28
Volume LX, Number 2, Spring 2019 Ross, Zackary Hot off the Press Plays About Human Connections LX/2/2019/4 Carnley, Edith Outside the Box: Design/Tech Solutions Reusable Cast: Create the Look of a Broken Ankle Without ‘Breaking the Bank’ LX/2/2019/6-7 Doty, Kim Betsey Horth Managing an Organization at the Intersection of Creativity and Leadership LX/2/2019/8-14 Jeffers, Gaye
Muriel Miguel Tell Stories That Are Important to You LX/2/2019/16-19, 22-23
Unbylined Celebrating SETC’s 70th in Knoxville LX/2/2019/20-21 Cuomo, Amy Elyzabeth Gregory Wilder Keep Your Eyes on Your Own Work LX/2/2019/24-29 DeTitta, Tom Levi Kreis Embrace What Makes You Different LX/2/2019/30-34 Horth, Betsey Esthere Strom Honored with SETC’s 2019 Suzanne M. Davis Memorial Award LX/2/2019/35 Braem, W. Riley Hop on the Cart Making Theatre the Oily Cart Way LX/2/2019/36-39 Ates, Alex Gadsden, Kenya
2019 SETC Young Scholars Award Winners LX/2/2019/40
48 x Southern Theatre x Winter 2020
Volume LX, Number 4, Fall 2019 Ross, Zackary Hot off the Press Plays Featuring Complex Roles for African American Actresses LX/4/2019/4 Leckenbusch, Matthew Outside the Box: Design/Tech Solutions Need to Create a Curved Hard Cyc? Use an English Wheel as a Roll Bender LX/4/2019/6-7 Wilder, Elyzabeth G. Women's Work Doors Are Opening (Slowly) for Female Playwrights LX/4/2019/8-18 Becker, Becky K. In the South, STEAM Is on the Rise LX/4/2019/20-29 2019 Charles M. Getchell Award King, Laura The Playwright Getchell Award Winner Mark Cornell Explores the Unbreakable Bond of Identical Twins in The Other Half LX/4/2019/30-31,34 Cornell, Mark The Play An excerpt from The Other Half, the 2019 winner of the Charles M. Getchell Award, given by SETC to recognize a worthy new play, is published. The entire play is available for reading online at www.setc.org/the-other-half. LX/4/2019/32-33 St. Peter, Richard Words, Words, Words … Review of The World Only Spins Forward: The Ascent of Angels in America LX/4/2019/36
Southeastern Theatre Conference 1175 Revolution Mill Drive, Studio 14 Greensboro, NC 27405 www.setc.org
Non-Profit Org. US Postage Paid Auto Greensboro, NC Permit No. 744
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Published on Jan 13, 2020
Southern Theatre, Vol. 61, Issue 1
Please enjoy the Winter 2020 edition of Southern Theatre, a premier magazine covering theatre in the Southeastern United States and beyond.
Southern Theatre, Vol. 61, Issue 1
Published on Jan 13, 2020
Please enjoy the Winter 2020 edition of Southern Theatre, a premier magazine covering theatre in the Southeastern United States and beyond.