Southern Theatre, Vol. 64, Issue 1 - Winter 2023

Volume LXIV Number 1 • Winter 2023 • $8.00

INTERNSHIPS

Training Programs Work to Become More Equitable

REPRESENTATION

Historically Excluded Voices Share Their Paths into Tech

SHARED LEADERSHIP

Which Pandemic-Inspired Changes Will Continue?

20

GOING BACK

2 & 3 C IN Tr ol S ai le ID g D nin e, E ir g U : ec P n to ro iv ry gr er am si ty

Inclusive Model Spurs More Diversity and Innovation

Tell your inspiring faculty supportive community empowering opportunities

University of Mary Washington • 1301 College Ave. Fredericksburg, VA 22401 Admissions - www.umw.edu/apply • 800-468-5614 • admit@umw.edu Department of Theatre and Dance • www.umwtheatre.org • 540-654-1243 • theatre@umw.edu

Paradise Blue, City Theatre, Kristi Jan Hoover

Contents

Volume LXIV Number 1 l Winter 2023 l Southern Theatre – Magazine of the Southeastern Theatre Conference

Departments 4 Hot off the Press

When Art and Politics Collide

by Zackary Ross

6 Outside the Box: Design/Tech Solutions Reducing Your Waste Footprint: Nontraditional Fasteners Save Money, Lumber

by Michael O'Nele

66 Words, Words, Words …

Review of Stage Management

Basics: A Primer for Performing Arts Stage Managers (2nd edition)

by Emily Roth, Jonathan Allender- Zivic and Katy McGlaughlin review by Stacy A. Blackburn

68 Index to Volume LXIII

Special Section D-1 2023 SETC College,

University & Training Program Directory and HBCU Directory

Find the perfect school for you in these directories, the first listing SETC member institutions and the second listing HBCUs with theatre offerings. (Special section begins after Page 34.)

Features

8 Internships

Theatre Training Programs Work to Become More Fair and Equitable

by Stefanie Maiya Lehmann 12 An Intern’s Perspective: Brissa Lopez

16 An Intern’s Perspective: Michael DeWhatley

24 Representation

Four Individuals With Historically Excluded Voices Share Their Paths into Technical Theatre

by Jennifer Goff

36 Shared Leadership

Theatres Find An Inclusive Model Spurs More Diversity and Innovation

by Holly L. Derr

52 Pandemic Productions

Which Pandemic-Inspired Changes Will Continue at Theatres, Schools?

by Scott Hayes

Cover This photo from Virginia Commonwealth University’s 2022 production of Roald Dahl’s James and the Giant Peach was chosen from more than 90 submissions as the winner in our annual college and university cover photo contest. Shown in the photo are (top) Paige Smeltzer as Ladahlord, and clockwise from bottom middle, under the umbrella: Brandi Pleasant as James, Kiera McManus as Ladybug, Lukas D’Errico as Grasshopper, Gracie Berneche as Centipede, William Cardozo as Earthworm and Amber Fe Armstrong as Spider. The costume design by Audrey Reed won 1st place in the 2021 SETC Graduate Costume Design Competition. The builders of two of the costumes received awards in the 2022 SETC Design Competition’s Costume Technology category: Lilly Valentin, 1st place for the Grasshopper costume, and Addison Mitchell, 2nd place for the Earthworm costume. Set design is by Jeffrey Hales; lighting design is by Cat Cochran and the production stage manager was Demarco Lumpkin. (Photo by Aaron Sutten; Photoshop work by Garland Gooden; cover design by Deanna Thompson) Winter 2023 x Southern Theatre x 3

When Art and Politics Collide Our regular column on plays that have recently become available for licensing focuses in this issue on works that spotlight the clash of art and politics.

by Zackary Ross

T

here are two contemporary perspectives concerning the role of the artist. The first, often feverishly shouted in Twitter comments, is that artists should keep quiet about politics and “stay in their lane.” The second is that all good art is political, and the act of

making art is inherently political because artists give public voice to their privately held beliefs. Theatre literature is filled with the second perspective, works that feature a clash of ideals, where personal goals and values slam against public sentiment and characters are left to navigate the tumultuous waters between their private lives and the society to which they belong. What follows is a collection of new plays that prominently feature this clash of art and politics. To develop the following list of suggested titles, we surveyed major play publishers’ offerings during the last few months. Following each description, you’ll find information about the cast breakdown and a referral to the publisher who holds the rights.

Are You Now or Have You Ever Been ...,

(a producer), his new wife (a former

Follow Me to Nellie’s,

by Carlyle Brown

dancer), their daughter, their niece and a

by Dominique Morisseau

Famed poet Langston Hughes has

few family friends. As the meal is eaten,

Nellie Jackson operates a brothel in

been called to testify before the House

the group discusses the worlds of dance,

Natchez, MS, that is home to both Na

Un-American Activities Committee on the

art and politics, the very nature of America

Rose, a vocalist in a traveling blues band,

charges of communism leveled by Sen.

and how we as a country are perceived

and Ossie Brown, a freedom fighter

Joseph McCarthy. In the late-night hours

abroad.

seeking to secretly register black voters

on the eve of his testimony, Hughes begins

Cast breakdown: 6 women (any ethnicity);

amidst the hostile segregation policies of

to write a poem begging his audience not

1 man (any ethnicity)

the South. In this early work from one of

to abandon him despite the confession

Publisher: Broadway Play Publishing, Inc.

America’s most celebrated contemporary

he intends to deliver. This searing work

www.broadwayplaypub.com

playwrights, the author presents a poi-

of fiction celebrates Hughes’ poetry and

gnant look at the clash of art, politics and

literary activism, examining one of the

Alabama Story, by Kenneth Jones

the dreams of the individual as they

most iconic clashes between art and politics

It is 1959 in Montgomery, AL, and a new

come into stark conflict with the socio-

ever known.

children’s book about a fuzzy white rabbit

political landscape of Mississippi in

Cast breakdown: 6 men (one Black/African

marrying a fuzzy black rabbit is stirring up

the 1950s.

descent; 5 white/European descent)

all sorts of political controversy. Amidst the

Cast breakdown: 5 women (Black/African

Publisher: Dramatists Play Service, Inc.

racial divide, two childhood friends – an

descent); 3 men (2 Black/African descent,

www.dramatists.com

African American man and a white woman

1 white/European descent)

of means – reconnect as adults and provide

Publisher: Concord Theatricals

The Michaels, by Richard Nelson

a compelling counterpoint to the play,

www.concordtheatricals.com n

Known best for his Apple Family Plays,

which is inspired by true events.

Richard Nelson is a playwright who

Cast breakdown: 2 women (white/

seeks to capture a snapshot in time in the

European descent); 4 men (1 Black/

lives of a single family – in this case, The

African descent, 3 white/European

Michaels of Rhinebeck, NY. Rose Michael,

descent)

a celebrated choreographer, has prepared a

Publisher: Dramatists Play Service, Inc.

meal to share with her estranged husband

www.dramatists.com

4 x Southern Theatre x Winter 2023

Zackary Ross (he/him) is an assistant professor of theatre and the arts administration program director at Bellarmine University in Louisville, KY. He is a member of the Southern Theatre Editorial Board.

Theatre s o u t h e r n

EDITOR

Deanna Thompson

From Fromthe theSETC SETCPresident President…

SETC EXECUTIVE DIRECTOR

Toni Simmons Henson SETC EXECUTIVE DIRECTOR EMERITUS

Betsey Horth ADVERTISING

Clay Thornton, clay@setc.org BUSINESS & ADVERTISING OFFICE

Southeastern Theatre Conference 5710 W. Gate City Blvd., Suite K, Box 186 Greensboro, NC 27407 336-265-6148 PUBLICATIONS COMMITTEE

Laura King, Chair, Independent Theatre Artist (GA) Becky Becker, Clemson University (SC) Jennifer Goff, Centre College (KY) Gaye Jeffers, University of Tennessee at Chattanooga Ricky Ramón, Howard University (DC) Chalethia Williams, Miles College (AL) EDITORIAL BOARD

Tom Alsip, University of New Hampshire Keith Arthur Bolden, Spelman College (GA) Amy Cuomo, University of West Georgia F. Randy deCelle, University of Alabama Kristopher Geddie, Venice Theatre (FL) David Glenn, Samford University (AL) Scott Hayes, Liberty University (VA) Edward Journey, Independent Artist/Consultant (AL) Stefanie Maiya Lehmann, Lincoln Center (NY) Sarah McCarroll, Georgia Southern University Tiffany Dupont Novak, Actors Theatre of Louisville (KY) Thomas Rodman, Alabama State University Zackary Ross, Bellarmine University (KY) Jonathon Taylor, East Tennessee State University Chalethia Williams, Miles College (AL) PROOFREADERS

Catherine Clifton, Freelance Copy Editor (NC) Denise Halbach, Independent Theatre Artist (MS) PRINTING

Salem One, Inc., Winston-Salem, 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 three times a year by the Southeastern Theatre Conference, Inc., a nonprofit organization, for its membership and others interested in theatre. Copyright © 2023 by Southeastern Theatre Conference, Inc., 5710 W. Gate City Blvd., Suite K, Box 186, Greensboro, NC 27407. 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; $188 per year, International.

Single copies: $8, plus shipping.

T

This issue of Southern Theatre provides opportunities to consider how we might approach the new year differently through new perspectives on our theatrical training. Winter often brings a time of reflection, and these pages give us the chance to take what was done before and make it better for future theatre-makers.

Both the pandemic and calls for greater diversity and equity have had an impact on theatre internships. Stefanie Maiya Lehmann shares information on what students can expect going forward, based on the results of a survey of professional theatres. Two interns also share their perspectives on the value of internships – and what needs to change, in their opinion.

We also explore representation in theatre, zeroing in on behind-the-scenes roles in tech. Jennifer Goff interviews four individuals with historically excluded voices. They share information on how they paved paths in the tech field – and also provide details on what their jobs entail.

Professionals, professors, and students alike will find helpful information in a story by Scott Hayes, which looks at the world of theatre nearly three years after COVID shut down most live performance. Using comments from a survey of professors and professionals, the story outlines which changes made at the height of the pandemic continue on stage and in classrooms, and which are disappearing.

As professional theatres address both a generational shift and calls to increase their diversity, some are finding benefits from moving to a more inclusive organizational structure. Holly Derr takes readers inside eight theatres that operate under a shared leadership model.

Students who are still searching for the perfect school for their undergraduate or graduate education will find comprehensive help in the center of the magazine in our 2023 SETC College, University & Training Program Directory, which lists all SETC member institutions and provides details on the degrees they offer.

Following that directory, we also include a special section this year spotlighting historically black colleges and universities (HBCUs) with performing arts offerings.

In our regular “Words, Words, Words…” column, Stacey Blackburn reviews Stage Management Basics: A Primer for Performing Arts Stage Managers (2nd edition)

by Emily Roth, Jonathan Allender-Zivic, and Katy McGlaughlin. Zackary Ross provides a sampling of newly available plays that touch on the clash between art and politics in our regular “Hot off the Press” column. Finally, in our “Outside the Box” column, Michael O’Nele shares how nontraditional fasteners can help reduce your shop’s waste footprint.

SETC continues to provide a place for theatre artists to collaborate, coexist, and challenge norms as we focus on progress in the safety of community. Let these stories motivate you to work on excellence in your theatre-making practices with shared knowledge and admiration through 2023. The gratitude and growth that comes with theatrical education can inspire the next generation.

Maegan McNerney Azar (she/her), SETC President Winter 2023 x Southern Theatre x 5

outside

the box DESIGN/ TECH SOLUTIONS

Reducing Your Waste Footprint Nontraditional Fasteners Save Money, Lumber

by Michael O’Nele

W

ith a growing awareness of the environmental impact that typically

results from creating theatre, the artists at the University of Memphis Department of Theatre and Dance have made strides in improved sustainability in recent years.

Examples of these efforts include electronic documentation for stage management, support from the University’s Green Fee grants to upgrade our house lighting to LED fixtures, and costume design graduate students creating near- zero waste costume designs.

Composite staples were used to attach fake turf to homosote for a production of The Wolves at the University of Memphis in February 2022.

As the technical director, I have always tried to reuse materials when possible and

room for error. The crowns of the staples

because they often cause the wood to split

recycle any material that I could. With

occasionally protrude a little bit, but after

and are more time-consuming to attach

the average cost of our lumber doubling

the scenic artists finish, they are not visible.

than pneumatic fasteners.

during the pandemic, we looked at the use

We do still glue the birch facing to the

I previously tested the use of composite

of several composite and nontraditional

frame, as I don’t trust any wall to remain

“finish” nails in place of drywall screws in

fasteners – including composite staples,

structural without glue. When the facing

the construction of flat frames, but found

composite “common” nails, and scrails –

is removed for reuse, the glue causes the

they were too brittle to be trusted. How-

as a way to increase our ability to reuse

thin veneer to delaminate. With the type

ever, I recently tried a different product –

lumber and save money.

of birch ply that we use, only the outer

composite “common” nails – which are

Composite staples for facing,

layer delaminates and remains on the 1x4

stronger and less likely to shear than com-

attaching turf

frame. This allows us to reuse the sheets

posite “finish” nails. These are applied with

While looking for an alternative to the

several times as long as the “ugly” side

a coil nailer. We are now incorporating these

narrow crown staples we normally use to

always faces the frame. We considered this

into our builds to further help in recovering

install our facing (typically ¼" imported

solution successful and purchased a second

materials from our flat frames.

birch plywood), I purchased an Omer 82P

82P stapler.

Scrails for plywood decking

composite stapler and SH/05-55 model

We also used our composite staples to

Another fastener that helps us reuse

composite staples from Raptor Nails. I

attach fake turf to homosote for our produc-

more wood and maintain the speed of

wasn’t sure if the staples would penetrate

tion of The Wolves. My hope was that these

pneumatic construction are scrails, made

the birch plywood, but knowing that we

would hold well for the action of the play

by Fasco. They can be installed with a nail

would find a use for the staplers even if

but make it much easier to pull up the turf

gun and removed, like a screw, with a drill

they did not work with the ¼" birch, we

when it came time to strike. This proved to

or driver. We get the speed of installing with

decided to invest in them.

be true. As a bonus, the composite staples

a nailer and the recycling convenience of

The result of our experiment? The

are far less likely to cause an injury if they

removing them like a screw.

composite staples work beautifully. They

back out during a show. Over the run of

perform best with the crown parallel to the

the show, none of the staples pulled free.

installing 3/4" plywood decking on a plat-

interior grain, because the outer veneer on

Composite ‘common’ nails for

form. We have found that the square-drive

the birch ply is paper thin. We also found

flat frames

scrails are easier to remove than the ones

Scrails are a very good solution for

that you need to take care when attaching

Drywall screws are the most common

with Phillips-head fasteners. We predomi-

these to 1x4 frames since the crown on the

fastener in theatre construction. However, I

nantly use the scrail model SCWC413FPEG

composite staples is ½" wide, leaving little

have found they aren’t ideal for flat frames

11/2" x .113, which fits into our coil siding

6 x Southern Theatre x Winter 2023

Step-by-Step Instructions for Composite Staples

Step 1

Step 2

Step 3

Step 4

Step 1: Acquire Omer 82P and SH/05-55 model composite staples. Step 2: Glue frame and staple with composite fasteners crossing the grain. Step 3: Finish the piece with traditional scenic techniques that hide the staples. Step 4: Peel the facing off, losing the outer veneer but preserving it for future use.

Notes on the Use of Scrails

nailers, but the company has models that fit both coil framing nailers and stick framing

Scrails are installed with pneumatic coil nailers (far left) but can be removed with screw guns (left).

nailers.

How well do composite fasteners hold?

I performed strength tests on three fasteners: composite nails, common nails, and scrails (11/2" long). In the test, I used two fasteners to attach an overhanging board that was 9" long, added a screw to the end, and pulled down using a hanging digital

sticks of 1x4 needed to make a 4'x12' flat, I

scale. To my surprise, the composite nails

can recycle over $30 worth of lumber off of

had the strongest hold, even with some

a disassembled flat. This more than justifies

splitting. One drawback I observed is that

the cost of the fasteners and tools needed

Omer 82P Staple Gun

210.00

they fail without slipping or bending first.

to install them.

DeWalt 66C Coil Nailer

270.00

Bottom line

SH/05-55 composite staples

The metal fasteners slip/bend first (but

Materials and Costs

(5,040)

60.00

at about half the applied weight of the

Introducing new fasteners at the

composite breaking strength), but the joint

University of Memphis has increased

15/8" composite nails

has still failed at that point.

our ability to recycle many materials and

(3,200)

Is the extra cost of composite

ultimately had a positive impact on our

11/2" scrails (2,000)

106.00

construction budget. We also have seen

Stick for framing nailer

If the primary goal is to reduce a shop’s

other benefits. When lumber gets reused,

(100)

waste footprint, then the answer is 100%

metal fastener fragments can become

yes. Looking purely at dollars and cents,

projectiles, and if you use a Saw Stop table

Total cost:

the per-piece cost of the nontraditional

saw, that metal can also trigger the safety

fasteners is higher, but the cost of applica-

mechanism, increasing down time and

tion per scenic unit ends up not being a

adding repair costs. Composite fasteners

lot more than with traditional fasteners.

reduce or eliminate those risks. Finally,

We found that in building a 4'x12' flat (no

composite fasteners benefit anyone build-

doors or windows), composite staples

ing scenery for outdoor theatre as they

combined with scrails increased the cost

never rust. n

fasteners worth it?

99.00 55.00

$800.00

Michael O’Nele has served as the technical director for the University of Memphis Department of Theatre and Dance since 1998. He also has worked as technical director or sound designer at a number of theatres.

of the flat by $1.14, and the combination of composite staples and composite nails

Do you have an idea for an Outside the Box column?

increased the cost by 90 cents. That cost is roughly one-tenth of the cost of a single stick of 1x4 (currently over $11). With three

Email Outside the Box Editor David Glenn at djglenn@samford.edu for information on submission requirements.

Winter 2023 x Southern Theatre x 7

INTERNSHIPS Theatre Training Programs Work to Become More Fair and Equitable

by Stefanie Maiya Lehmann

Photo courtesy of Jobsite Theater

A

At the age of 20, after finishing my first year of college, with one month’s notice, I packed an overstuffed suitcase and hopped on a plane to New York City. I dove headfirst into a summer internship at a dream company where I worked long hours and was solely paid in MetroCards and experience. Those three months were exhausting, but without a doubt, they changed my life and paved the way for my entire career. In exchange for 12 weeks of grueling intern labor, I had doors easily open for me during every summer that followed. I thrice returned as a full-time seasonal employee to the same company that started it all, the same company that hired me as soon as I completed graduate school and has kept me happily employed ever since.

But there is also a dark side to internships. For every positive story like mine, there is a nightmarish tale of unsafe workplace practices and abusive treatment of interns – treatment that would not only be intolerable if it was done to an employee, but also illegal.

Just as importantly, there is an undiscussed story of inequity that is systemic to the internship concept. I was privileged to be able to take an unpaid internship; many cannot afford to do so.

In recent years, theatrical internships have come under fire for those reasons and more. Websites and Facebook pages such as Lift the Curtain called for change during the pandemic, and theatres have begun taking note of the inequity of asking interns to work for free or at very low salaries and to endure “grunt work” rather than benefit from on-the-job learning about theatre.

The pandemic shutdown of live theatre and the related financial challenges further impacted internships, with many theatres scaling back or putting their internship programs on hold.

So, what will students looking for internships find going forward? In the pages that follow, we share the thoughts of company representatives who participated in a Southern Theatre survey, as well as the perspectives of two past interns on their experiences and what needs to change.

Survey on theatre internships

recent times, while 10.8% said their programs have

In summer 2022, Southern Theatre magazine

been put on hold – with most noting the pandemic

reached out to companies in the SETC database with

and related financial issues as the reason. The

a survey on the state of internships. A total of 58

remainder of the companies were evenly divided on

companies that employ interns responded. Of those,

recent changes in their programs, with 21.6% saying

one-third employ 1-3 interns, one-third employ 4-10

their internship programs had decreased in size and

interns and another third employ 11-20 interns each

the same percentage saying their programs had

– with the exception of one single organization that

increased.

employs over 21 interns annually.

Interestingly, concerns about providing adequate

Most of the companies that responded (46%) said

pay and valuable work opportunities to interns

their internship programs have remained the same in

factored into both increases and decreases in

OPPOSITE PAGE: Jobsite Theater in Tampa, FL, is one of the theatres that has moved from an internship program to an apprenticeship program in recent years. Apprentices Maxwell Allen (left) and Chase Reeder (middle) work alongside carpenter Nick Noelte (right) on the first day of load-in for Dracula, presented in fall 2022.

Winter 2023 x Southern Theatre x 9

Global Languages and Theatre Arts Kenn McLaughlin

Erica Berman

during their internship, and check in with

noted, “our internship program was put

their supervisor about them after their

on hold during COVID and has now been

internship is complete,” said Erica Berman

brought back in limited capacity. Because

(she/her), CTM’s director of education.

we want to prioritize being able to pay at

Brevard Music Center/Janiec Opera

least minimum wage to our interns, we are

Company in North Carolina “increased the

hiring fewer.”

stipends our interns are paid by 100% in

Similarly, Stages Theatre in Houston,

2022, and we anticipate another significant

TX, has reduced the number of interns it

increase in 2023,” according to Andrea

hires, revamped its program and adjusted

Boccanfuso (she/her), director of produc-

its pay structure.

tion. “The interns are expected to learn the

“We gave the program more focus, hired

trade by shadowing industry professionals

trained mentors for interns, and hired fewer

and learning/working alongside skilled

total interns with greater accountability for

staff members.”

them – and clearer expectations of them,”

A to Z Theatrical Supply and Service,

said Kenn McLaughlin (he/him), artistic

which provides theatres with services

director at Stages.

ranging from costume rental to scenic

The company also adjusted interns’

design/construction, also has increased

compensation structure to match rates for

its internship opportunities, partly due

similar roles in the company – in essence,

to “a change in our management,” said

less quantity but more quality, a step that

Dylan Bollinger (he/him), manager of the

McLaughlin believes will be essential for

Production Department.

continue.

“Theatres will need to focus their efforts

on emerging professionals as paramount for company growth,” Bollinger said.

equal to the value given – and to pay fairly

“Our interns are brought on as production

for that value,” McLaughlin said. “I think

associates. They work under our lead

internships offered in this way will allow

installers and area specialists on projects.

the field to thrive and grow.”

As a general rule, interns are treated as

their internship programs recently is

10 x Southern Theatre x Winter 2023

“Our new management has a background in education and views bringing

to truly offer the education and experience

Among the theatres that have increased

Murraystate.edu/theatre

Dylan Bollinger

programs. As one company manager

internship programs in the industry to

BA/BS Theatre BA/BS Theatre/Film BA/BS Musical Theatre

Andrea Boccanfuso

full-time temporary employees at our company.”

Children’s Theater of Madison (CTM) in

Many theatre representatives stressed

Wisconsin, which added internships in

the importance of changing the internship

more departments while also working to

model so that interns are paid an adequate

ensure that students truly benefit from the

salary and given jobs that prepare them for

jobs they are assigned.

work in theatre.

“We have made all of our internships

“So many theatres rely on intern power

goal-focused, so interns are able to name

as part of their operations model,” said one

their goals at the top, work toward them

theatre representative who did not want to

School of Theater, Film and Media Arts

THEATER AT TEMPLE Chair & Head of Scenic Design Fred Duer Head of Costume Design Marie Anne Chiment Head of Directing Marcus Giamatti Head of Theater Studies David Ingram Head of Technical Production & Management BFA Andrew Laine Head of Theater Education & Stage Management Matthew Miller Head of Lighting Design and Projections Jason Norris Head of Musical Theater BFA Peter Reynolds Head of Acting Donna Snow Head of Urban Theater & Community Engagement K. Williams-Witherspoon

For more information: (215) 204-3209 or tfma@temple.edu

tfma.temple.edu @templetheaters

BA Theater Studies Acting Directing Design & Production BFA Musical Theater Technical Production & Management BA + M.Ed Theater Education

An Intern’s Perspective Brissa Lopez (she/her) High School Drama Teacher Atlanta, GA, Metro Area How have your internship experiences impacted your life (good and bad)?

I have interned at three top children’s theatres. I was a young first-generation college student excited to work in my field, determined to make ends meet. My low-income grandparents worked extra shifts to provide me with the resources to move to these cities and make a mark for myself. At the time, I thought to myself that I was lucky to be in the room. I ignored the snickers of other interns or employees of the theatre and told myself that I deserved to be there and I wasn’t a token. And I proved that time after time. I excelled in teaching and absorbed everything I heard and saw. I found a way to make ends meet despite not being properly compensated.

Looking back now, I realize how problematic their business model was. These theatres are bringing in interns to teach their summer camps, camps that bring revenue the theatre needs to survive. The labor of these interns is helping to pay the full-time employees and fund the theatre’s programming and shows. Yet their interns aren’t compensated enough to survive. Many have to take on second jobs and/or put their families in difficult financial situations to support them.

At my first internship, a prominent theatre encouraged us to apply for food stamps because they were aware that we wouldn’t be able to survive without them. I didn’t apply, but many of my peers did. I am certain it never crossed their mind the trauma associated with food stamps for their POC interns. At my next internship, the stipend went up, but they didn’t provide housing. The spring before my internship, I took an additional job to save money to be able to live and survive in that expensive city. After graduation, I moved to another city where I still didn’t make enough as an intern/fellow to pay my student loans. Not only did I have to take up an additional job to survive, but I had to ask permission from my theatre because they felt entitled to my time.

At each internship, there was a common theme of not having enough representation. I would advocate and try to bring solutions, and at two out of three internships, I became the problem. I was the intern who couldn’t be satisfied with the status quo and whose white male boss felt threatened by that.

What do you believe the future of internships should be for our industry?

Every person in the theatre industry deserves to be compensated at a livable wage.

If a theatre cannot afford to adequately pay all of their employees, then they need to reassess their business model. And no theatre should feel entitled to their employees’ lives. Yes, theatre is our passion, but it is not healthy for it to be life-consuming.

How can companies better face the equity issue of internships?

If a theatre is relying on unpaid work to survive, they need to reassess their budget.

Any other thoughts you would like to share?

I learned a lot at each theatre, and I’m thankful for the time I spent learning from so many great artists. It is time for theatres to invest in having adequate resources and support for their interns of color. Typically, they come from low-income households and have to jump through more hoops to be in the room and to stay in the room. Interns of color shouldn’t be taken advantage of or ridiculed for advocating for themselves.

As an educator today, I believe in equipping my high school students to ask for what they need. It is our job in the education field to listen and to provide. I know these top children’s theatres believe in putting the needs of children first, but somewhere along the way they have forgotten that the interns they hire were children just a few years prior.

12 x Southern Theatre x Winter 2023

be identified. “Fortunately, the old-school

of the continued value of internship

way of treating interns (especially resident

opportunities.

interns) with overwork and next to no pay

In the United States, the practice of

is dying out and newer, better models are

apprenticeship came over with the settlers.

evolving.”

The concept of an unpaid internship was

Internships: then and now

officially recognized in the 1940s by the U.S.

The concept of internships arguably

Supreme Court, when the court ruled that

can be traced back 4,000 years to ancient

railway workers who were members of a

Egypt. Internships, or apprenticeships, as

training program were not guaranteed pay.

they are commonly called outside of the

The subject went relatively undebated until

United States, were so important to society

the mid-2010s. Following a controversial

and commercial interactions that there are

2013 lawsuit filed by a group of unpaid

references to them in Hammurabi’s Code

interns against Fox Searchlight Pictures,

(circa 1792–1750 BC).

and a judgment referred to often as the

Greek philosopher Aristotle (appren-

“Black Swan” ruling, the U.S. Department

tice to Plato, who was the apprentice of

of Labor (USDOL) changed its formerly

Socrates) wrote about the importance of

rigid six-criteria test to a more loosely

techne and praxis, two key features of intern-

applied, flexible seven-factor test to distin-

ships. Techne is about craftsmanship and

guish employees from interns.

the value of making or doing, as opposed

The test is ultimately aimed at determin-

to intellectual or academic understanding.

ing the “economic reality” of the intern–

Praxis is about combining practice with

employer relationship and whether the

thoughtful reflection. This “‘learning-by-

internship is primarily for the educational

doing” methodology is the cornerstone

benefit of the intern or the financial benefit

BROADWAY BOOK CLUB

7 scripts shipped to your door 4 times a year, curated by leading playwrights

+ special one-TIME curated collections: • COLLEGE STUDENT PACK • EDUCATOR PACK

bwaybookclub.com

Winter 2023 x Southern Theatre x 13

of the employer (Read online at www.DOL.

and hours of work, and clear identifica-

is important that the intern has an advisor

gov: “Fact Sheet #71”).

tion of unpaid or paid status and policies,

actively involved and collaborating with

Although this is the standard reference

such as those related to reimbursement or

the work being done.

for all employees, this seven-factor test

insurance coverage for workplace accidents

Addressing inequity

technically only applies to for-profit com-

and injuries.

The nature of the internship model –

panies, meaning it may not affect interns

In his survey response, Garry Lee

often offering no pay or a stipend – fosters

working for nonprofit theatres. The USDOL

Posey (he/him), founder and executive

systemic issues with equity and access. It

states that “unpaid internships for public

artistic director of the Ensemble Theatre of

can unintentionally create a socio-economic

sector and nonprofit charitable organiza-

Chattanooga (TN), underlined the impor-

divide where students from more finan-

tions, where the intern volunteers without

tance of both intern and employer having

cially stable families or who are already

expectation of compensation, are generally

a clear understanding of their agreement.

benefiting from scholarship support are

permissible.”

Posey identified “actual opportunity vs.

much more likely to feel secure enough to

presumed opportunity” and “clarity of

pursue an internship and thus are more

expectations” as what is most important.

likely to benefit by receiving future employ-

The bottom line from that: Those hoping to get internships need to understand that they can either be paid as an employee,

Many theatre companies with intern-

which is recognized and protected by the

ships – 67.6% of companies that responded

In a 2018 University of Wisconsin-

U.S. Fair Labor Standards Act (FLSA), or

to the survey – work with educational

Madison study of students, 64% of those

be considered an unpaid (or sometimes

institutions to provide on-the-job experi-

responding stated that they would like to

with a small stipend) volunteer, who is not

ence or internship programs. This makes

take an internship but could not. Of those

covered under the same FLSA regulations.

sense because three of the seven USDOL

individuals, 60% indicated they could not

Because of this, it is critical for both

factors consider the relationship of an

because they relied on full-time or part-

interns and employers to formally docu-

intern’s educational program and academic

time jobs to make enough money to afford

ment expectations. This should include a

commitments. For those companies relying

tuition and personal expenses.

detailed job description, including days

on some sort of college credit relationship, it

ment opportunities.

While some have questioned the future

FROM THE AUTHOR OF

Playwriting with Purpose Writing Adaptations and Translations for the Stage

A NEW BOOK

Writing Adaptations and Translations for the Stage is the newest

PERFECT FOR

book from award-winning playwright Jacqueline Goldfinger, co-

INDIVIDUAL OR

authored with Broadway Dramaturg Allison Horsley. It includes writing exercises, case studies, interviews, and more. "This book gives you courage to start writing and keep writing. It looks at adaptations from all angles, while prompting and nurturing your own unique approach. It's for the novice, the experienced, the student, the professor, and everyone in between." -Elena Araoz, Princeton University. Available now where ever books are sold.

14 x Southern Theatre x Winter 2023

CLASSROOM STUDY!

Associate of Applied Arts Degrees

Acting Musical Theatre Filmmaking

KD Conservatory offers Associate Degrees in Acting, Musical Theatre and Filmmaking. KD Conservatory is accredited through NAST. Financial Aid is available for those who qualify.

An Intern’s Perspective Michael DeWhatley (he/him) Ph.D. Candidate in Performance as Public Practice, University of Texas at Austin

Center for Actor Training

2023 SUMMER SHAKESPEARE INTENSIVE May 30 – June 25 2023 Lenox, Mass.

How have your internship experiences impacted your life (good and bad)?

I've had six internships at four theatre companies, including one I took 10 years into my career as part of a requirement for a portfolio in my graduate school program. These internships were deeply practical, perfectly designed for people who think that the only way to learn something is by doing it. They led directly to my first paid jobs in theatre and transitioned into a career that had the kind of stability and compensation that most artists and administrators struggle to find. My internships taught me a great deal about self-advocacy, mentorship and the importance of setting personal and professional boundaries. I learned about being the best production manager I could be, how to interact with actors in a rehearsal room, the delicate power balances of artistic collaborators, and how networking (oh, that most nebulous term) could be a source of joy or despair. However, most of these lessons were not taught to me in a proactive way, but were things I picked up piecemeal as I stumbled (at times very badly) through my beginnings. These experiences worked for me, but they didn't work for many of my peers, and internships need to undergo a process of equitable transformation along with the rest of the theatre industry as we search for ways forward.

What do you believe the future of internships should be for our industry?

As I was making a difficult decision about a summer internship, which promised to be unpleasant and at a theatre company known for rigorously exploiting the energy of its interns, I asked for guidance from a mentor. I clearly remember them saying to me, “Well, you can do anything for three months.” I think the future of our industry has to be the creation of internships that: 1) prioritize opportunities for people from historically marginalized communities, 2) are truly dedicated to the education and training of those people, and 3) provide an atmosphere of explorative joy rather than exploitation commiseration. As our industry reimagines these programs, we should focus on sharing and magnifying the enthusiasm and passion of people who are signing up for these internships, rather than throwing cold water on them.

Olivia Merritt, Summer Shakespeare Intensive, 2022.

Photo by Christina Lane.

How can companies better face the equity issue of internships?

I'm coming into this conversation as a straight, able-bodied, cisgender, white man, so I'm not sure I have the life experience that is best directed to answer this question.

That said, what I have heard in my internship experiences is that compensation, actual mentorship and recruitment strategies need the most transformation, in that order. For internships to be more equitable, they have to provide a living wage for people who are either pausing their academic education or have completed high-level training to do those internships. Full stop. Part of my understanding of equity also involves providing differing and necessary levels of support for people based on where they are in their career journey. This means having mentors who are willing to adapt plans for the season and respectfully work with people who may come into their internships with various levels of knowledge and experience. And of course, recruiting for internships at historically white conferences and job fairs leads to predominantly white candidates.

Learn more at SHAKESPEARE.ORG/ACTOR-TRAINING

or email training@shakespeare.org

16 x Southern Theatre x Winter 2023

Any other thoughts you would like to share?

I know that some people feel that theatre internships only feed more people into a human meat grinder of an industry, but I believe that internships allow theatres to work with the individuals who may be best situated to provide the new perspectives theatres need to transform themselves into more anti-racist and sustainable organizations.

Growing our field means caring for those most excited and ready to join it.

of theatre internships, a number of survey respondents said they expect them to continue as long as theatres work to make internships paying jobs and open the doors to more diversity.

“They will need to make more money – interns no longer have the ability to put their lives on hold to work for the summer for little money,” said Boccanfuso.

Lindsay Schmeling (she/her), resident costume designer and co-intern coordinator

Garry Lee Posey

Lindsay Schmeling

producing artistic director, said.

David M. Jenkins

Todd Davison

a ‘bad idea’ to spend it on … In short, this

at Playhouse on the Square in Memphis,

“[Jobsite] provides access to this field

system, our system, has basically helped

TN, believes theatre internships will con-

with pay, which we hope helps level the

create the makeup of the workforce we

tinue “as long as they are paying. Unpaid

playing field and pays dividends in the

have, and so the only way to really disrupt

labor can never be justified.”

future,” he said. “We’re finding here locally

that is to try to help be part of the solution.”

A theatre working to improve its diver-

that the universities and high school theatre

Jobsite pays hourly wages, “hopefully

sity must ask itself: Is my company’s intern-

programs are not exactly that diverse, and

training a more diverse workforce,” Jenkins

ship program helping or hurting efforts to

so we’re not seeing those folks come out

said.

improve workplace equality?

and into the workforce. We’re also learning

Berman also noted the importance of

One theatre that is working to make a

that folks from historically marginalized

a livable wage in making it possible for

difference in that area is Jobsite Theater

populations do not have access to training

diverse students to pursue internships, say-

in Tampa, FL, which is actively seeking

programs because of economic reasons:

ing she hopes “internships will be provided

candidates from historically marginal-

either no tuition money, or if they have the

with ample funding so that these learning

ized groups, David M. Jenkins (he/him),

ability to cover tuition, theatre is deemed as

opportunities are more accessible.”

vPerformance, Design, and Directing Opportunities on the Mainstage!

vA Diverse Learning Community! vInternational Travel Opportunities! vConference Travel Support!

Berea College Department of Theatre & Film CPO 2148, Berea College Berea, KY 40404

Urinetown: Urinetown: The The Musical!

Musical! April April 2022.

2022. Photo Photo by

by M. M. Meadors Meadors

Winter 2023 x Southern Theatre x 17

George Hamrah (he/him), director

dignity and respect. As our industry begins

internships are usually for a few months,

of production at Orlando Shakespeare

to re-saturate with emerging professionals,

while apprenticeships last a year or more;

Theater, which put its internship program

there’s a concern that theatres will put

interns don’t necessarily have a specific

on hold until it’s clear the pandemic is

budgets over human beings. My company

training program and a mentor, while

over, thinks it’s only a matter of time before

refuses to step backwards and will continue

apprentices do; apprentices have paid

unpaid internships end.

to pay our staff a living wage and provide

experiences often leading to full-time work,

the work-life balance to sustain a staff.”

while interns often are unpaid and have no

theatre jobs at an hourly salary,” Hamrah

What’s in a name, no more grunt

guarantee of a future job; and apprentice

said.

work

programs often lead to a credential, while

“Internships will evolve into entry-level

internships do not.

Todd Davison (he/him), artistic director

Some strongly believe that another key

at Maples Repertory Theatre, an Equity

to fixing internships is to return to the origi-

One surveyed company representative

theatre in Macon, MO, had a similar vision

nal concept of apprentices. Traditionally, an

wrote: “I think we’ve already seen a shift

of internships’ future: “They are a continu-

apprenticeship refers to the assignment of

from internships to apprenticeships, and

ing valuable source of people and training,

a novice to gain in-depth knowledge and

that shift will continue. The days of unpaid

but will be more job-like.”

hands-on experience under the guidance

or hardly paid internships need to come

Meanwhile, Bollinger said he is con-

and direction of an expert. Apprentices

to an end.”

cerned that as the industry emerges from

aren’t meant for quick, surface-level learn-

Jobsite Theater is an example of a theatre

COVID, there may be backsliding to the

ing or to sweep floors and make coffee.

company that has shifted its programs over

“toxic environment” that existed prior to

An apprenticeship is about working on

time from internships to apprenticeships.

COVID: “Specifically low pay, overworking

a vocation side-by-side with veteran

young students, and poor living conditions.

craftspeople.

“We call our interns apprentices,” said Jenkins. “This is an apprentice industry. It

During COVID, I was encouraged by our

Although some companies conflate

always has been. ‘Intern’ carries a stigma,

community taking a stand for adequate

internships and apprenticeships, the

well, several stigmas. I don’t think I need

compensation and being treated with

USDOL says the two terms differ, in that

to tell anyone what those are.”

Act With Purpose

APPLY TODAY: regent.edu/apply

18 x Southern Theatre x Winter 2023

INNOVATE. EXCITE. TRANSFORM. We can only shape art if we understand and embrace the community around us. In the School of Theatre & Dance, experiential education programs like WildWind Performance Lab and The Marfa Intensive amplify a diversity of identities, perspectives, and histories to encourage transformation.

LEARN MORE AT THEATRE.TTU.EDU

TM

Sandra “Sam” Hahn

Ginger Poole

Mandi Broadfoot

At some companies, interns are auto-

interactive theatre for social change, also

matically assigned what is known as “grunt

says internships must be focused on

work.” These are boring, laborious and

meaningful work.

typically undesirable tasks. Jenkins argues

“It is important for students/interns to

that internships should be used for “real

understand the value their work contrib-

on-the-job training, not just ‘go-fering’ or

utes to the program as a whole, not just for

providing cheap manual labor.”

this task, for this week,” Dickinson said.

He notes that apprenticeships at Jobsite

“If a theatre program is to be inspiring

run for at least a season, from September

for its audiences and community, it must

to July. The apprentices work in a specific

inspire all who contribute to its success.

area (producing, scenic, stage management,

Additionally, learning firsthand to appre-

acting) and are assigned a mentor. Starting

ciate teamwork and humility can foster

pay is $15 per hour.

excellent leadership among interns as they

“Due to the size of our company and

move forward in their careers.”

nature of our business, we can’t guarantee

Mentorship and networking

future employment,” he said. “However,

They say it’s not what you know, but

we have certainly advanced many to

who you know. A good internship does

regular work.”

more than simply provide work; it also

Although they still call their programs

builds a valuable network for young

internships, others who responded to the

professionals entering the workforce.

survey also described their programs as

Whether it is providing a single, richly

much more than “go-fering” exercises.

invested mentor or the opportunity to

“[We let] them work in a variety of

mingle in various roles and departments,

areas and take ownership of a project,”

the early relationships formed while an

said Sandra “Sam” Hahn (she/her), tech-

intern can enhance your career.

nical producer for Cumberland County

An internship, Berman said, should

Playhouse in Tennessee. “Our production

provide opportunities to “grow a profes-

interns are given assignments as designers

sional network, observe and work with

for a children’s show.”

professionals … Q&A with local profes-

Like many others, Ginger Poole (she/

sionals … learn industry best practices,

her), producing artistic director at Mill

meet other emerging professionals and

Mountain Theatre in Roanoke, VA, and

collaborate with them, partner with a men-

SETC secretary, believes that theatre

tor to identify internship goals, and receive

internships going forward need to offer

feedback during one-on-one check-ins

“competitive pay, full travel, housing at

and overall support.”

no cost, and true work experience – not grunt work.”

20 x Southern Theatre x Winter 2023

Lyn Dickinson

It is vital to have a “well-trained, experienced staff member with a very

Lyn Dickinson (she/her), executive

positive attitude about the program and

director of Theater Delta, based in North

adequate time to coordinate and supervise

Carolina’s Triangle area, which develops

the intern program,” said Denny Hitchcock

AUBURN UNIVERSITY DEPARTMENT OF THEATRE AND DANCE

CONVERSE CRAFT CREATE The Auburn University Department of Theatre and Dance is dedicated to the education and professional training of theatre artists, scholars, and audiences within a liberal arts environment. We champion the interaction between theory and practice and produce citizen artists who advocate for the arts through their own work in local, national, and international communities.

Photo by Jeff Etheridge

• Fully accredited by the National Association of Schools of Theatre • Scholarship and internship opportunities • State-of-the-art production facilities • Strong alumni network

• • • • •

BFA Design/Technology BFA Performance/Music Theatre BFA Theatre Management BA Theatre Minors in Theatre and Dance

auburnuniversitytheatre.org 334.844.4748

(he/him), executive producer at Circa ‘21

So, there is no question internships

Dinner Playhouse in Rock Island, IL.“I

ultimately lead to jobs. The question is how

will not accept an intern if I don’t believe

internships can become more inclusive.

the person supervising will have the quali-

Like many in the field, Mandi Broadfoot

ties and experience I’ve mentioned.”

(she/her), managing director of Making

In addition to what is learned formally

Light Productions in Tallahassee, FL, envi-

on the job, staff mixers and coffee dates

sions internships opening the door for a

offer a valuable opportunity for interns

more diverse array of students to explore

to learn about the “big picture” of how a

how they might fit into the workings of a

company functions as well as learn what

theatre.

positions might be of interest in the future.

Opening more doors

entrance to the field,” said Broadfoot. “To

when it comes time to look for a full-

allow more voices to be heard, and to pave

time job? When interviewing applicants

the way for employment to creative artists

for staff positions, 86.5% of responding

who might not have had the opportunity

companies said they consider internship

to follow a traditional path into the theatre

experience as “somewhat important” to

profession.” n

to Southern Theatre’s survey came when companies were asked if they have hired individuals who previously interned with

22 x Southern Theatre x Winter 2023

be using them to create more gateways for

So, what is the value of internships

“very important.” The strongest response

utc.edu/theatre

“I hope the future of internships will

their organization. An overwhelming 92% of responding companies said yes.

Stefanie Maiya Lehmann (she/ her) is the Lincoln Center’s associate general manager of performance and campus operations in New York City and a member of the Southern Theatre Editorial Board.

REPRESENTATION Four Individuals with Historically Excluded Voices Share Their Paths into Technical Theatre

by Jennifer Goff

Porfirio Solorzano

How does one measure representation in the theatre?

In 2002, the New York State Council on the Arts released their “Report on the Status of Women: A Limited Engagement” in which they explored primarily the dearth of women playwrights and directors on American stages. (In the seasons studied, women directors topped out at 23% and playwrights or playwriting teams that included women at 20%.)

This report, though certainly not the first of its kind, was a significant touchpoint in early 21st century theatre on the road to recognizing the numerous ways in which a variety of voices and identities have historically been excluded from the theatre.

But representation does not stop with playwrights and directors.

In 2006, The Asian American Performers Action Coalition began their annual tracking of “Ethnic Representation on New York City Stages,” casting a spotlight on not only the plays written and directed, but the roles within those plays, as measures of diversity, difference and equity. Their 10th anniversary report on the 2015-2016 season noted that 36% of roles on Broadway were occupied by minority actors – a record high over the decade.

But representation does not stop with actors.

In 2015, Porsche McGovern published what would become the first in a nearly annual installment of data tracking the gender breakdown of lead creatives working in LORT theatres across the country. The study, which started out tracking male/female representation and has grown to measure representation based on pronoun, noted the unsurprising fact that, in all design areas except for costume design, men continue to be overrepresented.

In the 2020 iteration of this report, McGovern notes that, “Of the 15,311 design positions, 68.9% were filled by he designers, 31.0 percent were filled by she designers, 0.1 percent were filled by they designers and less than 0.1 percent were filled by she/they designers.”

But representation does not stop with designers.

In September 2021, USITT published a study in partnership with SMU DataArts that attempted to parse demographic distinctions within “Entertainment Design & Technology” positions. As this data was collated through a survey process rather than through assessing public bios (as is McGovern’s process), they gathered more intricate data sets, breaking down distributions in a variety of positions by gender identity, age, ethnicity and sexual orientation. In every field, at least 79% of the respondents in every role identified as white, and at least 52% of respondents in every field identified as male (except, again, in costume/ wig and makeup design and technology).

The behind-the-scenes leaders in tech hold perhaps some of the least widely known positions in the theatre. Even the stagehand who executes a flawless scene change is more visible to the average audience member than a master electrician or a technical director.

And there’s the old adage that you only ever notice a stage manager when something goes wrong. The invisibility that is built into the technical positions that do so much of the heavy lifting in creating theatrical magic may well be one of the greatest barriers to establishing greater representation in those fields.

Representation matters: Meet four tech workers who broke barriers.

On the pages that follow, we feature individuals with historically excluded voices who have succeeded in some of these “invisible” tech jobs: a woman who has worked for years in the field of audio; a Black man who is a production manager; a trans, multi-racial man who trained as a technical director and works in a variety of roles; and a woman working as a head electrician and stagehand. They share what their jobs encompass, the challenges they have faced, and advice for others who aspire to hold similar roles.

OPPOSITE PAGE: A University of Alabama student operates the lighting console at the dress rehearsal for the Alabama Repertory Dance Theatre’s Fall 2018 production of Essentially Nina, choreographed by Lawrence M. Jackson.

Those working in tech positions in theatre have traditionally been mostly white and male, but the field is beginning to become more diverse.

Winter 2023 x Southern Theatre x 25

AMY WEDEL (she/her) Audio Director Baltimore Center Stage, Baltimore, MD*

Please describe the work you do in your current position.

I run the Audio Department at Baltimore Center Stage (BCS), which includes everything from planning and budgeting seasons to working with the sound designers on each production to help fully realize their designs. In addition to our mainstage shows, BCS also produces smaller events, and we have countless rentals and events all over the building that I ensure are staffed and set up for the event’s sound needs. I am responsible for hiring audio staff and overhires for the season. As the audio director, my scope also encompasses a lot of interdepartmental needs, such as maintaining the stage managers’ cube and the building’s complex paging, monitoring and lobby systems. I also manage BCS’s inventory of walkie-talkies, which are on an FCC license, as well as maintain other vital access programs like Assisted Listening and Audio Description. I am also the COVID safety manager for BCS with a small team of other certified officers.

How did you get into your line of work?

I fell in love with theatre early on when I saw Annie at 5 years old. I didn’t really know it was something I could do for a living until high school, and since I am a horrible actor, I ended up gravitating to the more technical aspects. I went to a small private liberal arts college, Monmouth College, where I was given the freedom to really explore all the tech aspects of theatre. I would design lights quite often and sets as well; however, I would always revert to running sound for productions because it was more exciting than running the light console. (Sorry, lighting friends.)

I thought I would go into lighting or set design, but everyone always wanted me for sound, due to my experience running it. I took sound internships at Starlight Theatre in Kansas City, MO, and Berkeley Rep. I then went to Actors Theatre of Louisville (ATL) for two years, where I was the assistant audio engineer. I met my mentor, Marty Desjardins, and learned so much about systems and how they worked. I always felt that when sound became pushing a button that it would be the end of my board op days.

When I moved on from ATL to the Dallas Theater Center (DTC), that is exactly what happened. I spent four years at DTC as the sound supervisor, where I was able to really * Since this interview was conducted, Amy Wedel has moved to a new position as a project manager for CMI AV, an event technology firm.

26 x Southern Theatre x Winter 2023

work on how to manage a department and work with designers

what I know and don’t know, and I have always taken whatever

and directors to achieve their vision.

lesson or instruction from people in my field that they were

I moved to Baltimore and began my journey as the audio director

giving.

in the fall of 2003, and over the lengthy time at BCS, I have been able

What was the best advice that you received along

to really hone my management skills. It was easy to be collaborative

the way?

because my production colleagues at BCS have all been wonderful

I think the best advice is somewhere along the lines of trying to

and so easy to work with. I have designed a few shows over the

remember to breathe and keep a good balance of life outside the

course of my career, but the dream for me was never to be a sound

theatre while still doing your best while working.

designer full-time. For me, it has always been about having a home

What advice do you have specifically for other folks who

base with colleagues you can collaborate with to make incredible

might be interested in jobs like yours, but who don’t

art. The work-life balance has always been important to me, and

usually see themselves represented in these positions?

having a steady job at a regional theatre where I can work with so

I would say to just be open and take notes on everything. You

many visiting artists has been the best choice.

can learn so much from everyone around you that you could apply

What are some of the most significant challenges you

to your own work, but also theatre isn’t just one department/

have faced in your career path?

aspect. It takes a huge collaboration of many different specialties

Certainly sexism early on in my career was a big challenge.

to create a production. Opening your eyes and ears to what others

I have had, unfortunately, a few scary situations with designers

are doing and how it all goes together will get you so much further

early on in my career where they would get in my face and scream

than staying in your own little world.

at me. I didn’t always have someone to stick up for me in those

Theatre is a small, small world, so you should know that it isn’t

cases, which has made me a strong advocate for myself and oth-

always who you list on your resume, but who someone knows

ers when I feel someone is out of line in their behaviors toward

based on your resume, that will determine if you get the job. I have

others.

hired (and not hired) many people based on the recommendation of

I didn’t go to school for a sound degree, so I have had a lot of on-the-job learning. I have always tried to be humble in

someone I trusted who worked with them, and often those people were not listed as references.

The Lightning Thief: The Percy Jackson Musical

THEATRE & DANCE PASSION made PROFESSION Through personalized student mentorship, led by a faculty of professional artists, NKU Theatre & Dance provides the opportunity for BA and BFA students to stretch their creative expression and discover new possibilities for success, both in the vibrant Cincinnati arts community and beyond.

Annual Dance Concerts

The African Company Presents Richard III

Acting • Dance Pedagogy • Dance Performance Musical Theatre • Playwriting • Stage Management Theatre • Theatre Design • Theatre Technology

theatre.nku.edu | sota.nku.edu Winter 2023 x Southern Theatre x 27

Build the Business of Show Business with

TAJH OATES (he/him) Production Manager Alley Theatre, Houston, TX

WHO SHOULD JOIN? • Individuals • Service Providers • Organizations • Businesses

MEMBERSHIP IN ESTA SUPPORTS: • Standards • Certification • Your industry initiatives • Protocol, ESTA’s quarterly industry journal

Please describe the work you do in your current position.

As a production manager, my role is to facilitate the production elements of the show from the conceptual design phase to what you see on stage. This includes running design

Join today to help us realize our vision of a thriving, inclusive industry strengthened by standards, safety, and shared knowledge!

and production meetings, coordinating the production elements across all departments, assisting in problem-solving challenges that come up, and managing logistics. I am also in charge of maintaining our company calendar, coordination for any special events that come up, and generally supporting the Production Department in any way they need.

How did you get into your line of work?

I graduated from Georgia Southern University with a BA in Theatre. My focus was primarily stage management, though I was also our scene shop foreman and master electrician, did a few designs, and even acted in a show. My thought was that, as a stage manager, I wanted to learn how to communicate with all of the other departments and understand what they would need from me. My jump into production management came when I was looking for a summer job. The Public Theater in New York was hiring a seasonal assistant production manager. Normally, I would have felt like I was unqualified at that point of my career, but there was a line in the job posting that stood out to me: “We are actively seeking candidates from underrepresented communities in theatre.” So, I applied and got the job and spent the summer working in New York learning a whole new skill set.

As a stage manager, you’re responsible for everything that happens in the rehearsal room.

As a production manager, you’re responsible for everything else that happens outside of

Find ESTA members at my.esta.org

the room. I loved seeing how to adapt my skills into a new environment, shifting my Excel skills from prop lists to budgets and calendars. As my summer position ended, the assistant production manager position at Arizona Theatre Company opened up. After three years growing my skills in Arizona, I applied to the Alley Theatre for their associate production manager position, and then within a year moved up to production manager.

What are some of the most significant challenges you have faced in your

Join us:

Follow us:

career path?

The biggest challenge is always having to police my own tone. I have been in several rooms where an emotional white man on a tirade screams at and curses out everybody in the room while everyone makes every attempt to placate and soothe his ego. As a Black male, I don’t get that luxury. If I act in a manner without the utmost professionalism, I come

28 x Southern Theatre x Winter 2023

off as angry, aggressive or combative. As much as I hate to dance

time or just needs to be taken off the plate right now. The important

around others’ fragilities, it often becomes a question of, “Is this

thing to learn is which balls are glass, which are plastic and which

emotional energy something I am willing to sacrifice in order to

are rubber. If you have to drop a few plastic balls in order to keep

get my point across?” We have to navigate these waters differently.

the glass balls in the air, then it’s okay. You may even drop some

I’ve struggled a lot with learning to find my voice. In theatre,

rubber ones, and they’ll bounce back up on their own or with the

there are lots of big personalities that can take up all of the space in the room if you let them. I’m constantly learning how to take up

help of someone else. Not everything is a glass ball.

Also, go to therapy. Therapy slaps.

space when needed, instead of allowing myself to be minimized.

What advice do you have specifically for other folks who

It doesn’t help that I also have a speech impediment, so I’m often

might be interested in jobs like yours, but who don’t

having to repeat myself two or three times.

usually see themselves represented in these positions?

One of the most frustrating career experiences happened when

Even though you may be a rarity, you are certainly not the only

I was an assistant stage manager. We were having issues with a

one in the industry. Pre-pandemic, I had only known of one or two

transition, and multiple times I suggested a solution. Every time,

other Black production managers and a handful of other production

I was ignored. Later, at a meeting, one of my older, white male

managers who were not cis white men and women. During the

colleagues who had heard me mention it before looked directly at

pandemic, I ended up on a BIPOC Production Managers Forum

me and offered the solution I suggested. Suddenly, it was a great

call with over 30 PMs of color. It was one of the first times that I

idea. It just had to come out of the mouth of someone they felt was

realized that I wasn’t alone in this industry.

“qualified” to give the answer.

The other piece of advice I would give is to be the mentor that

What was the best advice that you received along

you always wish you had for other young, BIPOC, recent graduates

the way?

and early career technicians that you meet. Stay in touch with who

My favorite piece of advice is the juggling analogy. Particularly

is going through your alma mater programs. Help them connect

when it comes to management, you’re going to constantly be jug-

with other people in your network who may be able to provide

gling all kinds of balls. At some point, you’re going to drop one.

additional support. Be proactive about building the labor force

Something is going to fall through the cracks or not get done on

that you want to see.

WWW.PURDUE.EDU/THEATRE

West Lafayette, IN 47907 | 765-494-3074 | theatre@purdue.edu

FIND YOUR VOICE CREATE YOUR COMMUNITY Winter 2023 x Southern Theatre x 29

FRANKIE CHARLES (he/him) Technical Director Brownbody’s Tracing Sacred Steps Assistant Director of Access and Civic Engagement Minnesota Opera, Minneapolis, MN

Please describe the work you do in your current position.

I have a few different positions. My full-time work is at Minnesota Opera as the assistant director of access and civic engagement. There, I am responsible for hosting a series of conversations called Creative Disruptions, which is a platform for me to build culturally innovative and professional development-centered content, primarily for Minnesota Opera staff.

I also assist in the production of the Offstage event series that creates engaging conversations and experiences for new and unfamiliar opera-goers, as well as the Opera Insights series, a pre-show lecture accompanying the shows in Minnesota Opera’s season that explores musical and historical highlights or topics.

By training, I am a technical director and advocate for the continued improvement of artistic and production spaces. In addition, I am also a member of USITT, and I serve on their Inclusion, Diversity, Equity, Accessibility & Social Justice (IDEAS) Committee.

As part-time work, I am the technical director for the Brownbody production Tracing Sacred Steps. Brownbody is grounded in African diasporic perspectives and driven by a mission to build artistic experiences that disrupt biased narratives and prompt audiences to engage as active participants in the journey of the performance. This is accomplished through a blend of modern dance, theatre, social justice and figure skating. We most recently went from Minnesota to Martha’s Vineyard to perform in a residency with The Yard.

How did you get into your line of work?

By the time I started undergrad, I began to really recognize just how homogenous leadership in theatre and the arts is. This realization, while also in the beginning of my medical transition, put me in a place of wanting to be seen for all my identities, but not knowing how to achieve it. This need wasn’t new for me, since I had already spent my adolescent years growing up in predominantly white spaces. While I am someone who benefits from light skin privilege, the rest of my family does not, which allowed me to see multiple sides of the people around me.

Fast forward through undergrad, I am a trans masculine, multi-racial adult with cispassing privilege. The jump from starting school in a field that is predominantly occupied by white men to ending school having found access to male privilege was ridiculous. I had one short gig where I tried going “stealth” while working at a private school. (Going 30 x Southern Theatre x Winter 2023

“stealth” is the term used when a person who has transitioned

only queer individual on the team, and we all have the beautiful

does not inform those around them of their gender history, or

understanding that we cannot create a more human-centered

when a person’s gender history is not widely known.) After that,

workplace without first centering our humanity in all the ways

I promised myself to explicitly inform all my immediate collabora-

that we are similarly and uniquely human. We are all committed to

tors and supervisors that I was trans, mostly because I was tired of

this work and understand that there are no shortcuts to these goals.

having my identities passively erased by colleagues.

What are some of the most significant challenges you

The aftermath of the murder of George Floyd was also a big eye

have faced along your career path?

opener for me. I had been doing technical direction-type work for

The challenge I consistently face is an antiquated system,

most of my career at that time. I watched as companies, including

complete with expectations, practices and policies designed to

my own, made their statements, and I consistently wondered how

keep people like me out of leadership positions. The way I have

production departments were handling this call to action.

faced these challenges is learning when to engage and honor my

I started asking other technical directors and production manag-

capacity.

ers in my network if they believed there would be a point where

What was the best advice that you received along

I could be a technical director and not have to fight for things

the way?

that I considered to be fundamentally necessary for me to do the

To cherish the moments when I find myself deep in community.

job differently – this included things like no or fewer 10/12s and

It fortifies the gratitude I have for the people who came before me

enforcing boundaries and expectations for collaboration.

and it makes space that allows me to continue.

I came out of those conversations with an understanding that

What advice do you have specifically for other folks who

most of them had asked similar questions, and they hadn’t figured

might be interested in jobs like yours, but who don’t

it out yet either. At this time, I was also contemplating going

usually see themselves represented in these positions?

to grad school, not knowing what to go to grad school for other

As a human being, you have inherent worth, so apply to what-

than continuing my education in technical direction. So, I pivoted.

ever job excites you. Don’t expect your career to be linear. Do what

For the first time in my professional career, I am working in a

you can to work around people who uplift you and remind you

department made up of a majority of people of color, I am not the

how incredible creative collaboration can be.

C

M

Y

CM

MY

CY

CMY

K

Winter 2023 x Southern Theatre x 31

SARAH THIBOUTOT (she/her) Head Electrician Summer for the City, Lincoln Center for the Performing Arts (seasonal), New York, NY Stagehand IATSE Local One

Please describe the work you do in your current position.

I manage a seasonal staff of approximately 15 electricians, and I am responsible for the layout, install and maintenance of the light plot and other electrical equipment. From the beginning of the production, which includes the shop prep of the equipment, to working with the other departments and designers to ensure a successful day-to-day operation of live performances, my role requires me to consistently be organized, alert and flexible.

When we close our season, I oversee and organize the load-out, which includes removing all the equipment, returning rentals and storing gear Lincoln Center owns.

How did you get into your line of work?

I started in high school drama club with scenic design – not so much in an artistic way, but in a “this is what we need to fit on the stage” kinda way. I initially continued with stagecraft and intro to design in college because I needed to take X number of arts and humanities classes to balance my hard science major, but by my sophomore year I realized just how much more interesting theatre was and that working backstage was a real job, and not just something people did in drama club because they didn’t get cast in the play.

I switched my focus to lighting design. There were only a few of us in those classes, and we essentially supported each other, taking turns being the head electrician to each other’s lighting designer to get shows up and running.

After college, I toured briefly and landed in NYC, where one of my college friends got me a job programming the light board for a series of short play runs. The lighting designer for those shows introduced me to all her friends in the lighting business, who then hired me to work for them.

For a long time, it was mostly Off-Broadway, and then fashion shows and corporate events. Events were where I started to get ahead, working as an assistant to production electricians, who then got so busy they couldn’t take all the shows offered to them, and they would hand them off to me. One of those events was a small, low-budget, twoweek, outdoor summer music festival that half of my friends had been the head on at some point.

About the time I was thinking it was time to pass that festival on to the next person, I got a call from the production manager, telling me that he was moving on to something different and wouldn’t be hiring me that summer. Shortly thereafter, I got another call, from 32 x Southern Theatre x Winter 2023

the new production manager, who wanted to know if I would keep

and ask for help. Admitting what you don’t know gives people more

working on the festival, but under new management. I demurred

confidence in what you do know.

at first, but he convinced me, saying that the festival was being completely redesigned.

Being easygoing and pleasant to be around will get you a first call; being good and confident at your job is what gets you invited

That was 2009, and 13 years later I am the production head

back and recommended for future jobs.

electrician for what is now a multi-venue, three-month major music

What advice do you have specifically for other folks who

festival outdoors at Lincoln Center for the Performing Arts.

might be interested in jobs like yours, but who don’t

What are some of the most significant challenges you

usually see themselves represented in these positions?

have faced in your career path?

Do it anyway. I think some people limit themselves more than

There is always the obvious answer of being a woman in a still male-dominated industry. It has definitely gotten easier to be female

others do. Yes, it will be harder for some people than others, but if it’s what you want to do with your life, it will be worth it.

Take all the training available to you, whether that’s a person

in this industry in the past 20 years, but it is also somewhat difficult

willing to mentor you, or a union apprentice program, or workshops

to separate that from my age and experience.

I’ve also always looked younger than my age, so certainly

offered by manufacturers and rental houses.

Talk to people at work, accept invitations to lunches/parties/

through my 30s I would encounter people who didn’t want to believe

casual events with people you’re working with. Most connections

that this little girl knew what she was talking about.

I also was given some bad or just outdated advice early in my career to avoid certain venues because of those prejudices, and I

are made informally, and I’ve always gotten a lot of work from word of mouth. n

think that held me back in some ways. I didn’t get my union card until I was in my 40s, and I wish I had been encouraged to go that route earlier.

What was the best advice that you received along the way?

Know what you’re talking about, and if you aren’t sure, say so

Jennifer Goff (she/her) is chair of the Theatre Program at Centre College in Danville, KY. Her acting and directing credits include work with The Distracted Globe, The Warehouse Theatre, and The Pioneer Playhouse. She is a current member and the incoming chair of SETC’s Publications Committee.

U N I V E R S I T Y O F T H E A R T S | P H I L A D E L P H I A , P E N N S Y LVA N I A

CREATE CULTURE. MAKE YOUR MARK. ADVANCE YOUR CREATIVIT Y.

5

25+

20+

performance spaces

theaters citywide

productions each year

1

2 annual new works festivals

uarts.edu

countless opportunities for creation and collaboration

place to become a fearless, innovative creator

PROGRAMS IN ACTING (BFA) DIRECTING PL AY WR I T I N G & PRODUCTION (BFA) M U S I C A L T H E AT ER (BFA) T H E AT ER DESIGN & TECHNOLOGY (BFA) DEVISED PERFORMANCE (MFA , G R A D UAT E CER T I FI C AT E )

IRA BRIND SCHOOL OF THEATER ARTS

Winter 2023 x Southern Theatre x 33

2023 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.

HBCU Directory

Searching for a Historically Black College or University (HBCU)? See Page D-24 for our directory of HBCUs with performing arts-related offerings.

2023 SETC College, University ACCADEMIA DELL’ARTE Via San Fabiano 9 52100 Arezzo, Italy Degrees: Accredited Program Offerings: One-Year Program in Physical Theatre, Semester in Physical Theatre, Semester in Dance, Semester in Music, OperArezzo Program, Summer Intensives in Physical Theatre & Dance.

Profile: The Accademia dell’Arte is a performing arts institution located in Tuscany, Italy. Study abroad and train from the source.

We not only work with the masters of the great European tradition, but we place the body at the center of all of our training.

Contact: +39 0575294155; info@dellarte.it www.dellarte.it ALABAMA A&M UNIVERSITY Visual, Performing & Communication Arts PO Box 4900 Huntsville, AL 35762 Degrees: BA: Communications Media; Minor: Communications Media; BM: Music (Music Education, Business, Performance, Piano Pedagogy, General Music); M.Ed: Choral, Instrumental Profile: The Department of Visual, Performing and Communication Arts is composed of three undergraduate programs: Visual Arts, Performing Arts (Music), and Communications

AUBURN UNIVERSITY DEPARTMENT OF THEATRE AND DANCE

CONVERSE CRAFT CREATE

Photo by Jeff Etheridge

• Fully accredited

by NAST • Scholarships and internships • State-of-the-art facilities • Strong alumni network

• BFA Design/Tech • BFA Performance and Music Theatre • BFA Theatre Management • BA Theatre • Minors in Theatre and Dance

auburnuniversitytheatre.org 334.844.4748

D-2

Media, and one graduate program: Communication Specialist. Each program’s curricular offerings are designed to yield a graduate who is ready to compete in today’s marketplace or to enter graduate school for advanced study and perfection of artistic talents.

Contact: Horace R. Carney 256-372-5512; horace.carney@aamu.edu www.aamu.edu/academics/colleges/education-humanities-behavioral-sciences/departments/visual-performing-communicationmedia AMDA COLLEGE 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; Liberal Arts; BA: Theatre; Associate of Occupational Studies (AOS): Acting, Musical Theatre, Dance Theatre; TwoYear Conservatory Certificate: Studio (Acting for Stage, Film and Television), Dance Theatre (Theatrical, Commercial and Concert Dance), Integrated (Acting, Music Theatre and Dance) Profile: Founded in 1964, AMDA provides rigorous, performance-based training by world-class faculty 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.

Scholarships offered through an audition process. Visit www.amda.edu for list of famous alumni.

Contact: Blake Babbitt 800-367-7908; bbabbitt@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 is the first conservatory for actors in the English-speaking world. With campuses in Los Angeles and New York, their alumni have been honored with an unprecedented 110 Oscar, 340 Emmy and 95 Tony nominations. Distinguished alumni include Robert Redford, Grace Kelly, Paul Rudd and Jessica Chastain, among many others.

Contact: 800-463-8990 (NY); 800-222-2867 (LA); admissions@aada.edu www.AADA.edu

ANDERSON UNIVERSITY South Carolina School of the Arts 316 Boulevard Anderson, SC 29621 Degrees: BA: Theatre, Dance, Theatre (Theatrical Design); BFA: Acting, Musical Theatre; Minor: Theatre, Dance Profile: A top-tier, Christian liberal arts university providing professional training in performance, design, technical theatre and arts management in our four venues (large and small proscenium, concert hall, black box) and our brand-new, state-of-the-art dance facility. Auditions are required. Competitive scholarships are available.

Contact: David Sollish 864-231-2153 dsollish@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 Department of Theatre and Dance offers challenging coursework, a dynamic co-curricular production program and a student–faculty ratio of 6:1, 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: Michael Helms 828-262-7461; helmsml@appstate.edu theatreanddance.appstate.edu ASBURY UNIVERSITY 1 Macklem Dr Wilmore, KY 40390 Degrees: BA: Theatre and Cinema Performance Profile: We focus on acting for stage and camera. We are connected to the largest film school in Kentucky, providing actors opportunities to be in professional film and video, plus 60 student films per semester, and have a formal connection with several acting agencies. Students study Shakespeare at The Globe in London.

Contact: Kristopher Dietrich kristopher.dietrich@asbury.edu www.asbury.edu/comarts/degree-programs/ communication-worship-theatre-arts-departments/theatre-cinema-performance

& Training Program Directory ATLANTIC ACTING SCHOOL 76 Ninth Ave, Suite 537 New York, NY 10011 Degrees: Certificate: Professional Conservatory, Evening Conservatory, Global Virtual Conservatory, Spring Comprehensive, Summer Intensive, Summer Teen Ensemble; BFA through NYU Tisch School of the Arts Profile: Founded as an ensemble of students in 1985, Atlantic has grown into an acting school and 22-time Tony Award-winning offBroadway theatre company. Atlantic has the only conservatory program in the world offering in-depth training in Practical Aesthetics, The Atlantic Technique, with a disciplined approach to script analysis and working truthfully moment-to-moment. The mission of the school 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: Performance, Music Theatre, Design/Technology, Management Profile: Auburn Theatre and Dance offers rigorous practical training in a liberal arts context.

A high percentage of graduates proceed to industry employment​, graduate theatre training programs​, and alternative career paths.

Contact: Chase Bringardner 334-844-4748; cab0023@auburn.edu cla.auburn.edu/theatre AUBURN UNIVERSITY 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, generalist theatre program with four full-time faculty dedicated to training students who are interested in learning all aspects of theatre.

Contact: Lexi Tippett 334-244-3632; atippett@aum.edu www.cas.aum.edu/departments/communication-and-theatre

AUSTIN PEAY STATE UNIVERSITY 601 College St Clarksville, TN 37044 Degrees: BA: Theatre and Dance (Acting, Dance, Design); BFA: Theatre and Dance (Acting, Dance, Design, 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: Marcus Hayes hayesma@apsu.edu theatredance.apsu.edu AVERETT UNIVERSITY 420 W Main St Danville, VA 24541 Degrees: BFA: Acting, Directing, Musical Theatre, Technical Theatre; BS: Theatre with Teacher Licensure; BA: Theatre, English/ Theatre with or without Teacher Licensure; Minor: Musical Theatre, Theatre Profile: Averett has a small, energetic and extremely active theatre department producing five mainstage productions yearly, where students are offered a variety of opportunities to learn their craft. Students are guided by a dedicated professional faculty.

Contact: Giuseppe Ritorto 434-791-5712; gritorto@averett.edu www.averett.edu

Theatre Education, Theatrical Creation (Playwriting, Dramaturgy, Theatre Management, Theatre History/Criticism); BFA: Acting, Dance, Design & Technology, Musical Theatre; Minor: Theatre, Technical Theatre, New Works Profile: The Department of Theatre and Dance at Ball State University fosters compassionate, inclusive and empathetic human beings. We challenge our students to become exceptional artists through the exploration of the dynamic relationship between art and the human experience.

Contact: Andrea Sadler 765-285-8740; amsadler@bsu.edu www.bsu.edu/theatredance BELHAVEN UNIVERSITY 1500 Peachtree St Jackson, MS 39202 Degrees: BA: Theatre (Theatre, Performance, Production) Profile: The mission of Belhaven’s Theatre Department is to prepare students academically, technically, artistically and spiritually to serve their Community, their Collaborators, and their Creator in the world of theatre and related vocations.

Contact: Elissa Sartwell 601-974-6478; theatre@belhaven.edu www.belhaven.edu/theatre

AVILA UNIVERSITY School of Performing Arts 11901 Wornall Rd Kansas City, MO 64145 Degrees: BFA: Theatre (Acting, Directing/ Producing, Musical Theatre, Design/Technology/Management); BA: Theatre, with optional Secondary or Music Education; BM (Voice Performance, Collaborative Piano); Minor: Theatre, Music, Dance Profile: Avila provides a pre-professional program with personal attention and specialized training, allowing choice and access to the professional world.

Contact: Matt Schwader Harbor; John Dylon Rohr; Amity Bryson; Admissions 816-501-2405; matt.schwader@avila.edu 816-501-3733; john.rohr@avila.edu 816-501-3651; amity.bryson@avila.edu 816-501-3603; admission@avila.edu www.avila.edu/academics/college-of-liberalarts-social-sciences/school-of-performingarts BALL STATE UNIVERSITY Department of Theatre and Dance 2000 W University Ave, AC 306 Muncie, IN 47306 Degrees: BA or BS: Dance, Design & Technology, Directing, Stage Management,

D-3

2023 SETC College, University BELMONT UNIVERSITY 1900 Belmont Blvd Nashville, TN 37212 Degrees: BA: Theatre; BFA: Theatre (Performance, Directing, Production Design, Theatre Education with Licensure), Musical Theatre; Minor: Theatre, Dance Profile: Belmont is a Christian university in the heart of Nashville, TN, with professional theatre and musical theatre training programs, state-of-the-art theatre facilities and a studentcentered faculty. We offer short-term study abroad programs in each concentration as well as semester-long opportunities in New York and LA. Contact: Brent Maddox 615-460-8219; brent.maddox@belmont.edu www.belmont.edu BEREA COLLEGE 101 Chestnut St, CPO 2148 Berea, KY 40404 Degrees: BA: Theatre; Minor: Theatre, Film, Musical Theatre Profile: Our theatre major introduces all aspects of theatre: literature, theatre history, acting, directing, design, production and management. The program supports a full season of plays each academic year, as well as individual student projects and original

PERFORMANCE WITH

SCHOOL OF THE ARTS

D-4

works. Every student accepted to Berea attends tuition-free!

Contact: Adanma Barton 859-985-3258; bartonad@berea.edu www.berea.edu/thr BERRY COLLEGE PO Box 495013 Mount Berry, GA 30149 - 5013 Degrees: BA: Theatre; Minor: Theatre, Musical Theatre Profile: With its state-of-the art new facility and award-winning faculty and students, together on the world’s largest campus just 70 miles from Atlanta, Berry College is one of the most dynamic emerging theatre programs in the country. With small class sizes and the nationally recognized Lifeworks program, opportunities abound for personalized instruction and paid engagements across a spectrum of disciplines in theatre.

Contact: Peter Friedrich 706-236-2263; bctc@berry.edu www.berry.edu/academics/majors/theatre/ BOSTON UNIVERSITY School of Theatre 855 Commonwealth Ave Boston, MA 02215 Degrees: BFA: Acting, Theatre Ar ts (Performance), Costume Design, Costume Production, Lighting Design, Scene Design, Sound Design, Stage Management, Technical Production, Theatre Arts (Design & Production); MFA: Costume Design, Costume Production, Directing, Lighting Design, Production Management, Scene Design, Sound Design, Technical Production; Minor: Dance, Theatre, Musical Theatre Course Sequence; Artisan Certificate: Scene Painting Profile: A nationally recognized program that balances artistic immersion with the rigor of a research university. Students explore possibilities through a laboratory approach to new and existing work while deepening their understanding of the industry as a whole.

Faculty mentorship is grounded in sharing transformative professional experiences to amplify artistic discovery.

Contact: Dayna Cousins theatre@bu.edu www.bu.edu/cfa/theatre

CAMPBELLSVILLE UNIVERSITY 1 University Dr #872 Campbellsville, KY 42718 Degrees: BA or BS: Theatre (Performance, Technical Theatre); Minor: Dance Profile: CU offers hands-on engagement with your craft and a personalized approach from faculty. A unique partnership with a local production company offers additional opportunities throughout the year for students to gain performance or design experience. 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, Music Theatre, Design (Scenic, Lighting, Costume, Sound, Media), Production Technology and Management (Technical Direction, Stage and Production Management, Production Technology), Directing, Dramaturgy; MFA: Design (Scenic, Lighting, Costume, Sound, Media), Production Technology and Management (Technical Direction, Stage and Production Management), Directing, Dramatic Writing Profile: The CMU School of Drama offers an intense conservatory training ground with an emphasis on individual attention, leading to a career in theatre, film, television, and other entertainment industries. With individualized, hands-on training and strong alumni connections in the field, students are well-placed to work immediately upon graduation.

Contact: Drama-relations@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), Design and Production (Lighting Design, Set Design, Costume Design, Technical Direction) Profile: Catawba was recently recognized as one of only 50 institutions in the nation included in The Princeton Review’s list of schools with “Great College Theatre.” We boast strong experiential learning and high graduate marketability. Scholarships are available.

Contact: Sacha Witt 704-637-4440; anwitt16@catawba.edu www.catawba.edu/academic/theatrearts

& Training Program Directory CATHOLIC UNIVERSITY OF AMERICA Drama Department 620 Michigan Ave NE Washington, DC 20064 Degrees: BFA: Acting for Theatre, Film and Television; BA: Drama; BA/MA: Accelerated degree in Drama and Theatre Education; MA: Theatre History and Criticism, Theatre Education (MATE); MFA: Directing, Playwriting Profile: New BFA in acting for theatre, film and television. Our BA program has many performance, design and technical opportunities. There’s professional theatre training for directors and playwrights in our MFA, and the MA provides advanced studies in dramaturgy, theatre history and criticism. Our MATE can be completed online.

Scholarships available!

Contact: Eleanor Holdridge 202-319-5358; cua-drama@cua.edu drama.cua.edu CCM, COLLEGE-CONSERVATORY OF MUSIC Theatre Arts, Production, and Arts Administration PO Box 210003 Cincinnati, OH 45221-0003 Degrees: BFA: Performance (Acting, Musical Theatre), Dance, Design/Technology (Costume Design & Technology, Lighting Design & Technology, Sound Design, Stage Design, Props, Scenic Art, Stage Management, Technical Direction); MA or MA/MBA: Arts Administration; MFA: Design (Costume Design & Technology, Lighting Design & Technology, Sound Design, Stage Design, Stage Properties, Stage Management, Wig and Makeup Design); Artist Diploma: Opera (Singers, Coaches, Stage Direction) Profile: CCM students are offered a wide variety of opportunities in classes, major productions, studio productions, master classes, summer projects and professional internships.

This wealth of exposure is provided not only through shared resources among all the programs within the CCM community, but also through strong connections to CCM alumni and entertainment professionals.

Contact: Deborah Neiheisel-DeZarn 513-556-583; dezarndl@ucmail.uc.edu ccm.uc.edu CENTRE COLLEGE 600 W Walnut St Danville, KY 40422 Degrees: BA: Theatre Profile: The Centre College Theatre Program provides a balanced and comprehensive theatre experience for all students. We offer classes for majors and nonmajors that provide a thorough foundation in all elements of

theatre. Students are prepared for graduate education and employment in and beyond the theatre as teachers, artists, technicians, managers or any number of fields that value creativity, collaboration, critical thinking and communication skills.

Contact: Jennifer Goff, Victoria Pook 859-238-5446; jennifer.goff@centre.edu sites.centre.edu/theatreatcentre CIRCLE IN THE SQUARE THEATRE SCHOOL 1633 Broadway New York, NY 10019 Degrees: Two-Year Certificate: Theatre, Musical Theatre; 2+2 BFA with Eckerd College, St. Petersburg, FL: Theatre, Musical Theatre Profile: Circle in the Square is the world’s only school affiliated with a Broadway theatre.

Former students, including Idina Menzel, Kevin Bacon and Lady Gaga, have appeared in countless Broadway shows, on television and in film. Taught by a faculty of NY professionals, graduates enjoy a curriculum that gives them the skills needed to be triple threats and true theatre artists.

Contact: Sara Louise Lazarus 212-307-0388; Admissions@circlesquare.org www.circlesquare.org www.eckerd.edu

artists and a rigorous production season foster an environment of discipline, experimentation and empowerment.

Contact: Dory Sibley 843-349-2385; ccutheatre@coastal.edu www.coastal.edu/theatre COKER UNIVERSITY McCall School of Visual and Performing Arts 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 McCall School of Visual and Performing Arts 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/academics/academic-programs/department-of-dance-music-theatre/ theatre

CLEMSON UNIVERSITY Department of Performing Arts 221 Brooks Center Clemson University Clemson, SC 29634-0525 Degrees: BA: Production Studies in Performing Arts (Theatre, Music, Audio Technology) Profile: We are a unique interdisciplinary program in which students focus on a specific performing art, while learning skills that integrate all of the arts. Department productions are staged in our 100-seat black box and 968seat roadhouse. Affiliated with SETC, USITT, KCACTF and London’s Rose Bruford College.

Contact: Tony Penna 864-656-6961; tpenna@clemson.edu www.clemson.edu/PerfArts COASTAL CAROLINA UNIVERSITY Department of Theatre PO Box 261954 Conway, SC 29528-6054 Degrees: BA: Theatre; BFA: Theatre Arts (Musical Theatre, Acting, Physical Theatre, Design and Production) Profile: A nationally accredited program with alumni who are working professionals in the industry. Rooted in classical foundations, the accomplished faculty guide students into the profession through innovative training methods and dynamic practices. Immersive classroom study, contributions from notable guest

D-5

2023 SETC College, University COLLEGE OF CHARLESTON Department of Theatre and Dance 66 George St Charleston, SC 29424 Degrees: BA: Theatre (Performance, Costume Design & Technology, Scenic/ Lighting Design & Technology, Theatre for Youth, Theatre Studies, General Theatre), Dance (General Dance Studies, Performance/ Choreography); MAT: Performing Arts – Theatre Profile: College of Charleston provides comprehensive instruction in theatre and dance in a liberal arts setting, as well as focused training in the practice of theatre and dance across a range of skill sets through the CofC Stages season. The melding of production experience and academics helps students gain the tools 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 CONVERSE UNIVERSITY Department of Theatre & Dance 580 E Main St Spartanburg, SC 29302 Degrees: BA: Theatre, Musical Theatre; Minor: Theatre, Dance, Arts Management

Profile: We inspire, entertain and challenge audiences with live performances that enhance our capacity for empathy and illuminate our common humanity. Our primary focus in the classroom, in rehearsal and in live performance is to give student artists the opportunities and support to succeed.

Contact: Melissa Owens 864-596-9162; melissa.owens@converse.edu www.converse.edu/academics/theatre-dance DAVIDSON COLLEGE Department of Theatre Box 4171 Davidson, NC 28035 Degrees: BA: Theatre Profile: The Davidson College Theatre Department is committed to fostering students’ intellectual and artistic growth. As a theatre student, you will collaborate and cultivate your skills with a faculty devoted to investigating how performance engages with and illuminates our multicultural world. Whether your passion is studying the intersection of theatre and community or acting or designing for the stage, you can find your place in theatre at Davidson.

Contact: Karli Henderson 704-894-2912; kahenderson@davidson.edu www.davidson.edu/theatre DICKINSON COLLEGE Department of Theatre and Dance Box 1773 Carlisle, PA 17013 Degrees: BA: Theatre (Acting/Directing, Design/Technology, Dramatic Literature); BA: Dance; Certificate: Central Pennsylvania Youth Ballet (CPYB) Profile: Dickinson offers a comprehensive liberal arts education in theatre and/or dance.

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 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 program and practice are guided by our core principles of Excellence, Professional-

D-6

ism, Diversity, Artistic Risk and Community.

Our graduates are prepared to excel 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, Physical Theatre, General Theatre) Profile: We provide a foundation in theatre and dance with a focus on individualized mentoring. Our professionally trained faculty and staff offer current, up-to-date instruction in all aspects of theatre and dance, including performance, design and technology, aerial dance, circus arts and musical theatre. Martin Center for the Arts is our new state-of-the-art performance facility. NAST-accredited.

Contact: Karen Brewster 423-439-5827; brewster@etsu.edu www.etsu.edu/theatre FAIRLEIGH DICKINSON UNIVERSITY Visual & Performing Arts Department 285 Madison Ave M-DB0-01 Madison, NJ 07940 Degrees: BA: Theatre Arts (Acting, Design and Technical Theatre, Directing, Musical Theatre, and Theatre Studies); Minor: Acting, Dance Studies, Design and Technical Theatre, Dramatic Literature and Performance, Entertainment Business and Management, Musical Theatre, Playwriting, Screenwriting, Dramatic Writing Contact: Alexandra Kostis 973-443-8467; akostis@fdu.edu www.fdu.edu/academics/colleges-schools/ becton/arts/theater/ FLORIDA INTERNATIONAL UNIVERSITY 11200 SW 8th St, WPAC 131 Miami, FL 33199 Degrees: BA: Theatre; BFA: Performance (Acting & Musical Theatre), Design (Costume Design, Scenic Design, Lighting Design); Minor: Theatre, Dance 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, Rebecca Covey timlickl@fiu.edu; rcovey@fiu.edu 305-348-2895 carta.fiu.edu/theatre

& Training Program Directory 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, Costume Design, Scenic and Lighting Design, Stage Management, New Media Design, Photography, Studio Arts, Animation Profile: “FLO” is a two-year, state-supported professional arts school. We offer intense, creative instruction in the classroom, combined with many practical opportunities available during our rigorous production schedule of plays, musicals, dance events and exhibitions. Admission is by audition or portfolio review only.

Contact: Dana Cotton 386-312-4304; danacotton@sjrstate.edu www.floarts.org FLORIDA STATE UNIVERSITY School of Theatre, 239 Fine Arts Bldg Tallahassee, FL 32306 Degrees: BA: Theatre; BFA: Acting, Music Theatre; MFA: Acting, Costume Design, Directing, Technical Production, Theatre Management; MS: Theatre Education; MA: Theatre and Performance Research; PhD: Theatre and Performance Research 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@fsu.edu theatre.fsu.edu FRANCIS MARION UNIVERSITY Department of Fine Arts, Theatre Program PO Box 100547 Florence, SC 29502 Degrees: BA/BS: Performing Arts (Performance: Acting/Directing, Technology: Scenery/Lighting, Costuming) 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; Minor: Musical Theatre Profile: Nationally acclaimed for The Furman Advantage four-year pathway for individualized student success. The Theatre Arts Department offers dynamic coursework with the primary goal of transforming theatre students into theatre artists. Rated #11 in The Princeton Review for Best College Theatre.

Contact: Maegan Azar 864-294-2051; theatre.arts@furman.edu www.furman.edu/theatrearts GAINESVILLE THEATRE ALLIANCE PO Box 1358 Gainesville, GA 30503 Degrees: BA: Theatre; BFA: Acting, Musical Theatre, Theatre Design & Technology Profile: Gainesville Theatre Alliance is a oneof-a-kind, nationally recognized collaboration between the University of North Georgia and Brenau University. Utilizing hands-on, individualized training, GTA boasts a production program rivaling the largest theatre schools in the country. GTA’s state-of-the-art facilities include five theatres, multiple shops, design labs, and rehearsal and dance studios.

Contact: Zechariah Pierce (UNG) Tracey Brent-Chessum (Brenau) 678-717-2273; zechariah.pierce@ung.edu 770-534-6264; tbrent-chessum@brenau.edu www.gainesvilletheatrealliance.org GEORGE MASON UNIVERSITY 4400 University Dr, MS 3E6 Fairfax, VA 22030 Degrees: BA: Theatre (Performance, Design/Technical, Theatre Studies); BFA: Stage and Screen Studies (Performance, Musical Theatre, Design/Technical); MA: Accelerated MA in Arts Management; Certificate: Graduate Certificate in 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: Nicholas M. Kfoury Horner 703-993-1120; theater@gmu.edu theater.gmu.edu GEORGIA SOUTHERN UNIVERSITY 2434 Southern Dr, Sanford Hall/Box 8091 Statesboro, GA 30460 Degrees: BA: Theatre; Minor: Theatre Profile:The Theatre Program at Georgia Southern University produces a diverse array of award-winning, culturally important theatre, including African American theatre.

An institutional member of NAST, our program produces students who excel in artistic

achievement. Undergraduate students have the opportunity to perform, design and direct in four state-of-the-art performance facilities on two campuses while developing a strong portfolio based in realized productions.

Contact: Kelly Berry (Statesboro campus); John Wright (Armstrong Savannah campus) 912-478-0106; ksberry@georgiasouthern.edu 912-344-2705; johnwright@georgiasouthern cah.georgiasouthern.edu/commarts/majors/ theatre GREENSBORO COLLEGE 815 W Market St Greensboro, NC 27401 Degrees: BA: Theatre (Acting, Directing, Stage Management, Costuming, Theatre Education), BFA: Musical Theatre, Design/Tech; Minor: Dance, Musical Theatre, Design/Tech Profile: We provide many undergraduateonly production opportunities each year in a small college environment (approximately 1,000 students total on campus), including hosting the state theatre festival. Internship opportunities available at the local Equity theatre and professional organizations. Plenty of opportunities to double major, too!

Contact: Perry Morgan 336-272-7102 x5744 perry.morgan@greensboro.edu theatre.greensboro.edu

The

Hollins Theatre Institute

Award-winning B.A. Program in Theatre Award-winning M.F.A. in Playwriting The Playwright's Lab M.A. in Theatre & New Play Development London Theatre Immersion Program

Find your artistic home.

www.hollins.edu/theatre

D-7

2023 SETC College, University HEIDELBERG UNIVERSITY School of Music and Theatre 310 E Market St Tiffin, OH 44883 Degrees: BA: Theatre (Acting, Musical Theatre, Production) Profile: Learn the art and business of theatre through four years of intense hands-on experiences. We believe our students succeed because they are welcomed into our artistic community as soon as they arrive. Our students become well-rounded theatre artists who understand and know how to navigate the arts world.

Contact: Karla Kash 419-448-2073; kkash@heidelberg.edu www.heidelberg.edu HIGH POINT UNIVERSITY One University Pkwy High Point, NC 27268 Degrees: BA: Theatre (Performance, Design-Technical, Collaborative Theatre), Dance; Minor: Theatre, Dance, Musical Theatre Profile: Our faculty artist-mentors walk the walk alongside students and help them to hone their craft and find their artistic voice.

EARN YOUR BFA AT THE ONLY CAMPUS CREATED INSIDE OF A WORKING MOVIE STUDIO.

Apply today! la.hussiancollege.edu 1.800.762.1993

D-8

We feature a busy production schedule and a company philosophy where students get ample hands-on learning opportunities in every aspect of theatre and dance production, making them highly competitive upon graduation.

Contact: Doug Brown 336-841-4525; dbrown@highpoint.edu www.highpoint.edu/theater HOFSTRA UNIVERSITY Department of Drama and Dance Hempstead, NY 11549-1000 Degrees: BA: Drama; BFA: Performance or Production (Costume Design, Set Design, Lighting Design, Sound Design, Directing, Technical Direction, Stage Management, Dramaturgy); Minor: Drama, Musical Theatre (with BA in Drama or BFA in Performance) Profile: Exclusively undergraduate program, half-hour from NYC. Six mainstage productions a year, including one musical and an annual Shakespeare Festival, now in its 68th year. Student Rep at the end of every semester highlighting student directing and playwriting. Production students have the opportunity to design, stage manage or direct multiple projects.

Contact: Royston Coppenger 516-463-5444 Royston.P.Coppenger@hofstra.edu www.hofstra.edu HOLLINS UNIVERSITY 7916 Williamson Rd, Box 9602 Roanoke, VA 24020 Degrees: BA: Theatre (Performance, Design and Technology, Theatre Management), Dance; BFA: Musical Theatre; Minor: Theatre; MA: Theatre and New Play Development; MFA: Playwriting (Dramaturgy, Directing, Performance, Youth Theatre, Plays with Music, Applied Theatre); Certificates in Directing, Performance, and Dramaturgy Profile: The Hollins Theatre Institute provides classroom instruction and experiential learning in all aspects of theatre for undergraduate women. The Playwright’s Lab is a unique high-intensity/low-residency co-educational graduate program designed to provide an educational experience centered around experimentation – where process and discovery are encouraged rather than product and validation.

Contact: theatre@hollins.edu 540-362-6313 hollins.edu/academics/majors-minors/theatremajor hollins.edu/academics/graduate-degrees/ playwriting-mfa

HUNTINGTON UNIVERSITY 2303 College Ave Huntington, IN 46750 Degrees: BA: Theatre Performance, Theatre Technology, Theatre, Theatre (NYC Semester); Minor: Theatre, Production Technology Profile: Huntington University is a comprehensive Christian university of the liberal arts offering programs in more than 70 academic concentrations, including theatre, music and film. HU is located on a contemporary, lakeside campus in northeast Indiana. HU is consistently ranked among the best universities in the Midwest by U.S. News & World Report, Forbes.com and The Princeton Review.

Contact: Ryan Long 260-359-4257; rlong@huntington.edu Huntington.edu HUSSIAN COLLEGE LOS ANGELES 1201 W 5th St Los Angeles, CA 90017 Degrees: BFA: Acting, Film and Digital Content, Commercial Dance, Contemporary Musical Theatre and Film Profile: Hussian College (formerly Studio School) prides itself on academic and professional excellence, with an unrelenting commitment to prepare students for service in their communities and career. Not only is the college on a working studio lot, surrounded by professional productions, but the faculty and program chairs are also experienced working professionals. It’s not uncommon to see your teacher in class one day and on a television show the next.

Contact: Nina Wray 800-762-1993 nina.wray@hussiancollege.edu www.studioschool.org 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: 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 studentproduced work. Student internships are available for the nationally recognized Illinois Shakespeare Festival.

Contact: Cristen Monson 309-438-8783; theatre@ilstu.edu www.finearts.IllinoisState.edu/theatre

& Training Program Directory ILLINOIS WESLEYAN UNIVERSITY School of Theatre Arts 2 Ames Plaza E PO Box 2900 Bloomington, IL 61701 Degrees: BA: Theatre Arts; BFA: Acting, Music Theatre, Theatre Design & Technology; Minor: Theatre Arts, Theatre Dance, Arts Management, Film Studies, Theatre Design & Technology Profile: IWU fosters the creative confidence of every student-artist. Inspired by their uniqueness, our dedicated faculty cultivates each student’s authentic voice. Our unique approach and intentionally small size combines conservatory-style training in a liberal arts setting. Illinois Wesleyan students develop critical thinking skills and gain an understanding of the world beyond the performing arts.

Contact: Theatre Recruitment Office 309-556-3944; theatre@iwu.edu www.iwu.edu/theatre INDIANA STATE UNIVERSITY Department of Theater 221 North 6th Street Terre Haute, IN 47809 Degrees: BA: Theatre (Acting, Design and Technology, Playwriting, Dramaturgy and Directing, Theatre Studies, Administration and Management); Minor: Acting, Dance, Entertainment Design and Technology, Theater Profile: The ISU Department of Theater provides a one-of-a-kind, hands-on learning experience in all aspects of theater. Students work in performance, design, production, direction, and administration before they graduate. Our students tour shows internationally and earn professional theater credits at Crossroads Repertory Theatre, a professional summer theater company housed at ISU. Contact: Alicia Jay 812-237-3337; alicia.jay@indstate.edu www.indstate.edu/theater INDIANA UNIVERSITY Department of Theatre, Drama and Contemporary Dance 275 N Eagleson Ave, Suite A300U Bloomington, IN 47405 Degrees: BA: Theatre & Drama; BFA: Musical Theatre, Dance; Minor: Dance, Theatre & Drama; MFA: Acting, Directing, Dramaturgy, 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 JACKSONVILLE UNIVERSITY Department of Theatre 2800 University Blvd N P111 Jacksonville, FL 32211 Degrees: BA: Theatre (Performance, Technology); BFA: Theatre (Performance, Technology); Minor: Theatre. Option to double major in another concentration (e.g., Film, Dance) Profile: The Theatre Program is housed in the Linda Berry Stein College of Fine Arts, which includes a SACS-accredited, rigorous BFA pre-professional degree. Our students enjoy small class sizes, one-on-one instruction, hands-on experience, performance opportunities in their freshman year, individual mentoring and a high degree of professionalism. Theatre talent scholarships available.

Contact: Erik DeCicco 904-256-7347; edecicc@ju.edu www.ju.edu/cfa 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 studentdanced 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

15 months, students prepare for a successful career in the entertainment industry.

Contact: 214-638-0484 www.kdstudio.com KEAN UNIVERSITY Theatre Conservatory 1000 Morris Ave Union, NJ 07083 Degrees: BA: Theatre, Theatre Education (Elementary or Early Childhood Teacher Certification); BFA: Performance with Musical Theatre option, Design & Technology; Minor: Theatre, Dance Profile: Twenty minutes from New York City, Kean University is accredited by the National Association of Schools of Theatre. About 16,000 diverse students attend Kean University, 130-plus in theatre. The department produces a faculty/guest-directed theatre series, a student-directed series, a cabaret series and the Equity Theatre-in-Residence, Premiere Stages.

Contact: Rachel Evans 908-737-4420; theatre@kean.edu www.kean.edu/academics/college-liberalarts/theatre-conservatory

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; Articulation Agreement to New York Film Academy’s BA/BFA track 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

D-9

2023 SETC College, University 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 and Society), Dance Studies; BFA: Musical Theatre, Dance Performance, Design Production & Technology; MFA: Theatre Design & Technology (Lighting Design, Scenic Design, Costume Design, Theatre Technology), Acting for the Returning Professional Profile: The School of Theatre and Dance offers individual mentorship; low studentteacher ratio; close proximity to professional theatre, opera and dance companies; an established guest director series; and the award-winning summer professional Porthouse Theatre.

Contact: Tony Hardin 330-672-7386; ahardi14@kent.edu www.kent.edu/theatredance LEES-MCRAE COLLEGE 191 Main St Banner Elk, NC 28604 Degrees: BA/BS: Theatre Arts (Musical Theatre, Performance, Design & Technology, and Theatre Administration); 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. The Theatre Arts Program provides a welcoming and thorough training ground for young theatre practitioners through plentiful creative opportunities and individual attention in the classroom, the rehearsal hall, the technical studios and on stage.

Contact: Joshua Yoder 828-898-8739; yoderj@lmc.edu www.lmc.edu LEHIGH UNIVERSITY Department of Theatre 420 E Packer Ave Bethlehem, PA 18015 Degrees: BA: Theatre (Acting/Directing, Design/Technical Theatre, Theatre History/ Dramatic Literature, General Theatre Studies); Minor: Theatre Profile: Lehigh University’s Department of Theatre is a dynamic and intensive program with experienced professors, an active production season, engagement in developing new work, and a busy schedule of workshops, guest artists and special events.

Contact: Kashi Johnson 610-758-3640; kkj2@lehigh.edu Theatre.cas.lehigh.edu/ 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 UNIVERSITY 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 nonmajor students in the performing arts and offer students the undivided attention of our faculty.

Contact: Rachel Hynes 864-488-8234; RhHynes@limestone.edu finearts.limestone.edu/theatre

D-10

LINDSEY WILSON COLLEGE Theatre Program 210 Lindsey Wilson St Columbia, KY 42728 Degrees: BA: Theatre Arts, Minor: Theatre Arts Profile: The mission of the Lindsey Wilson Theatre Department is to provide a nurturing and challenging artistic environment that celebrates our history and anticipates our future, and to enhance the cultural and aesthetic experience of our campus and community through quality productions and educational outreach.

Contact: Jeremy Cloyd 270-384-8044; cloydj@lindsey.edu www.lindsey.edu/theatre THE LIVERPOOL INSTITUTE FOR PERFORMING ARTS (LIPA) Mount St Liverpool L1 9HF United Kingdom Degrees: BA: Acting (Stage; Screen; Musical Theatre and Musicianship); Applied Theatre; Dance; Design/Technology; Filmmaking and Creative Technologies, Management of Music, Enter tainment, Theatre and Events; Music (Songwriting and Performance or Songwriting and Production); Sound Technology; MA: Acting (Company); Costume Making; Professional Practice: Theatre and Drama Facilitation; Foundation Certificate: Acting (Stage and Screen; Musical Theatre) and Popular Music and Music Technology Profile: Home to around 1,000 students from over 40 countries worldwide, LIPA is for those who make performance possible. Cofounded in 1996 by Sir Paul McCartney, who remains our lead patron, our aim is to equip you with the knowledge, skills and experience to have a sustained career within your chosen industry.

Contact: Ryan Duncan +44 (0)151 330 3118 international@lipa.ac.uk www.Lipa.ac.uk LONDON ACADEMY OF MUSIC & DRAMATIC ART (LAMDA) 155 Talgarth Rd London W14 9DA United Kingdom Degrees: BA: Professional Acting; MFA: Professional Acting; MA: Classical Acting; Accredited: Semester Programme: Classical Acting (study abroad 14 weeks); Shakespeare Summer School (8 weeks); LAMDA Short Courses: Shakespeare Summer School (4 weeks), Audition Technique (2 weeks), Introduction to Screen Acting (2 weeks), Introduction to Drama School (2 weeks), Acting in English (2 weeks)

& Training Program Directory 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: Kim Wintle kim.wintle@lamda.ac.uk www.lamda.ac.uk/life-lamda LONG ISLAND UNIVERSITY 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 studentteacher 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 Bldg Baton Rouge, LA 70803 Degrees: BA: Arts Administration, Design/ Technology, Film/Television, Performance, Physical Theatre, Theatre Studies; MFA: Acting, Costume Technology and Design, Properties Technology, Scenic Technology and 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 theatre, Swine Palace. Many students are Equityeligible 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 Theatre PO Box 8608 Ruston, LA 71272 Degrees: BA: Communications (Theatre); MA: Communications (Theatre) Profile: The School of Theatre offers a rigorous generalist curriculum based on the company model, with concentrations in acting, arts administration, design, directing, stage combat, stage management and playwriting.

Contact: Mark Guinn 318-257-2711; mguinn@latech.edu www.latechuniversitytheatre.com LOYOLA UNIVERSITY NEW ORLEANS 6363 St. Charles Ave Box 155 New Orleans, LA 70118 Degrees: BA: Theatre Arts, Theatre Arts and Musical Theatre, Theatre Arts with Minor in Business Administration Profile: In Theatre Arts and Dance, our mission is to help you find your role of a lifetime.

Whether you’re more comfortable on stage or behind the scenes, our broad curriculum in the dramatic arts will ensure that you develop or enhance a sense of artistic and personal discipline, responsibility, and a life-long commitment to theatre.

Contact: 504-865-3840 theatre@loyno.edu cmfa.loyno.edu/theatre linktr.ee/TADLOYNO

Profile: We are a dedicated faculty offering small classes and individualized attention. We are a close-knit community with opportunities for significant involvement beginning freshman year. We are mentors that encourage our students to challenge themselves as far as their interests, talents and drive will go. We are Pioneers.

Contact: Cas Felt 740-376-4698; cas.felt@marietta.edu www.marietta.edu/theatre-department MARSHALL UNIVERSITY 1 John Marshall Dr Huntington, WV 25755 Degrees: BA: Theatre; BFA: Performance, Technical Production, Interdisciplinary (Music, Theatre, Dance), Musical Theatre; Minor: Theatre, Dance Profile: Marshall University Theatre operates in one of the largest, best-equipped theatre facilities in the Southeast. All BFA students participate in a professional internship experience. All students are invited to explore regular regional theatre and study abroad experiences. Four-year tuition waiver scholarships available for qualifying theatre majors.

Contact: Lang Reynolds 304-696-2546; reynoldsh@marshall.edu www.marshall.edu/theatre

LYNN UNIVERSITY 3601 N Military Tr Boca Raton, FL 33431 Degrees: BFA: Drama (Acting, Musical Theatre Performance) Profile: The BFA in drama at Lynn University 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 lynn.edu/academics/areas-of-study/dramabfa MARIETTA COLLEGE Department of Theatre 215 Fifth Street Marietta, OH 45750 Degrees: BFA: Theatre (Design and Technology [Costume, Digital Media/Projection, Lighting, Scenic, Sound]), Directing (Artistic Direction/Management, Playwriting, Communication), Performance; BA: Musical Theatre, Theatre; Minor: Theatre

D-11

2023 SETC College, University MARY BALDWIN UNIVERSITY 101 E Frederick St Staunton, VA 24401 Degrees: BA: Performing Arts (Theatre, Music, Film); BA/MLITT: Shakespeare and Performance; MLITT: Shakespeare and Performance; MFA: Shakespeare and Performance Profile: Coed undergraduate program in intimate black box theatre; undergraduate season produces three plays per year. Coed graduate program in early modern drama. MFA company model focuses on collaboration and ensemble practices. Graduate productions perform at the American Shakespeare Center’s Blackfriars Playhouse, the world’s only recreation of Shakespeare’s indoor playing space.

Contact: Matt Davies mdavies@marybaldwin.edu www.marybaldwin.edu/arts MIAMI UNIVERSITY Department of Theatre 119 Center for Performing Arts Oxford, OH 45056 Degrees: BA: Theatre; Minor: Dance, Musical Theatre, Arts Management Profile: At Miami University Theatre, we make theatre that makes a difference. Today’s theatre requires versatile artists, so we help you customize Your Degree Your Way, with options in acting, design/tech, playwrighting/ dramaturgy, dance and more, with exciting opportunities to study abroad. #ThrivingArtists Contact: Matt Omasta 513-529-3053; theatre@miamioh.edu www.miamioh.edu/theatre 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: Darren Levin 615-898-2640; Darren.Levin@mtsu.edu www.mtsu.edu/programs/theatre

D-12

MILLIKIN UNIVERSITY School of Theatre and Dance 1184 W Main St Decatur, IL 62522 Degrees: BA: Theatre & Performance Studies; BFA: Acting, Design & Production, Musical Theatre, Stage Management; Minor: Dance Profile: Millikin has a nationally recognized theatre program, offering conservatory-style training rooted in a liberal arts education.

Our Performance Learning approach offers a comprehensive integration of theory and practice. Our students gain valuable insight and engagement with their chosen professions prior to graduation, which helps prepare them for professional success.

Contact: Tony Morton 217-424-6327; tmorton@millikin.edu millikin.edu/theatre MISSISSIPPI STATE UNIVERSITY 130 McComas Hall Mail Stop 9574 PO Box PF Mississippi State, MS 39762 Degrees: BA: Communication (Theatre) Profile: Theatre MSU is a student-centric, generalist theatre program housed in the Department of Communication. Theatre MSU nurtures professional, creative storytellers, embraces accessible, transformative experiences and engages diverse, vibrant communities. Theatre MSU is committed to theatre for social justice and to a diverse and inclusive student body and production season. We believe fervently in lifting up the voices of underrepresented artists and students. Theatre is for everyone – and theatre training must welcome everyone.

Contact: Tonya Hays 662-325-3203; thays@comm.msstate.edu comm.msstate.edu MISSISSIPPI UNIVERSITY FOR WOMEN 1100 College St Box W-1619 Columbus, MS 39701 Degrees: BA: Theatre, Theatre Education with 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 662-329-7353; dbcarter@muw.edu https://web1.muw.edu/as/theatre

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; MFA: Dramatic Writing 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 MURRAY STATE UNIVERSITY Global Languages and Theatre Arts 106 Fine Arts Bldg Murray, KY 42071 Degrees: BA: Theatre, Musical Theatre, Theatre/Film; BS: Theatre, Musical Theatre, Theatre/Film; Minor: Theatre, Musical Theatre, Dance Movement, Theatre Performance, Theatre Design/Technical 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, musical theatre, dance and theatre/ film production.

Contact: Brent Menchinger 270-809-4421 bmenchinger@murraystate.edu www.murraystate.edu/theatre 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.

Contact: NP Admissions 212-688-3770 admissions@neighborhoodplayhouse.org www.neighborhoodplayhouse.org

& Training Program Directory NEW YORK CONSERVATORY FOR DRAMATIC ARTS 39 W 19th St, 2nd Fl New York, NY 10011 Degrees: AOS: Film and Television Performance, Musical Theatre Performance, New Media for Actors, Summer Intensive Training Program (four-week musical theatre and film and television intensive) Profile: Professional training two-year conservatory program culminates in a focus on film, television and musical theatre. Financial aid and scholarships are available. Summer Training Program: This four-week summer intensive provides six college credit hours.

Scholarships are available.

Contact: Office of Admissions 212-812-4682; 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: BFA: Acting for Film, Musical Theatre, Filmmaking, Entertainment Media, Producing, Screenwriting, Photography, 3D Animation, Game Design; BA: Media Studies; MFA: Acting for Film, Filmmaking, Documentary, Cinematography, Photography, Screenwriting, Game Design, 3D Animation; MA: Film & Media Production, Producing; AFA: Acting for Film, Filmmaking, Producing, Screenwriting, Game Design Profile: New York Film Academy (NYFA) College of Visual and Performing Arts is designed for a new generation of storytellers – artists who share a driving passion and want to learn by doing, creating their own projects in a hands-on environment.

Students from all walks of life choose from NYFA’s rich variety of degree, conservatory or workshop programs at campuses in New York City, Los Angeles and South Beach, Miami; Gold Coast, Australia; and a yearround study abroad location in Florence, Italy.

Contact: Roger Del Pozo 917-979-2397 ext. 1161; roger@nyfa.edu www.nyfa.edu NEWBERRY COLLEGE 2100 College St Newberry, SC 29108 Degrees: BA: Theatre; Minor: Musical Theatre, Theatre, Speech Profile: Newberry College is a private liberal arts college of 1,300 students on a beautiful campus in the South Carolina midlands.

Newberry College students explore with purpose for successful careers and learn to make a positive artistic impact on their communities – and the world. Experience – Opportunities – Personal Attention: Newberry College Theatre.

Contacts: Mandy Butler; Matthew Fuller; Pat Gagliano mandy.butler@newberry.edu matthew.fuller@newberry.edu pgagliano@newberry.edu www.newberry.edu NORTH GREENVILLE UNIVERSITY Department of Theatre, PO Box 1892 Tigerville, SC 29688 Degrees: BA: Theatre (Performance, Musical Theatre, Design/Tech), Theatre Education 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. Theatre Education students will graduate with teacher licensure. NGU supports KCACTF, Alpha Psi, CITA, a touring Drama Ministry team and a student-run improv team.

Contact: Amy Dunlap 864-895-1580; amy.dunlap@ngu.edu www.ngu.edu/theatre NORTHEAST ALABAMA COMMUNITY COLLEGE PO Box 159, 138 AL Hwy 35 Rainsville, AL 35986 Degrees: AA: Theatre Profile: Our community college program offers 14 theatre scholarships, produces professional-caliber productions and promotes a sense of family and friendship like few other educational/community theatres.

Contact: Kayleigh Smith 256-638-4418 x2218; smithk@nacc.edu www.nacc.edu/programs-of-study/englishand-fine-arts-division/theatre-department NORTHERN KENTUCKY UNIVERSITY School of the Arts Theatre & Dance Program Fine Arts Center 205 Nunn Drive Highland Heights, KY 41099 Degrees: BA: Theatre; BFA: Theatre Performance (Acting, Dance Performance, Dance Pedagogy, Musical Theatre, Playwriting); BFA: Theatre Design/Technology or Stage Management (Theatre Design or Technology, Stage Management); Minor: Theatre, Dance Profile: Turn Passion into Profession.

Robust mentorship, immersive classroom experiences, study abroad, seven mainstage and five studio productions, internship opportunities and a large network of successful alumni across the world help make NKU your artistic home. Prepare for success in the 21st century with a rewarding, lifelong career in the arts.

Contact: Michael Hatton 859-572-6362: theatre@nku.edu theatre.nku.edu OHIO NORTHERN UNIVERSITY 525 S Main St Ada, OH 45810 Degrees: BA: Theatre; BFA: International Theatre Production, Musical Theatre; Minor: Dance, Arts Administration, Theatre Technology and Design Profile: ONU’s Theatre Arts Program within the School of Visual and Performing Arts offers a dynamic set of pre-professional programs within a liberal arts context, complete with a robust production season with opportunities both on and off stage! Opportunities include: freshman casting possibilities; 30–35 guest artists with national and international credits who work with students in production and in the classroom annually; small classes with personalized attention from dedicated faculty; internships, study abroad opportunities, and a senior showcase.

Contact: Kathleen DeVault 419-772-2049; k-devault@onu.edu www.onu.edu THE OHIO STATE UNIVERSITY 1849 Cannon Dr Columbus, OH 43210 Degrees: BA: Theatre, Film Studies, MovingImage Production; Undergraduate Minor: Theatre, Musical Theatre, Media Production and Analysis, Video Arts, Entertainment Design and Technology, Film Studies, Screenwriting; MA: Theatre Studies; MFA: Acting, Design; PhD: Theatre Studies; Graduate Minor: Theatre and 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 four-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.theatreandfilm.osu.edu

D-13

2023 SETC College, University OKLAHOMA CITY UNIVERSITY School of Theatre 2501 N Blackwelder Ave Oklahoma City, OK 73106 Degrees: BA: Theatre; BFA: Acting, Theatre Design & Production (Stage/Production Management, Costume Design, Scene Design, Lighting Design, Sound Design, Digital Media Design, Props Design, Technical Production); MFA: Screen Acting Profile: The School of Theatre prepares young theatre artists for a sustainable professional life. Our program is grounded in the philosophy of putting theory into practice from the classroom to the stage to produce creative, culturally aware and highly effective theatrical artists.

Contact: Jessica Trench 405-208-5727; jtrench@okcu.edu www.okcu.edu/theatre PALM BEACH ATLANTIC UNIVERSITY 901 S Flagler Dr West Palm Beach, FL 33416 Degrees: BFA: Theatre; BA: Theatre Arts Profile: A private Christian university located in a metropolitan environment adjacent to one of the nation’s premier performing arts centers, PBA offers a highly competitive BFA focusing on acting and musical theatre, positioning our graduates for successful careers.

Our more rounded BA degree allows students to double major. Come connect, commit and create with us!

Contact: Allen McCoy 561-803-2487; allen_mccoy@pba.edu www.pba.edu PIEDMONT UNIVERSITY 1021 Central Ave Demorest, GA 30535 Degrees: BA: Theatre (Acting/Directing, Technical Theatre and Design), Musical Theatre, Drama Education (Georgia Teaching Certificate, grades B–12) 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 five mainstage shows a year, plus various student showcases.

Contact: Kathy Blandin 706-778-8500 x1068 kblandin@piedmont.edu www.piedmont.edu/fa POINT PARK UNIVERSITY Conservatory of Performing Arts 201 Wood St Pittsburgh, PA 15222 Degrees: BFA: Acting, Musical Theatre, Theatre Arts (Directing, Playwriting, Self-directed), Theatre Production (Technical Design/ Management, Stage Management, Design [Scenic, Costume, Lighting, Sound]), Dance, Animation, Cinema Production, Screenwriting; BA: Cinema Arts (Cinema Production, Animation, Screenwriting); MFA: Screenwriting and Playwriting Profile: Point Park’s Conservatory is a powerhouse of creativity and opportunity that enables students to experience professional quality theatre and expand their skills in performance, directing, playwriting, producing, design, technical production or stage management.

Eighteen performances are developed in our brand-new, state-of-the-art Pittsburgh Playhouse facility. Scholarships and apprenticeships are available.

Contact: Troy Centofanto 412-392-3451; conservatory@pointpark.edu www.pointpark.edu/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

D-14

PURDUE UNIVERSITY Department of Theatre 552 W Wood St West Lafayette, IN 47907 Degrees: BA: Theatre (Acting, Design and Production), Sound for the Performing Arts; MFA: Acting, Audio Technology, Costume Design, Lighting Design, Sound Design, Scenic Design, Technical Direction; Certificate (undergraduate): Acting, Lighting; Minor: Theatre, Design and Production Profile: The Purdue Department of Theatre offers a rigorous, supportive education that combines individualized mentoring, classroom and studio work, and extensive production opportunities. Students develop collaboration and problem-solving skills, along with creative and cultural competencies, preparing them for careers in theatre and the entertainment industry, education, law, business and other fields.

Contact: Rich Dionne 765-494-3074; theatre@purdue.edu www.cla.purdue.edu/theatre RADFORD UNIVERSITY Department of Theatre and Cinema Box 6969 Radford, VA 24142 Degrees: BS/BA: Theatre (Performance, Directing, Design & Technical Theatre); BA: Dance; BS: Dance Education; BFA: Dance (Performance); Minor: Theatre, Theatre (Performance), Theatre (Production), Dance, Cinematic Arts Profile: The Department of Theatre and Cinema offers liberal arts and pre-professional studies. Students receive instruction rich in diverse perspectives and cross-disciplinary experiences. The department is supported by a strong production program which contributes to the cultural life of the university and community. Several scholarships are designated for incoming students (see our website for details).

Contact: Richard Dunham 540-831-5012; rdunham6@radford.edu www.radford.edu/theatre RANDOLPH COLLEGE Theatre Program 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); MFA: Theatre (Low-Residency, Acting, Directing, Production) 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.

& Training Program Directory Contact: Stephanie Holladay Earl; Heather Sinclair 434-947-8563; searl@randolphcollege.edu 434-947-8564; hsinclair@randolphcollege.edu www.randolphcollege.edu/theatre REGENT UNIVERSITY Department of Performing Arts and Music 1000 Regent University Dr, COM 240 Virginia Beach, VA 23464 Degrees: BA: Theatre; BFA: Acting; MA: Theatre; MFA: Acting (next cohort will be in the fall of 2024) Profile: Regent University’s Theatre programs are dedicated to exploring the volatile intersectionality of faith, art and learning. A five-production mainstage season plus lab shows affords multiple opportunities each year. Training in acting (Meisner), directing, stage management, stage combat (SAFD), voice and movement (Linklater, Lugering) and text analysis. Scholarships and work study available.

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; Minor: Dance, 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

ROSE BRUFORD COLLEGE Lamorbey Park, Burnt Oak Lane Sidcup Kent DA15 9DF United Kingdom Degrees: BA: Acting, Actor Musicianship, American Theatre Arts, Audio Production (Technology/Music/Sound Design), Costume Production, Creative Lighting Control, Design for Performance (Set, Costume, Lighting, Digital Content), European Theatre Arts, Scenic Arts (Construction, Props & Painting), Stage and Events Management, Theatre and Social Change; MA: Light in Performance; MA/MFA: Actor and Performer Training, Actor Musicianship, Collaborative Theatre Making, Contemporary Directing Practice, International Theatre Practice and Performance, Theatre for Young Audience, and also courses delivered at arthaus.berlin.

Profile: The main campus is surrounded by beautiful parkland, and Central London is less than 20 minutes away by train. We welcome students from around the world. We also run summer schools and six-month intensive foundation acting programmes.

Contact: Rachelle Jordan +44 (0)20 8308 2600 international@bruford.ac.uk www.bruford.ac.uk

person in a collaborative creative community.

Through purpose-driven, personalized projects, our well-rounded thespians impact the world as storytellers.

Contact: Katie Overturf 205-726-4111; kovertur@samford.edu www.samford.edu/arts/theatre-and-dance SAVANNAH COLLEGE OF ART AND DESIGN Savannah – Atlanta – Lacoste – SCADnow PO Box 2072 Savannah, GA 31402 Degrees: BFA: Performing Arts, Production Design, Dramatic Writing, Film and Television, Sound Design; MFA: Performing Arts, Production Design, Dramatic Writing, Film and Television, Sound Design, Themed Entertainment Design; MA: Creative Business Leadership, Film and Television, Production Design, Sound Design Profile: SCAD offers students focused instruction in stage and film/television acting/ tech under award-winning faculty/actors/ directors; introduction to luminaries at the SCAD Savannah Film Festival and aTVfest; and a full-service casting office, booking roles with top studios.

Contact: Fran Jones 800-869-7223; fjones@scad.edu www.scad.edu

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, PreTeaching), Dance; MA: Arts Administration (online); BA/MST: Theatre Education Profile: The Department of Theatre and Dance focuses on performance, design and technical skills, resourceful collaboration and imaginative leadership. Our program honors contemporary practice, research and scholarship that reflects the historical underpinnings, evolving meanings, diverse populations and social consequences of artists and the art that is created through performance and design.

Contact: Elisabeth Hostetter 856-256-4500 x53396; hostetter@rowan.edu www.rowan.edu/theatredance SAMFORD UNIVERSITY 800 Lakeshore Dr Homewood, AL 35229 Degrees: BA: Theatre (Acting and Directing, Production Design and Technology); BFA: Musical Theatre, Theatre for Youth; Minor: Theatre, Dance, Film Production Profile: Samford’s Department of Theatre and Dance prepares actors, directors, teaching artists, designers and production technicians for careers in the arts, while nurturing their artistry with soul. We develop the whole

D-15

2023 SETC College, University SEWANEE: THE UNIVERSITY OF THE SOUTH 735 University Ave Sewanee, TN 37383 Degrees: BA: Theatre, Creative WritingPlaywriting; Minor: Theatre, Dance Profile: Take on artistic leadership roles as you study theatre and dance at the Tennessee Williams Center, Sewanee’s state-of-the-art performance facility. Students gain a strong foundation in all areas of theatre: acting, directing, design, dance, playwriting, history, literature, and performance theory, in a strong liberal arts program.

Contact: Jim Crawford 931-598-1303; jscrawfo@sewanee.edu https://new.sewanee.edu/programs-of-study/ theatre 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 an equal importance on academic and artistic excellence, we seek a balance between theoretical and applied

3-YEAR CONSERVATORY EVENING CONSERVATORY MUSICAL THEATER SUMMER INTENSIVES Audition for us at SETC in Louisville!

212-689-0087 | StellaAdler.com classes@stellaadler.com

D-16

material. Because we are a smaller university, we have the ability to focus on every student, offering performance opportunities to first-year students, resulting in a high percentage of professional and graduate placements.

Contact: Tara Warfield 706-233-7362; twarfield@shorter.edu www.shorter.edu/theatre-department SOUTHEAST MISSOURI STATE UNIVERSITY Dobbins Conservatory of Theatre and Dance 1 University Plaza, MS 7850 Cape Girardeau, MO 63701 Degrees: BA: Theatre; BFA: Acting, Design, Musical Theatre Profile: NAST-accredited. Professional training for theatre/film/television careers. Ranked in the top 30 musical theatre programs in the nation and as the #1 undergraduate theatre program in Missouri. Beautiful facilities, 27 faculty/staff, 250+ majors. Full range of annual musicals/plays, plus an NYC Showcase.

Home of Fault Line Film Festival and Lanford Wilson New American Play Festival.

Contact: Kenneth L. Stilson 573-986-6818; kstilson@semo.edu www.semo.edu/theatreanddance SOUTHERN ARKANSAS UNIVERSITY Department of Performing Arts and Mass Communication 100 E University Magnolia, AR 71753 Degrees: BFA: Musical Theatre, Theatre (Acting, Design/Tech/Management) Profile: We offer one of the most affordable BFA degrees in the country. Students get individualized and personal attention in a small classroom and university setting. Performing and production experience begins as a freshman. We offer support for travel to conferences and assist in finding summer employment within the industry. Graduates have gone on to fulfilling lives and careers in the theatre and entertainment industries or graduate studies.

Scholarships and out-of-state tuition waivers available.

Contact: Prince Duren 870-235-4263; princeduren@saumag.edu www.saumag.edu/theatre 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 UTAH UNIVERSITY Department of Theatre, Dance and Arts Administration 351 W University Blvd Cedar City, UT 84720 Degrees: BA/BS: Theatre, Dance; BFA: Design & Technology, Classical Acting, Musical Theatre; MFA: Arts Administration; MA (online): Arts Administration Profile: The Department of Theatre, Dance and Arts Administration at Southern Utah University strives to nurture and challenge the creative process of arts and culture. We are building a future with a sustainable mindset of art creation, serving as a cultural hub advancing and advocating for experimentation in form and content with inclusion, diversity, equity and justice guiding our work.

Contact: annoberhelman@suu.edu www.suu.edu/pva/tdaa 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: Certificate: Three-Year Conservatory Program, Two-Year Evening Conservatory Program, LA Conservatory Program, Summer Training, Online Courses 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 New York City and now Los Angeles. Training programs include Professional Conservatory, Summer Intensives and Seasonal Part-Time Workshops.

Contact: Ryan Chittaphong 212-689-0087; ryan@stellaadler.com www.stellaadler.com www.artofactingstudio.com TEMPLE UNIVERSITY School of Theater, Film & Media Arts 2020 N 13th St Philadelphia, PA 19122 Degrees: BA: Theatre Studies (Acting, Design & Production, Directing); BFA: Musical Theatre, Technical Production & Management; BA and MEd: Theatre Education 4+1; MFA: Acting, Directing, Design (Costume, Lighting, Scenic), Playwriting; Musical Theatre Collaboration

& Training Program Directory Profile: Temple’s distinguished faculty is dedicated to professional training within a rigorous liberal arts 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: Josette Todaro 215-204-3209; tfma@temple.edu tfma.temple.edu/theater TEXAS TECH UNIVERSITY School of Theatre and Dance Box 42061 Lubbock, TX 79409 Degrees: BA: Theatre, Dance; BFA: Acting, Dance, Design, Musical Theatre; MA: Dance Studies, Theatre; MFA: Performance and Pedagogy, Design, Playwriting, Arts Administration; PhD: Fine Arts; Minor: Dance, Theatre Profile: Seasons consist of 8–10 productions, a festival of new student work, Wildwind Performance Laboratory, and the Marfa Intensive. We cast undergraduate and graduate students and assign student directors/designers/choreographers to each production. Fine Arts PhD is a unique interdisciplinary program combining scholarship and practice.

Contact: Mark J. Charney 806-834-1683; mark.charney@ttu.edu www.theatre.ttu.edu TOUCHSTONE THEATRE / MORAVIAN UNIVERSITY 321 E 4th St Bethlehem, PA 18015 Degrees: MFA: Performance Creation Profile: This two-year program is a unique opportunity for artists to earn a degree steeped in both practice and theoretics.

Students will learn and create alongside the Touchstone Ensemble – a collective of practicing artists who know the craft from daily engagement with their own brand of socially engaged performance creation.

Contact: James P. Jordan 610-867-1689; jordanj03@moravian.edu www.moravian.edu/theatre/mfa-performancecreation TOWSON UNIVERSITY Department of Theatre Arts, Suite 3037 COFAC 8000 York Rd Towson, MD 21252 Degrees: BA/BS: Theatre (Theatre Studies, Design & Production); BFA: Acting; MFA: Theatre Arts Profile: Theatre students at Towson University are empowered to fulfill their potential through an education in which they explore the world of theatre, engage in collaborative

learning and develop the capacities to excel as artists and citizens. The MFA program cultivates the self-generative artist through an interdisciplinary, process-oriented and collaborative experience.

Contact: Robyn Quick 410-704-2792; rquick@towson.edu www.towson.edu/theatre TROY UNIVERSITY Department of Theatre and Dance Malone Hall 132 Troy, AL 36082 Degrees: BS/BA: Theatre (Performance, DTM); BSE: Theatre Education (Grades P–12); BFA: Dance Profile: Troy’s program is demanding and nurturing, with emphasis on strong collaboration, integration of theatre and dance, new and original works, and student-driven projects. Annual season of 10–20 shows and events, with production roles and leadership opportunities beginning the first semester.

Troy offers numerous academic and leadership scholarships.

Contact: Department of Theatre and Dance 334-808-6142; theatreanddance@troy.edu www.troy.edu/theatreanddance THE UNIVERSITY OF ALABAMA Department of Theatre and Dance Box 870239 Tuscaloosa, AL 35487 Degrees: BA: Theatre, Musical Theatre, Dance; BFA: Theatre (concentrations in Acting, Musical Theatre, Design & Technical Production); MFA: Theatre (Concentrations in Acting, Arts Management, Costume Design/ Production, Directing, Design and Technical Direction, and Stage Management); MFA: Dance Profile: UA offers comprehensive academic and practical training on a liberal arts foundation to prepare students for professional success. Opportunities include seven theatre productions, four dance concerts, SummerTide Theatre in Gulf Shores and one-time performances ranging from full-scale roadhouse productions to off-Broadway shows in New York each year.

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

U A B D E PA R T M E N T O F T H E AT R E FROM THE 2022 PRODUCTION OF THE SPONGEBOB MUSICAL TAYLOR CAMPBELL PHOTOGRAPHY

OFFERING

BFA in Musical Theatre BA in Theatre

With concentrations in Performance, Design/Technology, and General Theatre

uab.edu/cas/theatre

D-17

2023 SETC College, University UNIVERSITY OF CENTRAL FLORIDA School of Performing Arts Dept. of Theatre 12488 Centaurus Blvd Orlando, FL 32816 Degrees: BA: Theatre Studies; BFA: Theatre (Acting, Design and Technology, Stage Management, Musical Theatre); Minor: Dance, Acting; MA: Theatre Studies, Musical Theatre; MFA: Acting, Theatre for Young Audiences and Themed Experience 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. The University of Central Florida is the country’s second largest university, and productions occur yearround. MA and BA in Theatre provide more generalized degree programs. MA in Musical Theatre is an online summer-only program geared toward educators.

Contact: Michael Wainstein 407-823-2519; theatre@ucf.edu theatre.ucf.edu

The University of Kentucky Department of Theatre and Dance offers comprehensive training in musical theatre, theatre, and dance.

Mainstage season and student produced works.

Scholarships available.

Education abroad opportunities.

D-18

UNIVERSITY OF CENTRAL MISSOURI Department of Theatre and Dance Martin Bldg, 113 Warrensburg, MO 64093 Degrees: BA: Theatre; BFA: Musical Theatre, Theatre (Performance, Design Technology); BSE: Speech and Theatre; Minor: Theatre, Dance Profile: Our five mainstage shows, 10 oneacts and vibrant black box theatre program provide numerous opportunities to students onstage and behind the scenes. Our programs are NAST-accredited, and our endowed Guest Artist Series allows students to work with regionally and nationally acclaimed artists.

Contact: Ashley Miller-Scully 660-543-8798; almiller@ucmo.edu www.ucmo.edu/theatre UNIVERSITY OF FLORIDA School of Theatre and Dance Nadine McGuire Theatre and Dance Pavilion, PO Box 115900 Gainesville, FL 32611 Degrees: BA: Theatre (Stage Management, Theatre Management, General), Dance; BFA: Performance (Acting, Musical Theatre), Production (Costume Design, Lighting Design, Scene Design), Dance; MFA: Theatre (Acting, Costume Design, Lighting Design, Scene Design); Minor: Theatre, Theatre Production, Dance Profile: The school stages 8–10 theatre and dance productions during the academic year and features opportunities for focused study in a Top 5 public research institution.

The school’s Summer Repertory Theatre and Summer Dance Intensive focus on the development of new works in partnership with guest artists.

Contact: Peter Carpenter 352-273-0549; pcarpenter@arts.ufl.edu arts.ufl.edu/theatreanddance UNIVERSITY OF INDIANAPOLIS Department of Theatre 1400 E Hanna Ave Esch Hall 065 Indianapolis, IN 46227 Degrees: BA/BS: Theatre (Performance/ Directing, Design/Technology); BS: Theatre Education Profile: Beginning your first semester, you’ll have the opportunity to audition for roles, build sets, be a part of tech crews and more. Our program is designed to challenge, develop and broaden the skills of our students. From engaging courses to working on productions that build your theatre network, you’ll develop a keen sense of community on and off campus. UIndy theatre scholarships of up to one-quarter tuition available.

Contact: Elisabeth Hoegberg 317-788-3455; ehoegberg@uindy.edu theatre.uindy.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, Filmmaking: Production & Dramatic Writing 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. Accredited institutional member of the National Association of Schools of Theatre (NAST).

Contact: UK Theatre and Dance 859-257-3297; uktheatre@uky.edu finearts.uky.edu/theatre-dance UNIVERSITY OF MARY WASHINGTON Department of Theatre and Dance DuPont Hall 1301 College Ave Fredericksburg, VA 22401 Degrees: BA: Theatre; Minor: Musical Theatre, Arts Administration; Pre-K Teacher Licensure in Theatre Arts Profile: Program allows you to concentrate on the area in which you have the greatest interest, while pursuing a double major or minor, or obtaining a teaching license.

Whether you intend to work professionally, pursue a related field or continue your studies, the education you receive will prepare you for the future.

Contact: Gregg Stull 540-654-1980; gstull@umw.edu cas.umw.edu/theatre UNIVERSITY OF MARYLAND, BALTIMORE COUNTY Department of Theatre 1000 Hilltop Cir PAHB 322 Baltimore, MD 21250 Degrees: BA: Design and Production, Theatre Studies; BFA: Acting; Minor: Theatre Profile: UMBC Theatre fosters artistically innovative and socially engaged graduates in a leading liberal arts program. Using the latest technologies and practices, we experiment with theatrical forms, create provocative new work and give voice where it is most needed.

Nationally acclaimed faculty closely mentor each student at UMBC and in the field.

Contact: Laurie Newton 410-455-2917; theatre@umbc.edu theatre.umbc.edu

& Training Program Directory UNIVERSITY OF MEMPHIS Department of Theatre & Dance 144 Theatre Bldg Memphis, TN 38152-3150 Degrees: BFA: Theatre (Performance, Design & Technical Production, Musical Theatre, Dance, Dance Science); MFA: Theatre (Directing, Design & Technical Production) Profile: We offer quality mentoring, extensive training in all three areas of performance, dedicated individual advisors, a richly varied production program, a state-of-the-art design lab, a full range of dance classes, realized design experiences, and casting opportunities beginning your first semester.

Contact: Kristin Shupe 901-678-2523; kshupe@memphis.edu www.memphis.edu/theatre UNIVERSITY OF MISSISSIPPI 110 Isom Hall PO Box 1848 University, MS 38677 Degrees: BA: Theatre Arts; BFA: Acting for Stage and Screen, 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 UNIVERSITY OF MOBILE Alabama School of the Arts 5735 College Pkwy Mobile, AL 36613 Degrees: BFA: Performance (Acting, Musical Theatre); BA: Performance, Directing/Stage Management; BM: Musical Theatre Profile: The theatre program is designed to help students develop their potential by preparing them for careers in professional theatres, various performance companies, schools and communities. Its design also provides students with a foundation for postgraduate studies.

Contact: Stewart Hawley 251-442-2896; shawley@umobile.edu asota.umobile.edu UNIVERSITY OF MONTEVALLO Station 6210 Theatre Department Montevallo, AL 35115 Degrees: BA/BS: Theatre; BFA: Musical Theatre, Acting, Directing, Design/Technology Profile: UM Theatre is a department of over 115 majors housed in our brand-new,

35,000-square-foot Center for the Arts. We provide numerous hands-on training opportunities, including a diverse production season and guest artist workshops. We train students for professional careers within the context of a first-rate liberal arts education.

NAST-accredited; current Senior Showcase with The Growing Studio, NYC. 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 small school accessibility with the opportunities of larger institutions, including a professional summer theatre company and guest artist programs that bring nationally recognized professionals to our theatres. Performance and technical scholarships available.

Contact: Kevin P. Kern 330-823-3875; kernkp@mountunion.edu www.mountunion.edu/academics/departments/department-of-theatre

theatre education, giving its majors a broad understanding and appreciation of theatre on artistic and cultural levels. The graduate programs work closely with PlayMakers Repertory Company, a professional (LORT/ AEA) theatre.

Contact: David Navalinsky 919-962-1132; navalinsky@unc.edu drama.unc.edu UNIVERSITY OF NORTH CAROLINA AT GREENSBORO PO Box 26170 406 Tate St 201 Taylor Theatre Bldg Greensboro, NC 27402 Degrees: BA: Drama; BFA: Acting, Musical Theatre, Theatre Education, Design/ Technology; Minor: Drama, Theatre Management, Technical Theatre; MFA: Performance, Theatre for Youth, Music Theatre Direction for Musical Theatre, Design.

Profile: The mission of UNCG’s School of Theatre is to prepare students to be informed theatre practitioners with commitment to creativity, innovation, inclusion and the advancement of the art form.

Contact: Natalie Sowell 336-334-4112; ndsowell@uncg.edu theatre.uncg.edu

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 trains students in all aspects of theatre. Working in tandem with the Nevada Conservatory Theatre, UNLV students work alongside professional guest artists in all areas of performance and design/technology. In the classroom, onstage or in TV/film acting, we foster creative development and growth that prepares students for professional careers.

Contact: Michael Lugering 702-895-3666; theatre@unlv.edu theatre.unlv.edu UNIVERSITY OF NORTH CAROLINA AT CHAPEL HILL CB 3230 Center for Dramatic Art Chapel Hill, NC 27599 Degrees: BA: Dramatic Art; Minor: Musical Theatre; MFA: Acting, Technical Production, Costume Production Profile: The Department of Dramatic Art offers a BA degree providing a well-rounded

D-19

2023 SETC College, University UNIVERSITY OF NORTH CAROLINA AT WILMINGTON 5270 Randal Pkwy Cultural Arts Bldg Wilmington, NC 28403 Degrees: BA: Theatre (Performance, Design/Technical, Theatre Studies) Profile: Our goal is to nurture, encourage, support, train and educate artists in the study and practice of theatre. We train students to pursue a career in the vast field of show business – in theatre, film, television or a host of other related fields. Students learn the essential skills needed for success.

Contact: Susan Wilder 910-962-2061; wilders@uncw.edu www.uncw.edu/theatre UNIVERSITY OF OKLAHOMA Helmerich School of Drama 640 Parrington Oval, Ste 125 Norman, OK 73019 Degrees: BFA: Theatre (Performance, Dramaturgy, Stage Management, Scenic Design, Lighting Design, Sound Design); Minor: Theatre Profile: The Peggy Dow Helmerich School of Drama educates theatrical artists of all kinds, preparing them to enter the theatrical and entertainment profession with an expanded knowledge of an ever-evolving industry; we

Where aspiring artists take center stage.

B.A. in Theatre Concentrations in: Performance Design/Tech Theatre Studies Minors in: Theatre Musical Theatre Dance WWW/UNCW.EDU/THR UNCW is an EEO/AA institution.

D-20

nurture creative expression; we encourage, celebrate and practice equity, diversity and inclusion; we embrace the richness of global theatrical traditions in our curricula and on our stages; we empower our students to see themselves as agents of change; and we maintain a standard of excellence in all our artistic endeavors.

Contact: Drama_recruitment@ou.edu ou.edu/finearts/drama UNIVERSITY OF SOUTH ALABAMA 5751 USA South Dr Laidlaw Performing Arts Center Room 1052 Mobile, AL 36688 Degrees: BA: Dramatic Arts; BFA: Theatre (Performance) Profile: We offer distinctive options for degrees within a department devoted exclusively to a balance between production experience, training and achieving pre-professional skills and expectations.

Contact: Lars Tatom 251-460-6305; tatom@southalabama.edu www.southalabama.edu/drama 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 on- and offstage. A professionally active faculty, strong classes, internships and a cutting-edge production program prepare students for the theatre of the 21st century.

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 (Performance and Design/Technology); Dance (Performance/ Choreography and Dance Education [K–12 Certification]); MA: Theatre; MAT: Theatre; MFA: Theatre (Acting, Directing, Costume Design, Lighting Design, Scenic Design); Minor: Theatre, Dance Profile: With areas of study focused on acting, directing, design, stagecraft, teaching and research, our theatre program offers undergraduate and graduate students the opportunity to learn, practice and chart their own courses. The University of South Carolina Columbia is the only college in the state offering the MFA in Theatre, the highest degree possible in the fields of design and performance.

Contact: Jim Hunter 803-777-4288; hunterj@mailbox.sc.edu Theatre.sc.edu UNIVERSITY OF SOUTH CAROLINA UPSTATE 800 University Way Spartanburg, SC 29303 Degrees: BA: Theatre (Performance, Production) Profile: Recognized both nationally and internationally, the USC Upstate theatre program makes an assortment of opportunities and experiences available. With annual opportunities to perform in London, theatre students learn production and performance skills that enrich their lives and prepare them for careers in professional, educational and community theatre.

Contact: Lee Neibert, Laura Rikard 864-503-5987; lneibert@uscupstate.edu 864-503-5697; lrikard2@uscupstate.edu www.uscupstate.edu/academics/college-ofarts-humanities-and-social-sciences/fine-artsand-communication-studies/theatre-program UNIVERSITY OF SOUTH DAKOTA Department of Theatre 414 E Clark St Vermillion, SD 57069 Degrees: BFA: Theatre (Acting, Design and Technology [Costume Design, Lighting and Sound Design, Scenic Design, Technical Direction and Stage Management], Musical Theatre, Theatre Studies); Minor: Dance, Film Studies, Theatre; MFA: Theatre (Directing, Design and Technology [Costume Design, Lighting and Sound Design, Scenic Design, Technical Direction]) Profile: Excelling as a premier professional theatre training program, built upon a liberal arts foundation, we prepare students for professions in acting, musical theatre, design technology and more. Students will be equipped with the talent and tools necessary for immediate professional work, graduate studies or instruction.

Contact: Raimondo Genna 605-658-3486; Raimondo.Genna@usd.edu www.usd.edu/theatre

& Training Program Directory UNIVERSITY OF SOUTHERN INDIANA 8600 University Blvd Evansville, IN 47712 Degrees: BS/BA: Theatre Arts (Performance, Design & Technology); Minor: Music Performance Profile: The department has five full-time faculty members who actively work in theatre.

Facilities include a 299-seat mainstage teaching theatre (four-show season, including one musical) and a 100-seat black box (student-produced work). One show during the year brings in professional actors, so the students in the production work under an Equity URTA contract and gain points toward Equity membership.

Contact: Eric Altheide 812-464-1750; eaaltheide@usi.edu www.usi.edu/liberal-arts/usi-theatre

UNIVERSITY OF TENNESSEE KNOXVILLE Department of Theatre 206 McClung Tower Knoxville, TN 37996 Degrees: BA: Theatre (General, Acting, Design & Technology); MFA: Acting, Costume Design, Lighting Design, Scenic Design, Sound & Media Design Profile: UTK is dedicated to creating rigorous educational programs that are fully integrated with the operations of a professional LORT theatre, the Clarence Brown Theatre. We believe in a dual mission, offering students the opportunity to study in the studio and practice alongside first-rate professionals.

Contact: Lauren Roark 865-974-6136; lroark2@utk.edu theatre.utk.edu

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 and Sound Design Profile: The Department of Theatre offers undergraduate major and minor degrees and graduate programs in theatre. The program provides students 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, and graduate assistantships are available.

Contact: Sandra Whittington 601-266-4161; Sandra.Whittington@usm.edu www.usm.edu/theatre

UNIVERSITY OF THE ARTS IRA BRIND SCHOOL OF THEATER ARTS 320 S Broad St Philadelphia, PA 19102 Degrees: BFA: Musical Theater; Acting; Directing, Playwriting + Production, Theater Design + Technology; MFA: Devised Performance; GC: Devised Performance; Minor: Musical Theater Profile: The Ira Brind School of Theater Arts is committed to developing the individual artistic voice of each student. Each student will develop both skills and an expanded point of view. Upon graduation, our students are ready to engage the medium and the world with a strong sense of themselves as citizen-artists.

Contact: Jacob Brent; Krista Apple; Amy Dugas Brown; Natalie Robin jbrent@uarts.edu; kapple@uarts.edu; ambrown@uarts.edu; nrobin@uarts.edu www.uarts.edu/academics/undergraduateprograms

UNIVERSITY OF TENNESSEE CHATTANOOGA Dept 1401 Theatre Program 615 McCallie Ave Chattanooga, TN 37403 Degrees: BA: Theatre (concentrations in Acting, Design and Technology, Directing, Theatre Entrepreneurship, Theatre Education) 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 newly renovated performance facilities in an active, challenging, hands-on theatre program within the context of a liberal arts education. Our school is NAST-accredited.

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; Minor: Dance, Drama; MFA: Acting, Lighting Design, Costume Design & Technology, Scenic Design & Technical Production 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.

The Department of Drama is not recruiting MFA candidates for 2023–24.

Contact: Richard Will 434-924-3326; drama@virginia.edu drama.virginia.edu

UNIVERSITY OF WEST FLORIDA Theatre Department 11000 University Pkwy Pensacola, FL 32514 Degrees: BA: Performance Studies, Arts Administration; BFA: Acting, Musical Theatre, Design Technology 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 Theatre Program Martha Munro Hall and Old Auditorium (Class and rehearsal studios) Townsend Center (Performance facilities) 1600 Maple St Carrollton, GA 30118 Degrees: BA: Theatre; BFA: Theatre (Acting, Design/Technology); Certificate: Musical Theatre, Arts Management Profile: We are small but fierce! Just 40 miles west of Atlanta, we make sure connections are made and nurtured with the Atlanta theatre and film industries. 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 is NAST-accredited.

Contact: Amy Cuomo 678-839-4700; theatre@westga.edu www.westga.edu/~theatre UTAH STATE UNIVERSITY Department of Theatre Arts 4025 Old Main Hill Logan, UT 84322-4025 Degrees: AA: Theatre Arts (Eastern campus only); BFA: Acting, Design & Technology, Theatre Education; BA: Theatre Arts; MFA: Theatre Arts; Minor: Theatre Studies Profile: The Depar tment of Theatre Arts supports the missions of Utah State University and the Caine College of the Arts by cultivating artistic and academic excellence, by contributing to the cultural enrichment of the university and surrounding communities through live theatre production, and by fostering respect for the arts through advocacy and professionalism.

Contact: Luann Baker 435-797-0085; luann.baker@usu.edu cca.usu.edu/theatre/index

D-21

2023 SETC College, University 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; pre-screens, auditions and interviews for all degree programs via GetAcceptd.com.

Contact: Duke Guthrie 229-253-2914; dguthrie@valdosta.edu www.valdosta.edu/colleges/arts/communication-arts/dept-programs.php VILLANOVA UNIVERSITY 800 E Lancaster Ave Villanova, PA 19085 Degrees: MA: Theatre Profile: Villanova’s two-year MA in Theatre program balances production and scholarship, preparing students to succeed throughout their careers as artists, educators and administrators. Students can chart their own course, studying directing, acting, playwriting, dramaturgy and more while contributing to an annual season of

D-22

professional productions. Scholarships and assistantships are available to qualified applicants from a variety of disciplines.

Contact: 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 Design, Stage Management; MFA: 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 804-828-1514; bsmccoy@vcu.edu arts.vcu.edu/theatre VIRGINIA TECH School of Performing Arts Theatre and Cinema 242 Henderson Hall E (0141) Blacksburg, VA 24061 Degrees: BA: Theatre (Performance, Design/Tech, General), Cinema (Production and/ or Studies); MFA: Theatre (Directing & Public Dialogue, Stage Management, Costume Design & Technology, Lighting Design, Scenography, Technical Direction, Arts Leadership); Certificate: Arts Leadership Profile: Uncommon experiences and opportunities await in the beautiful Blue Ridge Mountains. Nationally recognized faculty and professional ties help make us a highly successful and innovative theatre and cinema program rooted in deep study combined with performance and production. Students benefit from a small, close-knit program within a large, comprehensive research university.

Contact: Deidra Hopkins 540-231-5335; performingarts@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 WEST VIRGINIA UNIVERSITY School of Theatre & Dance Canaday Creative Arts Center PO Box 6111 Morgantown, WV 26506 Degrees: BA: Dance, Theatre; BFA: Acting, Musical Theatre, Design & Technology, Puppetry; MFA: Acting, Costume Design, Lighting Design, Scene Design, Technical Direction; Minor: Dance, Theatre Studies, Theatre Production Profile: WVU is a NAST-accredited program offering undergraduate and graduate training in theatre and dance 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 well-equipped facilities. WVU is a member of URTA. Contact: Joshua B. Williamson 304-293-2020; theatre@mail.wvu.edu theatre.wvu.edu WESTERN CAROLINA UNIVERSITY School of Stage and Screen 1 University Drive Belk 278 Cullowhee, NC 28723 Degrees: BA: Stage and Screen (General Theatre); BFA: Theatre (Acting, Musical Theatre, Entertainment and Design Technology), Film and Television Production; Minor: Dance 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: Claire Eye 828-227-7491; sas@wcu.edu stageandscreen.wcu.edu

& Training Program Directory 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, Directing, Technical Direction, Scenic Design, Lighting Design, Costume Design; Minor: Stage Combat, Dance, Theatre 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, dance and production, and are fully NAST-accredited. WIU serves approximately 10,000 students at its residential campus in Macomb, IL. Contact: 309-298-1543; theatre@wiu.edu www.wiu.edu/cofac/theatre

WILKES UNIVERSITY 84 W South St Wilkes-Barre, PA 18766 Degrees: BA: Theatre Design & Technology, Theatre Arts (Acting/Directing, Design/Technical, Dance); BFA: Musical Theatre Profile: The theatre program at Wilkes is a pre-professional theatre training program committed to our small class sizes, “handson” training, and our mission to create an accomplished, focused theatre artist. Our program produces four mainstage productions each year, two musicals and two nonmusicals, plus multiple black box senior capstone productions.

Contact: Jon Liebetrau 570-408-4442; jon.liebetrau@wilkes.edu www.wilkes.edu

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, Theatre Design & 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

WILLIAM CAREY UNIVERSITY 710 William Carey Pkwy Hattiesburg, MS 39401 Degrees: BFA: Scriptwriting (online or residency), Theatre for Young Audiences; BA: Theatre (Performance, Design & Technology, Musical Theatre) Profile: The WCU Theatre offers quality instruction and training in a caring environment.

Small classes and close faculty–student relationships make individual attention possible.

Contact: Tim Matheny 601-318-6521; thecom@wmcarey.edu www.wmcarey.edu

WICHITA STATE UNIVERSITY 1845 Fairmont Box 153 Wichita, KS 67260 Degrees: BA: Theatre, Musical Theatre, Dance; BFA: Theatre (Performance, Design & Technical Theatre), Musical Theatre, Dance; Minor: Theatre, Musical Theatre, Dance; Certificate: Commercial Dance, Directing, Physical Performance Studies, Stage Management, Voice Acting Profile: Student-centered, hands-on undergraduate training for people pursuing careers in the arts and entertainment industry as performers, directors, designers, dancers, choreographers, technicians and stage managers. Students work with faculty as assistants and junior colleagues. Our productions are created to provide professional-level experience in all areas of study.

Contact: Danette Baker, Cheyla Clawson 316-978-3360; PerformingArts@wichita.edu Wichita.edu/performingarts

Profile: From your first year, the opportunities are endless to perform, direct, design and more in the York College theatre program. Join us for an individualized blend of academic and practical theatre courses. Additional opportunities include studying abroad, internships, community role-playing and working with guest artists.

Contact: Suzanne Delle 717-815-6451; sdelle@ycp.edu www.ycp.edu/theatre YOUNG HARRIS COLLEGE Department of Theatre 1 College St Young Harris, GA 30582 Degrees: BFA: Musical Theatre; BA: Theatre Performance, Theatrical Design & Production; Minor: Theatre Profile: Low student-to-faculty ratios, personal attention and abundant production opportunities are key to our program’s success. We aim to turn our students of today into the working theatre professionals of tomorrow.

Contact: Chris Crawford 706-379-5144; cbcrawford@yhc.edu www.yhc.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. Scholarships are awarded annually based on audition/ portfolio review.

Contact: Daniel Gordon 803-323-2287; theatredance@winthrop.edu www.winthrop.edu/cvpa/theatredance YORK COLLEGE OF PENNSYLVANIA Theatre Program 441 Country Club Rd York, PA 17403 Degrees: BA: Theatre; Minor: Arts Administration, Dance, Theatre; Grad Certificate: Educational Theatre

D-23

2023 SETC Directory of Historically Black Colleges & HBCU Directory

On the pages that follow, you will find a directory of Historically Black Colleges and Universities (HBCUs) that have offerings in the areas of theatre, music, speech and/or communications.

ALABAMA A&M UNIVERSITY Visual, Performing, & Communication Arts PO Box 4900 Huntsville, AL 35762 Contact: Dr. Horace R. Carney 256-372-5512; horace.carney@aamu.edu www.aamu.edu/academics/colleges/education-humanities-behavioral-sciences/departments/visual-performing-communicationmedia ALABAMA STATE UNIVERSITY Department of Theatre Arts PO Box 271 Montgomery, AL 36101 Contact: Brian Martin 334-229-6929; bmartin@alasu.edu www.alasu.edu ALBANY STATE UNIVERSITY Department of Arts and Humanities 504 College Dr Albany, GA 31705 Contact: Marcia Hood 229-500-2116; Marcia.Hood@asurams.edu www.asurams.edu ALCORN STATE UNIVERSITY Department of Fine Arts 1000 ASU Dr #29 Alcorn State, MS 39096 Contact: Sean Daniels 601-877-3962; sedaniels@alcorn.edu www.alcorn.edu/academics/schools-anddepartments/school-of-arts-and-sciences/ fine-arts ALLEN UNIVERSITY Division of Arts & Humanities 1530 Harden St Columbia, SC 29204 Contact: Kevin Trumpeter 601-877-3962 ktrumpeter@allenuniversity.edu allenuniversity.edu AMERICAN BAPTIST COLLEGE 1800 Baptist World Center Dr Nashville, TN 37207 Contact: David Thomas 615-256-1463; dthomas2@abcnash.edu abcnash.edu ARKANSAS BAPTIST COLLEGE Department of Fine Arts 1600 Dr. Martin Luther King Jr. Dr Little Rock, AR 72202 Contact: Rev. Henry Parker 501-420-1200 henry.parker@arkansasbaptist.edu www.arkansasbaptist.edu/finearts

D-24

BENEDICT COLLEGE Communication & Arts Department 1600 Hardin St Columbia, 29204 Contact: Gina Moore 803-705-4605; gina.moore@benedict.edu www.benedict.edu/schools/school-of-artsand-sciences/communication-and-artsdepartment/

CHEYNEY UNIVERSITY OF PENNSYLVANIA Department of Humanities 1837 University Cir, PO Box 200 Cheyney, PA 19319-0200 Contact: Marietta Dantonio-Madsen 610-399-2241; cbutcher@cheyney.edu cheyney.edu/academics/academic-departments-programs/the-department-of-humanities

BENNETT COLLEGE Department of Humanities 900 E Washington St Greensboro, NC 27401 Contact: Tennille Ebony Foust 336-517-2301 www.bennett.edu

CLAFLIN UNIVERSITY Department of Theatre 400 Magnolia Ave Orangeburg, SC 29118 Contact: Annette Dees Grevious 803-535-5997; agrevious@claflin.edu www.claflin.edu

BETHUNE COOKMAN UNIVERSITY Department of Communication Studies, Theatre & Dance 640 Dr. Mary McLeod Bethune Blvd Daytona Beach, FL 32114 Contact: Julius John 386-481-2736; johnj@cookman.edu www.cookman.edu/coah/school-of-performing-arts-and-communication.html

CLARK ATLANTA UNIVERSITY Department of Theatre & Communications Studies 223 James P. Brawley Dr SW Atlanta, GA 30314 Contact: Eve Graves 404-880-6142; jgraves@cau.edu www.cau.edu

BLUEFIELD STATE COLLEGE 219 Rock St Bluefield, WV 24701 Contact: Michael Smith 304-327-4026; msmith@bluefieldstate.edu bluefieldstate.edu BOWIE STATE UNIVERSITY Department of Fine and Performing Arts 14000 Jericho Park Rd Bowie, MD 20715 Contact: Elena Velasco, Kathryn Kawecki 301-860-3751 evelasco@bowiestate.edu kkawecki@bowiestate.edu www.bowiestate.edu CENTRAL STATE UNIVERSITY 1400 Brush Row Rd PO Box 1004 Wilberforce, OH 45384 Contact: Kathleen Allen 937-376-6403; kallen@centralstate.edu www.centralstate.edu/academics/CHAS/music_art/index.php

CLINTON COLLEGE 1029 Crawford Rd Rock Hill, SC 29730 Contact: Tony McNeill 803-327-5563; tmcneill@clintoncollege.edu www.clintoncollege.edu COAHOMA COMMUNITY COLLEGE 3240 Friars Point Rd Clarksdale, MS 38614 Contact: Kelvin Towers 662-621-4212; ktowers@coahomacc.edu www.coahomacc.edu COPPIN STATE UNIVERSITY Theatre Arts Program 2500 W North Ave Baltimore, MD 21216-3698 Contact: Garey Hyatt 410-951-3369; ghyatt@coppin.edu www.coppin.edu/theatre-arts-program DELAWARE STATE UNIVERSITY 1200 N DuPont Hwy Dover, DE 19901 Contact: Amanda Anderson 302-857-6565; alanderson@desu.edu chess.desu.edu DENMARK TECHNICAL COLLEGE PO Box 327 Denmark, SC Contact: Ursula Robinson 803.793.5200; robinsonu@denmarktech.edu www.denmarktech.edu

Universities (HBCUs) with Performing Arts Offerings DILLARD UNIVERSITY Theatre Program, School of Humanities 2601 Gentilly Blvd.

New Orleans, LA 70122 Contact: Cortheal Clark 504-816-4245, cclark@dillard.edu www.dillard.edu/theatre/index.php DRAKE STATE COMMUNITY & TECHNICAL COLLEGE 3421 Meridian St N Huntsville, AL 35811 Contact: Ed Forbes 256-539-8161; ed.forbes@drakestate.edu www.drakestate.edu EDWARD WATERS UNIVERSITY Department of Communications 1658 Kings Rd Jacksonville, FL 32209 Contact: Kimberly Davis 904-470-8180; k.davis@ewc.edu www.ew.edu/academic-programs/communications FAYETTEVILLE STATE UNIVERSITY Department of Performing and Fine Arts 1200 Murchison Rd Fayetteville, NC 28301 Contact: Jeremy Fiebig, Dave Griffie, Avis Hatcher-Puzzo 910-672-2574; jfiebig@uncfsu.edu www.uncfsu.edu/academics/colleges-schoolsand-departments/college-of-humanities-andsocial-sciences/department-of-performingand-fine-arts FISK UNIVERSITY Department of Arts and Music 1000 17th Ave N Nashville, TN 37208 Contact: Katharine Burnett 615-329-8738; kburnett@fisk.edu www.fisk.edu FLORIDA AGRICULTURAL AND MECHANICAL UNIVERSITY (FAMU) Department of Visual Arts, Humanities and Theatre 515 Orr Dr Tallahassee, FL 32307 Contact: Anedra Small 850-599-8066; anedra.small@famu.edu cssah.famu.edu/departments-and-centers/ essential-theatre FLORIDA MEMORIAL UNIVERSITY 15800 NW 42nd Ave Miami Gardens, FL 33054 Contact: Argarita Johnson-Palavicini (305) 626-0092 Argarita.Johnson@fmuniv.edu www.fmuniv.edu

FORT VALLEY STATE UNIVERSITY 1005 State University Dr Fort Valley, GA 31030-4313 Contact: Maisha S. Akbar 478-825-6989; akbarm@fvsu.edu www.fvsu.edu/about-fort-valley-state-university/academics/college-of-arts-and-sciences/ visual-performing-arts-media-studies/ GADSDEN STATE COMMUNITY COLLEGE Division of Fine Arts 1001 George Wallace Dr Gadsden, AL 35903 Contact: Joe Fuselli 256-549-8445; jfuselli@gadsdenstate.edu www.gadsdenstate.edu/programs-of-study/ fine-arts.cms GRAMBLING STATE UNIVERSITY Department of Visual and Performing Arts 403 Main Street Grambling, LA 71245 Contact: David Kaul 318-274-2571; Kauld@gram.edu www.gram.edu/academics/majors/arts-andsciences/arts/theatre HAMPTON UNIVERSITY Department of Music and Performing Arts Armstrong Hall Hampton University Hampton, VA 23668 Contact: Karen Turner Ward 757-728-6187; karen.ward@hamptonu.edu www.hamptonu.edu HOWARD UNIVERSITY Department of Theatre Arts 2455 Sixth St NW, Suite 1044 Washington, DC 20059 Contact: Ofosuwa Abiola 202-806-7050; ofosuwa.abiola@howard.edu Theatrearts.howard.edu HUSTON-TILLOTSON UNIVERSITY Department of Humanities and Fine Arts 900 Chicon St Austin, TX 78702 Contact: Stephen Burnaman 512-505-3119; spburnaman@htu.edu www.htu.edu JACKSON STATE UNIVERSITY Department of Art & Theatre 1400 JR Lynch St Box 17126 Jackson, MS 38217 Contact: Yolanda Williams 601-979- 2426 Yolanda.R.Williams@jsums.edu www.jsums.edu/art

JARVIS CHRISTIAN UNIVERSITY PO Box 1470 Hawkins, TX 75765 Contact: Christine-Ann Hoff 903-730-4890 x2133; ahoff@jarvis.edu www.jarvis.edu JOHNSON C. SMITH UNIVERSITY Visual and Performing Arts 100 Beatties Ford Rd Charlotte, NC 28216 Contact: Anthony Casper; Jaclyn O’Toole acasper@jcsu.edu; jotoole@jcsu.edu ww2.jcsu.edu KENTUCKY STATE UNIVERSITY Department of Performing Arts 400 E Main St Frankfort, KY 40601 Contact: Mary Grogan 502-597-5127; mary.grogan@kysu.edu www.kysu.edu/academics/college-hbs/schoolof-hpa/index.php LANE COLLEGE Division of Liberal Studies and Education 545 Lane Ave Jackson, TN 38301 Contact: Karen Henning 731-265-6649; khenning@lanecollege.edu www.lanecollege.edu LANGSTON UNIVERSITY Arts and Sciences 2020 Langston University, PO Box 1500 Langston, OK 73050 Contact: Daniel Thompson 405-466-3244; dthom34@langston.edu www.lanecollege.edu LEMOYNE-OWEN COLLEGE Fine Arts & Humanities 1220 E Mallory Ave Memphis, TN 38106 Contact: Linda White 901-435-1306; linda_white@loc.edu www.loc.edu/academics/fine-arts-and-humanities LINCOLN UNIVERSITY Visual and Performing Arts Department 1570 Baltimore Pike Lincoln University, PA 109352 Contact: Christina Kerns 484-365-7538; ckerns@lincoln.edu www.lincoln.edu/departments/visual-andperforming-arts-department LINCOLN UNIVERSITY MISSOURI Department of Visual and Performing Arts 820 Chestnut St Jefferson City, MO 65101 Contact: 573-681-5000 www.lincolnu.edu/department-of-visual-andperforming-arts/index.html

D-25

d

2023 SETC Directory of Historically Black Colleges & LIVINGSTONE COLLEGE Music & Theatre Arts Department 701 W Monroe St Salisbury, NC 28144 Contact: DaVaughn Miller 704-216-6322; Dmiller@livingstone.edu thisislivingstone.com/academics/division-ofliberal-arts/ MILES COLLEGE Division of Humanities 5500 Myron Massey Blvd Fairfield, AL 35064 Contact: Chalethia Williams 202-929-1000; cwilliams@miles.edu www.miles.edu MISSISSIPPI VALLEY STATE UNIVERSITY 14000 Hwy 82 W Itta Bena, MS 38941 Contact: Kimberly Broadwater 662-254-3483; kbroadwater@mvsu.edu www.mvsu.edu/finearts MOREHOUSE COLLEGE Creative and Performing Arts 830 Westview Dr SW Atlanta, GA 30314 Contact: Cindy Lutenbacher 470-639-0999 cindy.lutenbacher@morehouse.edu www.morehouse.edu MORGAN STATE UNIVERSITY Department of Fine and Performing Arts 1700 E Cold Spring Ln Baltimore, MD 21251 Contact: Janice Short 443-885-3333; janice.short@morgan.edu www.morgan.edu/cla/theatrearts MORRIS BROWN COLLEGE Department of Music 643 Martin Luther King Jr. Dr Atlanta, GA 30314 Contact: J. Anthony Plenty 404-458-6085 morrisbrown.edu MORRIS COLLEGE 100 W College St Sumter, SC 29150 Contact: Jacob E. Butler 803-934-3433; jbutler@morris.edu www.morris.edu/academics/academic-divisions/majors/english-major NORFOLK STATE UNIVERSITY Drama & Theatre Program 700 Park Ave Norfolk, VA 23504 Contact: Anthony Stockard 757-823-2897; amstockard@nsu.edu www.nsu.edu/drama

D-26

NORTH CAROLINA AGRICULTURAL & TECHNICAL STATE UNIVERSITY Theatre Arts Division 1601 E Market St Greensboro, NC 27411 Contact: Gregory Horton 336-285-3478; gjhor ton@ncat.edu www.ncat.edu/cahss/departments/visual-andperforming-arts/theatre-arts/index.php

SAVANNAH STATE UNIVERSITY Department of Fine Arts, Humanities and Wellness 3219 College St Savannah, GA 31494 Contact: Nicholas Silberg 912-358-3335; silbergn@savannahstate.edu www.savannahstate.edu/class/dance/performing-arts.shtml

NORTH CAROLINA CENTRAL UNIVERSITY Department of Theatre 1801 Fayetteville St Durham, NC 27707 Contact: Shrease Johnson Brown 919-530-7340; sjohn383@nccu.edu www.nccu.edu/cash/theatre

SHAW UNIVERSITY Visual & Performing Arts 118 E South St Raleigh, NC 27601 Contact: Kenneth Hinton 919-719-8891; khinton@shawu.edu www.shawu.edu

OAKWOOD UNIVERSITY Department of Communication 7000 Adventist Blvd NW Huntsville, AL 35896 Contact: 256-726-7533 oakwood.edu/academic-experience/school-ofarts-sciences/communication-fine-arts/ PAINE COLLEGE Department of Media Studies 1235 Fifteenth St Augusta, GA 30901 Contact: Teri Burnette 706-396-8132; tburnette@paine.edu paine.edu PHILANDER SMITH COLLEGE Department of Visual and Performing Arts 900 West Daisy L. Gatson Bates Dr Little Rock, AR 72202 Contact: Lillian Ross 501-370-5235; lross@philander.edu www.philander.edu/academics/majors-andminors/division-of-arts-and-humanities PRAIRIE VIEW A&M UNIVERSITY PO Box 2082 Prairie View, TX 77446-2082 Contact: Hardy L. Bates 936-261-3306; hlbates@pvamu.edu www.pvamu.edu/bcas/departments/musictheatre/theatre/ RUST COLLEGE Division of Humanities, 150 Rust Ave Holly Springs, MS 38635 Contact: Anna Scott 662-252-4605; ascott@rustcollege.edu www.rustcollege.edu SAINT AUGUSTINE’S UNIVERSITY Department of Visual and Performing Arts 1315 Oakwood Ave Raleigh, NC 27610 Contact: Kaye Celeste Evans 919-516-4156; kcevans@st-aug.edu www.st-aug.edu/academics/sassc/theatre/

SHELTON STATE COMMUNITY COLLEGE Alabama Community College of the Fine Arts 9500 Old Greensboro Rd Tuscaloosa, AL 35405 Contact: Tina Turley 205-391-3992; tturley@sheltonstate.edu www.sheltonstate.edu/about-us/communitycollege-of-the-fine-arts/fine-arts/theatre SIMMONS COLLEGE OF KENTUCKY 1018 S 7th St Louisville, Kentucky 40203 Contact: Kevin Davenport 502-776-1443 kdavenport@simmonscollegeky.edu simmonscollegeky.edu SOUTH CAROLINA STATE UNIVERSITY Drama Program (Department of Visual and Performing Arts) 300 College Ave Orangeburg, SC 29115 Contact: Ursula O. Robinson 803-536-8815; urobinson@scsu.edu www.scsu.edu SOUTHERN UNIVERSITY AND A&M COLLEGE Department of Fine and Performing Arts 801 Harding Blvd Baton Rouge, LA 70807 Contact: Joyce O’Rourke 225-771-4578; joyce_orourke@subr.edu www.subr.edu SOUTHERN UNIVERSITY AT NEW ORLEANS Department of Arts & Humanities 6400 Press Dr New Orleans, LA 70126 Contact: Douglas Marshall 504-286-5013; dmarshall@suno.edu www.suno.edu/page/academic-departmentsarts-humanities

Universities (HBCUs) with Performing Arts Offerings SPELMAN COLLEGE Department of Theatre & Performance 350 Spelman Ln SW, Box 244 Atlanta, GA 30314 Contact: Aku Kadogo 404-270-5564; akadogo@spelman.edu www.spelman.edu/academics/majors-andprograms/theater-and-performance

TUSKEGEE UNIVERSITY Fine & Performing Arts 1200 W Montgomery Rd Tuskegee, AL 36088 Contact: Warren L. Duncan 334-727-8325; wduncan@tuskegee.edu www.tuskegee.edu/programs-courses/colleges-schools/cas/fine-performing-arts

ST. PHILIP’S COLLEGE 1801 Martin Luther King Dr San Antonio, TX 78203 Contact: Vincent Hardy 210-486-2205; vhardy@alamo.edu www.alamo.edu/spc/academics/programs/ fine-arts-kinesiology/drama

UNIVERSITY OF ARKANSAS PINE BLUFF School of Arts and Sciences 1200 North University Dr Pine Bluff, AR 71601 Contact: Professor Paul Lorenz 870-575-8618; lorenzp@uapb.edu www.uapb.edu

STILLMAN COLLEGE 3601 Stillman Blvd Tuscaloosa, AL 35401 Contact: Kathryn Brewer-Strayer 205-349-4240, ext. 8995; kbrewer@stillman.edu Stillman.edu TALLADEGA COLLEGE Division of Humanities and Fine Arts 627 West Battle Street Talladega, AL 35160 Contact: Angela Walker 256-761-6100; awalker@talladega.edu www.talladega.edu TENNESSEE STATE UNIVERSITY Department of Communications Studies 3500 John A. Merritt Blvd Nashville, TN 37209 Contact: Lawrence James 615-963-5809; ljames@tnstate.edu www.tnstate.edu TEXAS COLLEGE Division of General Studies and Humanities 2404 North Grand Ave Tyler, TX 75702 Contact: d’Andra Isaacs 903-593-8311, ext. 2296 disaacs@texascollege.edu www.texascollege.edu TEXAS SOUTHERN UNIVERSITY Department of Visual and Performing Arts 3100 Cleburne St Houston, TX 77004 Contact: Leamon Green 713-313-7677; Leamon.Green@tsu.edu www.tsu.edu/academics/colleges-andschools/colabs/vpa/theatre-program.html TOUGALOO COLLEGE Division of Humanities 500 W County Line Rd Tougaloo, MS 39174 Contact: Miranda Freeman 601-922-4483; mfreeman@tougaloo.edu www.tougaloo.edu/academics/divisions/humanities

UNIVERSITY OF THE DISTRICT OF COLUMBIA Division of Arts and Humanities 4200 Connecticut Avenue NW Washington, DC 20008 Contact: Alexander Howe 202-274-5000; ahowe@udc.edu www.udc.edu/cas/arts-humanities UNIVERSITY OF MARYLAND EASTERN SHORE Department of English and Modern Languages 30665 Student Services Center Princess Anne, MD 21853 Contact: Dean R. Cooledge 410-651-6553; drcooledge@umes.edu wwwcp.umes.edu/english UNIVERSITY OF THE VIRGIN ISLANDS Speech Communication, Art, Theatre and Music Albert A. Sheen Campus: RR 1 Box 10,000 Kingshill, USVI 00850-9781 St. Thomas Campus: #2 John Brewers Bay St. Thomas, USVI 00802-9990 Contact: Dion Parson 340-693-1340; dionparson@gmail.com www.uvi.edu/academics/lib-arts-andsciences/programs/communication/default. aspx VIRGINIA STATE UNIVERSITY Department of Languages and Literature 1 Hayden Dr Virginia State University, VA 23806 Contact: Michael McClure 804-524-5159; mmcclure@vsu.edu www.vsu.edu/sola/departments/languagesand-literature/index.php

VIRGINIA UNION UNIVERSITY Department of Fine Arts 1500 N Lombardy St Richmond, VA 23220 Contact: Pari Valad 804-257-5684; pmvalad@vuu.edu www.vuu.edu VOORHEES UNIVERSITY 481 Porter Rd PO Box 678 Denmark, SC 29042 Contact: 803-780-1234 www.voorhees.edu WEST VIRGINIA STATE UNIVERSITY College of Arts and Humanities P.O. Box 1000 Institute, WV 25112-1000 Contact: Brittany Fletcher 304-766-3126; arts.humanities@wvstateu.edu www.wvstateu.edu/academics/academic-colleges/college-of-arts-and-humanitites.aspx WILBERFORCE UNIVERSITY 1055 N Bickett Rd PO Box 1001 Wilberforce, OH 45384 Contact: Cimone Sanders 937-502-5760; csanders@wilberforce.edu wilberforce.edu WILEY COLLEGE 711 Wiley Ave Marshall, TX 75670 Contact: Natalie Hill 903-923-1250; nhill@wileyc.edu www.wileyc.edu WINSTON-SALEM STATE UNIVERSITY Arts & Entertainment 601 S Martin Luther King Jr. Dr Winston-Salem, NC 27110 Contact: Andre Minkins 336-750-8276; minkinsan@wssu.edu www.wssu.edu/admissions/programs/artsentertainment.html XAVIER UNIVERSITY OF LOUISIANA Division of Fine Arts and Humanities 1 Drexel Dr New Orleans, LA 70125 Contact: www.xula.edu

D-27

Audition for Graduate School Programs in Fall 2023

10th Annual

LiNK AUDITIONS & INTERVIEWS 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/voice/musical theatre, animatronics, arts management, costume design, costume technology, digital media design, directing, lighting design, lighting technology, makeup/wig design, playwriting, production management, scenic art, scenic design, sound design, stage automation, stage management, stage properties and technical direction.

Schools that recruited at the 2022 LiNK included: Actors Studio Drama School at Pace University Atlantic Acting School Baylor University Boston University Brooklyn College California Institute of the Arts Carnegie Mellon University Circle in the Square Theatre School David Geffen School of Drama at Yale University DePaul University - The Theatre School Florida Atlantic University Florida State University Indiana University Kent State University Le Moyne College The Liverpool Institute for Performing Arts Louisiana Tech University Maine State Music Theatre Mary Baldwin University + American Shakespeare Center Michigan State University The Neighborhood Playhouse

The New School, College of Performing Arts New York Film Academy Penn State University Playwright’s Lab at Hollins University Purdue University Rose Bruford College of Theatre & Performance San Diego State University Savannah College of Art & Design Shakespeare Theatre Company Academy Southern Illinois University Southern Utah University Stella Adler Studio of Acting Terry Knickerbocker Studio Texas State University Texas Tech University Touchstone Theatre/ Moravian College The University of Alabama University of Arkansas at Fayetteville University of Cincinnati, College-Conservatory of Music University of Connecticut University of Georgia

University of Houston University of Idaho University of Illinois at Urbana-Champaign University of Louisville University of Memphis University of MichiganFlint University of MissouriKansas City University of NebraskaLincoln University of Nevada, Las Vegas University of New Orleans University of North Carolina at Chapel Hill University of North Carolina School of the Arts University of Oklahoma University of South Dakota University of Southern Mississippi University of Tennessee Knoxville University of Texas at Austin Villanova University Wayne State University West Virginia University Western Illinois University

More info: www.setc.org/link

2023 SETC College, University & Training Program Directory Published by Southern Theatre Magazine of the Southeastern Theatre Conference 5710 W. Gate City Blvd., Suite K, Box 186 Greensboro, NC 27407 336-265-6148 • info@setc.org • www.setc.org Follow SETC on Facebook, Instagram and Twitter

OPPORTUNITIES FOR STUDENTS THROUGH SETC Apply for a Scholarship SETC awards $15,000 in scholarships to individuals pursuing undergraduate and graduate degrees in theatre.

SETC’s Scholarship/Awards Fund supports each award. Apply now for 2023–2024 scholarships.

More info: www.setc.org/scholarshipsawards/scholarships

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 March 1 – 5 at the 2023 SETC Convention in Lexington, KY. Application deadline is Jan. 26, 2023, at 11:59 p.m. ET. More info: convention.setc.org/collegiate

Learn About Schools at Education Expo Looking for a school? Find information and meet representatives from countless theatre schools in the Education Expo at the 2023 SETC Convention.

More info: convention.setc.org

Embrace who you are.

Become the artist you can be.

2 Year Professional Workshop 4 Year Circle/Eckerd BFA 2 Week Professional Summer Intensive

www.circlesquare.org

SHARED LEADERSHIP Theatres Find An Inclusive Model Spurs More Diversity and Innovation

by Holly L. Derr

Kristi Jan Hoover

T

Theatres across the country are rethinking their organizational structures in light of the forced changes brought about by the COVID-19 pandemic, calls for change from We See You White American Theatre (WSYWAT), and a recognition of the lack of diversity in theatre programming and hiring.

With an industry-wide generational shift in leadership also underway, some theatres have found this to be an opportune time to reorganize their institutions away from the singular artistic director model and to operate instead under shared artistic leadership.

Southern Theatre interviewed leaders at three theatre companies that have recently moved to shared leadership, two companies that have created a second rung of coartistic directors for shared leadership, and three companies that were formed years ago through shared leadership. We asked these companies to share their paths to shared leadership, how their models work, and the advantages and disadvantages they are finding. Permutations of the model abound, and according to numerous artistic leaders, so do the benefits of working this way.

Theatres that recently transitioned

achieving consensus in programming and season

to shared leadership

selection. City Theatre is two years into its three-year

Pittsburgh’s City Theatre had already responded to WSYWAT, which calls explicitly for a “power

plan, and according to Drobot, “We haven’t set next steps after the initial three years yet.”

A significant challenge shared by many of the leaders engaged in shared leadership is that everything does take more time. So, if you

sharing model for curation and beyond in season

The call for change posted online by WSYWAT

planning,” with a series of public commitments in

resonated with City Theatre, Freeland said, as it raised

November 2020. So, when artistic director Marc

important questions about the structure, duration,

Masterson (he/him) began to consider retiring in a

gender and race of leadership – and charged theatre

adopting such a

few years, it made sense for him to develop, in col-

organizations to determine how they could bring

laboration with a succession planning committee, a

more voices to the table.

structure, plan

shared leadership model.

“It called for people who had been in positions of

Aiming for as much stability as possible, Masterson

leadership for decades to decide whether or not their

drew from existing talent within the organization in

voice was the voice of the current climate and were

October 2021 in naming two co-artistic directors, both

they living and practicing equitable behavior and

of whom make the team more diverse: Clare Drobot

directives within their organization,” Freeland said.

(she/her), a dramaturg, playwright and producer, and

Theatre organizations, including City Theatre,

Monteze Freeland (he/him), a Black actor, director,

examined what they were producing, Freeland

teaching artist and producer. To ensure there still is

noted, and asked important questions: “Were those

one point person per season, the three have been

voices representative of the work they were hoping

rotating by season as lead artistic director, while

to put on stage and new audiences they want to see

are thinking of

accordingly.

LEFT: When Marc Masterson (left), City Theatre’s longtime artistic director, began considering retirement, he created a shared leadership model with two co-artistic directors: Clare Drobot (middle) and Monteze Freeland (right).

OPPOSITE PAGE: Freeland and Melva Graham appear in Dominique Morisseau’s Paradise Blue, presented in March and April as part of City Theatre’s 2022 season.

Winter 2023 x Southern Theatre x 37

ABOVE: Virginia Repertory Theatre recently moved to shared leadership, with (left to right) Rick Hammerly, Desirée Roots and Todd D. Norris sharing artistic director duties.

RIGHT: Marjie Southerland portrays Harriet Tubman in Virginia Rep’s Harriet Tubman and the Underground Railroad, a 2020 children’s theatre production that was presented in a socially distanced format.

come through their doors after a vicious

2021 and was joined by Todd D. Norris

“What shared leadership has allowed

pandemic?”

(he/him) as artistic director of education

us to do is look at masking from different

While Freeland and Masterson agreed

and Rick Hammerly (he/him), as artistic

perspectives,” Norris said. “What are the

that diversity has always been a core value

director of programming, in March and

adults wanting? What are the schools and

at City Theatre, they believe that the greater

April 2022, respectively.

the kids wanting? What are our longtime

variety of voices now at the table during

Here, too, the push to have multiple

subscribers saying? What are potential new

season planning has enriched the process.

artistic leaders came from the company’s

subscribers telling us? And just as human

“[The shift to this model] coincided with

co-founders, Phil Whiteway and Bruce

beings, we’re going to have slightly differ-

COVID, actually, and we began practicing

Miller, as they planned their retirement.

ent perspectives on it as well.”

right away a collaborative decision-making

Surveying the company and its growth

At theatres that have recently made the

process, where there was room for each of

over the years, they identified three areas

transition, it can be difficult for leaders to

us to bring forward our passion projects and

of importance and persuaded the Board to

parse the difference between the challenges

where we gave each other space for that,”

search for a different leader for each area.

of a shared leadership structure and the

Masterson said. “It wasn’t the neutral,

Roots, a Black singer, actor and dancer with

challenges of the simultaneously occurring

‘everything was consensus,’ because I think

deep roots in the Richmond community,

pandemic and the upheaval that followed

that can water things down. “

oversees programs that connect youth with

the murder of George Floyd.

Instead, each of the co-artistic directors

community health and wellness programs,

Like City Theatre and Virginia Reper-

as well as the theatre’s inclusion, diversity,

tory, the Wilma Theater in Philadelphia

“We did a drive-in stage,” Masterson

equity and access programming; Norris,

– which produced the film that made James

said. “We did a lot of digital stuff. We

a director, oversees one theatre space and

Ijames’s play Fat Ham eligible for its 2022

created world premieres that were fully

programming for children, families and

Pulitzer Prize – has been in the process of

produced with green screens. And we did

schools; and Hammerly, also a director,

shifting to shared leadership with a rotating

some readings and workshops and a wide

focuses on the development of program-

lead over the same years in which it has

variety of stuff, probably more stuff than

ming for adult audiences in two spaces.

faced the pandemic. As was the case at City,

advanced projects that interested them.

we ever did before.”

Despite this clear division of duties, the

the Wilma’s leaders responded with innova-

At Virginia Repertory Theatre in

three leaders still have to come to consensus

tive digital programming that has expanded

Richmond, VA, three artistic directors

on a variety of matters and therefore they

its audience far beyond Philadelphia.

began sharing leadership within the last

still benefit from having more voices at the

As the pandemic began, the Wilma had

year. Desirée Roots (she/her) became

table. One example that Norris cited is their

reached a point where succession planning

artistic director of community in November

policy on masking.

was necessary. Blanka Zizka (she/her),

38 x Southern Theatre x Winter 2023

artistic director emeritus and co-founder,

Unlike at City Theatre, the Wilma has

says the idea to combine succession plan-

used a model in which the concept of a

ning with a shift to shared leadership arose

rotating lead applied to the curation of

out of the work happening in the rehearsal

a season as well, with each lead in turn

room with the Wilma’s company of actors,

having final say on their year’s program-

HotHouse. In fact, Zizka raised the money

ming. Nevertheless, Green describes a very

necessary to pay multiple artistic directors

collaborative process, when it was her turn

as part of a Transformation Fund that also

as lead, with at least six voices at the table:

invested in their lobby as a public gathering

the other two artistic directors, the artistic

space and in the HotHouse company.

associate, the managing director and an

Developed in 2011, according to their

artistic intern.

website, “in order to develop a process for

In the end, though, Green says, “It is

creating the trust that underlies the creation

a season that is very reflective of me and

of living, adventurous art,” HotHouse is

my taste in conversation with the Wilma’s

composed of 16 Philadelphia actors that

history and aesthetic. So, I think it was a

host various guest directors and artists who

happy medium that we found together. It

are invited to share their techniques and

is a diverse season, in terms of the types of

methodologies. The idea is that these art-

stories that we’re telling and who is telling

ists, who come from around the world and

them.”

have their own companies, would “work

Although the Wilma has taken major

with the actors, using their techniques,

steps toward greater diversity and equity,

so that they would be learning from them

Green says the theatre hasn’t yet reached

how to create, how to unify a company,”

its goal in that area.

Zizka said.

“I think we’re on a journey in terms of

Zizka found the work to be profound

diversity and equity work at the Wilma,”

and hugely interesting, resulting in “a

Green said. “We’re very much in process,

really strong, deep collaboration with the

making a lot of policy changes.”

actors,” she said.

For example, she said, the Wilma

“So, when we were working on a

shortened the work week to five days and

production, it was not me directing in that

eliminated 10 out of 12s. It also developed

old-fashioned sense of me having complete

a set of values to guide decision making.

vision – of course, I had a vision of the piece

“We also are working with an EDI

– but there was an experimentation that was

[equity, diversity and inclusion] officer for

part of the process, so that we were sharing

every production now, who we’re going to

the knowledge of the process and what we

hire as an employee next season, and there’s

had learned into creating the characters on

a larger organization-wide blueprint of

stage, creating a piece together.”

EDI work that we’ve developed together,”

That process was “pretty radical for the kind of American nonprofit theatre of the size that the Wilma is now,” Zizka said.

Green said.

After its successful first round of rotation, the Wilma is now looking at an even-

Her interest in bringing that process

more-shared leadership model in which,

into the theatre’s own operations led to

rather than rotating as lead, the co-artistic

the move toward shared leadership. Zizka

directors share equally in all the decision

chose a diverse group of three directors to

making.

become co-artistic directors: James Ijames

“We’re currently designing the way

(he/him), a playwright and Black man who

to continue with shared leadership but

was the first lead after Zizka in the rotation;

remove the component that’s cycling,”

Russian-born Yuri Urnov (he/him), who

Green said. “So, it’s not like each person

was next up; and Morgan Green (she/her),

gets one year to curate, but that there’s

the current lead.

a team of three people moving forward

apsu.edu/theatredance

Winter 2023 x Southern Theatre x 39

@techtheatredept

ABOVE: Blanka Zizka (second from left), co-founder and artistic director emeritus of the Wilma Theatre, chose a diverse group of three directors to become co-artistic directors before she stepped down from her lead role: James Ijames (left), Yuri Urnov (second from right) and Morgan Green (right).

LEFT: Brennen S. Malone plays Juicy in Wilma Theater’s 2021 film of Fat Ham, which made the play by Ijames eligible to win the 2022 Pulitzer Prize for Drama.

and there’s some mechanism to still cycle

associate artistic directors who constitute

the people, but over a longer period of

the next rung on the organizational chart.

time.“ That change comes, she said, from

presents productions at the Mark Taper

their recognition that “this rhythm of

Forum, the Ahmanson Theatre and the

gearing up and then curating one year,

Kirk Douglas Theatre in Los Angeles, is

one season, is not sustainable, because the

currently transitioning from the longtime

work of curating takes a lot of time to build

leadership of Michael Ritchie to a yet

relationships and develop projects, and it

unchosen new artistic director. Ritchie had

needs more momentum. So, we’re trying to

so much confidence in the idea of shared

figure out how to keep the many voices in

leadership that he stepped down even

conversation about big decisions, but also

earlier than originally planned to make

find some sturdier stability for the theatre

room for new voices.

to move forward.”

40 x Southern Theatre x Winter 2023

Center Theatre Group (CTG), which

While the search for a new artistic

Theatres with multiple associate

director has continued, the artistic side

artistic directors

of things has been run by five associate

Some theatres, like Center Theatre

artistic directors: Kelley Kirkpatrick (he/

Group in Los Angeles and the Oregon

him); Lindsay Allbaugh (she/her); Tyrone

Shakespeare Festival in Ashland, have

Davis (he/him); Neel Keller (he/him); and

met the challenge of maintaining stability

Luis Alfaro (he/him), who recently left the

during a leadership transition, a pandemic

position to devote more time to teaching

and a racial reckoning by keeping the sin-

and writing.

gular artistic director model in place while

The team worked with a consultant,

diversifying and expanding the number of

Mica Cole, to build a firm foundation for

Where Art, Community, and Inclusion Meet.

Hosted by: Christine Toy Johnson

4

Season

Season 4 guests include (left to right): Stephen Flaherty, Lisa Kron, Branden Jacobs-Jenkins, Rona Siddiqui, Amanda Green, Lynn Ahrens, Michael R. Jackson, John Weidman, and Charlayne Woodard.

their work together, based in a shared sense

meantime, the impact is being felt all over

investment in completely changing institu-

of mission, vision and values.

the organization.

tional theatre.”

“This has been a much more meaningful

“As an organization, we’re talking about

Oregon Shakespeare Festival (OSF)

and deeper way of working because of the

it, but also departments individually have

transitioned in 2019 from the long-time

collaboration and the necessity to have con-

been talking about: ‘How do you flatten

leadership of Bill Rauch to Nataki Garrett,

versations with the group and hear all the

hierarchy? How do you share power? What

who hired a diverse team of three immi-

different points of view,” Kirkpatrick said.

is shared leadership?’ ” Allbaugh said.

grants as her associate artistic directors

Planning a season collaboratively also

As staff in those other areas of CTG

– Scarlett Kim (she/her), Evren Odcikin

has had a significant impact on the institu-

work in this way with each other and with

(he/him) and Mei Ann Teo (they/them) – to

tion: The upcoming season that the team

Meghan Pressman, the managing director/

oversee artistic programming, innovation

curated for the Mark Taper Forum is not

CEO, they are moving from simple discus-

and strategy, and new work, respectively.

only centered on women, non-binary and

sion to action on the issues.

The reorganization was, in this case,

trans voices, but also will feature a major-

“I see other departments, particularly

not a response to the pandemic and

ity of Los Angeles-based actors, designers

our production department, really mak-

WSYWAT, but instead was part and parcel

and directors, and will feature its first play

ing great strides in this direction as well,”

of an emphasis Garrett put on innova-

by a Native American playwright. The

Allbaugh said. “So, I think it’s a long-term

tion, including producing digital theatre,

collaborators credit this change not just to having more voices in the room, but also to centering anti-racism and serving Los Angeles as two of their shared values.

While the CTG Board has been a champion of the structure, it will be up to the incoming artistic director (or directors) to

Craig Schwartz Photography

decide whether to continue using it. In the

TOP: Center Theatre Group is operating under shared artistic leadership, currently with four associate artistic directors (left to right): Kelley Kirkpatrick, Tyrone Davis, Lindsay Allbaugh and Neel Keller. A fifth associate artistic director, Luis Alfaro, not pictured, stepped down recently.

BOTTOM: Center Theatre Group / Mark Taper Forum presented the West Coast premiere of Lynn Nottage’s play Clyde’s, which ran from Nov. 16 through Dec. 18, 2022. Featured in a scene from the play are (left to right) Nedra Snipes, Garrett Young, Reza Salazar and Kevin Kenerly.

42 x Southern Theatre x Winter 2023

ready-SET readySET-go!

-go!

ORDER YOUR BROADWAY QUALITY SET TODAY! Head over Heels

NEW FOR 2022!

Phantom

Rent

We have an inventory of dozens of complete set rental packages, props and drops that we can ship across the continental United States! Our professionally designed and constructed rental packages will bring the look of Broadway to your stage, whether you're a large regional theatre, or a small high school.

Elevate Your Art SET RENTALS

www.SetRentals.com/SETC Email: rentals@thegateway.org

WHY STUDY THEATRE AT SEWANEE? LEFT: Increased innovation was the goal of Nataki Garrett, artistic director of Oregon Shakespeare Festival, in moving to shared leadership with the appointment of three associate artistic directors: Scarlett Kim (top), Evren Odcikin (middle) and Mei Ann Teo (bottom).

ABOVE: Carolina Vargas portrays Guiderius in a scene from The Cymbeline Project, a 10-episode digital production conceived

by Garrett and created by Kim, which interweaves theatrical performance and digitally rendered visual layers to create an experience that is part theatre, part film. Episodes were available for streaming or on demand in November and December 2022.

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.

film and virtual reality experiences.

Major and minor in theatre arts, minor in dance.

artist who came to direct a play, but also

The Sewanee Pledge—study abroad, get funding for an internship, and you’ll graduate in four years. Guaranteed!

Expanded financial aid program to meet the full need of those who qualify.

As an example, Kim pointed to an made two short films and did two VR experiments.

function,” said Teo. A focus on centering the most marginalized voices led to a 2023 season that Odcikin called “very Black identity forward. It’s

expansive artistic home where an artist

very immigrant forward. It’s very queer

can come and rehearse different versions of

forward. Our first four directors are Black

themselves and their practices,” Kim said.

in the season, and we didn’t try to do any of

The idea is to open the door for artists to

those things. I did not realize that until after

“As a shared artistic leadership team,

we were done with the season planning and looked at it.”

we are charged with actualizing OSF as a

Odcikin noted that the selection of Black

‘container for the future,’ per Nataki’s call

directors was not a goal that was set for the

to action,” Kim said. “OSF is a ‘container

season or a “box” they were trying to check.

for the future’ that is ever-evolving, that is

Rather, he said, it’s what happened as a

always iterating to respond to the needs and

result of deep discussions about identity

the ambition and the intuition of the artists

and artistry.

in the moment. And that will always change as the current of the world changes.”

44 x Southern Theatre x Winter 2023

metaphor for how this is all starting to

“Nataki’s vision for OSF is a radically

express their creativity as it evolves.

Learn more at theatre.sewanee.edu

“I think that that is actually a beautiful

“[It] turns out if you put these people in a room and have that kind of conversa-

The change is so sweeping as to include

tion, a lot of Black directors end up in the

the physical building in which they work.

repertory season,” Odcikin said. “You don’t

No longer a row of separate rooms, OSF’s

have to watch out for those things that other

offices have been transformed to an

theatres do to not mistakenly end up with

open-concept workspace.

an all-white season.”

Helping Theatres Thrive AACT is the place to go for connections to resources and tools that you need to create theatre Introductory rates for first time members

JOIN NOW!

ABOVE: Carolette Phillips and Henri Franklin appear in Detroit ’67, Detroit Public Theatre’s 2022 production of Dominique Morisseau’s acclaimed play set against the backdrop of the 1967 Detroit riots.

RIGHT: The leadership team at Detroit Public Theatre consists of (left to right): Sarah Winkler, Morisseau, Courtney Burkett and Sarah Clare Corporandy. photo: Colvin Theatrical

The Mountaintop The Lexington Players, Lexington, MA

Teo cautions against anyone attempting

those who founded their companies with

to exactly replicate what they’ve built at

that principle in mind, such as Detroit

OSF, arguing that different theatres should

Public Theatre, the Austin-based collective

have different management structures.

the Rude Mechs, and Los Angeles’ Artists

“I don’t believe in the replication of it,

June 12-17, 2023 Louisville, KY Register NOW!

aact.org/23

AACT Webinars Online Roundtables Virtual Masterclasses Industry Connections Script Club

aact.org/webinars

aact.org 46 x Southern Theatre x Winter 2023

at Play.

because all structures are broken in some

When Sarah Clare Corporandy (she/

way,” Teo said. “The nonprofit structure

her), Courtney Burkett (she/her), and Sarah

is broken, but also has power in making

Winkler (she/her) co-founded Detroit

potent and necessary cultural production

Public Theatre in 2015, playwright and

possible. A structure that works has to be

actor Dominique Morisseau (she/her)

iterative and responsive to the moment

was on the advisory board. From there,

at hand. And Nataki’s vision requires this

she joined the board, and then in 2020 she

structure. It actually requires it. So, it’s like

joined the staff as executive artistic director,

making art – we’re finding the form that fits

forming a four-person leadership team

the content.”

with the three producing artistic directors.

Theatres that were founded with

Rather than using a rotating model, the four

shared leadership

leaders at Detroit Public Theatre share in all

While transitioning to more shared

decision making.

leadership may be a trend in the industry,

“We all work together, and we lean on

perhaps the leaders most suited to give

each other’s strengths and support each

advice on how to share artistic power are

other’s weaknesses,” Corporandy said.

DON'T BREAK A LEG INSTALL INCORD NETTING

InCord is North America's largest custom netting fabricator, providing the best products worldwide since 1995.

Our products are custom-designed with safety; our commercial-grade materials are rigorously tested and continue to exceed industry standards. Let us focus on safety so you can focus on staging.

We purchased your Orchestra Pit Net about 3 or 4 years ago.

Last night during a performance, a performer fell into the pit and was properly arrested by your net. Thank you!!

BRAD Kennesaw University

Fully Customizable

Optional Features

Tested and Trusted

ORCHESTRA PIT NET - STAGE GUARD™ - CATWALK SAFETY SYSTEMS - SCENIC ELEMENTS Contact your distributor for more information or contact InCord directly to be connected with one of our trusted, nationwide partners in safety.

Joe Menhart: 860.531.1046

theatre@incord.com

www.incord.com/theatre

That said, the division of duties between

are also times where I’m like, I’m not great

the leaders at this theatre, where there is no

with that person or I’m having a bad day or

managing director, is explicit: Corporandy

I’m over my limit, or Sarah’s temperament

heads up strategic planning, finance, con-

is better for that, or Dominique’s tempera-

tracts and HR; Burkett directs marketing

ment is better for that conversation. And

and production; Winkler oversees develop-

so now, instead of being one person having

ment and board relations; and Morisseau

to be able to do it all and handle every

manages what could be called external

personality and have all the answers, there

affairs. (Morisseau, a Black woman, vol-

are four of us.”

unteered herself for the job to make her

Though their board required detailed

role within the artistic leadership of the

job descriptions and an organizational chart

company more visible and the artistic

to put their full faith in such a collaborative

leadership of the theatre more representa-

model, Corporandy describes the theatre’s

tive of the city of Detroit.) At the same time,

management ethos as: “Be nimble and

the value of collaboration permeates all of

expect to have to solve problems.”

their planning.

“Even though I’m the money person,

and responsive to change,” she said. “And

there are things where I want Winkler’s

you know, COVID taught us that, too. How

opinion because she’s looking at it from

many business plans did we all make, how

this direction,” Corporandy said. “I want

many budgets did everyone make over and

Courtney’s opinion because she’s looking

over and over again? How many scenarios?

at it from this direction.

So, I don’t ever want to be so tied down in

Corporandy noted that, after working

a structure that we can’t pivot, because I

for a long time herself on the season eight

think that’s our strength. I don’t have all

budget, she felt it was important to have

the answers, but that’s how we work in

the co-artistic directors weigh in as well.

general is that it’s okay to pivot, to change.”

“They think of things that I don’t,”

She also said artistic leaders working

she said. “And that’s one of the ways the

in shared leadership need to balance their

collaboration is at its strongest – it kind of

egos with the needs of the moment.

takes the pressure off of having to be perfect

Rino Pizzi

at everything.”

48 x Southern Theatre x Winter 2023

“In the way that we work, we are nimble

“You have to let go of the ego when you’re sharing that much,” she said. “There

Other benefits of working this way,

are times when I’m reading the room and

Corporandy said, include getting the

[it’s clear] this room doesn’t need another

opportunity to tap each other’s strengths.

artistic opinion from me. Even though I’m a

“There are times where I’m like, I don’t

producing artistic director, I’m not going to

know a lot about that, but Courtney [does]

give it ... So, there are some times we have

– I can ask her,” Corporandy said. “There

to make choices about that. When do I get Rude Mechs was founded in Austin, TX, more than 20 years ago with shared leadership.

The current coproducing artistic directors, shown in 2017, are (left to right): Lana Lesley, Kirk Lynn, Madge Darlington, Shawn Sides and Thomas Graves.

25

Footloose, the exhilarating movie musical adaptation, celebrates its 25th Broadway anniversary in 2023!

Let your audience cut loose to the rhythm of its rockin’ score, featuring Top 40 hits and electric new songs for the stage. More at concordsho.ws/Footloose @concordshows

YE

AR

S

to step in, in that role? And when do I not

ourselves to be quiet when we don’t have

step in, in that role, because it’s someone

either a strong opinion or it’s not our area

else’s turn?”

of expertise,” said Lynn.

Austin’s Rude Mechs became an institu-

Sides said their process “kind of evolved

tion in 1998, years after this group of like-

over time, more than anything else as a

minded artists began working together, so

time-saving device, because earlier meet-

when it came to defining the organization’s

ings could be completely interminable. You

structure, it made sense to replicate their

have an opinion to say about, like the font –

collaborative rehearsal room practice in the

oh my Lord, how many long conversations

administrative structure of the company,

do we have about font?”

co-founder Shawn Sides (she/her) said.

Lynn agreed, saying, “Different ones of

While the division of duties between

us like having say about different things. I

the five co-producing artistic directors –

never particularly care about the marketing

Madge Darlington (she/her), Thomas

and design ’cause I’m not a very visual

Graves (he/him), Lana Lesley (she/her),

person. And then, when something really

Kirk Lynn (he/him) and Sides – is less

matters to you, you speak. It’s a way that

explicit than at Detroit Public Theatre,

you can have a say about the things that

co-founders Lynn and Sides echoed

matter to you, but also feel that other people

Corporandy’s sentiment on the challenge

are watching out for the parts that are less

of having to remove their egos from the

your strength.”

decision-making process.

The producing artistic leaders of Artists

Artists at Play was founded more than a decade ago by three women who jointly serve as producing artistic leaders – (left to right) Stefanie Lau, Marie-Reine Velez and Julia Cho – and Peter J. Kuo, who left the organization in 2015.

“I think we have lots of discipline,

at Play, a Los Angeles producing collective

meaning it’s very fluid. I think we trust

focused on exploring Asian American

mindsets and perspectives in the room can

experience that was founded in 2011 under

only lead to more innovative and exciting

shared leadership, agreed that co-artistic

conversations, and it opens you up to more

leaders have to know their own strengths

possibilities and forces you to confront your

and weaknesses and respect one another’s

own biases or close-mindedness. And I

professional expertise.

think that’s all for the better – nothing but

Although a three-person team consist-

BA/BS in Theatre NAST Accredited Scholarships Available

www.radford.edu/theatre 540-831-5141

50 x Southern Theatre x Winter 2023

good can come from being challenged and

ing of Julia Cho (she/her), Stefanie Lau

listening and learning.”

(she/her) and Marie-Reine Velez (she/

Shared leadership: pros & cons

her) shares fiduciary responsibility for the

A significant challenge shared by many

company, Cho tends to run their crowd-

of the leaders engaged in shared leadership

funding campaigns, while Lau shepherds

is that everything does take more time.

the creation of the budget. In terms of

So, if you are thinking of adopting such a

shared values, an annual retreat brings the

structure, plan accordingly. Not only do the

collective together “to really check in with

co-producing artistic directors of the Rude

each other and revisit our lives, our work,

Mechs go through the budget together

our mission, our vision,” Cho said.

line by line, but according to Lynn, “When

Because they aim to serve a diverse

things are working really well, when we

Asian American and Pacific Islander com-

write a grant, everybody has touched the

munity, these producing artistic leaders

grant, and it deepens through the question-

value having multiple voices at the table.

ing and having five brains who are passion-

“We need to make sure we’re not just

ate look at it from different points of view.”

focusing on the East Asian communities,”

One need not have written many grants to

Cho said. “We’re trying to expand what

imagine how long that takes.

Asian American theatre means to us, to

CTG’s Allbaugh echoed that time is a

our audiences, and to be as diverse and

challenge, but added that, ultimately, it is

inclusive as possible with what we choose

also a benefit: “When you really are being

to present. Having all those different

thoughtful and generous and working in a

more carefully, which takes more time,”

this passion, and now it really feels like

longer when you have five artistic people

Norris said. “You just have to remind your-

it’s Thomas and Madge’s company for a

making a decision. So, we’re constantly try-

self, this is going to take longer, a season

while – not in any big way that anybody

ing to find the balance between deadlines

selection process is going to take longer if

else might notice, but just the power and the

and making sure we really investigated

you are trying to bat about philosophical

energy and the passion can sort of rotate.

and have been thorough about our decision

questions about ‘What kind of a theatre do

We sometimes talk about the metaphor of

making.”

new way, things do take longer. It does take

you want to be? What do you want your

a cycling team, where different people can

For example, Allbaugh said, “One of

theatre to stand for in the community?’

be the leaders and everybody else can draft

the things that we are really trying to break

Those conversations are longer now, and

for a while.”

down across the institution is just going

it’s good for the results.”

Whether creating a theatre from the

to the same people we’ve always gone to

All of those who spoke to Southern

ground up, dealing with COVID-related

because it’s easy. And we go, oh, that guy

Theatre find the benefits of shared leader-

challenges, meeting the demands of

takes our photos, and this person is our

ship, such as more imaginative program-

WSYWAT, or planning a leadership succes-

printer. Thinking about who our vendors

ming and more innovative collective

sion, theatre leaders may want to explore

are, that takes more time.”

problem-solving, far outweigh the chal-

the shared leadership model as a way to

lenges. Some leaders even experience

move toward decision making that is more

increased work/life balance.

inclusive, diverse and innovative. n

She recommends “getting out ahead of those decisions so that you can thoughtfully think about other people to bring to

“Everybody’s life goes through these

the table that can do the job just as well or

different phases and different moments

better.”

and different biologies and dependencies,

At Virginia Repertory, the need for more

and different people can be leaders at dif-

time for planning and decision-making has

ferent times,” said Lynn of Rude Mechs.

also been both a challenge and a boon.

“It’s like, this is really Lana and Shawn’s

“Issues get considered more deeply,

company for a while because they had

Holly L. Derr is the artistic director and head of graduate directing at the University of Memphis. The founding artistic director of SKT, Inc., she has directed for numerous theatres. Her writing credits include The Atlantic, HowlRound, Ms. Magazine, Slate and Bitch.

Winter 2023 x Southern Theatre x 51

GOING BACK Which Pandemic-Inspired Changes Will Continue at Theatres, Schools?

by Scott Hayes

Kasey Brookshire

A

As members were coming home from the 2020 SETC Convention in Louisville, residents all over the United States began to receive confirmation that COVID-19 was spreading nationwide. Within two weeks, nearly every company and school offering theatre programs was dealing with a brand-new question: How can we teach and produce theatre when we cannot gather together?

Now, after nearly three years of testing, masking, social distancing, virtual productions, video conferences and other pandemic-necessitated actions, theatre companies and programs face another question: What changes to theatre production and training that came with the pandemic will continue into the future?

More than 150 individuals in SETC’s database responded to a Southern Theatre survey on this topic, with 60% of the responses coming from professional, community and outdoor theatre companies and 40% from university and professional theatre training programs.

From video auditions to online classes, we share on the pages that follow their thoughts on what will remain and what will disappear.

Auditions, interviews and portfolio reviews

Video submissions, long a requirement for film and television work, became the only option for most

all,” said Lynn Stallings (she/her), executive director of Atlanta Workshop Players, which plans to continue both online and in-person auditions.

theatre auditions and interviews during the pan-

The Dollywood entertainment park in Pigeon

demic, and 69% of the survey respondents indicated

Forge, TN, also holds both in-person and video audi-

this change would be permanent, at least for the first

tions, but “we always prefer in-person interviews

rounds of activities. While some respondents noted

and auditions. Always,” said Roger White (he/him),

that video auditions are not always ideal for getting

entertainment manager.

to know the auditionee, others said they are helpful in

At colleges and universities, plans vary. Karen

that they provide greater accessibility for auditionees

Brewster (she/her), chair of the East Tennessee State

and often at a lower cost for the theatre as well.

University Department of Theatre and Dance, said her

Some respondents, like Nathanael Fisher (he/

department plans to keep using video submissions

him), producing artistic director at Emerald Coast

until the pandemic is completely over, but she is “not

Theatre Company in Destin/Miramar Beach, FL,

sure if we will keep video beyond that.”

regularly used video submissions prior to the

Dick Block (he/him), associate head of the School

pandemic, but have seen a large increase in these

of Drama at Carnegie Mellon University in Pittsburgh,

submissions since 2020.

PA, noted that his institution has always allowed

While Melanie Cornelison-Jannotta (she/her),

“both online portfolio submissions and interviews/

executive director of The Prizery in South Boston,

reviews.” On the other end of the spectrum, Paul B.

VA, did her 2022 casting through video submissions,

Crook (he/him), executive director of the Etherredge

she says the practice has limitations: “I think it’s a

Center and External Programs at the University of

great tool for finding people you are interested in,

South Carolina Aiken, said his school’s small depart-

but I really want to have callbacks in person before

ment did not use video for auditions or interviews

casting.”

prior to or during the height of the pandemic and

Others say they expect initial auditions to continue as video submissions, with “live” callbacks over Zoom or other videoconferencing platforms.

“Zoom allows us to provide re-directs and interviews in real time, face-to-face. This saves time for

doesn’t plan to in the future.

The Theatre and Dance Department at Georgia

Opposite page: Theatre and school representatives say many changes instituted at the height of the COVID pandemic will continue at least short-term going forward, but most don’t plan to present streamed or online shows, except in special cases. Instead, the great majority have returned solely to live shows, like this 2021 production of Hair at Piedmont University in Demorest, GA, featuring Brittany Wilder as Dionne, a vocal member of The Tribe.

College & State University in Milledgeville has “embraced video interviews and meetings,” said Eric Griffis (he/they), interim chair.

Winter 2023 x Southern Theatre x 53

Shelly Elman (she/her), chair of the Department of English, Film, Languages and Performing Arts at the University of West Georgia in Carrollton, acknowledged that while her department accepts video auditions, in-person is preferred.

“We like the face-to-face auditions because we want to talk with the student as well as audition them,” Elman said. “If we use a tape, the interview doesn’t neces-

Nathanael Fisher

Melanie CornelisonJannotta

Lynn Stallings

Roger White

sarily happen.”

Understudies, swings, multiple

“We would have had to cancel several

they are easily replaced. It also creates

performances if it wasn’t for swings,”

unnecessary competition and comparison

Most survey respondents acknowl-

Fisher said. “They were considered part of

within the cast.”

edged that the pandemic affected their

the cast and even given a bow if they did

use of understudies, swings or other

not perform that evening.”

casts and crews

While more than half of theatres reported hiring swings or understudies, few theatres

forms of substitute cast or crew members.

Other institutions have not used and

said they had put formal protocols in place

Before the start of the crisis, only 19% of

do not plan to use understudies or swings.

to create multiple crews or crew substitu-

respondents represented institutions with

The added cost of understudies or swings

tions. Only one-fifth of the survey respon-

an understudy or swing policy, but that

is beyond the means of many theatres that

dents said they now use crew substitutes,

number has risen to 54%. The specifics of

have suffered income losses during the

and most of these said they cover their

the policies differ.

pandemic, said Donna Northcott (she/her),

needs using less structured processes such

Shenandoah Summer Music Theatre in

the founding artistic director for St. Louis

as having present crew members take over

Winchester, VA, has always used under-

(MO) Shakespeare and Magic Smoking

the work for missing personnel.

studies from within the company, according

Monkey Theatre.

“Since the pandemic, we are now cross-

to Elizabeth Albert (she/her), managing

“We are a non-Equity company and

training many of our tech personnel to be

director. But as the pandemic continued,

working on an even tighter budget as a

able to use them as needed, where needed,”

she said, “we have had to hire separate

result of being without income for two

said Thom Wilson (he/him), first vice

swings and assign understudies to every

years,” Northcott said. “Paying even an

president at Tablerock Festival in Salado, TX.

principal role, which is an added cost.”

honorarium to understudies/multiple casts

Additional swing hires have been neces-

is just not an option.”

sary at Jobsite Theater in Tampa, FL, as well,

Todd Davison (he/him), artistic director

with “folks in smaller roles prepared to step

at Maples Repertory Theatre in Macon, MO,

into larger from the beginning,” said David

said his theatre is in a similar situation.

Several respondents noted they did not have enough personnel for existing crew needs, let alone substitutes.

Streaming productions

Half of the survey respondents reported

M. Jenkins (he/him), producing artistic

“Our runs are short, and we have

streaming productions during the pan-

director. “Directors and other company

rolled the dice on people staying healthy,”

demic. However, nearly all of these respon-

personnel are also being conscripted, for a

Davison said. “We’ve had emergency

dents were from colleges and universities.

lack of a better way of putting it, to go in.”

understudies go on book-in-hand and we

Most stand-alone companies responding

Marina Hunley-Graham (she/her),

have had to cancel shows because a key

to the survey said they could not overcome

artistic director of the Unto These Hills

player was quarantined. However, in the

the financial or logistic issues required to

outdoor theatre in Cherokee, NC, said her

future we will still likely operate without

stream productions.

theatre began using three tiers of under-

understudies as we are still in a very

studies in 2021.

precarious funding situation.”

One of those noting that difficulty was Valerie Rachelle (she/her), artistic director

“Before, it was just the role and one

Finances aren’t the only reason some

understudy,” she said. “We found a need

theatres continued without understudies or

“For a small theatre, it’s not as simple

for a fourth tier this year.”

swings during the height of the pandemic.

as just pointing an iPhone and putting it

at Oregon Cabaret Theatre in Ashland.

Swings have played an important role

Mark Chenovick (he/we), artistic director

on a live social media platform,” Rachelle

at Creative Greensboro (NC) during the

at SecondStory Repertory in Redmond,

said. “There are rights and royalties to

pandemic, according to Todd Fisher (he/

WA, noted that hiring “understudies and

pay to the writers for the piece, the actors,

him), performing arts coordinator.

swings give actors the impression that

the unions, the streaming service you use,

54 x Southern Theatre x Winter 2023

Karen Brewster

Dick Block

Paul B. Crook

Eric Griffis

as well as the cost your ticketing system

Festival and director of theatre for

charges you, etc.”

Southeastern Oklahoma State University in

At colleges and universities, the trend

Durant, expressed disdain for the practice.

toward streaming has slowed as the pan-

“We are trying very hard to get our

demic eases. Less than 20% of the colleges

audiences back into the theatre,” Coker

and universities that streamed during the

said. “Streaming our productions does not

pandemic planned to continue the practice

accomplish that.”

for copyrighted titles. Five respondents said

William Morgan, artistic manager for

they planned to stream only works that

the Cleveland (OH) Hearing and Speech

were also presented in front of an audience.

Center, which presents SignStage, a deaf

A number of respondents, including

awareness program using theatre techniques

Riley Risso Coker (she/her), producing

to educate audiences about Deaf culture,

director at Oklahoma Shakespearean

also called for theatre to return to the stage.

Winter 2023 x Southern Theatre x 55

Elizabeth Albert

Marina Hunley-Graham

Riley Risso Coker

“Theatre was invented as an in-person

of Theatre at Murray State University in

live event,” Morgan said. “If you’re not

Kentucky, said his school found recorded

doing in-person live performances, then

productions to be a way to reach school

you’re not doing theatre. Don’t change the

children inexpensively: “We recorded

definition. Theatre is for live performing.

public domain scripts and short original

That’s what theatre is!”

plays with author permission. We shot

Even with the generally negative view

them like a film, then posted on YouTube

of streaming, some respondents acknowl-

or sent them to K-12 schools at no charge.”

edged they would use or would consider

Other continuing production-related

using streaming for specific purposes.

changes

For example, some said they planned to

Most of the production-related changes

continue streaming original work, crediting

that respondents said they expected

the pandemic for the change.

to continue were related to COVID-19

Brent A. Menchinger (he/him), chair

56 x Southern Theatre x Winter 2023

Todd Fisher

safety protocols. Many noted plans to

William Morgan

Wm. Perry Morgan-Hall

Kristofer Geddie

continue masking, temperature checks,

chasing masks,” Reynolds said. “We run air

social distancing, proof of vaccination and

conditioning and HEPA filters consistently

quarantine/isolation protocols. These were

during rehearsals and performance.”

generally based on what was mandated

Jenkins, of Jobsite Theater, spoke for

by their institutions and/or local and state

several respondents when he mentioned

governments.

elimination of the 10 out of 12 technical

Wm. Perry Morgan-Hall (he/him),

rehearsals and a reduction in “tech week

director of the musical theatre program at

hours in general” as pandemic era changes

Greensboro (NC) College, said seating plans

that will continue. He also said many

at his institution would still use social dis-

face-to-face meetings were being switched

tancing measures. Jon A. Putzke (he/him),

permanently to video conferences.

artistic director at Vero Beach (FL) Theatre

At Synchronicity Theatre in Atlanta,

Guild, also planned to keep seating adjust-

most production meetings continue to be

ments made during the pandemic in place.

online rather than in person, said Rachel

“We reconfigured the seats in our theatre

May (she/her), producing artistic director.

so the rows are now six feet apart and will

“While this provides some challenges

be left that way permanently,” Putzke said.

for creative exploration of ideas, we have

“Patrons love the wide-open aisles in front

found good tools to have those conversa-

of each row.”

tions in meetings – including Pinterest for

Other changes that began during the

sharing of images, virtual whiteboards for

pandemic and may become permanent at

brainstorming, etc.,” May said. “And we

some theatres include digital programs and

have in-person meet-ups when we have

an emphasis on digital tickets. For example,

to engage in hands-on problem-solving.

Venice (FL) Theatre no longer keeps

These online meetings have made meet-

its in-person box office open full-time,

ing scheduling somewhat easier and

said Kristofer Geddie (he/him), general

attendance stronger, and has helped our

manager and director of diversity. “We’ve

freelance artists who are juggling multiple

also eliminated the post-show ‘enjoyed it’

gigs and gas prices.”

line,” he said.

Training-related changes from

New Stage Theatre in Jackson, MS, is

58 x Southern Theatre x Winter 2023

Jon A. Putzke

pandemic

continuing mostly touchless ticketing and

Respondents who are educators were

safety measures begun at the height of the

asked to comment on teaching and class-

pandemic, according to Francine Thomas

room changes that started during the height

Reynolds (she/her), artistic director.

of the pandemic and may continue.

“We employ a COVID safety manager,

Just under two-thirds of the respondents

we do screening every day during rehears-

reported moving to an increased number

als and performances, we have changed

of individual assignments for their studio-

the way we use microphones, we have

based theatre courses at the height of the

sanitizing stations, we are still COVID

pandemic. Of those, less than half planned

testing consistently, and we are still pur-

to continue the practice.

Francine Thomas Reynolds

Rachel May

One of the respondents who planned to

We’re Hiring!

2023 SEASON

Visit us online at ogunquitplayhouse.org/ work-with-us or scan the QR code for more info.

Celebrating 90 years of world-class theatre.

10 Main St • Ogunquit, ME 60 x Southern Theatre x Winter 2023

Adanma Onyedike Barton

Reis Myers McCormick

the in-person presentations were.”

continue individual assignments is Maegan

Several respondents mentioned audi-

McNerney Azar (she/her), chair of Theatre

tions and screen acting assignments as typi-

Arts at Furman University in Greenville,

cal of the kinds of assignments that would

SC, and current SETC president, who noted

continue to use video submissions. David

the importance of both individual and

Haugen (he/him), head of performance

group work for actor and dancer training.

at Ohio University in Athens, found the

Adanma Onyedike Barton (she/her),

practice of “filming assignments at home

an associate professor of theatre at Berea

and uploading them to Flipgrid to be very

(KY) College and SETC’s vice president of

useful” for screen acting courses.

equity & inclusion, spoke for many when

Remote (video conference)

she wrote, “Teaching acting over Zoom is

attendance for courses

a nightmare.” However, she acknowledged

Everyone affected by the pandemic

that she, like so many practitioners “still

became familiar with video conference

found a way to do scene work, and the stu-

use. Respondents had varying answers

dents ended up enjoying all of our classes.”

to whether this would continue in the

Some school representatives said they

classroom. Each theatre department has

did not plan to continue additional individ-

to follow the institution’s overall policy,

ual assignments as a general practice, while

and these policies are frequently based on

adding that COVID circumstances might

decisions from local and state governments.

still require flexibility for some students.

Crook, of USC Aiken, noted his institu-

For example, Reis Myers McCormick (she/

tion had “discontinued remote attendance as

her), director of development for the KD

an option for a traditional, in-person class.”

Conservatory College of Film & Dramatic

Several schools continued to allow

Arts in Dallas, TX, said the school would

remote attendance for lecture courses, but

accommodate students based on need.

less frequently for studio work.

Most of the respondents said they had

Neno Russell (he/him), costume tech-

allowed video submissions for studio-

nologist at the University of Tennessee

based courses, but none planned to con-

Knoxville and SETC’s vice president of

tinue the process unless there was a specific

services, said that “for studio work, it is

connection to the assignment.

very difficult for the student to make the

Kyla Kazuschyk (she/her), associ-

progress they would in person. I person-

ate professor of costume technology at

ally have gone to allowing them more

Louisiana State University and co-chair

classroom instruction time to make up for

of SETC’s Cultural Diversity Committee,

missed classes.”

said there are certain classes where video

Retaining an option for remote atten-

might be preferred: “For stage makeup

dance can be important for accessibility,

and costume construction class, the video

Azar pointed out.

presentations have been even better than

“Students largely prefer to be in person,

Nebraska Wesleyan University Theatre

Do

MORE at NWU.

MORE SHOWS —30+ shows a year, including 3-5 musicals MORE EXPERIENCES —beginning your first year MORE CONNECTIONS —to NYC and across the globe MORE DEGREE OPTIONS > BFA: acting

> BFA: theatre studies

> BFA: musical theatre

> BA: theatre

> BFA: directing

> BA: theatre arts education

> BFA: design and technology

Graduate READY to enter the theatre industry.

theatre.nebrwesleyan.edu / 402.465.2128 / rkathman@nebrwesleyan.edu

Kyla Kazuschyk

David Haugen

Raimondo Genna

and we prefer to have them there, but

that have historically been taught this way

sometimes circumstances are out of our

and will continue,” said David T. Howard

control, and having the option for virtual

(he/him), Theatre Department chair.

attendance prevents missed learning

Foundational changes

opportunities,” Azar said.

Prior to the survey, several educators

Like a number of other respondents,

reported to Southern Theatre that their

Raimondo Genna (he/him), department

institutions had seen an increased need

chair for the University of South Dakota

to offer preparatory courses for incom-

in Vermillion, and McCormick of KD

ing college students since the start of the

Conservatory noted that video conferenc-

pandemic – a finding backed up by about

ing remained an option for students at their

half of the survey respondents.

schools who tested positive for COVID-19.

“Freshman through juniors went

“Our student body has not been entirely

through two years of high school online,”

COVID-free since our June semester

a survey respondent who wished to remain

start, therefore the option continues to be

anonymous said. “They legitimately don’t

offered,” McCormick said.

know how to prepare/study for college-

Plans for asynchronous online courses

level work and have to be taught how to

had less to do with the pandemic than with

do this and how to utilize the resources

an institution’s prior forays into online

– the syllabus, office hours, the library, the

instruction. Most had started simply due to

student tutoring center, the writing center

the demand and expectation for courses to

– provided to them. We realized this at the

be offered online and accessible to students

end of the 2021-2022 school year, that it was

on their own time.

a universal experience at colleges regard-

At William Carey University in Hattiesburg, MS, it was actually another

62 x Southern Theatre x Winter 2023

Neno Russell

less of size or status, and are remedying this moving forward.”

health challenge that led to asynchro-

Other respondents who said their

nous delivery of classes online, said Tim

department or their institution has had to

Matheny (he/him), department chair.

make adjustments to assist such students

“This initiative began during the swine

include Menchinger of Murray State

flu outbreak a number of years ago, and

University, who noted that “more students

the university president requested every

than ever are in expanded Math, English

class be prepared to move fully online at

and Reading university studies courses.”

a moment’s notice,” Matheny said. “This

There have been other foundational

preparation led to a number of classes that

changes as well. Steve Boone (he/him),

we continued to offer to students as a fully

associate professor in the Department

online option.”

of Theatre and Film at Bowling Green

Face-to-face and online offerings are

(OH) State University, said his school

offered simultaneously at several schools,

has changed attendance policies and that

including the University of Rhode Island

ACT/SAT scores are no longer required.

in Kingston, where “we have a few classes

Several respondents mentioned significant

B.A. in Theatre in Performance and/or Production • TRANSFORM! Shaping the whole theatre artist for the professional theatre industry of today and preparation for success in any career • THRIVE! Cutting edge consent-based training with nationally and internationally recognized faculty • CREATE! Dynamic experiential learning in state-of-the-art theatre facilities and technology • EXPAND! With annual production tour to London to perform in International Theatre festival

THEATRE & DANCE

within the Liberal Arts Academically and artistically rigorous Individualized, supportive and inclusive

additional efforts from departments and institutions to help students deal with mental health challenges. Finally, Menchinger noted what was probably the most shared outcome for all respon-

Tim Matheny

dents: “Most professors are much more

David T. Howard

Steve Boone

take appropriate measures.”

technically savvy than before and more

Yet Barton also acknowledged a longing

familiar with [their learning management

familiar to all of us in theatre as we try to

system].”

move forward: “Our students come to the

Looking ahead

theatre, and we like to put up shows in per-

It cannot be overstated how frequently

son. I pray we can continue practicing this

respondents expressed their happiness to

even as the world is moving and remaking

return to theatres, studios and classrooms.

around us so fast.” n

Many will take the lessons learned from the pandemic as a call to continue protecting their students, companies and patrons.

That’s a sentiment well-expressed by

Department of Theatre & Dance theatre.wfu.edu

Barton: “No one should acquire COVID19 from going to a play. I believe we all

Scott Hayes (he/him) is dean of the School of Communication & the Arts at Liberty University in Virginia and a member of the Southern Theatre Editorial Board.

THEATRE & DANCE in the Nation’s Capital STUDY ACTING, DANCE AND PRODUCTION DESIGN WITH A BACHELOR OF ARTS IN THEATRE OR DANCE 64 x Southern Theatre x Winter 2023

202.994.8072 WASHINGTON, DC ctad@gwu.edu

DON’T SETTLE FOR JUST A GRADUATE PROGRAM. Find your artistic home in a collaborative, creative community.

M.F.A. in Playwriting

with concentrations in dramaturgy, directing, performance, plays with music, plays for youth, and applied theatre hollins.edu/grad/playwriting

M.A. in Theatre and New Play Development hollins.edu/grad/playwriting

Certificates in: New Play Dramaturgy

hollins.edu/grad/dramaturgy

New Play Directing

hollins.edu/grad/directing

New Play Performance hollins.edu/grad/acting

Expand your portfolio, upgrade your skills, and build your network during our high-intensity/low-residency intensive summer sessions.

Call us at (540) 362-6575 or email hugrad@hollins.edu for full details.

WORDS, WORDS, WORDS . . .

Editor: Sarah McCarroll

Words, words, words … [Hamlet II,ii] reviews books on theatre that have a connection to the Southeast or may be of special interest to SETC members. Sarah McCarroll, an associate professor of theatre at Georgia Southern University, edits this regular column. If you have a book for review, please send to: SETC, Book Editor, 5710 W. Gate City Blvd., Suite K, Box 186, Greensboro, NC 27407.

Stage Management Basics: A Primer for Performing Arts Stage Managers (2nd edition)

by Emily Roth, Jonathan Allender-Zivic and Katy McGlaughlin 2021, 2nd edition, Routledge Web: www.routledge.com ISBN: 978-0367678319; Pages: 244 Price: $23.96 (paperback or e-book); $128 (hardback)

for a beginning stage management class

by Stacy A. Blackburn

The chapters of this section could

at the high school or college level. The authors take us step-by-step through the job of the stage manager, from auditions through the strike of a show.

Liberally scattered throughout the text are paperwork samples, diagrams and photos that show “real-world” examples of their ideas in practice. easily be translated into a course

rofessors and instructors of stage

syllabus for a semester or used

management are constantly looking

as a checklist for beginning stage

for the ideal book to aid them in teaching the

managers who may already

“hows” of the craft of stage management.

have been thrown into a show.

With Stage Management Basics: A Primer for

The form samples can easily be

Performing Arts Stage Managers, authors

translated from the book into

Emily Roth, Jonathan Allender-Zivic, and

blank documents that can be

Katy McGlaughlin offer a step-by-step

used almost immediately in

look at how a stage manager functions in

practice. This second edition of the book

the performing arts. While clearly geared

also comes with a companion website that

for the beginning stage manager, the book

has blank form templates ready for use.

P

are downloadable forms for any stage

draws on the vast experience of all three

The final section of the book covers

management situation, suggested readings,

authors to take the reader through a show

stage managing for opera and dance. Both

online and classroom resources, and a link

from beginning to end.

chapters compare and contrast the skills,

to contact the authors with questions. There

This well-written text can really be

definitions and jobs of the stage manager

is a separate instructors’ area that requires

broken into three primary sections. Section

as described earlier in the book with these

its own log-in.

one introduces us to the characteristics of

specific types of performing arts. Both

Stage Management Basics: A Primer for

an effective stage manager, the definitions

chapters also show examples of paperwork

Performing Arts Stage Managers is a terrific

of commonly used theatre terms, and the

that might differ from their appearance

resource for beginning stage managers at

job descriptions of the staff, creatives and

earlier in the book.

both the high school and the college level

team members a stage manager may come

I had a little difficulty finding the

and the people who teach stage manage-

in contact with in the process. It offers a

companion website that is mentioned

ment. The book provides an easy-to-follow

quick introduction to some of the work

throughout the book as having more

walk-through of the stage manager’s job,

and context of stage managers for people

resources, reading lists, chapter tests and

in addition to providing resource material

who may be new to theatre or who have

glossary terms. However, I discovered

to help stage managers create the paper-

not had much of a formal education in

through Routledge that I had just missed

work that helps a production flow. n

the performing arts. This section may be

it – it is listed at the bottom of the book’s

a bit redundant for theatre folx who have

title page (the one that lists published date,

been involved in the performing arts for

ISBN numbers and the like). Go to www.

a while (or have had an Introduction to

routledge.com/cw/roth, and it pulls up

Theatre class), but it establishes a common

right away. The companion website appears

vocabulary for the rest of the text.

to be rich in resources for both student stage

The second section will be most helpful 66 x Southern Theatre x Winter 2023

managers and their instructors. There

Stacy A. Blackburn (she/her) is the theatre production manager and a professor of stage management at Virginia Tech.

A 24-year member of Actors’ Equity Association, she has worked as the production stage manager for theatres across the country.

PASSION. OPPORTUNITY.

KENT STATE

MASTER OF FINE ARTS PROGRAMS M.F.A. in Design and Technology • Costume Design • Lighting Design • Scenic Design • Theatre Technology M.F.A. in Acting

BACHELOR OF FINE ARTS PROGRAMS B.F.A. in Design, Technology and Production B.F.A. in Musical Theatre B.F.A. in Dance Performance

BACHELOR OF ARTS PROGRAMS B.A. in Theatre Studies B.A. in Dance Studies

WWW.KENT.EDU/THEATREDANCE WWW.PORTHOUSETHEATRE.COM

Index for Southern Theatre, Volume LXIII Volume LXIII, Number 1, Winter 2022 Ross, Zackary Hot off the Press

All-Gender Casting Possibilities LXIII/1/2022/4 Glenn, David Outside the Box: Design/Tech Solutions

Window of Opportunity: Use Screen Material

for Easy Image Transfer LXIII/1/2022/6-7

Watkins, Elizabeth Embracing Inclusion

Diversify Your Classroom, Empower Your

Students with Devised Theatre LXIII/2/2022/34-40 Taylor, Jonathon After the Pandemic Pause

Advice from the 2022 SETC Design Keynotes

on Returning to Work in a Reframed

Theatre World LXIII/2/2022/42-47

Colleran, Jim Clearing a Path

Tony Award-Winning Teacher Corey Mitchell

Reflects on His Career and His Role as a

‘Bulldozer’ for His Students LXIII/1/2022/8-14

Unbylined SETC Thanks Its Commercial Partners LXIII/2/2022/48

Theatre Gap Initiative: Creating Opportunities

for Students of Color LXIII/1/2022/16-20

Benjamin, Jack Tiza Garland Honored with SETC’s

2022 Suzanne M. Davis Memorial Award LXIII/2/2022/51

Curry, J. K. Opening Doors

Professional Theatres Partner with HBCUs

to Help Develop Black Leaders LXIII/1/2022/22-34

Hurtado, Javier Luis Words, Words, Words …

Review of Theatre of the Sphere:

The Vibrant Being, by Luis Valdez and Michael

M. Chemers LXIII/2/2022/52

Cates, Chris Preparing to Start Your Job Search?

Professional Companies Offer Advice

for Emerging Artists LXIII/1/2022/38-46

16 Tips for Getting a Theatre Job in 2022 LXIII/1/2022/46-47

Hayes, Scott Pandemic Productions

College and University Theatre Professors

Innovate, Embracing Media and Collaboration LXIII/1/2022/48-68 Words, Words, Words …

Bracey, Jasmine

Review of Radical Vision: A Biography of

Lorraine Hansberry, by Soyica Diggs Colbert

LXIII/1/2022/70 Unbylined Index to Volume LXII LXIII/1/2022/72 Unbylined

2022 SETC College, University & Training Program Directory LXIII/1/2022/D-1 – D-28

Volume LXIII, Number 2, Spring/Summer 2022 Ross, Zackary Hot off the Press

Plays With Younger Roles LXIII/2/2022/4 Stratton, Matthew Outside the Box: Design/Tech Solutions

Pump Up Your Spatter Technique:

The Garden Sprayer 2.0 LXIII/2/2022/6-7 Norm Lewis Jeffers, Gaye

‘Believe in Something, and Believe in Yourself’ LXIII/2/2022/8-17 Cuomo, Amy Sally Cade Holmes

Producing Is Her Superpower LXIII/2/2022/18-24 Edwards, Johanna Jim LeBrecht Maynard

Inclusivity, Not Just Accessibility LXIII/2/2022/26-32

68 x Southern Theatre x Winter 2023

Milton, Garrett Lee Schönegge, Berit

2022 SETC Young Scholars Award Winners LXIII/2/2022/50

Volume LXIII, Number 3, Fall 2022 Ross, Zackary Hot off the Press

Plays About Obstacles LXIII/3/2022/4 Glenn, David Outside the Box: Design/Tech Solutions

Stops on Stage: Searching for a Braking Breakthrough LXIII/3/2022/6-7 Novak, Tiffany Dupont The Future of Arts Fundraising

Viewed Through the Lens of Six Rising Leaders LXIII/3/2022/8-24 Alsip, Tom A Play for All Seasons

Colleges Share the Key Factors They Consider

in the Show Selection Process LXIII/3/2022/26-38 King, Laura Playwriting in the Pandemic Much Was Lost, and Much Was Found

LXIII/3/2022/40-56

2022 Charles M. Getchell New Play Award King, Laura The Playwright

2022 Getchell Award Winner John Mabey

Explores the Link Between Celebrating a Person’s Life and Grieving Their Loss

LXIII/3/2022/58-59, 62 Mabey, John The Play

An excerpt from A Complicated Hope, the 2022

winner of the Charles M. Getchell New Play

Award, given by SETC to recognize a worthy

new play, is published.

LXIII/3/2022/60-61 Words, Words, Words …

D’Ambrosi, Joseph R.

Review of Toward a Future Theatre: Conversations During a Pandemic,

by Caridad Svich

LXIII/3/2022/64

C

M

Y

CM

MY

CY

CMY

K

Contact Resources For: For Disney Live Entertainment opportunities, please visit our website at Disneycareers.com.

Visit DCLjobs.com for opportunities

Disney Live Entertainment works with various live entertainment entities and actual hiring agency may be one of those entities. *Images do not represent current operational guidelines or health and safety measures such as face covering and physical distancing requirements.

© Disney

Southeastern Theatre Conference 5710 W. Gate City Blvd., Suite K, Box 186 Greensboro, NC 27407 www.setc.org

Non-Profit Org. US Postage Paid Auto Greensboro, NC Permit No. 744

I WANT TO CHANGE THE WORLD. I WANT TO HEAL. I WANT TO BE A DOCTOR.

Actor!

PROFESSIONAL CONSERVATORY Apply by January 6, 2023 An Affordable MFA Alternative

Stella Adler Studio of Acting 65 Broadway Floor 2 New York, NY 10006 StellaAdler.com 212-689-0087 classes@stellaadler.com

Art of Acting Studio 1017 N Orange Drive Los Angeles, CA 90038 artofactingstudio.com 323-601-5310 info@artofactingstudio.com

2023 SUMMER INTENSIVES ACTOR WORKSHOPS The Stella Adler Studio of Acting/Art of Acting Studio is a 501(c)3 not-for-profit organization and is accredited by the National Association of Schools of Theatre.