Newsletter
CONTENTS
NEWS SUBMISSIONS
Thomas Pinckney (he/him) Director of Advancement
thomas@setc.org
and live performance in of Kentucky
Jeremy Kisling (he/him)
SETC President
both Bardstown and Louisville, the conference celebrated e challenges and triumphs of outdoor theatre Attendees n rich sessions covering topics such as site-specific g, technical innovations for open-air productions, y engagement, and sustainability in outdoor performance
A heartfelt thank-you to our host theatres, The Stephen Foster Story and Kentucky Shakespeare, whose hospitality and commitment to outdoor theatre made the experience truly remarkable
The workshops and tour hosted by The Stephen Foster Story provided participants with a meaningful opportunity to reflect on the responsibility of producing historical narratives and the role theatre
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ExecutiveCommittee
Jeremy Kisling (he/him) President MatthewLeckenbusch(he/him) VPofServices
Harry Culpepper (he/him) VP of Divisions
Carlton“cj”C BellII(they/them) InterimVPofOpportunity&Access
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plays in shaping public understanding of the past. Mean performance of Frankenstein by Kentucky Shakespeare and thought-provoking experience, a true treat to beho Highlights of the conference included workshops and di with nationally recognized directors, as well as collabora brainstorming sessions that sparked new ideas for futur productions and operations.
We are especially thankful for our generous sponsors, L Lighting & Sound, Heaven Hill Distillery, and Acceptd, wh helped make this event possible
SETC’s commitment to fostering dialogue and innovatio evident throughout the conference, as participants wer and inspired to return to their work. We are excited to h National Outdoor Theatre Conference as a part of SETC. The creativity and collaboration of the conference continue to resonate, reminding us that theatre, especially when staged beneath the open sky, is transformative art.
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As part of the National Conference on Outdoor Theatre (NCOT) in Bardstown and Louisville this October, attendees had the unforgettable opportunity to experience Kentucky Shakespeare’s haunting Halloween production of Mary Shelley’s Frankenstein The performance was nothing short of mesmerizing; a seamless blend of artistry, atmosphere, and emotion that left the audience spellbound.
Written
Born of Storm and Story: Kentu Shakespeare’s Haunting Franke
by David Catlin and directed by Matt Wallace, this reimagined Mary Shelley’s classic gothic tale through a fresh theatrical lens. The story begins with Mary Shelley and her companions on a stormy night, challenging one another to write the scariest tale As Mary begins her narrative, the line between storyteller and story blurs, and the audience is drawn into a vivid exploration of creation, consequence, and the essence of humanity.
The acting was simply gorgeous. Each member of the ensemble; Zachary Burrell, Sasha Cifuentes, Mollie Murk, Nick Wills, and Crystian Wiltshire shifted effortlessly between roles, embodying the story’s intensity and vulnerability. Their performances were grounded yet ethereal, bringing both Victor Frankenstein’s torment and the Creature’s anguish to heartbreaking life
Beth Watkins Brown (she/her) SETC Producer & Director of Festivals and Special Events
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336 265 6148 info@setc org
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Sasha Cifuentes and particular, made this unting and profoundly as radiant as Mary dwin, grounding the ength and fierce ried the heart of the an navigating grief, and
the power of creation. Every moment felt intentional; her movement and voice guided the audience through Shelley’s storm of imagination. Through her, Mary became more than a storyteller; she became the pulse of the narrative, a creator wrestling with her own monsters Burrell delivered a commanding dual performance as both Lord Byron and the Creature, the modern Prometheus As Byron, he embodied sharp wit and danger, the fearless provocateur urging Mary to breathe life into her nightmare. When the story shifted into Shelley’s imagined world, his transformation into the Creature was raw and magnetic
filled with physicality, longing, and rage Burrell’s portrayal captured both the brilliance and the burden of creation, the pride of the maker and the pain of the made, perfectly echoing the mythic heartbeat at the center of Shelley’s tale.
What elevated this production to another level was its immersive design The sound and lighting, crafted by Laura Ellis and Jesse AlFord, transformed the intimate space into a living, breathing landscape of storm and shadow. Every flicker of light and low rumble of thunder pulled the audience deeper into the world Mary imagined more than two centuries ago. The technical artistry underscored the play’s themes of isolation and creation, creating an atmosphere that was both eerie and deeply human.
Mollie Murk as Claire Clairmont & Sasha Cifuentes as Mary Wollstonecraft Godwin in Frankenstein
Zachary Burrell as the Creature in Frankenstein
The SETC Annual Convention Outdoor Theatre Panel has been scheduled for Wednesday, March 4, 2026 at 6:30PM.
; y y
The cast of Frankenstein; Zachary Burrell, Sasha Cifuentes, Mollie Murk, Nick Wills, and Crystian Wiltshire
SETC President Jeremy Kisling greets the attendees
Mary Slinger-Carreer, of Heaven Hill Distillery Lead a tour and tasting Picture on the left are caskets aging in a rack house
Rick McConnell (above), of XS Lighting & Sound, spoke on the ways light changes our perception of colors on stage using these M&Ms as an example
Richard Blanton demostrating how to crush the ice for a proper Mint Julep during the Mint Julep presentaiton
Keynote Speaker Carl V Curnutte III presents his address “AI for Theaters ”
Attendees tour The Stephen Foster Story
Attendees at The Stephen Foster Story
Stephanie Delmore chats ticketing with Ludus rep Robbie Steiner
Jennifer
Sarah
Jacob
NEWS
At the 2025 National Conference on Outdoor Theatre (NCOT) in Bardstown, KY, two distinguished honors, the Scott J. Parker Volunteer Award and the Mark R. Sumner Award, were presented to individuals whose service and artistic leadership have profoundly enriched outdoor theatre
Cyndi Mattingly: The 2025 Scott J. Parker Volunteer Award Recipient
The Scott J. Parker Volunteer Award was established to recognize volunteers who have made exceptional, long-term contributions to outdoor theatre. Whether serving on boards, ushering audiences, managing ticket sales, or creating magic behind the scenes, recipients embody the collaborative heart of theatre
atre: er Awards
The award honors the legacy of Scott J. Parker, who from 1990 until his retirement in 2007 served as Director of the Institute of Outdoor Drama at the University of North Carolina at Chapel Hill. Under his leadership, the Institute supported 110 outdoor theatres in 37 states and worked with communities nationwide to develop new outdoor theatre organizations Parker’s influence was felt in nearly every corner of the movement
The 2025 Parker Award recipient, Cyndi Mattingly, embodies the spirit of dedication and generosity.
A longtime costume volunteer for The Stephen Foster Story (SFS) in Bardstown, Kentucky, Mattingly has donated thousands of hours to community and non-profit theatres across Central Kentucky over the past fifteen years. Her exceptional talent, attention to detail, and selfless commitment have made her a cornerstone of the Stephen Foster creative family.
“The Stephen Foster Story is fortunate to be a recipient of her time and incredible talent,” said Johnny Warren, Executive Artistic Director of The Stephen Foster Story “Cyndi’s work behind
Lance Culpepper (he/him) Chair, Outdoor Theatre Committee
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atre and the people Little Mermaid, attention to detail have elevated every nd artistry Cyndi Campbell. “She is the as a collaborator commitment to he Parker Award is r of the essential role unteers play in keeping outdoor theatre thriving.
eph and Margaret Bonamico: The 2025 Mark R. Sumner
Award Recipients
Mark R. Sumner Award, first presented in 1991, recognizes individuals who have e significant and lasting contributions to a specific theatre or to the broader outdoor theatre movement. The award honors Mark R. Sumner, a World War II veteran, professor, and playwright who led the Institute of Outdoor Drama for 25 years. During his tenure, he helped launch more than 30 historical dramas in 26 states and served as president of the Southeastern Theatre Conference (SETC).
The 2025 recipients of the Sumner Award, Joseph Bonamico and Margaret Bonamico of Trumpet in the Land in New Philadelphia, Ohio, embody the same spirit of vision and perseverance
For more than four decades, Joseph Bonamico brought his artistry and leadership to Trumpet in the Land, performing, writing, and directing with passion and vision. A respected member of Actors’ Equity Association, the Writers Guild of America, SAG, and AFTRA, Joe performed the role of Simon Girty for 37 of his 43 seasons with the production. He also wrote, directed, and performed in The White Savage, a project that reflected both his creative ambition and his deep respect for the history celebrated on the outdoor stage
His passion for outdoor theatre was unwavering, and his influence on Trumpet in the Land and its community will endure for generations. Sadly, Joe passed away in September 2024, but his legacy of storytelling and mentorship continues to inspire all who worked alongside him.
Cyndi Mattingly: The 2025 Scott J Parker Volunteer Award Recipient and Johnny Warren of The Stephen Foster Story
Past Winners of the Mark R Sumner Award pictured here with one of the recipients of this year’s award
Margaret Bonamico, who continues to serve as General Manager of Trumpet in the Land, has been an equally vital force in the theatre’s longevity and success. In 2022, she celebrated fifty years with the organization. Under her guidance, Trumpet in the Land has been recognized by the Ohio Senate, the Ohio House of Representatives, and the city of New Philadelphia for outstanding achievement and community leadership The theatre has also received the Zeisberger-Heckewelder Award, the Eastern Ohio Development Alliance’s Excellence in Tourism Award, and numerous other honors acknowledging its cultural and economic impact
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Presenting the award, Marina Hunley-Graham, Artistic Director of Unto These Hills, praised the siblings’s extraordinary contributions: “Together, the Bonamicos devoted a remarkable 96 combined years to outdoor theatre.
Their passion and perseverance have kept Paul Green’s iconic symphonic drama thriving through both adversity and triumph. Their work reflects a deep love of theatre, an appreciation of history, and a profound commitment to the Outdoor Theatre Movement. Their service to their community and to American theatre has truly been extraordinary.”
A Legacy of Dedication
The stories of Cyndi Mattingly, Joseph Bonamico, and Margaret Bonamico remind us that outdoor theatre is sustained by people who give not only their time and talent but their hearts Through volunteerism, artistry, leadership, and vision, these 2025 award rec oundation upon which outdoor theatre.
Margaret Bonamico: The 2025 Mark R. Sumner Award Recipient, Marina HunleyGraham & Lance Culpepper of Cherokee Adventures Not pictured is Joseph Bonamico: The 2025 Mark R Sumner Award Recipient, Margaret’s brother
Joe Bonamico
NEWS
The Stephen Foster Story, written by Pulitzer Prize winning Playwright Paul Green, is an outdoor symphonic drama based on the life and music of American composer Stephen Collins Foster The show premiered in 1959 and has played at My Old Kentucky Home State Park in Bardstown, KY for 66 years
The play is set in 1850 Pre-American Civil War Pennsylvania and Kentucky. This work of historical fiction utilizes Foster’s songs and elements of his history to create a story of love, family and community. The story presents many difficult realities that were true of the time period. It is notable that Foster wrote songs during a time when people of African descent were enslaved in America Many of his songs were written about people of color and their experiences, witnessed by him during this period of American History Some of his songs were performed in Black-face minstrel shows across the United States This horrible entertainment practice featured Caucasian actors with painted faces depicting negative caricatures of Black people – both enslaved and freed – in America.
Panelists Donna Phillips, SFS Assistant Director, Cast Member, Angela Crenshaw, SFS Cast Member/Consultant , Hannah Bowman, SFS Cast Member/Filmmaker
Stephen Foster’s lyrics, however, depicted people of color with humanity, dignity and heart. His “Nelly Was A Lady” is an example of a song and lyric that described a woman of color with dignity and using the term lady typically reserved for white women.
In his 1855 “My Bondage and My Freedom,” abolitionist luminary Frederick Douglass, himself formerly enslaved, wrote that the song “My Old Kentucky Home, Goodnight” awakens sympathies for the slave in which anti-slavery principles take root, grow, and flourish
This belief that Foster’s music, though sold for use in minstrel shows and featuring vernacular of the time period that today we consider to be racist in nature, presented people of color in such a way as to bring humanity to their depiction, is the foundation on which the Artistic Staff of The Stephen Foster Story build a production each summer that features themes that are as valuable to explore today as they were when Foster and Green wrote in the 1850s and 1950s, respectively
The work of producing such a piece for a modern audience involves careful reflection of past depictions and the knowledge that storytelling and staging choices made for an audience in the 1960s may not be the right choices for today. Providing proper historical context for audiences, actors and artistic/production staff has been a key factor in confidently producing a show set in such a difficult period of American History. Elements such as thoughtful advertising, costume design, digital history guides, lobby cards and brave conversation have helped The Stephen Foster Story staff bring greater value to this storytelling. The most important action taken by the team is to ensure that Black voices are always leading and participating in conversations and decision making
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Executive Artistic Director, Johnny Warren reflects on the work, saying “Not everyone feels comfortable participating in the onstage depiction of people of African descent who were enslaved in our country, and acknowledging that truth is our first step toward responsibly telling this story That is ok We need to meet people where they are Race history is a topic that is often used to divide Americans, so of course many are uncomfortable with it. Our goal is to bring people together through this storytelling in a way that spotlights the reality that this history is our history…all of us.”
Angela Crenshaw, recent Chair of The Kentucky African American Heritage Council and The Stephen Foster Story cast member says of performing in the show “I am grateful for the opportunity to honor my ancestral mother through depicting a person who was enslaved. It is a gift and an honor to tell stories that are often overlooked.”
The Playmaker, a documentary film written and directed by Foster cast member, Hannah Bowman, has become an important tool to help provide context for artistic staff members. The film describes a visionary American playwright in the mid-1900s whose Human Rights activism informed his writing. His desire for equitable treatment of all people led to The Stephen Foster Story serving not as a love-letter to the Antebellum South, but as a window into a time period and its people who were living out many of the same hardships that we continue to wrestle with today. His script has served as a framework that has allowed the show to engage with difficult historical realities responsibly.
“I grew up in Bardstown as a superfan of the show I was very interested in learning the ‘why and how’ about the person who wrote it I learned that he wanted to write about people,” says Bowman.
“Storytelling is one of the ways that we connect with our past,” says Foster Assistant Director, Donna Phillips, “and if we don’t connect and engage with our past, we as human beings are apt to repeat the same mistakes.”
The Stephen Foster Story’s show staff continues to evaluate and work toward the most responsible way to bring this story to the stage. Some of their focus
Audience and Cast at The Stephen Foster Story
The Cast of The Stephen Foster Story
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has included moving costume and performance styles away from anything that resembles the stereotypes depicted in media such as “Gone with the Wind” and the inclusion of new scenes and characters that more fully depict Black life in Pre-Civil War America An example of their work is the research that led to the inclusion of the historic character Martin Delany Delany was a contemporary of Frederick Douglass and a true American medical, literary, and military hero who is known as the father of Black Nationalism
The Foster team’s current process is built on open conversation with company members and the belief that these tough topics are worth exploring and sharing with audiences. Phillips, who serves as Assistant Director and who is also a marriage and family therapist, introduced the concept of creating a brave space rather than a safe space for conversations about race history. Indicating that it is unrealistic to expect all people to feel “safe” in spaces that are predominantly white, a more honest method is to support one another in engaging bravely in difficult conversation Company leadership acknowledges that the “fear of offending someone” often keeps us from talking about matters such as race history and models conversation in the hope of relieving that fear
“We find joy in striking a responsible balance between preserving a relic of the past and using it as a tool to connect with modern cultural conversation ” says Warren of producing a long-running show “As has been true through the history of staging this show, the choices that we believe are right and responsible today may not be right five years from now. It is crucial that we keep our mind toward evaluating how our directors, actors, and audiences receive this piece of theatre and that we always do the work to honor people whose stories were immortalized in Foster’s songs.”
Since its inception, the production has been revised and adapted over time in an ongoing effort to present the material with fairness, sensitivity, and historical awareness, reflecting our developing understanding of this history and its legacies.
The Stephen Foster Story Actors Chase Howard & Zarah Ibn-Mohammed
Actors of Color with intentionally natural hair and thoughtful headwraps in
The Stephen Foster Story