Southern Theatre Fall/Winter 24-25

Volume LXVI Number 1 • Fall/Winter 2024-25 • $12.00

LICENSE TO THRILL: A Conversation with Concord Theatricals • THE ‘HAM & EGG SHOW’ DECENTERED PLAYWRITING: Book Review • EXPANDING THE CANON: An Educator’s Toolbox

2024-25 COLLEGE, UNIVERSITY & TRAINING PROGRAM DIRECTORY

Dipika Guha’s Yoga Play is an example of the many plays available to theatre faculty who are looking to move beyond the Eurocentric canon. Pictured: Ricky Pak performs in the play with the Syracuse University Department of Drama. Photo by Ron Heerkens Jr.

CONTENTS Volume LXVI Number 1 l Fall/Winter 2024-25 l Southern Theatre – Magazine of the Southeastern Theatre Conference

Features

Columns 6

Outside the Box:

Design & Tech Solutions

Using MIDI to troubleshoot sound design challenges

8

by Theo Metz

What’s On Your Mind?

Mental Wellness & the Artist

12 Expanding the Canon

Diversifying the Theatre Education Curriculum

by Tiffany Gilly-Forrer

20 Now What a Time

A New Play Explores the Ham and Egg Show Tradition at Fort Valley State University

by Maisha S. Akbar

48 A Conversation with Concord Theatricals Behind the Scenes of the Theatre Licensing Process interview by Tom Alsip

Moving past regret

by Jonathan Mathias Lassiter, PhD

10

H@ndle Your Business

Opportunities to keep on learning

interview by Ricky Ramón

by Frederick Marte

64 Excerpt from Between Dog and Wolf

66

Theatre on the Page

by Cris Eli Blak

2023 Getchell Award winner Cris Eli Blak discusses his play Between Dog and Wolf

Book Review

Decentered Playwriting: Alternative Techniques for the Stage

59 Charles M. Getchell Award

by Becky K. Becker

2024-25 SETC College, University & Training Program Directory page 31

On the cover

Clemson University’s production of The Niceties, by Eleanor Burgess, featuring actors TeAnna Flynn-Brown and Charis Tefft. Guest Director, Darnelle Pierre Benjamin.

Photo by Ken Scar.

Fall/Winter 2024-25 | Southern Theatre | 3

FROM THE

EDITOR

Lean into joy, wonderment, and progress this fall. Fall brings about a change of the seasons, the opportunity to vet various institutions for those headed to college, and a time to reflect on all that has been accomplished this year. Living with a sense of joy is paramount to continued growth as an artist. Stay in awe of the universe’s unending gifts and nurturing — for it will help propel you to new heights. And keep putting one foot in front of the other as you walk in your purpose.

In this issue, the contributors are, no doubt, walking in their purpose as they remain curious about theatre history and theatre futures. Within these pages you can learn about a once popular Fort Valley State University folk show situated at the beginning of the Harlem Renaissance. You can discover more ways to diversify your curriculum canon and you can hear about how Concord Theatricals updates and augments their plays to suit contemporary audiences. Along with a play excerpt from Getchell Award winner Cris Eli Blak, we’ve included the popular College Directory to help prospective students narrow down their choices for continued education. As SETC continues to flourish, we always welcome you along for the ride.

Grab your coffee or tea and enjoy.

Sharrell aka Dr. L. Editor-in-Chief @sdluckett

From the SETC President

EDITOR-IN-CHIEF

Sharrell D. Luckett, PhD SETC PRESIDENT

Jeremy Kisling

SETC EXECUTIVE DIRECTOR

Toni Simmons Henson

ADVERTISING Thomas Pinckney, thomas@setc.org BUSINESS & ADVERTISING OFFICE Southeastern Theatre Conference 5710 W. Gate City Blvd., Suite K, Box 186 Greensboro, NC 27407 info@setc.org PUBLICATIONS COMMITTEE Becky Becker, Clemson University (SC) Ricky Ramón, Howard University (DC) EDITORIAL BOARD Tom Alsip, University of New Hampshire Keith Arthur Bolden, Spelman College (GA) Amy Cuomo, University of West Georgia Caroline Jane Davis, Furman University (SC) David Glenn, Samford University (AL) Kyla Kazuschyk, Louisiana State University Sarah McCarroll, Georgia Southern University Tiffany Dupont Novak, Actors Theatre of Louisville (KY) Thomas Rodman, Alabama State University Jonathon Taylor, East Tennessee State University Chalethia Williams, Miles College (AL) OUTSIDE THE BOX EDITOR David Glenn, Samford University (AL) THEATRE ON THE PAGE EDITOR Sarah McCarroll, Georgia Southern University (GA) COLUMNISTS Jonathan M. Lassiter, PhD, Lassiter Health Initiatives Frederick Marte, B.A.M. Studio Ambassador LAYOUT EDITOR Scott Snyder, Muhlenberg College (PA) ASSISTANT TO THE EDITOR-IN-CHIEF Nikki Baldwin 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: nikki@setc.org.

Southern Theatre (ISSNL: 0584-4738) is published two 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: Included in SETC membership. Join at setc.org Single copies: $12 plus shipping EIC Photo: Tracie Jean Photography

We are so excited you’re a part of the Southeastern Theatre Conference! We hope you find our organization a space where you feel you belong. We are working hard to make SETC an inclusive and accessible organization. To accomplish this goal, I would like you to remember that we must experience the following principles to create a community where everyone feels welcome.

All voices are valuable: Everyone’s ideas, personality, and creativity are essential to our community. SETC, as the largest theatre organization in the country, thrives on uplifting one another’s contributions and supporting each other through the networks and collaborations fostered at the conference. We encourage all members to share their thoughts and ideas. Growth occurs through the exchange and examination of fresh ideas.

Respecting and listening to each other is vital to our collective development.

Psychological safety is important: We aim to cultivate an environment where everyone can be themselves without fear, fostering security and confidence in expressing their true selves. People feel comfortable taking risks and sharing new ideas in a brave space.

Fairness and respect are essential: Equitable treatment is critical to building an organization we can all be proud of. Ensuring fairness and inclusivity for all members strengthens the foundation of our community. Respect for the feelings, wishes, rights, and traditions of others is paramount. While we may hold opposing views or divergent ideas, listening with an open mind and heart is essential. We must treat each other as compassionate humans, not adversarial foes. Human dignity is integral to our collective success.

By embracing these principles, SETC can continue to be a thriving, inclusive community where everyone feels empowered to contribute and grow. I look forward to seeing you at our upcoming conference in Baltimore, where we can exchange ideas, share stories, and create memories.

Jeremy Kisling (he/him), SETC President Producing Artistic Director, Lexington Children’s Theatre

From the SETC Executive Director As an avid traveler, I have visited 38 countries and regions, and I have been privileged to experience diverse forms of theatre, from the grandeur of Broadway to vibrant, all-encompassing performances in West Africa. Through these experiences, I have come to understand that art is a divine and deeply personal expression, touching each of us in unique ways that defy judgment.

As technology and theatre continue integrating in more ways than imaginable, we must embrace new and innovative storytelling methods. The traditional confines of theatre — four walls, specific stage types, and regimented seating — are evolving, and new audiences will be open to this transformation.

I once believed in the necessity of mastering the rules before breaking them. However, this new generation of artists are creating their own rules, challenging the status quo.

As seasoned practitioners, who are we to impose our dimensions on their creativity?

In West Africa, I have witnessed storytelling that transcends words. The fusion of song, dialogue, lighting, and movement creates an immersive experience unlike any Western tradition. Here, art flourishes without conventional constraints, offering audiences a profound appreciation of the performance’s uniqueness.

Reflecting on my audience experiences and after attending 14 plays in Edinburgh with my daughter in 2009, I realized I harbored theatre elitism, believing there was only one “correct” way to present theatre. Having spent my formative years in New Jersey, the backyard of Broadway, I was accustomed to a particular style, but these global encounters taught me the value of diverse artistic expressions.

Theatre elitism has long excluded creatives from different cultures by enforcing arbitrary rules. Art, a divine gift, should be free from judgment and just experienced.

It is shaped by cultural differences, environments, traditions, and values, making it as individual as we are. Embracing this diversity enriches our understanding and appreciation of the performing arts.

Your Arts Advocate, Toni Simmons Henson (she/her), SETC Executive Director Co-Founder, Atlanta Black Theatre Festival

OUTSIDE THE BOX

D e s i g n & Te c h S o l u t i o n s

by Theo Metz

Troubleshooting Tech in Theatre How MIDI Simplified My Sound Cue Workflow Tech week in live theatre can be one of the most challenging phases for any sound designer. Constantly shifting cues, unexpected changes, and the need for rapid adjustments make troubleshooting a daunting task. Over the years, I’ve learned that no show adheres strictly to the script, and no amount of preparation can fully anticipate the audio changes required during rehearsals. My early method of managing these changes using “scenes” to mute and unmute microphones became cumbersome and inefficient during tech week, leading me

the day. It was clear that the traditional

designers tackled similar challenges. That’s

to search for a better solution.

scene-based approach wasn’t sustainable for

when I stumbled upon the idea of using MIDI

The Limitations of Scene-Based Audio Control

large-scale productions.

to control all my muting and unmuting. MIDI,

That realization hit hardest in 2018 while

or Musical Instrument Digital Interface, is a

working on the sound design for Children of

communication protocol developed in the

Eden at Samford University. The show was a

1980s to control parameters on synthesizers.

When I first started in theatrical sound

massive undertaking, featuring 32 lavaliers,

Over time, it was adapted for use in digital

design, I relied on scenes for precise control

a full pit orchestra, in-ear monitoring, stage

audio workstations, lighting systems, sound

over muting and unmuting microphones.

monitors, choir mics, sound effects on QLab,

consoles, and video systems. Despite having

While this approach was more efficient than

and a guest performance by American

worked with digital consoles for years, I had

manual muting and more precise than mute

songwriter David Phelps. The complexity of

never given much thought to the MIDI ports

groups, it quickly became overwhelming. I

the production made programming scenes

on the back of the console. I assumed they

often found myself scrambling to create new

on the console a monumental task. I needed

were just another feature manufacturers

scenes, inserting them between existing ones,

a more efficient way to manage the show’s

added to pad their product specs.

and documenting changes—hoping I didn’t

intricate audio requirements.

overwrite something crucial. This added unnecessary stress, and I frequently stayed late after rehearsals, manually programming the adjustments I’d jotted down during

Mute Unmute 6 | Southern Theatre | Fall/Winter 2024-25

However, I quickly realized that MIDI

Discovering MIDI as a Solution

was the solution I had been looking for.

Determined to find a better workflow,

a section on MIDI, which details how the

I began researching how other sound

protocol can control various parameters.

Every digital audio console manual includes

Groups

Grouping Mics for Flexibility

stress but also allowed me to be more creative

Once the individual mics were set up,

about technical details, I could concentrate

using MIDI to handle muting, allowing me

I moved on to creating groups in QLab.

on perfecting the sound mix. I believe this

to concentrate on mixing without worrying

Grouping mics is similar to using a DCA

change in my approach was a key factor

about mic management.

(Digital Control Amplifier) on a console — it

in winning the “Sound Designer of the

simplifies control over multiple mics that

Decade” award from Broadway World after

need to come on or off stage together. For

the production.

While MIDI can automate fader levels, effects, and more, I personally prefer to mix live as part of my performance. Instead, I focused on

Setting Up MIDI with QLab

during rehearsals. Instead of worrying

To get started, you’ll need a USB to MIDI

example, I grouped the pit orchestra, choir

Y cable (and a backup), which connects

mics, and actors who entered the stage as a

your computer to the console. Once the

unit. (Refer to the “Groups” image, above.) This

physical setup is complete, the next step

approach saved time during setup and gave

is programming QLab to send MIDI

me flexibility for last-minute changes. If an

If you’re a sound desig ner feeling

commands to the console. I created a

actor’s mic failed, switching to a spare was

overwhelmed by tech week’s constant

template in the Cues column of QLab,

seamless.

changes and troubleshooting demands,

Final Thoughts: Advice for Sound Designers

labeling each mic with the character’s name

With all mics programmed in QLab, I was

integrating MIDI into your workflow could be

and corresponding channel. For each mic, I

able to run the entire show with just one scene

a game-changer. Take the time to experiment

set up both mute and unmute commands,

on the console. This simplified my workflow

with setting up QLab to control your mics,

including spares in case of mic failures

and allowed me to focus on mixing, rather

and you’ll likely find yourself with more time

during the performance.

than constantly updating scenes.

and energy to focus on the creative aspects

The Benefits of a MIDI Workflow

of sound design. For me, what started as

command type to “Control Change,” the

With my new MIDI-controlled setup, I was

shows, both in theatre and music.

numerical channel to 1, and the control

able to adjust quickly to the demands of

By adopting MIDI as part of your setup,

number to the channel number. Be sure

the production. Didn’t need that actor in

you’ll not only streamline your work but also

to check your console’s manual, as some

Scene 56? No problem. Want the entire cast

give yourself the flexibility to handle the

start their numbering at 0 rather than 1.

on stage during the lead’s solo? Easy. These

unexpected — because as we all know, no

The control value determines whether the

adjustments were made in seconds, and

show goes exactly as planned. n

mic is muted (0) or unmuted (127). (Refer

during performances, I could focus entirely

to the “mute” and “unmute” images, bottom of

on mixing while simply pressing “go” at the

p. 6.) This system allowed me to program

right moments. We even integrated MIDI

all the mics in one session, ensuring that I

with the lighting system for some of the more

wouldn’t have to type the same commands

complex cues.

The technical side of MIDI might seem intimidating at first, but it’s relatively simple once you get started. In QLab, you set the

repeatedly throughout tech week.

The real test came during tech week.

This new workflow not only reduced

Do you have a design/tech solution that would make a great Outside the Box column? Send a brief summary of your idea to Outside the Box Editor David Glenn at djglenn@samford.edu.

a solution for a single production has now become an integral part of my process for all

Theo Metz (he/him) is an assistant professor of commercial music at Samford University. He has served as audio engineer and sound designer for such artists as Kronos Quartet and David Phelps, as well as for films, museum exhibits, and numerous theatre productions.

He is also a touring musician and award-winning composer in sound design and electro-acoustic music.

Fall/Winter 2024-25 | Southern Theatre | 7

WHAT’S ON YOUR MIND?

Mental Wellness & the Artist b y J o n a t h a n M a t h i a s L a s s i t e r, P h D

Moving Past Regret Submit your mental wellness questions for Dr. Lassiter. Questions from students, theatre professionals, and educators are all welcome, and you can request to remain anonymous or not, it’s up to you. Follow the link at solo.to/setc.

• W hat emotional energy is in the room?

• W hat emotional energy am I feeling right now?

• W here am I feeling this energy in my body?

• Is this emotional energy coming from me?

• Is this emotional energy mine to hold • Where did it come from?

Dear Dr. Lassiter,

• Whose is it?

I unintentionally made a biased comment during class. Many of my students are upset with me. My apologies have seemed to fall flat. How do I continue to express my sincere regret while also maintaining my mental health? It just seems like the dynamic of my classroom continues to change for the worse since that incident.

Hi, Reader —

by asking yourself:

If it is not yours, say to yourself: “I acknowledge this emotional energy. I honor this emotional energy. Knowing that this is not my emotional energy to hold, I send this energy and the feelings it’s causing in

afterward and take action to heal.

my body back to its appropriate place in the

It sou nds l i ke you have si ncerely

universe.” Doing this will allow you to get

Thank you for writing in with this

apologized to your students. That’s the most

more information about the emotional energy

concern. First, I want to acknowledge that the

critical step. However, an apology does not

in the space and separate yourself from the

advice I am going to offer is based on limited

mean that others will accept it right away or

unhelpful energy you are holding. Once you

information. For example, I do not know the

at all. It may just be that your students need

have space between you and that energy, you

specifics of the biased comment you made. I

more time to process the event for themselves

can then move from a place of clarity.

do not know the power dynamics between

and will eventually come around. It may

Next, I encourage you to take action to

you and your students, nor do I know the

also be that some of them are never able to

educate yourself about your biases so that

sociocultural demographics

forgive you. Regardless of

you do not make the same mistake again.

of a l l t hose i n you r

your students’ response to

Bring in books, play excerpts, music, film,

classroom. With that said,

your apology, your job is to

and other sources that illustrate and address

my advice below should be

now forgive yourself and let

the bias. Open up a brave, ordered space for

adapted and modified as

go of the rest. Letting go of

discussing the impact of bias and how to

appropriate to account for

the “regret” will allow you

decrease it. Implement rules and procedures

the particularities of your

to open up space for more

in your classroom for how to engage in

situation.

action.

respectful, healing conversations about

I first want to encourage

The next action that

you to let go of the “regret”

I encourage you to do

Finally, remember that healing takes time.

t h at you a r e c a r r y i ng

is to re-establish order.

A mistake was made. It will take time for both

around. Regret is often

According to the principle

you and your students to learn, do better,

linked to guilt. Guilt is too often a stagnating

of Ma’at, order consists of aligning with

and move forward. These timelines may be

emotion and keeps us from moving forward.

the flow of nature and the universe. Part

different for everyone involved. Give grace

So, unburden yourself of the guilt. We all

of flowing with nature and the universe is

to yourself and your students. n

are biased in some way or another due

understanding appropriate time, place, and

to the ways in which our parents and

season. Just as the sun knows when to set, the

society conditions us. We hold some level

moon knows when to rise. They each have a

of bias towards ourselves, others who

part to play in the holistic well-being of the

share sociocultural characteristics with us,

planet, but they do not fuse. It sounds like

and others who do not share sociocultural

you are fusing with your students’ unhealthy

characteristics with us. Most of us misspeak

energy and cannot seem to shift it. One way

out of our bias at one point or another. What

to shift the energy so that you may all heal is

matters most is how we respond to critique

to set energetic boundaries. You can do this

8 | Southern Theatre | Fall/Winter 2024-25

biases when they come up again.

Dr. Jonathan M. Lassiter (he/him) is a licensed clinical psychologist in private practice, certified in Optimal Conceptual Theory/Belief Systems Analysis — an African-centered psychotherapy. His memoir, Why We’re All Crazy: A Memoir of a Frustrated Black Psychologist in a White World, will be published in 2025. @lassiterhealth

H@NDLE YOUR BUSINESS

written & curated

by Frederick Marte

Theatre Pros: Keep On Learning In each edition of H@ndle Your Business, Frederick will tell you about online resources that performers and theatre professionals need, and showcase theatre companies and organizations that want to connect with YOU online.

S

therefore, we are to help each other. The network provides for the development of excellence and the growth of new, visionary theatre professionals through its student

aludo, buenas! As an artist, you must

York Theatre Workshop are great en la

design and writing competitions. Through

constantly acquire skills and knowledge

creación de experiencias para* artists like

Recognition Awards, BTN acknowledges

to put in your toolbox. This doesn’t

you! Both of these institutions have

e xc e p t io n a l ac c o mpl i s h m e nt s a nd

end with formal education, as there are

multiple options for artists looking to

participation in workshops designed to

countless ways to engage with other artists,

expand on their artistry, both artistically

help others develop skills specific to Black

organizations and professionals through

and administratively. Being an artist

Theatre.”

their social media platforms. Connecting

is a business, so you must understand

with one or multiple opportunities that

yourself and the industry to succeed

can provide you with needed experience is

within it. The Black Theatre Network

what makes the difference between being

provides opportunities specifically to

an artist and dreaming of being one.

artists who identify as Black, to engage

New York Theatre Workshop Instagram: @nytw79 www.nytw.org

W he n con sider i ng wh at may be

with other artists and professionals who

beneficial to you, do not limit yourself

look like them and may have useful

At New York Theatre Workshop, “artists are

to what is expected or deemed to be the

tactics for navigating the job market — as

free to explore boldly; to create fiercely; to

“right” path. Any chance you get to be

there continue to be positive changes in

plumb the depths and push the boundaries

in a room or online platform with other

diversifying the theatre world. The New

of what theatre can be and what it can do.”

creatives will provide you with insight

York Theatre Workshop, one of the United

This is done by providing residencies,

about yourself and your abilities as an

States’ leading not-for-profit theatres,

fellowships, and workshops to provide

artist. To become more experienced and

is invested in artists expanding their

the encouragement and resources they

to diversify yourself from others hoping to

skillset both on and off the stage through

need to make work that is unique and

accomplish similar goals, you must be open

their 2050 Artistic Fellowship and 2050

unforgettable.

to receiving opportunities that may not be

Administrative Fellowship.

traditional especially if already planned opportunities are not yet available.

T h e i mp or t a nc e of i nt e r n s h ip s,

As an artist, you must continue to learn,

as a laboratory, and is dedicated to giving

because practice does not make perfect, but

theatre-makers everything they need to

it does strengthen your abilities.

experiment. At NYTW, they believe the

fellowships, and other learning experiences is emphasized by the two handles being spotlighted in this edition. Of course, you want experiences that align closely to the kind of artist you want to be, but allowing yourself to participate in unfamiliar or just

Artist has something unique to offer — a

Black Theatre Network www.blacktheatrenetwork.org “BTN’s ongoing drive is to collect, process

needed understanding about the role of

and distribute information that supports

an artist. Understandably, not everyone

the professional and personal development

has the financial means to commit to three

of its members and therefore nurtures the

months or more for an unpaid learning

growth of Black Theatre. To meet its goals,

role. Still, many organizations are willing

BTN has developed programs that target

to pay you, even if it’s a small fee, to invest

specific sectors of its constituency while

in your potential.

operating under the conviction that we

10 | Southern Theatre | Fall/Winter 2024-25

perspective as valuable as the Scientist, the Philosopher, and the Theologian. n

Instagram: @blacktheatrenetwork

fun experiences can also provide much-

The Black Theatre Network and New

NYTW thinks of the rehearsal space

are all in this continuum together, and

* en la creación de experiencias para: in creating experiences for

Frederick Marte (he/him) is an Official Ambassador for the Black Acting Methods Studio.

He teaches theatre in NYC, and was the 2022 Programming Intern with the Black Theatre Network. @fredericktalks

Syracuse Stage’s 2022 production of Yoga Play, by Dipika Guha, directed by Melissa Crespo.

Pictured: Octavia Chavez-Richmond, Rishan Dhamija, and Ricky Pak. Photo by Ron Heerkens, Jr.

Expanding the Canon

Diversifying the Theatre Education Curriculum From Western Europe to North America, theatre training programs have traditionally centered on a specific set of Eurocentric playwrights, plays, and approaches to both performance and theory. The canon, or the “essential plays” that many educational theatre programs teach, predominantly include works by white, cis-gendered men such as William Shakespeare, Tennessee Williams, Oscar Wilde, Arthur Miller, Sophocles, Sam Shepard, Anton Chekhov, and Samuel Beckett. These playwrights and their plays are often celebrated for their poetic use of language, innovative play structures, excellent use of comedy, dialogue, timing, compelling characters, surprising twists and story arcs. For decades, an increasing number of theatre-makers across the United States and beyond have been seeking companions or alternatives to these beloved stories, to expand the canon without losing the important qualities of these popular texts, and the

by T iff any Gilly-Fo rrer

exciting reality is that there is a vast wealth of options available.

RETHINKING THEATRE PEDAGOGY In recent years, theatre educators in the United States have been significantly influenced by the civil unrest and ongoing oppression of BIPOC (Black, Indigenous, and People of Color) citizens, as well as other marginalized groups such as members of the LGBTQIA+ community, people with varying physical abilities and neurodivergence, as well as folks who have layers of intersectional identities that experience marginalization. Many educators and artists have responded to this increase in discord and awareness of these groups’ experiences in the theatre, specifically with an array of reactions, ranging from severe guilt to impassioned collaboration and even on to systemic action after sincere self-reflection and growth. One such reaction includes a passionate and detailed letter titled “Dear White American Theater,” authored by

ing the history and land on which Americans stand

a collective of BIPOC theatre makers that includes

and creating inclusive, anti-racist environments that

multi-generational, multi-disciplinary, early career,

reject ideas and tools of white supremacy. American

emerging, and established artists, theatre managers,

theatre-makers don’t have to look far for guidance

executives, students, administrators, dramaturges,

on how to tackle these issues. “We See You, White

and producers. In 2024, as the theatre industry

American Theater” includes highly detailed demands

continues to find its footing in American society after

that offer specific actions with bullet points to make

the COVID pandemic, many theatre programs are

structural and meaningful change. Educators and

being cut, teachers reassigned or juggling more than

teaching artists have the unique task in all their work

they bargained for, and classrooms, departments, and

to research and share knowledge, which can start

entire colleges are struggling to stay afloat.

here or continue in both reading and applying the

We See You, White American Theatre

tools offered in this resource-dense article, curated

Despite the uncertainty of the future of western

bi-annual magazine, and the Southeastern Theatre Conference organization as a whole.

theatre, this tumultuous period presents an oppor-

As an important disclaimer, this article is written

tunity for systemic change, recognizing that new

by a cis-white woman who received a Eurocentric

growth often requires starting anew and a time of

theatre education until graduate school from mostly

upheaval could be the perfect chance to rebuild on

white professors at predominantly white institutions

a foundation that is stale, outdated, and increasingly

(PWIs), and therefore should be seen as a starting

in need of restorative attention. This article focuses

point, not a singular resource. The author recognizes

on one critical task that educators can do to expand

their experience and knowledge has its limits and

the canon and address the historical marginalization

biases, so another perspective has been consulted for

of people of the global majority: decentering white-

this article, that being Ricky Pak, Assistant Professor

ness that has long dominated theatre curricula. By

of Acting at Syracuse University. Professor Pak

re-examining what plays are considered “essential”

prioritizes increasing representation of performers

and part of the so-called “canon,” we can collectively

from diverse, “non-traditional” backgrounds on stage

discover new and old, classical and contemporary

and in front of the camera. He has collaborated with

plays that diversify our lesson plans and enrich our

industry professionals at Disney/ABC Creative Talent

understanding of theatre from artists with different

Development and Inclusion to develop pilots written

cultural backgrounds and perspectives.

by culturally and ethnically diverse writers.

“To address the scope and pervasiveness of antiBlackness and racism in the American theatre,” as stated in “We See You, White American Theater,”

The BIPOCSwap List offers inspiring alternatives for educators who want to diversify their curricula.

Link, page 18.

“

As an educator, I feel pressured to be an expert in everything theatre. I’m not, but I am an expert learner, so that’s where I’m going to start.

”

— Ricky Pak

Actor & Theatre Professor

Show-Swappers

In a workshop at 2024’s SETC convention,

theatre-makers can take a wide variety of actions,

Jacqueline Springfield, Assistant Professor of Voice,

such as developing cultural competency by recogniz-

Speech, and Acting at Kennesaw State University, Fall/Winter 2024-25 | Southern Theatre | 13

14 | Southern Theatre | Fall/Winter 2024-25

shared the BIPOCSwap List, compiled by

Traveling Skin, by John Belluso. “These

Pak. “The BIPOCSwap List came about

works provide a richer understanding

after a faculty meeting here at Syracuse

of theatre history by showing different

University Drama,” Pak explained. “There

historical, social, and political contexts,”

were a number of older faculty who

Pak stated.

expressed a willingness to revitalize their

When it comes to Shakespeare, swap-

curricula but didn’t know where to start.

ping out plays may seem daunting, but

We started talking about current plays

it is feasible with modern adaptations

that “Were like…” and I wondered why

and lesser-popularized historical poetic

there wasn’t already a resource where we

playwrights. According to the BIPOCSwap

could go to find this kind of information.

List, alternatives include Father Comes Home

So, I took it upon myself to start this

from the Wars, Parts 1, 2 & 3, by Suzan-Lori

spreadsheet and spread it as far and as

Parks, or Do It For Umma, by Seayoung Yim,

wide as I could.”

instead of Hamlet; Peerless, by Jiehae Park

The BIPOCSwap List (link shared at

instead of Macbeth; The Masks of Othello,

the end of this article) matches plays from

by Carlyle Brown, instead of Othello; and

the “canon” with those by historically

Teenage Dick, by Mike Lew, or The African

marginalized playwrights, including adap-

Company Presents Richard III, by Carlyle

tations and commentaries. For example,

Brown, instead of Richard III.

Antigone, by Sophocles; Death of a Salesman,

Pak emphasizes the importance of

by Arthur Miller; and The Glass Menagerie,

including plays “beyond the canon” in

by Tennessee Williams are paired with

theatre education, stating, “It brings in a

Woman on Fire, by Marisela Treviño Orta;

variety of perspectives, letting students

Kill Move Paradise, by James Ijames; and

experience different cultures and view-

points, which helps them understand the

Alegría Hudes. Pak notes, “For a play to

world better, and ensuring everyone, espe-

one day be included in the canon, it must

cially those from underrepresented back-

be studied, written about, and performed

grounds, sees their stories reflected.” He

far and wide.”

adds, “For BIPOC performance students, it

Fresh Perspectives on Acting

provides opportunities to play characters from their own backgrounds rather than

This list is just a starting point, reveal-

‘white’ characters in ‘color-blind’ casting

ing the wealth of diverse plays available

of canonical plays. Many non-canonical

with some research. Many have been

plays tackle contemporary issues, making

accessible longer than some United States

theatre more relevant today and prepar-

theatre educators have known. “I know it

ing students to create performances that

can be daunting to think about revamping

resonate with modern audiences.”

a whole curriculum,” Pak says. “What if I

Beyond Shakespeare, titles like Waiting

just start with one or two plays this upcom-

for Godot, by Samuel Beckett, Our Town,

ing semester? Then add a couple more the

by Thornton Wilder, or Hedda Gabler, by

semester after that.” Speaking of his own

Henrik Ibsen are staples in U.S. theatre

experience, Pak added, “I went through my

education, but there are alternatives to

young adult life being taught a particular

these plays too, such as Pass Over, by

set of ‘important’ plays, the ‘canon.’ Most of

Antoinette Nwandu, The Wind Cries Mary,

the BIPOCSwap List plays are new to me.

by Philip Kan Gotanda, and Landless,

I need to be patient, read, and re-read to

by Larissa FastHorse, Corktown, by Jeff

get familiar with them. But it’s exciting to

Augustin, or Water by the Spoonful and

see theatre with a fresh perspective. That’s

Eliot: A Soldier’s Play, both by Quiara

such a privilege.”

Actor and theatre educator Ricky Pak, originator of the BIPOCSwap List

Fall/Winter 2024-25 | Southern Theatre | 15

The BIPOCSwap List also includes

knows something; together we know a

substitutes for musicals, acting techniques,

lot.” Educators must consider and meditate

and plays suitable for PWIs. Educators can

on this statement, recognizing that they

expand their training beyond Eurocentric

do not need to have all the answers and

methods by exploring works like Black

honoring the collective wisdom that exists

Acting Methods: Critical Approaches, by

in a space of more than one learner, thinker,

Sharrell D. Luckett with Tia M. Shaffer,

or scholar.

and learning about diverse methodologies.

Resources Are Available

Those seeking to move beyond books like Stanislavsky’s An Actor Prepares,

Another valuable resource, compiled by

could consider Letters to a Young Artist,

the author of this article, is the Anti-racist

by Anna Deavere Smith, an inspiring

Theatre Artist Reading Grid, a PDF of 45

guide for aspiring and established artists

plays by 45 Black playwrights, with the

alike, or Theatre of the Sphere: The Vibrant

link also shared at the end of this article.

Being, a book and acting approach written by Luis Valdez. After learning these different methodologies, including scenes for classes is a great next step. “I love Luis Alfaro’s work, Larissa FastHorse,” Pak says, “and my go to for introductory scene study classes [is] Diana

This grid is a visually

“

aesthetic checkerboard of different plays from

Decolonizing our education systems is a long-term, collective effort.

Son’s Stop Kiss.”

Pak advises educators wanting to expand their

”

different time periods that span the theatrical African Diaspora.

Becoming knowledgeable of plays by a diverse list of play wrights is also very doable now with tools like New Play Exchange (NPX). There are a plethora of options that explore contempo-

resources, “The most important first step is

rary themes and issues with playwrights

to admit that I don’t know everything, and

from a wide range of heritages. Mentioned

that’s okay. As an educator, I feel pressured

earlier in this article as a substitute for

to be an expert in everything theatre. I’m

Shakespeare’s Hamlet, Do It For Umma,

not, but I am an expert learner, so that’s

by Seayoung Yim, is available on New

where I’m going to start. I need to humble

Play Exchange. According to the show’s

myself, be okay with not knowing, and ask

description on New Play Exchange, it is a

for suggestions from colleagues, librarians,

“surreal comedic detective story” in which

and students.” Many groups of theatre-

“the ghost of Hannah’s recently deceased

makers use “community agreements”

mother returns to haunt the Korean

in meetings and classrooms of today in

convenience store she once ran with an

order to create a collective understanding

iron fist, shaming, cajoling, and needling

of agreed-upon expectations for the time

her daughter into avenging her extremely

spent in class, meeting, or collabora-

suspicious death.” The play is described

tion. Used in several virtual sessions

on NPX as an “absurd tragicomedy about

devoted to Decolonizing the Classroom, led

a young woman trying to gain her mother’s

by Joy Vandervort-Cobb and Margaret

approval and protect her family’s honor in

Kemp with students at Louisiana State

the strangest of circumstances.”

University during the 2020 pandemic, one

Plays like Yoga Play, by Dipika Guha,

of these community agreements was the

American Hunger, by Nikhil Mahapatra, and

acknowledgement of collective wisdom.

At The Barre, by SMJ, can also be found on

“Nobody knows everything; everyone

New Play Exchange, alongside hundreds Fall/Winter 2024-25 | Southern Theatre | 17

of thousands of other new plays, ripe

Grid, New Play Exchange, and educa-

and ready to be read, taught, produced,

tors who are seeking to both grow their

and published. With filters available for

own pool of resources and share it with

searching for the perfect play that suits

others, this effort is far easier than it ever

almost any theatre company, program,

has been. These collective efforts and

or production on a global scale, New

resources continue to grow, making the

Play Exchange is the perfect next stop for

future of a truly equitable theatre industry

theatre educators looking for something

a foreseeable reality. But progress depends

new, fresh, and/or just digitally accessible.

on collaboration. More hands, minds, and

Educators must launch from these starting

forward-moving artists will make real

points in order to transform classrooms

justice, diversity, and inclusion the norm

across the country beyond Eurocentric

and shift the narrative from a symbolic

education system and beyond the canon.

fighting fist to a celebratory open hand. The

For those eager to diversify the canon who

more who join in to undo the damage that

aren’t necessarily in charge or may want to

has been done for centuries, the sooner our

help their department do so, Pak suggests,

collective theatre community and industry

“Offer your assistance in integrating new

can reach our goals. It has not always been

works. For example, ‘You have such a great

easy, and it will continue to be a challenge,

way of teaching Hamlet. Have you read Do

but it is possible, together. n

It for Umma, by Seayoung Yim, yet? I’d love to co-teach a unit on it with you.’”

Decolonizing our education systems and dismantling oppressive structures created by colonization and predominantly white institutions is a long-term, collective effort. With resources like the BIPOCSwap List, The Anti-Racist Theatre Artist Reading

Tiffany Gilly-Forrer (she/her) MFA, is a professional actor in film, TV, commercials, theatre, and live comedy.

She currently lives in Kentucky, teaching theatre and film at WKU and acting in commercials, short and feature films, and regional theatrical productions.

Resources Dear White American Theater Letter weseeyouwat.com/statement BIPOCSwap List (via The Living Document) bipoclivdoc.com/resources Anti-Racist Theatre Artist Reading Grid bit.ly/AntiRacistGrid New Play Exchange newplayexchange.org 18 | Southern Theatre | Fall/Winter 2024-25

Students at Fort Valley State University prepare prop hams for Now What a Time, a new play about the Ham and Egg Show. Photo courtesy of Maisha Akbar

The Ham and Egg Show

A new play celebrates a groundbreaking moment in HBCU theatre history On April 18, 2024, Fort Valley State University’s (FVSU) Department of Arts and Communications staged a reading of Now What a Time: A FVSU Ham and Egg Show Play.

Now What a Time (NWAT), a one act play, commemorates Fort Valley State University’s Ham and Egg Show (1916-1966) by adapting archival materials into a historical production. NWAT narrates the Ham and Egg Show’s development as well as the event’s groundbreaking impact as a Historically Black College and University (HBCU) production. NWAT elevates the event’s key players, including Otis Samuel O’Neal and Margaret Toomer, as well as Fort Valley State University’s first president, Horace Mann Bond, who was the father of renowned Civil Rights leader Julian Bond. The contributions of other prominent cultural producers such as W.E.B. DuBois, Alice Dunbar Nelson and Kathryn Dunham are also featured.

As Georgia history and cultural studies history, NWAT provides a state and regional audience with a heightened awareness of FVSU’s performance-based

by Maisha S. Akbar

traditions. As American theatre history, NWAT introduces the Ham and Egg

A SENSE OF HISTORY Show as an HBCU theatre innovation. Furthermore, NWAT stages the FVSU Ham and Egg Show as a “comm-university” production as well as leadership production through “bottom-up engagement,” which also represent performance-based innovations at Fort Valley State University. Now What a Time: A FVSU Ham and Egg Show Play effectively stages food production by Black farmers, HBCU theatre history, and #HBCUjoy.

By representing the story of an HBCU performance tradition, NWAT performs in the same way as popular television and film productions such as The Great Debaters (2007), Spike Lee’s School Daze (1988), NBC’s A Different World (1987-1993), and others.

In this article, I will discuss different aspects of staging a NWAT reading, especially regarding the

all music, dance and dramatic performances take

history of the original production, script adaptation,

place. Podium speeches are also delivered amid the

and staging food design. I will also consider the

food-based set design, thereby creating the effects of

event as part of the Harlem Renaissance cultural

a “food (production) based” show. The Ham and Egg

movement, although it was performed at an HBCU

Show’s distinctive stage design reflects high produc-

in the Deep South.

tion values, through which the event’s producers

A History of FVSU’s Ham and Egg Show

Originally produced as a three-day event, Fort

Valley State University’s Ham and Egg Show featured a food exposition, small farming and home economics

The cast of Fort Valley State University’s Now What a Time.

Photo courtesy of Maisha Akbar.

promoted “health, wealth, and wisdom” to local farmers and college students attending the event.

Play Adaptation

The April 2024 production of Now What a Time:

education, and a folk culture festival. The event’s key

A Ham and Egg Show Play revived the education and

producers included school administrators and staff,

performance-based event (again) as a one-act play.

who established the event as a way of producing

The play is an outcome of research I’ve conducted as

a food-based exhibition that could introduce local

a FVSU faculty member since 2009. While I familiar-

farmers to processes and techniques with which

ized myself with the history-based articles written

they could better feed their families and earn a

by my colleagues, I also made regular visits to the

living. In 1915, Otis Samuel O’Neal (1884-1957), a

Henry A. Hunt Memorial Library Heritage Room,

Georgia Agricultural Extension Services farm agent,

where I shuffled through storage boxes of printed and

conceived the Ham and Egg Show after surveying the

photographed materials. My fascination with FVSU’s

conditions of the farmers who inhabited Georgia’s

Ham and Egg Show can be attributed to referencing

rural region. Margaret Toomer (1894-1972), a Georgia

the event as a “show,” which, to my mind, evidenced

Agricultural Services home demonstration agent,

the event’s performance-based nature. I meditated

joined O’Neal to co-produce the show upon her

deeply on how best to represent my research, first

1926 employment with the agency. Both Georgia

deciding on a documentary. However, upon revisit-

agricultural agents were educated at both Fort Valley

ing the archive in the summer of 2021, with the

High and Industrial School and Tuskegee Institute.

help of archivist Ms. Wilmetta Langston-Jackson, I

Archival pictures of the event show a stage design

located a document written by Horace Mann Bond,

in which cured hams, candled eggs, and canned

the college’s first president. Bond’s narrative, written

preserves are symmetrically arranged along the

in epic mode, provides an overview of the three-day

apron of FVSU’s Founders Hall proscenium stage,

event, including the show’s conception, development,

as well as covering the stage’s apron area (see photo

and program content while incorporating details

on page 25). Just as if hanging in a meat production

about the event’s folk music and dance performances.

or packing plant, fresh hams hang from the stage’s

Bond’s writing reflected a counternarrative tradition,

arch to create a multi-level, saturation effect where

a writing tradition that presents HBCU campus

The event’s producers promoted “health, wealth, and wisdom” to local farmers and college students attending the event.

Fall/Winter 2024-25 | Southern Theatre | 21

Promotional material from the 2024 staged reading of Now What a Time, a new play about the Ham and Egg Shows.

22 | Southern Theatre | Fall/Winter 2024-25

life in all its complexity and

archive collection. In early drafts, I made

creativity without projecting

choices about narrators, characters and

stereotyped images institu-

plot details. I had to review the script many

tionalized from Hollywood

times before being able to discern all the

to Broadway stages. Bond’s

plot points and references. Even further,

counternarrative also exhibits

Bond’s writing provided an overview of

a tendency of early HBCU

the FVSU Ham and Egg Show event, but

era intellectuals and artists

does not mention Margaret Toomer, despite

to use stories about Black life

the fact that Toomer is known as “Mother

as the basis for qualitative

of the Egg,” a moniker which indicates

data which they embedded

her noteworthy contributions. I added

in (dramatic) literature. I

Toomer’s story to the text, principally draw-

immediately recognized the

ing upon Kymara Sneed’s 2018 master’s

material as adaptable into a

degree thesis entitled Out of House and

dramatic production and set

Home: An Examination of African-American

about doing so.

Home Demonstration Work in Peach and

Using Chamber Theatre

Houston Counties 1930-1940. Bond’s omis-

method, I adapted Bond’s

sion of Toomer’s legacy reflects how Black

program and other materi-

women’s contributions are often buried

als into a narrative script

or overlooked, as well as a need to return

entitled Now What a Time: A

Black women to HBCU theatre history.

FVSU Ham and Egg Show

In tribute to the Black farmers for whom

Play, naming it after the

the Ham and Egg Show was produced, I

U.S. Library of Congress

wove into the script Alice Dunbar Nelson’s

1920 poem “To the Negro Farmers of the

Tears, praise, love, joy, enwoven in a crest

United States,” which serves as a refrain

To crown you glorious, brave ones

throughout the adaption:

of the soil.

After reading versions of the script with my students who are members of the Joseph Adkins Players student drama club, we quickly determined that parts

Also, President Bond’s text made several

of the narrative should be changed from

performance-based references, which

third person to first person, which would

I sought to include in the play. These

facilitate an ease of understanding. A final

references include folk song and dance,

draft of the NWAT playscript ultimately

and even a dramatic play written by Otis

included two narrators, two principal

Samuel O’Neal, which he used to instruct

characters, (O’Neal and Toomer), two

In sober graces and in vision true.

the “unlettered” farmers. In lieu of an

minor characters (farmers), three animal

God places in your hands the pow’r to do

original script of O’Neal’s original play, The

characters, a vocal quartet (including a

A service sweet. Your gift supreme to foil

Hog, the Hen and Mule Speak, which could

pianist), and a traditional dancer.

The bare-fanged wolves of hunger

not then be found in the Hunt Library

Stage Design Elements

God washes clean the souls and hearts of you, His favored ones, whose backs bend o’er the soil, Which grudging gives to them requite for toil

in the moil

Heritage Room, NWAT included a play

Of Life’s activities. Yet all too few

generated by Artificial Intelligence. The

Your glorious band, clean sprung

original version of The Hog, the Hen and

duced the food-based stage design of

the Mule Speak is described by Bond as “a

the original Ham and Egg Show. Projected

broad rural farce that kept the audience in

images supporting the play’s narrative

roars of laughter, but it taught an effective

were featured as well. To re-create the

from Nature’s heart; The hope of hungry thousands, in whose breast Dwells fear that you should fail.

lesson of balanced farming.” O’Neal used 1

God placed no dart

theatre as a pedagogical and andragogical

Of war within your hands,

tool in much the same way as other HBCU

but pow’r to start

The staged reading of NWAT repro-

educators and artists.

1

Georgia Agricultural Extension Service University System of Georgia, “Ham and Eggs: The Ft. Ham and Egg Show,” Bulletin 513 June 1944, pp 8-9.

Fall/Winter 2024-25 | Southern Theatre | 23

Archival photos of the event show a stage design in which cured hams, candled eggs, and canned preserves are symmetrically along the apron of FVSU’s Founders Hall proscenium stage as well as covering the stage’s apron area.

FVSU’s Ham and Egg Show dates back to 1916.

food, we designed stage-crafted hams

flyers and other written materials were

and purchased plastic eggs. We worked

also included. To represent the Ham and

in collaboration with scenic designer Phil

Egg Show’s data-based curriculum as well

Renquist, who taught us how to construct

as Margaret Toomer’s detailed field reports,

hams from insulation mater ia ls by shav i ng square pieces into oblong shapes of smoked hams and then painting them varying combinations of pink and red. We built a “ham stand” upon which a total of 17 stage-crafted hams were displayed on either side of the stage, while ten dozen plastic eggs lined the front of the stage. An LED digital

we incorporated images

“

of W.E.B. DuBois’s data portraits. Dubois’s data

Not only does the play tell a buried HBCU story, but it also performs HBCU folk culture.

screen was used to project original images of Otis

”

portraits visually represent the copious amount of quantitative and qualitative data DuBois generated and disseminated about the Middle Georgia region where Fort Valley State University is located. Even further, these data sets are the basis of DuBois’s groundbreaking treatises such as The Souls of Black Folk (1903) and The

Samuel O’Neal, Margaret Toomer, Ham and

Black Flame Trilogy, especially Volume II:

Egg Show music performers, and artifactual

Mansart Builds a School.

images. Pictures of the show’s original

The inclusion of DuBois’s data portraits Fall/Winter 2024-25 | Southern Theatre | 25

is also meant to reflect a close collegial

and props added. For example, the actor

relationship DuBois maintained with the

who played Margaret Toomer also wore

university’s administration, as evidenced

a lab coat and carried a clipboard to

in part by his great admiration for Henry

emphasize the clinical aspects of her

A. Hunt, whom DuBois nominated for

work as a home demonstration agent.

the NAACP’s prestigious Spingarn Medal

Actors who played supporting characters

(1930). Through cursory research of the

as middle Georgia Black farmers wore

W.E.B. DuBois papers at the University of

straw hats. A music performer wore a red,

Massachusetts at Amherst, correspondence

white and blue Uncle Sam hat, an image

between DuBois and Hunt and between

common to pageants authored by early

Dubois and Bond is easily accessed. In 1940,

Black playwrights.

DuBois also served as Fort Valley State

Sound Design

University’s first Founder’s Day speaker.

DuBois’s influence on the FVSU Ham and

26 | Southern Theatre | Fall/Winter 2024-25

For this early iteration of NWAT, we

Egg Show should be understood as intersec-

included music spanning from the era

tional with that of Booker T. Washington

of the show’s original production to

and the Tuskegee Institute, from where

the present day. Our music elements

both O’Neal and Toomer received their

exceeded the U.S. Library of Congress

agricultural training. O’Neal could be said

collection to survey a range of Black music

to have combined his agriculturally based

influences from early 20th century blues

training (Washington) with a liberal arts-

artist Leadbelly to contemporary pop star

based program content (DuBois).

Beyonce, including Buster “Buzz” Ezell,

NWAT’s reader-performers dressed in

Duke Ellington, Big Mama Thornton,

all black, with certain costume elements

Johnny “Guitar” Watson, Kool and the

Gang, and Doja Cat. As traditionally

Great Migration, the onset of World War

Hughes and Katherine Dunham. Zora

performed by HBCU choirs, student

I, and the 1915 cinematic premiere of Birth

Neale Hurston is listed as a talent judge,

musicians and singers performed “Old

of a Nation.

and the event was heavily photographed

John Hammer.” In this way, we sought to

The Ham and Egg Show’s setting in the

and broadcast on local radio. In 1943, Fort

represent as emergent the music traditions

Deep South distinguishes it from the

Valley State University’s Ham and Egg Show

performed as a part of the original Ham and

North and East Coast locations where

was covered by Life magazine.

Egg Show. For future productions, I look

other cultural events of the Harlem

A not her my t h For t Va l ley St ate

forward to refining the playlist, especially

Renaissance era took place. As a move-

University’s Ham and Egg Show dispels is a

in collaboration with musicologist Dr.

ment of Black modernity, the Harlem

cultural division between the ideologies of

Allison Martin, a U.S. Library of Congress

Renaissance is thought to have thrived

Booker T. Washington and W.E.B. DuBois,

fellow.

only in Harlem and Washington D.C.,

whose programs for HBCU progress are

away from harsher Jim Crow social and

often pitted against each other. Through

political practices that restricted Black

the event’s intersectional production of

progress. However, Fort Valley State

agricultural education and HBCU culture,

University’s Ham and Egg Show demon-

both Washington and DuBois’s respective

A Harlem Renaissance era performance FVSU’s Ham and Egg Show’s first produc-

strates cutting edge efforts by HBCU

ideologies are embodied. The influences

tion date, 1916, situates it at the beginning

leaders to promote technological advances

of both visionaries can be directly traced

of the Harlem Renaissance. In fact, the Ham

while also documenting Black folk culture

to the educational backgrounds of the

and Egg Show may be considered an event

as it moved from oral to literary forms. The

event’s founders as well as Fort Valley State

that marks the era’s beginning. Other such

Ham and Egg Show could not be thought of

University’s location. Since Otis Samuel

events include the NAACP’s staging of its

as “backwards” since every aspect of its

O’Neal and Margaret Toomer both gradu-

first theatrical play, Rachel, an Angelina

production represented the most popular

ated from Washington’s Tuskegee Institute

Weld Grimke’s anti-lynching play. The

and respected trends of the day, including

and DuBois’s influences on the University

Ham and Egg Show also coincides with the

endorsements by W.C. Handy, Langston

are undeniable, it is easy to tie Fort Valley

Fall/Winter 2024-25 | Southern Theatre | 27

State University’s Ham and Egg Show to

integrate a curriculum.

the actors and performers were awarded

the influences of both luminary HBCU

The Ham and Egg Show was discon-

prizes. At Fort Valley State University, we

educators. Using performance, Now What a

tinued in the mid-1960s; however, after a

continue to develop this work to incorpo-

Time: A FVSU Ham and Egg Show Play effec-

short period, the event was commemorated

rate Afrofuturism as well as additional

tively reconciles “higher education” versus

as a Legislative Breakfast which is still

design elements including simulated jars

“lower education” pedagogical traditions

produced annually today. The significance

of preserves and LED illuminated animal

as respectively established by DuBois and

of the FVSU Ham and Egg Show should not

costumes. The Department of Arts and

Washington, a heretofore unrecognized

be underestimated.

Communications workshops Now What

The staged reading of Now What a Time:

a Time: A Fort Valley State University Ham

Conclusion

A Fort Valley State University Ham and Egg

and Egg Show Play so the production will

Show Play on and around April 18, 2024,

become embedded in the University’s

Fort Valley State University’s Ham

effectively returns FVSU’s Ham and Egg

HBCU theatre history. It is our production

and Egg Show has, up until now, been

Show to its performance-based roots. Not

goal to make sure the story of Fort Valley’s

a show left out of Black/HBCU theatre

only does the play tell a buried HBCU

Ham and Egg Show will always be enjoyed

history despite its extended legacy, prob-

story, but it also performs HBCU folk

and shared. n

ably due to a marginalization of arts and

culture. Although we did not accomplish

humanities at FVSU, where the arts and

all of our production goals, the FVSU

humanities curriculums are historically

Arts and Communications Department

under-resourced.

staged reading effectively centered HBCU

accomplishment.

Contrary to institutionalized efforts to

performance, counternarrative tradition

suppress arts and humanities, FVSU educa-

and the Harlem Renaissance in the Deep

tional leaders produced the event annually,

South. Even further, the staged reading

thereby facilitating a praxis where they

was submitted and accepted into FVSU’s

were otherwise denied resources to fully

annual Research Day event for which

Maisha S. Akbar, Ph.D. (she/ her) Maisha S. Akbar, a Professor of Performance Studies, serves as Chair of Fort Valley State University’s Department of Arts and Communications.

Fall/Winter 2024-25 | Southern Theatre | 29

2024-25 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 this comprehensive directory listing degrees and special programs offered at colleges, universities and training programs. Data for the profiles is provided by the institutions.

2024-25 SETC College, University ABILENE CHRISTIAN UNIVERSITY William Performing Arts Center, ACU Box 27843, Abilene,TX 79699 Degrees: BFA: Theatre (Acting, Dance, Design/ Technical, Directing, Musical Theatre, Theatre Education, Theatre Ministry). PWI acu.edu/theatre ACCADEMIA DELL’ARTE Via San Fabiano 9, 52100 Arezzo, Italy 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 dellarte.it ADAMS STATE COLLEGE 208 Edgemont Blvd. Alamosa, CO 81102 Degrees: BA: Theatre (Design and Technology, Collaborative Creation, Performance, History/ Literature). PWI adams.edu/theatre ADELPHI UNIVERSITY 1 South Ave, PAC 237b, Garden City, NY 11530 Degrees: BFA: Theatre (Acting, Design & Technology); MA: Educational Theatre (P-12, Storytelling & the Arts); Advanced Certificate in Educational Theatre. PWI adelphi.edu/theatre AGNES SCOTT COLLEGE 141 E. College Ave. Decatur, GA 30030 Degrees: BA: Theatre. PWI agnesscott.edu/theatre 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. PWI aamu.edu ALABAMA STATE UNIVERSITY Department of Theatre Arts 915 S. Jackson St, Montgomery, AL 36104 Degrees: BA: Performance, Technical Theatre, Theatre Generalist BFA: Dance. HBCU alasu.edu

ALBION COLLEGE 611 E. Porter Street, Albion, MI 49224 Degree: BA: Theatre. PWI albion.edu/theatre ALBRIGHT COLLEGE 1621 N. 13th St, Reading, PA 19604 Degree: BA: Theatre. PWI albright.edu/theatre ALMA COLLEGE 614 W. Superior St, Alma, MI 48801 Degree: BA: Acting, Design/Technical Theatre.

PWI alma.edu/academics/programs/theatre 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).

PWI 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. PWI AADA.edu AMERICAN UNIVERSITY 4400 Massachusetts Ave NW, Washington, DC 20016 Degrees: BA: Musical Theatre, Theatre; Minor: Theatre. PWI american.edu/cas/performing-arts/theatre 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. PWI andersonuniversity.edu

ALBANY STATE UNIVERSITY Department of Visual and Performing Arts 504 College Dr, Albany, GA 31705 Degree: BA: Theatre. HBCU asurams.edu

32 | 2024-25 SETC College, University, & Training Program Directory

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. PWI theatreanddance.appstate.edu ARCADIA UNIVERSITY 450 S. Easton Rd, Glenside, PA 19038 Degrees: BFA: Acting; BA: Theatre Arts. PWI arcadia.edu/theatre ASBURY UNIVERSITY 1 Macklem Dr, Wilmore, KY 40390 Degrees: BA: Theatre and Cinema Performance.

PWI asbury.edu/theatre 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. PWI atlanticactingschool.org AUBURN UNIVERSITY Telfair Peet Theatre 350 W Samford Ave, Auburn, AL 36849 Degrees: BA: Theatre; BFA: Performance, Music Theatre, Design/Technology, Management. PWI auburn.edu/theatre AUBURN UNIVERSITY MONTGOMERY Communication & Theatre PO Box 244023, Room 351 Liberal Arts Montgomery, AL 36124 Degrees: BA: Communication (Theatre, Broadcast Journalism). PWI aum.edu/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). PWI 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. PWI averett.edu

& Training Program Directory 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. PWI avila.edu/theatre

BENNETT COLLEGE Department of Humanities 900 E Washington St, Greensboro, NC 27401 Degrees: BA: Theatre; BFA: Theatre. HBCU bennett.edu

BOWIE STATE UNIVERSITY Department of Fine and Performing Arts 14000 Jericho Park Road, Bowie, MD 20715 Degree: BA: Theatre Arts. HBCU bowiestate.edu

BENNINGTON COLLEGE One College Dr, Bennington, VT 05201 Degrees: BA: Drama. HBCU bennington.edu/theater-program

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, Theatre Education, Theatrical Creation (Playwriting, Dramaturgy, Theatre Management, Theatre History/Criticism); BFA: Acting, Dance, Design & Technology, Musical Theatre; Minor: Theatre, Technical Theatre, New Works. PWI bsu.edu/theatredance

BEREA COLLEGE 101 Chestnut St, CPO 2148, Berea, KY 40404 Degrees: BA: Theatre; Minor: Theatre, Film, Musical Theatre. PWI berea.edu/thr

BRIDGEWATER STATE UNIVERSITY 131 Summer St, Bridgewater, MA 02325 Degree: BA: Theatre Arts, Theatre Education; Minor: Theatre. PWI bridgew.edu/theatre

BATES COLLEGE 2 Andrews Rd, Lewiston, ME 04240 Degrees: BA: Theatre (Theatre Maker, Theatre & Performance Studies, Dramaturgy, Interdisciplinary). PWI bates.edu/theater-dance BAYLOR UNIVERSITY 1311 S 5th St, Waco, TX 76706 Degrees: BFA: Theatre Performance (Musical Theatre concentration), Theatre Design & Technology; BA: Theatre Arts; MFA: Directing; MA: Theatre Studies. PWI theatre.artsandsciences.baylor.edu BELHAVEN UNIVERSITY 1500 Peachtree St, Jackson, MS 39202 Degrees: BA: Theatre (Theatre, Performance, Production). PWI belhaven.edu/theatre 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. PWI belmont.edu BELOIT COLLEGE 700 College St, Beloit, WI 53511 Degrees: BA: Theatre; Minor: Theatre. PWI beloit.edu/theatre

BERRY COLLEGE PO Box 495013, Mount Berry, GA 30149-5013 Degrees: BA: Theatre; Minor: Theatre, Musical Theatre. PWI berry.edu/theatre BETHANY COLLEGE E Campus Dr, Bethany, WV 26032 Degrees: BA: Theatre Performance, Technical Theatre. PWI bethany.edu/academics/programs/theatre BETHUNE-COOKMAN UNIVERSITY Dept of Communication Studies, Theatre & Dance; 640 Dr. Mary McLeod Bethune Blvd Daytona Beach, FL 32114 Degree: BA: Communication Studies, Theatre Arts Performance. HBCU cookman.edu BLACK ACTING METHODS STUDIO Training: Workshops, Online Courses, Virtual Coaching blackactingmethods.com BOSTON UNIVERSITY School of Theatre 855 Commonwealth Ave, Boston, MA 02215 Degrees: BFA: Acting, Theatre Arts (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; Artisan Certificate: Scene Painting. PWI bu.edu/cfa/theatre

BUTLER UNIVERSITY 4600 Sunset Ave, Indianapolis, IN 46208 Degree: BA: Theatre (Acting, Stage Management, Directing, Set & Lighting Design, Costume Design, Music Theatre); Minor: Theatre.

PWI butler.edu/jordan-arts/undergraduateprograms/theatre CAMPBELLSVILLE UNIVERSITY 1 University Dr #872, Campbellsville, KY 42718 Degrees: BA or BS: Theatre (Performance, Technical Theatre); Minor: Dance. PWI 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. PWI 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). PWI catawba.edu/theatre 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. PWI drama.cua.edu

2024-25 SETC College, University, & Training Program Directory | 33

2024-25 SETC College, University CHRISTOPHER NEWPORT UNIVERSITY 1 Ave of the Arts, Newport News, VA 23606 Degrees: BA: Theatre (Acting, Music Theatre/ Dance, Directing/Dramatic Literature, Arts Administration, Design/Technical Theatre). PWI cnu.edu/theatre CENTENARY COLLEGE 400 Jefferson St, Hackettstown, NJ 07840 Degrees: BA: Theatre (Performance Studies, Musical Theatre, Dance, Technical Theatre & Design, Production Management, Costume Design, Theatre Management); Minor: Theatre.

PWI centenary.edu/theatre CENTRAL COLLEGE 812 University St, Pella, IA 50219 Degrees: BA: Musical Theatre (Acting/Directing, Design/Tech). PWI departments.central.edu/theatre CENTRE COLLEGE 600 W Walnut St, Danville, KY 40422 Degrees: BA: Theatre. PWI 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. PWI circlesquare.org eckerd.edu CLARK ATLANTA UNIVERSITY Department of Theatre and Communications Studies 223 James P. Brawley Dr, SW Atlanta, GA 30314 Degree: BA: Theatre. HBCU cau.edu CLEMSON UNIVERSITY Department of Performing Arts 221 Brooks Center, Clemson, SC 29634-0525 Degrees: BA: Production Studies in Performing Arts (Theatre, Music, Audio Technology). PWI clemson.edu/performing-arts 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). PWI coastal.edu/theatre

34 | 2024-25 SETC College, University, & Training Program Directory

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.

PWI coker.edu/theatre COLGATE UNIVERSITY Department of Theater 13 Oak Dr, Hamilton, NY 13460 Degrees: BA: Theatre. PWI colgate.edu/theater 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. PWI 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. PWI converse.edu/theatre DAVIDSON COLLEGE Department of Theatre Box 4171, Davidson, NC 28035 Degrees: BA: Theatre. PWI davidson.edu/theatre DEAN COLLEGE 99 Main Street, Franklin MA 02038 Degrees: BFA: Acting, Musical Theatre; BA: Performance, Production & Design, Theatre Studies. PWI dean.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). PWI dickinson.edu/theatreanddance

& Training Program Directory DILLARD UNIVERSITY Theatre Program in the School of Humanities 2601 Gentilly Boulevard, New Orleans, LA 70122 Degree: BA: Theatre Arts (Performance, Theatre Technology). HBCU dillard.edu/theatre 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. PWI 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). PWI etsu.edu/theatre EDGEWOOD COLLEGE Department of Theatre Arts 1000 Edgewood College Drive Madison, WI 53711 Degrees: BA: Theatre Arts & Theatre Arts Teaching Major, PWI theatre.edgewood.edu 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. PWI fdu.edu/theater FAYETTEVILLE STATE UNIVERSITY Department of Performing and Fine Arts 1200 Murchison Road, Fayetteville, NC 28301 Degrees: BA: Theatre (Media Performance, Media Production, Costuming Cosplay, Education-non licensure) . HBCU uncfsu.edu

FLORIDA AGRICULTURAL AND MECHANICAL UNIVERSITY Department of Visual Arts, Humanities, & Theatre 515 Orr Drive, Tallahassee, FL 32307 Degrees: BA: Theatre Performance (Acting, Directing); BS: Technical Theatre, Theatre Management, Design (Set, Prop, and Costume).

HBCU famu.edu 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. HSI carta.fiu.edu/theatre FLORIDA SCHOOL OF THE ARTS St. Johns River State College 5001 St. Johns Ave, Palatka, FL 32177 Degrees: AS or AS+AA: Acting, Musical Theatre, Dance, Costume Design, Scenic and Lighting Design, Stage Management, New Media Design, Photography, Studio Arts, Animation.

PWI 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. PWI 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). PWI fmarion.edu/finearts/theatrearts FROSTBURG STATE UNIVERSITY 101 Braddock Road Frostburg, MD 21532 Degrees: BA: Theatre (Acting, Design/ Technology, Theatrical Studies). PWI frostburg.edu FURMAN UNIVERSITY 3300 Poinsett Hwy, Greenville, SC 29613 Degrees: BA: Theatre Arts; Minor: Musical Theatre. PWI furman.edu/theatrearts

GAINESVILLE THEATRE ALLIANCE PO Box 1358, Gainesville, GA 30503 Degrees: BA: Theatre; BFA: Acting, Musical Theatre, Theatre Design & Technology. PWI gainesvilletheatrealliance.org GALLAUDET UNIVERSITY 800 Florida Ave NE, Washington, DC 20002 Degrees: BA: Theatre Arts: Production/ Performance. Minor: Theatre Arts, Dance. PWI; Deaf & Hard-of-Hearing Students gallaudet.edu/theatre-dance 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. PWI. theater.gmu.edu GEORGE WASHINGTON UNIVERSITY 500 17th Street, NW, Washington, D.C. 20006 Degrees: BA: Theatre, Dance; Minor: Theatre. PWI. corcoran.gwu.edu/theatre-undergraduate GEORGETOWN UNIVERSITY 108 Davis Performing Arts Center, Box 571063, Washington, DC 20057 Degrees: BA: Theatre & Performance Studies. PWI. performingarts.georgetown.edu/ academics/tpst GEORGIA SOUTHERN UNIVERSITY 2434 Southern Dr Sanford Hall / Box 8091, Statesboro, GA 30460 Degrees: BA: Theatre; Minor: Theatre. PWI georgiasouthern.edu/theatre GRAMBLING STATE UNIVERSITY Visual and Performing Arts 403 Main Street Grambling, LA 71245 Degree: BA: Theatre. PWI gram.edu 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. PWI theatre.greensboro.edu

2024-25 SETC College, University, & Training Program Directory | 35

2024-25 SETC College, University HAMPDEN-SYDNEY COLLEGE 1 College Rd, Hampden Sydney, VA 23943 Degrees: BFA: Theatre. PWI. hsc.edu/academics/fine-arts/theatre HAMPTON UNIVERSITY The Department of Fine and Performing Arts 100 E Queen St, Hampton, VA 23669 Degrees: BA: Theatre Arts, Technical Theatre HBCU. hamptonu.edu HEIDELBERG UNIVERSITY School of Music and Theatre 310 E Market St, Tiffin, OH 44883 Degrees: BA: Theatre (Acting, Musical Theatre, Production). PWI heidelberg.edu HIGH POINT UNIVERSITY One University Pkwy, High Point, NC 27268 Degrees: BA: Theatre (Performance, DesignTechnical, Collaborative Theatre), Dance; Minor: Theatre, Dance, Musical Theatre. PWI 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). PWI 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. PWI hollins.edu/theatre HOWARD UNIVERSITY Department of Theatre Arts 2455 Sixth St NW, Suite 1004 Washington, DC 20059 Degrees: BFA: Musical Theatre, Acting, Dance, Theatre Administration, Theatre Technology.

HBCU howard.edu

36 | 2024-25 SETC College, University, & Training Program Directory

HUNTINGTON UNIVERSITY 2303 College Ave, Huntington, IN 46750 Degrees: BA: Theatre Performance, Theatre Technology, Theatre, Theatre (NYC Semester); Minor: Theatre, Production Technology. PWI 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. PWI 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. PWI finearts.illinoisstate.edu/theatre ILLINOIS WESLEYAN UNIVERSITY School of Theatre Arts 2 Ames Plaza E, PO Box 2900 Bloomington, IL 61701 Degrees: BA: Theatre Arts; BFA: Acting, Music Theatre, Theatre Design & Technology; Minor: Theatre Arts, Theatre Dance, Arts Management, Film Studies, Theatre Design & Technology. PWI iwu.edu/theatre INDIANA STATE UNIVERSITY Department of Theater 221 North 6th St, 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.

PWI 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.

PWI theatre.indiana.edu

& Training Program Directory INSTITUTE OF AMERICAN INDIAN ARTS 83 Avan Nu Po Road, Sante Fe, NM 87508 TCU iaia.edu JACKSON STATE UNIVERSITY Department of Art & Theatre 1400 J.R. Lynch Street Box 17126, Jackson, MS 39217 Degree: BA: Art (Theatre). HBCU jsums.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). PWI 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. PWI jmu.edu/theatredance 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. PWI 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. HSI kean.edu/theatre

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. PWI 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. PWI 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. PWI theatre.cas.lehigh.edu LIBERTY UNIVERSITY 1971 University Blvd, Lynchburg, VA 24515 Degrees: BA/BS: Theatre Arts; BFA: Acting, Musical Theatre. PWI liberty.edu/theatre LIMESTONE UNIVERSITY Theatre Dept 1115 College Dr, Gaffney, SC 29340 Degrees: BA: Theatre, Theatre/English, Musical Theatre; BFA: Theatre (Tech/Management/ Design, Performance), Musical Theatre (Performance); Minor: Theatre. PWI finearts.limestone.edu/theatre LINDSEY WILSON COLLEGE Theatre Program 210 Lindsey Wilson St, Columbia, KY 42728 Degrees: BA: Theatre Arts, Minor: Theatre Arts.

PWI lindsey.edu/theatre

2024-25 SETC College, University, & Training Program Directory | 37

2024-25 SETC College, University 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, Entertainment, 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. PWI 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). PWI 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. PWI liu.edu/post/theatre LONGWOOD UNIVERSITY 201 High Street Farmville, VA 23909 Degrees: BFA: Visual & Performing Arts – Theatre (Performance, Design & Technology); BA: Visual & Performing Arts – Theatre (Generalist, Education). PWI longwood.edu/theatre LOUISIANA TECH UNIVERSITY 201 Mayfield Ave, Ruston, LA 71272 Degrees: BA: Communication (Theatre) MA: Communication Studies (Theatre). PWI liberalarts.latech.edu/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. PWI theatre.lsu.edu LOUISIANA TECH UNIVERSITY School of Theatre PO Box 8608, Ruston, LA 71272 Degrees: BA: Communications (Theatre); MA: Communications (Theatre). PWI 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. PWI cmfa.loyno.edu/theatre LYNN UNIVERSITY 3601 N Military Tr, Boca Raton, FL 33431 Degrees: BFA: Drama (Acting, Musical Theatre Performance). PWI lynn.edu 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. PWI 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. PWI marshall.edu/theatre 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. PWI marybaldwin.edu/arts

38 | 2024-25 SETC College, University, & Training Program Directory

MCDANIEL COLLEGE 2 College Hill Westminster, MD 21157 Degrees: BA: Theatre Arts; Minor: Acting, Musical Theatre. PWI mcdaniel.edu/academics/theatre-arts MIAMI UNIVERSITY Department of Theatre 119 Center for Performing Arts Oxford, OH 45056 Degrees: BA: Theatre; Minor: Dance, Musical Theatre, Arts Management. PWI 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. PWI mtsu.edu/theatre MILES COLLEGE Division of Humanities 5500 Myron Massey Blvd, Fairfield, AL 35064 Degree: BA: Theatre. HBCU miles.edu 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. PWI millikin.edu/theatre MISSISSIPPI STATE UNIVERSITY 130 McComas Hall Mail Stop 9574 PO Box PF Mississippi State, MS 39762 Degrees: BA: Communication (Theatre). PWI 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.

PWI muw.edu/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. PWI theatreanddance.missouristate.edu

& Training Program Directory MOREHOUSE COLLEGE Creative and Performing Arts 830 Westview Dr SW, Atlanta, GA 30314 Degrees: BA: Theatre and Performance. HBCU morehouse.edu MORGAN STATE UNIVERSITY Department of Fine and Performing Arts 1700 East Cold Spring Lane, Baltimore, MD 21251 Degree: BA: Theatre Arts. HBCU morgan.edu HBCU MUHLENBERG COLLEGE Theatre & Dance Department 2400 Chew St, Allentown, PA 18104 Degrees: BA: Theatre, Dance, Music; Minor: Dance, Music. PWI muhlenberg.edu/theatre 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. PWI murraystate.edu/theatre NATIONAL CONSERVATORY OF DRAMATIC ARTS 1556 Wisconsin Ave NW, Washington, DC 20007 Degrees: Diploma in Acting, Advanced Program in Theatre..PWI theconservatory.org NEBRASKA WESLEYAN UNIVERSITY Elder Theatre Center, 5100 Huntington Ave, Lincoln, NE 68504 Degrees: BFA: Acting, Directing, Musical Theatre, Design & Technology, Theatre Arts; BA: Theatre, Theatre Arts Education; Minor: Theatre.

PWI nebrwesleyan.edu/theatre THE NEIGHBORHOOD PLAYHOUSE SCHOOL OF THE THEATRE 340 E 54th St, New York, NY 10022 Degrees: Certificate: Performing Arts, Acting.

PWI neighborhoodplayhouse.org

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). PWI 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. PWI nyfa.edu NEWBERRY COLLEGE 2100 College St, Newberry, SC 29108 Degrees: BA: Theatre; Minor: Musical Theatre, Theatre, Speech. PWI newberry.edu NORFOLK STATE UNIVERSITY Visual and Performing Arts 700 Park Ave, Norfolk, VA 23504 Degree: BA: Drama and Theatre. HBCU nsu.edu NORTH CAROLINA AGRICULTURAL AND TECHNICAL STATE UNIVERSITY Department of Visual and Performing Arts 1601 East Market St, Greensboro, NC 27411 Degrees: BFA: Professional Theatre (Acting, Theatre Technology). HBCU ncat.edu NORTH CAROLINA CENTRAL UNIVERSITY Department of Theatre 1801 Fayetteville Street, Durham, NC 27707 Degree: BA: Theatre (Performance, General, Technical, Dance). HBCU nccu.edu NORTH GREENVILLE UNIVERSITY Department of Theatre PO Box 1892, Tigerville, SC 29688 Degrees: BA: Theatre (Performance, Musical Theatre, Design/Tech), Theatre Education. PWI ngu.edu/theatre

NORTHEAST ALABAMA COMMUNITY COLLEGE PO Box 159, 138 AL Hwy 35, Rainsville, AL 35986 Degrees: AA: Theatre. PWI nacc.edu/theatre 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. PWI theatre.nku.edu NORTHWESTERN STATE UNIVERSITY OF LOUISIANA Department of Theatre & Dance 150 Central Ave, Natchitoches, LA 71497 Degrees: BFA in Musical Theatre, Production & Design and Dance. BS in Theatre (Performance & Directing). PWI nsula.edu/theatre OHIO NORTHERN UNIVERSITY 525 S Main St, Ada, OH 45810 Degrees: BA: Theatre; BFA: International Theatre Production, Musical Theatre; Minor: Dance, Arts Administration, TheatreTechnology and Design. PWI 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. PWI theatreandfilm.osu.edu 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. PWI okcu.edu/theatre

2024-25 SETC College, University, & Training Program Directory | 39

2024-25 SETC College, University THE O’NEIL AT THE NATIONAL 305 Great Neck Road, Waterford, CT 06385 Degrees & Programs: Semester-long programs: National Theater Institute Semester, Music Theater Institute, NTI-Advanced Directing, NTIAdvanced Playwriting, Moscow Art Semester, Summer Intensive. MFA/MA: International Theatre Practice & Performance. PWI. nationaltheaterinstitute.org PALM BEACH ATLANTIC UNIVERSITY 901 S Flagler Dr, West Palm Beach, FL 33416 Degrees: BFA: Theatre; BA: Theatre Arts. PWI 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). PWI 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, Selfdirected), 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. PWI pointpark.edu/COPA 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. PWI 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. PWI radford.edu/theatre

40 | 2024-25 SETC College, University, & Training Program Directory

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).

PWI 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). PWI regent.edu/sca REINHARDT UNIVERSITY 7300 Reinhardt Cir, Waleska, GA 30183 Degrees: BA: Theatre (Performance, Technical, Academic); BFA: Musical Theatre; Minor: Dance, Theatre. PWI reinhardt.edu ROANOKE COLLEGE 221 College Ln, Salem, VA 24153 Degrees: BA: Theatre. PWI roanoke.edu/majors/theatre ROLLINS COLLEGE Department of Theatre and Dance 1000 Holt Ave # 2735, Winter Park, FL 32789 Degrees: BA: Theatre; Minor: Dance . PWI rollins.edu/theatre ROOSEVELT UNIVERSITY Theatre Conservatory of the Chicago College of Performing Arts 430 S. Michigan Ave, Chicago, IL 60605 Degrees: BFA: Acting, Musical Theatre, Musical Theatre (Dance); BA: Interdisciplinary Theatre Studies; MA: Directing. PWI roosevelt.edu/theatre-conservatory

& Training Program Directory ROSE BRUFORD COLLEGE Lamorbey Park, Burnt Oak Lane, Sidcup, Kent DA15 9DF United Kingdom Degrees: BA: Acting, Actor Musicianship, American Theatre Arts, Audio Production, Costume Production, Creative Lighting Control, Design for Performance (Set, Costume, Lighting, Digital Content), European Theatre Arts, Scenic Arts (Construction, Props & Painting), Stage & Events Management, Theatre & Social Change; MA: Light in Performance; MA/MFA: Actor & Performer Training, Actor Musicianship, Collaborative Theatre Making, Contemporary Directing Practice, International Theatre Practice & Performance, Theatre for Young Audience. PWI bruford.ac.uk ROWAN UNIVERSITY College of Performing Arts Department of Theatre and Dance 201 Mullica Hill Rd, Glassboro, NJ 08028 Degrees: BA: Theatre (Acting, Musical Theatre, Dance-Theatre, Design/Technical, Pre-Teaching), Dance; MA: Arts Administration (online); BA/MST: Theatre Education. PWI rowan.edu/theatredance SAINT AUGUSTINE’S UNIVERSITY Department of Visual and Performing Arts 1315 Oakwood Avenue, Raleigh, NC 27610 Degree: BA: Theatre. HBCU st-aug.edu SALISBURY UNIVERSITY 1101 Camden Ave, Salisbury, MD 21801 Degrees: BA: Theatre (Design & Production, Performance). PWI salisbury.edu SAMFORD UNIVERSITY 800 Lakeshore Dr, Homewood, AL 35229 Degrees: BA: Theatre (Acting and Directing, Production Design & Technology); BFA: Musical Theatre, Theatre for Youth; Minor: Theatre, Dance, Film Production. PWI 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 & Television, Sound Design; MFA: Performing Arts, Production Design, Dramatic Writing, Film & Television, Sound Design, Themed Entertainment Design; MA: Creative Business Leadership, Film & Television, Production Design, Sound Design.

PWI scad.edu

SAVANNAH STATE UNIVERSITY Department of Fine Arts, Humanities and Wellness 3219 College St, Savannah, GA 31404 Degrees: BFA: Theatre. HBCU savannahstate.edu SEWANEE: THE UNIVERSITY OF THE SOUTH 735 University Ave, Sewanee, TN 37383 Degrees: BA: Theatre, Creative WritingPlaywriting; Minor: Theatre, Dance. PWI new.sewanee.edu/programs-of-study/ theatre SHEPHERD UNIVERSITY 301 N King St, Shepherdstown, WV 25443 Degrees: BA: Contemporary Theatre Studies.

PWI shepherd.edu/art 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. PWI shorter.edu/theatre-department SOULWORK STUDIO Training: Residencies, Summer Intensives, Workshops soulworkmethod.com SOUTH CAROLINA STATE UNIVERSITY Department of Visual & Performing Arts 300 College Street NE, Orangeburg, SC 29117 Degree: BA: Drama, Drama Education. HBCU scsu.edu 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. PWI 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). PWI saumag.edu/theatre

2024-25 SETC College, University, & Training Program Directory | 41

2024-25 SETC College, University SOUTHERN CONNECTICUT STATE UNIVERSITY 501 Crescent St, New Haven, CT 06515 Degrees: BA: Theatre; Minor: Theatre, Arts Administration & Cultural Advocacy. PWI southernct.edu 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. PWI siu.edu/theatre SOUTHERN METHODIST UNIVERSITY Meadows School of the Arts 6101 Bishop Blvd, Dallas TX 75205 Degrees: BFA: Acting, Theatre Studies; MFA: Acting, Entertainment Design. PWI smu.edu/theatre 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. PWI suu.edu SPELMAN COLLEGE Department of Theatre and Performance 350 Spelman Lane SW, Atlanta, GA 30314 Degree: BA: Theatre and Performance. HBCU spelman.edu 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. PWI stellaadler.com artofactingstudio.com

42 | 2024-25 SETC College, University, & Training Program Directory

STEPHENS COLLEGE Conservatory for the Performing Arts 200 E. Broadway, Columbia, MO 65215 Degrees: BFA: Musical Theatre, Acting, Costume Design, Technical Theatre & Stage Management, Interdisciplinary Theatre Studies.

PWI stephens.edu/conservatory STEVENSON UNIVERSITY 1525 Greenspring Valley Rd, Stevenson, MD 21153 Degrees: BS: Theatre & Media Performance.

PWI stevenson.edu ST. MARY’S COLLEGE OF MARYLAND 47645 College Dr, St. Mary’s City, MD, 20686 Degrees: BA: Theatre, Dance, Performance Studies. PWI smcm.edu/performing-arts STONEHILL COLLEGE Theatre Arts Department 320 Washington St, Easton, MA 02357 Degrees: BA: Performing Arts/Theatre. PWI stonehill.edu/theatre 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. PWI tfma.temple.edu/theater TENNESSEE STATE UNIVERSITY Department of Communications Studies 3500 John A Merritt Blvd, Nashville, TN 37209 Degree: BA: Theatre (Performance, Production).

HBCU tnstate.edu TEXAS SOUTHERN UNIVERSITY Department of Visual and Performing Arts 3100 Cleburne St, Houston, TX 77004 Degree: BA: Theatre. HBCU tsu.edu

& Training Program Directory 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. HSI theatre.ttu.edu TOUCHSTONE THEATRE / MORAVIAN UNIVERSITY 321 E 4th St, Bethlehem, PA 18015 Degrees: MFA: Performance Creation. PWI moravian.edu/theatre | touchstone.org 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. PWI 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. PWI troy.edu/theatreanddance 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. PWI 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. PWI uab.edu/theatre

UNIVERSITY OF ALABAMA IN HUNTSVILLE 342 Morton Hall 301 Sparkman Dr, Huntsville, AL 35899 Degrees: BA: Theatre (Performance, Technical, Dramaturgy). PWI uah.edu/theatre UNIVERSITY OF ARKANSAS Department of Theatre, 619 Kimpel Hall, Fayetteville, AR 72701 Degrees: BA: Theatre (Performance, Design & Technology, Theatre Studies); Minor: Theatre.

MFA: Theatre. PWI theatre.uark.edu 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. HSI theatre.ucf.edu 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. PWI ucmo.edu/theatre UNIVERSITY OF CINCINNATI COLLEGE-CONSERVATORY OF MUSIC Theatre Arts, Production, and Arts Administration PO Box 210003, Cincinnati, OH 45221 Degrees: BFA: Performance (Acting, Musical Theatre), Dance, Design/Technology; MA or MA/MBA: Arts Administration; MFA: Design; Artist Diploma: Opera (Singers, Coaches, Stage Direction). PWI ccm.uc.edu

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. PWI arts.ufl.edu UNIVERSITY OF GEORGIA Department of Theatre & Film Studies, University of Georgia, Fine Arts Building Athens, GA 30602–3154 Degrees: AB: Theatre; MFA: Performance, Film, Design & Technology, Dramatic Media; Ph.D.: Theatre & Performance Studies. PWI drama.uga.edu 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. PWI 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. PWI 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. PWI cas.umw.edu/theatre UNIVERSITY OF MARYLAND The Clarice Smith Performing Arts Center, University of Maryland, College Park, MD 20742 Degrees: BA: Theatre. PWI tdps.umd.edu

2024-25 SETC College, University, & Training Program Directory | 43

2024-25 SETC College, University 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. PWI theatre.umbc.edu 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). PWI 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. PWI 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. PWI asota.umobile.edu UNIVERSITY OF MONTEVALLO Station 6210; Theatre Department Montevallo, AL 35115 Degrees: BA/BS: Theatre; BFA: Musical Theatre, Acting, Directing, Design/Technology.

PWI montevallo.edu/thea THE UNIVERSITY OF MOUNT UNION 1972 Clark Ave, Alliance, OH 44601 Degrees: BA: Theatre (Acting, Musical Theatre, Design/Technology). PWI mountunion.edu/theatre 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. HSI theatre.unlv.edu

UNIVERSITY OF N. CAROLINA SCHOOL OF THE ARTS 1533 South Main St., Winston-Salem, NC 27127 Degrees: BFA: Acting, Directing. PWI uncsa.edu/drama UNIVERSITY OF N. 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. PWI drama.unc.edu UNIVERSITY OF N. 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. PWI theatre.uncg.edu UNIVERSITY OF N. CAROLINA AT WILMINGTON 5270 Randal Pkwy Cultural Arts Bldg, Wilmington, NC 28403 Degrees: BA: Theatre (Performance, Design/ Technical, Theatre Studies). PWI 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.

PWI ou.edu/finearts/drama UNIVERSITY OF SOUTH ALABAMA 5751 USA South Dr Laidlaw Performing Arts Center, Rm 1052 Mobile, AL 36688 Degrees: BA: Dramatic Arts; BFA: Theatre (Performance). PWI southalabama.edu/drama UNIVERSITY OF S. CAROLINA AIKEN 471 University Pkwy, Aiken, SC 29801 Degrees: BA: Fine Arts (Theatre). PWI etherredge.usca.edu

44 | 2024-25 SETC College, University, & Training Program Directory

UNIVERSITY OF S. 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. PWI theatre.sc.edu UNIVERSITY OF S. CAROLINA UPSTATE 800 University Way Spartanburg, SC 29303 Degrees: BA: Theatre (Performance, Production). PWI uscupstate.edu/theatre UNIVERSITY OF S. DAKOTA Department of Theatre 414 E Clark St, Vermillion, SD 57069 Degrees: BFA: 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: Directing, Design and Technology (Costume Design, Lighting and Sound Design, Scenic Design, Technical Direction). PWI usd.edu/theatre UNIVERSITY OF SOUTHERN INDIANA 8600 University Blvd, Evansville, IN 47712 Degrees: BS/BA: Theatre Arts (Performance, Design & Technology); Minor: Music Performance. PWI usi.edu/theatre THE UNIVERSITY OF SOUTHERN MISSISSIPPI Department of Theatre 118 College Dr #5052, Hattiesburg, MS 39406 Degrees: BA: Theatre; BFA: Performance, Design/Technology; MFA: Performance, Directing, Costume Design, Scenic Design, Lighting and Sound Design. PWI usm.edu/theatre 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). PWI utc.edu/theatre

HBCU: Historically Black Colleges & Universities HSI: Hispanic-Serving Institutions PWI: Predominantly White Institutions TCU: Tribal Colleges & Universities

& Training Program Directory 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. PWI theatre.utk.edu 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. PWI 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. PWI uwf.edu/theatre UNIVERSITY OF WEST GEORGIA Theatre Program 1600 Maple St, Carrollton, GA 30118 Degrees: BA: Theatre; BFA: Theatre (Acting, Design/Technology); Certificate: Musical Theatre, Arts Management. PWI 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. PWI cca.usu.edu/theatre VALDOSTA STATE UNIVERSITY 1500 N Patterson St, Valdosta, GA 31698 Degrees: BFA: Theatre (Performance, Production, Musical Theatre, Theatre Management), Dance. PWI valdosta.edu/theatre

VILLANOVA UNIVERSITY 800 E Lancaster Ave, Villanova, PA 19085 Degrees: MA: Theatre. PWI 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. PWI arts.vcu.edu/theatre VIRGINIA TECH School of Performing Arts: Theatre & 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. PWI performingarts.vt.edu VIRGINIA UNION UNIVERSITY Department of Fine Arts 1500 N Lombardy St, Richmond, VA 23220 Degree: BFA: Theatre. HBCU vuu.edu WAKE FOREST UNIVERSITY Box 7264 Reynolda Station Winston-Salem, NC 27109 Degrees: BA: Theatre. PWI wfu.edu/theatre WASHINGTON COLLEGE 300 Washington Ave, Chestertown, MD 21620 Degrees: BA: Theatre; Minor, Theatre. PWI washcall.edu WEST LIBERTY UNIVERSITY 355 Wharton Cir, W Liberty, WV 26074 Degrees: BA: Theatre: Performance, Design/ Technical Theatre. PWI westliberty.edu/theater

VASSAR COLLEGE Powerhouse Theatre 124 Raymond Ave, Box 225 Poughkeepsie, NY 12604 Degrees: BA: Drama. PWI vassar.edu/powerhouse

2024-25 SETC College, University, & Training Program Directory | 45

2024-25 SETC College, University & Training Program Directory 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. PWI theatre.wvu.edu WEST VIRGINIA WESLEYAN COLLEGE 59 College Ave, Buckhannon, WV 26201 Degrees: BA: Musical Theatre, Arts Administration, Theatre Arts – Acting, Theatre Arts – Technical Theatre/Design. PWI wvwc.edu/theatre 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. PWI stageandscreen.wcu.edu WESTERN ILLINOIS UNIVERSITY Department of Theatre and Dance 101 Browne Hall, Macomb, IL 61455 Degrees: BA: Theatre (Performance, Production/ Design); BFA: Musical Theatre; MFA: Acting, Directing, Technical Direction, Scenic Design, Lighting Design, Costume Design; Minor: Stage Combat, Dance, Theatre. PWI wiu.edu/cofac/theatre WESTERN KENTUCKY UNIVERSITY Department of Theatre & Dance 1906 College Heights Blvd, #71086 Bowling Green, KY 42101-1086 Degrees: BA: Theatre, Dance; BFA: Performing Arts (Acting, Musical Theatre, Theatre, Theatre Design & Technology). PWI wku.edu/theatre-and-dance WICHITA STATE UNIVERSITY 1845 Fairmount St, 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. PWI wichita.edu/performingarts

46 | 2024-25 SETC College, University, & Training Program Directory

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. PWI wilkes.edu 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). PWI wmcarey.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. PWI 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. PWI 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. PWI yhc.edu

License to Thrill

A conversation with theatrical licensing giant Concord Theatricals Many of our readers have been involved in the process of producing a show, either as an actor, director, designer or producer. Anyone who wants to produce a non-original work must obtain a license for the show in question.

Concord Theatricals is one of the largest theatrical licensing companies in the country.

We conducted an interview with them to talk about the work they do, ask some common questions producing companies have when they are seeking licenses and learn more about their view of their role in producing theatre.

As not all our readers may be aware, can you briefly tell us what organization you are representing and the nature of the work that you all do?

I’m Jim Colleran, Director of Marketing (Editorial and Client Relations) for Concord Theatricals. Concord Theatricals is one of the world’s most significant

b y To m A l s i p

theatrical companies, comprising the catalogs of R&H Theatricals, Samuel French,

BEHIND THE SCENES: LICENSING Tams-Witmark and The Andrew Lloyd Webber

Concord is essentially the current extension of

Collection, plus dozens of new signings each year. Our

many of these writers and the protectors of their

unparalleled roster includes the work of Irving Berlin,

work. That’s obviously very important for both

Agatha Christie, George & Ira Gershwin, Marvin

our business and for the advancement of theatre in

Hamlisch, Lorraine Hansberry, Kander & Ebb, Kitt

the future. Can you speak a bit about how Concord

& Yorkey, Ken Ludwig, Marlow & Moss, Lin-Manuel

views themselves as a part of the theatrical ecosys-

Miranda, Anaïs Mitchell, Dominique Morisseau, Cole

tem? What is it about their work that they want

Porter, Rodgers & Hammerstein, Thornton Wilder and

others to know?

August Wilson. We provide comprehensive services

We want live theatre to thrive everywhere. We

to the creators and producers of plays and musicals,

work for the authors, so we strive to champion their

including theatrical licensing, music publishing, script

work and ensure that it is well presented, but we also

publishing, cast recording and first-class production.

work for the customers, and we want them to have the

In our role as a licensing company, we serve as

best experience possible as they bring live theatre to

the intermediary between authors of live stage works

their audience.

(our clients) and the schools and theatres who present

Thus, we serve both ends of the theatrical

those works (our customers). Our clients — the authors

spectrum. Theatre creators do not have the time or

and/or their estates — include playwrights, librettists,

resources to manage the licensing of every single

composers and lyricists, and it is our duty to ensure

production of their work, so authors work with a

that their work is presented as they intended. Our

theatrical licensing company like Concord Theatricals;

customers are the amateur and professional theatres

we handle the details for them. Customers seeking

who produce that work around the world. These

rights to a theatrical work do not have the time or

include primary and secondary schools; colleges

resources to contact each author individually, so they

and universities; community theatres and amateur

come to Concord Theatricals, or another company like

dramatic societies; regional theatres, tours and more.

ours, to find a broad selection of possible shows to produce. Also, individual customers cannot usually

In the general sense, what is the decision-making process that goes into deciding whether a company can get a license to produce one of your shows?

contact authors directly, so we serve as an intermediary whenever customers have a question.

In the grander scheme, we understand our role

The process is fairly straight-forward. Any custom-

as stewards of artistic works, and we take that role

er interested in producing a Concord Theatricals

seriously. We endeavor to follow Concord’s mission

show must first submit a license request. This request

to champion artists, elevate voices and impact culture.

includes basic information about their organiza-

We also strive to promote a diversity of voices.

tion, along with specifics about the show they are

Concord Theatricals has a diverse catalog of authors

requesting, including dates of performance, number

and shows — the largest in the industry, which we

of performances, size of audience and ticket price.

build upon with over 50 new signings each year,

These combined factors determine the cost and terms

ranging from the winners of high school contests to

of the license.

some of the most prominent Broadway and West End

Of course, we encourage people to make theatre

shows. For instance:

happen, so we always want to grant that license. But

• Since 2019, we have signed over 100 titles by over

we are also responsible for attending to the wishes of

90 writers of color, and, for the past five years,

the authors, so sometimes we must restrict produc-

over 50 percent of our titles published were

tions of specific titles in particular regions or at certain

authored by women and people of color.

times at the authors’ request, most commonly because

• More than half of the authors we’ve signed over

of a conflicting first-class professional production

the past five years identify as women, non-binary

or tour in the area. In those cases, we try to find an

or gender diverse.

alternative date for the customer’s production of

• In the past five years, Concord welcomed over

the requested show, or we help the customer find a

100 first-time published authors into our catalog.

“

We want live theatre to thrive everywhere.

We want [our customers] to have the best experience possible as they bring live theatre to their audience.

”

— Jim Colleran

Concord Theatricals

different title.

Fall/Winter 2024-25 | Southern Theatre | 49

Concord has worked with the authors of shows such as Anything Goes, to make changes that allow a classic musical to continue to be produced for modern audiences.

Flower Drum Song now includes this casting guidance: “Characters are Chinese or Chinese American, and the roles should be cast accordingly. The use of make-up or prosthetics to alter an actor’s ethnicity is prohibited.”

In general, is Concord open to consid-

If a company wants to make any

eration from individuals who want to

changes, how should they go about it

update or change elements of shows in

in a way that keeps Concord abreast of

your stable?

all the key info? Are there any broad,

We are open to whatever our authors

consistent types of changes that Concord

have directed us to do. Remember, we don’t

would always support? How about broad,

make the decisions; the authors do. This

consistent types of changes Concord

can vary from show to show; some authors

would never support?

are more open to change or interpretation than others.

But the most important rule is this: Customers cannot make any changes to the

The simple answer is this: Theatres can’t change anything. They can only present their production of a play or musical exactly as it was written by the author(s).

copyrighted content of a show (e.g., the text,

The more complex response regarding

including dialogue and lyrics; the music,

changes would be this: There really isn’t

including melodies and instrumentation;

an always or a never… There’s no single

the character names or identities; the order

answer for every show in our catalog.

of the scenes or songs, etc.) without express

Specific requests must be addressed on a

written permission from the authors, which

case-by-case basis.

they would obtain through their licensing company.

If a content element in a show does not work for your production due to changing

That said, if you want to make a change

audience tastes or cultural norms, let us

to a show, ask. It’s that simple. Just ask us,

know. Be specific about your request. (Do

and we’ll send your request to the authors.

not say, “We want to remove the profanity.”

In some cases — for example, the omission

Instead, say, “We want to change this word

or replacement of dialogue containing

on page 17 to this other word.”) We will

profanity — we may already have an

bring your request to the authors’ attention.

answer for you. If not, we’ll work to get that

If the authors approve your request, you

answer as quickly as possible.

are free to make that change. If they deny Fall/Winter 2024-25 | Southern Theatre | 51

your request, you must present the show

by other characters. Several schools and

as written. You can’t change any content

theatres informed us that they would not

without the authors’ express permission.

present the musical as it was written. We informed the book writers, Timothy Crouse

You represent many classic titles. How

and John Weidman, and met with them

do you strive to keep them current for a

several times to coordinate a solution. In

modern audience?

2022, after clearing everything with the

The majority of classic titles in our cata-

other authors’ estates, we released Anything

log are timeless, and they continue to speak

Goes (2022 Revision), which replaced the

to audiences worldwide from generation

Chinese characters with two street toughs

to generation. That said, some shows do

named Spit and Dippy, who can be played

contain words or attitudes that align with

by actors of any race. This and other

certain culturally specific sensibilities of the

changes, created in coordination with the

time that the piece was written. For those

authors and their estates, have allowed this

titles, we work closely with the authors or

classic musical to continue being produced

their estates to find the simplest way to

well into the 21st century.

maintain the integrity of the original work while keeping its content acceptable to today’s audiences.

As an example, we had a constructive

52 | Southern Theatre | Fall/Winter 2024-25

How do you address requests to update or change race and ethnicity in the shows that you license?

experience working with the authors of

Many of our shows feature characters

Anything Goes. Earlier versions of the musi-

who can be played by actors of any race.

cal featured two Chinese characters who, in

For titles that feature characters of a specific

the show’s final scene, were impersonated

race or ethnicity, the casting requirements

Fall/Winter 2024-25 | Southern Theatre | 53

are clearly laid out in the cast breakdown,

casting, please contact your Concord

and we work with the authors to provide

Theatricals Licensing Representative.

customers with the clearest possible guidance regarding casting.

We are constantly reevaluating our prac-

Unlike most of our other shows, Concord

tices to prioritize diversity in casting. As an

owns the Rodgers & Hammerstein catalog

example, we recently updated the terminol-

and serves as both steward for the authors’

ogy in our cast breakdowns to reflect a more

work and approver of any changes. For

inclusive approach to gender. Roles that can

many Rodgers & Hammerstein musicals,

be played by anyone, for example, are now

our contracts include guidance regarding

labeled “any gender” rather than “m or f.”

race and ethnicity. The original version

If a customer wishes to change the race,

of Rodgers & Hammerstein’s Flower Drum

ethnicity or gender of a character to some-

Song, for instance, includes this language:

thing other than the description found in the official cast breakdown, they should ask

Flower Drum Song is set in San Francisco’s Chinatown in 1958. The

us, in writing, and we’ll share their request with the show’s author(s).

characters are Chinese or Chinese American, and the roles should be cast

Some shows have various licensable

accordingly. The use of make-up or

versions. Can you tell us why that is

prosthetics to alter an actor’s ethnicity

and how Concord attempts to keep their

is prohibited.

productions relevant with the changes in theatre over time?

For In the Heights, we include this:

Many shows, particularly classic musicals, are tweaked slightly each time they

In the Heights celebrates, uplifts and

return to Broadway in a new revival. If

amplifies a Latinx community in New

the authors of a show choose to make the

York City. To honor the authors’ vision

revised version of a title available for licens-

and to clearly and appropriately tell that

ing, we may offer that new version instead

story, the roles should be cast accord-

of the original or in addition to the original.

ingly. Company members must match

In some cases, like the musical Dear World,

the character definitions as written in

the authors preferred the update, so we offer

the script.

only the revision. In other cases, we offer several versions of the same title.

In all of our acting editions, we also

Cabaret is a great example of a show

include any casting commentary provided

that evolved over time. We license three

by the author. This may apply to race,

versions of the musical: Cabaret (Original

ethnicity or gender. The front material

1966), Cabaret (Revised 1987) and Cabaret

for Hadestown: Teen Edition, for example,

(1998 Version), and each one reflects some of

includes a full-page casting note from Anaïs

the attitudes and sensibilities of the era in

Mitchell, encouraging diversity in gender

which it premiered. For example, as certain

casting. The note ends with this:

audiences became more comfortable with gay representation onstage, the sexuality

These mythic characters are arche-

54 | Southern Theatre | Fall/Winter 2024-25

of the character of Cliff became more overt.

typal but also reimagined and open

Other shows, like Anything Goes, have

to interpretation. It has felt important

been updated by the authors to reflect

to us both to reflect the diversity of

contemporary sensibilities. For that show,

the community in which the story

though we offer a 2022 Revision to the 1987

is presented and to be mindful of

Broadway revival version, we continue to

the narrative implications of those

license the 1962 off-Broadway version as

choices. For any questions regarding

well, because that version was written by

a slightly different team of authors, and it

• A nyt h i ng else t hat is expressly required in the script

features different songs.

If a customer wishes to change any If a production team wants to update

of the above content, they must submit a

production elements in a show (perhaps

written request for permission to make

projections, rather than a t rad it ion a l s e t), i s that something that a company would need your permission to do?

Theatres and schools are welcome to create t heir ow n product ion elements, provided they do not directly replicate an existing design.

that change. This process

“

can take some time, so we recommend that customers submit any request

Our motto is “Make Theatre Happen,” and we believe in that wholeheartedly.

Where do you draw the line between changes to production elements vs. content?

Production elements are designed

well in advance of their planned rehearsals and production.

Any other final t houg ht s about you r work or anything else

”

you want the broader theatrical public to know about Concord, t hei r mission, and their work-

ing process?

We love theatre, and we want live theatre

and created by the customer(s), and do

to thrive everywhere. We strive constantly

not require written permission from the

to serve our clients and customers with the

author(s). Some examples are:

greatest care and professionalism possible.

• Sets

We maintain an ongoing effort to keep

• Costumes

our classic titles in line the sensibilities of

• Props

today’s diverse audiences, to encourage

• Lighting

diversity and inclusion in casting, and to

• Sound

serve the widest audience possible. Our

• Hair/Make-up

motto is “Make Theatre Happen,” and we

• Staging

believe in that wholeheartedly.

• Choreography

Above all, we encourage open commu-

Keep in mind that the production

nication between theatre makers, theatre

elements of the original production may

creators and the general public. Any discus-

not be replicated unless specific, separate

sion about the state of live theatre should

permission is granted. As long as a theatre

include theatre makers, theatre creators

does not directly recreate someone else’s

and licensors. As a licensing, publishing

work in their production, they can feel free

and producing theatrical company, Concord

to create whatever production elements

Theatricals is proud to be a vital part of that

work for their company and their audience.

conversation. n

Content elements, however, may not be changed without express written permission from the authors. These include: • T he text, including all dialogue and lyrics • The music, including melodies, vocal assignments and instrumentation • The character names or identities • The order of the scenes or songs

Tom Alsip (he/him)– A professional actor/director for 20 years, Tom holds a BFA from New York University and an MFA from the University of Alabama.

He is Director of Musical Theatre at the University of New Hampshire.

Fall/Winter 2024-25 | Southern Theatre | 55

2024 GETCHELL AWARD

interview by Ricky Ramón

Charles M. Getchell Award winner Cris Eli Blak discusses his new play, Between Dog and Wolf C

ris Eli Blak is the recipient of the 2024 Charles M. Getchell New Play Award from the SETC, for his play Between Dog and Wolf. Blak is an emerging proud Black playwright and screenwriter whose work

has been performed and produced around the world: Off-Broadway, across the country regionally and on university stages, as well as in London, Australia, Ireland, and Canada.

Blak is the winner of the first Black Broadway Men Playwriting Intiative and the first-place winner of Atlanta Shakespeare Company’s inaugural Muse of Fire BIPOC Playwriting Fesitval. He is currently a staff writer on the hit Starz series Power Book III: Raising Kanan, an Aritst-in-Residence with Off-Broadway’s

Abingdon Theatre Company and Liberation Theatre Company, and a 2024-27 Core Writer with the Playwrights’ Center. He was recently the Artist-in-Residence at the State University of New York – Oswego, the recipient of the Emerging Playwrights Fellowship with The Scoundrel & Scamp Theatre Company, and a 2023 FORGE Fellow with FORGE–NYC. Blak has been a resident playwright with Fosters Theatrical Artists Residency, Paterson Performing Arts Development Council, Quick Silver Theatre Company, Yonder Window Theatre Company, and La Lengua Teatro en Español/AlterTheater Ensemble, and was an inaugural-year fellow with the Black Theatre Coalition. He is currently developing new work with Endstation Theatre Company, Blended City and The Sankofa Collective, and has developed work with Rattlestick Theatre, Company One, The Road Theatre, and American Stage; The Negro Ensemble Company, Pipeline Theatre Company, Et Alia Theater, the Napa Valley Shakespeare Festival, and The Pikeville City Comission. His work has been published by Smith & Kraus, Inc., Ghost Light Publications, YOUTHPlays, Applause Books, New World Theatre, Breath of Fire Latina Theater Ensemble, and in the Black Theatre Review.

More at criseliblak.wixsite.com/my-site

I

n Blak’s Getchell Award-winning play, high school friends Blake, Patrick, and Mara reunite at a hotel the day before their 10-year reunion. Forever traumatized by the school shooting that took place their junior year, the three try and fail to relive painful memories and heal broken friendships.

Southern Theatre: What inspired you to write Between Dog and Wolf and explore the theme

thing that we have to worry about.

with the past. The fact that a lot of us don’t

What I began to notice as more of these

deal with things in our lives until we have

acts of in-school violence and shootings

to played a huge part in how the show came

occurred is that the primary face and

together. These three characters are coming

Cris Eli Blak: I was born the same year that

testimonies you would hear and read about

together in a hotel room ten years after they

the Columbine shooting happened. I was in

would come from white students and white

survived a school shooting. They don’t have

middle school when the shooting at Sandy

victims and white parents. In doing research,

a choice but to deal with how that day, and

Hook Elementary happened. I was a recent

I found I was far from the only one who

the decade since, has affected them.

high school graduate when the shooting at

had taken notice of this. In times of tragedy,

Marjory Stoneman Douglas High School

students of color were being overlooked

ST: How did your personal experiences,

happened. Unfortunately, I grew up being

and silenced. Why? That question, as well

if any, shape the characters and their

exposed to in-school violence. And those are

as questions of why it isn’t reported when

relationships within the play?

just school shootings. It’s not mentioning the

in-school violence happens in schools with

shootings in movie theaters, concerts, and

a population of primarily Black and Brown

CEB: Listen, whether we like it or not, every

nightclubs that also occupied the news cycle

students, planted the seed of Between Dog and

writer projects themselves into the characters

during my coming-of-age. It never felt like a

Wolf. Beyond that, I wanted to focus on how

they write. It’s really the only way to be fully

norm but never felt impossible, which is even

everyone responds to trauma differently and

authentic with the stories you’re telling,

more terrifying — that we live in a country

everyone heals at different paces, if they heal

because you have to be able to put yourself in

and a time where something like that is a

at all. And all find diverse ways of coping

the characters’ shoes and have empathy, and

of trauma and healing?

Fall/Winter 2024-25 | Southern Theatre | 59

the first step in that is holding a mirror up

is when the sun goes down and it’s hard to

CEB: I honestly hope audiences just listen

to your own experiences, journey, emotions,

tell the difference between a dog and a wolf.

and receive the show, which has been the

and all that.

In this play, it’s all about how we portray

case so far. If you look at the story as one

Something that has personally stuck with

ourselves and the decisions we choose to

just about school shooting survivors, you’re

me for years now is a comment made when

make. We often group the dog and the wolf

kind of missing the point and will walk out

I was in high school. I was a senior in the

in two different categories when in actuality

not fully enveloped with what’s at play. I

math class I was taking at the time, and we

we have both living inside of us, most of us

want audiences to see themselves in the

were prepping for a drill the school had us

just choose the dog. This is

do in case of a school shooting. My teacher,

something the character

a white man, scoffed and said that a school

Mara represents. While

shooting would never happen there because

the two male-identifying

most of the students probably had guns of our

characters are debating

own. This was a joke rooted in the fact that

which one they are, she’s

my high school had a student population of

the one that’s there to

ninety-nine-percent people of color and over

remind them how they

fifty-percent of the student body lived on the

are both one at the end of

poverty line. So we must all carry glocks of

the day, whether they like

our own. It was narrow-minded and racist.

it or not. They are bonded

And this man was married to a woman of

in trauma and experience.

color. I think I reflected on that mindset when

They may look different in

thinking about this show and that question

broad daylight but when

of why people of color aren’t amplified when

it comes down to it, and

it comes to speaking on this issue.

you dig deep down, it becomes tougher to

it — because doing so may play the smallest

But also, you know, I haven’t had the

distinguish between the two. And the more

part in continuing conversations on reform

easiest experiences in life. I know what it

the play goes on, the more these personas

when it comes to guns and assuring more

means to have to deal with stuff, emotionally

fall, and it’s not as easy to tell which is

availability to and knowledge of resources

and mentally. I’ve been there. I’ve had to face

which.

when it comes to mental health.

ways to heal. There’s definitely still things

ST: The play touches upon the sensitive topic

ST: The characters, Blake, Patrick and Mara,

I’m healing from. And either my friends

of school shootings. What kind of research

each experience trauma and grief differently.

and loved ones have witnessed and stood

and conversations did you engage in to

How did you approach writing their unique

by me in these times or I’ve kept them in the

ensure an authentic and respectful portrayal

perspectives and journeys towards healing?

dark and pretended like all was well when it

of this issue?

“

characters, even if they haven’t gone through any

Healing isn’t a monolithic experience. I know this, and I wanted it reflected in each of the three characters.

”

of the same things. I always s ay I wa nt aud ie nc e s walking out doing one of two things: feeling as if they have finally been seen and heard, or asking how they may contribute to the problems the show brings up. More than anything, I want them to engage with the show by talking about it and talking about the issues presented in

it. I’ve had to wrestle with it. I’ve had to find

wasn’t. Healing isn’t a monolithic experience.

I know this, and I wanted it reflected in each

CEB: Because of the times we live in, there

of the three characters.

CEB: Again, it was all about showing three ways of dealing with trauma, none of them

is no shortage of research that can be done

necessarily healthy, but all pretty realistic

You should ask my mom this question.

on the topic. I mostly watched news footage

when it comes to how some people choose to

She’s the best at identifying which parts of

and read articles and academic essays. The

handle it. Patrick hides his trauma and grief

my characters come from myself. It’s the

latter was especially helpful when it came to

by running from it, creating an everyman

most beautiful and frustrating thing she

getting a BIPOC-perspective on the effects

kind of image, burying it all underneath his

talks about after every project of mine that

of school shootings and the effects of feeling

smile; Blake has let it make him kind of stuck

she sees.

like your voice doesn’t matter after surviving

in the same place as he was as a teenager,

a tragedy like that, even though you went ST: The title, Between Dog and Wolf, holds

kind of frozen in time; and Mara, while being

through and lost just as much as anyone else.

the most mature of the trio, has kind of just

significant meaning. Could you elaborate

There were a lot of sources that really helped

settled with the fact that it’s something she

on its symbolism and how it connects to the

validate that perspective.

won’t get rid of. And while she’s able to admit

play’s overall message?

ST: How do you hope audiences will react to

everything is still not okay, she hasn’t sought help in a way that would let her begin to take

CEB: The title comes from the concept of “the

and engage with the play’s emotional and

the steps to fully process and start moving

hour, or time, between dog and wolf,” which

thought-provoking themes?

past it. In the writing of the show, it was all Fall/Winter 2024-25 | Southern Theatre | 61

62 | Southern Theatre | Fall/Winter 2024-25

about identifying this and making sure to

CEB: It’s not much of a “process,” as much

have people look at us like maybe we’re more

track it throughout each scene, because with

as it’s making sure the characters don’t

like the negative sides of our characters, but

each passing moment we see more and more

sound like characters, but like people. I

if you’re writing someone who is complicated

how their journeys both tore them apart and

like to write about humanity on the most

and flawed, you have to dive into it and write

brought them back together.

authentic level, so mostly I’m asking myself,

them in an on-point manner. You have to lean

“if this were a real person in the room right

into the ugly sides of them, because that’s

now, how would they respond to this?” It

the human side of them, and equally lean

involves a lot of talking to myself and hearing

into the charming, funny sides of them. This

the dialogue out loud to

really came into play with Between Dog and

make sure it feels honest,

Wolf. The way to overcome this is by doing

and finding the rhythm of

it, then doing it again.

ST: Between Dog and Wolf is set in a hotel room, creating a confined and intimate atmosphere.

What led you to choose this setting, and how does it contribute to the play’s intensity?

CEB: I’ll be honest, I was trying to meet a deadline.

I wrote the first draft of Between Dog and Wolf pretty early in my playwriting career, so I didn’t have a lot of work to show. A company reached out asking if I had anything I wanted to have workshopped, so I chose

“

You have to lean into the ugly sides of your characters, because that’s the human side of them, and equally lean into the charming, funny sides of them.

the dialogue and how the characters speak. The most

ST: What are your hopes for the future of

fun thing about writing a

Between Dog and Wolf, and what message do

show is that you get to play

you ultimately want to leave with audiences

all the parts. I don’t have

who experience it?

any formal playwriting education. My inspiration

CEB: Obviously I want this play to go as far

comes from real life and

as it can go, whatever that means. I choose

trying to examine things in

not to place any expectation on it. I just

a way that makes the show

want it to have a life and to be received, and

feel like life happening

I’m confident that will happen. It’s already

in front of you. I want an

had more of a life than I expected when I

audience to feel like they

wrote the first draft in a few days in spring

were dropped into this

of 2021. Winning the Getchell Award has

why it’s only three characters and one single

”

setting: because it helped the show be a

ST: As a playwright, what challenges did you

out seeing how there are some things we

quicker write. With that being said, once

face in writing Between Dog and Wolf, and how

need to change, and some things we need

I started writing the play, and landed on

did you overcome them?

to address. n

to write something new.

I think the first draft was

situation, eavesdropping

been the cherry on top of an unexpected,

something because I wanted to hurry and

on these conversations, not like it was written

but welcomingly, large cake. There is no

get it to these people. That’s the initial reason

by some dude in his room.

one message I want to leave with audiences

written in three days or

who experience it. I just want them to walk

the story, the setting became a character in itself. Putting three people having to face

CEB: Something I had to learn early on as

their demons in a single location creates this

a playwright is that you have to be able to

feeling of pressure and isolation, and the

comfortably write characters that say and do

more tense things get, the more it feels like

things that you wouldn’t say or do or agree

the walls are closing in on these people. It

with. We all want to maintain our moral and

makes it feel almost suffocating, or like a pot

ethical high ground and not risk judgment or

of water reaching its boiling point, about to pour over and flood out. That location being a hotel adds onto it because it’s no one’s home, so there’s not many places inside the room to run to.

ST: The play has been praised for its raw and honest dialogue. Could you discuss your writing process and how you achieve such authenticity in your characters’ voices?

Ricky Ramón (he/him) is a director, stage manager, and VP of Equity & Inclusion at SETC. With Master’s degrees from Harvard, Texas Tech and NYU, he’s directed and stage managed over 60 productions at renowned theaters across the US.

ARE YOU A FUTURE GETCHELL AWARD WINNER? SETC’s Charles M. Getchell New Play Award recognizes worthy new scripts written by individuals who live or go to school in the SETC region or by SETC members who live in or outside the region. Entries are accepted annually between March 1 and June 1.

The winner receives a $1,000 cash award and an all-expenses-paid trip to the SETC Convention, where both a critique and a staged reading of the winning play are held.

More info: setc.org/getchell-new-play-contest

Fall/Winter 2024-25 | Southern Theatre | 63

2024 GETCHELL AWARD EXCERPT

Between Dog and Wolf

by Cris Eli Blak

Cast of Characters: BLAKE, 28, Black male.

PATRICK, 28, Latino male.

MARA, 27, Black/Latina/Asian female.

Time:

Present Day. Ten years after a school shooting at a local high school. The day before the high school class reunion.

Place:

Small town U.S.A.

For Production:

forty-five.

BLAKE: (to Patrick) Why can’t you be more like her?

Vietnam knew they were going to war.

We thought we were going to gym class.

Anyway. They don’t talk about it, don’t

PATRICK: I guess I lack the empathy.

teach about it. At all. Zilch. What a fuckin’

MARA: He lacks the cup size.

blow in the back. But they do still have that

PATRICK: We were waiting on you to come back so we could order dinner.

mural up.

MARA: I hate that mural.

BLAKE: Who needs dinner… (he walks over

BLAKE: You should see it now that the paint

to the bottle of champagne and picks it up) …

is all faded. It looks like a big blob of

when you have drinks? Now the cycle is

bullshit.

complete.

PATRICK: What cycle?

BLAKE: (holding up the bottle) Exhibit A: champagne. Noted?

MARA: Can’t wait. Maybe we should take a picture in front of it. Scrapbook it.

PATRICK: That sounds like a nightmare.

MARA: Doesn’t it all? I say we skip.

Amy Wagner

MARA: Noted.

PATRICK: What?

Stewart Talent Agency

BLAKE: Exhibit B: (he pulls a plastic bag filled

MARA: Fuck it. Let’s not go.

1430 Broadway, Suite 601

to the top with marijuana out his back pocket)

New York, New York 10018 Email: Amy.wagner@stewarttalent.com Tel: 646-486-4600

Synopsis:

High school friends Blake, Patrick, and Mara

Noted?

PATRICK: That’s where you went. To buy illegal substances.

BLAKE: Just imagine it’s medicinal.

He tosses it to Patrick, who quickly lets it drop to the ground.

reunite at a hotel the day before their 10-year

PATRICK: I’d rather have food.

reunion. Forever traumatized by the school

BLAKE: Yes. Food is a great idea. We’ll be

shooting that took place their junior year, the

hungry after going through that entire bag.

PATRICK: We didn’t come back down here to not go.

MARA: It’s not an obligation. What’s the loss if we stay in here? What’s the gain if we go? We can have fun and avoid the PTSD. She snatches the bottle from Blake.

PATRICK: I don’t care what you two do. I’m going. That’s what I came here for.

BLAKE: (to Mara) Did he tell you he’s a teacher now?

three try and fail to relive painful memories

PATRICK: Where did you even get this?

MARA: Holy shit.

and heal broken friendships.

BLAKE: The kid at the front desk. Did you

BLAKE: Right?!

know they let teenagers work hotel front

MARA: Is that some kind of trauma therapy?

desks? They do here. I mean, I guess not

BLAKE: Right?!

really — the girl’s eighteen. Cute. Don’t

PATRICK: Is this enjoyable to you?

look at me, I repeat: she is eighteen. Nice

MARA: What grade does he teach?

He kicks the door closed with his foot.

kid. Has an attitude problem. But she came

PATRICK: I’m right here.

PATRICK: What happened to the conversa-

through. She’s a senior. I probably don’t

BLAKE: I think second.

tion we had about keeping it appropriate?

have to tell you where. I told her all about

PATRICK: Third.

BLAKE: Can you bend over and spread your

what happened — they don’t even talk

BLAKE: Correction. Third.

cheeks so I can remove whatever stick is

about it to these classes. Do you believe

MARA: The real booger bastards.

that shit?

PATRICK: I’ll just go pick up dinner.

Excerpt:

BLAKE: Now it’s a party! Let the threesome begin!

up your ass? (turns) Mara. You don’t look a day over sixteen.

MARA: Blakey. You don’t look a day over

64 | Southern Theatre | Fall/Winter 2024-25

PATRICK: You talk like we went to Vietnam.

BLAKE: Worse. At least the fuckers in

BLAKE: Again, you can’t see. You’re not going anywhere, Stevie Wonder.

PATRICK: I’ll be fine.

And while you’re walking the kid up, they

the weirdest shit I ever saw but everyone in

BLAKE: Wouldn’t it ironic in the worst kind

hold onto your hand. But it’s not ‘cause

the audience loved it. All five of them. You

of way if it’s a car accident that kills you

they trust you, it’s not ‘cause they know

did good.

while you’re in town?

you, they just know someone is there. And

Patrick stops to consider. Blake is right. Patrick won’t admit it.

PATRICK: I’m sure they have food in the

that’s what they need: someone there.

MARA: That whole story to, what, call me dramatic?

Their hands may be shaking and sweating

BLAKE: Maybe.

but they aren’t about to let go because then

MARA: I remember some things from junior year too.

lobby. The well-lit lobby. Would you like

they would go right back to not only being

to walk me downstairs to make sure I don’t

lost and left but being alone. That’s what it

BLAKE: Yeah… don’t we all…

fall?

felt like when he held my hand. Did he tell

Mara picks up her bag and makes her way towards

BLAKE: Kinky.

you he was engaged?

the bathroom.

PATRICK: You’re foul.

BLAKE: Yes he did.

MARA: Mind if I shower?

BLAKE: I have a better idea. You can use

MARA: How do you feel about that?

BLAKE: Mi casa es su casa.

that fancy phone of yours and order us

BLAKE: What do you mean?

MARA: Thanks.

something.

MARA: Just what I asked.

BLAKE: I won’t peek.

MARA: Like. A. Pizza.

BLAKE: Good for him.

MARA: I appreciate it. (stops) Hey Blake.

BLAKE: Like a pizza. I second that choice.

MARA: That’s it?

BLAKE: ‘Sup?

PATRICK: Fine. I’ll order a pizza. Anything

BLAKE: That’s it. Good for him.

MARA: We haven’t seen each other all these

else?

MARA: We have drinks.

BLAKE: (picking up the weed) And we have dessert.

PATRICK: (shaking his head) Grow up.

BLAKE: You can get me some of those cinnamon sticks too if they have ‘em!

Patrick gives a thumbs up as he walks out the

MARA: I think it’s weird and I expected more of a reaction out of you.

years. None of us. We’ve barely talked. All three of us haven’t been in the same place

BLAKE: You want me to go crazy over it?

having a conversation for a decade. Why

MARA: No, but… something rather than

did we stop being friends? And why do I

nothing. He just never struck me as a marriage type.

seem to be the only one who cares that we aren’t anymore?

BLAKE: Yeah, well, he’s changed.

BLAKE: What do you want me to say?

MARA: Apparently. Engagement. School

MARA: An answer.

room, phone to his ear. The door shuts behind

teacher. I feel like he’s gonna buy a zoo

BLAKE: One that satisfies you?

him.

next. (Blake laughs) What?

MARA: One that’s true. You two have your battles to fight with yourselves and that’s

MARA: And then there were two.

BLAKE: I didn’t mean to cut you off but this

BLAKE: You really do look great.

whole time while looking at you, all I could

whatever, but I’m only asking one question

MARA: Okay cut the crap. Talk to me.

think of was junior year when you were in

here. I don’t think that’s too much. I think I

BLAKE: I am.

that stupid play in school. It was when you

MARA: How often do you smoke? You

were trying new things, after that guy with

brought in a sealed baggie but I smell it on your clothes, Blake. The stinch don’t lie.

BLAKE: I’m not a chimney, you know, I just

the crooked ear piercing dumped you.

MARA: I was going through a phase.

BLAKE: The motherfucker was peculiar. Not

deserve something.

BLAKE: The most satisfying answer I can give you is, I don’t know. Because I don’t.

Times change. People change. Lives change. Relationships change.

strange. Not weird. Peculiar. He was in my

MARA: Not overnight.

MARA: Fade away.

English class. I’d sit the whole forty-five

BLAKE: They do if earlier that day someone

BLAKE: Get high.

minutes trying to figure out what the fuck

shot up your school. Things change real

MARA: (pause) He held my hand.

was going through his head.

quick then.

occasionally like to —

MARA: What if coming back here was the

BLAKE: Who? Patrick?

MARA: I thought he was hot.

MARA: Yeah.

BLAKE: A hot ass mess. The man’s dandruff

worst decision of our lives?

BLAKE: How… sweet?

was so bad it started forming a colony on

BLAKE: Once again, I don’t know.

MARA: Shut up. Maybe to an onlooking eye

his scalp. How’d it feel having him dump

MARA: Why are you here?

you?

BLAKE: Why are you?

but it didn’t feel that way. I don’t know if

MARA: To remind myself why I left.

you’ve ever found a lost kid in a supermar-

MARA: I’m sorry, are we talking about the

ket or something like that, and you have

boy or are we talking about the play?

She enters the bathroom area. Blake sits on the bed

to take them to the front counter so they

BLAKE: Oh I’ma talk about the play. You

closest to the door. As the lights go down, we

can get on the loudspeaker and tell their

dragged us to go see that shit, even got us

begin to hear the sound of a shower. The shower

mother to come to the front of the store.

discounted tickets. Front row too. That was

becomes rainfall.

Fall/Winter 2024-25 | Southern Theatre | 65

THEATRE ON THE PAGE

by Becky K. Becker

Community-centered approaches to theatre Theatre on the Page reviews books on theatre that have a connection to the Southeast or may be of special interest to SETC members. Sarah McCarroll (she/her), a 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.

Decentered Playwriting: Alternative Techniques for the Stage edited by Carolyn M. Dunn, Eric Micha Holmes & Les Hunter.

Routledge, 2023; ISBN: 978-1032218083; 232 pages. Price: $46.95 (paperback)

D

ecentering Playwriting: Alternative Techniques for the Stage is a book playwrights and teachers of playwriting have needed for, well, ever. Not all playwrights are inclined to, nor do they need to, reproduce the “well-made” play. While the Introduction of Decentered Playwriting suggests that it is an “invaluable book for anyone teaching or studying playwriting, dramatic structure, storytelling at advanced undergraduate and graduate levels,” it offers essential ideas, techniques, and strategies for all playwrights, regardless of background or level of study.

Playwrights of the global majority have crafted and long-embraced these approaches, often from the margins. As David Henry Hwang writes in the book’s Foreword, “By decentering whiteness in the theatre, we help to decenter white supremacy in our communities and world.” Decentered Playwriting, as time-honored practice, is long overdue.

The book is divided into three richly layered sections, with each section offering an array of approaches, exercises, and examples for solo writers and ensembles.

As the book’s editors suggest, in Part 1: Decenter(ed) Playwriting: Alternative Tools, Techniques, and Structures, “Decentered is the adjective” — or how writing is decentered (6). The seven essays in this section describe individual processes that are, in turn, intercultural, existential, historiographic, and natured-focused; Japanese, Hawai’ian, Hip Hop-inspired, and historically Black.

Each encapsulates a distinctive approach to creating, often accompanied by exercises encouraging the reader to explore.

66 | Southern Theatre | Fall/Winter 2024-25

In Part 2: Decenter(ed) Playwriting: Community Practices, Ritual, and Healing, “Decentering is the verb,” or the way of being and doing (7). Comprising five essays, this section prioritizes non-hierarchical practices, collaborative methods and exercises for creating ensemble-produced texts. Shared decision-making is a central tenet, meaning, for example, that docudrama becomes more democratic when interviewees are invited into the creative process. Self-inquiry requires white practitioners to invest in “rigorously dismantling white colonial identity as normative” (110). For practitioners of the Maria Irene Fornés Method, writing is “matriarchal and circular” (118), involving an embodied awareness of what it means to be human. Indigenous practices center first inhabitants of the land and an awareness that “cultural practice comes before theory” (130). Aruku-improv, developed in Nigeria, underpins devising with African folklore.

All of these approaches offer a sense of play, adaptability, humility, and ethical processes.

Part 3: Case Studies in Decentered Processes:

Models and Testimonies “offers examples of theatre artists whose practices embrace decentrality” (8). The four essays included here recount physical and philosophical approaches to the work, along with detailed encounters of making new work. In framing these case studies, the authors’ styles are poetic and practical, making for compelling reading, even when the production or process is unfamiliar. Though all of the essays in Decentered Playwriting offer valuable insights, experiences, and exercises, an essay in this third section stands out. “Unarcheology: Anticolonial Aesthetics and Putting Things Back in the Ground,” by Fargo Tbakhi, describes a process that consciously avoids the plundering of artifacts without an awareness of the cultures and experiences from which they emerge. In Tbakhi’s words, “in our attempts to excavate what we want from the soil, we risk destroying what we want to protect” (188). Like the other essays in this book, Tbakhi’s “unarcheology” encourages creators of theatre to approach the work with an awareness of that tension.

The range of ideas, approaches, and imaginings within Decentered Playwriting inspires vibrant exchanges around how work in the theatre is made. Importantly, a central reflection running throughout the book is that its ideas and exercises must be approached with respect, ethical care, and responsibility. As the editors generously advise, “We invite you, reader-playwrights, to weigh the offerings contained in this book with your own background, artistic values, and moral compass in the spirit of making new and beautiful things” (8). Decentered Playwriting signifies a reflexive process, steadfast in its capacity to decenter. n Becky K. Becker (she/her) is a dramaturg, director, and Professor of Theatre at Clemson University where she teaches courses in script analysis, theatre history, and directing.

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