Southern Theatre Fall/Winter 2023 (Directory Issue)

Volume LXV Number 1 • Fall/Winter 2023-24 • $12.00

THEATRE OF THE SPHERE: An Acting Methodology • MUST THE SHOW REALLY GO ON? DOWN ON THE FARM: A Fresh Approach to Developing New Plays • RESPONDING TO TOKENISM

2023 COLLEGE, UNIVERSITY & TRAINING PROGRAM DIRECTORY

Maya Malan-Gonzalez finds focus through the practice of the Litany of the Ball. Story on p. 14. Photo by Alexandra Meda.

CONTENTS Volume LXV Number 1 l Fall/Winter 2023-24 l Southern Theatre – Magazine of the Southeastern Theatre Conference

Features

Columns

12 We See You

Let’s envision the future of SETC by you

Outside the Box:

14 Theatre of the Sphere

Design & Tech Solutions

Exploring a generative acting methodology

Wooden shingles with easy texture

by Daphnie Sicre

by David Glenn

6

8

What’s On Your Mind?

Mental Wellness & the Artist

Coping with tokenism

by Jonathan Mathias Lassiter, PhD

10

H@ndle Your Business

Get connected — online

by Frederick Marte

60

Theatre on the Page

Book Review

Working Backstage

by Derrick Vanmeter

22 Must the Show Really Go On? Should the ‘classics’ be saved?

by Tom Alsip

50 Down on the Farm

Cultivating the next generation of new play development talent

by Caroline Jane Davis

2023 SETC College, University & Training Program Directory page 35

on the cover The University of Oklahoma Musical Theatre’s fall 2022 production of Natasha, Pierre & the Great Comet of 1812,

by Dave Malloy, with direction by Ashton Byrum & music direction by Dr. Harold Mortimer. Set design by Steven Kendall; costume design by Anwen Wenger; lighting design by Logan Wynn; projection design by Ian Evans; featuring Sydney Jones as Natasha (center). All designs by students at OU School of Drama. Photo: Drew Lotter, graduate of OU School of Drama.

Fall/Winter 2023-24 | Southern Theatre | 3

FROM THE

EDITOR

Hi there! I’m so excited for you to have this issue of Southern Theatre (ST) in your hands. And kudos to you for being a part of the magic. We’ve invited you to join us in envisioning the future of theatre with SETC leadership — and, to that end, there’s a space in this issue for you to write down your hopes and dreams for SETC and for your career — an evolution of artistry that is sure to enliven you at every turn.

As the new Editor, I look forward to building upon ST’s legacy, continuing some traditions, while introducing others. For instance, we now have a column that focuses on the mental wellness of artists and a column that engages directly with social media, a newer landscape that many artists must navigate. In these pages, you can also learn about Luis Valdez’s acting methodology, a generative new play development system, and how various theatre institutions are navigating “cancel culture” and the “-isms” during season selection. So, get yo read on — then have conversations about it all. Read. Read some more. Read again. Repeat. Share.

It’s also that time of year where we get to snuggle up next to a fireplace with our hot chai or apple cider and reflect on our past accomplishments and goals for the new year. As we head into the holidays, I wish you nothing but good tidings. Remember, critical thinking conjures new worlds and theatre helps us live harmoniously within them.

Onwards,

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

From the SETC President

EDITOR-IN-CHIEF

Sharrell D. Luckett, PhD SETC PRESIDENT

Ginger Poole

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 336-265-6148 PUBLICATIONS COMMITTEE Becky Becker, Clemson University (SC) Gaye Jeffers, University of Tennessee at Chattanooga 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) F. Randy deCelle, University of Alabama Kristopher Geddie, Venice Theatre (FL) David Glenn, Samford University (AL) Scott Hayes, Liberty University (VA) Kyla Kazuschyk, Louisiana State University Sarah McCarroll, Georgia Southern University Tiffany Dupont Novak, Actors Theatre of Louisville (KY) Thomas Rodman, Alabama State University Zackary Ross, Bellarmine University (KY) Jonathon Taylor, East Tennessee State University Chalethia Williams, Miles College (AL) Student Member: John Bingaman, Centre College (KY) 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

We are all stepping into a new era of theatre.

We are all adapting how we approach theatre, whether that may be in our classrooms, our front of house, our budgeting, our online presence, our season selection process, our ticketing and audience involvement, how we reach out to donors and members to stay engaged and challenged, and the list goes on and on.

We are striving to remain relevant and are pushing the doors open in our field to make it more attainable and sustainable.

And at the same time, doing what we know best, sharing our stories with our fellow creatives and patrons.

As we lean into this new era, we are looking towards the future. This is all very exciting and promising. We are writing our own script and developing the new era together.

Ginger Poole (she/her), SETC President Producing Artistic Director, Mill Mountain Theatre

From the SETC Executive Director Considering our current era, organizations are self-assessing, gauging their relevance in an ever-evolving landscape, and recalibrating to play to their strengths. SETC should not be an exception to this narrative of change but rather an active participant, embracing the transformation and progressing towards a future filled with innovation and creativity.

As a leader, I do not have a crystal ball to predict the future. However, I do have the intuition to pose some critical questions: How do we see the future? Is there a shift in the economies of American theatre institutions where a select few reap the benefits and control the resources?

Can we envision a future where the artists and creatives are empowered and given the reins to bring the product to life? How will traditional theatre venues evolve in the face of expanding leisure time choices and the dominance of digital media?

Whatever the direction, we see you — artists and creatives — and believe in your power, creativity, and ability to reshape the landscape of American theatre.

This is the new era at SETC. We are excited that we can walk this journey of discovery together. We see the future of theatre because we see you!

Your Arts Advocate,

Toni Simmons Henson (she/her), SETC Executive Director

Fall/Winter 2023-24 | Southern Theatre | 5

OUTSIDE THE BOX

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

by David Glenn

Wood shingles with easy texture A

ttempting to recreate realistic surfaces can prove challenging, but when the

resulting surfaces have rich textures, they help to create the world that the audience lives in during the production. The more realistic these textures become, the more believable that world becomes for them.

Technical Directors and Scenic Artists develop many different techniques to achieve realistic surfaces such as brick, stone, and shingles that range from crafty and inexpensive to off-the-shelf surface coverings that can be very expensive.

While constructing the set for Samford University’s production of Little Women,

I needed to recreate the wooden shingles found on the roof of Louisa May Alcott’s childhood home. Known as the Orchard

5

House, Alcott’s home was the inspiration for the scenic design, so replicating the textures accurately was important, and the roofing shingles needed to appear naturally weathered.

The shingles were cut in several widths and then randomly applied to give the

that we sprayed them down heavily with water two more times.

Creating weathered shingles has always

natural variation of an older construction.

The wide grain of the bender board and

been challenging. Some materials I’ve

The bendable plywood comes in 3/8” sheets

the softness of the laminated layers cause

seen used in the past include lauan,

which is an acceptable thickness for period

the panels to absorb the water well. Our

cardboard, low-pile carpet squares, and

shingles. The gaps between the shingles

original reason for spraying the panels,

carved Styrofoam. One thing they all have

ranged between 1/8” to 3/8” and were also

to make the grain more pronounced,

in common is the need to spend lots of time

done randomly to break up the uniformity

proved to be worthwhile in addition to the

and finesse to achieve a realistic outcome.

of the tiles. For this project, standard 3/8”

unexpected weathering. Before applying

With this production, I decided to use

lauan was used as the backer, and the

the paint, the panels already had great

a product similar to lauan, but with a

shingles were applied with a line of wood

character and a natural texture that insured

little more flexibility: bendable plywood.

glue at the top and secured with ¾” long

that they would look great on stage.

Available at most plywood wholesalers,

staples.

The next step for the panels was to add

bendable plywood is often used to create

After getting the panels assembled,

granular texture. This was done by adding

curved surfaces. The wood grain on

I began experimenting with wedges to

saw dust to a tinted elastomeric base. The

both sides of the sheet runs in the same

turn up the corners of the bender board

mixture was added in a linear motion,

direction with a flexible mesh laminated

shingles, but the results didn’t meet my

brushing the same direction as the grain

between them allowing it to easily bend in

expectations. I decided to spray the shingles

to make the striations consistent with the

one direction. For this project, the shingles

with water in an attempt to raise the grain,

shingles construction. The elastomeric is

were cut with the grain running top to

and the resulting cupping and curling of

thick enough that the bush strokes add to

bottom with the hope that I would be able

the shingles created a natural weathering

the overall texturing of the shingles.

to wedge shims under the corners to achieve

and aging to the roofing panels that I never

After the elastomeric was completely

a weathered appearance.

expected. The initial results were so positive

dry, a wet blend paint technique was

6 | Southern Theatre | Fall/Winter 2023-24

1

2

3

Step 1: Cut the shingles into several widths and assemble them onto a substrate with some variance to make them look hand layered.

Step 2: Wash the panels with water several times until the bender board has the desired texture.

Step 3: Paint with an elastomeric coating that has saw dust mixed into it.

Step 4: Paint with a very wet blend to the desired color pallet making sure to pop individual shingles.

Step 5: Dry brush the grain and the lead edge of the shingles to improve the depth of the texture.

4

applied to give the panels their final color

the tips adds to the visual depth achieved.

pallet. Aged shingles aren’t a consistent

Having been pleasantly surprised by how

color but rather a blend of hues created

the bender board shingles reacted to being

by weathering and time. Cedar shake

drenched with water, the paint process was

of detail, the lighting team can cast light

shingles typically grey over time, so that

made easier by matching the weathered

laterally across the panels to accentuate

was the primary color pallet. By darkening

aesthetic that had already been established.

the texture.

or lightening individual shingles, the

An often-overlooked aspect of creating

The aging of the cedar shingles on this

randomness of the panels is accentuated.

textured surfaces is the need for lighting to

production was a fluid process, but the

The final paint step is a dry brush with a

complement the texture and make the detail

unique properties of the bender board

very light grey making sure to highlight the

more pronounced. Lighting the panels from

proved to be key in achieving realistic roof

tips of the shingles. The dry brush brings

the front would flatten out the texture. After

panels. The result was a bold texture at a

out the linear graining, and the tinting of

spending so much time to achieve that level

very reasonable cost. n

BUDGET

Photo credit: Deidre Lackey, Samford University Theatre production of Little Women (Spring 2021), Scenic

4 sheets of 3/8” non-bendable lauan @ $32/each . . . . . . . . . . . . 128 4 sheets of 3/8” bendable plywood @ $50/sheet . . . . . . . . . . . . . $ 200 Rubberized elastomeric roof coating . . . . . . . . . . . . . . . . . . . . . . . $ 50 Paint and fasteners . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Stock $

Total . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $ 378 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.

Design by David Glenn

David Glenn (he/him) is the editor for Outside the Box and the Technical Director/Scenic Designer for Samford University. He has an MFA in Technical Direction from the University of Arizona and a BFA in Production Design/Tech from Auburn University.

Fall/Winter 2023-24 | 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

Coping with tokenism 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.

Dear Dr. Lassiter,

I fear that I am being tokenized at my school. This is ongoing, and some of my peers have suggested that when I get cast, it’s only because I am a person of color and only because our professor wanted a “diverse” cast. How can I respond to my peers in a way that protects my mental health?

Dear Artist: Tokenism happens when homogenous

Cultural Realignment

First, educate yourself about the facts of

Character Refinement

groups include a small number of “diverse”

your culture. Resist the temptation to deny

people just to say they did, to be politically

your culture and that it has an influence

correct without real commitment. Your

on you and how others respond to you. If

start to understand your own role in your

peers’ attempts to label your achievement

others want to cast you because they only

distress, you can hold yourself accountable for

in being cast as tokenism are an attempt to

see you as “diverse,” that’s on them not you.

living and celebrating your culture day-to-day

discredit your talent and culture.

Third, walk it like you talk it. Once you

They are short-sighted in their inability to

in big and small ways. For example, are you

You will notice that I use the word

see the fullness of your humanity. Instead

changing the way you talk when you audition,

culture instead of race. That is because (1)

of running away from your culture, read

even when the role doesn’t call for it? Do

race refers to a group of people who share

more about it, wear it on your shirts, speak

you find yourself avoiding “diverse” shows?

some visible physical traits, while (2) culture

it in your conversations, watch it on the

Reclaim your voice, engage in the activities

focuses on group norms and ways of being.

screen.

that make you happy regardless of how they

Cognitive Restructuring

may be perceived by others. Live your life for

Second, challenge your own beliefs.

When you consistently engage in these

and ways of being. Most importantly, the

Does a part of you believe that you are

three techniques you will notice a shift. You

strength of melanated people is not in race

limited because of your culture? Does a part

will find it less and less important whether

— or physical traits — but our culture, our

of you share some of the negative attitudes

people see you as a token. You will recognize

ways of being.

When people say race, they are rarely only talking about physical traits, but are likely also referring to stereotypes about norms

you, not to prove or disprove tokenism.

about people like you? How often do you

tokenism for what it is: a perceptual failure on

So, when someone stereotypes your race

avoid other potentially tokenized people so

behalf of the person(s) doing the tokenizing.

and culture, that is a “them-problem,” not a

that you are not seen and treated as them?

Through culturalization, you will develop a

you-problem. Instead of focusing on what

Do you believe that certain people are best

cultural foundation on which to stand and be

they think and how to respond to them, lean

suited for certain kinds of roles and/or

proud. And you will live your life for you. n

further into your culture and harness it.

shows? You may be holding onto anti-self

To turn the negative into a positive, Dr.

thoughts and don’t even know it. Take some

Wade Nobles, an internationally renowned

time to yourself, turn off the lights, breathe

psychologist, described a process called

deeply, and ask yourself: in what ways

culturalization. Culturalization involves

might I be tokenizing myself? When you

using three techniques. These are 1) cultural

do that, you can start to push back against

realignment, 2) cognitive restructuring, and

your own thoughts. Ask yourself: “Is this

3) character refinement. These technical

true or is it something I’ve just heard or saw

terms can be thought of in simple ways.

too often?”

8 | Southern Theatre | Fall/Winter 2023-24

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, How I Know White People Are Crazy, will be published in 2025. @lassiterhealth

H@NDLE YOUR BUSINESS

written & curated

by Frederick Marte

Get connected — online 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

Theatrely Instagram: @theatre.ly TikTok: @theatrely www.theatrely.com

aludo, buenas! My name’s Frederick and

you’re a student, educator, or living the

I’m here to make sure you “H@ndle your

dream as a full-time artist, these h@ndles

Offers relevant information, “by the

business!” This column is all about sharing

will help you tune in to what’s relevant in

next generation for the next generation,”

industry connections that you might need.

our quickly evolving industry.

through news, reviews, and interviews of

Artists crave accessibility, so I’m here to

Of cou rse, t here a re essent ia l

artists and organizations around the world

give you the exclusive about the socials you

organizations that you need to follow like

that form part of the arts industry. It covers

should be following. So, no te muevas de ahí

@playbill and @sagaftra. However, I’m

everything from Broadway, the West End,

que se va poner bueno esto!*

going to showcase those @’s that are under-

and more. Make sure to check them out

Social media isn’t just a way to catch

discussed or flying under the radar — @’s

since they upload exclusives of popular

up with friends and your fave celebrities.

that you should definitely connect with

and up and coming shows — it’ll keep you

It’s a way to connect with people and

because you’re an artist and you’re serious

in the know of what’s happening!

organizations that can help you level up

about your craft. So, open all your social

your artistry and career. In this space, I’ll

media channels and let’s surf. Get ready to

curate networks that you should know about

be booked and busy!

in the performing arts industry. Whether

RISE Theatre Instagram: @risetheatreorg Facebook: RISE Theatre www.risetheatre.org A new organization co-founded by Maestra Music and the Miranda Family Fund. This organization and database are composed of theatre professionals that are dedicated to creating a more equitable and inclusive theatre industry through the use of DEIA tools and resources. They provide you with the most up-to-date demographics on

Composite of recent Theatrely Instagram posts —used with permission.

industry professionals and organizations.

10 | Southern Theatre | Fall/Winter 2023-24

Research made easy with the help of R.I.S.E.! n * No te muevas de ahí que se va poner bueno esto!

Don’t move from there, this is going to get good! (It has more flavor in Spanish.)

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

WE SEE YOU

Our original concept for the cover of this issue was a reflective surface with just the text “You’re looking at the future of theatre.” The design concept didn’t pan out, but the sentiment remains: in this next chapter of Southern Theatre magazine and of the SETC, we look to you to share your ideas, your leadership, and your vision.

We see SETC. We see YOU! Someone who...

• Sees art as life giving • Embraces expression from all creatives • Loves to tell our stories • Is a rising star • Is a light in dark places • Wants to use art to build community • Is an artivist • Embraces all art forms –th • Wants to be involved • Wants to network with industry leaders and educators • Wants to present and participate in masterclasses and panels • Wants to share • Wants to share design practices and techniques • Is ready to lead 12 | Southern Theatre | Fall/Winter 2023-24

our industry in your creative field • Wants to audition for a room full of hiring companies all at one time • Is ready to step into non-profit board leadership • Is willing to ask questions • Is ready to move SETC forward • Loves the beauty of creating art –gp • Innovates new pedagogy • Supports bold initiatives • Is excited about the 2024 Convention • Is open to change • Expresses gratitude • Collaborates • Speaks theirtruth • Loves musicals • Builds systems of inclusion • Is spiritually grounded in the arts –sl

Now it’s YOUR turn.

We invite you to use this page as a sounding board to write down the ways that you see yourself contributing to the future of theatre and SETC in this new era.

Frame up your page and share it online! Tag us at @setc, and use the hashtag #mySETC Fall/Winter 2023-24 | Southern Theatre | 13

Maya Malan-Gonzalez and Lakin Valdez In Lak’ech — “Tu eres mi otro yo / You are my other me.” Photo: Alexandra Meda

Theatre of the Sphere

Exploring a Generative Acting Methodology In June 2023 I had the incredible opportunity to participate in “Theatre of the Sphere: The Vibrant Being,” a workshop conducted by Lakin Valdez, an expert in “Theatre of the Sphere” and son of its visionary creator, Luis Valdez. The workshop took place at Studio Luna in Los Angeles, California.

Divided into two weekends, the workshop served as a solid introduction to the acting methodology developed by Lakin’s father, Luis Valdez. Although I had previously learned about “Theatre of the Sphere” and El Teatro Campesino from an online ACTOS workshop with Christy Sandoval (El Teatro Campesino ensemble member), the experience with Lakin was truly transformative.

Throughout this workshop, I had the privilege of immersing myself in the world of “Theatre of the Sphere” and exploring its unique and captivating approach to theater making. The methodology left an indelible mark on me,

by Daphnie Sicre

inspiring me to share my experience and insights with others.

EXPLORING PERFORMANCE TECHNIQUES In this essay, I’ll dive deep into the core of “Theatre of the Sphere” with the guidance of Lakin Valdez as he sheds light on the origins, significance, and impact of “Theatre of the Sphere” as an acting methodology. During our conversation, Lakin Valdez delved into the establishment and evolution of “Theatre of the Sphere,” unveiling its core values that sets it apart from conventional Eurocentric acting methods, empowering each artist to unlock their true potential.

Together, Lakin Valdez and I explored the historical roots, core values, and evolution of “Theatre of the Sphere,” while also discussing the importance of learning about this acting methodology. He highlighted the adaptability of the workshop exercises, fostering self-expression and creativity for artists of diverse backgrounds and physical capabilities.

Exploring the different stages of the Litany of the Ball.

The methodology’s emphasis on interconnectedness and partnership creates a safe space for artists to explore their boundaries and embark on a journey of

the United States. Founded in 1965 on the Delano

self-discovery and empowerment. Additionally, we

Grape Strike picket lines of Cesar Chavez’s United

discussed the demand for this approach, especially

Farmworkers Union, the company created and

after the release of the book, Theatre of the Sphere:

performed “actos” or short skits on flatbed trucks

The Vibrant Being, by Luis Valdez and edited by

and in union halls.”

Michael Chemers.

Over the past few decades, El Teatro Campesino’s

What is ‘Theatre of the Sphere’?

acting methodology, “Theatre of the Sphere,” has

“Theatre of the Sphere,” an acting methodology

people attend trainings at El Teatro Campesino.

and approach to theater making, found its roots

Since the 2021 publication of the book that outlines

in the late 1960s when Luis Valdez developed it as

“Theatre of the Sphere,” workshops have become

a means for farm workers to express themselves

widely available and the methodology’s impact has

during the strikes and the fight for union rights.

transcended Chicanx theatre circles, resonating

Lakin Valdez emphasized its connection to the

with a broader audience. At its core, “Theatre of the

United Farm Workers movement, stating, “Out of

Sphere” embodies Mesoamerican spirituality and

this process of creating theater, specifically with the

philosophy as an acting methodology. The book

idea that theatre would function as the cultural arm

initiates its journey through El Teatro Campesino

of the United Farm Workers movement, it became

history, interweaving Valdez’s personal insights

clear that there was an aesthetic and various forms

and memories, while laying the foundation for the

that were being developed by the company in the

emergence of the “Theatre of the Sphere” acting

midst of this political upheaval in the 1960s.” Lakin

methodology, and thus, the “Theatre of the Sphere:

Valdez added that training for Chicanx and Latine

The Vibrant Being” workshop.

theater was virtually non-existent. Through Luis

All are welcome

Valdez’s theatre company, El Teatro Campesino, “Theatre of the Sphere” became available to people

Photo: Maya Malan-Gonzalez

thrived primarily through oral tradition and having

“Theatre of the Sphere: The Vibrant Being”

who saw themselves as either workers or as commit-

workshop is designed for anyone. People who have

ted activists who were there to create theater.

never performed are invited to play and it doesn’t

According to El Teatro Campesino’s webpage,

matter if they want to be actors or not. The spiritual

“Since its inception, El Teatro Campesino and its

approach behind the workshop is that it is designed

founder and artistic director, Luis Valdez, have set

for all human beings to explore the spirals in our

the standard for Latino theatrical production in

bodies and in our movement.

“

It’s about empowerment through collaboration, mutual respect, and solidarity.

”

— Lakin Valdez

‘Theatre of the Sphere‘ Practitioner

Fall/Winter 2023-24 | Southern Theatre | 15

‘Theatre of the Sphere’ is ensemble-based

“Theater of the Sphere” became a vehicle

from its inception within the United Farm

the Americas.

Workers movement led by Cesar Chavez,

Core values of ‘Theatre of the Sphere’

The evolution of “Theater of the Sphere”

Dolores Huerta and Larry Itliong, as an aesthetic to a theatrical form, was greatly

heritage, and the historical interconnections of American theater, inclusive of all

The core values of the “Theatre of

shaped through the exploration of El Teatro

the Sphere” acting methodology involve

Campesino’s members. Luis Valdez crafted

empowerment, mutual respect, solidar-

a theater practice with a strong emphasis

ity, and partnership. The method aims

on the citizen as the cultural representa-

to foster a deep understanding of one’s

tive of the movement. The core focus of

identity in relation to others, emphasiz-

“Theatre of the Sphere” lies in ensemble-

ing interconnectedness and compassion.

based theater, an approach that empowers

Two critical beliefs are essential to the

individuals through artistic expression

understanding of this work:

and cultural identity exploration amidst

1. Huinik’ Lil — the idea that we are all

the backdrop of political struggle.

human beings that vibrate.

T he met hodolog y encou rages t he

2. I n Lak’ech — the idea that “Tu eres mi

development of an artistry deeply rooted

otro yo.” English translation: “You are

in one’s own culture and community,

my other me.”

drawing inspiration from Mayan and

These ideologies are critical in develop-

Aztec heritage. Lakin Valdez shared, “That

ing mutual respect and solidarity within the

was the starting point, finding something

group and workshop. In our interview, Lakin

that worked for the company, the core

Valdez provided first hand insight, under-

company at the time that could give them

lining the profound impact that Huinik’ Lil

tools and learn to discover their basic

and In Lak’ech have on our participants.

truth of who they were in the midst of this

He emphasized, “Empowerment is a key

incredible political struggle.” The idea that

aspect of the methodology and approach

“Theater of the Sphere” sought to present

to theater making. It’s about empowerment

was that the individual human being is a

through collaboration, mutual respect, and

microcosm for the universe at large.

solidarity.” Through ritual and physical

For the people

exercises, participants develop trust, empathy, and a sense of shared purpose. Lakin

The historical context of “Theatre of

Valdez offered: “The physical exercises and

the Sphere” stems not just from a scar-

ensemble work are crucial to the process,

city of theater training and professionals

and they help to unlock the participants’

during the politically charged 1960s, but

limitless potential while acknowledg-

especially a scarcity for those engaged in

ing their limitations.” Having taken the

activism and community-based theater

workshop myself, I understood that I could

for the people. In a time when folks were

stop at any moment if I felt that I couldn’t

using theatre as a form of entertainment,

do something, but at the same time, I had

the need for an inclusive and culturally

the support of all the ensemble members

grounded theater practice gave rise to

to uplift me, as we were all reminded, they

“Theatre of the Sphere.”

are my other me.

“Luis Valdez, being an acrobat himself, explored theater with a group of artists and activists to define it on their own terms,”

16 | Southern Theatre | Fall/Winter 2023-24

to explore themes of humanity, indigenous

Indigenous roots

One of the most distinctive features

says Lakin Valdez, revealing the organic

of “Theatre of the Sphere” is its direct

growth of the practice during the 1970s.

connection to indigenous roots. Lakin

‘Theatre of the Sphere’ practitioner Lakin Valdez

Valdez highlighted that, “The workshop’s terminology is infused with spiritual concepts from indigenous cultures like the Mayans, Aztecs, and other indigenous groups across the Americas.” El Teatro Campesino used the Mayan Yucateco principles to help redefine the methodology.

During the workshop, Latine and Chicanx participants specifically embark on a journey of understanding their place in the world and rediscovering their indigenous heritage. Lakin Valdez expanded on this, stating, “We delve into ancient practices and traditions, drawing inspiration from

soccer ball, that we had our own sphere.

our indigenous roots to inform the theater’s

And when we stood with someone else

philosophy and approach.” This unique

doing the same exercise, we were able to

aspect enriches the experience, creating a

observe their sphere, and how collectively,

transformative and culturally grounded

we all have spheres surrounding us. When

theater practice. Participants of the work-

people participate in the workshops, Lakin

shop delve into understanding their place

Valdez also places great importance on part-

in the world and reconnecting with their

nership and shared space, which becomes

indigenous heritage, unearthing ancient

a transformative force for participants. He

practices and traditions that inform the

asserted, “It’s within this partnership that

methodology’s philosophy and approach.

we discover and transcend our limitations.”

Four essential aspects

shop explores the emotional side, encour-

“Theatre of the Sphere: The Vibrant

aging actors to embrace the spectrum of

Being” workshop revolves around four

their emotions while maintaining control

essential aspects: the body, mind, the

over them. Exercises center around the

heart, and spirit. During the workshop

concept of opposites and duality, allowing

that I attended we only explored the body,

participants to navigate between opposing

mind, and heart aspects.

emotions, while developing balance and

Moving on to the heart sphere, the work-

The workshop begins with a strong

harmony, symbolized by Quetzalcóatl.

emphasis on the body’s freedom of move-

For instance, there were moments where

ment, with exercises that utilize music,

we passed the ball around to each other.

dance, and rhythm to develop balance and

With this action, we were connecting with

grace. This physical approach reflects the

someone else. The ball isn’t thrown, but

idea that the human body, with its vari-

gently given to someone else. With this

ous moving parts, forms parts of circles

action, a connection is formed. There is a

and collectively constitutes spheres. For

bond when you look at someone straight

example, we did an exercise with a soccer

in the eyes and offer them a gift.

ball (one of the key elements of the work-

The mind, during the third part of

shop) where we moved the ball all over our

the workshop, is described as logical and

bodies. It was so clear, as we moved this

illogical, imagining and conceiving, workFall/Winter 2023-24 | Southern Theatre | 17

Global Languages and Theatre Arts

Finding stillness, listing to one another, while adjusting the posture of the Egg. Photo: Maya Malan-Gonzalez

BA/BS Theatre BA/BS Theatre/Film BA/BS Musical Theatre Murraystate.edu/theatre 18 | Southern Theatre | Fall/Winter 2023-24

ing in unity with the heart and body. The

as a powerful tool to break down barriers

exercises focus on the interplay between

and instill a sense of trust and fluidity

the logical and imaginative aspects of the

among participants. The ball, being a

mind. Improvisations involve communi-

sphere, allows us to explore our own

cation and interaction on a more spherical

sphere as well as the spheres of others.

level, promoting a profound connection

As mentioned earlier, the ball serves as

among participants.

an element that helps determine what and

Litany of the Ball

where our sphere is as we explore space

T h e move me nt s a nd e xe r c i s e s i n

through a series of physical movements

“Theatre of the Sphere” were crafted in

that represent Mayan animals. We used

collaboration with the actors of El Teatro

the ball to create harmony and balance

Campesino, drawing inspiration from the

while also being reminded of our spheres.

Mayan concept of zero. According to this

Lakin Valdez elaborated on the symbol-

concept, every individual occupies a sphere

ism behind the soccer ball stating, “The

of potential energy, described as a vibrant

soccer ball represents the sphere of energy

vibration. The sphere encompasses the

that encompasses each individual.” He

body-heart-mind-spirit continuum, repre-

highlighted that the ball serves as a meta-

senting the spiritual vitality that resonates

phor, reminding participants of the inter-

within each person. As actors, both on stage

connectedness of all beings: “It becomes a

and in life, this notion reinforces the idea

powerful tool for physical exploration and

that we are all “vibrant beings,” existing

communication.” He also said that the ball

within our own sphere of dynamic energy.

is used as a physical tool to unlock mental

For the core of the workshops, Lakin Valdez

resistance, enabling participants to explore

uses activities to explore movement, such

the untapped potential of their bodies.

as the Litany of the Ball.

Lakin Valdez explained, “The ‘Litany of

with it. In this activity, we were taken

One of my favorite activities was the

the Ball’ is about fostering fluidity and

Litany of the Ball. I had read the book

grace in movement, helping us transcend

and seen the pictures but did not fully

both physical and mental barriers.”

understand its importance. I also did not

Thus, the soccer ball becomes the

think I was capable of doing all the exer-

central symbol in “Theatre of the Sphere,”

cises. I was wrong. This exercise involves

as it represents the sphere of energy that

working with a soccer ball, unlocking

encompasses every individual.

mental resistance, and discovering the

During the workshop, we also explored

body’s physical capabilities. The ball acts

“Theater of the Sphere” theory further,

learning about the Veinte Pasos or the

individuals, and foster a strong sense of

Twenty Steps. This intricate process, also

interconnectedness among all participants,

referred to as the “Twenty Footprints of

making it an invaluable addition to the world

God” or the symbolic representation of

of theater. Its impact continues to grow.

Humans’ Spiritual Pilgrimage, delves into

And I couldn’t agree more.

the four phases mentioned earlier—body,

Sara Guerrero, the founding artistic

heart, mind, and soul—breaking them down

director of Breath of Fire Latina Theater

into five individual parts, totaling twenty

Ensemble shared, “I’ve always known about

steps in all. Each step is associated with one

the significance and relevance of the work,

of the twenty Mayan days of the sacred year,

history, cultural connections, and methodol-

Tzolkin, which consists of a sequence of

ogy of El Teatro Campesino, so we recently

260 days. If one completes the full training

hosted a two-day ‘Vibrant Being’ workshop

sequence, each of these steps are covered.

for our Santa Ana community in Orange

Accessibility

County, CA. We are always looking for prac-

Lakin Valdez highlighted the remark-

of participants who come with an array of

able adaptabilit y of “T heat re of t he

backgrounds, ages, skills, experiences, and

Sphere,” particularly in accommodating

connections to storytelling and theater. We

participants with physical disabilities. He

are looking forward to bringing El Teatro

asserts, “The workshop can be modified

Campesino back for future workshops.”

tices that can engage a broader spectrum

to suit different abilities, ensuring that

As our conversation concluded, Lakin

everyone has a path to discover their indi-

Valdez left me with an even deeper under-

vidual potential.” By working in partner-

standing of “Theater of the Sphere’s” power.

ship and exploring the spherical energy of

This ensemble-based theater practice holds

one’s own body and others, the workshop

the key to unlocking hidden potential,

offers an inclusive and empowering expe-

embracing cultural identity, and fostering

rience for all. For instance, we are asked at

empathy and compassion among artists

the beginning of the workshop what we

and communities. The participants come to

physically can and cannot do. With this

realize that they are all united by a common

knowledge, Lakin Valdez helps modify

cause, imbuing a sense of empowerment

the exercises each individual.

and resilience in the face of political and

Final thoughts

social challenges. Lakin Valdez explained,

While “Theater of the Sphere” has been

partnership, and how we can mutually

around for decades, its visibility has recently

respect each other within the workshop.”

increased due to the 2021 release of the book.

In the workshop that I took, the collab-

The growing interest in the methodology

orative and empathetic environment

has led to a surge in demand for training

nurtured personal growth and artistic

and workshop opportunities. Lakin Valdez

exploration, making “Theatre of the Sphere”

expressed his excitement about the growing

a profound and life-changing experience for

interest in the methodology: “I am thrilled to

all involved. n

“It’s about understanding our identity, our

see the renewed interest in “Theatre of the Sphere” and hope to witness more artists engaging with this transformative process.”

He encourages artists to explore resources, workshops, and organizations that offer opportunities to learn and engage with “Theater of the Sphere.” He firmly believes that this unique methodology has the potential to open up new perspectives, empower 20 | Southern Theatre | Fall/Winter 2023-24

Daphnie Sicre, PhD (she/her) is a multi-hyphenated artist. She is a director-dramaturg-scholar-educator who shares a deep passion for Black and Latinx perspectives in theatre.

Engaging in anti-racist and culturally competent theatre practices, she helps bring stories from the page to the stage. @drsicrelovestheatre

The all African-American cast of Chris Coleman’s 2011 Oklahoma!, at Portland Center Stage. Photo by Patrick Weishampel

Must the Show Really Go On? b y To m A l s i p

Some of musical theatre’s old classics are showing their age.

Can they be saved? Should they be?

Theatre mirrors the story of our world. It strives to tell stories for a contemporary audience. As the world changes, some of these stories become outdated; but change is a good thing, providing the required distance to have a better understanding of our past. Time enables us to see what we have done well, where we have fallen short, and where our next areas of growth should occur.

In many ways, theatre is a progressive art form that advances humanity’s understanding of the world. It is ephemeral and often focused on the NOW… when it is written. However, modern theatre not only produces contemporary shows, but also classics from the past that have an enduring legacy. Whether it’s the works of Shakespeare, Molière or Aeschylus, a significant amount of theatre is an examination of the past. Many believe the best theatre can transcend its era and continue to be relevant years into the future. Audience trends support that idea, as the white, Eurocentric classics continue to sell tickets.

But not every work of theatre has aged as gracefully. Some shows have messages that don’t feel relevant anymore. Others have elements that are no

CHANGING TIMES longer indicative of the modern world. While we can overlook stories that feature the horse and buggy, we get more confused when characters speak in vernacular we don’t understand. We are even more removed when they are married to ideas that we have outgrown, such as loyalty to a land-owning lord or fealty to a despotic monarch. And we are often repulsed when these productions feature blatantly immoral acts such as an acceptance of slavery or the subservience of women.

It is easy to say that shows that contain this content should not be performed anymore. But what happens when those elements are present, but are not the focus of a show’s message? And what do we do when these tertiary elements of outdated thinking are present in shows that are considered to be classics – often touted as important staples of theatrical education and appreciation?

That is what we explore in this article. A select few from SETC’s membership base identified produc-

outdated that no one has interest in performing

tions as “problem shows” and completed a survey

them anymore… Vera Violetta, made famous by the

that explored how they engage with such material.

blackface performances of Al Jolson isn’t being

The responses run the gamut from individuals repre-

performed anywhere anymore.

senting professional theatre companies, educational

What we are examining are shows that seem

theatre institutions and freelance theatre artists.

to have some significance to today’s society, either

Many of these respondents have requested anonym-

artistically or commercially. Many of these shows

ity, which I think is indicative of the complexity of

are considered classics, pulled from the white

this topic. But we have included feedback from all

European and/or American canon of plays and

our respondents to make sure we have the broadest

musical theatre which is heavily centered on male,

cross section of opinions represented, even if many

white-identifying playwrights or composers. While

of those quotes are attributed to unnamed sources.

most shows that people are labeling problem shows

What is a ‘problem show’?

are generally older productions, plenty of new

Thomas Pender, an Adjunct Professor of Theatre

of our anonymous respondents explains:

The definition is trickier than one might think.

History at the University of Oklahoma, latched on to this question right away.

shows are considered problematic by a significant portion of the contemporary theatre audience. One “The biggest problem may exist in the growing divide of what constitutes a problematic show/

“My question from the start of this survey was:

season. Is it one that fails to incorporate lived

“For whom are these shows a problem?” Samuel R.

experience? Is it a season that denies the existence of

Delany, writer and literary critic, once suggested

a marginalized community? Or is it too many adult

that genre isn’t about what a book is or isn’t; genre is

themes in a venue that audiences hope is for all ages?

about how you read it.” Pender continued, “There’s

In other words, who decides what’s problematic?”

hardly a play worth performing that won’t offend

Most importantly, these “problem” shows are

someone. When does challenging someone’s closely-

primarily made up of plays and musicals with which

held beliefs turn into an offensive act?”

most theatregoers are familiar such as The Taming

What should be established at the outset is

of the Shrew, The Merchant of Venice, Carousel, and

that we are not talking about “bad” shows. The

Anything Goes — veritable classics of the theatre

“problems” inherent in problem shows have noth-

canon that have stood the test of time but are

ing to do with a show’s artistic quality. We are

currently struggling with passing a different sort

also not talking about shows that are so virulently

of test tied to social consciousness.

Portrayals of the character of Shylock in The Merchant of Venice have evolved over the centuries, but many directors still find Shakespeare’s text problematic.

L: Louis Bouwmeester in the role of Shylock at the Royal Dutch Theater, from the newspaper The Theater, January 1902.

R: Al Pacino played Shylock in a 2005 film version, directed by Michael Radford. Sony Pictures/Courtesy Everett Collection

Fall/Winter 2023-24 | Southern Theatre | 23

Why are controversial shows still performed?

older shows makes the theatre makers

Theatre is performed for an audience.

that eschew traditional theatrical tropes

While all audiences are different, as

and embrace contemporary language and

an aggregate population, most regular

situations are problematic for the older

theatregoers are generally older, iden-

audience. This issue is not just one that

tify as white, and are usually affluent.

impacts professional theatre companies

Conversely, another segment of theatrical

but has permeated its way into the educa-

audiences are theatre makers (actors, writ-

tional sphere as well.

the same time, many of the newer shows

ers, designers, technicians). Again, speak-

“The faculty at our educational theatre

ing in generalities, that group TENDS to

are split on the topic. This tends to be a

be younger, more racially diverse, and

generational divide,” according to another

more progressive. Part of what drives this

anonymous respondent.

debate are the differing opinions about

The impact of losing the money of the

what these two groups want to see on

“older” theatregoers can devastate the

stage. No one wants to make it political,

operating budgets of theatre companies,

but there is an inherent politicization in

weakening their ability to produce any

the discussion, as another anonymous

shows, i nc lud i ng t he contempora r y

respondent noted:

productions in which many artists want

“ T h e at r e s ho u ld b e c h a l le ng i ng

to take part. But ignoring the desires of

and should open discourse. Continued

the “younger” theatrical audience alien-

Republican boycotts threaten that, and so

ates the very artists who are the future of

do liberals deciding to ostracize anything

theatre and can cause a stagnation in the

from a certain generation, etc. Until we

broader artistic growth of the art form.

decide to engage in the often-uncomfort-

While broadly labeling this divide as

able conversations that problematic mate-

generational can be oversimplifying the

rial demands, we’ll continue to struggle

issue, most of the feedback we received

and to resent one another.”

underscored this idea.

Economically, theatre needs a core audience: season ticket holders who come out to support the arts with regularity.

Examples of ‘problem shows’

The Taming of the Shrew is an excellent

Historically, that has been (primarily)

Shakespearian example of a problem

the older, white identified group. And

show. William Shakespeare’s canon is

while many among them want to see new

popular with audiences and pedagogi-

and contemporary theatre, many of them

cally relevant for theatre students. Most

also want to see titles with which they

people have seen productions of Hamlet,

are familiar; Guys and Dolls, Romeo and

Romeo and Juliet or A Midsummer Night’s

Juliet, and Barefoot in the Park — classic

Dream. But not all his plays have aged well.

titles written primarily by white, male,

In The Taming of the Shrew, the plot

Eurocentric playwrights that have built-in

centers on a man, Petruchio, “break-

audiences. Theater companies often lean

ing” a woman named Katherina and

on these titles to sustain their business.

teaching her how to be obedient. After

Additionally, the money made from clas-

their wedding, he takes her back to his

sic productions is often recycled back into

home against her will, denies her food

the company and used to produce newer

and clothes, and encourages her to agree

works that appeal to another audience.

with everything he says, no matter how

That ’s how t he t heat rical ecosystem

wrong he is. The play ends with Petruchio

works.

showing other men how well his wife has

However, the content of many of these 24 | Southern Theatre | Fall/Winter 2023-24

and younger audiences uncomfortable. At

learned to obey him.

Embrace who you are.

Become the artist you can be.

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

www.circlesquare.org

Obviously, a play about a man dominat-

and seemed to act as a weak exoneration of

ing a woman and forcing her to obey has

what is an unequivocally immoral action.

not aged well. It has come under constant

Carousel is just one of many older musi-

criticism in recent years. (Frankly, many

cals that have not aged well. One anony-

believe it was controversial as far back as

mous respondent reflected on another

when it was written, due to the changing

musical they found to be problematic.

gender politics of that time.)

stage management,

theatre

at a company I’m no longer with. When it

that is controversial, the Bard’s work is

was announced, I very strongly considered

often given a pass, having been written

quitting, but I didn’t, and I regret that. The

hundreds of years ago. However classical

1974 musical is incredibly outdated and

musical theatre is less shielded from criti-

riddled with white supremacist views on

cism, having been written in the last 100

the Civil War, including the depiction of

years. Carousel is an illuminating example.

a young black boy, a slave, who cheerfully

Carousel was the second musical writ-

sings that ‘freedom is a state of mind.’ I

ten by Rodgers and Hammerstein (R&H).

didn’t see a way that within the content

Premiering in 1945, Carousel features one

of the show we could present a piece that

of the most seminal scenes in the history

wasn’t spreading a harmful message, and

of musical theatre, The Bench Scene. A

ultimately, I think we did spread a harmful

nea rly 20 -m i nute exposit iona l scene

message.”

between the two leads, it is a seamless web

So, why are we hung up on this? Why

of dialogue, underscoring and singing,

even perform Carousel or other “outdated”

that changed musical theatre forever. It

musicals or plays anymore?

became the standard to which all musical

This is where the argument about a

scenes were measured, called “the singular

show’s importance comes into play. The

most important moment in the evolution

significance of Carousel’s impact on musi-

of contemporary musicals” by Stephen

cal theatre cannot be understated. In an

Sondheim.

educational institution, many feel that you

Yet, despite this noteworthy scene

must study it to understand modern musical

and its prominence as one of the Big Five

theatre and how it came to be. Additionally,

musicals of one of the greatest musical

while it is still the least popular of the

theatre writing duos of all time, the show

Big Five, the popularity of Rodgers and

is very controversial. The play includes

Hammerstein makes it financially a safer

an admission from the female lead that

bet to produce than many other Golden

her husband, the play’s protagonist Billy

Age musicals and just about every non-

Bigelow, has physically and emotionally

Sondheim musical from the 1970s to 1990s.

abused her. Additionally, we witness him

It would be easy to say we should just move

angrily slap his daughter’s hand, causing

away from Carousel, but doing so does

her to cry.

incur a loss.

Carousel is often the go-to example of a problem show in the musical theatre canon.

In addition to the subject matter, which was adapted by R&H, they added some controversial lines to try to “fix” the warts

apsu.edu/theatredance

26 | Southern Theatre | Fall/Winter 2023-24

“I struggled the most with Shenandoah

While not the only Shakespearian play

How are the ‘problem shows’ being taught or performed today, if at all?

In our survey of several theatre compa-

of their protagonist. After Billy strikes his

nies in the SETC sphere, we also asked

daughter, she tells her mother that it didn’t

how they produced or taught classical

hurt, and felt like a kiss. Her mother then

shows, the genre wherein we find most

tells her that when someone loves you, even

of the “problem” shows.

if they hit you, it won’t hurt at all. That line

We received over a dozen responses.

aged almost as poorly as the violence did

Not a single theatrical entity did NOT

DON'T BREAK A LEG INSTALL INCORD NETTING

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

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

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

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

BRAD Kennesaw University

Fully Customizable

Optional Features

Tested and Trusted

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

Joe Menhart: 860.531.1046

theatre@incord.com

www.incord.com/theatre

The Princess Plays

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

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

theatre.nku.edu | sota.nku.edu

Annual Dance Concerts

The African Company Presents Richard III

The poster from the 1956 film adaptation shows Yul Brynner in the stage and screen role that made him famous.

M.F.A. in Theatre All accepted students receive a competitive assistantship and a full tuition waiver

perform classical shows in some form or another, though a few noted they were actively trying to perform fewer.

While some stated that the shows were reimagined or updated, every represented compa ny produced t hem wit h some regularity, many on a yearly basis.

“Classic shows have name-recognition and may help sell tickets,” clarified one anonymous respondent.

Even though these companies almost uniformly produced classics, the reaction to them was not always smooth from at least one significant portion of their sphere of influence or another.

One company noted that, “Audiences do not complai n about older shows, however, performers/designers do not

content that is politically progressive. We’re

want to be involved with them.”

more likely to receive complaints for too

Another individual stated that they get

much cursing or mild queer themes than we

“more complaints from younger audience

are to receive complaints about problematic

members.”

characters or plots.”

Amy Guerin, an Associate Professor at

The divide between artists and audi-

the University of Alabama in Huntsville,

ences is underscored in these statements.

stated that they got “student pushback

We also asked how companies tried to

against problematic text and plot points in

interface with problematic material. Did

The Complete Works of William Shakespeare

they change the content? Find a way to

(abridged), Request Concert and Hair.”

explore it in a non-performative context?

Conversely, someone else shared a

Or were there other ways to engage with

different experience, stating that it is often

these artistically relevant shows that have

modern shows that provoke complaints

aged poorly?

from audiences. “…Some of our newer

O ne i ndiv idua l sa id t hey st i l l

material (i.e., Significant Other) often

performed this material with edits and

features a level of adult language that

noted that sometimes the change can be

draws comments from our long-tenured

subtle to enable an older show to work in

audience members.”

the modern theatrical world.

This idea was echoed by another respon-

“We try not to change anything, but

dent who shared that their “audience is

direction can make a big difference in how

either students or community members.

a line, or a scene is delivered.”

Members of the community in our area

Nick Newell, an Associate Professor of

almost never take issue with classical

Theatre at Georgia Southern University,

content. Instead, they take issue with newer

said that casting can go a long way towards

Arts Leadership Costume Design Directing & Public Dialogue Lighting Design Scenic & Properties Design Stage Management Technical Direction

sopa.vt.edu

Fall/Winter 2023-24 | Southern Theatre | 29

Marius Goring as Petruchio and Yvonne Mitchell as Katharina, at The Shakespeare Memorial Theatre, Stratford, in 1953

realize it is a problem, that it’s not just something we’re representing uncritically.”

One common t heme was consistent among the feedback: “If you have to cut too much, you should not be p r o d u c i n g t h e s h o w, ” according to Michael

30 | Southern Theatre | Fall/Winter 2023-24

changing the energy and impact of certain

De t r oit, t he E xe c ut ive Pr o duc er of

lines and situations in older shows.

Playhouse on the Square in Memphis.

Newell wrote, “My colleague Lisa

Nick Newell agreed: “If you are leav-

Abbott cast a trans actor as Hippolyta in

ing out or editing major plot points or

Midsummer and that character’s striking

vital speeches, it’s too much. Maybe you

visual reactions to every instance of

should make a different choice. It’s always

misogynistic comment by Theseus and

best to do a show that speaks more to

Egeus were positively scene stealing.”

the moment. There are plenty of classics

But significant cuts to these shows are

to choose from that do not get enough

usually not possible due to contracts with

produc t ion s. Maybe some Ma rlowe,

the licensing companies.

Molière, or Sophocles will fill that slot

A respondent noted, “We do not do cuts

better than Othello or Taming of the Shrew.”

or edits (outside of Shakespeare) because

The question of “how much of an edit

of performance contracts. So, problematic

is too much” does not have a clear answer.

material necessitates an “all or nothing”

And the question continues to be muddied

approach.”

by the debate over what is problematic.

C a r ol i n e Ja n e Dav i s , a Vi s it i n g

“Our faculty have discussed what

Assistant Professor of Theatre Arts at

kinds of playwrights and plays might be

Furman University, says her company

considered a period piece even if it used to

tries to find a middle ground to not break

be considered contemporary. For instance,

their licensing contract, but still find

my students find the language, characters,

a way to make the material work. “We

and circumstances of Arthur Miller and

don’t touch the text itself when it’s under

Tennessee Williams to be unfamiliar and

license, but we do try to provide a differ-

problematic in terms of content. Even

ent implication in the staging, design, and

material from as late as the 1980s seems

characterization. At the very least, we aim

to now pose the same issues once only

to communicate that we as an artistic team

associated with “period pieces.”

More recent productions of The Taming of the Shrew have attempted to address concerns about the play’s perceived misogyny. R: Deborah Ann Woll as Katherine, James Udom as Petruchio, and Orville Mendoza as Grumio at the Old Public in 2022. Publicity photo by Jim Cox.

Nicole Colbert, Adjunct Lecturer at CUNY & Artistic Director of Nicole Colbert Dance/Theatre, shared similar feelings. She noted that editing doesn’t always solve problems and can create new problem s. She a l so pointed out that the level of editing to make these shows work is not limited to “older” works.

songs from these shows in performance

“I think re-imagining classic texts

classes or studying a show and its broader

can give them new life. But, I do wonder

historical setting and impact in a theatre

about the intense re-interpretation we’re

history or seminar course. Caroline Jane

seeing to make these texts relevant today.

Davis shared her pedagogical approach

Sometimes the choices are so conceptual

in teaching these shows.

that the world of the play is lost. Why

“In my history classes, I’ll pair a prob-

not make another choice at that point?

lematic work with something else — a

Contemporary plays and musicals, such

contemporary re-imagining of the play

as Hamilton, which is only a few years

that calls these issues into question explic-

old, have also come under question in

itly, for example. Or another work from

light of the Black Lives Matter and #MeToo

the period with a different perspective

movements. When I teach a play, whether

than the more famous problematic one.”

contemporary or classical, I feel it’s impor-

Sometimes engagement with some of

tant to provide extensive socio-cultural

these works comes with added impetus on

and historical context. That said, I think

giving context. Amy Guerin gave another

any play with extreme -isms would be

example.

very unacceptable in this day and age.”

‘Problem shows’ in educational institutions

A big focus of the survey was on

“If I did have to teach a classic play with problematic content, Miss Julie, for example, I would first provide a lot of context around the playwright, the world this play was born in to, and why it was written the way it was.”

the unique perspective of educational

This dramaturgical approach often

institutions that want to still engage with

yields positive results and stimulates

certain shows, but not necessarily perform

important discussions.

them. That can mean assigning scenes or

“It’s always best to dive in. Students Fall/Winter 2023-24 | Southern Theatre | 31

are not as sensitive as they are hyped to

think a very clear vision retelling at the

be. Particularly when you are asking them

right time can be impactful and well done.

for their opinion on the matter,” according

For example, the Oklahoma revival.”

to Nick Newell.

@techtheatredept

These discussions can even lay the

from the non-musical theatre realm.

groundwork to bring some of these shows

“I never thought a person would want

back in new ways in the future. That’s the

to see The Octoroon again, but Branden

hope of one anonymous respondent.

Jacobs-Jenkins did wonders with An

“We do exami ne context, societal

Octoroon and revived interest in melodra-

norms, and how attitudes have shifted. I

ma for my students with his postmodern

am hopeful that greater perspective will

take on the play. So much of the language

allow us to re-approach ‘problematic’

of that play is pure poison even from the

material one day.”

protagonists of an abolitionist play, but

Looking to the Future

Mr. Jacobs-Jenkins figured out a brilliant

Most issues seem to stem from older

Several respondents espoused an idea

shows in the canon. A common attitude

that as the world changes, the shows we

of those in our survey seems to be more

produce should change. That is funda-

discretion in producing older titles, going

mental to supporting the contemporane-

so far as to limit the amount of older mate-

ousness of theatre.

way to re-frame it into exciting theatre.”

rial being produced. Many believed that

“Art is a constantly morphing entity.

the focus should be on doing newer shows,

I think it’s absolutely okay when shows

not just to avoid “problem” shows, but to

change to have a stronger connection to

help focus on contemporary theatre and

modern society,” explained Detroit.

playwrights to continue the evolution of theatre.

This idea was very popular with our respondents, some even emphasizing that

Davis had more to say on the matter.

this growth was healthy for theatre. Amy

“We need to be t hin king about new

Guerin shared her views on the matter:

ways of engaging audiences altogether,

“I f contemp ora r y d ra mat u rg y i s

especially post-COVID. And we need to

moving us forward and away from these

reckon with who it is we are really trying

works, it is so that we don’t become

to reach when we build our boards and

fossilized as an art form. It’s okay to let

create our seasons and market our work.

art objects die.”

Molière isn’t going to help us figure that out. Support living playwrights.”

Growth is healthy and vital according to another survey respondent:

She continued. “Theatre is about seeing

“The ideal situation is that seeking

new perspectives, gaining new insights,

diversity and inclusion, new shows are

seeing elements of yourself on the stage in

generated.”

a new way… We are the only people who

And while some shows may disappear,

can write about what’s happening today.

those that have timeless significance

And while I value works of the past, I

remai n a nd space is made for ot her

think theatres do a huge injustice to our

produc t ion s, bot h old a nd new. A n

culture by heavily favoring dead play-

anonymous respondent broke this idea

wrights from another era over the living,

down further:

breathing artists who have something to

“There is a nat ural winnowing of

say about what’s happening right now.”

material, just as newer pieces are canon-

Others latched on to the idea of doing

ized. The Play That Goes Wrong, Clue

older shows in new ways and the positives

and The Drowsy Chaperone will become

that can come from that.

evergreen, and I suppose we’re likely to

An anonymous participant offered, “I 32 | Southern Theatre | Fall/Winter 2023-24

Someone else provided an example

lose some comparable pieces… perhaps

Rodney Hicks and Brianna Horne starred in Oklahoma!, at Portland Center Stage in 2011. Photo: Patrick Weishampel we’ll see fewer productions of Noises Off,

more about finding shows that speak to

And Then There Were None and Gypsy. But

the audiences of today.

you know, we’re still doing A Midsummer

Nick Newell summed it up well. “We

Night’s Dream and we’re still unearthing

are living through historic and perilous

other lost gems. If it means making space

times. This sensitivity is based in a real

for newer works, it’s worth risking losing

need to stop the [sometimes literal] bleed-

other, hoarier pieces. The worthy ones

ing that is going on in our society and

will endure.”

the least artists can do is help rather than

Final thoughts

harm with their choices. Shakespeare and

While a single, clear answer on the way

them. They are going to live on because

to deal with “problem shows” would be

of their genius… But I truly believe that

nice, it is impractical. Audiences can’t even

audiences appreciate being challenged

agree on which shows should be labeled

more than they are given credit for.”

problematic.

Irving Berlin do not need you to protect

Theatre is meant to tell stories to a

However, continuing the conversation

diverse audience. Varied offerings are

is vital. Audiences need to communicate

vital. If the conversation continues and all

with theatre companies, who must choose

voices are heard, we can feel reasonably

shows that fit within their missions.

confident that the shows that SHOULD be

Students should have a voice in the theatre

retired, WILL be retired, and those that

they consume in classrooms, but educa-

still speak to the modern theatregoer will

tors must be able to assign important plays

continue to be produced. n

from history, even if that means leaving room for discussion about the problematic nature of those plays.

Theatre is an ever-changing art form.

It is for an audience… today’s audience.

Perhaps the focus should be less on what older shows should be protected, and

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 2023-24 | Southern Theatre | 33

2023 College, University & Training Program Directory Looking for the best setting to launch your career in theatre?

Or perhaps you’re seeking the perfect place to pursue an advanced degree in one of the theatre disciplines? To help you make those choices, we have compiled the most comprehensive directory available anywhere listing degrees and special programs offered at SETC member colleges, universities and training programs. Data for the profiles is provided by the institutions.

2023 SETC College, University AUBURN UNIVERSITY

Theatre & Dance

CONVERSE CRAFT CREATE

Photo by Henry Eiland

Fully accredited

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

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

auburnuniversitytheatre.org 334.844.4748

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

Head Over Heels 2021-2022 Season Photo by Cliff Hollis

Dance @ Wright 2021-2022 Season Photo by John Dixon

Mamma Mia! Summer 2022

Explore ECU theatredance.ecu.edu

ANDERSON UNIVERSITY South Carolina School of the Arts 316 Boulevard, Anderson, SC 29621 Degrees: BA: Theatre, Dance, Theatre (Theatrical Design); BFA: Acting, Musical Theatre; Minor: Theatre, Dance. PWI andersonuniversity.edu

36 | 2023 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 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

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 BENNETT COLLEGE Department of Humanities 900 E Washington St, Greensboro, NC 27401 Degrees: BA: Theatre; BFA: Theatre. HBCU bennett.edu BEREA COLLEGE 101 Chestnut St, CPO 2148, Berea, KY 40404 Degrees: BA: Theatre; Minor: Theatre, Film, Musical Theatre. PWI berea.edu/thr BERRY COLLEGE PO Box 495013, Mount Berry, GA 30149-5013 Degrees: BA: Theatre; Minor: Theatre, Musical Theatre. PWI berry.edu/theatre

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 Course Sequence; Artisan Certificate: Scene Painting. PWI bu.edu/cfa/theatre

Students in our Company get hands-on experience in ALL aspects of theater and dance production through an active season of mainstage and studentproduced works.

Our program provides the flexibility to p double major or add a minor to complement an area of interest and make graduates more competitive.

Learn more at www.highpoint.edu/theater tch a video a wa

ut u s bo

BELHAVEN UNIVERSITY 1500 Peachtree St, Jackson, MS 39202 Degrees: BA: Theatre (Theatre, Performance, Production). PWI belhaven.edu/theatre

Black Acting Methods Studio Training: Workshops, Online Courses, Virtual Coaching blackactingmethods.com

Located in central North Carolina, High Point University is a private liberal arts school offering BA degrees in theater performance, technical theater, collaborative theater, and dance.

to

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

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

Scan

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

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

2023 SETC College, University, & Training Program Directory | 37

2023 SETC College, University 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 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 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

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

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

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

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 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

38 | 2023 SETC College, University, & Training Program Directory

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

& Training Program Directory 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

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

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

GEORGIA SOUTHERN UNIVERSITY 2434 Southern Dr Sanford Hall / Box 8091, Statesboro, GA 30460 Degrees: BA: Theatre; Minor: Theatre. PWI georgiasouthern.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 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

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 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 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

2023 SETC College, University, & Training Program Directory | 39

2023 SETC College, University

SCHOOL OF THEATRE ARTS Sunday in the Park with George, Fall 2022

BA IN THEATRE ARTS BFA IN MUSIC THEATRE BFA IN ACTING BFA IN DESIGN & TECHNOLOGY HANDS-ON, CONSERVATORY-STYLE TRAINING IN A NATIONALLY-RANKED LIBERAL ARTS SETTING 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 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

40 | 2023 SETC College, University, & Training Program Directory

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

& Training Program Directory 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 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

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 2023 SETC College, University, & Training Program Directory | 41

2023 SETC College, University 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 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 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

42 | 2023 SETC College, University, & Training Program Directory

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

& Training Program Directory 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 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 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 ROLLINS COLLEGE Department of Theatre and Dance 1000 Holt Ave # 2735, Winter Park, FL 32789 Degrees: BA: Theatre; Minor: Dance . PWI rollins.edu/theatre ROSE BRUFORD COLLEGE Lamorbey Park, Burnt Oak Lane, Sidcup, Kent DA15 9DF United Kingdom Degrees: BA: Acting, Actor Musicianship, American Theatre Arts, Audio Production (Technology/Music/Sound Design), Costume Production, Creative Lighting Control, Design for Performance (Set, Costume, Lighting, Digital Content), European Theatre Arts, Scenic Arts (Construction, Props & Painting), Stage and Events Management, Theatre and Social Change; MA: Light in Performance; MA/MFA: Actor and Performer Training, Actor Musicianship, Collaborative Theatre Making, Contemporary Directing Practice, International Theatre Practice and Performance, Theatre for Young Audience.. 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 SAMFORD UNIVERSITY 800 Lakeshore Dr, Homewood, AL 35229 Degrees: BA: Theatre (Acting and Directing, Production Design and Technology); BFA: Musical Theatre, Theatre for Youth; Minor: Theatre, Dance, Film Production. PWI samford.edu/arts/theatre-and-dance

2023 SETC College, University, & Training Program Directory | 43

2023 SETC College, University SAVANNAH COLLEGE OF ART AND DESIGN Savannah – Atlanta – Lacoste – SCADnow PO Box 2072, Savannah, GA 31402 Degrees: BFA: Performing Arts, Production Design, Dramatic Writing, Film and Television, Sound Design; MFA: Performing Arts, Production Design, Dramatic Writing, Film and Television, Sound Design, Themed Entertainment Design; MA: Creative Business Leadership, Film and Television, Production Design, Sound Design. 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

FOSTERING STUDENTS’

PERSONAL, PROFESSIONAL, AND ARTISTIC DEVELOPMENT with EXPERIENTIAL LEARNING AND ACCESS TO THE PROFESSION.

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

· B.A. in Theatre · Minor in Theatre · Minor in Arts Administration and Cultural Advocacy

· Internship opportunities with industry-leading organizations such as New Haven Symphony Orchestra, Long Wharf Theatre, and Elm Shakespeare Company

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

For more information, visit SouthernCT.edu.

44 | 2023 SETC College, University, & Training Program Directory

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 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 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 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

& Training Program Directory 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 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

PH O TO

CR ED IT

: RI CH

EL LE SZ

YP UL SK

I PH O TO

G RA PH

Y

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

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

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 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 Learn more and audition at stephens.edu/conservatory

2023 SETC College, University, & Training Program Directory | 45

2023 SETC College, University 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 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 U A B D E PA R T M E N T O F T H E AT R E FROM THE 2022 PRODUCTION OF THE SPONGEBOB MUSICAL TAYLOR CAMPBELL PHOTOGRAPHY

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, 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

OFFERING

BFA in Musical Theatre BA in Theatre

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

uab.edu/cas/theatre

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

46 | 2023 SETC College, University, & Training Program Directory

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 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

& Training Program Directory 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 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 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 THE ARTS IRA BRIND SCHOOL OF THEATER ARTS 320 S Broad St, Philadelphia, PA 19102 Degrees: BFA: Musical Theater; Acting; Directing, Playwriting + Production, Theater Design + Technology; MFA: Devised Performance; GC: Devised Performance; Minor: Musical Theater. PWI uarts.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 2023 SETC College, University, & Training Program Directory | 47

2023 SETC College, University 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 VASSAR COLLEGE Powerhouse Theatre 124 Raymond Ave, Box 225 Poughkeepsie, NY 12604 Degrees: BA: Drama. PWI vassar.edu/powerhouse 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 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 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

48 | 2023 SETC College, University, & Training Program Directory

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 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

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

text to start captions

Professional actors work with students from Centre College and Furman University at the College Collaboration Project’s pre-production workshops in New York City. Photo: Kevin Cristaldi

Down on the Farm

The Farm Theater’s College Collaboration Project is cultivating the next generation of new play development talent As the financial constraints of the COVID-19 pandemic continue to impact theaters across the country, training grounds for new play development are becoming increasingly rare. Stalwarts like the Humana Festival and the Public Theater’s Under the Radar Festival have either ended or paused their programing in the last several years, leaving a significant hole in the fabric of American new play development. The Farm Theater believes its College Collaboration Project helps bridge that gap.

Developing a farm system for theater

In the early years of professional American baseball, Major League teams

stopped bidding for players and began a new method of recruitment for promising young athletes: they partnered with smaller teams, often situated outside metropolitan areas, called “farm teams.” This method of recruitment was widely implemented and referred to as the “farm system” of baseball - intended to ‘grow’ and ‘cultivate’ the talent of new players who would eventually work

by Caroline Jane Davis

their way up from the farm team to the affiliated Major League team.

INNOVATIVE PLAY DEVELOPMENT Over a decade ago, Padraic Lillis, theater director and baseball enthusiast, considered translating the idea of a farm system to the new play development world. His work with the education team at LAByrinth Theater Company in NYC, an ensemble-based company dedicated to new play development, showed him the value in partnering emerging theater makers with more seasoned professionals. “I wanted to help early-career artists find pathways and connections to get them to the next steps in their careers… and that’s what inspired me to start the Farm Theater,” said Lillis.

As the idea was taking shape, Lillis began asking other artists and collaborators for their input. That’s when John Clinton Eisner, founding artistic director of The Lark (another bastion of new play development until its closure in 2021) asked an important question. “Eisner said, ‘That’s a great idea. Who’s your Major League?,’” Lillis recalled.

different collegiate institutions to learn about their

“I realized I wasn’t aiming for a particular end

play, and the students get the incredibly valuable

goal… I was mostly just focused on getting people

opportunity to help shape a new play. They get to

from one [theater] league to the next. That’s when I

realize that plays don’t just come published, they’re

remembered MLB teams used to play college teams

created over time,” Lillis said.

as part of their spring training.”

How it works

Bringing the farm system idea to colleges would benefit both parties. Professional artists

Though there has been some variation over

would benefit from the resources and intellectual

the life of the program, the College Collaboration

rigor of an educational environment, and in turn,

Project typically has four major phases over the

students at these institutions would experience

span of 18 months.

firsthand the full process of new play develop-

Phase One: Playwrights are chosen by the

ment while making valuable professional artistic

Farm Theater’s selection committee based on

connections outside the collegiate bubble. Lillis

their prior work and their idea for the upcoming

founded the Farm Theater in 2013, named after the

cycle, with a focus on subjects that resonate with

farm system in baseball, with a mission to support

college students. The commissioned playwright

emerging artists through workshops, productions,

meets virtually with students at three participating

and mentoring.

institutions across the country in the spring before

The College Collaboration Project

Aware of the lack of opportunities that existed

for emerging artists to work with professionals

their commission year begins, gaining valuable input from young artists about their thoughts on the proposed topic. The playwright uses these discussions to draft a new full-length play.

The 2016 Stable Cable Lab Company Off-Broadway production of In the Event of My Death by Lindsay Joy, the first play commissioned by the Farm Theater’s College Collaboration Project for the 2014-15 school year. Photo: Katy Atwell

“

…Even in the moment I thought, ‘This is preparing me for something.’

in the industry – especially for artists receiving

Phase Two: The play is read by professional

their training outside major metropolitan hubs

actors and workshopped with a group of students

– Lillis sought to address this need through a

and professors from the three institutions in

new program. Inspired by the National New Play

New York City over the summer. “The College

Network’s Rolling Premiere Model, Lillis devel-

Collaboration Project is my favorite thing I do

oped the Farm Theater’s College Collaboration

every year,” said professional actor Madeline Barr,

— Rylie Butzbaugh-Patrick

Project.

a participant in the project’s New York readings.

Program Participant, Shenandoah University Class of 2020

Instead of rolling premieres, however, “it’s

“The energy of having these young artists in the

rolling development. The playwright has the

room is invigorating and reminds you why you do

benefit of three different productions with three

this and why you love it. They’re so eager and curi-

”

Fall/Winter 2023-24 | Southern Theatre | 51

ous to learn. They sometimes treat it like

the previous school. We’re in a continuing

they’re so grateful to learn from us, but I

conversation with the other schools, but it’s

often find I walk away having learned a

a separate process,” Lillis said.

lot from them because they’re coming at

Phase Four: The summer after the

the process in a really pure, wide-eyed

commissioned academic year, the play-

way,” she explained. The playwright uses

wright revises the script once more

feedback from these workshops to revise

to prepare for a public staged reading

the script.

produced by the Farm Theater in New

Phase Three: The text is further devel-

York City. Students from each institu-

oped and produced at the three institutions

tion are invited back to New York City

over the following academic year. The

to participate in more workshops, and

playwright visits each school twice: once

some even get a chance to reprise their

during their production process and once

roles alongside professional actors for the

to see the show with an audience. Because

public reading. The students are chosen

the productions happen at different times

by the playwrights and Lillis in conversa-

in the academic year, the script often

tion with the faculty, and their expenses

changes dramatically between the first

are often covered by their institution.

school’s production and the last school’s

Partnering with colleges

production, and each school interprets the world of the play based on the most

52 | Southern Theatre | Fall/Winter 2023-24

Lillis took the idea to friend and

recent draft. “I want each school to have

colleague Matthew R. Hallock, Professor

their independent production rather than

of Theatre at Centre College in Danville,

to feel like they’re picking up a baton from

Kentucky. “He called me to go over ideas

while he was forming the company,”

with over 20 different institutions of

Hallock recalled, “and I wasn’t even off

higher learning through the College

the phone yet and I said ‘okay, when do

Collaboration Project. Some, like Centre

we start doing this?’”

College, are longstanding partners in the

The College Collaboration Project

program, but new institutions are added

was a solution to an ongoing program-

regularly. Even through the difficulties

ming question at the college, Hallock

of the pandemic, this academic year will

explained: “We had a commitment to a

mark the 10th script fully developed

cycle of genres we wanted to expose the

t h roug h t he Col lege Col laborat ion

students to over a four-year experience,

Project, and the program shows no signs

and we’d had ‘new play’ on that list forev-

of slowing down.

er. The challenge was always in finding

The playwrights

good new plays that are achievable for students at this stage of their education.

PERSONAL, PROFESSIONAL, AND ARTISTIC DEVELOPMENT with EXPERIENTIAL LEARNING AND ACCESS TO THE PROFESSION.

Expressing the perspectives of young-

We want the plays to be within reach

er generations by providing a story that

because success breeds more success.

is accessible to students becomes a major

So that became the first iteration of the

focus for the work. Playwrights must be

program, a play called In the Event of my

prepared to write a play that contains at

Death by Lindsay Joy.” That year, Joy

least five characters who are 30 years old

developed her work in collaboration with

or younger. The schools “sign on for the

Centre College, Ashland University, and

process, not the person… It’s incredibly

Clark University.

courageous because not only has the play

The Farm Theater has since worked

FOSTERING STUDENTS’

· B.A. in Theatre · Minor in Theatre · Minor in Arts Administration and Cultural Advocacy

· Internship opportunities with industry-leading organizations such as New Haven Symphony Orchestra, Long Wharf Theatre, and Elm Shakespeare Company

not been written, but the playwright has For more information, visit SouthernCT.edu.

B.F.A. in Theatre Arts

with concentrations in

theatredance.ecu.edu

Musical Theatre Actor Training Theatre for Youth Design & Production Stage Management

B.F.A. in Theatre Arts Education B.A. in Theatre Arts

Bright Star 2022-2023 Season Photo by Michael Shoaf

Fall/Winter 2023-24 | Southern Theatre | 53

not been selected when they sign on…

of campus sexual assault and the role

what I love is that the schools recognize

of the bystander. “The play becomes a

the teaching value for the students, who

focal point for a meaningful conversa-

get to see that the only way to make some-

tion that happens within these diverse

thing great is to embrace the unknown,”

educational communities.” In Auger’s

said Lillis.

case, the conversation continued well

Dipti Bramhandkar, recipient of the

after the development process ended. “I

2023-24 College Collaboration Project

kept hearing from students who said ‘I

commission, seeks to share the concerns

wish we could see this play instead of the

of the next generation alongside her

mandatory sexual misconduct training

own. “I’m fascinated (and worried about)

we get at the beginning of the school year.

the impact of technology, social media,

It’s a more meaningful and educational

climate change, and political/ideological

experience and conversation.’ So [bring-

disenfranchisement of young people. I

ing the play to schools in this capacity]

want to learn from their lived experienc-

is my goal moving forward.”

es,” she wrote in email correspondence.

Educational productions

Bramhandkar’s work is being developed at Shenandoah University, Austin Peay

As the new play develops over the

State University, and Middle Tennessee

course of the academic year, students get

State University this academic year.

to see firsthand how much their input

“That’s why I like Padraic’s approach

shapes the final story. “The most mean-

with The Farm,” said 2016-17 commis-

ingful and surprising part of the process

sion recipient Micheline Auger, whose

for me has been when the playwright is

play #Love95times addresses themes

in the room with us on campus, because

Commissioned Works through The Farm Theater’s College Collaboration Project 2014:

In the Event of My Death by Lindsay Joy Topic: death / suicide / mourning

2016:

#Love95times by Micheline Auger, available through New Play Exchange Topic: campus sexual assault

2017:

Never Have I Ever by Jan Rosenberg, available through New Play Exchange Topic: disordered eating In The Cotton by Morgan McGuire, available through New Play Exchange Topic: racially-motivated hate crimes on campuses

2018:

Soft Animals by Erin Mallon Topic: disease and healing / self-acceptance John Proctor is the Villain by Kimberly Belflower, available through Broadway Licensing Topic: the #MeToo movement

54 | Southern Theatre | Fall/Winter 2023-24

2019:

The Hierarchy of Fish by Judith Leora Topic: political correctness / free speech

2020:

Greek Tragedy by Lia Romeo, available through New Play Exchange Topic: social media / addiction

2021:

Our Tempest by Jake Brasch, available through New Play Exchange Topic: climate change / art after COVID

now:

The Ruminants by Dipti Bramhandkar is currently in development.

that was when the students got to demonstrate how deeply they’d been thinking about this world,” said Dr. Jen n ifer Goff, Associate Professor of Theatre at Centre College. Goff directed Kimberly Belflower’s John Proctor is the Villain during the 2018-19 school year, a play that went on to receive its professional world premiere at Studio Theatre in Washington, D.C. in 2022. “Because Kimberly’s such a generous playwright, the way she took all of that excite-

Farm Theater Artistic Director Padraic Lillis and actor Neil Tyrone Pritchard work with other professionals and university students at the College Collaboration Project’s pre-production workshops.

Photo: Kevin Cristaldi

ment and energy in the room and responded to it with such grace and creativity was really exciting. I had no expectation the script would transform the way it did over three days, but it did. And the students could see themselves so clearly in what she was doing… they could see

she said.

a real cause and effect between their work and

Shaping the next generation

her work,” said Goff.

At many schools, the College Collaboration

Former student participants

Project exposes students to a living playwright

feel the impact of the process

for the first time. “Working on John Proctor is the

even years after they participate.

Villain was the first time I’d watched a play’s

“I was so happy to be given this opportunity

full development process, from initial conversa-

because I do think it was one of the most forma-

tions up until I was onstage. As a playwright, I

tive parts of my collegiate education,” said

learned so much about how the process works

Rylie Butzbaugh-Patrick, a 2020 graduate of

and what a writer’s role in the rehearsal space

Shenandoah University and a participant in the

should look like,” said Cammi Stilwell, a 2019

2019-20 cycle’s The Hierarchy of Fish by Judith

graduate of Furman University who is currently

Leora (now titled Further Adventures of Tent Girl

working on her first professional commission

and Nazi Barbie in the Great Whatever)

as a playwright.

Butzbaugh-Patrick’s experience became an

The mission of the College Collaboration

entirely virtual one at the onset of the COVID-

Project is to show young theater artists the itera-

19 pandemic, but the shift in format turned

tive nature of development, said Grechen Lynne

out to be a blessing in disguise. “Judith, the

Wingerter, Professor of Theatre at Pellissippi

playwright, was at every single one of our

State Community College: “That’s my job,

rehearsals because we were on Zoom, so she

right? To teach students the different ways a

was able to see us through that process” she

play happens. And if you don’t know how a

explained. “This was my final performance

play happens, you just think it suddenly is this

on the collegiate level, and there was so much

published thing that’s perfect from day one.

grief going through it, but even in the moment

Now you know it takes… all of this. And there

I thought ‘this is preparing me for something.’

may be several more incarnations before it gets

And now, looking back on it, it was. I’m now a

published, but you know you’ve contributed

young artist in New York City who is producing

to it in a meaningful way.” While the goal is to

my own things, who’s writing my own things,

help create a strong script, Wingerter reinforced

pitching my own things. I don’t know if I would

the program’s focus on process over product:

be in the place that I am without having seen

“That’s what makes it worth it for me is seeing

that process,” Butzbaugh-Patrick said.

our students succeed and experience unique

Changing the landscape

opportunities that – whether they continue on with theater or not - they’ll remember. And they’ll carry on that collaborative process,”

“

Students … get to see that the only way to make something great is to embrace the unknown.

”

— Padraic Lillis Founding Artistic Director of The Farm Theater

Since the program’s inception, the College

Collaborat ion Project has commissioned Fall/Winter 2023-24 | Southern Theatre | 55

works on climate change, the #MeToo

You get a reading, then you move on.”

movement, racially-mot ivated hate

Colleges offer a built-in arts community

crimes, free speech, and more. Because

to test pilot new stories in a variety of

t he produc t ion s a re bu i lt i nto t he

regional settings, she explained: “To

commission, playwrights are able to

get that exposure outside of the NYC

explore pressing social issues without

bubble to see how different audiences are

the typical restraints of a development

responding is great… It’s an invaluable

process.

gift to have audience responses in three

Usually when playwrights develop

different regions. It makes [the play] feel

their work, shared Micheline Auger,

set up for success when you bring it back

“there’s no continuity. You are so grateful

to New York.”

for the opportunity to hear your play in

Jake Brasch, the College Collaboration

front of a group of people and you get

Project’s 2021-22 playwright, experi-

clarity from that. But that’s it. It’s up to

enced the benefit of regional collabora-

you to go home and rework it and find

tion, too. Our Tempest asked questions

a new opportunity to bring it in front

about cl i mate c ha nge i n t he ‘post-

of people after revisions.” The College

COVID’ landscape, he said, “and right

Collaborat ion Project offers a more

in the middle of the process, Tennessee

sustainable and assistive process, Auger

experienced huge f loods t hat were

explained: “I hadn’t had a continuous

directly affect ing t he st udents. We

new play development opport u n it y

sorted through these raw feelings about

like this over such a long period of time

climate change and also about what it

before. It allows you to digest [your

means to create a play while all this

work], and seeing it in different commu-

other big-picture stuff is happening

nities is useful.”

around us.”

Lisa Jill Anderson, a New York-based

After first working with Lillis as a

artist who has worked on the College

teenager, Brasch applied to the College

Collaboration Project as a professional

Collaboration Project multiple times

actor and producer, further explained

before bei ng commissioned for t he

the difficult y of creating new work

program. “A lot of places in the city are

in the city: “Resources are tricky for

ostensibly here to develop new writing

developmenta l processes; it ’s of ten

talent, but I feel like Padraic really means

bare-bones, you’ve got hourly space

it… He really has a system created,

rental… workshop processes can get

to use his baseball metaphor, to help

shortchanged, so it’s almost never fully

artists through Single-A, Double-A…

fleshed out. If you aren’t one of the lucky

all the way up through the Majors. He

1% to get into other programs with your

understands every step of the ladder

script right away, it’s really hard to find

and he wants to help get you there,” said

a tangible way to develop your draft.

Brasch, who is now a playwriting fellow

Want to get involved in future cycles of the College Collaboration Project?

Playwrights and college/university representatives can email Farm Theater Founding Artistic Director Padraic Lillis (padraic@thefarmtheater.org) for more information about the process and timeline.

Fall/Winter 2023-24 | Southern Theatre | 57

SCHOOL OF THEATRE ARTS Sunday in the Park with George, Fall 2022

BA IN THEATRE ARTS BFA IN MUSIC THEATRE BFA IN ACTING BFA IN DESIGN & TECHNOLOGY HANDS-ON, CONSERVATORY-STYLE TRAINING IN A NATIONALLY-RANKED LIBERAL ARTS SETTING iwu.edu/theatre

58 | Southern Theatre | Fall/Winter 2023-24

at The Juilliard School, a “Major League”

the issues of the day, and to appreciate

goal he’d expressed to Lillis before his

not only theater and art and creativity,

commission.

but also critical thinking and the skills

Looking ahead

you need to be successful in the world

While the Farm Theater has a dedi-

of voices in the room… you have to be an

cated group of collegiate partners, they

agile thinker to do that, and this program

cont inue to seek new collaborators.

develops that agility.”

today. Working on a play with a variety

“We’re interested in partnering with

For more information on the Farm

colleges who can commit to an 18-month

T h e a t e r ’s C o l l e g e C o l l a b o r a t i o n

process toward generating new and

Project, visit their website at www.

exciting work,” said Lillis, “and we want

thefarmtheater.org or listen to their

students to be able to come to New York

podcast, Bullpen Sessions, wherever

after they graduate and know that the

podcasts are available. n

Farm can be a home for them. They can show up and continue to be a part of our community.”

“I think there is never a better time for colleges to be investing in a program like this,” said playwright Micheline Auger. “It is the best way for students to connect with one another, to engage with

Caroline Jane Davis (she/her) is Visiting Assistant Professor of Theatre Arts and Education at Furman University. She is a member of SETC’s Editorial Board.

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

LEARN MORE AT THEATRE.TTU.EDU

TM

THEATRE ON THE PAGE

b y D e r r i c k Va n m e t e r

Working in the shadows 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.

combines this exploration with an analysis of the documentary Sing Faster: The Stagehand’s Ring Cycle and a cheeky online video parody of Lady Gaga’s “Poker Face” called “Focus

Working Backstage: A Cultural History and Ethnography of Technical Theatre Labor

by Christin Essin University of Michigan Press, 2021; ISBN: 978-0472054961; 286 pages.

Price: $34.95 (paperback)

B

as the performers they imitate so poorly. Essin

Tape.” Another essay explores two plays, Anne Washburn’s 10 Out of 12 and Theresa Rebeck’s Bernhardt/Hamlet, as texts that recognize “the complexity of working relationships between onstage and offstage personnel.” Washburn’s play employs the use of assisted listening

ackstage labor is meant to be unseen.

devices to allow the audience to hear radio

If an audience sees a stagehand, that

chatter between the technicians while a

usually means something is wrong. The

metatheatrical play is in technical rehearsals,

unfortunate consequence is that this work

creating a unique vantage point for observing

is often misunderstood and undervalued

these relationships.

even amongst theatre professionals. Working

When Essin conducted her research on

Backstage shines a spotlight on the mostly

backstage workers in New York theatre, many

unseen labor of New York stagehands,

responded “Will anyone read it?” The answer

dressers, and child guardians. As a technician

to this question should be a resounding

and theatre historian, Christin Essin is

yes. T heat re h istor ia n s w i l l welcome

perfectly situated to access and interpret these

Jene Youtte, Essin recovers details of the

this fascinating addition to established

practices and histories. Pushing back against

union’s evolution that disappeared during

theatre histories. Students and early career

stereotypes of stagehands as lazy, entitled and

the process of committee revision such as the

professionals will gain valuable insight into

boorish, Essin takes great care to emphasize

struggle for BIPOC technicians of Local 1-A to

the ways people have navigated careers

the importance and value of backstage

integrate with their siblings in Local One. The

backstage. Anyone will finish the book with

labor. She frequently refers to the complex

book also profiles many backstage laborers,

a higher respect for and understanding of

sets of tasks backstage workers execute as

how/if they joined the union, and what it’s

the invaluable work that happens behind

“choreographies,” using language typically

like to work behind the scenes. Throughout

the scenes in New York theatre. While even

reserved for performers. This provides a

the book, Essin analyzes and critiques the

the subjects of Essin’s research sometimes

window into the ways backstage and on-stage

ways that women and BIPOC artists have

struggled to see why anyone would be

workers are equal partners in creating theatre

been systematically excluded from the Union

interested in backstage labor, Working Backstage

magic.

“family” and the ways Local One is seeking to

is an energizing read that informs and reminds

right those wrongs.

us about the importance of these histories and

To understand New York’s backstage labor requires an understanding of IATSE

The book’s section on child guardians

(International Alliance of Theatrical Stage

working on productions such as Matilda and

Employees) Local One and its history. The book

Fun Home was particularly enlightening. These

is unabashedly pro-labor but does not shy away

guardians do so much more than babysit, tutor,

from less flattering aspects of the union’s past.

and wrangle actors under 15 years old.

Probably one of the most important aspects

The final section presents a series of essays.

of Working Backstage is the way it affirms the

One of these explores Shakespeare’s Rude

work of laborer historians. Using early drafts of

Mechanicals in A Midsummer Night’s Dream as

a centennial commemorative history written

laborers who fail to appreciate the ways their

by a Local One member and laborer historian

respective trades and expertise are as valuable

60 | Southern Theatre | Fall/Winter 2023-24

the people who live and record them. n

Derrick Vanmeter (he/him) is Associate Professor of Theatre Design at Clayton State University in Morrow, GA. His professional practice features scenic, costume, lighting, sound, and projection design and research on inclusion strategies for marginalized voices in theatre. DerrickVanmeter.com

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