artment of Theatre and DancE

Transcription

The Kennedy Center
Festival 47
January 2-6, 2015
KCACTF HAS
GONE MOBILE!
WELCOME REMARKS
Welcome from the Chair of Region II
I have been looking forward to this festival for two years. Ever since I came to Cleveland
State to respond to a production of Miss Julie and our festival host, Michael Mauldin,
gave me the grand tour. I loved hearing the story of Playhouse Square’s fall into disrepair
and its revival. You have to admire the dedication of the artists who produced Jacques
Brel Is Alive and Well and Living in Paris in the State Theater lobby to prove that
theater in downtown Cleveland was a viable proposition. The original three-week run
extended to two years. The beautiful Playhouse Square art deco facilities are just the tip
of the iceberg. Cleveland State University has renovated the Middough building, a former
car dealership and office building, into its Arts Campus filled with rehearsal halls, dance
studios, class rooms, art studios, and a black box theatre. We have lots of spaces for great
workshops, wonderful performances, exciting exploration of new plays and the latest
in design technology. If you aren’t worn out and filled with the theatre joy by the end of the festival, you just aren’t
trying. Please take advantage of all the festival has the offer and enjoy everything you do this week. We’re glad you’re
here Region II’s Festival 47
Dr. Scott Mackenzie
Chair, KCACTF Region 2
Welcome from the President of Cleveland State University
Welcome to Cleveland State University! The University is so pleased to partner with Playhouse
Square in hosting the Kennedy Center American College Theater Festival (KCACTF) for Region II.
The Festival encourages, recognizes, and supports the finest and most diverse work produced in
university and college theater programs. During the next 5 days, you will join approximately 1,200
other students and faculty members from Region II colleges and universities for a wide range of
workshops and seminars from playwriting and auditioning to stage combat and scenery construction.
While you are with us, I encourage you to enjoy many festival productions and showcases on some
of the finest stages in the nation at Playhouse Square, the second largest theatre district in the
country. I am particularly proud that the University’s production of The Dybbuk—featuring a cast and crew of 46 students and
associates—has been selected for performance during the festival on January 6.
Cleveland State University is wholly immersed in the vibrant arts and theatre scene in Cleveland and is committed to supporting
the arts in this region and beyond. In 2012, we established our Arts Campus in the heart of Playhouse Square. The University’s
Middough Building, which includes more than 120,000 square feet of classrooms, rehearsal space, art studios, offices, and production shops for sets and costumes, is one of the most extensive undergraduate theater and dance facilities in the nation, and our
unique partnership with Playhouse Square and Cleveland Playhouse gives our students an opportunity to learn alongside working
theater professionals.
Thank you for supporting and participating in the Kennedy Center American College Theater Festival, a distinguished tradition
and a catalyst for improving the quality of college theater in the United States.
Please enjoy the festival and your time in Cleveland.
Dr. Ronald M. Berkman
President
Cleveland State University
KCACTF 2015
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WELCOME REMARKS
Welcome from the Dean of the College of Liberal Arts and Social Sciences
I would like to extend my warmest welcome to all our guests attending the Kennedy Center American College Theatre Festival. Welcome to Cleveland State University’s Fine Arts Campus, located
in Cleveland’s Playhouse Square. We are proud to share our space with you and hope that, despite
the cold weather, you will fully enjoy our warm Cleveland hospitality. Our program’s recent history
is a story of struggle and triumph. Although our emeriti faculty include the likes of Reuben Silver
and Joe Garry (whose production of Jacques Brel is Alive and Well and Living in Paris played a key
role in the revival of Playhouse Square), only ten years ago our Dramatic Arts program had dwindled to only a few hardy students, who performed in a run-down Factory Theatre on Chester Ave.
Through the leadership of two visionary Cleveland State University Presidents, Michael Schwartz
and Ronald Berkman, the University established creative partnerships with Cleveland Play House,
the oldest regional theatre in the country, and Playhouse Square, and, with our community partners, helped raise the funds to refurbish the Allen Theatre (in the process creating three exciting new performance venues) as
well as large parts of the Middough Building. As a result, our Theatre and Dance programs now enjoy a new home in what has
become the second largest live theatre district in the country. At the same time, under the inspired leadership of Michael Mauldin
and (now) Lynn Deering, our old Dramatic Arts Program merged with the University’s old Dance Program to become the new
Department of Theatre and Dance while growing to its present size of about 90 undergraduate theatre majors. We believe that we
are only at the beginning of a long and illustrious performance.
Finally, I would like to thank our partners in the KCACTF organization for bringing the Festival to our city and campus. It is an
honor for us to host the Festival, and we will do our best to make sure that this year’s gathering is among the best ever. Now, let’s
raise the curtain!
Dr. Gregory M. Sadlek, Dean
College of Liberal Arts and Social Sciences
Welcome from the Department of Theatre and Dance
On behalf of the Cleveland State University Department of Theatre and Dance,
it is our pleasure to welcome the Region 2 Kennedy Center American College
Theatre Festival 47 to our Arts Campus in Playhouse Square! You are now in
the second largest theatre center in the United States, with only Lincoln Center
in New York City having more theatrical venues and seating. Along with our
partners, Playhouse Square and Cleveland Playhouse, the nation’s first professional Regional Theatre, we know that you will have an exciting week in the
theatrical heart of a vibrant theatrical city.
The partnership between Playhouse Square and CSU Theatre goes back further than hosting KCACTF or moving into our state
of the art facilities two years ago. In the early 1970s, Playhouse Square was doomed for the wrecking ball, with plans to level
the grand old theatres in order to make a parking lot downtown. As part of an effort to bring attention to this emergency, our
department’s founding director, Joseph Garry, staged a production of the musical review Jacques Brel is Alive and Well and Living
in Paris for what was planned as a two weekend run in the lobby of the State Theatre. Two and a half years and 355 performances
later, that production was credited for being the impetus to save Playhouse Square and bring it to the exciting theatre and business
center you see today. Some may doubt that theatre has the power to do anything but entertain, but we at CSU know with certainty
that its power for change is virtually unlimited in the hands of dedicated artistic visionaries.
We know that you will enjoy some of the finest dining and shopping available in our bustling downtown. We also know that you
will have an exciting and inspiring time as you take in the workshops, performances, and other offerings of Festival 47. It is rare
that theatre students, faculty, and practitioners can share their work, their passion, and their dreams with each other in one setting, and we are proud to have been able to make this possible.
Welcome to our city, and let the festivities begin!!!
Dr. Michael Mauldin, Festival Liaison, Past Chair Department of Theatre and Dance Cleveland State University Lynn Deering, Present Chair
Department of Theatre and Dance
Bill Bowers, KEYNOTE SPEAKER
Sunday, January 4, 2015, 12noon-1pm
Performing his solo show BEYOND WORDS
Ohio Theatre
Hailed by critics as the most accomplished and renowned
mime of his generation, Bill Bowers currently performs
and teaches the art of physical storytelling throughout the
world. His methods and exploration of universal truths
transcend the spoken word to educate and touch audiences
in countries as varied as Poland, Holland, Scotland, Japan,
Macedonia, Romania, Italy, Germany, Norway, Germany
and Austria.
An award-winning actor, Bowers has also performed in all
50 United States and Puerto Rico appearing on the stages of Broadway, The Kennedy Center, The White House,
Steppenwolf, LaMaMa, Theatre for a New Audience, St.
Anne’s Warehouse, Urban Stages, Rattlestick Playwrights
Theater, Ensemble Studio Theater, Radio City Music Hall,
HERE, and the New York International Fringe Festival. His
Broadway credits include Zazu in The Lion King and Leggett in The Scarlet Pimpernel. He has also portrayed the great silent clowns: Charlie Chaplin in the world premiere of Little Tramp, Pierrot in the world
premiere of Beethoven N Pierrot, and Petruchka with The Colorado Symphony.
A passionate student and educator, Bowers studied with the legendary Marcel Marceau and currently
serves on the faculties of New York University, Neighborhood Playhouse, Stella Adler Conservatory, and
William Esper Studios. He holds an MFA from Rutgers University’s Mason Gross School of the Arts, and
an Honorary PhD from Rocky Mountain College.
Most recently, Bowers is volunteering with the Wounded Warrior Project, and is developing a play inspired by soldiers returning with considerable physical and psychological damage from the wars in Iraq
and Afghanistan. He is working to expand his exploration of masculinity through their stories of loss and
survival, identity and self-perceptions, and how manhood is measured in our country. He is concurrently
developing a physicalized version of Dalton Trumbo’s anti-war book, Johnny Got His Gun, supported by a
Individual artist grant from NYSCA (NY State Council on the Arts.)
To learn more, visit www.Bill-Bowers.com.
KCACTF Region 2
KCACTF 2015
@KCACTFR2
#KCACTF2
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Cleveland state university
Cleveland State University Mission Statement
Our mission is to encourageexcellence, diversity, and engaged learning by providing a contemporary and accessible education in the arts, sciences, humanities and professions, and by conducting
research, scholarship, and creative activity across these branches of knowledge. We endeavor to
serve and engage the public and prepare our students to lead productive, responsible, and satisfying
lives in the region and global society
CSU Department of Theatre and Dance Mission Statement
The Dramatic Arts Program at Cleveland State University is dedicated to producing educated citizens who have identified theatre as their primary academic and vocational focus. The theatre is
among the oldest documented venues for human expression and has been a powerful medium in
practically every culture to explore religious beliefs, shape communal viewpoints, question authoritarian behavior, support or subvert public opinion, and provide an imaginative escape from
daily routine. Given this rich and diverse legacy, we believe that the theatre and its practitioners
bear a responsibility to keep, and in many cases reinvigorate, the theatre as a vital communicative
tool in the community. It is our goal that our graduating students will have the necessary qualifications to enter the profession or pursue graduate work at the program of their choice. We are
determined that the foundational theatre experiences on the undergraduate level shall provide a
valid educational basis for a myriad of eventual careers. Accordingly, our students will focus on the
theatre within the context of a strong liberal arts education. The student will focus on the study and
practice of theatre in addition to the full compliment of accredited academic classes. Within the
theatre major itself, the student will receive rigorous training specializing in either theatre performance or the design/technical fields. This practicum training will be accomplished in tandem with
a thorough grounding in the history, literature, theory and social contexts of theatrical production.
With this broad based approach, our students will have the foundational education and training for
traditional choices such as acting, directing, design and technical support, as well as such ancillary
fields as dramaturgy, criticism, drama therapy, marketing, facilities coordination, arts advocacy,
marketing and education, among others. With this springboard, our students will have the training
and education to actively and positively contribute to the theatre and their communities.
The Kennedy Center American College Theatre Festival
Started in 1969 by Roger L. Stevens, the Kennedy Center's founding chairman, the Kennedy Center American College Theater (KCACTF) is a national theater program involving 18,000 students
from colleges and universities nationwide which has served as a catalyst in improving the quality of college theater in the United States. The KCACTF has grown into a network of more than
600 academic institutions throughout the country, where theater departments and student artists
showcase their work and receive outside assessment by KCACTF respondents. Since its inception,
KCACTF has given more than 400,000 college theater students the opportunity to have their work
critiqued, improve their dramatic skills and receive national recognition for excellence. More than
16 million theatergoers have attended approximately 10,000 festival productions nationwide.
INVITED PRODUCTIONS
SCAB
by Sheila Callaghan
Produced by: Slippery Rock University
Director: Laura Smiley
Saturday, January 3, 9:30 a.m. and 2:30 p.m.
Allen Theatre
Anima, a fragile graduate student, is surrounded by dysfunctional family and relationships and has lost her father, her
heart and her self. When her new, sweet, camera obsessed roommate Christa, shows up, things change for Anima.
Never in her life has Anima had someone that takes care of her the way that Christa does. The roommates quickly
become best friends and Anima’s feelings towards Christa awaken something much deeper. Anima, tells a story of her
journey as she is trying to work through her challenges to resurrect her faith in self and the world. As this play of magical realism unravels, Anima and Christa are joined by Susan the plant, a particularly malevolent statue of the Virgin
Mary and a journey of self-discovery, self-acceptance and forgiveness that we can all relate to in our own lives.
THE ADDING MACHINE
Written by Elmer Rice
Produced by: The University of Toledo
Directed by Irene Alby
Saturday January 3, 8:00 p.m.
Ohio Theatre
“The Adding Machine” follows the story of an ordinary accountant, Mr. Zero, who murders his boss after learning he
will be replaced at work by an adding machine. This action – his only unique and spontaneous act after a lifetime of
obedience – and its consequences are explored in Rice’s expressionistic play. After he is sentenced and executed for
murder, Mr. Zero finds his afterlife to be a most unexpected experience. Funny, sad, poignant and startling, this expressionist, metaphorical play is a visually rich contemplation on right and wrong, life and death.
LOW LEVEL PANIC
by Clare McIntyre
Produced by: Alvernia University
Director: Nathan Thomas
Sunday, January 4, 9:30 a.m. and 2:30 p.m.
Allen Theatre
London. Now. Three young women who share a flat get ready for a party. We enter their lives, their thoughts, and their
relationships. We see how a “porn culture” influences the way they are seen and how they see themselves. For mature
audiences – adult language, depiction of suggested sexual violence, frank discussion of sexuality. Playing time: 75-80
minutes with no intermission.
KCACTF 2015
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INVITED PRODUCTIONS
MAELSTROM
A Silent Opera by Jeffrey Lentz and Cocol Bernal
Produced by Albright College
Director: Jeffrey Lentz
Sunday, January 4, 8:00 p.m.
Ohio Theatre
At last year’s KCACTF Region 2 Festival, audiences witnessed the tragic outcome to a lethal love-triangle at the center
of Vortex: Queen Mira and her pernicious lover were dead; the Kingdom was in shock, and a grief-striken King Ubu
was left to raise his beloved Queen’s love child, the Princes Charlotte, all by himself. It is less then a year later as the
curtain rises on Maelstrom-- the bereft King Ubu enlists his faithful house staff to help remove all traces of his fallen
wife from the palace in order to protect Charlotte from the painful truth of her identity. Time then leaps sixteen years
to the eve of Charlotte’s betrothal to the most worthy prince. But, will history repeat itself? Can we ever truly succeed
at removing all traces of our past? Will Charlotte and Ubu be saved by the power of love and forgiveness, or will they
be swept into the raging currents of the maelstrom? There are the questions that fuel the growing storm of secrets that
now threaten to destroy everything in tonight’s episode. Join us as Albright College presents the third and final installment in their award-winning UBU SAGA -- a story told by movement and music alone.
RED
by John Logan
Produced by: Grove City College
Director: Betsy Craig
Monday, January 5, 9:30 a.m. and 2:30 p.m.
Allen Theatre
The premise is simple. Mark Rothko has just landed the biggest commission in the history of modern art, a series of
murals for New York’s famed Four Seasons restaurant. A blending of fact and fiction over a taunt 90 minutes of what
occurred iin the creation of those murlas is what this play is about. You are invited into that famed Bowery Street Studio space in New York City, which Rothko rented specifically to create these murals. While painting, Rothko, Ken (his
assistant) and we the audience will explore a range of ideas about art, life love death and faith.
THE LAST DAYS OF JUDAS ISCARIOT
by Stephen Adly Gurgis
Produced by Carroll Community College
Director: Bill Gillett
Monday, January 5, 8:00pm
Ohio Theatre
Set in a time-bending, darkly comic world between heaven and hell, The Last Days of Judas Iscariotreexamines the
plight and fate of the New Testament’s most infamous and unexplained sinner. A purgatory defense attorney wants
to get Judas Iscariot out of hell. The epic trial that follows raises poignant question about humankind’s relationship
with religion as testimony is received from witnesses that include Mother Theresa, Sigmund Freud, Pontius Pilate,
and Satan. Filled with the poetry of “lowdown street talk,…” this play “presents dilemmas of ancient Galilee in terms
winningly accessible to the twenty-first century.” This play is an “expressionistic fantasy,” with “raw language and
flamboyantly street-savvy characters.” We hope you will attend and enjoy Carroll Community College’s production
of this exciting play.
KCACTF 2015
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INVITED PRODUCTIONS
VANISHING POINT
An adaptation of a verse novel by Jeri Kroll
Produced by: George Washington University
Directed and Adapted by Leslie Jacobson
Tuesday, January 5, 2015, 9:30am and 2:30pm
Allen Theatre
Vanishing Point explores the interior and exterior life of Diana, a nineteen-year-old girl living in South Australia. She
struggles with the question tormenting many young people today: How do you learn to be comfortable in your own
body? Living with a demanding father, a mother who dabbles in charismatic religion, and a brother with Down syndrome, Diana feels pressured to be the family savior, to be “perfect.” In her need to control something in her life, she
retreats into the self-destructive world of anorexia and bulimia. The play takes us on Diana’s journey into a place of
healing and hope. Jeri Kroll’s rich, evocative language enables us to examine difficult situations without looking away.
Vanishing Point has evolved through workshops and staged readings over the past four years, during which time Roy
Barber’s original music has been added to Leslie Jacobson’s stage adaptation. The result of this process, Vanishing
Point onstage, seems to exist at the intersection of acting, musical theatre, movement, and language.
THE DYBBUK
Written by S. Ansky
Produced by: Cleveland State University
Director: Michael Mauldin
Tuesday, January 6, 2015, 2:00pm
Ohio Theatre
The Dybbuk is a romantic horror tale of a young bride possessed by a dybbuk —a spirit, believed to be the dislocated
soul of a person taken before their time— on the eve of her wedding. S. Ansky’s 1914 play is considered a seminal
play in the history of Jewish theatre.
KEYNOTE PERFORMANCE
IT GOES WITHOUT SAYING
Written and Performed by Bill Bowers
Developed with and Directed by Martha Banta
Sunday, January 4, 2015 at 12pm
Ohio Theatre
Compared to the work of David Sedaris, Claudia Shear and Augustin Burroughs, IT GOES WITHOUT SAYING is a uniquely crafted autobiographical
tour-de-force in which Bill shares funny, heartbreaking, and unbelievable true
stories from his career as an actor and mime,and his life-long exploration of
the role silence plays in all our lives.
IT GOES WITHOUT SAYING takes you on a scenic tour of Bill’s life thus far;
from his childhood in the wilds of Montana, to outrageous jobs as a performer across the country, to the whirlwind
of Broadway and studying with the legendary Marcel Marceau.
KCACTF 2015
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FESTIVAL INFORMATION
Registration and Information Desk
The Registration Desk will be located in the
Allen Theatre Lobby on Friday from 12pm to
6pm. Registration will remain open in a limited
capacity until 8pm.
The Festival Information Desk will be located
in the 2nd Floor of the Middough Building. The
Information Desk will be open from 9am-Noon
and 1pm-6pm. If you still need to register on
Saturday, please contact Grechen Wingerter at
208-596-2391.
Event Entry
Entry to all events is on a first-come
first-served basis. All performance seating is
general admission. It is highly encouraged to
arrive 30 minutes prior to the scheduled start
time, especially for Invited Productions.
Admission to Invited Productions
Hospitality
Information regarding hospitality will be
provided to individuals in their “Guest
Folders”. If we have missed you, please visit the
Information Desk in the Allen Theatre lobby.
Show programs will be distributed in the
lobby of the Allen Theatre or the Ohio Theatre
on a first-come, first-served basis starting one
hour prior to the scheduled start time for all
productions. Any seats not filled ten minutes
prior to the scheduled start time are subject
to reassignment to attendees waiting to enter.
To receive a show program, or to be placed in
an available seat, you must show your Festival
badge.
Dining
Security
There is no meal plan this year for Festival attendees. Registered attendees are urged to utilize all there is within the City of Cleveland in
regards to meals. There is a list at the rear of
this program of restaurants that will be open
during festival. All registered attendees will be
provided a restaurant dining card that will earn
you discounts at local eateries.
Badges and Admission to Events
Festival badges will be required for all events
and participants are required to have badges in
their possession at all times during Festival activities. If you lose your badge or it is damaged,
please report to the Information Desk on the
second floor of the Middough Building. A $5.00
replacement fee will be charged (cash only).
In case of extreme emergencies, medical or otherwise, ALWAYS dial 911 immediately. From a
campus phone, dial 9-911. To report potentially violent activity, dial (216) 523-7233.
All Festival participants are asked to wear their
Festival badge while on campus.
Safety escorts are provided to or from any location on or near campus 24 hours a day, 7 days
a week, 365 days a year. Safety Escorts are provided by Police Officers, Security Officers, and
Student Campus Safety Officers (CSO’s). Don’t
walk alone - use the Safety Escorts! Call (216)
687-2020 to request an escort.
Workshop Cancellations
Should you need to cancel or change a workshop or it’s schedule, please contact Andy Truscott at 484-894-5925 or AGTruscott@gmail.
com
KCACTF 2015
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Transportation
There are no dedicated Festival trolleys.
All festival hotels are within walking distance
of Playhouse Square, so please dress for the
weather
Trolleys
Registered attendees may utilize the following
trolleys while in Cleveland free of charge. Each
trolley’s frequency is listed as every 10 minutes.
E-Line (Weekdays from 7am-7pm)
C-Line (Same as above, Weekend 11am-11pm)
Attendees can also utilize the Health Line
busses for a negligble $1.25-$2.25 charge.
Should you have an ADA accomodation and
not be able to utilize these methods of transportation, please call Andy Truscott at 484894-5925.
Alternative Transportation
Taxi cabs are availabe from Cleveland Cab
Company at 216-856-0867.
Parking
Each hotel has valet overnight valet parking
for festival attendees. Please let them know
you are with ACTF.
Computers and Internet Access
On campus wireless access has been
provided for all registered Festival attendees.
Attendees should access the wireless acount:
CSU-Guest
There is no username or password required.
Printing
If you feel like your copy is pertinent to one of
your programs, please find the program head
to discuss the need.
Lost and Found
All found items should be turned in to the
Information Desk in the Allen Theatre lobby. Lost and Found claim forms will be available there as well. If you are missing anything,
please check in with the Information Desk
first. If the item is not there, please complete
the appropriate lost item form so you can be
contacted if found. The Festival or University
is not responsible for any lost personal materials.
Host Hotels
Wyndham Playhouse Square
1260 Euclid Avenue, Cleveland, OH 44115
888-595-3868
Renaissance Cleveland
24 Public Square, Cleveland, OH 44113
216-696-5600
Holiday Inn
629 Euclid Avenue, Cleveland, OH 44114
216-443-1000
CSU Alcohol Policy
In Ohio, it is illegal for anyone under the age of
21 to purchase, possess or consume alcohol. It
is also illegal for any one to use or possess controlled drugs. At Cleveland State University it
is illegal for any student, regardless of age, to
possess or consume alcohol on campus or to
return to campus under the influence.
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KCACTF 2015
CSU Tobacco Policy
Smoking is restricted to designated areas outside of buildings only. You will find designated smoking zones. Please respect this policy
and only use tobacco products at any of these
pre-designated locations around campus. All
host hotels are smoke-free indoors with designated outdoor smoking locations.
Festival Locations
Events and Workshops around Festival will be
held at the following two campus buildings.
Below you’ll find their full names, abbreviations that are used throughout the Program,
and their street addresses.
CSU Middough Building (M)
1901 East 13th Street, Cleveland, OH 44114
The Middough Building hosts all the workshops and some area programming
within.
PlayhouseSquare (PHS)
1501 Euclid Avenue Cleveland, OH 44115
PlayhouseSquare houses all the invited productions, as well as some area programming.
Late Night Entertainment
There are a myriad of options available to
Festival attendees for late night entertainment
following the final performance of the evening.
Attendees are welcome to visit the Wyndham
Hotel where events are taking place in the
Palace Ballroom and Stillman Room.
Please note: Only REGISTERED Festival attendees are allowed into late night events.
Wyndham Hotel: Wednesday-Friday Nights
Everynight from 11pm-1:30am there will be
programming meant for registered attendees to
mingle and socialize.
Guidebook/Digital Program
A digital copy of this program may be
downloaded from our webiste at
www.kcactf2.org.
The Guidebook will be available for download beginning on Registration Day! This
program can also be accessed via a Smartphone
app called Guidebook. It can be accessed via
the iTunes Store of Google Play Store. Once you
have downloaded the app, follow these steps to
download the Guide:
1) Click on Download Guide in the bottom left-hand corner
2) In the Search Bar, search for CSU
3) Click on our Guide
It will automatically be downloaded
3) When it has finished downloaded, click on the Guide and begin exploring!
Features of Guidebook
The Festival Schedule can be found under
“Festival Schedule”. When you read through
the various events or workshops you can ADD
TO MY SCHEDULE to add it to your own personal schedule.
Each workshop session has the ability for you to
provide feedback for the workshop. Please do
so! It allows us to learn from you, the attendee!
You can also upload your favorite pictures
from the Festival’s Workshops, Events, and Late
Night Entertainment for every user to see via
the KCACTF Photo Album.
You can access the ITJA Festival Reviews via the
Festival Blog.
General Feedback Surveys will be pushed out
to attendees nightly via the Feedback portion
of the app.
KCACTF 2015
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For Faculty
FACULTY
SUPPER
Sunday, January 3, 2015
6:00-7:30pm
PlayhouseSquare
Upstairs Allen Theatre Lobby
Regional faculty are invited to join
colleagues for a light supper and
informative discussion about ways
strengthen
for our
Regional to
faculty
are invitedsupport
to
supper
and informal
discussion
about ways to
students
throughout
KCACTF.
strengthen support of our students through KCACTF
SAMPLE TABLES:
2 Year Colleges & KCACTF
Boosting support of DTM students
Teaching Intro to Theatre
New Play Production on College Campuses
Coaching Ryan Nominees Successfully
Supporting Undergrad Student Directors
Developing the Student Dramaturg
KCACTF 2015
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WORKSHOPS
HOW TO READ THIS...
WORKSHOP TITLE
Presented by Presenter
Workshop Description
Date Time, Room Number
100 YEARS OF THE STANISLAVSKY SYSTEM
AND MODERN ACTOR TRAINING
Presented by Sergei Tcherkasski
The lecture formulates the logic of the Stanislavsky
System’s development. Traditional opposition of early and late Stanislavsky is argued. International development of the System and its comparison with the
Method (Strasberg, Adler, Meisner) are discussed.
Rehearsal techniques (etude technique, method of
physical (psychophysical) actions, active analysis)
are discussed.
Monday 1/5 2:00-3:50pm, M533
3D AUTOCAD
Presented by Patrick McCreary
3D CADD isn’t that hard. I’ve been working exclusively in 3D in AutoCad for years now, and the benefits are more than worth the (not as steep as most
people think) learning curve. Some advice, tricks,
and methods for making the transition effortless and
rewarding.
Tuesday 1/6 1:00-2:50 pm, M255
3D PRINTING OVERVIEW
Presented by Ola Kraszpulska
An overview of the use of 3D printing technology
in the theatre world. Examples will include models,
as well as full scenic pieces. 3D scanning will also be
explored, including examples from SUNY Oswego’s
“Young Frankenstein”.
Saturday 1/3 11:00-11:50am, M236
A CAREER IN THEATRE: THE ROLE OF ACTORS’ EQUITY AND A PRACTICAL GUIDE TO
THE BUSINESS
Presented by Tom Miller
Equity’s mission is to secure and protect the rights of
Actors and Stage Managers. The workshop explains
how and when to join, outlines benefits of membership, provides tips for negotiating, record keeping
and networking. It is designed to ease the transition
from an academic environment to a professional career.
Sunday 1/4 4:00-5:50pm, M236
AN INTRODUCTION TO GREENER THEATRE
Presented by Ellen Jones
This session is a primer on ways to introduce sustainability into theatrical production and design using
low cost/no cost ideas no matter the scale of your
department. It will cover ways to determine how to
make the most of greening efforts and also offer some
specific examples for scenery, lighting, and costuming. Monday 1/5 12:00-12:50pm, M252
ANIMAL MEET & GREET
Presented by Joan Willard
A creative, imaginary exploration of the actor’s voice,
body and acting impulses through physical movement and vocal expressiveness. This fun, inspiring
exercise was inspired by Kristin Linklater and encourages the actors to observe and experience just
what the “animal” in them can accomplish.
Saturday 1/3 4:00-5:50pm, M523
BECOMING A PROFESSIONAL DIRECTOR
Presented by Karen Kessler
A discussion with SDC Guest Director/Respondent
Karen Kessler on navigating a career path as a professional director.
Tuesday 1/6 9:00-10am, M521
BEST PRACTICES ROUNDTABLE FOR TEACHING INTRODUCTION TO THEATRE (AND BEYOND)
Presented by Julie Lewis
“Best Practices for Teaching Introduction to Theatre”
Faculty are invited to attend a Roundtable discussion
about their best assignments, plays and creative projects used to teach Introductory Theatre courses. The
facilitator will bring examples of exercises that have
worked well during her decade of teaching both majors and non-majors. How can we make students lifelong theatre goers and make theatre relevant? How
do we lay a strong foundation for students who will
continue to study and train in theatre? How do we
engage the entire class? Please share your best practices, challenges, failures and triumphs in an open
discussion.
Saturday 1/3 11:00-11:50am, M255
BIO-DRAMATURGY
Presented by Lisa A Wilde
Bio-Dramaturgy: The What and the How
Since biography, per se, can’t be placed on stage,
dramaturgical questions must be asked and choices
made to transform real-life biography into active theatrical subject (the what) and to figure out the best
form for telling the story (the how). Carlyn Aquiline
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will share her recent experience as dramaturg with
three different collaborative models exploring content and structure on works based on the lives of Paul
Robeson, Judy Holliday, and teen caregivers written
and directed by Daniel Beaty, Moisés Kaufman, Willy Holtzman, and David Greig.
Monday 1/5 11:00-11:50am, M254
BREAKING IN TO AUDIOBOOKS
Presented by Julia Motyka
Sunday 1/4 9:00-9:50am, M236
COMMANDING IMAGES: STARTING A DIRECTOR-DESIGNER CONVERSATION
Presented by Lars Tatom
Using Bill Ball’s “Commanding Image/Metaphor”
technique, participants will explore ways to start to
forge a director-designer vocabulary when going into
production.
Saturday 1/3 4:00-450pm, M236
CREATING A LIGHTING PORTFOLIO
Presented by Ellen E. Jones
This session focuses on ideas for creating a lighting
portfolio based on career and educational goals. Participants are encouraged to bring their portfolio and
resume. The initial presentation will be followed by
breaking participants into groups to examine each
others portfolios and resumes in light of the presentation.
Sunday 1/4 1:00-2:50pm, M252
DESIGNERS STORYBOARD RENDERINGS
Presented by Sean Urbantke
Trimble’s Sketchup, Adobe’s Photoshop, and Autodesk’s Sketchbook: A Scenic Designer’s Workflow
for Creating Digital, Editable Storyboard Renderings. This workshop is a guided tour of the creation
of a 3d model in SketchUp and the use of Photoshop
and Sketchbook to format, paint, and finish design
storyboards entirely digitally.
Monday 1/5 10:00-10:50am, M236
DEVISING AT PLAY: CREATING ORIGINAL
THEATRE VIA UNCENSORED PLAY
Presented by Nicholette Routhier
This workshop will begin with a short discussion
about devised theatre and move into a participatory
group creation of an adaptation of an existing fairy
tale using a technique called “uncensored play” and
other devising techniques practiced at Dell’Arte International School of Physical Theatre in Blue Lake,
CA.
Sunday 1/4 9:00-10:50am, M530
DIGITAL PORTFOLIO PREPARATION AND INTERVIEWING
Presented by assoc. professor suzy campbell
How to prep a digital portfolio and what that means
for interviews. Tricks to ensure your information is
clear and to show off the right stuff.
Tuesday 1/6 1:00-1:50pm, M252
DO YOU THINK YOU MIGHT BE A TECHNICIAN?
Presented by Seth Schwartz
So you’re a theatre major, or your thinking about being a theatre major, and maybe you thought you were
a performer, but maybe you like being a technician
more? Or maybe you’re just not sure which way you
want to go in Theatre? In this workshop we’ll explore
the opportunities for theatre techs and the steps towards a career in this field. This is a great opportunity
to ask questions about theatre tech careers to see if
this is the right direction for you.
Saturday 1/3 1:00-2:50pm, M541
DRAMATURGY PORTFOILO REVIEW
Presented by Lisa Wilde
Dramaturgy portfolio review open to public but required for all applicants for the Dramaturgy Award
Monday 1/5 4:00-5:50pm, M254
ETC NOMAD ITS MOBILE DESIGN CAPABILITES
Presented by Gregory Griffin
With the introduction of ETC’s Nomad console and
software for the Eos Family of consoles, designers
can now easily take a console on the road via laptop
and this opens the door for studio, found space, and
special event designs. This workshop will explore the
necessary equipment to set up an ETC Nomad system. Students will also be given the opportunity to
work with the program software, and equipment in
this hands on workshop.
Monday 1/5 1:00-1:50pm, M255
EXPLORING THE ACTORS VOICE
Presented by Anjanette Hall
“Exploring the Actors Voice Workshop” A combination of Catherine Fitzmaurice and Patsy Rodenburg
voice work. Students will explore the basic fundamentals of destructuring and structuring through a
sequence of tremoring poses, as well as exploring a
couple of different Rodenburg exercises. For example
the “three circle exercise”
Tuesday 1/6 1:00-2:50pm, M523
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FINDING THE GAME
Presented by Michael Legg
Finding The Game--building a long-form improvisation performance. Students will build their own
scenes and characters, and implement the concept
of the “the game”--a theme of the scene that can be
replicated, exaggerated, and heightened in successive
scenes. The ability to pick a theme and run with it
is an integral part of long-form improv. Monday 1/5
1:00-2:50pm, M504
FREE YOUR MEISNER
Presented by Amy Rene Byrne
This condensed introduction to Meisner technique
gives actors a glimpse into a different way of thinking
on stage. Meisner technique addresses action/reaction through a process of repetition exercises. This
workshop will start the actor on the journey of being
completely present and truthful on stage.
Saturday 1/3 1:00-2:50pm, M504
FROM RUSSIA WITH ZEN; STANISLAVSKI
AND YOGA
Presented by Sergei Tcherkasski & Marilouise Michel
With the understanding that Stanislavsky’s work was
much more heavily based in the art and science of
yoga than previously accepted, Professors Tcherkasski (of Russia), and Michel present the juxtaposition
of some of Stanislavsky’s core exercises and premises
with their yogic roots to deepen the understanding
of the intention. Actors will be thrilled to discover
that one third of their basic training is rooted in yoga.
Tuesday 1/6 9:00-10:50am, M519
FROM WORDS TO IMAGES--SCRIPT ANALYSIS FOR THEATRE ARTISTS
Presented by Becky Prophet
This workshop, open to all festival participants, and
created for the Directing Institute, explores the manner in which the essence of language chosen by a
playwright guides and shapes discovery of central
images, creation of characters, and choices in movement patterns. Exploring images, rhythms, and feeling thought meaning, specific choices and phrases
are the center of this workshop.
Saturday 1/3 9-10:50am, M521
GOOGLE SKETCH UP IN THE DESIGN PROCESS
Presented by Jason Coale
Utilizing Google Sketch-up in the Theatrical Design
Process. This will cover important tools, tips and
tricks, and demonstrate how quickly an initial idea
can be worked up into a completed rendering or
movie in a format that is easy to share and distribute.
Saturday 1/3 3:00-3:50pm, M236
HELP! I NEED A HEADSHOT
Presented by Amy Rene Byrne
This presentation/lecture based workshop details
what a headshot is, the current industry standards,
how to get a headshot, what to do before/during/after
a session, and what to do with headshots once you
have them. A small interactive component deals with
posing and interacting with the camera.
Monday 1/5 1:00-2:50pm, M236
HOSTING A KCACTF REGIONAL FESTIVAL
Presented by Scott Mackenzie, Grechen Wingerter,
and Andy Truscott
Want to throw the best theater festival Region 2 has
ever seen? This meeting is for faculty, administrators,
and staff who are interested in serving as a future festival host. Find out how, now!
Monday 1/5 2:00-2:50pm M255
IMPROVISATIONAL STORYTELLING: PLAYBACK THEATRE AND AUDIENCE ENGAGEMENT
Presented by Heidi Winters Vogel
“Listening to stories with openness and responding with
artistry is a unique way to build awareness, connection, empowerment and change.” Jo Salas, Co-founder
of Playback Theatre from her book Improvising Real
Life. Playback Theatre invites dialogue & community-building through interactive storytelling. Practice
creating a safe space for audience members to offer
personal stories, then learn how bring them to life
with improvised music, movement and dialogue.
Saturday 1/3 1:00-2:50pm, M255
INTRODUCTION TO DROZNIN RUSSIAN
MOVEMENT
Presented by Brendan Naylor
Students will be introduced to Russia’s foremost
movement technique, developed by Andrei Droznin,
Professor of Stage Movement at the world renowned
Moscow Art Theater. Rigorous physical exercises and
partner acrobatics will help students access the physical freedom to respond truthfully to their impulses.
Monday 1/5 5:00-5:50pm, M523
INTRODUCTION TO MICHAEL CHEKHOV
Presented by Stephen Strosnider
Nephew to Anton Chekhov and one of Stanislavsky’s
star pupils, Michael Chekhov developed a technique
for acting which uses imagination, feeling, and atmosphere to transform into a character. This introduction to Chekhov will explore impulse, archetypes,
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and psychological gesture to better achieve an inspired and connected performance.
Sunday 1/4 3:00-3:50pm, M252
IPAD ART - FROM THUMBNAIL SKETCHES TO
FINISHED RENDERINGS
Presented by Terry Dana Jachimiak II
Digital painting has never been more fun. Through
several digital art apps, I will show you how to go
from thumbnail sketches to final renderings, all on
the iPad.
Tuesday 1/6 2:00-2:50pm, M252
LET SHAKESPEARE DO THE HARD WORK
Presented by Alisha Huber
Acting is hard! Directing is hard! If only there were a
playwright who handled all the annoying details for
you. As it turns out, there is--and he’s rather popular.
We’ll learn how to find and trust the things Shakespeare does on every page to make your life easier.
Saturday 1/3 5:00-5:50pm, M252
LIGHT PERFORMS
Presented by Lynne Koscielniak
Lighting designers Dyan Burlingame, Lynne Koscielniak, and Carlie Todoro-Rickus discuss the artistic
and technological challenges of using “light” as the
“performer” in site-specific work installed at Silo
City, Buffalo, NY’s historic grain elevator district. Focus will be given to design concept, gear selection,
and methods of control.
Tuesday 1/6 3:00-3:50pm, M252
MASTER MINDS: A PRACTICAL GUIDE TO
GRADUATE STUDY
Presented by Katie Mallinson
Ok, I have a Bachelor’s degree in Theatre—now what?
For performers, designers, and directors this can be a
daunting question. This workshop is an opportunity
for an open discussion about the benefits of graduate
study in theater and performance, and the various
practical opportunities an MA can provide.
Sunday 1/4 3:00-3:50pm, M255
MICHAEL CHEKHOV TECHNIQUE
Presented by Fabio Polanco
Participants will experience foundational elements
of the Michael Chekhov Technique. Concepts and
practices will include Crossing the Threshold, Higher Ego, Ideal Center, Staccato-Legato, and The Four
Brothers. Strategies for applying elements of this
seminal system into actor training, ensemble building, and rehearsal will be addressed. Participants
should dress to move.
Monday 1/5 9:00-10:50am, M530
MONOLOGUE AS DIALOGUE: OPENING
THE DOOR TO GREAT (AND CONSISTENT!)
MONOLOGUE PERFORMANCE.
Presented by Julie Motyka
Sunday 1/4 1:00-2:50pm, M523
MORE TECH MISC
We had so much fun with this subject last year, why
not do it again? 10 (or more) things you didn’t (or
might not have) known about things technical.
Monday 1/5 9:00-9:50am, M236
MOVING WITH MICHAEL CHEKHOV
Presented by James Savage
This workshop will focus on the following tools; The
Ideal Actor’s Center, Crossing the Threshold, the
Four Brothers, and Qualities of Movement, and how
these tools can be used by themselves, or in combination with any technique in the creation of character
body and point of view. This workshop is very physical and will require using the whole body as a means
of getting out of the head and into the moment.
Tuesday 1/6 9:00-10:50am, M523
NAVIGATING THE BUSINESS: MAKING DIVERSITY AN ASSET
Presented by Christine Bruno
Get the practical tools and resources you need to help
you navigate the business as an artist of color and/or
performer with a disability from one of the country’s
leading advocates for full diversity and inclusion in
theatre, film and television. During this interactive
workshop, we’ll discuss the importance of being your
own advocate; auditions—before, during and after;
creating professional relationships with agents and
casting directors; anddeveloping strategies and resources to give you the edge you need!
Monday 1/5 11:00-11:50am, M255
NEW PLAY DRAMATURGY
Presented by Lisa Wilde and Ally Currin
NPP Chair Ally Currin and Dramaturgy Chair Lisa
Wilde will demonstrate best practices of collaboration between playwrights and dramaturgs and how
dramaturgs can enhance and support new work using text examples. Required for all Guerilla Dramaturgs; strongly recommended for all playwrights and
dramaturgs (NPP and Dramaturgy)
Saturday 1/3 10:00-11:30am, M254
OWNING YOUR ARTISTIC IDENTITY
What are you passionate about? What are you good
at? What could the world use more of? Artists Striv-
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ing to End Poverty (ASTEP) wants to help you locate
the perfect intersection between your unique passion
and the needs of your community. We’ll veer away
from the straight-and-narrow to consider non-traditional career paths, and to help you find what resonates deepest with you in order to use it to shape your
life, your art, and the world around you.
Sunday 1/4 10:00-10:50am, M236
PHYSICAL THEATRE PUSHES BOUNDARIES
Presented by Drew Leigh Williams
Physical theatre pushes boundaries. For Actors, the
challenge lies within communicating when text isn’t
present. Through dance, movement and improv, this
workshop is designed to explore devising concepts &
production through the body and voice (& music).
Participants need non-restrictive clothing.
Sunday 1/4 9:00-1050am, M523
PICTURES >1000 WORDS
Presented by Heidi Winters Vogel
This workshop is targeted at directors but is useful
for actors and designers too. We will work with images and pictures created by bodies, set and props on
stage to investigate better ways to communicate story
and action to our audiences. Issues raised working in
proscenium, thrust, arena and hybrid spaces will be
explored.
Monday 1/5 3:00-4:50pm, M505
POLYFOAM PUPPETRY
Presented by Terry Pieritz and Russ Borski
CSU Professors Russ Borski and Terry Pieritz debut
their video “The Art of Polyfoam Puppetry” derived
from their experience while designing/creating the
muppets for a regional theatre production of Avenue
Q. This 90 minute workshop will utilize the “how to”
video in conjunction with a presentation of physical
examples of steps, supplies and their fully realized
collection of Avenue Q Puppets.
Sunday 1/4 10:00-11:50am, M515
Q LAB FOR DUMMIES
The Q Lab software program offers sound & video
designers and engineers valuable tools for theatre.
Seth Schwartz will demonstrate how to integrate this
software with your current sound system, how to create and control sound and video cues, how to control
multiple mic and speaker systems, as well as the basics of how to control multiple video sources. Your
questions are welcomed. (Standby by Q lab workshop... Q lab workshop, GO!)
Tuesday 1/6 9:00-9:50am, M255
REFLECTING AMERICA:INCREASING DIVERSITY ON YOUR STAGES
Presented by Christine Bruno
Whether we view art as a mirror to reflect society or
as a hammer to shape it, it’s no secret that the faces
and bodies we see on our stages and screens don’t reflect what we see on America’s streets. In this interactive workshop led by a representative from one of the
country’s leading advocates for artists of color and
performers with disabilities, we’ll discuss the value
of increased diversity in theatre training programs,
as well as practical tools to help prepare students for
what to expect after graduation. We’ll tackle essential questions, including:What is diversity and why is
it important? Is there a difference between non-traditional and inclusive casting? Whose stories are
being told and by whom? We’ll share strategies and
best practices for how to expand the culture of our
professional training programs, encouraging diverse
perspectives and nurturing diverse artists committed
to telling stories that reflect our changing world.
Monday 1/5 9:00-9:50am, M255, FACULTY ONLY
RESPONSE TRAINING
Presented by Elizabeth van den Berg, Debra Otte
Come learn how to be part of the heart of the Kennedy Center American College Theatre Festival in
Region 2. This 4 part workshop begins with information on how to give a response to a show. An overview of response. What to expect upon arrival at the
hosting school, what to discuss over dinner, how to
frame your response, nominations, and paperwork.
Respondent trainees will also attend the production
of The Adding Machine this evening at 8:00 pm in
the Ohio Theatre.
Saturday 1/3 10:00-10:50am and 8pm, M255
RESPONSE TRAINING
Respondent trainees will attend the response to The
Adding Machine, with Julia Motyka and Jeannette
Farr.
Sunday 1/4 11:30-1230pm, Kennedy Theater
RESPONSE TRAINING
Response to the response - discussion, questions,
problems, successes.
Monday 1/5 10:00-10:50am, M255
RESPONSE TRAINING
Meet with a panel of seasoned respondents who can
address challenges, successes and give general re-
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sponding advice. Wrap up session with workshop
leaders.. Tuesday 1/6 10:00-10:50am, M255
RUSSIAN SCHOOL OF DIRECTING: ACTION
ANALYSIS AS A TOOL TO TRANSLATE A
PLAY INTO PRODUCTION
Presented by Sergei Tcherkasski
The workshop will expose Action Analysis of a
play – the tool of translation of a play into work of
stage art. The ideas of Stanislavsky, Meyerhold, and
modern Russian directors’ school will be revealed.
Practical session will focus on Romeo and Juliet
by Shakespeare and General Inspector by Gogol:
Attendees are asked to re-read Romeo & Juliet by
Shakespeare and General Inspector by Gogol and
bring texts of these plays to the workshop.
Sunday 1/4 9:00-10:50am, M505
SERVING AND LEADING WITH ASTEP
Artists Striving to End Poverty (ASTEP) is a New
York City based non-profit that provides artists with
opportunities to share their passion with underserved kids, in the US and abroad. ASTEP places
volunteer artists all over the world and maintains
the Future Leaders Network, a support system for
young leaders in the arts, which hosts the annual
Artist as Citizen Conference at Juilliard each summer and supports the efforts of ASTEP Chapters
around the country. Come talk to an official ASTEP
representative to find out more about how ASTEP
can help you pursue your dreams of changing the
world through art.
Saturday 1/3 1:00-1:50pm, M252
SEWING LIGHTS INTO COSTUMES
Presented by Judith McCabe
There will be a short lecture/powerpoint on types
of lighting effects happening in costumes. Then I
have a small project the students will be doing with
new material such as electro-conductive thread and
snaps and diodes.
Sunday 1/4 4:00-5:50pm, M252
SHAKESPEARE: PERFORMANCE ESSENTIALS.
Presented by Donald Carrier
What I feel are the most important elements to address when tackling Shakespearean verse and certainly starting off with a verse monologue. Everyone
should be prepared to have a piece of Shakespearean
verse of not more than 20 lines.
Saturday 1/3 3:00-4:50pm, M530
SHAKESPEARE’S FIRST FOLIO: AN ACTOR’S
RESOURCE
Presented by Robert Bullington
Shakespeare’s First Folio: An Actor’s Resource
In this part lecture, part hands-on presentation, you
will learn how to use Shakespeare’s First Folio to unlock the “secret” acting hints that have been waiting
400 years for you to discover them. No prepared
material necessary!
Tuesday 1/ 6 9:00-10:50am, M252
SHAKESPEARE’S FOLIO TECHNIQUE
Presented by Adam Heffernan
Learn to read Shakespearean verse like musicians
read music. Drawing on a 400 year-old acting tradition, this workshop is a exciting exploration of the
Bard’s work through breath, spelling, punctuation,
and common sense.
Sunday 1/4 10:00-11:50am, M252
SOLOS ARE SOLILOQUIES
Presented by Terri Kent and Jennifer Korecki
Many solos are soliloquies. In Musical Theatre a
character turns to song when the energy of the moment can no longer be supported by the spoken
word. A soliloquy, on the other hand, is the act of
talking to oneself. The very nature of a soliloquy,
and the energy of a song, seem to be in direct conflict. In this workshop actors will explore how to analyze and perform soliloquy songs with depth and
understanding. The process of “splitting a song” allows the actor to raise the stakes and collaboratively
create a solo performance.
Monday 1/5 3:00-4:50pm, M519
STAGE COMBAT SINGLE SWORD
Presented by Dusten Welch
Suave and debonair sword fighting. This class is designed to give the actor basic technique in the art
of theatrical sword fighting through swashbuckling
styles and form.
Sunday 1/4 10:00-11:50am, M537
STAGE COMBAT SWORD II
This class takes an advanced and critical approach
to theatrical sword fighting. Actors will learn to apply a sense of danger to techniques learned from
Single Sword I, as they develop a piece of choreography. Attendance in Single Sword I is mandatory
for participation.
Sunday 1/4 1:00-2:50pm, M537
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STAGE COMBAT UNARMED
Conflict is an integral part of storytelling. This class is
designed to give the actor basic technique in the necessary skills when dramatic conflict calls for physical violence in the form of domestic assault and unarmed fighting for contemporary theatre.
Saturday 1/3 10:00-11:50am, M537
STAGE COMBAT UNARMED II
This class will take technique learned in the Unarmed
I class and apply it towards creating a performance
quality piece of choreography. Attendance in the Unarmed I class is mandatory for participation in the
Unarmed II class.
Saturday 1/3 1:00-2:50pm, M 537
STEEL OR WOOD?
A lot of people like to build scenery out of steel - it’s
strong, it’s durable, and it’s cool. But does it make the
most sense? A discussion of whether steel or wood
makes the most sense under what circumstances.
Sunday 1/4 2:00-250pm, M236
STOP INVENTING & PLAY WHAT’S ALREADY
THERE
Presented by Matt Fotis
This improv workshop focuses on playing what already exists between you and your scene partner.
Stop spending so much time trying to invent something clever or funny (which probably is neither)
when you can simply react to the many offers that are
right in front of your nose.
Saturday 1/3 2:00-3:50pm, M519
TAXES FOR ARTISTS AND ACTORS
Presented by Victor Capecce
Even starving artists, actors, and designers need to
(eventually) pay income taxes. This presentation
helps prepare you for your inevitable dealing with the
IRS. What records do you need to keep? What are deductions? The “Business” of Show Business from the
perspective of a non-accountant theatre practitioner,
and IRS audit survivor!
Saturday 1/3 5:00-5:50pm, M236
THE ART OF CASTING WITH HOT GLUE!
Presented by Terry Dana Jachimiak II
In the reduced budgets of today, a cheap casting
material is important. Using hot glue as our casting
material, learn how to cast and mold body parts and
other objects. There will be materials on hand to cast
your thumb as well! Monday 1/5 4:00-5:50pm, M537
THE ART OF THE SLAPSTICK
Presented by John Bellomo
Using the batocio (slapstick) of the commedia dell’arte, students will learn how to stay safe while slapping
themselves silly.
Sunday 1/4 11:00-11:50am, M530
THE BUSINESS OF ACTING: HEADSHOTS,
RSEUMES, AND EFFECTIVE MARKETING
Presented by Elizabeth van den Berg
What makes for an effective headshot? What does an
Actor’s resume look like? What areas of the US are
the best markets for living and working as an actor
just getting started? How do I market my skills? How
can I use the internet more effectively at letting folks
know about my work? What about agents, casting directors and managers? If you are asking these questions, this workshop is for you!
Monday 1/5 3:00-4:50pm, M255
THE DIY TEN-MINUTE PLAY FESTIVAL
Presented by Gary Raymond Fry, Jr.
A candid and constructive conversation about the
methods and mayhem to mounting a successful
ten-minute play festival, and the benefits to you and
your artistic community.
Tuesday 1/6 9:00-10:50am, M236
THE ELEMENTS OF NEW LIFE SCRIPTS
Presented by Elle Morgan
The Elements of New Life Scripts uses the content of
one’s own life as the “material” for creating monologues, scenes of conflict and tableaus of the future.
The context of the “elements” of nature-earth, water,
fire and air guide the imaginative mind to view personal growth and exploration as a natural as well as
artistic process.
Monday 1/5 9:00-10:50am, M504
THE EMBODIED VOICE
Presented by Robin Carr
This experiential workshop will be focused on connecting the voice and body for creative expression.
Using the Lessac Kinesensic Voice and Body training
as tools, participants will engage and feel the musicality of consonants, resonance and tonal vibrations
through bone conducted tone and optimal vowel
usuage in connection with breathing, posture and
embodiment of language.
Sunday 1/4 5:00-5:50pm, M530
The Silent and Not-So-Silent ART OF MIME
Presented by Bill Bowers
Bill Bowers offers an introduction to this artform,
including a brief history of Mime, physical warm-
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up, and movement improvisation. Participants will
learn illusory skills, and have the opportunity to incorporate mime technique into their acting work.
Ideally students will begin to gain an awareness of
how pantomimic skill and corporeal style enhance
and impact actor training. This workshop is open to
all, movers and non movers.
Monday 1/5 1:00pm-1:50pm M523
THE WRITER’S PROCESS
Presented by David Zarko
There is much more to encounter in writing a play
besides plot, character, and dialog. There’s the ever-present threat of writer’s block, the dread guardian at the gate, the internal critic, the procrastinator,
morning-after blues. This workshop explores your
relationship to your process, how to discover what
that process is, and how to exploit and embrace its
unique qualities -- whatever they happen to be.
Sunday 1/4 4:00-4:50pm, M255
THEATER AND SOCIAL PROTEST
Presented by Lisa Wilde
How can theater artists respond to contemporary
events in complex and thoughtful ways? We will consider examples from the past including the Living
Newspaper, Zoot Suit, The Laramie Project, Spell#7
and statements by current theater artists.
Saturday 1/3 1:00-1:50pm, M254
WHAT ABOUT A FUTURE FAMILY?
You want to do theatre, but you also want to have a
family. How’s this going to work? Let’s face it... Theatre is often not very lucrative, and it’s extremely time
consuming. How can you create a work/life balance
that allows you to pursue your theatrical passion,
while still fulfilling your family hopes? Seth Schwartz,
father of two, has assembled a panel of theatre professionals to discuss how they made this balance work.
Saturday 1/3 10:00-10:50am M541
WHAT CAN YOU DO WITH A BA IN THEATRE?
Presented by Bill Gillett
You’ve got a BA in theatre... You want to be a theatre professional... However to support this life in art,
you may sometimes need to find non-theatre work.
In this workshop, Bill Gillett will share strategies
on how theatre majors can market themselves for
non-theatre jobs. A theatre degree is a mighty degree
and, believe it or not, many jobs are looking for applicants with your qualifications. Come find out why
this is true.
Sunday 1/4 9:00-9:50am, M255
YOGA FOR THE ACTOR
Presented by Geoff Knox
We will explore the benefits of yoga postures on the
actor’s body as well as the effects of yogic meditation
and breathwork on the actor’s psychology, with the
goal of attaining an instrument that is free, open and
organic from the inside out.
Monday 1/5 9:00-10:50am, M523
SO YOU’VE GRADUATED, NOW WHAT?
Presented by Andy Truscott
Often times graduates are left in the cold once
they graduate with a Theatre Degree. Learn what
you should be doing during your final semester of
college to prepare yourself for the “real world”. Real
life situations will be discussed in this class, as Andy
shares how he moved from Corporate America to
unpaid internships, part time employement and
finally full time employment at a LORT Regional
Theatre.
Saturday 1/3 4:00-4:50pm, M541
Sunday 1/4 4:00-4:50pm, M541
Monday 1/5 4:00-4:50pm, M541
YOU WANT ME TO DO WHAT WITH WHO?
Presented by Marilouise “Mel” Michel
“You Want Me to do What? With Who?: Directing
and Acting in the Intimate Scene” What could be less
natural than pretending to be intimate with someone
you barely know or perhaps even downright dislike?
A technique for acting in, and guiding actors through
intimacy on stage. Participants are encouraged to
come with a partner. Observers also welcome.
Monday 1/5 4:00-5:50pm, M504
KCACTF 2015
21
DRAMATURGY
KCACTF supports the development of dramaturgical skills for all students. This year’s festival will include workshops in research and script analysis that will be of interest to a wide variety of student actors,
technicians, designers, directors, and playwrights. We also hope to inspire some students to pursue production dramaturgy as a way to exercise their artistic and intellectual talents. Students can gain firsthand
dramaturgical experience at the festival by becoming “guerilla dramaturgs” on scripts that will be read as part of
the region’s new playwrights’ program or participating as part of the brand new “Design Storm” initiative with
designers and directors. . They can also learn more about the art of production dramaturgy from our guest dramaturg, Carlyn Aquiline, who will hold a public review session of the entries in the Student Dramaturgy Initiative.
The Student Dramaturgy Initiative
In recognition of the important role dramaturgy can play in college productions, The Literary Managers
and Dramaturgs of America, the Association for Theater in Higher Education, and the KCACTF have created a partnership to support dramaturgy by students. Together, these groups sponsor an award presented
in each KCACTF region to recognize the work of student dramaturgs. The winner of the award in each
region receives a year’s membership in both LMDA and ATHE. In addition, the student is invited to the
Kennedy Center for the opportunity of working with professional dramaturgs at the national festival. In
addition to competing for the award, student dramaturgs have the opportunity to meet with a professional
dramaturg and have their work critiqued. This gives the student dramaturgs the opportunity to learn more
about their craft and to leave the festival with insights they can apply to future dramaturgical projects.
Design Storm
This project will run during the festival, invites
young and/or developing directors to apply to be a
part of a production team which will meet and deliberate during the festival and then present pre-production plans. The aim is to provide a collaborative
experience for a range of students planning to enter
any one of the theatre arts. Teams will be created
from applicants to each of the areas of Directors,
Dramaturgs, Scene Designers, Costume Designers,
Lighting Designers, and Sound Designers. Through
text analysis, hearty discussion, and production
planning, each group will have the opportunity to
create a virtual production and present it to the other groups as if in a pre-audition/pre-rehearsal state.
Guerrilla Dramaturgy
Initiated at the 2005 Festival, in cooperation with
the National Playwriting Program, Guerrilla Dramaturgy creates an active collaboration among
budding student dramaturgs, a student playwright,
and a faculty director for a stage reading of a new
play. Dramaturgs conduct research relating to a
new work for Festival, and then share their findings with the playwright, director and cast during
the rehearsal period. The selected playwrights and
directors have found that the research added considerably to the development of both the new play
and the play reading. Past student dramaturgs
have learned much about how they can contribute
to a play’s production. Guerrilla dramaturgs will
also be able to learn about the play development
process through a series of workshops they can
take with the rest of each play’s production team.
Guerrilla Dramaturgs do not need to bring anything
to the festival, other than an interest to research and
present information related to the play (if available,
a laptop is always handy). No preparation is necessary. Students can sign up to be Guerrilla Dramaturgs when they arrive at the Regional Festival,
where they will be placed in teams to work on particular assigned plays. The research will be done at
the host school, using the resources of the library.
Guerilla dramaturgs will also have ample time to
participate in other workshops and festival activities.
The plays that Guerrilla Dramaturgs will work on
will be determined shortly before the Festival with
the approval of the playwrights and the directors.
KCACTF 2015
22
The Institute for Theatre Journalism and Advocacy
KCACTF, in partnership with the Eugene O’Neill Institute, sponsors the Institute for Theatre Journalism
and Advocacy (ITJA). ITJA provides students with the opportunity to learn and practice different types of
theatre journalism. While theatre criticism will still be central to the experience, students may also have
the opportunity to create feature pieces, theater blogs, as well as other types of theatre journalism. We will
be led by our Guest Critic who conducts a three-day seminar on different types of theatre journalism. The
student critics will write on the plays and the festival, write reviews of some of the productions at the festival, discuss their writing with the guest critic and the other student critics, and by the end of the festival
submit a piece that demonstrates what they see as their best work. One student critic from each region
may be selected to attend ITJA workshops at the Kennedy Center.
Throughout the festival, students meet with the guest critic in a seminar format, where they talk about
theater in general and the plays they see at the festival and where they share their writing with each other.
Although the experience is intense and time-consuming, with five or six scheduled sessions, the atmosphere is open and collegial, and students generally leave the festival recognizing they have learned a lot
and grown as student critics and writers. Indeed, the selection of a person to go to the Kennedy Center is
usually viewed as far less important than the experience itself.
We have been very fortunate to have had some excellent professional critics serve as Guest Critics for ITJA.
And we are very pleased to announce that Andrea Simakis will be leading us this year. Andrea Simakis is
a theater journalist/reviewer from the Cleveland Plain Dealer with a wide range of experiences in all facets
of theatre journalism.
ITJA Schedule
(These times may changes after we all meet together.)
Jan. 2--Preliminary Meeting after the Opening Ceremonies
Jan. 3—Session 1—3:00-5:30 PM - Middough 204
Jan. 4—Session 2—9:30-11:30 AM - Middough 204
View Their reviews in the
Festival Blog On Guidebook
and on Twitter @kcactf2!
KCACTF 2015
23
STUDENT DIRECTING INSTITUTE
The Directing Institute is designed to give students experience in directing at the festival. There are a total
of four programs under this aegis. The first and the largest is the Institute which is for all students with an
interest in directing, but designed to accommodate those who may not have directing classes or opportunities on their home campuses. In addition, it is for students of any experience level who wish to re-engage in
the process of directing. The series of auditions, workshops, rehearsals, and presentations of the Directing
Institute should be challenging and invigorating. Students who are accepted in the Directing Institute will,
before the festival, choose a scene, do a good deal of script work, and prepare for auditions. At the Festival,
students attend four workshops, attend auditions, cast their scenes, and continue the process of directing
though rehearsals. The experience concludes with a staged reading of their work. With guidance from an
experienced director as a mentor, the scenes are, at the end of the festival, presented for the public and for a
response from directors in the region.
DESIGN STORM
DIRECTOR SHADOW PROGRAM
AKA “Play Development Project” and in an earlier
form as Collaboration Tank. Students at the festival
who are interested in directing join a team of student designers to develop a production concept for
a classic play. Public presentations of the results will
be in the afternoon of the last day of the festival. Students may sign up for the program at registration.
with the National Playwriting Program: Students
sign up to follow a director of one of the new plays
for National Playwriting Program. Shadows sit in
on auditions, rehearsals, and listen to discussions
for an introduction to directing. Sign up for this
program at registration.
COLLABORATION in New Work!
This new venture is to bring new plays and playwrights together
with new directors. Directors accepted for the Directing Institute will have the opportunity to choose from
four or five new plays, chosen by the National Playwriting Project (NPP) readers in Region 2. The object will
be to bring playwright and director together at the festival to work on bringing the script to a staged reading.
These readings will be presented along with other scenes from the Directing Institute. If you, as a director,
are interested in this program, please apply to the Directing Institute and include a statement of your level of
interest in new plays! This is an exciting project that has students collaborating in new work!
Share Photos via Guidebook’s
KCACTF Photo Album!
KCACTF 2015
24
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AKA “Play Development Project” and in an earlier
DESIGN STORM
PROJECT FOR DEVISED THEATRE
The Project for Devised Theatre is intended to give space, voice, recognition and credibility to
processes and productions which are created outside the text-based traditions, and which utilize the
non-traditional, non-linear, multi-disciplinary and collective tools of devising. As we develop our craft,
new perspectives and processes of creating good performance emerge. It is necessary for the health and
life of performance to acknowledge and embrace non-traditional ways of perceiving and creating. Gregg
Henry, the Artistic Director of the National KCACTF organization, has spear-headed this initiative to
acknowledge and incorporate Devised Performance programming into the regional festival activities.
Performance of Devised Pieces Created Specifically for
Festival Using a Prompt Created by Our National
2015 Devised Theater Workshop
Leadership Team:
Join Holly Holsinger and participants from the Cleveland
State University DAME ensemble for a three-session devised theater workshop culminating in a demonstration
of student work. Holly Holsinger is an Associate Professor
at Cleveland State University specializing in acting, voice,
movement, and devised theatre techniques. She has been
a Cleveland artist for over twenty years and has created/
performed in over fifteen original plays. Holly holds an
MFA in Acting from the University of California, Irvine
where she was a participant in Grotowski’s Objective
Drama Program. DAME is a CSU student organization
which grew out of students’ interest in continuing the exploration of physical training and devised performance.
All festival participants were welcome to participate and create
a devised performance to be produced at this year’s festival. We
invited participants to create their own 20 minute devised performance utilizing a specific prompt: Sometimes It’s Easier to
Hear if We Whisper
-Ensemble will select their sources of inspiration as their
creative container (examples: a photograph, a poem, a fictional
or non-fictional short story, a memory, interviews, a question,
etc.). Ensemble will be asked to clearly articulate how their
sources informed process and product, form and content.
– Each ensemble will create a unique performance vocabulary
informed by their source materials. This vocabulary should
include movement, voice, visual image, sonic landscape, text
and scenic environment and communicate the piece’s style and
aesthetic.
-Ensemble should consider time restraints and travel
considerations. These parameters are designed to form a
creative container to spark your imaginations and deepen your
exploration.
Logistics/parameters:
•Approximately 16’X16’ playing space, ensemble determines
audience placement & interaction
•Work lights up/down provided, any additional lighting will be
ensemble-generated
•Regions provide electrical power, ensemble must provide all
technical sources (boom box, extension cords, projector, clip
lights, etc)
•20 minute time limit which must include set-up, performance
and strike
•Set up and strike can be part of the performance
•Contributions of the ensemble are to be balanced and evenly
distributed
•Not every member of the ensemble must perform, but the
majority should
•Faculty advisors may provide outside-eye feedback, but
students should drive the work
•No live flame, smoking, or functional weapons
Additional Information:
• Each showing will be given a short response from regional
faculty and/or devising guest artists. Each deviser will be
expected to speak articulately about their work, displaying rigor
of process and responsibility for form and content.
• Devising isn’t an aesthetic; it’s a process. This approach to
creating new work includes multiple aesthetics, production value spectrums, and performance styles.
• Regions will only provide the space; ensembles must bring everything else. Be careful about making assumptions
Devised Theater Workshop Sessions:
January 3, 9:00am - 11:00am, M545
January 4, 9:00am - 11:00am, M545
January 5, 9:00am - 11:00am, M545
All participants must commit to all three sessions and the
performance block.
There will be a breakout group for interested participants
following opening ceremonies in Kennedy’s Theatre.
Devised Performance Block (Workshop and
Participating Productions)
January 5, 2:30-4:30 pm, M545
25
KCACTF 2015
STAGE DIRECTORS AND CHOREOGRAPHERS SOCIETY SCHOLARSHIP AWARD
An exciting opportunity for students who have who have demonstrated success in direction and/or completed the Region II Student Directing Institute (DI) to gain professional experience.
Student directors cast and rehearse a scene, chosen from a nationally selected list, at their home institution
and showcase their work at festival where they receive constructive criticism from a panel of professionals.
Students advancing beyond the preliminary and interview rounds are offered additional rehearsal time to
integrate feedback. Each finalist will present their scene in a final round for additional feedback and an
opportunity to represent Region II at the National Festival in Washington DC. This award includes travel,
lodging, per diem expenses, and attendance at workshops and performances. The SDC/KCACTF Region II
experience includes mentorship and advanced workshops designed specifically for directing students. For
more information contact Region II SDC/KCACTF Coordinator, Arthur Adair, [email protected].
SDC Festival Schedule – 2015
Friday 1/2 Informational Meeting 9:30 PM
Saturday 1/3
Workshop #1: 9:00 AM – 11:00 AM
From Words to Images: Script Analysis (Becky Prophet)
Scene Rehearsals
11:30 AM – 6:30 PM
Allen Atrium
Middough 521
Middough 521
Sunday 1/4
Workshop #2:
9:00 AM – 11:00 AM Middough 505
Russian School of Directing: Action Analysis (Sergei Tcherkasski)
SDC Meeting1:30 PMMiddough 521
First Round Presentations/Responses 2:00 PM - 6:00 PM
Middough 521
Monday 1/5
Director Interviews
9:00 AM – 12:00 PM Middough 503
Workshop #3:
3:00 PM – 5:00 PM
Middough 505
Picture > 1000 Words (Heidi Winters Vogel)
Scene Rehearsals 5:00 PM - 11:00 PM Middough 521
Tuesday 1/6
Workshop #4: 9:00 – 10:00 AM
Middough 521
Getting Started as a Professional Director (Karen Kessler)
SDC Meeting12:30 PMMiddough 521
Final Presentations/Responses
1:00 – 4:00 PM Middough 521
SDC Coordinator:
Arthur Adair, Queensborough Community College, CUNY
SDC Respondents:
Karen Kessler
David Lee-Painter
Sergei Tcherkasski
26
KCACTF 2015
IRENE RYAN ACTING SCHOLARSHIP AUDITION
The Irene Ryan Acting Scholarships provide recognition, honor, and financial assistance to outstanding
student performers wishing to pursue further education. The Irene Ryan Foundation awards eight
regional and one national scholarships annually. Sixteen of the awards consist of a $500 scholarship for each
regional representative. The Irene Ryan Scholarships are, indeed, scholarships; so the Foundation
disburses the award through a school designated by the winner, to pay tuition and fees for further
education, not necessarily limited to theatre arts.
Coordinators
Tammy O’Donnell, Ryan Coordinator
Prince George’s Community College
Bill Gillett, Respondent Coordinator
Carroll Community College
Pete Rydberg, Selector Coordinator
Thiel College
Preliminary Round Selectors:
David Lee Painter
Thomas Miller
Sarah Mitchel
Nicholette Routhier
Semifinal Round Selectors:
Julia Motyka
Robin Carr
Leigh W. Selting
Final Round Selectors:
Matt Neves
Donald Carrier
Christine Bruno
The Master Schedule for the Irene Ryan
Scholarship Audition is located on the next page.
Overall Schedule of Auditions
Preliminary Round:
Saturday, January 3, 9am – 7pm
Wyndham Hotel 3rd Floor
Semifinal Round:
Monday, January 5, 9:00am-12noon
PlayhouseSquare Outcalt Stage
Final Round:
Tuesday, January 6, 10:00am-12noon
PlayhouseSquare Outcalt Stage
Preliminary Round Respondents:
Arthur Adair, Queensborough Community College
Matt Ames, Nazareth College
Michael Aulick, West Liberty College
Margaret Ball, East Stroudsbrg University
John Bellomo, West Chester university
Kimberly Borst, Sinclair Community College
Lauren Brickman, Adelphi University
Ben Fisler, Harford Community College
Adam Heffernan, Baldwin Wallace University
Victor Jones, Ohio University Lancaster
Jeff Lentz, Albright University
Nathan Magee, Mt. Aloysius College
Michael Mauldin, Cleveland State University
Marilouise Michel, Clarion University
Becky Prophet, Alfred University
Ed Simone, St. Bonaventure University
Stephen Strosnider, Carroll Community College
Elizabeth van den Berg, McDaniel College
Mark Wade, Arcadia University
Mark Wenderlich, Keuka College
Heidi Winters-Vogel, Eastern Mennonite Univ.
Peggy Yates, Prince George’s Community College
KCACTF 2015
27
Irene Ryan Scholarship Audition
IRENE RYAN MASTER SCHEDULE
Friday, January 2, 2015
Who: All Ryan Prelim Round Singers & Partners
What: Rehearsal w/accompanist for performers singing during preliminary round. Sign-up for a time at the Ryan Registration table (if you plan to sing the semis or finals, you will have a separate rehearsal)
When: 3pm – 6pm
Where: Wyndham Hotel, Third Floor Rooms
Who: All Ryan Prelim Nominees and Partners
What: Ryan Orientation
When: Immediately Following Opening Ceremonies
Where: Ohio Theatre
Saturday, January 3, 2015
Who: All Ryan Prelim Nominees and Partners
What: Preliminary Round and Responses
When: 8am-8pm
Where:Wyndham Hotel: Third Floor
Check in is in the State Room
Who: Any/All
What: Announcement of Semifinalists
When: Immediately Following Keynote Address
Where: Ohio Theatre
Monday, January 5, 2015
Who: Any/All
What: Semifinal Round Performance
When: 8:30am — 12:30pm
Where: PlayhouseSquare Outcalt Theatre
What: Semifinalist Response w/Selectors
When: 3:00 — 6:00pm
Where:Middough 236
What: Announcement of Finalists
When:6:30pm
Where: PlayhouseSquare, Allen Lobby Atrium
What: Finals Orientation and Rehearsal
When: 7 — 9pm
Tuesday, January 6, 2015
What: Final Round Performance
When: 10am — 12pm
What: Finalist Response w/Selectors
When: 2:00 — 5:00pm
What: Closing Ceremony - Recipient Announced
When: 8pm
Where: Ohio Theatre
Who: Semi-finalists and Partners
What: Semifinal Orientation
When: 3:00pm-5:00pm
Who: Semi-finalists and Partners
What: Rehearsal for Semifinal & Final Round Singers
When: 5:00pm-7:00pm
KCACTF 2015
DESIGN, TECHNOLOGy, AND MANAGEMENT
The purpose of the KCACTF response and presentation of awards is to provide student designers
and technicians with feedback from professionals working in the field, to give outstanding student
designers and technicians national recognition, and to provide the opportunity for outstanding
student designers to exhibit their work at the Kennedy Center and/or USITT. Designs and other
allied crafts will be appraised on the basis of quality, effectiveness, originality, and visual presenation techniques. Students who have designed any aspect -- scenery, costumes, lighting, sound, and
allied crafts -- of a production from a school who has entered that production as an Associate or
Participating entry are elibile to participate in the awards process.
At the time of registration with the Kennedy Center and Regional Chair, entering schools will inform the Regional Chair of any student designers in one or more of the categories. Please be sure
to provide contact information, including email, for all student designers. At the Regional Festival,
guest designers from outside of the Region will respond to the projects of Regional nominees who
are present. They will select one winner in each area (scenery, costumes, lighting, sound, and allied
crafts) from the Regional design entries. Such Regional winners are therefore National Finalists.
Designs of National Finalists (scenery, costumes, lighting, and sound) will be on display during the
KCACTF National Festival in Washington, D.C., and will be returned to the designers immediately
following it. A single National Winner in scenery, costumes, lighting, and sound will be selected
from the National Finalists by the National Design Respondents during the National Festival. Designs of the National Finalist for Allied Crafts will be exhibited at the annual USITT Conference,
and will be returned to the designers immediately following the conference.
9am-12noon - M 252 - SM Port. Interviews
10am-12pm - State Theatre Lobby - Allied Resp.
1pm-2:25pm - State Theatre Lobby - Costume Response
2:35pm-4pm - State Theatre Lobby - Scenic Design
Response
4:00pm-6:00pm - State Theatre Lobby - Stage Management Response
8:00am-10:00am - State Theatre Lobby - EXPO STRIKE
DTM OPEN EXPO SCHEDULE
9:00am-10:00am - M252 - DTM Faculty Roundtable
10:00am-12:00pm - State Theatre Lobby - Sound
Response
1:00pm-4:00pm - State Theatre Lobby - Lighting
Response
4:00pm-6:00pm - M 252 - Design Portfolio Review
2:00pm-3:00pm - M 252 - Costume Parade
3:00pm-4:00pm - M 252 - Design Storm
4:00pm-6:00pm - M 252 - Costume Bash
7:30pm-10:30pm - M 533 - Tech Olympics
KCACTF 2015
Daily January 3rd-5th
10am-7pm
DTM REGIONAL AWARDS
10:00am-12:00pm
State Theatre Lobby
FRINGE@FESTIVAL
Fringe@Festival is the home for the bits and pieces that might get lost in the larger sweep of the Festival. We celebrate the fabulous but flawed, the unapologetically skewed, and the just plain weird.
This may take the form of invited scenes – chips of brilliance from larger productions; promising
student work which needs a showcase; the amazing show that somehow missed the deadline; the
quirky piece that is still seeking its cult following. Along the way we create too – there is the ever
popular NoyReadyForPrimetime Fringe Challenge and new this year FlashFringe! Listen for details
during the opening celebration.
Fringe@Festival is always a work in progress with a schedule that is often in flux. Here is what we
we’ve got – so far:
Invited Fringe Scenes An afternoon of
Invited Fringe Productions
scenes from Associate or Participating proUnusual productions, often student-drivductions nominated by Regional respondents
en. These productions bring an unusual or
during the year. Scenes are chosen for specific
non-traditional element to the Festival. See all
theatrical elements which the respondents
of them!
felt would broaden the scope of offerings at
the Festival and which show ambitious perSunday, January 4, 2015
formance styles, unusual aesthetics or diverse
9:00am - Helen “Lab” Theatre in PHS
cultural origins.
The Consumables developed by Julie Lewis
and the cast; Julie Lewis, director; The Community College of Baltimore County
11:00am - Helen “Lab” Theatre in PHS
Middough 521 - Black Box Theatre
Letters to No One, Rebecca Hayes, au1:00pm-1:15pm-Amadeus, Robert Morris thor-adaptor, director; Alfred University
University
1:00pm - Helen “Lab” Theatre in PHS
1:20pm-1:35pm-Company, Elizabethtown Gruesome Playground Injuries by Rajiv
College
Joseph; Grechen Wingerter, director; Bowling
1:40pm-1:55pm-Detroit, Penn State Berks
Green University-Firelands,
2:00pm-2:10pm-An Ives Evening/All in 3:00pm - Helen “Lab” Theatre in PHS
the Timing, Alfred University
REMEMBRANCE by Tanner Sebastian,
2:10pm-2:25pm-The Rivals, West Chester Barbara Burgess-Lefebvre, director; Robert
University
Morris University,
2:30pm-2:45pm-The Spitfire Grill, Youngstown University
The Fringe Challenge – Jan. 4 at 11:00 p.m., Jan. 5, 11:00 p.m - Wyndham Hotel Stillman Rm.
An evening of madness and mayhem! All you need to compete in the Fringe Challenge is a team of willing co-conspirators from your school and a bit of insanity. Every Fringe Challenge has a theme, a theatrical style, and specific
theatrical conceits which must be incorporated in a completely original piece of theatre. In addition, each team will
be given a prop, a piece of text, some music, and… whatever ever else strikes the fancy of the Fringe Coordinator in
the moment! A team of highly qualified and professional judges will decide which scene receives the coveted Fringe
Challenge Award, based on a rubrick of rigorous theatrical standards which are usually completely subverted by the
judges’ own personal prejudices, tastes and ulterior motives. Bribery is encouraged. The Fringe Challenge Award is a
visually compelling trophy generally assembled by the Fringe Producer, usually from stuff found in the trunk of Len
Kelly’s car—yep, we’re still breaking into that. It’s worth at least $1.95 and is guaranteed to make everyone back at your
home institution say “What the heck is THAT?”
KCACTF 2015
30
MUSICAL THEATRE INITIATIVE
This program debuted last year with great success. MTI offers musical theatre students an opportunity to develop their material, receive a small scholarship, and showcase their talents at the closing
ceremonies. In the initial audition 50 musical performers will each sing 32 bars of a musical theatre
song. Three selectors from musical theatre programs and the performing arts industry will choose
16 finalists. These performers will then have the opportunity to work on their material with an accompanist and audition for a second panel of selectors from the musical performing arts industry.
Two finalists will be chosen and each will receive a $250 scholarship, and will perform their song at
the closing ceremony on Saturday evening.
Monday January 5, 2015
6:00 pm, Allen Atrium
Scholarship Recipients Announcement
12 noon-5:30pm, Allen Atrium
Stop by our registration table for information!
9:00 am – 10:00 am, Middough 236
Sign up for one of only 50 audition slots
10:00am – 11:00 am, Middough 236
Informational Workshop on MTI Audition
8:00 – 11:00 am, Middough 519
32 bars of a musical theatre song, bring sheet
music, cut to the correct length in the correct
key. Accompanist will be provided.
1:30pm - Ohio Theatre
16 finalists announced at the end of the Keynote speech. Finalists meet with Peggy Yates
for workshop time assignment.
2:00pm-5:00pm, Middough 519
Workshop your song with the accompanist
and MTI Coordinator Peggy Yates
12:00 pm - 2:00 pm, Middough 519
Finalist Auditions
A mutually agreed upon time to rehearse the
songs of the Scholarship Recipients will be
made prior to closing ceremonies.
8:00pm, Ohio Theatre
Performance at closing ceremonies
Preliminary Selectors:
Marilouise Michel, Clarion University
Brian Marshall, Caryl Crane Youth Theatre
Sarah Mitchel, BC/EFA, Inc.
Final Selectors:
Helen Todd, Sugar Creek Opera
Michael Shirtz, Terra State Comm. College
Matt Neves, KCACTF Region 8 Chair
KCACTF 2015
31
National Playwrighting Program
NPP’s central mission is to develop young playwrights and their work at Festival 47. Our goals are these:
1) For the student playwright to see the potential in his/her own work, presented before an informed and
supportive audience;
2) For the student to develop his/her creative vision with the guidance of talented professionals in the field,
and receive sensitive and thought-provoking feedback that will help the writer further sculpt the work;
3) For the student to learn and practice the process and etiquette of new play development.
NPP exists primarily for the playwright’s development as a dramatist. However, other theatre artists should
take advantage of the many opportunities NPP offers at Festival this week. We offer concert readings of ten
new plays, following Actors’ Equity Staged Reading Guidelines. Actors: Casting is done of the second day
of Festival, when the writers and directors see about 150 of you in cold reading auditions. Stage Managers:
Each play needs a talented and focused stage manager. Dramaturgs: Some of the plays will need the assistance of a Guerilla Dramaturg. NPP is about new plays, where the real excitement happens! Come play
with us! This week NPP offers awards in playwriting, auditioning, acting, and stage management.
1pm-6:30pm - Auditions - Helen “Lab” Theatre
11pm-12mid - Cast Meeting - Stillman Room at the Wyndham Hotel (2nd Floor)
8am-Midnight - Open Rehearsals in the Wyndham
Hotel (State, Allen, Embassy, Roxi, Hanna Rooms)
6:30pm-9:30pm - CEASE TO EXIST (Helen)
9am-11:30am - 10 Minute Plays Tech
2:30pm-5:30pm - 10 Minute Performances and Responses - Helen “Lab” Theatre
9am-12noon - One Act Performances #1 and #2 - Helen Theatre
1pm-4pm - One Act Performances #3 and #4 - Helen Theatre
10-Minute Plays
Performed Monday 1/5 from 2:30-5:30pm
Helen “Lab” Theatre, Playhouse Square
BITE ME, by Amanda Zeitler
Directed by Maggie Balsley
DADDY’S LITTLE GIRLS, by Ryan Patrick Dolan, Directed by David Miller
KICKING, by Karina Cochran
Directed by David Zarko
LA POLILLA DE LA LUNA, by Garret
Connor, Directed by John Gresh
LOVE, JEREMY, by Conor Bezeredi Directed by Bob Bartlett
DOMESTIC HELP, by Julianne Jigour
Directed by Michael Swanson
One Act Plays
One Act Plays
The W Trilogy, by Kathleen Burke, Directed by Janice Goldberg
STALLED, by Eugenie Carabatsos
Directed by T. Scott Frank
39 YEARS OF PEACH COBBLER, by Stephen Webb, Directed by Mark Wade
HOW YOU KISS ME IS NOT HOW I LIKE TO
BE KISSED, by Dan Giles Directed by Elizabeth Kitsos-Kang
Performed Tuesday, 1/6 from 9am-12noon
Performed Tuesday, 1/6 from 1pm-4pm
KCACTF 2015
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NEXT STEPS
The purpose of NEXT STEPS is to give you some resources for job hunting, auditions, graduate school,
career options and networking. You may not know yet what to do with your theatre degree—or even what
you CAN do with your degree. WAITER/WAITRESSING IS NOT THE ONLY OPTION!
The programming in this series will involve what to do next—after getting your BA degree, after completing your two year degree, after changing your mind about which area of theatre you want to work in—what
are your options? We are committed to providing you with as many resources, contacts and workshops as
we can to help you in your journey.
Case Western Reserve, CPH
Since 1996, Cleveland Play House has partnered with Case Western Reserve University to offer a Master of Fine Arts degree in
Acting. In 2003, it became a conservatory program completely
housed at Cleveland Play House. Every two years, the CWRU/
CPH MFA Acting Program accepts a class of eight actors into
its three-year program. Those accepted attend for 3-years TUITION FREE, PLUS receive a $13,500 yearly stipend. All three
years are spent in residency at Cleveland Play House, providing
students with unique access to its state-of-the-art facilities and
the professional expertise of its staff. Third year students are
granted AEA membership! The program is designed to instill
the physical, mental, and practical techniques needed by today’s
successful theatre artists. Its intimate class size enables the curriculum and performance experiences to be tailored to suit the
specific training needs of each class and individual student.
If interested…
-You must be graduating with your bachelor’s degree this spring
2015.
-Sign up for an audition slots on Saturday, January 3 between
9:00 & 10:00 AM in Middough, Rm 236.
-Auditions will be held on Sunday, January 4 between 9:30
AM & 12:30 PM.
-For auditions it is recommended that you bring 2 pieces. 1
classical (ideally in verse). No more than 4 minutes for both
-Headshots and resumes are preferred, however they can be
sent after the festival if necessary.
Merry Go Round Playhouse, and The
Finger Lakes Musical Theatre Festival
will be conducting interviews for summer work. They seek
stage hands, carpenters, electricians, wardrobe crew, and company & production management interns. All positions are paid
and housing is provided.
The Merry Go Round Playhouse mainstage, presents large-scale
Broadway spectacles with high caliber talent from Broadway
and across the country (2015 Season: West Side Story, The Light
In The Piazza, Saturday Night Fever, Sweeney Todd, The Calamari Sisters: My Big Fat Italian Wedding). In a second venue,
The Auburn Public Theatre, Merry Go Round produces smaller musicals, plays and comedies (2015: Late Night Catechism).
In their third venue, Theatre Mack, in a cabaret-style environment, they present a new musical in development each week,
encouraging audience feedback and discourse in our new works
series, “The Pitch.”
If interested…
-Sign up for an interview appointment on Saturday, January 3
between 9:00 & 10:00 AM in Middough, Rm 236.
-Interviews will be held on Sunday, January 4 between 9:30
AM & 12:30 PM.
-Bring a resume if possible, however if not, they can be sent
after the festival.
Eugene O’Neill Theater Center, The National Theatre Institute
RISK. FAIL. RISK AGAIN! The Tony award-winning O’Neill Center in Waterford, CT, offers semesters totally devoted to studying
theater, only theater, within a community of theater practitioners all working towards the same goals. That is the National Theater
Institute. It is a boot camp for writers, singers, actors, composers, directors, and dancers who are undergraduates or post-graduates
seeking a launching pad into the professional world through intensive, credit-earning training. The National Theater Institute at
the Eugene O’Neill Theater Center is the place where master teachers and industry professionals choose to teach.
If interested…
-Sign up for an audition/interview appointment on Saturday, January 3 between 9:00 & 10:00 AM in Middough, Rm 236.
-Audition/Interviews will be held on Sunday, January 4 between 1:00 PM & 4:30 PM.
-For auditions it is recommended that you bring 1 piece, 1-3 minutes in length. In addition, you may also sing a song without
accompaniment.
-Bring a resume if possible, however if not, they can be sent after the festival.
Please take advantage of all the workshops throughout the Festival. Many are taught by industry professionals and practitioners who can help you better understand the world after graduation!
KCACTF 2015
33
MASTER SCHEDULE
12:00pm-6:00pm – Registration – PHS Allen Theatre Lobby
12:00pm-6:00pm – Load In DTM Exhibits – PHS State Theatre Lobby
3:00pm-6:00pm – Irene Ryans Rehearsal – Wyndham Hotel Third Floor
4:00pm-5:00pm – Nail The Job Workshop – Wyndham State Room Third Floor
5:00pm-6:00pm – Nail The Job Workshop – Wyndham State Room Third Floor
6:00pm-10:00pm – Late Registration – PHS Allen Theatre Lobby
8:00pm-9:00pm – Festival Kickoff and Orientation – PHS Ohio Theatre
9:00pm-11:00pm – Irene Ryan Breakout – PHS Ohio Theatre
9:00pm-11:00pm – NPP Breakout – PHS Helen “Lab” Theatre
9:00pm-11:00pm – Dramaturgy Breakout – PHS Allen Theatre Lobby Glass Room #1
9:00pm-11:00pm – SDC/DI Breakout – PHS Allen Theatre Upstairs
9:00pm-11:00pm – ITJA Breakout – PHS Allen Theatre Lobby Glass Room #2
9:00pm-11:00pm – Fringe Breakout – PHS Allen Theatre Kalberer Lobby
9:00pm-11:00pm – DTM Breakout – PHS State Theatre Lobby
8:00am-7:00pm – Irene Ryans Preliminary Round – Wyndham Hotel State Room
9:00am-10:00am – Musical Theatre Initiative Audition Sign-Up – M236
9:00am-10:00am – Next Steps Audition/
Interview Sign-Up – M236
9:00am-10:50am – From Words to Images Workshop – M521
9:00am-11:00am – Devised Theatre Workshop Session #1 – M545
9:00am-12:00pm – Stage Management Portfolio Interviews – M252
9:30am-11:40am – Invited Production – SCAB – PHS Allen Theatre
10:00am-10:50pm – What About a Future
Family? Workshop – M541
10:00am-10:50am – FACULTY – Response Training – M255
10:00am-11:00am – Musical Theatre Initiative Information Workshop – M236
10:00am-11:30am – New Play Dramaturgy Workshop – M254
10:00am-11:50am – State Combat Unarmed Workshop – M537
10:00am-12:00pm – DTM Allied Design Responses – PHS State Theatre Lobby
10:00am-7:00pm – DTM OPEN EXPO – PHS State Theatre Lobby
11:00am-11:50am – Teaching Intro to Theatre (and Beyond) Workshop – M255
11:00am-11:50am – 3D Printing Overview Workshop – M236
11:30am-6:30pm – SDC Scene Rehearsals – M521
1:00pm-1:50pm – Serving and Leading with ASTEP Workshop – M252
1:00pm-1:50pm – Theater and Social Protest Workshop – M254
1:00pm-2:25pm – DTM Costume Design Responses – PHS State Theatre Lobby
1:00pm-2:50pm - Improvisational Storytelling Workshop – M255
1:00pm-2:50pm – Stage Combat Unarmed II Workshop – M 537
1:00pm-2:50pm – Free Your Meisner Workshop – M537
1:00pm-2:50pm – Do You Think You Might Be a Technician Workshop – M541
1:00pm-6:30pm – NPP Auditions – PHS Helen “Lab” Theatre
2:00pm-3:50pm – Stop Inventing & Play What’s Already There Workshop – M519
2:30pm-4:40pm – Invited Production – SCAB – PHS Allen Theatre
2:35pm-4:00pm – DTM Scenic Design Responses – PHS State Theatre Lobby
3:00pm-3:50pm – Google Sketch Up in the Design Process Workshop – M236
3:00pm-4:50pm – Shakespeare: Performance Essentials Workshop – M530
3:00pm-5:30pm – ITJA Session #1 – M204
4:00pm-4:50pm – Commanding Images Workshop – M236
KCACTF 2015
34
MASTER SCHEDULE
4:00pm-4:50pm – You Graduated, Now What? Workshop – M541
4:00pm-5:50pm – Animal Meet & Greet Workshop – M523
4:00pm-6:00pm – DTM State Management Responses – PHS State Theatre Lobby
5:00pm-5:50pm – Led Shakespeare Do the Hard Work Workshop – M252
5:00pm-5:50pm – Taxes for Artists and Actors Workshop – M236
8:00pm – FACULTY – Response Training – Ohio Theatre
8:00pm-10:00pm – Invited Production – THE ADDING MACHINE –
PHS Ohio Theatre
11:00pm-12:00am – NPP Cast Meeting – Wyndham Hotel Stillman Room
11:00pm-1:30am – Student Social – Wyndham Hotel Palace Ballroom
8:00am-10:00pm – NPP Open Rehearsals – Wyndham Hotel 3rd Floor
8:00am-11:00am – Musical Theatre Initiative Auditions – M519
9:00am-9:50am - What Can You Do With a BA in Theatre? Workshop – M255
9:00am-9:50am – Breaking into Audiobooks Workshop – M236
9:00am-10:00am – FACULTY – DTM Roundtable – M252
9:00am-10:30am – Invited Fringe Production #1 – PHS Helen Theatre
9:00am-10:50am – Russian School of Directing Workshop – M505
9:00am-10:50am – Devising at Play Workshop – M530
9:00am-10:50am – Physical Theatre Pushes Boundaries Workshop – M523
9:30am-11:30am – ITJA Session #2 – M204
9:30am-11:00am – Invited Production –
LOW LEVEL PANIC –
PHS Allen Theatre
9:30am-12:30am – Next Steps Auditions – M503
9:30am-12:30am – Next Steps Auditions/
Interviews – M504
10:00am-10:50am – Owning Your Artistic Identity Workshop – M236
10:00am-11:50am – Polyfoam Puppetry Workshop – M515
10:00am-11:50am – Stage Combat Single Sword Workshop – M537
10:00am-11:50am – Shakespeare’s Folio Technique Workshop – M252
10:00am-12:00pm – DTM Sound Design Responses – PHS State Theatre Lobby
11:00am-12:30pm – Invited Fringe Production #2 – PHS Helen Theatre
11:00am-11:50am – The Art of Slapstick Workshop – M530
11:30am-12:30pm – FACULTY – Response Training – TBD
12:00pm-1:15pm – Keynote Performance
IT GOES WITHOUT SAYING
Written and Performed by Bill Bowers
PHS Ohio Theatre
1:00pm-1:15pm – Announcement of Irene Ryan Semifinalists – Ohio Theatre
1:00pm-1:15pm – Announcement of MTI Semifinalists – Ohio Theatre
1:00pm-2:30pm – Invited Fringe Production #3 – PHS Helen Theatre
1:00pm-2:50pm – Stage Combat Single Sword II Workshop – M537
1:00pm-2:50pm – Creating a Lighting Portfolio Workshop – M252
1:00pm-2:50pm – Monologue as Dialogue Workshop – M523
1:00pm-4:00pm – DTM Lighting Design Responses – PHS State Theatre Lobby
1:30pm-2:00pm – SDC Cast Meeting – M521
2:00pm-2:50pm – Steel or Wood Workshop – M236
2:00pm-5:00pm – MTI Finalist Workshop
Rehearsal – M519
2:00pm-6:00pm – SDC First Round
Presentations/Responses – M521
KCACTF 2015
35
MASTER SCHEDULE
2:30pm-4:00pm – Invited Production –
LOW LEVEL PANIC –
PHS Allen Theatre
3:00pm-3:50pm – Master Minds: Graduate Study Workshop – M255
3:00pm-3:50pm – Intro to Michael Chekhov Workshop – M252
3:00pm-4:30pm – Invited Fringe Production #4 – PHS Helen Theatre
3:00pm-5:00pm – Irene Ryans Semifinal Orientation – PHS Outcalt Theatre
4:00pm-4:50pm – The Writer’s Process Workshop – M255
4:00pm-4:50pm – You Graduated, Now What? Workshop – M541
4:00pm-5:50pm – Sewing Lights Into Costumes Workshop – M252
4:00pm-5:50pm – Actor’s Equity Workshop – M236
4:00pm-6:00pm – DTM Design Portfolio Review – M252
5:00pm-5:50pm – The Embodied Voice Workshop – M530
5:00pm-7:00pm – Irene Ryans Semifinals Rehearsals – PHS Outcalt Theatre
6:30pm-9:30pm – NPP “Cease To Exist” Performance – PHS Helen “Lab” Theatre
8:00pm-10:00pm – Invited Production – MAELSTROM – PHS Ohio Theatre
11:00pm-1:30am – The Fringe Challenge – Wyndham Hotel Stillman Room
8:30am-12:30pm – Irene Ryans Semifinal Round – PHS Outcalt Theatre
9:00am-9:50am – More Tech Miscellany Workshop – M236
9:00am-9:50am – Reflecting America Workshop – M255
9:00am-10:50am – Michael Chekhov Technique Workshop – M530
9:00am-10:50am – Yoga for the Actor Workshop – M523
9:00am-10:50am – The Elements of New Life Scripts Workshop – M504
9:00am-11:30am – NPP 10-Minute Plays Tech – Helen “Lab” Theatre
9:00am-12:00pm – SDC Director Interviews – M503
9:30am-11:30am – ITJA Session #4 – M204
9:30am-11:30am – Invited Production – RED – PHS Allen Theatre
10:00am-10:50am – FACULTY Response Training – M255
10:00am-10:50am – Designers Storyboard Renderings Workshop – M236
11:00am-11:50am – Navigating the Business Workshop – M255
11:00am-11:50am – Bio-Dramaturgy Workshop – M254
12:00pm-12:50pm – An Intro to Greener Theatre Workshop – M252
12:00pm-2:00pm – MTI Finalist Auditions – M519
1:00pm-1:50pm – ETC Nomad Workshop – M255
1:00pm-1:50pm - The Silent and Not-So-Silent ART OF MIME Workshop - M523
1:00pm-2:45pm – Invited Fringe Scenes – M521
1:00pm-2:50pm – Finding The Game Workshop – M504
1:00pm-2:50pm – Help! I Need A Headshot Workshop – M236
2:00pm-2:50pm – Hosting a KCACTF Regional Festival Workshop – M255
2:00pm-3:00pm – DTM Costume Parade – M252
2:00pm-3:50pm – 100 Years of Stanislavsky Workshop – M533
2:30pm-4:30pm – Invited Production – RED – PHS Allen Theatre
2:30pm-4:30pm – Devised Theatre Performances – M545
2:30pm-5:30pm – NPP 10-Minute Play Performances – PHS Helen Theatre
3:00pm-4:00pm – DTM Design Storm – M252
KCACTF 2015
36
MASTER SCHEDULE
3:00pm-4:50pm – The Business of Acting Workshop – M255
3:00pm-4:50pm – Solos are Soliloquies Workshop – M519
3:00pm-4:50pm – Pictures > 1000 Words Workshop – M505
3:00pm-6:00pm – Irene Ryans Semifinals Response – M236
4:00pm-4:50pm – You Graduated Now What? Workshop – M541
4:00pm-4:50pm – You Want Me to Do What With Who? Workshop – M504
4:00pm-5:50pm – Dramaturgy Portfolio Review – M254
4:00pm-5:50pm – The Art of Casting with Hot Clue Workshop – M537
4:00pm-6:00pm – DTM Costume Bash – M252
5:00pm-5:50pm – Droznin Russian Movement Workshop – M523
5:00pm-11:00pm – SDC Scene Rehearsals – M521
6:00pm-6:30pm – MTI Finalist Announcement –
PHS Allen Atrium
6:30pm-6:45pm – Irene Ryans Finalist Announcement – PHS Allen Atrium
7:00pm-9:00pm – Irene Ryans Orientation and Rehearsal – PHS Outcalt Theatre
7:30pm-10:30pm – DTM Tech Olympics – M533
8:00pm-10:30pm – Invited Production – THE LAST DAYS OF JUDAS ISCARIOT
PHS Ohio Theatre
11:00pm-1:30am – The Fringe Challenge – Wyndham Hotel Stillman Room
8:00am-10:00am – DTM Exhibit STRIKE – PHS State Theatre Lobby
9:00am-9:50am – Qlab for Dummies Workshop – M255
9:00am-10:50am – From Russia With Zen Workshop – M519
9:00am-10:50am – Shakespeare’s First Folio Workshop – M252
9:00am-10:50am – Moving with Michael Chekhov Workshop – M523
9:00am-10:50am – The DIY Ten-Minute Play Festival – M236
9:00am-10:00am – Becoming a Professional Director Workshop – M531
9:00am-12:00pm – NPP One Act Performances #1, #2 – PHS Helen “Lab” Theatre
9:30am-12:00pm – ITJA Session #6 – M204
9:30am-11:30am – Invited Production – VANISHING POINT
PHS Allen Theatre
10:00am-10:50am – FACULTY Response Training – M255
10:00am-12:00pm – Irene Ryans Final Round Performance – PHS Outcalt Theatre
10:00am-12:00pm – DTM Regional Awards – PHS State Theatre Lobby
12:30pm-1:00pm – SDC Cast Meeting – M521
1:00pm-1:50pm – Digital Portfolio Preparation Workshop – M252
1:00pm-2:50pm – Exploring the Actor’s Voice Workshop – M523
1:00pm-2:50pm – 3D AutoCAD Workshop – M55
1:00pm-4:00pm – SDC Final Presentations and Responses – M521
1:00pm-4:00pm – NPP One Act Performances #3, #4 – PHS Helen “Lab” Theatre¬
2:00pm-2:50pm – iPad Art Workshop – M252
2:00pm-4:45pm – Invited Production – THE DYBBUK – PHS Ohio Theatre
2:00pm-5:00pm – Irene Ryans Finalist Responses – M236
2:30pm-4:30pm – Invited Production – VANISHING POINT
PHS Allen Theatre
3:00pm-3:50pm – Light Performs Workshop – M252
8:00pm-10:00pm - Closing Ceremonies - PHS
Ohio Theatre
37
KCACTF 2015
Festival Leadership, Staff, and Volunteers
Region 2 Leadership
Scott Mackenzie, Chair
Grechen Lynne Wingerter, Vice Chair
Elizabeth van den Berg, Immediate Past Chair
Andy Truscott, Festival Manager
Allyson Currin, Chair, National Playwrighting Program
John Gresh & Laura Smiley, Co-Vice Chairs, National Playwrighting Program
Greg Griffin, Chair, Design, Technology, Management
Jay Innerarity, Vice Chair, Design, Technology,
Management
Heidi Winters Vogel, Directing Institute Coordinator
Arthur Adair, Stage Directors and
Choreographers Coordinator
Ralph Leary, Chair, Institute for Theatre Journalism and
Advocacy Coordinator
Lisa Wilde, Dramaturgy Coordinator
Becky Prophet, Fringe Coordinator
Tony Rosas, Workshop Coordinator
Tammy O’Donnell, Irene Ryan Coordinator
Bill Gillet, Next Steps Program
Peter Rydberg, Project for Devised Theatre Coordinator
Peggy Yates, Musical Theatre Initiative Coordinator
Maggie Hess and Sheila Fizer, Assistants to the Regional Chair
Regional Associate Response Circuit Coordinators
Festival Host Staff Cleveland State University
Dr. Ronald Berkman, President
Dr. Deirdre Mageean, Provost
Dr. Gregory Sadlek, Dean, College of Liberal Arts and Social Sciences
Mrs. Lynn Deering Chair, Department of Theatre and Dance
Dr. Michael Mauldin, Festival Host/Department of Theatre and Dance Professor
Richard Grospitch, Director of Conference Services
Kate Miller, Administrative Coordinator, Department of Theatre and Dance
Joseph Fahey, Ohio and West Virginia
Trish Ralph, Western/Central Pennsylvania and Western New York
Ben Fisler, New Jersey, Delaware, Eastern PA, Maryland, D.C., and Northern Virginia
PlayhouseSquare
Allyson Currin, Barb Blackledge, Barbara Burgess-Lefebvre,
Becky Misenheimer, Becky Prophet, Ben Fisler, Betsy Craig, Bev Redman, Bill Gillett, Brian Jones, Bryce Britton, Caleen Jennings, David Zarko, Debra Otte, Dustin Shaffer,
Elizabeth van den Berg, Eve Muson, Gary Sloan, Grechen Lynne
Wingerter, Gregg Henry, Gregory Griffin, Holly Holsinger,
Howard Kurtz, Janice Goldberg, Jeff Lentz, Jen Whiting,
Jennifer Toohey, Jessica Culligan, Joe Fahey, John Gresh, John
Moletress, Jon Klein, Joseph Fahey, Judith McCabe, Julie
Wunsch, Keith Hight, Larry Loebell, Lars Tatom, Laura Smiley,
Leonard Kelly, Lindsay Reading Korth, Lisa Wilde, Maggie Lally, Margaret Ball, Marilouise Michel, Mark Wenderlich, Michael Allen, Michael Aulick, Michael Mauldin, Michael
Schwartz, Michael Swanson, Moses Goldberg, Naomi Baker,
Nathan Magee, P . Gibson Ralph, Patrick Reynolds, Paul Bernstein,
Peggy Yates, Peter Rydberg, Ralph Leary, Rebecca Baker, Rick
Stoppleworth, Robert Bartlett, Ruth Childs, Scott A. Mackenzie,
Scott Frank, Seth Bauer, Shawn Clerkin, Shirley Huston-Findley,
Tammy O’Donnell, Teresa Durbin-Ames. Terra Vandergaw,
Thomas Burch, Tiffany Towns, Valerie Smith, Victor
Capecce, Wayne Vettleson, William Gillett, Wolf Sherrill
Program Designed by Andrew Truscott
2014-2015 Region Two Respondents
Art Falco, President and CEO
Jordan Davis, Special Events Coordinator
Robert Mingus, Director of Production
KCACTF 2015
38
National Acknowledgement
KCACTF Festival 47
The Kennedy Center
David M. Rubenstein, Chairman
Deborah F. Rutter, President
Darrell M. Ayers, Vice President, Education
Susan Shaffer, Producing Director, KCACTF
Gregg Henry, Artistic Director, KCACTF
KCACTF National Officers
Rebecca Hilliker, National Chair - University of Wyoming
David Lee Painter, National Vice Chair - University of Idaho
Jeanette Farr National Chair, National Playwriting Program - Glendale Community College
Gweneth West, National Chair, Design, Technology & Management - University of Virginia
Leigh Selting, Member at Large - University of Wyoming
David Shawger Jr., Member at Large - Ball State University
Richard Herman, Member at Large
Harry Parker, Immediate Past National Chair -
Texas Christian University
Rafael Jaen, National Vice - Chair, Design, Technology & Management- Emerson College
Buzz Herman, National Vice-Chair, National Playwriting Program – University of Central Missouri
Martha Marking, USITT Representative – Appalachian State University
Jere Wade. National Partners of American Theatre Representative
KCACTF Design, Technology & Management Chairs
Charlie Wittreich, Region I-Co-Chair - SUNY Suffolk
Daniel Kozar Region I-Co-Chair - Dean College
Greg Griffin, Region II - University of Findlay
Kathleen Donnelly, Region III - University of Wisconsin, Oshkosh
Jesse Dreikosen, Region IV - Florida International University
Sheila Tabaka, Region V - Southwest Minnesota State University
Jason Foreman, Region VI Chair - Oklahoma City University
Rae Robison, Region VII - Humboldt State University
Catherine Zublin, Region VIII -
Weber State University
KCACTF National Playwriting Program (NPP)
The Michael Kanin Playwriting Awards Committee
Robin Stone, Region I Chair-Roger Williams University
Allyson Currin, Region II Chair-
George Washington University
Jennifer Blackmer, Region III Chair-
Ball State University
David Moberg, Region IV Chair-
Indian River State College
Patrick Carriere, Region V Chair-
Minnesota State University, Moorhead
Jim Anderson, Region VI Chair-
Texas A&M University-Commerce
Nancy Lee-Painter, Region VII Chair-
Lewis-Clark State College
Jim Holmes, Region VIII Chair-
Loyola Marymount University
KCACTF Regional Chairs
Paul Ricciardi, Region I Co-Chair - Kingsborough Community College
John Devlin, Region I Co-Chair - St. Michael’s College
Scott Mackenzie, Region II - Westminster College
Michelle Bombe, Region III- Hope College
Jeffrey Green, Region IV- Georgia Southwestern State University
Rick Anderson, Region V -
Kirkwood Community College
Joy Pace, Region VI- Itinerant Theatre
Kelly Eviston Quinnett, Region VII - University of Idaho
Matthew Neves, Region VIII- Chair
KCACTF 2015
39
Student Volunteers
Adelphi University
East Stroudsburg University
Christopher Benson, Christopher Robinson, Bri’ana Schell,
Andrew Scoggin
Alexandra Aug, Sydney Diaz, Lindsay Horgan, Alyssa Hricko,
Krista Intranuovo, Sarah Lawson, Timothy Oriani, Isuri Wijesundara
Indiana University of Pennsylvania
John Bell, William Corning, Elise Pease Neugebauer, Tanner Piekarski, Bergon Sigmon, Veronica Somers, Magdalene Urban
Paul Sweet
Charlotte Besida, Daniel Contreras, D’Sha Edge, Branden Fox,
Paul Maier, Erin Paule, Sean Welch, BreAnna Wyant
Kelli McMenemon
Cayleigh Boniger
University of Akron
Amara Alberto, Alexandra Bair, Sarah Blubaugh, Nicholas
Chokan, Emma Clark, Adam Cooper, Dominique Coppells,
Zionna Corothers, Bobby Coyne, Charles Davis, Nadia Davis,
Arwyne Dorsey, Emily Dotson, Emily George, Brandi Gipson,
Patrick Gladish, Caitlin Hathaway, Alyssia Haywood, Reagan
Hernon, Joseph Jackson, Angelique Jennings, Kristen Kleemann-Whitney, Hannah Krainz, Leah Kraynak, Katrina Kroll,
Giorgiana Lascu, Ryan Mayer, Tatiana Meadows, Kayla Menz,
Holly Miller, Chloe Mlinarcik, Tyler Moliterno, Rachel Murar, Janel Mutum, Alita Petras, Christina Pierce, Jamie Satterfield, Shannon Sharkey, Darlene Sharp, Cody Steele, Elizabeth
Stewart, Joseph Virgo, Daniel Weddell, Pauletta Williams
Thiel College
Anne Arundel Community College
BGSU Firelands
Clarion University of Pennsylvania
Abby Bender, Amos Glass, Hannah Hughes, Indira LaTouch,
Kaitlyn MacGilvray, Cortney Mandoske
Lycoming College
Queensborough Community College/CUNY
Jay Lucero, Katreena Stuart, Starshima Trent
SUNY Oswego
The George Washington University
Meghan Bernstein
Alyssa Whiddon
Sara Gerdy, Ashley Reynolds
Towson University
Dean Whitfield
West Liberty Unviersity
Jaccob Trifonoff
Westminster College
Sheila Fizer, Maggie Hess
Thank you for your help!
We could not have done this without YOU!
Support for KCACTF
The Kennedy Center American College Theater Festival 47,
part of the Rubenstein Arts Access Program,
is generously funded by David and Alice Rubenstein.
Additional support is provided by The Honorable Stuart Bernstein and Wilma E. Bernstein; the
Blanche and Irving Laurie Foundation; Dr. Gerald and Paula McNichols Foundation; The Harold
and Mimi Steinberg Charitable Trust; Hilton Worldwide; and Beatrice and Anthony Welters and
the AnBryce Foundation.
Education and related artistic programs are made possible through the generosity of the
National Committee for the Performing Arts
and the
President’s Advisory Committee on the Arts.
Gifts and grants to education at the Kennedy Center are provided by Adobe Foundation; Sandra
K. & Clement C. Alpert; AnBryce Foundation; Bank of America; Bernstein Family Foundation;
The Honorable Stuart Bernstein and Wilma E. Bernstein; Capital One Bank; Carter and Melissa
Cafritz Charitable Trust; Centene Charitable Foundation; Citibank; The Charles Engelhard Foundation; Clark Charitable Foundation; Community Advisory Board; Mike and Julie Connors; CVS
Caremark; DC Commission on the Arts and Humanities; Dr. Gerald and Paula McNichols Foundation; Fight for Children, Inc.; David Gregory and Beth Wilkinson; Harman Family Foundation;
The Harold and Mimi Steinberg Charitable Trust; Harris Corporation; Hilton Worldwide; The
J. Willard and Alice S. Marriott Foundation; The Jacob and Charlotte Lehrman Foundation; Mr.
James V. Kimsey; The Kiplinger Foundation; The Kirstein Family Foundation; Natalie and Herb
Kohler and Kohler Co.; Kenneth and Lucy Lehman; The Macy*s Foundation; Margaret A. Cargill
Foundation; The Max and Victoria Dreyfus Foundation, Inc.; Jaylee M. Mead†; Linda and Tobia
Mercuro; The Meredith Foundation; The Morningstar Foundation; The Morris and Gwendolyn
Cafritz Foundation; The National Committee for the Performing Arts; National Endowment for
the Arts; National Trustees of the National Symphony Orchestra; Newman’s Own Foundation;
Paul M. Angell Family Foundation; Park Foundation, Inc.; Mrs. Irene Pollin; President’s Advisory Committee on the Arts; Prince Charitable Trusts; Rose Mary Kennedy Education Fund; Dr.
Deborah Rose and Dr. Jan A. J. Stolwijk; Ryna and Melvin Cohen Family Foundation; Share Fund;
Mr. and Mrs. Albert H. Small; Target; Thomas W. Haas Foundation; U.S. Department of Education; Volkswagen Group of America, Inc.; Sherry and Eddie Wachs; Washington Gas; Wells Fargo;
Beatrice and Anthony Welters; William R. Kenan, Jr. Charitable Trust; generous contributors to
the Abe Fortas Memorial Fund, and by a major gift to the fund from the late Carolyn E. Agger,
KCACTF 2015
Participating Productions 2014
Albright College
Alfred University
Alvernia University
Anne Arundel Community College
Arcadia University
Ashland University
BGSU Firelands
Bloomsburg University
Bridgewater College
Clarion University of Pennsylvania
College at Brockport
Community College of Baltimore County
Eastern Mennonite University
George Washington University
Grove City College
Harford Community College
Keuka College
LIU POST
Millersville University
Montclair State University
Muskingum University
Ohio State University at Mansfield
Ohio University Lancaster
Penn State Altoona
Pennsylvania State University, Berks Campus
Robert Morris University
Shawnee State University
Slippery Rock University
Dancing at Lughnasa
Devious Laughter
Maelstrom
The Shape of Things
An Ives Evening/All in the Timing
Anna in the Tropics
“A Merry Death”/”Puppets at the Fairground”
Low Level Panic
What Mighty Magic!
Les Liaisons Dangereuses
The Grimms Brothers Spectaculathon
The Prescott Method
In the Event of My Death
Saint Joan
Gruesome Playground Injuries
30 Neo-Futurist Plays from Too Much Light Makes the
Baby Go Blind
MacBeth
The Children’s Hour
Agamemnon
Inherit the Wind
The Last Days of Judas Iscariot
Nothing is Left to Tell
Story Theatre
Taming of the Shrew
The Dybbuk
bobrauschenbergamerica
Censored on Final Approach
Cripple of Inishmaan
Dead Man’s Cell Phone
The Consumables
Into the Woods
Twelfth Night
Vanishing Point
Dancing at Lughnasa
Red
Dog Sees God
The Lady’s Not for Burning
CONDITIONS OF LOVE
Elton John and Tim Rice’s AIDA
The Big Meal
Oedipus Rex
The Tin Faces Project
The Elephant Man
Eurydice
Five Women Wearing the Same Dress
Detroit
Remembrance
Titanic the Musical
Beyond the Horizon
Electra: An American Gothic
Laundry & Bourbon and Lone Star
SCAB
KCACTF 2015
42
Participating Productions 2014
University of Findlay
University of Scranton
University of Toledo
Washington and Jefferson College
West Chester University
West Liberty University
Xavier University
A Funny Thing Happened on the Way to the Forum
Brilliant Traces
Table Manners
The Adding Machine
Cease to Exist
Dead Man’s Cell Phone
Machinal
The Rivals
The Wedding Singer
The Last Days of Judas Iscariot
From White Plains
Associate Productions 2014
Adelphi University
American University
Ashland University
Baldwin Wallace University
BGSU Firelands
Bowie State University
Bowling Green State University
Bridgewater College
Bucknell University
Carnegie Mellon University
Catholic University of America
Cedarville University
Corning Community College
Cuyahoga Community College
East Stroudsburg University of Pennsylvania
Elizabethtown College
Elmira College
Frostburg State University
Five Women Wearing The Same Dress
Generation T
The Boys Next Door
Twelfth Night
Inheret the Wind
The Alchemist
Songs for a New World
A Chorus Line
Performance Ensemble: A devised play based on themes
in Romeo & Juliet
Romeo & Juliet
The Tempest
The Colored Museum
Book of Days
Night of the Living Dead
Urinetown
The Bright Smile
Tartuffe
Fall 2014 New Works Series
New Works Series (three new plays)
Distracted
Romeo & Juliet
Fifi and Hunter Forever!
Little Women
Pride and Prejudice
The 39 Steps
Lysistrata
Scab
Jekyll and Hyde
Sly Fox
Seussical
Spike Heels
A Murder is Announced
Company
These Shining Lives
The Last Night of Ballyhoo
She Kills Monsters
KCACTF 2015
43
Gannon University
Gettysburg College
Grove City College
Harford Community College
Indiana University of Pennsylvania
Keuka College
Lafayette College
Lycoming College
McDaniel College
Millersville University
Montclair State University
Mount Aloysius College
Muhlenberg College
Nazareth College
Penn State University -- Harrisburg
Prince George’s Community College
Queensborough Community College
Ramapo College of New Jersey
Richard Stockton College of New Jersey
Robert Morris University
Rowan University
Rutgers University
Rutgers University Camden
Seton Hall University
Sinclair Community College
STRIKING 12
As You Like It
Circle Mirror Transformation
Uncle Vanya
Guys and Dolls
Cat on a Hot Tin Roof
The Cuckoo’s Nest Casino
Southern Crisis:
Fahrenheit 451
The Monster in the Garden
The Pajama Game
The New York Idea
Proof
Xanadu
In the Next Room or The Vibrator Play
The Cradle Will Rock
The Distance from Here
A Midsummer Night’s Dream
Fat Pig
A Lesson Before Dying
Our Town
Rent
42nd Street
Hair
The Threepenny Opera
Wintertime
Godspell
Nickel and Dimed
New Visions A and B
I Love You Because
Macbeth
Quilters
The Cherry Orchard
Evil Dead: The Musical
A Christmas Carol (A New Adaptation)
12 Angry Jurors
Dog Sees God
Electra
MilkMilkLemonade
Bottle House
Miss Julie
Spring Awakening
Crumble (Lay Me Down Justin Timberlake)
Frogs (Re-)Imagined
Amadeus
Psycho Beach Party
Threepenny Opera
Rutgers MFA Playwright
Nickel and Dimed
Rosencrantz and Guildenstern Are Dead
To Kill a Mockingbird
bare: a pop opera
Pride & Prejudice
KCACTF 2015
Slippery Rock University
St. Bonaventure University
Thiel College
Towson University
University at Buffalo
University Maryland Baltimore County
University of Akron
University of Findlay
University of Toledo
University of Virginia
Villanova University
West Chester University
Westminster College
Wilkes University
Youngstown State University
the robber bridegroom
42 Shakes, A Work in Progress...
Dancing at Lughnasa
An Enemy of the People
Mauritius
Between Trains
Lysistrata
The Importance of Being Ernest
Thirteen Clowns
How Did We
Les Miserables
The Man Who Would Be King
The Tempest
Gum
Nora
Godspell
Rumors
The Walls
Twelfth Night
A Flea in Her Ear
Every Tongue Confess
Museum
The Forgetting River
The Rimers of Eldritch
Big Love
Fallen Angels
Student Written One Acts
Into the Woods
The Walls
Carrie the Musical
A Steampunk Christmas Carol
The Spitfire Grill: A Musical
KCACTF 2015
Festival Presenters and Guests
ARTHUR ADAIR is thrilled to be a part of KCACTF once
again, after serving as past SDC Coordinator in Region
VI and receiving the 2011 National Faculty Fellowship
in Directing. Professional Membership: Stage Directors
& Choreographers Society; Actors’ Equity Association;
Dramatist Guild of America. Award-winning Set/Light
Designer. At La MaMa, Artist-in-Residence (97-07) &
present Education Outreach Coordinator for the theatre
history series, Coffeehouse Chronicles. M.F.A., Theatre
Directing, Brooklyn College/CUNY. Assistant Professor
at Queensborough Community College/CUNY. Check
out his original theatrical installation, Your Wat’ry Grave
at La MaMa June ’15, [email protected].
CARLYN AQUILINE is the Literary Manager and Dramaturg of City Theatre Company Pittsburgh
NAN BARNETT (NPP Respondent) is a new play advocate, a developer of theatre artists, and a producer of the
work they create. She is currently the Executive Director
of National New Play Network, an alliance of more than
50 theatres that support the development, production
and continued life of new plays. During her previous
tenures on NNPN’s Executive Committee and as its President she helped create several of the organization’s revolutionary programs, including its Continued Life of New
Plays Fund, which supports Rolling World Premieres, and
Playwright and Producer Residencies. She was a founding company member and the long-time Managing Director of Florida Stage, which produced exclusively new
and developing work. During her twenty-four seasons
there she oversaw the creation of plays and musicals that
have subsequently been seen around the world including
works by Nilo Cruz, Tammy Ryan, William Mastrosimone, Israel Horovitz, Lee Blessing, Deborah Zoe Laufer,
and many, many more. She has served as a consultant on
the creation of new works, organizational growth, strategic and succession planning and board development for
theatres across the country, and is especially pleased to be
considered a mentor of theatre-makers, including actors,
directors, playwrights, administrators, producers, technicians and volunteers. A graduate of North Carolina
School of the Arts Professional Actor Training Program,
Nan is the winner of the Theatre League of South Florida’s Remy Award for service to the theatrical community,
the 2012 Fallon Award for excellence in the professional
theatre, and a two-time winner of South Florida’s Carbonell Award as an actress.
JOHN BELLOMO is the former Artistic Director of The
Maryland Shakespeare Festival and Co-Artistic Director
of Ombelico Mask Ensemble. He is a 6 time Barrymore
nominee for his fight choreography and received a Barrymore Award for Outstanding Movement/Chorography
for his work on The Elaborate Entrance of Chad Deity at
Interact Theatre Co. John received an M.F.A. in Direct-
ing from Temple University, a B.F.A. in Acting from the
University of the Arts, and is also a graduate of The International School for the Comic Actor in Reggio Emilia,
Italy. He has performed commedia dell’arte, in Poland,
Switzerland, Italy and the U.S.
RUSS BORSKI AND TERRY PIERITZ, co-creators of
“The Art of Polyfoam Puppetry”, are two designers who
have frequently teamed together on theatre productions for the last twenty five years. Mr. Borski arrived in
Cleveland in 1990, having garnered seven Joseph Jefferson awards in the Chicago theatre scene for excellence
in design. Ms. Pieritz trained in opera in Cleveland with
roots at the Cleveland Institute of Music and Lyric Opera Cleveland. Initial collaborations included productions of Candide, The Rape of Lucretia, Orpheus in the
Underworld, The Marriage of Figaro, and The Return of
Ulysses. Regional productions include Into the Woods,
The Fantasticks, Sideshow, Much Ado About Nothing,
Measure for Measure, Batboy, I Love You, You’re PerfectNow Change, A Streetcar Named Desire, The Secret Garden, Kiss Me Kate, Nine and The Wiz. Most Recently the
two have collaborated on Dreamgirls, The House of Blue
Leaves and Avenue Q. Currently, both teach and reside
within the Department of Theatre and Dance at Cleveland State University.
CHRISTINE BRUNO has served as Disability Advocate
for Inclusion in the Arts since 2005 and has represented the organization across the US and internationally.
As a performer, she has appeared on stage, TV and in
film. Christine sits on several diversity committees, including SAG-AFTRA, AEA and Broadway League, holds
an MFA in acting and directing and is a member of the
Actors Studio.Inclusion in the Arts is the nation’s leading advocate for full diversity as a key to the vitality and
dynamism of American theatre, film, and television. We
promote authentic dialogue about race, culture, and disability that embraces the complexity of underlying social
and historical issues. www.inclusioninthearts.org
ROBERT BULLINGTON teaches acting and voice
at Clarion University. He earned his M.F.A. in acting
at The University of Alabama and a B.F.A. in acting at
Ohio University. He has also studied voice and acting at
Shakespeare & Company in Lenox, MA, and is a junior
member of their teaching faculty. His productions of The
Cripple of Inishmaan and Make Sense Who May have
been seen at Region II festivals.
BARBARA BURGESS-LEFEBVRE is an associate professor of Communication and Theatre at Robert Morris
University where she teaches acting, directing, theatre
literature, and stage combat. Barbara earned her MFA
in Directing from Illinois State University, her BA in English Writing and Drama from SUNY Potsdam and has
worked professionally as a director, a costume designer,
and a fight director. She serves as the faculty advisor
for RMU’s chapter of Alpha Psi Omega and the newly
formed Freedom Players.
AMY RENE BYRNE is a professor, actor, and director
in Williamsport, PA. She graduated from West Virginia
University in 2012 with her MFA in Theatre, emphasis in
Acting. While at WVU, she started a successful headshot
and production photography business (www.imagesbyamyrene.com). Amy currently teaches at Lycoming College; she has also taught at Zane State College and West
Virginia University. Her acting style is a unique blend of
Stanislavski and Meisner technique that lends to powerful, truthful presence on stage. She is currently working
with The Actors Group, a local no-frill company focusing
on strong acting and hard-hitting subjects.
SUZY CAMPBELL Assoc. professor of theatre design
has been working in costumes, scenic design and props
for over 30 years. Her work has appeared in USITT’s
“TD&T” magazine and was the first designer allowed to
redesign Martha Grahm’s iconic “Appalachian Spring”
which was presented at the Ohio Theatre in Cleveland
to a sold out audience. She is the crafter of the Cleveland
Indians mascot”Slider” and other sports mascots. She
prides herself on the fact that her students get employment...like Christine Haag who is the key costumer for
“Scandal”.
RONN CAMPBELL is currently an Associate Professor
of Theatre at Columbia Basin College. He holds a M.F.A.
in scenic and lighting design from Humboldt State University. Ronn has designed scenery, lighting and sound
for many companies in the Northwest including Washington East Opera, CBC Summer Theatre, Columbia
Basin Jazz Orchestra, Mid-Columbia Regional Ballet and
Idaho Repertory Theatre. Ronn has served as the Chair
of DTM for KCACTF Region VII and the past Chair of
the Northwest Section of USITT. He has received several
awards for his design work and was awarded the Kennedy Center Medallion in 2012. Ronn was recently elected
KCACTF national executive board Member-at-Large.
VICTOR CAPECCE is an Associate Professor/Technical Director at Millersville University. Besides teaching
a range of technical theatre courses,and set designing regionally, he has operated his own faux finishing and mural business (Renn-Art Associates*) since 1986. He also
helped create MU’s Entrepreneurship Minor and teaches
a course called “The Art of Entrepreneurship.”
ROBIN CARR is an Associate Professor of Voice and
Acting in the Department of Theatre at the University of
Southern Mississippi. She is currently President-Elect for
the International Lessac Training and Research Institute.
As one of only 53 Lessac Certified Voice and Body Trainers in the world, Robin has recently taught master classes
at Carnegie Mellon University’s School of Theatre; The
Gaeity School for Acting, The National Theatre School of
Ireland in Dublin; The National Institute of Dramatic Art
in Sydney, Australia; and with the Theatre Actors Guild
in Manila, Philippines. Robin has been the Chair of the
Voice and Speech Committee for the Southeastern Theatre Conference and is a member of the Voice and Speech
Trainer’s Association. She has been the dialect coach for
various productions such as Dancing at Lughnasa, Hitchock Blonde, Waiting for the Parade and Candida at
Southern Miss and Our Country’s Good for the University of New Orleans. Most recently, Robin was the voice
and dialect coach for A Member of The Wedding at Triad
Stage in Greensboro, North Carolina.
DONALD CARRIER is the Associate Director of the
Case Western Reserve University/ Cleveland Play House
MFA Acting Program. For nine seasons, he played leading roles at the Stratford Festival, North America’s premiere classical theatre company. He also spent three seasons at the Old Globe under Adrian Noble, former AD
of the RSC. He has performed at the Shakespeare Theatre with Michael Kahn and at the Chicago Shakespeare
Theatre directed by Brian Bedford. He has performed at
the Huntington Theatre , NDSF, Great Lakes Theatre, the
Wilma and the Intiman Theatre among many others. He
has an extensive film and TV resume and has recorded
over 30 radio plays
JANE CHILDS Director of Stagecraft Institute of Las
Vegas and a theatre career assisting her husband Don
on his scenic and lighting design projects, costuming,
simultaneous French translation for Ladislav Vychodil,
and den mother to years of theatre students. Past VP Development for USITT-SW. Studies at Indiana University, La Sorbonne, and University of Iowa. Jane shares her
husband Don’s true passion for theatre and teaching and
his demand for integrity on a daily basis.
JASON COALE is an Assistant Professor of Theatre
and Resident Scenic and Lighting Designer at Ashland
University. In the past year alone, he has worked on
productions for STAGES (Missouri), Mount Baker Repertory Theatre (Washington), Reduxion Theatre Company (Oklahoma), Mamai Theatre Company (Ohio), in
addition to 4 separate productions for the New Theatre
(Kansas), 4 separate productions at Ashland University,
as well as two themed youth worship centers for Black
Rock Congregational Church (Connecticut). Previous
experience includes designs for theatres, theme parks,
television, and commercial photography. Check out his
portfolio at www.JasonCoale.com.
ALLYSON CURRIN (Chair, NPP, Region 2) Playwright: THE REDNECK HOLY GRAIL (March-April,
2014, The Welders), CAESAR AND DADA (WSC Avant
Bard), HERCULES IN RUSSIA (Doorway Arts Ensemble), TREADWELL (American Century Theatre), UN-
KCACTF 2015
47
LEASHED (The Kennedy Center), THE DANCING
PRINCESSES (Imagination Stage), BENCHED (Pinky
Swear) LOVE AND WHISKEY, CHURCH OF THE
OPEN MIND* and THE SUBJECT (Charter Theatre),
LEARNING CURVES (WSC), AMSTEL IN TEL AVIV*
and DANCING WITH OURSELVES (Source). *She
has twice been nominated for the Helen Hayes’ MacArthur Award for Outstanding New Play. She is currently
working on a new musical (with Matt Conner) for Tony
Award-winning Signature Theatre and a new commission for Cincinnati Playhouse. She is a proud member of
SAG/AFTRA and Actors Equity, and a founding member
of the playwrights’ collective, The Welders. She teaches at
George Washington University.
JEANETTE FARR is a playwright, producer and director of new plays, and holds an MFA in Theatre Arts with
an emphasis in playwriting from the University of Nevada, Las Vegas. Her plays have been produced both domestically and abroad including the Edinburgh Festival
Fringe in Scotland, Canada, Singapore, and Japan. Her
work has been recognized by the Nevada Arts Council,
The Kennedy Center American College Theatre Festival,
and the Association for Theatre in Higher Education.
She is published through Dramatic Publishing, Smith &
Kraus, Original Works Publishing, and online through
10-minute-plays.com. An alumnus and guest artist of
the Kennedy Center Summer Playwriting Intensive, and
Tennessee Williams Scholar for the Sewanee Writers’
Conference,
Jeanette of is a member of Lizardclaw Playwrights Collective and is a features writer for the popular online
E-zine, The Loop which reached over 3,000 playwrights.
MATT FOTIS is the author of “Long Form Improvisation & American Comedy: The Harold” and “The College
Improv Handbook” (Forthcoming). He teaches improv,
writing for performance, and acting at Albright College,
where he is the co-chair of the Theatre Department. He
studied at iO Chicago and The Brave New Workshop, and
has been performing and teaching improvisation for over
fifteen years. He’s also an award-winning playwright, director, actor, and solo-performer. The topper? He’s been
featured in Berks County Living. You read that right.
Berks. County. Living. I’ll give you a minute…Sink in?
Yeah.
SCOTT FRANK is a playwright and storyteller. His
play “Butter’s Goat” has been performed in New York,
London, and Pittsburgh, and he has also directed for
the stage in those cities as well. The fourth in his cycle of
McKinley College Plays, The Spring Harvest, premiered
at Washington & Jefferson College this fall. His other
plays in the cycle, The Pledge, The Book, and The Lamp
and the Beam are available for production. T. Scott is
the past regional chair of NPP and an inveterate collector
of…fill in the blank.
GARY RAYMOND FRY, JR. is a native of Prince George’s
County, Maryland and an active educator and artist of
the performing arts in the Washington D.C. region. Gary
is an Assistant Professor and the Academic Theatre Program Coordinator at Prince George’s Community College in Largo, Maryland. Gary has been freelancing as a
designer, technician, director, and production manager
in the theatre and entertainment technology industry
since 1994. He is a long standing member of the Washington D.C. based Madcap Players where he works as a
resident designer and production manager. In addition
to his work with the Madcap Players, Gary has worked
with, The Source Theatre Company, Project Y, H Street
Playhouse, Purchased Experiences Don’t Count, The
National Ballet Company, The P.G. Philharmonic Orchestra, Cherry Red Productions, The I.A.T.S.E. Local 22
Education Fund, and others in the DC area. Gary holds
a M.A. in Communication Arts from New York Institute
of Technology, Old Westbury NY.
BILL GILLETT heads the Theatre program at Carroll
Community College, where he has directed over 20
productions. Bill received his bachelor’s degree from St.
Mary’s College of Maryland and his master’s degree from
the University of Maryland. Bill is a member of Actors’
Equity Association and has worked as a freelance actor
and director. Bill is a “Theatre Generalist” having been
employed as director, actor, carpenter, electrician, set designer, lighting designer, properties designer, technical
director, company manager, educator, teaching artist and
director of outreach (and once he was the IT manager for
a professional theatre).
GREG GRIFFIN is an Assistant Professor of Theatre at
The University of Findlay. He enjoys teaching and implementing designs in the areas of Lighting, Sound, Projections, and Scenery. He is very active as a free-lance
professional designer across the Midwest and is also active with KCACTF both as a respondent for Regions 2
and 3, and as the Vice Chair of Design, Technology, &
Management. He is a current member of USITT, MATC,
and TCG.
JANICE L. GOLDBERG. Over 50 new plays directed,
many genres, uptown and down in NYC, and regionally
from Alaska to Florida. Recent: These Shining Lives –
AdelphiUniversity. 10 Minute Play Slam- – Last Frontier Theatre Conference. After Anne Frank – FringeNYC,
Fringe Encores, Soho Playhouse, United Solo. Autumn
Run – (co-author with Susan Bigelow), SUNY Suffolk.
The Rubber Room by Gary Garrison and Roland Tec,
as part of Artistic New Directions “Without A Net” series. 25 performances. 25 actors. Never the same cast
twice. Carl & Shelly, Best Friends Forever -Theatre 3 at
the Mint. Jeffrey Sweet’s Flyovers, co-director, (w/Rich-
KCACTF 2015
ard Kind and Tony Award Winner Michele Pawk). That
Dorothy Parker – SohoPlayhouse. Off Broadway: Rose
Colored Glass (co-author with Susan Bigelow), published
by Samuel French. Artistic Co-Director of Artistic New
Directions in NYC. Member: SDC, Dramatists Guild.
Janice leads audition workshops for students all over the
country, is a licensed New York City Tour Guide, can be
seen as Barb, the wardrobe lady in Ghost Light, the Webseries. www.JaniceLGoldberg.com www.artisticnewdirections.org
MOSES GOLDBERG spent twenty-five years as Producing Director of Stage One: The Louisville Children’s
Theatre. He now works as a freelance director, teacher,
and playwright. He has directed professionally at theatres
from Washington to Florida, including - in 1988 - one of
the first US/Soviet exchanges at Moscow’s famed Taganka Theatre. Sixteen of his plays for young audiences have
been published, as well as his most recent book TYA: Essays on Theatre for Young Audiences. He has taught at
Florida State University and Southwest Texas State University and now serves as an adjunct faculty member at
McDaniel College.
ANJANETTE HALL is an adjunct professor of acting
at Baldwin Wallace University, and have have taught adjunct Acting and Voice at Case Western Reserve University. I hold a BFA in Musical Theatre Performance from
Western Michigan University (where I was nominated for
an Irene Ryan award twice:) and a MFA in Acting from
Rutgers University, Mason Gross School of the Arts. I
have been an AEA member, professional actress for over
12 years, and work frequently in the Cleveland area. I will
be playing Becky Shaw in Becky Shaw at Dobama Theatre
in March. I am a dedicated theatre educator who would
love to participate!
ADAM HEFFERNAN is chair of the Department of
Theatre & Dance at Baldwin Wallace University. Favorite directing credits include Henry IV Part One (Baldwin
Wallace), Twelfth Night (Iowa State University), The Real
Thing (Highlands Playhouse), and Fefu and Her Friends
(Drake University). Television appearances include One
Tree Hill (CW), Surface (NBC), and a year and a half on
All My Children (ABC). He received his M.F.A. from The
University of Tennessee, Knoxville, and apprenticed at
Actors Theatre of Louisville.
GREGG HENRY (Artistic Director – KCACTF) Recent
productions: Theatre Alliance (2012) and Hub Theatre
(2011) Helen Pafumi and Jason Lott’s Wonderful Life,
Round House Theatre- Melanie Marnich’s A Sleeping
Country, WSC Avant Bard- Julie Jensen’s Two-Headed and Barbara Field’s adaptation of Scaramouche. He
directed the US Premieres of Girl in the Goldfish Bowl
by Morris Panych for Metro Stage and You Are Here
by Daniel MacIvor for Theatre Alliance. For Catho-
lic University: Swimming with Whales by Bob Bartlett,
Morning, Miranda by Stephen Spotswood. For the Kennedy Center- Tom Isbell’s The Mostly True Adventures
of Homer P. Figg (from the Newbery Honor book by
Rodman Philbrick, Helen Hayes Award nomination for
Outstanding Production Theatre for Young Audiences),
Teddy Roosevelt and the Treasure of Ursa Major, Teddy
Roosevelt and the Ghostly Mistletoe (with songs by Mark
Russell), Six Stories Tall by Marco Ramirez, Dreams in
the Golden Country by Barbara Field, The Light of Excalibur by Norman Allen. He is artistic associate for New
Works and Commissions for Kennedy Center Theatre for
Young Audiences and is director of the Kennedy Center/
Kenan Trust Performing Arts Fellowship Program. For
twelve years, he has curated and co-produced the Kennedy Center Page-to-Stage New Play Festival. He produces
the annual MFA Playwrights’ Workshop at the Kennedy
Center in association with NNPN and the National Center for New Plays at Stanford University. Gregg has acted, directed, and/or staged the fights with the Colorado,
Iowa, Michigan, Oklahoma and Wisconsin Shakespeare
Festivals. He received his MFA in Acting from the University of Michigan and is formerly the director of theatre and an associate professor at Iowa State University.
He is proud to serve on the National New Play Network
Ambassador Council, on the Board of Taffety Punk Theatre Company, on the Welders’ Advisory Council, on the
National Advisory Board of the Literary Managers and
Dramaturgs of the Americas [LMDA], and is a member
of the Dramatists Guild of America.
ALISHA HUBER Since earning her MFA in directing
from the American Shakespeare Center, Alisha Huber
has been working as a guest artist and occasional faculty
for Eastern Mennonite University, Bridgewater College,
and Pigeon Creek Shakespeare (Grand Haven, MI). She
is also the co-founder and artistic director of The Great
American Theater Company (Harrisonburg, VA).
JATHAN INNERARITY is a theater designer, artist, and
educator, best known as “Jay” to his colleagues and students. Jay has designed and worked for Lycoming College, the Hattiloo Theatre, the University of Memphis,
Stephen F. Austin State University, as well as the Pacific Conservatory of the Performing Arts in California.
Favorite designs include Batboy: The Musical, The Gas
Heart, Threepenny Opera and serving as the Charge Artist and Charge Sculptor for the University of Memphis’s
centennial production of The Phantom of the Opera. Jay
is a member of the United States Institute for Theatre
Technology. Visit his website at jathaninnerarity.com
TERRY DANA JACHIMIAK II graduated with a BFA in
Technical Theatre from Longwood College in Farmville,
VA and an MFA in Scene Design from Wayne State University in Detroit, MI. He has designed at Westminster
KCACTF 2015
49
College (New Wilmington, PA), The Academy of Fine
Arts (Lynchburg, VA), Lynchburg College, Saint Mary’s
College (South Bend, IN), Brevard College (Brevard,
NC), Wayne State University, Omaha Children’s Theatre
(Omaha, NE) and assistant designed at Illinois Shakespeare Festival (Normal, IL). Terry has also worked in
various roles at the Blue Ridge Summer Theatre Festival
(Amherst, VA), Illinois Shakespeare Festival (Normal,
IL), Notre Dame Shakespeare
ELLEN E. JONES is the faculty scenic and lighting designer for Youngstown State University Department of
Theatre and Dance. She an alum of Indiana University
and a member of USA Local 829 (lighting designer, scenic designer, and scenic artist). Introducing sustainability in theatre design and production to interested schools
and theatre companies has been a long term project. . Her
book, A Practical Guide to Greener Theatre: Introduce
Sustainability Into Your Productions published in December 2013. She is also co-author of the USITT Lighting Commission Lighting Portfolio Guidelines that will
be published in the Fall 2014 edition of TD&T.
TERRI KENT is a member of Actor’s Equity Association and the Stage Directors and Choreographers union.
She is also a member of the National Alliance for Musical Theatre. Terri is a Professor at Kent State University
where she serves as head of the Musical Theatre Program
and Artistic Director of Porthouse Theatre. Her directing
credits include classics such as Brigadoon, West Side Story, Oklahoma!, as well as more contemporary pieces such
as Urinetown and Rent. Professor Kent’s main area of interest lies in reconceptualizing classic musical theatre fit
into contemporary budgets and spaces.
KAREN KESSLER is a proud ensemble member of A
Red Orchid Theatre in Chicago with whom she just took
the world premier play The Opponent to the Off-Broadway theatre 59E59 Theatre in New York. Also directed
for Red Orchid: Solstice by Zinnie Harris, Pumpgirl by
Abbie Spallen, Blasted by Sarah Kane, Gagarin Way by
Gregory Burke and Mr. Kolpert by David Geiselman.
Other directing credits include: Glengarry Glen Ross at
the Northern Ensemble Theatre in Newcastle, England,
Hank Williams: The Lost Highway at the Clarence Brown
Theatre in Knoxville, TN; Wrens for Rivendell Theatre;
and the US Premier of Roddy Doyle’s War for Seanachai
Theatre. Karen also teaches directing at Ball State University.
JENNIFER KORECKI (Assistant Professor, Kent State
University School of Theatre and Dance), has music directed and accompanied numerous musical theatre productions. She was most recently seen at Porthouse Theatre as the Music Director for “Starmites” and was the
MD for last summer’s “Fiddler on the Roof ”. She is the
MD for the upcoming fall show at KSU, “Hot Mikado”.
She was Associate MD for “Babes in Arms”, produced in
conjunction with the American Musical Theatre Project
this fall. She teaches Musical Theatre Performance and
Audition Repertoire classes at KSU and accompanies
auditions, master classes and performances both at the
University and throughout the northeastern Ohio area.
GEOFF KNOX has been a professional actor for over ten
years and a certified yoga instructor for 6. He has acted in
the Cleveland area at Great Lakes Theater, CSU Summer
Stages, Dobama Theatre, Cleveland Public Theatre, and
others. He received his MFA from the FSU/Asolo Conservatory. He is a certified Budokon Yoga instructor as
well as a certified Dharma Yoga instructor. He has taught
workshops in Shakespeare under Dr. Michael Mauldin at
CSU Summer Stages, and was a regular substitute teacher
for Andrei Malaev-Babel at the FSU/Asolo Conservatory. He will be teaching Advanced Acting/Shakespeare at
Cleveland State University this Spring semester.
LYNNE KOSCIELNIAK A lighting and set designer,
Lynne’s work has represented the US at the Prague Quadrennial of Stage Design and World Stage Design Exposition. She has received an Emerging Designer Residency
(Steppenwolf), a Joseph Jefferson Citation Nomination,
The Michael Merritt Scholarship for Excellence in Design and Collaboration, and the UB Faculty Award for
Excellence in Mentoring Undergraduate Research and
Creative Activity. Lynne holds an MFA in Stage Design
from Northwestern University and is a member of United Scenic Artists - Local 829. She is an Associate Professor of Scenography at the University at Buffalo where she
chairs the Department of Theatre & Dance. www.lynnekoscielniak.com
OLA KRASZPULSKA is the Assistant Professor of Scenic and Lighting Design at the State University of New
York in Oswego. She earned her BFA in Theatre Production and Design at Marshall University, and her MFA in
Scenic Design at Florida State University. Originally from
Gdansk, Poland, Ola’s work often takes her abroad. She
has twice attended the prestigious Prague Quadrennial,
and was part of the 2007 USITT Study Tour through Serbia, Croatia and Monte Negro. She most recently presented her academic work at the IV International Conference
of American Drama and Theatre in Seville, Spain. Her
recent designs include “Young Frankenstein” and “The
Rocky Horror Show” at SUNY Oswego, and “Bunnicula- the Musical” with Footlight Players. Ola is also a
KCACTF region 2 respondent.
RALPH LEARY (Chair of ITJA) is a professor in the English Department of Clarion University, where he teaches
modern and contemporary dramatic literature as well as
Shakespeare. On occasion, he is allowed to take small
roles in campus productions, especially when they need
an old guy. He responds to regional productions, and in
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2009 he was invited to the Kennedy Center as the Faculty
Fellow in Criticism.
DAVID LEE-PAINTER is honored to have had the opportunity to wear many hats in KCACTF over the years
– and now serves as incoming National Chair. David
has been a professor of Theatre at the University of Idaho since 1995. His absolute favorite role is sharing life
with his darlin’ wife and very best friend Nancy, four furry critters, two very brave, compassionate and inspiring
daughters, and their amazing fellas, and teaching passionate and curious students. What a wonderful life!
MICHAEL LEGG is the Director of the Apprentice/Intern Company at Actors Theatre of Louisville, where he’s
directed world-premieres of plays by A. Rey Pamatmat,
Laura Jacqmin, Dan Dietz, Kyle John Schmidt, Marco Ramirez, Alison Moore, and many others. He also
works as an educator and guest artist at several universities around the country. Before coming to Actors, he
spent three years as a theatrical agent in New York and
his former clients can still be seen on Broadway, in television/film, and in regional theatres across the country. He
holds an M.F.A. in acting from the University of North
Carolina at Greensboro and is a proud member of Actors
Equity.
JULIE LEWIS is an Associate Professor and Theatre Coordinator at The Community College of Baltimore County. As playwright and director, her plays have been produced in numerous theatres, predominantly in New York
City and Baltimore. As activist, Julie is interested in making theatre that playfully and seriously interrogates our
current systems of political, social and literal oppression.
SCOTT A. MACKENZIE: Chair of Region II is an Associate Professor of Theatre and chair of the department
of Communication Studies Theatre and Art at Pennsylvania’s Westminster College, Dr. Mackenzie earned his
MFA in Acting at Michigan State University and Ph.D.
from Wayne State University in Detroit. He is an Associate Teacher of Fitzmaurice Voicework. His acting credits
include film, television, and theatre. Directing credits
include All My Sons, The Subject Was Roses, The Importance of Being Earnest, The Laramie Project, The Baker
From Madrigal and Kiss Me, Kate. While on active duty
with the U.S. Army Reserve, Scott directed Bigfoot Stole
My Wife, the first play produced by personnel working in
Baghdad’s International Zone.
KATIE MALLINSON, the Graduate Program Administrator for the University at Buffalo’s Department of Theatre & Dance, received her MFA in Dramaturgy from the
American Repertory Theater’s Institute for Advanced
Theater Training. In addition to her work at UB, Katie
is the Director of Audience Development for Torn Space
Theater, and the dramaturg for Road Less Traveled Productions, both based in Buffalo, NY. She has also worked
as an adjunct professor at Niagara University, a teaching
artist for Shakespeare in Delaware Park, and as a dramaturg for several theater companies in WNY.
BRIAN MARSHALL (MTI Preliminary Round Selector)
Selected National Tours: Titanic, A Christmas Carol and
Lois Lowrey’s The Giver. Regional: Forbidden Broadway
SVU, Peter Pan: A Musical Adventure, Children of Eden,
27 shows at Virginia Musical Theatre and 58 shows at
Mercury Summer Stock. Winner of 4 Best Actor awards
for Seussical, The Secret Garden, Peter Pan: A Musical
Adventure and Big River. He is the current Artistic Director of BGSU’s Caryl Crane Youth Theatre and Managing Director of Mercury Summer Stock. Graduate of
Baldwin-Wallace University’s Musical Theatre program.
Masters in Arts Administration from The University of
Akron.
JUDY MCCABE is a Costume Shop Supervisor at SUNY
Oswego since the fall of 2002. Judy teaches Basic Costume Construction and the practicum sections of a
variety theatre courses, Judy additionally co-instructs
an Advance Costume Construction class. She has professionally worked as a master electrician, scenic artist,
stage manager, designer, and of course any thing and everything costumes. From the summer of 2003 -2011 Judy
was Director of Costuming for Sterling Renaissance Festival. Judy is an active respondent for region II American
College Theatre Festivals (ACTF) and an active member
of both the Costume and Education Commissions for region II of United States Institute of Theatre Technicians
(USITT). Judy also is an active member of Association of
Career Technical Education(ACTE), promoting the recognition of costuming as vocational training starting at
high school level.
PATRICK MCCREARY Patrick was lucky enough to be
one of the first half-dozen Design/Tech MFA candidates
at Mason Gross School of The Arts at Rutgers University.
Meaning that he and his classmates got away with lots of
things they probably wouldn’t get away with today, but
that they had the chance to a lot of experimenting with
artistic concepts, scenic techniques, and a general disregard for tradition. Patrick has (hopefully successfully)
carried on with that experimentation in his 42 years as
a Technical Director, the last 30 of which have been at
Indiana University of Pennsylvania. He has recently decided to start sharing the results of those experiments,
for better or worse, to an audience that extends beyond
his students.
MARILOUISE “MEL” MICHEL has been at Clarion
University since before most of this year’s participants
where a “twinkle in the eye.” An active and enthusiastic
respondent for Region II, she is currently working on a
book about the connection of yoga and acting, and recently returned from teaching this to the students in the
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St. Petersburg State Theatre Arts Academy Acting Studio
of Sergei Tcherkasski in Russia. While on sabbatical last
year, she wrote a play about her mother’s journey after
hurricane Katrina called “Three Old Ladies and a Cat”
which will have it’s first reading this spring.
TOM MILLER: Prior to joining the staff of Actors’ Equity, Tom was an Actor for over 25 years, performing in
National Tours, Regional Theatre, Off Broadway, with the
Atlanta Ballet, Ballet Florida, Carl Radcliff Dance Theatre, at Opryland USA, and in Europe. He can be seen in
the documentary “Show Business – The Road To Broadway” hosting a Broadway Gypsy Robe presentation. For
over a decade Tom served as a voter for the annual Tony
Awards. Equity Member since 1983
ELLE MORGAN has a BA in theatre from Westminster College, PA, and a Masters in Mass Communication
from The U. of South Carolina. She has worked in theatre as a contemplative and personal/societal develoment
tool for over 20 years. As the Director of The Elements of
New Life Scripts, Elle leads retreats on a 30-acre primitive campground in Clearfield County PA. for at-risk
youth, and people interested in expanding conciousness,
and developing a healthy lifestyle through arts and nature
immersion. Please go to newlifescripts.org for more info.
Thank you!
JULIA MOTYKA is an actor, producer, and teacher with
a national reputation and over a decade of professional
experience. As an actor she has appeared Off-Broadway
and in some of the nation’s top regional theatres receiving awards in San Francisco, Denver, and LA. She has
also narrated scores of audiobooks and is on the roster
at Audible and Brickshop Audio. As a producer her company, RGM, co-produced the Off-Broadway production
of Rooms: A Rock Romance, nominated in 2009 for
three OCC Awards. She is currently the Vice Chair of
the board for SPACE on Ryder Farm. As an activist and
educator Julia has taught for organizations nationwide
and developed programming for The Trinity School, SF
Shakes, Marin Shakespeare Co, and the Hastings Youth
Council (Hastings-on-Hudson, NY) and is currently the
Interim Director of Education for Bay Street Theater. She
has been a proud ASTEP volunteer since 2011.
BRENDAN NAYLOR is a Program Representative at The
National Theater Institute, part of the Tony Award-winning Eugene O’Neill Theater Center in Connecticut.
A freelance director in NYC, Brendan has worked on
Broadway, off and regionally directing classics, world
premiers, and assisting acclaimed directors on a number
of works. A graduate of Syracuse University, Brendan
also had the pleasure of training at the famed Moscow
Art Theatre School.
MATT NEVES is the KCACTF Region VIII Chair and
Artistic Director of Riverside Repertory Theater in River-
side, California, where he is currently directing West Side
Story. Formally he was Producing Artistic Director for
Performance Riverside and the Director of Arts Administration at Southern Utah University. He has also served
as the Associate Artistic Director for the Neil Simon Festival and Associate Managing Director for Illinois Shakespeare Festival. Matt has degrees in Directing (M.F.A,
Exeter; B.A., BYU) and Arts Management (M.B.A., Illinois State).
TAMMY O’DONNELL is the Chair of the Communication and Theatre Department at Prince George’s Community College. She has a BA in English Secondary Education with emphasis on Theatre from the State University
of New York at Fredonia. She has an MS in Student Personnel Administration from the State University of New
York at Buffalo. She currently serves as the Coordinator
for the KCACTF initiative, Next Steps. In another life,
she was a publicist on Long Island and worked with Neil
Simon, Marsha Mason, Mary Tyler Moore, President
Carter, President Clinton, and Shirley MacLaine to name
a few. She is a writer, director, producer and most importantly, a teacher of theatre to the next generation.
DEBRA BERGSMA OTTE is a professor of design and
Coordinator for the Production and Design Program at
Montclair State University. Her credits include design for
regional, Off-Broadway and university productions, television, dance, puppet design for Henson Associates and
industrial work. She has served as Regional Chair and
Design Chair for KCACTF Region II, as the Member-atlarge for Design on the KCACTF National Committee
and on the National Selection Team. She is the recipient
of two Kennedy Center Gold Medallions for her work
in arts education. Her MFA is in Design for Stage and
Screen from Tisch School of the Arts (NYU).
FABIO POLANCO Associate Professor of Acting and
Directing at Kent State University and 2013 recipient
of Ashland University’s Taylor Excellence in Teaching
Award. Acting credits include the Broadway national tour
of Les Miserables, Brooklyn Academy of Music, Berkeley
Repertory Theatre, Signature Theatre Company, McCarter Theatre, O’Neill Theatre Center, Idaho Shakespeare
Festival, Repertory Theatre of St. Louis, Great Lakes
Theatre, Cleveland Play House, and Porthouse Theatre.
Directing credits include Night Train to Bolina, Measure
for Measure, Circle Mirror Transformation and Elizabeth Swados’ Missionaries for which he was a finalist for
Northern Ohio Live! Magazine’s Award of Achievement
in Theatre.
BECKY PROPHET Prof. of Theatre, at Alfred University has acted, directed, and taught in numerous places
in the U.S. A teaching artist, she served ASTEP in India. Working with new plays and developing directors
are passions. Becky enjoys working in a wide range of
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genres and styles: Edgy or politically motivated theater
is her preference. Having stepped aside from the Directing Institute in 2014 she is now Fringe Coordinator—is
that an oxymoron? Becky creates quirky festivals for her
local community of Alfred, NY., including a Traffic Light
Festival and a beach party for a long-drained glacial lake.
P. GIBSON (TRISH) RALPH is Associate Professor and
Chair, Department of Theatre and Music Studies at The
College at Brockport, State University of New York where
she serves as producer and scenic designer. As former
regional section chair, she is on the executive committee of the Upstate New York Regional Section of USITT.
The former Focus Group Representative of Design and
Technology, she now serves on the Governing Council
of ATHE as Member at Large for Finance. She is the New
York and Western Pennsylvania Curcuit Coordinator for
Region II.
ANTHONY ROSAS is the full time Technical Director
and an Adjunct Faculty member for Towson University’s
Department of Theatre Arts. He holds a Bachelor’s degree
in Communication with a minor in Theatre Arts from
McDaniel College and completed his M.F.A. in Technical Theatre at the University of North Carolina, Chapel
Hill. He completed his M.B.A. at The University of Baltimore/Towson University. He has worked at PlayMaker’s
Repertory Company, American Dance Festival at Duke
University, Baltimore Shakespeare Festival, Mobtown
Theatre, and Theatre on the Hill.
NICHOLETTE ROUTHIER received her MFA in Ensemble Based Physical Theatre at Dell’Arte International School of Physical Theatre in Blue Lake, CA in 2010.
She was the School Administrator and Faculty member
at Dell’Arte International from 2010-2014. She is an actor-creator, dancer and acrobat, and she is currently on
the staff at ReWild University in Menomonie, WI.
JAMES SAVAGE, JR. is a Professional Actor and an
Adjunct Professor teaching a variety of classes in Acting, Movement, Improvisation, and Public Speaking
at Queensborough Community College, Borough of
Manhattan Community College, New York Film Academy, and Kean University. He was one of three founding
members of Duel Theatre, an Off Off Broadway Company which was located in NYC, and is the Founder and
Teacher of Yo Qi TaiTM, a unique blend of Yoga, Qigong
, and Tai Chi. He has an MFA in Acting from Penn State
University, and is a Certified Chekhov Teacher through
the Great Lakes Michael Chekhov Consortium at Kent
State.
MICHAEL SCHWARTZ teaches theater history, playwriting, and improvisation at Indiana University of
Pennsylvania. He has studied and taught at Philly Improv
Theater, including workshops with Upright Citizens Brigade’s Matt Besser and Impro author Keith Johnstone.
SETH SCHWARTZ holds a BFA in Theatre from University of the Arts in Philadelphia. Seth has worked at numerous theaters between Washington, DC and Philadelphia including, Round House Theatre, The Shakespeare
Theatre, Olney Theater Center, Imagination Stage, The
Shakespeare Factory, Hedgerow Theatre, 1812 Productions and the Folger Shakespeare Library. Currently Seth
is the Production Manager for Carroll Community College where has overseen production and designed sound
for over 40 plays.
MICHAEL SHIRTZ (MTI Final Round Selector)A jazz
singer/pianist, composer, and educator, Shirtz is the Lead
Faculty and Assistant Professor of Commercial Music
& Voice at Terra State Community College in Fremont,
Ohio. In addition to teaching, Michael is the conductor
and religious life music coordinator for Lakeside Chautauqua, conductor for the Terra Choral Society & Chamber Arts Orchestra, and music director for the Sandusky
Repertory Theater Company at the Sandusky State Theatre. Previously he served on the faculty of the Conservatory of Music at Capital University, American Music
Academy, and Jazz Arts Group. As a performing artist,
Shirtz is managed by OCM Productions and presents
jazz concerts and “American Songbook” tribute shows
with his jazz group, the Michael Shirtz Quartet. Shirtz
received a Bachelors of Music degree in Jazz & Contemporary Studies from Capital University and Masters of
Music in Conducting from California State University,
Los Angeles.
ANDREA SIMAKIS (Guest Critic) is an award winning
theater critic and theater journalist for the Cleveland
Plain Dealer. Andrea received a Nieman Fellowship in
the Journalism program at Harvard and teaches creative
writing with emphases in journalism and arts criticism
at Case Western Reserve University in Cleveland. Judges
commenting at the 2013 Press Club of Cleveland Excellence in Journalism Awards, where Simakis won a first
place honor for her profile of the head of a local music
theater program, wrote: “Think theater is dull? Andrea
Simakis would like to have a word with you.” These qualification along with her commitment to theater will make
Andrea an ideal Guest Critic as ITJA continues to provide students with expertise and experience in different
types of theater journalism.
LAURA SMILEY is an Associate Professor of Theatre
at Slippery Rock University Laura’s teaching focuses on
acting and directing. She is the Artistic and Executive Director, as well as a founding member of Unseam’d Shakespeare Company which just completed its 20th year of
productions. In addition to many roles with Unseam’d
Shakespeare, Laura has performed for PPT, Starlight Productions, City Theatre, and her one-woman show, Building. She has guest directed for Bloomsburg University
and Indiana University of PA, as well as collaborations
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with the City Theatre, and the Pittsburgh Chamber Music Society, Living Images Arts in NYC and others…She
has been involved as a respondent with KCACTF since
1999 and has enjoyed every minute of it! She received an
MFA in Acting from the University of Pittsburgh and a
BFA in Acting from the Catholic University of America.
STEPHEN STROSNIDER is a BFA Acting graduate
from Shenandoah Conservatory and is currently teaching acting at Carroll Community College.
MICHAEL SWANSON is director of theatre and dance
and associate professor of theatre at Elizabethtown. Favorite productions as a director at the College include
Urinetown, Gint, Cabaret, The Memorandum, Lysistrata, and A Dream Play. Michael has been involved in
KCACTF for more than twenty years. He was regional
chair and festival host of KCACTF Region III -- the Great
Lakes states -- where was awarded the KCACTF Gold
Medallion for his longtime service. He has also been a
regional officer in Region VIII and in Region II, where
he has co-coordinated the Irene Ryan Acting Scholarship
Auditions. Michael has directed new plays for the NPP
at KCACTF festivals in regions II, III, and VIII. Michael
earned a Ph. D. at The Ohio State University, an MFA in
directing at Wayne State University, and a BA from Hamline University. He is an associate member of the Society
of Stage Directors and Choreographers.
DR. LARS TATOM spent the past six years in Region 2,
both as Head of Theatre at Anne Arundel College, and as
a regional KCACTF officer. He holds an MFA in Directing from UNC-Greensboro, and a PhD in Shakespeare
Direction from the University of Colorado.
PROF. SERGEI TCHERKASSKI PHD, DSC is a theatre director and Head of the Acting Studio at the St.
Petersburg Theatre Arts Academy, Russia. He is an internationally known acting teacher and expert of the
Stanislavsky System. He has led workshops in 40 major
theatre schools in 17 countries; has directed at RADA,
NIDA, NTI, etc. His books include Stanislavsky and
Yoga; Valentine Smyshlyaev – Actor, Director and Teacher; Sulimov’s School of Directing. His PhD has been devoted to an analysis of director education in Russian theatre schools of the 20th century. His second dissertation
(DSc) is Directing and Teaching of Richard Boleslavsky
and Lee Strasberg as an Experiment in the Stanislavsky
System’s Development.
HELEN TODD (MTI Final Selector) just returned from
singing the role of Turandot in Hong Kong’s Musica Viva
production of Turandot. She has performed leading roles
with such companies as New York City Opera, Minnesota Opera, Arizona Opera and Canadian Opera Company of Toronto among many others. She also founded
her own summer opera company, Sugar Creek Opera, in
2002 which is now in its 13th year. She maintains a pri-
vate voice studio in Cleveland where most of her students
are working in either musical theatre or opera across the
country and in Cleveland. In July 2015, she starred as
Norma Desmond in Sunset Boulevard with Cleveland’s
Mercury Summer Stock. She holds a Masters Degree in
Voice Performance from University of Cincinnati College-Conservatory of Music and a Bachelors Degree from
DePaul University. More info at www.helentodd.com.
ANDY TRUSCOTT is this year’s Festival Manager, a
role he also undertook in 2009 at the KCACTF at The
University of the Arts. Andy is the Director of Marketing
and Development at Delaware Theatre Company, Delaware’s only LORT Equity House. A 2009 West Chester
University Theatre Arts graduate, Andy has worked for
other Philadelphia based theatre companies such as Pig
Iron Theatre Company, Act II Playhouse, and The Renegade Company. Andy has a BA in Theatre Arts from
West Chester University, an A.A. in Business Administration, and an A.A.S. in Marketing. Andy is the 2009
co-recipient of the J.P. Adler Prize for Excellence in Theatre, awarded by the Department Faculty to a graduating
senior.
MR. SEAN J. URBANTKE is Assistant Professor of Theatre for the Performing Arts Department, at Anne Arundel Community College, teaching courses in the areas of
Theatrical Design and Technology, and Co-Advisor for
the Theatre at AACC student organization. He received
his B.F.A. in theatre from Texas Christian University
and his M.F.A. in Scenic Design from the University of
Maryland College Park where he also worked as a design
assistant to several professional designers. In his capacity as lead or assistant scenic designer, he has worked on
over 70 productions in seven different states from Texas
to New York.
MARK WADE Artistic Director, Assistant Professor and
Head of the Theater Arts Program at Arcadia University.
Mark is a graduate of The Yale School of Drama in Acting, and The Neighborhood Playhouse (where he studied with Sanford Meisner). Acting and directing credits
include work for The Westport Country Playhouse, The
Long Wharf Theater, and Trinity Repertory Theater. He
spent five years as a creative consultant for Joanne Woodward, and produced with her two television movies for
the “Hallmark Hall of Fame.” Mark assisted director
Lloyd Richards on the Hallmark Hall of Fame’s television
adaptation of The Piano Lesson by August Wilson. He
directed the New York premiere of The Sirens by Darrah Cloud. At Arcadia, Mark has directed The Laramie
Project, Keely and Du, Hearsay (a world premiere written
by Kathryn Petersen), The Love of the Nightingale, The
Wind in the Willows, Home (a regional finalist and recipient of multiple awards including Outstanding Direction and Outstanding Ensemble Acting by the Kennedy
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Center/American College Theatre Festival), an all-female
version of Shakespeare’s Julius Caesar, The Swing of the
Sea (a world premiere written by Molly Hagan, an invited
production to the KCACTF’s regional festival and winner
of the Harold and Mimi Steinberg National Playwriting
Award soon to be published by Samuel French).
CATHERINE WEIDNER is a teacher, professional director and actor. She is the Chair of the Department of
Theatre Arts at Ithaca College. She recently directed an
adaptation of Jane Austen’s Emma for Nebraska Repertory Theatre; Taming of the Shrew, Titus Andronicus,
and Merry Wives of Windsor for the Illinois Shakespeare
Festival; Two Gentlemen of Verona for Theatre at Monmouth in Maine; Or, at Caffeine Theatre in Chicago, and
a one-man version of Henry V in Austin, Texas for Rude
Mechanicals/Red Then Productions. She holds a BFA
in Acting from Ithaca College and an MFA in Directing
from the University of Minnesota, and has also trained at
Complicite in London, The Second City in Chicago and
The Neighborhood Playhouse in New York.
DUSTEN WELCH is an award-winning fight choreographer and Advanced Actor Combatant with the Society
of American Fight Directors (SAFD) with over 10 years
of stage combat experience. He has choreographed violence for more than 50 theatrical productions including
at Great Lakes Theatre, Cleveland Shakespeare Festival,
Cleveland Public Theatre, Baldwin Wallace University,
Ashland University, and the Academy for the Performing Arts. Dusten is an adjunct professor of stage combat
at Baldwin Wallace University, resident choreographer
and stage combat instructor for the Academy for the Performing Arts, and a freelance fight director throughout
northeastern Ohio.
LISA A. WILDE, Chair of Dramaturgy for KCACTF Region 2, is the Resident Dramaturg at Rep Stage in Columbia, Maryland and the Director of Theatre at Howard
Community College. She is a member of Literary Managers and Dramaturgs of The Americas and she holds a
doctorate in Dramaturgy and Dramatic Criticism from
the Yale School of Drama where she wrote her dissertation on female characters in Euripides. She has worked
at Center Stage in Baltimore and Young Playwrights Inc
in New York; taught at Towson University, Goucher College, and in the Johns Hopkins Odyssey program and
been published in Ibsen News and Comment; Theater,
and Shaw.
JOAN HART WILLARD is a Designated Linklater
Teacher, Assistant Professor of Theater, SUNY Oswego,
Director, Dialect Coach as well as a professional actor
(AEA). She has been teaching at the college level for over
15 years.
DREW LEIGH WILLIAMS is a faculty member at Clarion University where she teaches Dance and Intro to The-
atre for the dept of Visual and Performing Arts. She holds
an MFA in Acting from The Chicago College of Performing Arts at Roosevelt University and is a proud BFA Musical Theatre grad from Clarion (and a past KCACTF
participant).
GRECHEN LYNNE WINGERTER is Instructor of Theatre at Bowling Green State University Firelands College
in Huron, OH. Prior to arriving at BGSU Firelands, she
was an adjunct instructor/guest director at Lycoming
College in Williamsport, PA. Grechen has directed and
stage managed for such theatres as Moscow Art Theatre
(Too), Idaho Repertory Theatre, Idaho Shakespeare Festival, Idaho Theatre for Youth, Illinois Shakespeare Festival, First Stage Milwaukee, Lifeline Theatre, Circle X Theatre Company, and Critical Mass Performance Group.
Grechen was a recipient of the 2009 Kennedy Center
American College Theatre Festival National Teaching
Artist Grant, a 2008 KCACTF National Faculty Director
Mentor, and a 2007 SDC Student Director Fellowship.
Grechen received her MFA in Directing from the University of Idaho.
ELIZABETH VAN DEN BERG, Immediate Past Chair,
Region 2 - As an actor she has toured the US with Oliver!,
and been seen on many Washington DC stages, including Signature Theatre, Studio Theatre, the Kennedy Center, and Synetic Theater. She works as a freelance dialect
coach in the DC metro area, where she has coached over
50 productions. KCACTF named her a top teaching Artist in 2005, and she received a Gold Medallion for her
service to KCACTF in 2006. She is an Associate Professor
and Chair of the Theatre Arts Department at McDaniel
College in Westminster, MD. A proud member of Actors’
Equity Association, AFTRA and SAG, as well as VASTA
(Voice and Speech Trainers Association) she is a graduate
of NYU’s Tisch School of the Arts Grad Acting
program.
HEIDI WINTERS VOGEL has been a theater faculty
member at Eastern Mennonite University for almost 9
years. She received her MFA in Directing from Penn State
University and worked as a freelance director around the
country before moving to EMU. Her college teaching experience includes Shenandoah University, Webster University, Washington University in St. Louis and St. Louis
University. She teaches acting, directing and social justice theater and is the coordinator for KC/ACTF Region
2 Student Directing Institute.
PEGGY YATES is a Performer, Director and an Associate Professor of Speech and Theatre. She most recently
appeared in Signature Theatre’s world premiere musical,
Crossing. She is a two time Helen Hayes nominated actor and has performed on television and stage internationally and at regional theatres such as Ford’s Theatre,
The Kennedy Center, Arena Stage, Olney Theatre Center,
KCACTF 2015
55
among others. She is a member of Screen Actors Guild
and Actor’s Equity Association and holds a Master of
Fine Arts from Catholic University.
DAVID ZARKO was founding artistic director of The
Metropolitan Playhouse of New York, 1991 through 2000
and producing artistic director of Scranton, Pennsylvania’s Electric Theatre Company until 2011. He has over
90 professional directing credits plus more than 50 in academic theatre. He has taught (and directed) at C.W. Post
L.I.U., American Academy of Dramatic Arts, Marywood
University, and others. He is also a produced playwright
and sometimes actor. He is a member of The Dramatists
Guild and Society of Stage Directors and Choreographers.
KCACTF 2015
56
recommended restaurants
4th Street Bar & Grill
East 4th Street, Cleveland, OH
216-298-4070
Ledger Bar
2017 East 9th Street, Cleveland, OH
216-239-1200
Bar Louie
1352 West 6th Street, Cleveland, OH
216-452-5500
Moko Cafe
1505 Euclid Avenue
216-589-0194
Barley House
216-623-1700
Otto Moser’s
1425 Euclid Avenue, Cleveland, OH
216-771-3831
Bin216
1515 Euclid Avenue
216-860-0530
Parnell’s Pub
1415 Euclid Avneue, Cleveland, OH
216-862-8953
Cibreo
1438 Euclid Avenue
216-862-9212
Pickwick & Frolic Restaurant
216-241-7425
Cowell & Hubbard
216-479-0555
Phuel Cafe
1350 Euclid Avenue
216-795-5175
David’s Restaurant
1001 Lakeside Avenue East #100, Cleveland, OH
216-696-8840
Rothschild Farms
2033 E. 14th Street
216-862-7557
District
1350 Euclid Avenue
216-858-1000
Subway (Playhouse Square)
1240 Huron Road E
216-241-7827
Dynomite Burgers
216-298-4077
Sung’s House
216-696-7655
Encore and Blue Bar
216-615-3307
The Spread Buffet at Horseshoe Casino
100 Public Square, Cleveland, OH
216-297-4777
Flannery’s Pub
323 Prospect Avenue East, Cleveland, OH
Urban Farmer
216-771-7707
Ken Stewart’s East Bank
216-696-8400
Lago East Bank
216-862-8065
57
KCACTF 2015
KCACTF 2015
60
5
PlayhouseSquare
FESTIVAL MAPS
DN
DN
255
254
252
ELEVATORS
236
204
241
212
Middough Building
2nd Floor
FESTIVAL MAPS
534
529
533
532
537
531
530
523
538
541
521
503
543
544
520
ELEVATORS
504
515D
519
515
517
507
505
Middough Building
5th Floor
Department of Theatre and DancE
Kennedy Center American College Theater Festival
Region two
Festival 47
The Kennedy Center
www.Kcactf2.org

artment of Theatre and DancE

Transcription

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