SDC Committee Spotlight: COLLEGES and UNIVERSITIES

IN THIS ISSUE COVER

SDC Committee Spotlight: Colleges and Universities SDC Committee Spotlight: by ELIZABETH MILLER COLLEGES AND UNIVERSITIES News from the Executive Director: by ELIZABETH MILLER, Executive Assistant Random Thoughts Part-Two by LAURA PENN “When I joined the Board,” After a rigorous selection process this past fall, Arizona State University and Michigan State SDC Completes OMS Negotiations said John Dillon, Chair of SDC’s College and University were announced as the inaugural by RANDY ANDERSON University Committee, “the primary mission of SDC was to negotiate and enforce contracts, recipients of the GAI grants, which will fund a fall 2010 production of Big Love by Charles Mee My Three-Year Tour as well as to support the Members in their and an early 2011 multi-media production of by RENEE LASHER contractual difficulties and to provide them with a pension and health plan. However, we are Wizard of Oz respectively. Additionally, runners- up were offered assistance in hiring professional Member Services Update now facing enormous fiscal difficulties in our Directors and Choreographers minus the financial by GRETCHEN M. MICHELFELD country. And we know that work for Members has dropped precipitously. Not only are many assistance. As a result, in the winter of 2011 Fordham University will produce a classical play Member Spotlight: theatres hiring fewer artists, they are also using directed by an SDC Member. Jessica Phelps West more staff Directors. Freelancers are facing more and more difficult circumstances, and meanwhile, by EVAN SHOEMAKE The service provided by GAI is vital, as it helps the criteria for health coverage are rising. One of Members who are interested in directing and the things I believe needs to be a priority now is America’s New Health Care System choreographing in the collegiate environment job creation, and one of the venues where that by JOHN EVERSON AND AES break into what often feels like an impenetrable can happen is colleges and universities.” market. The Program is also helping to educate SDCF: Deadlines and Opportunities, The College and University Committee addresses schools, giving them the necessary tools to Directors Lab West 2010 the varied needs and concerns of Members seek out professional artists to work with their by ELLEN RUSCONI working within the collegiate environment. In students. Professor Linda Essig, Director of ASU’s addition to securing contracts in these arenas School of Theatre and Film at the Herberger SDCFoundation Update and developing strategies for introducing Institute for Design and the Arts, said of the by ELLEN RUSCONI the Union to emerging student Directors and recent selection process: “We were really Choreographers, the Committee’s most recent delighted with the quantity, caliber and diversity Noteworthy priority has been job creation. of interest from professional Directors. We are by GRETCHEN M. MICHELFELD able to enrich the experience of our students In the spring of 2009, Dillon put his concerns and our audience members by engaging such CREDITS into action and introduced the idea of the an outstanding Director to work with students on Editor Big Love.” GRETCHEN M. MICHELFELD Guest Artist Initiative Program (GAI). Facilitated by SDCFoundation’s Associate Director Ellen Layout & Design Rusconi, the GAI Program provides Members “It’s a reflection of how difficult the times are,” ELIZABETH MILLER with new job opportunities and provides schools Dillon said of the remarkable influx of Member with access to professional Directors and applications to the GAI Program. “The paradox is Assistant Editors Choreographers. Colleges and universities apply that the Union is strong and financially stable so ELIZABETH MILLER to the Program for a specific production and two it can afford to invest the money in this process EVAN SHOEMAKE schools are chosen to receive a matching grant even as the Members have never been in a more Visit us online: of up to $5,000 for the fee of a Guest Director difficult situation.” or Choreographer. SDCF further facilitates the www.SDCweb.org process by promoting the position to qualified Members and gathering guest artist applicant Be a fan. Find us on materials. SDCF then passes on all materials to the school for a hiring decision. Facebook! HEADER: Bach At Leipzig by Itamar Moses, directed by Art Manke at South Coast Repertory. Photo by Henry DeRocco.

© 2010 Stage Directors and Choreographers Society, Inc. All rights reserved. 1501 Broadway, Suite 1701 New York, NY 10036 T. 800.541.5204 John Dillon presents co-winner Gabbi Mendelsohn with her KCACTF Directing Award The College and University Committee was incepted in 1994 during the early part of Dillon’s Executive Board term. The idea came about in part because Members were being asked to work at schools but many of the institutions refused to sign their contracts.

“The reasons were many and interesting,” explained Dillon. “Some schools were in right-to-work states where they couldn’t sign a union contract. Other Members were dealing with colleges who were used to owning all of the property rights of a scientist’s research done in their university lab, including a production hatched in the university ‘theatre lab’. So our first job was to address this problem so our Members could work in colleges and universities.”

The most notorious of these struggles was Juilliard refusing to sign the SDC contract of a young Director who opted to stand his ground with the support of the Union and not work until his contract was signed. This struggle – whose resolution set new precedent – led to the formation of the University/Resident Theater Association (U/RTA) contract, allowing schools to work with a third-party shield between them and the Union. The agreement, which was modeled after the Special Contract, allowed colleges and universities that could not work directly with a union to hire SDC Members. In January of this year the Academic Tier Contract took full effect, becoming the standardized contract that can be used directly by colleges and universities or with a third-party service acting as an employer of record.

The Committee’s next challenge was the promotion of young Directors, which Dillon and his Committee members tackled with the assistance of the college theater giant, American College Theater Festival (ACTF). The Festival hosts eight regional festivals in which thousands of schools compete and hundreds of young Directors showcase productions. “Top productions, actors, designers, playwrights, dramaturgs, critics and stage managers were invited to Washington DC as national finalists,” Dillon explained, “but there was no directing presence. It seemed absurd to have an award for stage management without one for directing. The Committee addressed this issue, and now, happily, we are in the fourth year of having nine regional directing award winners who come to DC for a series of workshops stewarded by Gregg Henry (Co-Manager and Artistic Director of KCACTF).”

With these successes in tow, the Committee has begun looking for its next piece of work, and under consideration has been job creation with the Guest Artists Initiative, education of Members, outreach to colleges and universities. A current goal of the Committee is the recruitment and organization of Members to visit regional ACTF festivals and help educate hard-to-reach communities – as well as those close to home but unaware of SDCF opportunities – about the GAI Program and the benefits of SDC Membership.

“If you’re running a college program in a small school in North Dakota,” points out Dillon, “and you’d love to have a professional Director come to your school – how do you do that if you don’t already have industry connections? How do you begin to know where to look?” he asks. “We can show you.”

Alongside John, Executive Board Members Sue Lawless and Leigh Silverman, as well as Amy Saltz are currently serving on the College and University Committee. If you’re interested in getting involved with any of the twelve SDC committees, please contact Executive Assistant, Elizabeth Miller ([email protected]). NEWS FROM THE EXECUTIVE DIRECTOR RANDOM THOUGHTS Part-Two by LAURA PENN

Random thoughts on random meetings. Meetings. Now, humor me for a moment while we explore the Just what we all need is more meetings, huh? Between possibility of adding yet another meeting to your calendar. meetings and emails and voicemail and texts and tweets – We have assembled a few focus-group-like gatherings with who’s got time? And meetings are hard. As an administrator Choreographers and Directors over the past months to assist I have always thought of meetings as dramatic events us in developing strategies to advance various agendas. It is – meaning they need to have a reason for being held – a very helpful for us to be able to think out loud with you – to beginning, middle and an end and something has to test our assumptions and to adjust our focus. It has been transpire, someone has to be transformed – something helpful on discreet issues and also in preparing additional different must come of the end. It may be something background considerations to the Executive Board for their tangible that comes from the meeting, like a deal, or deliberations. We were thinking: what if we had a regular maybe I just walk away smarter, more informed or even quarterly breakfast meeting? Topics TBD and attendees inspired. And still some meetings fall flat, miss various. We might think of them as random meetings their mark, lack specificity or have not been cast on random topics. But in all seriousness there are correctly. And yet sometimes necessity rules. critical issues you need for us to understand The auditors must show up, the committee What and there are tasks we are undertaking on must report. One of the hardest meetings your behalf that require your support. We can be the serials. Serials because you would set up a system to gather requests must address: How do you continue to would you and invite Members. The meetings would hold the audience’s attention? Keep the be anchored here in New York with staff, story line compelling? Current? And and the phones (and video conferencing) of course, the sequel because some like to talk would make them available across the meetings should never happen in the first country. place. There is nothing worse than having What do you think? I can think of any a brilliant, effective, productive meeting about? number of issues I would appreciate having a and deciding to make it a standing meeting focused group talk about – how about you? If only to realize later that the meeting was great you could have an hour – 90 minutes with a cross because it was necessary in that specific time and section of your peers and attentive staff – what would place with that specific cast of characters. you like to talk about? It could be issue-specific such as And so I challenge myself as I think about the agenda for the challenges of working in theatres that span the Tier 1 to next week’s Semi-Annual Membership Meeting. How do Tier 2 groups, or maybe an affinity group – a gathering of we make it vital and current and helpful in real time? A Directors of color who wants to talk about what is happening meeting which has very specific tasks we must accomplish (or not) to specifically advance opportunities? Or possibly a as mandated by the by-laws – the ratification of agreements, session to consider how SDC can better support established the gathering of Members for the Executive Board Directors in their mid-careers? Nominating Committee. As we commit to more regional Email me your ideas ([email protected]). If you think this meetings, we are working on being very intentional with might be helpful, let me know. If there is enough interest respect to our agendas, purpose, location, etc… If we are we will set up a way to organize ourselves. With an infinite calling you together we want to use your time wisely. The number of topics out there, we’d like you to tell us what staff, as does your Executive Board, wants to walk away issues you feel need more focus. We’ll facilitate the meeting smarter, better informed and more clearly focused on your and together we can all walk away a little smarter, more priorities. informed, and even inspired. So for those of you in the Eastern Region, I look forward to seeing you at the NYC Semi-Annual Meeting on May17th. In September we will be in LA, in June Chicago for the TCG Conference. We will keep you posted on other gatherings.

© 2010 Stage Directors and Choreographers Society, Inc. All rights reserved. 1501 Broadway, Suite 1701 New York, NY 10036 T. 800.541.5204 FROM THE CONTRACT DESK SDC COMPLETES OMS NEGOTIATIONS by RANDY ANDERSON, Contract Administrator

We are excited to announce that the SDC has reached a new four-year agreement with the Outdoor Musical Stock (OMS) theatres. The agreement runs from February 1st, 2010 through January 31st, 2013. Signatory theatres include: St. Louis MUNY, Atlanta Theatre of the Stars, Kansas City Starlight, & Dallas Summer Musicals. In exchange for a salary freeze in the first year, we achieved a 10% increase in the health contributions the first year and an additional 20% increase in contributions over the next three years. The second, third, and fourth years of the agreement include salary increases of 2%, 2%, and 3% respectively. The Electronic Rights provision was amended to include better billing protections as well as consultation with our Members on what, where, and when filming takes place. SDC continues to enjoy a strong relationship with our OMS bargaining partners and this new agreement reflects that. The following SDC Members aided in the guidance of this negotiation: Marc Bruni, Michele Lynch, Gary John La Rosa, Daniel Goldstein, and Alan Muraoka.

My Three-Year Tour by RENEE LASHER, Contract Administrator

The Lortel Awards on May 2nd marked the end of I have seen somewhere around 270 eligible productions my third and final year as a member of the Lortel over the last three years. That averages out to two Nominating and Voting Committee. My service on the shows a week, though there are weeks with none and committee has been a privilege and an education. weeks with four. However you slice it, a lot of theatre. I have been in and around New York theatre all my life, The Committee sees all the eligible shows* over the but I didn’t fully appreciate the breadth and depth of the course of the season and then gets together for a full theatre being made Off-Broadway every day. The variety day session to discuss the productions and determine is astonishing, the talent humbling. Is it all brilliant? the nominees. There are 16-20 seats on the committee, Well, no. But each and every show is a demonstration and they are filled by representatives from the Lortel of faith in the value and power of theatre, and each and Foundation, SDC, AEA and the Off-Broadway League every show is a commitment by everyone involved to Board of Directors, educators, critics, and other artists sharing that value and power. Theatre is by its nature a – dedicated theatre professionals, all. It is a diverse, generous and inclusive art, and I am more aware of that passionate group, so our annual meeting is lively. Each thanks to my time on the Lortel Committee. season I would walk into the meeting with my favorites, but would always have an unexpected contender thrown *An eligible production must run at least 21 performances in an into the mix due to comments from fellow committee Off-Broadway venue of 100-499 seats. There are other factors, members. And the conversation about best lighting and there is a separate Administration Committee to make final and sound design would be equally as intense as the decisions about eligibility. conversation about best Director. There are world class designers working Off-Broadway, and before I served on this committee I didn’t really know their names.

© 2010 Stage Directors and Choreographers Society, Inc. All rights reserved. 1501 Broadway, Suite 1701 New York, NY 10036 T. 800.541.5204 MEMBER SERVICES UPDATE by GRETCHEN M. MICHELFELD, Membership Coordinator

Director/Choreographer Networking Meetings

We had another couple of fabulous DCN’s in March and April. I am constantly impressed by how generous our Members are with their time and how eager they are to share knowledge and experience with each other.

In March we had a Roundtable discussion called “Working in Festivals.” Our special guests were Wendy Seyb, Mark Robinson and Moritz von Stuelpnagel. All three Members have done numerous Fringe, NYMF and other festival shows and had some really practical advice for the participants. For instance, due to the lack of tech time, it’s imperative that artists do as much prep work as possible before getting into the space. It’s also important to visit the space and do a walk-through before you start rehearsals. Try to find a good producing partner so you’re not doing all the legwork yourself. Figure out how to do your own PR and Marketing. Be nice to everyone involved with the Festival, especially the theatre manager. Home-baked goods and iced coffee are a fantastic bribe! Get them on your side. Contract Administrator Evan Shoemake also joined the group to provide both advice and inspiration. The thing Evan stressed over and over again was that Directors and Choreographers deserve to be paid for their work.

In April, Edie Cowan led a panel discussion entitled “Working with a Dance Arranger.” Choreographers Kathleen Marshall and Jerry Mitchell as well as Dance Arrangers David Chase and Mark Hummel, explained to a packed room the nuanced role of the Dance Arranger in musical theatre. Composers often turn the painstaking role of scoring a show’s dance numbers to a Dance Arranger, who often also serves as the Musical Director or Musical Supervisor as well. The four artists talked about the different ways they collaborate, the use of improvisation and the many sources of inspiration.

We are proud to announce that on May 25th Barbara Davis, Chief Operating officer of The Actors’ Fund, will be our very special DCN guest. The program will start at 6PM sharp and will take place at the SDC offices. Barbara will educate us all about the many programs and services the Actors’ Fund offers to the theatre community. From housing and health concerns to job training, the Actors’ Fund is a tremendous resource. Please RSVP to me: [email protected].

If you’re not in the New York area, or were not able to make it to mid-town for either of these DCN’s, look for them to appear soon as podcasts on the American Theatre Wing’s web site. Our latest addition is a One-on-One conversation with Arthur Penn!

WHERE IN THE WORLD IS SDC? CHICAGO: CAPTURING AN AESTHETIC by RANDY ANDERSON, Contract Administrator

In June SDC will be presenting an exciting breakout session on complimented by his equally extensive television directing The Aesthetics of Filming a Live Performance at the annual TCG experience; Lane Czaplinski, Artistic Director of On The Boards, Conference in Chicago. With more and more cameras showing who recently launched On The Boards TV, a web-based on- up in theatres and an endless array of viewing platforms being demand site where you can watch high quality videos of full- explored, how does a Director ensure that his/her vision for length performances by some of today’s most provocative artists. the stage is translated and conveyed? Who decides where the With an introduction by Tony-nominated SDC Executive Board camera goes? Is a new art form evolving? Could it require a Member Amy Morton, this session is not to be missed. hybrid Director or Choreographer? If so, what does that skill set look like? If you are planning to attend the TCG conference make sure to join us for a vibrant roundtable discussion exploring the ever These are just some of the questions we’ll explore during this evolving new media capture of live theatre and how it relates to 90-minute roundtable discussion. Joining SDC Executive Director the stage Director. The session will be at 2 p.m. on Friday, June Laura Penn to help guide the conversation will be our panelists: 18th. Consult your TCG conference guide for more information. Sheldon Epps, who’s extensive theatre resume is handsomely

THE SEMI-ANNUAL MEMBERSHIP MEETING will take place on Monday May 17th at Save the date, New York City! 5:30PM. Come hear reports from your Board President and Executive Director, participate in the Executive Board Nominating Committee selection, get caught up on what’s going on with the Foundation and Pension and Health, and stay for a wine and cheese reception. We’ll also be ratifying three important Contracts: Broadway, OMS and Dinner Theatre. Please bring your questions and concerns. There will be time for discussion.

WHEN: Monday May 17th, 2010, 5:30 p.m. WHERE: Manhattan Theatre Club’s Studio 3, 311 West 43rd Street, 8th Floor, NYC DETAILS: Wine and cheese will be served. RSVP: Email Gretchen at [email protected]

© 2010 Stage Directors and Choreographers Society, Inc. All rights reserved. 1501 Broadway, Suite 1701 New York, NY 10036 T. 800.541.5204 MEMBER SPOTLIGHT JESSICA PHELPS WEST by EVAN SHOEMAKE, Contract Administrator On my recent trip to Atlanta, the Vic and the Abbey, knew the Barrymores, wrote plays and Georgia I had the opportunity TV screenplays in the 40s and 50s. She taught me a lot about to meet with some of our SDC directing AND acting. The other mentor was the head of the Members and visit a handful of the department, Dr. Loeffler, who introduced me to directing and how theatres in the area. One of the to make a good stage picture, among many other things. Each stops on my itinerary was Theatre in year they allowed a senior to direct a mainstage production and the Square where I had a chance to I was chosen my senior year. I directed The Lion in Winter. It talk to and visit with Jessica Phelps was a great experience being sequestered in the mountains with West, Assistant Artistic Director tremendous talent; it was just a great beginning. and SDC Member. We had a great Why directing? What put you on this path? discussion which included realizing I had seen her as the Angel in I got my MFA in acting from the University of Georgia. I wanted to Angels in America back in 1994 at double major in directing and acting but you have to specialize. the Alliance Theatre! Jessica is this My lifelong mentor, Dr. August Staub, was the head of the month’s Member Spotlight and below are some highlights from department. He taught me a kinetic approach to acting and our recent conversations. directing that I still utilize today in my direction. I took a class called the Nature of Theatre with Dr. Staub in which had to read Einstein’s Let’s start with some of the basics and get a bit of your back- Theory of Physics, which is all about matter, mass, and motion and I story if we can and then hopefully move into more of those don’t do math! When he helped me decipher all of it, I was totally really probing questions! amazed and that is the core of my training. It astonished me when Well, I’ve had some coffee this morning so I think I’m ready to go! I first learned it and it has never failed me. I still couldn’t interpret Einstein but I used to joke that when I walked away with my Great. So tell us, where are you from, where did you go to Masters I also had a minor in physics and math. It’s difficult to talk school and how did you find your way into theatre? about kinetic directing because it’s often interpreted as movement but it’s also a system that’s based on how energy plays out on the You know, my grandmother was a great storyteller. I’d wait for stage. It’s about knowing when to expend energy, when to contain her to come home from the textile mills in North Carolina. I’m it, and knowing, within a scene, who is subordinate and who is from North Carolina, by sosmosis. I’d wait for my grandmother dominant in terms of the energy expressed on the stage. It’s not to come home and she’d sit in her recliner and tell me her great always something you can actually see but it is something you can and somewhat exaggerated tales. That’s where I get it, the sense. I’m very keen on how I manipulate energy on stage, from interest in telling a great story, from her vivid storytelling. But I the tiniest moment to the biggest sweeping moments. first really became interested in drama in Taiwan after seeing the huge parades, the dragons in the street, and Chinese opera. Very After I received my MFA I moved to Atlanta where I was an theatrical. See, I was actually born in Japan and grew up an Army actress and freelance Director. I attempted to work as a freelance “brat.” I went to elementary school in Germany and high school in Director in the regions but when my husband passed it became Taiwan. too difficult, raising a young son alone and traveling, so I chose to build a directing career in Atlanta. In 1998, while serving as My education in Taiwan was a cross-cultural experience and it an adjunct professor at Agnes Scott College, I joined the staff at gave me an appreciation for world theatre; it was wonderful Theatre in the Square part-time. I have been here ever since and exposure for me in my young life. My high school in Taipei am now the Assistant Artistic Director. had an incredible drama program. We had an adventuresome, enthusiastic drama teacher, and she put us through our paces. We After visiting you at Theatre in the Square, it’s pretty clear you did a children’s show each month, and we had to do everything. It are a guiding force at the theatre. was a wonderful beginning for me in terms of being interested in the arts and directing, and the discipline required to succeed. I help our producer select the seasons. And I am also the casting director and new play development . I am also responsible for Then I went to Western Carolina University. I had two outstanding the children’s theatre program which I initiated. I usually direct two mentors there. One was Josephina Niggli. She had an incredible shows a season here. background and was a fascinating teacher. She trained at

© 2010 Stage Directors and Choreographers Society, Inc. All rights reserved. 1501 Broadway, Suite 1701 New York, NY 10036 T. 800.541.5204 You’ve also directed at almost all of the theatres in the Due to the current economy we have had to cut back and just Atlanta area, correct? try to stay on an even keel. Until things start to turn around, we can’t afford to wear bigger pants so to speak. We are in the Yes, with a few exceptions, I’ve been fortunate to work at almost midst of building from a capital campaign. We’re still tightening all of the theatres in the city. the belt loops but also trying to maintain the quality we’ve always produced. We’re producing new works, which is more expensive, What do you feel was your greatest directing achievement? but we’re committed to doing new work and committed to the local talent despite our budget woes. I’d have to say there are three plays that are highlights for me: What direction do you see Theatre in the Square heading and Side Man – I think, at the time, it was an homage to my late where would you like to go creatively? husband who was a musician. It’s a phenomenal script and I love jazz. It was a highlight for me because of my own experience I’d like to see the children’s program grow. Our educational with musicians and having been married to a musician, I was in and children’s programming have been on the back burner for those living rooms and nightclubs! a little while due to funding but I’m very proud of the children’s productions and I want to see it expand. Bus Stop – It’s an old classic and again the music became a big part of the play because the design included a jukebox onstage Are there issues facing artists, specifically Directors, that you that was filled with hits from 1955. Each character had a theme feel we should all be addressing? song and there were points where every character would go to the jukebox and put their plug nickel in so that the entire play The state of Georgia is faced with losing the GA Council for the was underscored. As a big boxing fan, of course, I just ate the Arts. They’ve already diminished much of the funding for the fight scene up with a spoon! I enjoyed that show tremendously. council over the past few years, and it’s been detrimental to all It was a wonderful cast, and, in fact, my Cherie was just in arts organizations. Every county, state, city, they’re all trying to Clybourne Park at Playwrights Horizons. cut budgets and the arts are usually the first thing to go. Some people don’t recognize the economic impact that the arts have, The Sunset Limited - If I never direct another play, I will have in addition to the cultural impact. Theatre in the Square has a been fulfilled because that is one of the best scripts I have ever tremendous economic impact on the Marietta Square and the had in my hands. It was a great challenge, keeping the story restaurants would shut down if we closed our doors because balanced between the two characters, but everything was a there’d be very little dinner business. The city knows it but dream come true. It was challenging because McCarthy’s script they don’t always acknowledge it. I would have to say social two guys basically sit at a table and talk so the movement was awareness and the importance of the arts in our lives and the limited but it was very powerful, particularly because I’m a big lives of our children is one of the biggest challenges we face in believer in the power of stillness and the power of silence. Georgia and our nation. You and I know it, everyone in theatre knows it. But how do we make it significant enough to matter? What should people know about the theatre community in We all seem to be over extended these days, but I am all for Atlanta and Theatre in the Square? How are you weathering making a difference even in a small way. the current climate? So, what is the one show you’re dying to stage? Atlanta is an eclectic group of theatres with a tremendous variety in terms of offerings. Some theaters do the riskier more I’d love to do Golden Boy. I’m a huge boxing fan, which most contemporary pieces and others produce southern based stories people don’t know nor would they believe by looking at me plays that “stir the soul” while others do world premieres. There so I’d love to get my hands on a really good boxing script. are a lot of new plays being done in Atlanta. In fact, almost every Unfortunately most of the great fight-related plays are huge theatre produces a new work each season because the theatres, and the economy prevents me from staging them. Before I die, for the most part, are committed to the local talent pool. There though, I want to direct a boxing play! is much congeniality and camaraderie, we’re tight knit and we all try to work together and help each other whenever we can. Thank you so much, Jessica for your time and we look forward to It’s also a resilient community because most of us have kept hearing more from you and the other SDC Directors in Georgia! our heads above water. It’s been really difficult and some have barely done it, but most of us have stayed above water. There have been several theatre companies who have eliminated programming due to the economy but doors are still open. For example, we only produce a children’s show and a holiday show in our second space. It used to be home to our riskier, more contemporary work but not any longer.

© 2010 Stage Directors and Choreographers Society, Inc. All rights reserved. 1501 Broadway, Suite 1701 New York, NY 10036 T. 800.541.5204 PENSION AND HEALTH NEWS AMERICA’S NEW HEALTH CARE SYSTEM intro by JOHN EVERSON, Funds Administrator

As you are no doubt aware, major health care reform legislation was signed into law in March by President Obama. The legislation known as the Patient Protection and Affordable Care Act (PPACA) is complex. While the centerpiece of health care reform – individual mandates, subsidies, and Health Insurance Exchanges – all become effective in 2014, important changes become effective in the near future, or over the course of the next few years.

While it is far from a perfect solution, it does represent a significant step towards affordable health insurance for thousands of Americans, including many SDC Members, who cannot presently afford it. The following summary is reprinted with permission from Actors’ Equity Association.

What kicks in this year?

• Insurance companies will no longer be able to put a life-time cap on their costs. Annual caps will be severely reduced and totally eliminated in 2014.

• Insurance companies will not be allowed to deny coverage to children because of a preexisting condition. A special program will help adults with preexisting conditions find coverage, until 2014 when insurers will be required to cover everyone, regardless of preexisting conditions.

• Rescission - the technical term for canceling coverage on grounds that the insurance company was “misled”, will end. Rescission has been found to be practiced when plan holders find themselves sick with something they had not mentioned on their insurance application. Most times it is an ailment that developed over time or was unknown to the plan holder and their doctor.

• Insurers with unusually high administrative costs have to offer rebates to their customers, and every insurance company will have to reveal how much it spends on overhead. Insurers will be required to spend between 80 to 85 cents of every dollar of their premium revenues on medical claims. The largest for-profit insurance companies currently spend about 74 cents out of every dollar on medical care.

• Those insurers who raise prices excessively could be barred from the exchanges and premiums for older people cannot be more than three times the premium for young adults.

• Children will be considered “dependent” until the age of age of 26 and therefore eligible for coverage on a parent’s health plan. Within six months, all health plans, including employer-sponsored plans, must cover children of policyholders.

• Over 3 million Medicare recipients will get a one-time rebate of $250 towards closing the Medicare D “donut hole” in their prescription drug coverage. Next year, 50% of the doughnut hole will be covered and the entire gap will be eliminated by 2020.

• Medicare will now provide a free visit to primary care physicians every year to plan out prevention services.

• Small businesses will get tax credits - up to 50 percent of premium costs - for offering health insurance to their workers.

• Employer plans that cover early retirees ages 55 to 64 will receive a subsidy.

• Beginning in 2011 a voluntary federal program will be established to provide long-term care insurance and cash benefits to people with severe disabilities. The amount of benefits will vary, depending on the degree of a person’s disability, but could not average less than $50 a day.

Insurance Exchanges These on-line insurance marketplaces will help individuals and employers to shop for insurance and compare prices and benefits.

Government Contracted Insurance While there is no Public option, like a “Medicare for All” plan in the new legislation, the Federal government will be entering the insurance market indirectly. There will be at least two national health plans to individuals, families and small businesses. At least one of the plans will have to operate on a nonprofit basis.

Individual Mandate Will require most Americans to have a minimum level of health insurance or else pay a penalty.

Individual Subsidies Low and middle-income people will receive tax credits to off-set premium costs, co-payments and deductibles.

Employer Mandate Most employers having more than 100 workers will either have to offer coverage or pay a penalty of $2,000 for each full time worker forced to receive federal subsidies to buy insurance on their own.

Employer Subsidies Employers with less than 25 workers and annual average payroll of less than $50,000 could qualify for tax credits. Employers with less than 10 workers and average payroll of less than $25,000 will automatically get the tax credits.

Medicaid Expanded Medicaid will cover an estimated additional 16 million low income and impaired people, including parents and childless adults who are not eligible under current rules.

Benefit Requirements Insurance plans will be required to offer a federally-defined minimum package of health insurance benefits.

Paying for the bill In order to cover the cost of the legislation new fees and taxes will be imposed and Medicare payments to hospitals and many other health care providers will be curbed.

Starting in 2014 a 40% “excise tax” will be leveraged on employer-sponsored group health plans with premiums over $10,200 for individual coverage and $27,500 for family coverage. Beginning in 2020, the tax thresholds will rise by the inflation rate.

Starting in 2013 the Medicare payroll tax rate will increase by just under 1% for individuals earning more than $200,000 a year and families earning more than $250,000. In addition, a 3.8% tax on capital gains, dividends, interest and other “unearned income” will also be applied.

Many thanks to Equity for making this valuable resource available to our Members! We’d also like to update you about the COBRA subsidy opportunity.

Update on COBRA subsidies While technically not part of the health care reform legislation, the 15-month subsidy for COBRA participants continues to be a huge help to a growing number of our participants. Originally signed into law by President Obama as part of the American Reconstruction and Recovery Act, the subsidy provides a 65% subsidy for COBRA premiums for up to 15 months. The program has recently been extended to include participants losing eligibility for paid benefits through May 2010. As was the case with most of our participants who were COBRA candidates at April 1, 2010, we now can expect that most who qualify for COBRA at October 1, 2010 will also be eligible for the subsidy.

In addition, the New York State COBRA subsidy continues to offer a 50% subsidy for up to 12 months for income qualified participants. Originally allowed for up to 12 months lifetime, this subsidy has now been extended to provide a renewable 12-month entitlement. In addition, the New York State subsidy may be coordinated with the federal ARRA subsidy, so that for a period of up to twelve months, it is possible to receive a total 100% subsidy of COBRA premium costs.

The SDC-League Pension and Health Funds are administered by a Board of Trustees made up of an equal number of representatives from SDC and Producer organizations. The Funds are legal entities separate from the Union and from any Employer. If you have questions about these matters, or any other related to benefits available to you through the SDC-League Funds, don’t hesitate to contact us at 212-869-8129 or by email at [email protected].

© 2010 Stage Directors and Choreographers Society, Inc. All rights reserved. 1501 Broadway, Suite 1701 New York, NY 10036 T. 800.541.5204 SDCFOUNDATION UPDATE DEADLINES AND OPPORTUNITIES by ELLEN RUSCONI, Associate Director of the Foundation

Although we have a few activities remaining for our the Selection Committee Members for volunteering to 2009 – 2010 season – including an Observership with SDC participate in this process and thought we’d share some of President Karen Azenberg and a still-to-be-announced their thoughts on the candidates and the selection process: day-long Symposium for Emerging Directors and “I was really struck, in reading the submissions, how Choreographers – we are well into work for the 2010- 2011 impressively qualified, diverse and interesting the season, which officially begins July st1 . applicants were. It was a hugely competitive group We are especially motivated by the news that the NEA and really highlighted to me how important and rare has recommended SDCF for funding of $15,000 in 2010 – opportunities like this are.” – Leigh Silverman 2011. That’s double our funding for last season and triple “It was a pleasure to be in the room with peers and our funding of 2 years ago. It’s gratifying to know that evaluate the many fine candidates – what hard choices to as we expand our programming, the funding community make! Generally the successful candidates were the ones recognizes the need and impact of our programs and that had compelling personal narratives and seemed to continues to support our efforts. really be at the right place in their career for this kind Currently, we are collecting applications from colleges and of fellowship, with a good balance of innocence and universities for our Guest Artist Initiative Program. The experience. I’m sure Michael will have someone terrific – deadline for this program is June 1st, 2010. For more about I know he has super choices.“ – Jesse Berger the GAI Program, please see this issue’s cover article about “I had the opportunity to reinvest in those original the College and University Committee. passions that were so essential toward my own June 1st is also the first deadline for our Observership development at the time when I was seeking out Program, through which emerging Directors and such early career opportunities. It is rare that I get Choreographers are given paid opportunities across the to collaborate with other working Directors, and country to shadow master artists on new productions. after a wonderfully boisterous war-stories exchange, This year, there’s extra incentive to apply early: our first I was heartened by the humanistic approach of our Observership opportunity will be with Michael Mayer, but comprehensive deliberation. I want all the applicants to you must apply by May 17th to be eligible; rehearsals begin know that each was considered with care, and I strongly July 5th. encourage each and every one them to continue seeking out opportunities like the Gielgud.” – Timothy Douglas We recently convened a selection committee for our first Fellowship of 2010 – 2011. The Sir John Gielgud Fellowship The Gielgud Fellow will be officially announced sometime in will be with Michael Greif on his production of Tony May. Thank you to the Selection Committee Members and Kushner’s Angels in America: A Gay Fantasia on National all who took the time to nominate. Themes at the Signature Theatre Company. SDC Members nominated fifty-two candidates for this Fellowship. It was, Please visit www.SDCweb.org and visit the Foundation page again, a highly qualified pool, and notable for the diversity for more news about our activities. of backgrounds and experience of the nominees. We thank

DIRECTORS LAB WEST 2010 ANNOUNCES NEW DATES FOR THE 2010 LAB

The Directors Lab West Steering Committee is pleased to announce the new dates for the eleventh annual Directors Lab West. The 2010 Lab will take place September 4 - 11, 2010. Due to the change in dates, DLW is reopening the application process. Applications are now available and may be found at the Directors Lab West web site: www.directorslabwest.com. Deadline for the second round of applications is July 1, 2010.

Directors Lab West, which was launched in 2000, seeks theatre Directors to participate in a week long series of workshops, panels, roundtables and symposia with some of the nation’s leading theatre artists. Directors Lab West, like its New York inspiration at Lincoln Center Theater, creates an intensive laboratory environment where theatre Directors come together to inspire, educate and challenge each other.

Attendance is by application only and there is no charge to participate in the Lab.

Directors interested in participating may find applications and further information atwww.directorslabwest.com Get all updates and special announcements on Facebook. For more information contact Kappy Kilburn (626) 403-1827.

NEW MEMBERS Karen Case Cook John Moletress NEW OR RENEWED IPAS Director Director Jessica Bauman NYC Washington, DC 5th Avenue Theatre (IPA to LORT) Director (IPA to LORT) Brooklyn, NY Kay Cosgriff Andy Ottoson Barrington Stage Company Director/ Director Bay Street Theatre (IPA to LORT) Shana Cooper Choreographer Astoria, NY Director Kent, OH Berkshire Theatre Festival (IPA to LORT) Ashland, OR Brad Delzer Lexie Pregosin Fulton Opera (IPA to LORT) Al D’Andrea * Director Director North Shore Music Theatre (IPA to RMT) Director Fargo, ND Brooklyn, NY Portland, ME Ordway Center for the Performing Arts (IPA to LORT) Kenneth Ferrone Frank E. Reilly Richard Israel Director Director Papermill Playhouse (IPA to LORT) Director NYC Portland, ME Plan B Theatre Company (IPA to LORT) Los Angeles, CA Thom Fogarty Alex Sanchez Utah Shakespearean Festival (IPA to LORT) Bill Jenkins Director Choreographer Director NYC NYC Muncie, IN Daniel Gwirtzman Alexandra Siladi Michael Matthews Choreographer Director SDC MOURNS THE PASSING Director NYC Stamford, CT OF TWO FOUNDING MEMBERS Los Angeles, CA Noah Himmelstein Lin Snider Sabra Jones McAteer Director Director The Board and Staff of SDC were saddened to learn Director NYC Tarrytown, NY of the loss of two of our Founding Members; NYC Carmen Capalbo and Ella Gerber. Jessica Hutchinson David Storck Danny Mefford Director Director Capalbo was best known for his seminal Off-Broadway Choreographer Chicago, IL Long Island City, NY production of Threepenny Opera, which played a record 2,611 Brooklyn, NY performances and was awarded a special Tony Award by the Amnon Kabatchnik Ken Urso American Theatre Wing. He also directed the premiere of Director Director Robert Smythe Moon for the Misbegotten on Broadway. Gerber was most Director/ Santa Monica, CA Brooklyn, NY famous for her acclaimed productions of Dark of the Moon and Choreographer Swarthmore, PA Wayne Kasserman Katjana Porgy and Bess. Director Vadeboncoeur Edward Torres NYC Director Both Directors were great multi-taskers. Ella Gerber was an Director Seattle, WA actress and playwright as well as a world-famous teacher. Chicago, IL Lillian Z. King Students at the American Academy of Dramatic Arts, Goucher Director Patrick A. Varon College, the London Opera Centre, Columbia University and Stanley Tucci Astoria, NY Director many other renowned institutions benefitted from her expertise Director Chicago, IL and generosity of spirit. Carmen Capalbo was a tenacious South Salem, NY J. Scott Lapp producer; when he was still in his 20’s, he persuaded Lotte Director/ Emily Wells Lenya, Kurt Weill’s widow and the original star of Threepenny * upgrade from Choreographer Director Associate Temecula, CA Memphis, TN Opera in Berlin, to star in his production at the Theater de Lys (now the Lucille Lortel). He was also a member of the Royal NEW ASSOCIATE Bridget Leak Nikol Wolf Philatelic Society and an expert on British WWI stamps! MEMBERS Director Choreographer Brooklyn, NY Jackson Heights, NY Gerber and Capalbo both served their country during WWII. Tricia Brouk Capalbo fought in the Battle of the Bulge and earned a Bronze Director/ Judy Long Tamilla Woodard Star and a Purple Heart. Gerber performed in U.S.O. and Choreographer Director Director Special Services tours. NYC Salter Path, NC Brooklyn, NY What stands out most for us, however, is the resolve and Casey Burden Laura Lundy Paine Peter Zazzali Director Director Director dedication it took for each of these successful theatre artists to NYC Portland, OR NYC put their careers on the line in solidarity with the other brave men and women who formed this Union over 50 years ago. Greg Cicchino Rebecca Lynne They will be sorely missed! Director Director Astoria, NY Ashburn, VA