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FLORIDAFALLFALL 2010 2010 THEATRE CONFERENCE NEWS FLORIDA FLORIDA THEATRE THEATRE CONFERENCE CONFERENCE SUMMER NEWS NEWS 2014

Volume 55 Issue 2 Volume 59 Issue 2 Fall 2010 Summer 2014

Inside this issue: Community Theatre Spring Fling... 3 FROM BROADWAY Changes to AACTFest 2015 Handbook...... 4 FTC President Reelected to AACT TO YOUR BACKYARD Board...... 5 Excerpts from the keynote speech by Steve Spiegel, Founder, Rick Kerby Reelected to ACCT President, & CEO, Theatrical Rights Worldwide, at the National Board...... 5 Georgia Theatre Conference Annual Convention, October 12, 2013 Workshop Application 2014 ...... 6 T-Shirt Design Competition...... 6 It’s the dawn of civilization (no, not the Murray Chase & Norm Small one in The Walking Dead) and you’re about Receive AACT Award...... 7 to create a new town, a new city, a new Ballot Distinguished Career...... 8 beginning and for your starting point, you FTC Lifetime Members...... 8 want a center of this new civilization. An Distinguished Career Awards List... 9 environment where artists can converge to FTC Membership Form...... 10 share their vision and nurture their craft. All FTC Board of Directors...... 11 How to Teach Your Children will be fine until the elected or appointed Shakespeare...... 12 leaders realize that artists influence people. Festival 2104 Registration Form..... 13 So, the artists get rounded up. Quickly Schedule of Florida Theatres ...... 14 society realizes that without art, there is no community. And without community, there Theatre is the official FLORIDA is no environment for self-expression, inter- newsletter of the Florida Theatre Steve Spiegel Conference for theatres through- activity, socialization, mentorship, personal out the state of Florida. creativity and growth, friendship, knowledge, risk taking, and yes, FLORIDATheatre is published without community, there is no environment for debate or leadership. twice a year and is free of charge. So, with the artists back, however represented by agents and lawyers, To be added to the mailing list, this new civilization embraces art, it promotes art, it secures art. please contact: Steve Bayless at The art, now firmly in place, survives throughout time. For [email protected] herein lies the fabric of society, the gathering place, the social circle, the emergence of venues, the public forum, and the audience. From President this art form comes the birth of theatre, educational theatre, commu- Rick Kerby nity theatre, professional theatre, youth theatre. When all are viewed Executive Director collectively, these categories of theatre yield a wonderful leveler of Steve Bayless people. But how much does it cost to create theatre? Who will at- Editor Susan M. Smith tend? Where will the venues be located? And will it happen year after www.flatheatre.org year? Among the countless entertainment choices and delivery systems now available, professional, amateur and educational theatre has

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From Broadway to Your Backyard producers, artistic directors and drama teachers nar- continued from page 1 row their vision when creating and selecting product? entrenched itself as a significant component of We all want success. We all want sold-out venues. We the landscape. While theatre cannot achieve the all want theatre programs to grow year after year. To extraordinary revenue or attendance associated with achieve this standing, theatres must have a strategy to film, television, concerts or sports, the statistics in the face obstacles in an ever changing civilization. United States for a typical year for Broadway, touring, Erosion of audiences stock and amateur productions paint an optimistic Thankfully this is not everywhere but contributing picture. factors include a decline in subscription renewals, According to the Broadway League, Broadway attracting single ticket buyers and a shorter window shows grossed over $1 billion in box office revenue for family social event planning. A typical American in the 2012-2013 season with a total audience of over gets bombarded with over 3,000 different market- 11 million. Touring productions of Broadway shows ing messages every day. Many consumers say they added another $950 million in box office revenue last are too tired to do things when traveling is involved. season. The American Association of Community The- With downloads and on-line and digital all at their atre (AACT) claims there are 7,000 Community The- fingertips, why leave home? Attending live theatre is atre organizations in North America. Our Theatrical risk-taking and writers and producers have narrowed Rights Worldwide customer list has over 9,000. These their vision to de-risk the audience experience. theatres produce over 46,000 shows a year playing to Technology audiences of 86 million people and have a combined Are we fully able to understand the impact of tech- annual budget of over $980 million. With 1.5 million nology on the performing arts? Technology, not volunteers, Community Theatre involves more partici- necessarily more sophisticated, competes with live, pants, presents more performances and plays to more stage performance and is our biggest competitor for people than any performing art. The National Alliance leisure time. Information, entertainment, culture is on For Musical Theatre (NAMT), with 160 organizational demand at any time, at little or no cost. What are the members, employs 25,000 people and stages over ramifications of 99 cents a song or a free download 22,000 performances attended by nearly 12 million when we, producers and guardians of musicals, are people. Collectively these NAMT organizations have asking someone to pay $25, $50, $100 or more for a operating budgets totaling over $500 million and per- theatre ticket? form in 280 facilities housing over 190,000 seats. Leadership Nationally, there are over 150,000 public and Over time, like all businesses, theatres are faced with private elementary, middle, high schools, colleges the transfer of leadership, as founding members retire and universities. Their enrollment is over 96 mil- or depart. Will new leaders bring expectations that are lion students and while only 15% or 22,500 of these counterproductive to the goals of the long established schools have active theatre programs, they present environment they now control? Will they expect over 350,000 performances. shorter hours, higher compensation and a shift in the Although box office revenue numbers are not artistic ambitions established by their predecessors? readily available for Community, Professional or Can creativity prevail alongside the protection of a Educational theatre, it is not difficult to see that the theatre’s identity? volume of participants, on stage, in the audience, Possible solutions: How do we build audiences. in the administrative offices, in creative capacities, Schools demonstrates that theatre is an essential piece of our A 2009 study in New York City found high school economic engine, our cultural heritage and our social graduation rates and access to arts education are behavior. Collectively, over 45,000 theatre organiza- closely linked. Schools with the highest graduation tions license musicals in the US. rates offer the most access and resources to support Okay, so, why is it such a challenge? Why is the arts education. Conversely, students at schools with art influenced by the commerce and commerce im- the lowest graduation rates have the least access to pacted by the art? Why is there always the fear that the benefits of a quality instruction in the arts. High your theatre program will disappear. Why do writers, continued on page 19

2 FLORIDA THEATRE CONFERENCE NEWS SUMMER 2014 Community Theatre Division Spring Fling The Annual Spring discussion along beautifully. Thanks to Kris for all of Fling for the Commu- his hard work in setting up the Spring Fling. nity Theatre Division of the The Board of Directors of the Florida Theatre Florida Theatre Conference Conference invite all Community Theatres to par- held their 2014 session at ticipate in the November 5-8, 2014 Conference in the Ice House Theatre in Mt. Gainesville. Dora, FL on April 26, 2014. Our host for the session was Darlin Barry, Artistic Direc- tor of the Ice House Theatre, who provided wonderful Kristofer Geddie accommodations and re- freshments for the 30 Community Theatre leaders from across the state of Florida. After a round of introductions, the group jumped right into a discussion/introduction to and about the 2014 Florida Theatre Conference to be held on the campus of Santa Fe College in Gainesville, FL No- vember 5-8, 2014. There seemed to be interest among those gathered to attend and perhaps present a play for the Community Theatre Festival on Saturday, No- vember 8. The discussion moved on to such topics as: How to Finance Your Theatre; How to Market Your Theatre; How to Select A Season for Your The- atre; and the High Points of Each Theatre During the Last Year. After lunch, we reviewed the 2015 AACT Festival Handbook with changes and updates to the process, and Outreach Activities, Audience Develop- ment, and Volunteer Management for each theatre. The FTC Community Theatre Division Chair, Kristofer Geddie moderated the meeting and moved the

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New AACTFest 2015 Handbook Features Changes The AACTFest 2015 Handbook establishes a • Costumes and musical instruments, if they are common ground for all festivals leading to the national not part of the set or used as properties in the produc- 2015 AACTFest, providing participating companies a tion, are no longer required to fit in the storage or level of continuity in the festival process. on-deck area. Costumes and make-up may be stored Performing companies, festival hosts, and adju- in the dressing room (if space allows), rather than the dicators will notice several changes to the AACTFest on-deck space. Handbook for the 2015 cycle. • The company is no longer required to assemble The AACTFest 2015 Handbook is now divided in or beside the on-deck area before and after the into only three sections: the Basics (for performing performance. Technicians and actors may go directly companies), Adjudication Guide (for adjudicators), to their positions and stay there if a company prefers. and Festival Chair Guide (for festival hosts). Each This is now entirely at the discretion of the performing section is written to outline rules pertinent to its target company. audience with a more consistent style throughout. • As with lighting equipment, if a company elects Most noticeably, the AACTFest 2015 Handbook to supplement existing sound equipment, it will be is considerably shorter than its predecessors. The text set up during the company’s rehearsal period and left, of the entire document (including all three sections) unless the host technical director determines the place- occupies only seventeen pages; the Basics section is ment of the equipment has a detrimental effect on other comprised of only nine pages. Each section also in- companies. cludes forms that pertain specifically to that section. • There are some changes in the required documen- As a result of the rewrite, the Handbook should tation the performing company must provide. be easier to navigate and understand, and each section • Only four scripts rather than five are required to should stand on its own depending on the needs of the be submitted to the festival, unless more are requested reader. for interpreters or other personnel. More scripts may be In addition to a new format, the AACTFest 2015 added only with sufficient notice to the company. Handbook includes several rule changes and clarifica- • A warranty that the performing company received tions: permission to perform, and permission to cut the script • The rules are less restrictive in regard to where is required, but copies of the permission no longer need a festival may be held (i.e. a legitimate theatre space be submitted. AACT will notify licensing theatrical vs. a hotel ballroom). This edition of the Handbook agencies of productions being performed at AACTFest. allows for a waiver to be granted by the Vice President The AACTFest 2015 Handbook includes several of Festivals. changes to the adjudication process: • The definition of censorship has been simplified • Adjudicators may now listen to preceding adjudi- for greater clarity. cators as well as succeeding ones. • Requirements for a theatre to participate have • The adjudicators are now allowed to discuss the been simplified. festival productions among themselves prior to delib- • The process by which an alternate production erations, but not with anyone else present. advances to the National Festival if one of the regions • Panel adjudication is defined more clearly and a is unable to send a production has been clarified. process for panel adjudication is prescribed. • In addition to Actors’ Equity members, members • The balloting process and determination of fes- of Screen Actors Guild-American Federation of Televi- tival awards has been changed. For the 2015 Festival, sion and Radio Artists (SAG-AFTRA) are prohibited the determination of festival awards (such as Outstand- from performing at AACTFest. ing Actor, Outstanding Director,, etc.) is done first, • The on-deck and storage areas are more clearly through discussion, immediately following the final defined, and the on-deck area is specified to be exactly adjudication. Following the determination of these 100 square feet. continued on page 5

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FTC President reelected to AACT National Board Rick Kerby was reelected as a Board Member at Large for the Ameri- can Association of Community Theatre (AACT) on May 1. Prior to his move to Florida, Rick was Entertainment Director for the USO of Metropolitan New York and organizer of the Miss USO Contest. Other directorial credits include productions at professional theatres in New Jersey, Rhode Island, Maine, Virginia, New Hampshire, New York City, New Orleans and for many prominent cruise lines. He has served on the faculties of Wagner College on Staten Island and the Acad- emy of Music and Dramatic Arts in New York City. Rick is currently Producing Artistic Director of Manatee Players in Bradenton, FL, where he was named Best Director at the Florida Theatre Conference, three-time winner as Best Director at the Southeastern Theatre Confer- ence (SETC), and two-time winner as Best Director at the National AACTFest. He has served as an adjudicator for professional theatres for the Florida State Division of Cultural Affairs. Rick is starting his third term as President of the Florida Theatre Conference. He is Past President of the Florida Association of Community Theatres and has Rick Kerby served as Community Theatre Festival Chair for SETC. For AACT, Rick has served as the Florida State Representative and the Commit- tee Chair for Membership, and currently serves as Board Member at Large and as an Executive Board Member.

Reprinted from Spotlight, March/April 2014. Used by permission of the American Association of Community Theatre (www.aact.org).

AACT Handbook Changes continued from page 4 awards, balloting takes place regarding show ranking. SAVE THE DATE! Unanimous agreement is now required for each show position. If a unanimous decision cannot be reached November 5–8, 2014 after three ballots, a split decision is allowed. If there are only two adjudicators and unanimity cannot be 2014 FTC Festival achieved after the third ballot, the Festival Commis- sioner will break the tie. Santa Fe College Campus For detailed information, please see the entire AACTFest 2015 Handbook at http://www.aact.org/ Gainesville, FL aactfest/handbook.html.

Reprinted from Spotlight, March/April 2014. Used by permission of the American Association of Community Theatre (www.aact.org).

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FLORIDA THEATRE CONFERENCE FESTIVAL 2014 November 5–8, 2014 WORKSHOP APPLICATION

Title of Workshop ______Presenter(s) and organization represented ______Division represented: ___ College/University ___ Community Theatre ___ Professional ___ Secondary Schools ___ Theatre for Youth Room Size: _____ Small _____ Medium ____ Large Address of Major Presenter ______City/State/Zip ______Phone Number ______Email ______Brief description of workshop for program: ______Brief bio of each participant for program: ______

Any special needs for the workshop: ______Workshop appropriate for ___Secondary Students ___Adults ___Youth

I understand that my services are donated as a part of my community service.

ACCEPTED ______DATE ______

Send completed form to: Steve Bayless, FTC Executive Director, at 5650 Park Blvd. Suite 7 Pinellas Park, FL 33781 or email to [email protected].

Deadline for entry is October 1, 2014

Design the T Shirt for Festival 2014 Are you artistic? Your design could be chosen for the 2014 Festival T-Shirt and 2014 Festival Program (given to each Festival participant). Email your design ideas to [email protected] by August 1, 2014. On August 9, 2014 the Board of Directors will announce the lucky winner- you could be attending the Festival for free!

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Florida Recipients of AACT Art Cole Lifetime of Leadership Award Murray Chase has served Norman Small has as the Executive/Artistic contributed to commu- Director of Venice Theatre nity theatre across state, for 17 years, following six national and international years as Executive Direc- borders. He founded and tor of Corinth Theatre Arts been the Producing Direc- in Mississippi. Under his tor Theatre Winter Haven leadership the Venice The- for the past 44 years. He atre has grown to become is a published author (The the third largest commu- Making of Drama, Hol- Murray Chase nity theatre in the US and Norm Small brook Press, 1972) and an the largest per capita. Murray has directed approxi- award winning director. Norm led theatre Winter mately 200 shows including many award winning ef- Haven to a first place win at the 1987 International forts. He has served as president of Venice Main Street Play Festival in Dundalk, Ireland, and has taken five Board of Directors, division chair and festival chair of AACTFest winning productions to the national festi- the Southeastern Theatre Conference, division chair of val. His most recent national festival entrant was the the Florida Theatre Conference, a grants panelist for 2013 production of Golda’s Balcony, which ended its the Florida Arts Council and the Mississippi Arts Com- banner year with a performance in Germany. Norm mission, and chair of the Sarasota County Arts Council, served on the AACT Board for five years including a and with the Venice Chamber of Commerce he served term as VP Planning and Development. His contri- on the City of Venice Anniversary Committee and the butions on the national level continued an additional Cultural Executives Committee. Nationally, Murray six years with his participation on various AACT serves AACT as the Executive Vice President and is committees. Norm is a recipient of the Florida on the Endowment, International, and Festival Com- Distinguished Lifetime Achievement Award in Com- mittees, and is leading his theatre in hosting the AACT munity Theatre, as well as both the AACT David C. International Community Theatre Festival for the Bryant Outstanding Service and Fellow Awards. second time.

Reprinted from Spotlight, May/June 2014. Used by Reprinted from Spotlight, May/June 2014. Used by permission of the American Association of Community permission of the American Association of Community Theatre (www.aact.org). Theatre (www.aact.org).

Dance Workshop at FTC Festival 2013 Checking callbacks at FTC Festival 2013

7 SUMMER 2014 FLORIDA THEATRE CONFERENCE NEWS Florida Theatre Conference Ballot 2014 Distinguished Career Award Deadline July 30, 2014

Send completed form to: Steve Bayless, 5650 Park Blvd. #7, Pinellas Park, FL 33781

Community Theatre /Affiliation...... Name and Address......

Theatre for Youth /Affiliation...... Name and Address......

Secondary School /Affiliation...... Name and Address......

University/College/ Affiliation...... Name and Address......

Professional Theatre/Affiliation...... Name and Address......

FTC Member submitting nominations...... Address......

In April 1986 the FTC Board of Directors voted to present an annual DISTINGUISHED CAREER AWARD to one individual from each of the five FTC divisions. The recipients are honored at the FTC Festival. If you are an FTC member, you are entitled to nominate a candidate(s) for the 2014 award. A master ballot will be compiled by the Chair and presented to the FTC Board of Directors for final selection for each division. The nomination of members should be based upon their service to the organization and field. The awards will be presented at Festival 2014 in Gainesville. If you should enter a name that the Board of Directors may not be familiar with, we ask that you include a short resume.

A list of past award winners since 1986 is on Page 9

LIFETIME MEMBERS OF FLORIDA THEATRE CONFERENCE You may become a lifetime member by sending in the membership form on Page 10. The cost of an individual membership is $400. If you know of names that have been omitted, please contact contact Steve Bayless at [email protected] or (727)560-8879.

Saul Becker Coral Reef High School Irene Jurline Rebecca Rankin-Hopkins Mary Ann Bentley Drama Department Anita Kauffman Rene Sands Major Beatrice Bowman Donald Creason Jean Marie Layton Ralph Schaeffer Mary Boyle Clay Davis Donald L. Loeffler Walter B. Shipley Dale Carpenter Yvonne C. Dell Angus McPherson William A. Shook Ralph Carruthers Marilyn Gardner Marty Martin Joan Taylor Sandra Q. Cockrell Matthew T. Gitkin Carol Sue Moore N. Jean Trammell Alvin Cohen Rita J. Hutchinson Terrance Olson Bobbie and Joyce Ward Don Jones, Jr. Robert Prescott

8 FLORIDA THEATRE CONFERENCE NEWS SUMMER 2014 Distinguished Career Awards 1986–2013 UNIVERSITY/COLLEGE THEATRE SECONDARY SCHOOL THEATRE 1986 Al Wehlburg 1986 Christine Chavers 1987 Robert Kase 1987 Marty Hancock 1988 Harold Burris-Meyers 1988 Ellen Davis 1989 Judith Kase-Polisini 1989 Donna White 1990 Jim Wright 1990 Joe Boyd 1991 Gil Lazier 1991 Sheila Taylor 1992 Walter Shipley 1992 Don Jones 1993 H. Kenneth Walker III 1993 B. J. Leiter 1996 Robert Ankrom 1994 Debra Barnum 1998 Mary Ann Bentley 1997 Sandra Q. Cockrell 1999 Marilyn de Simone 1998 Ken Wiegers 2000 David Moberg 1999 Jay W. Jensen 2001 David Young 2001 Rick Adams 2002 Dr. Richard G. Hinners 2002 George Murray Mintz 2003 Barton Lee 2003 Beverly Blanchette 2004 Kenneth McCulough 2004 Carla Webster 2005 Ken Kurtz 2005 Bob Strickland 2006 Ben Wilson 2006 Karen Rugerio 2008 Donald Seay 2008 Charlotte Brown Seward 2009 Rosemarie O’Bourke 2009 Frank Venezia 2010 Ed Kelly 2010 Margie Timmons 2011 Mikell Pinkney 2011 Christa Whittaker 2013 Johnny Pettegrew 2012 Paul Hughes 2013 Nancy Sears PROFESSIONAL THEATRE 1986 Richard Fallon THEATRE ARTS ADVOCATE 1987 Burt Reynolds 2000 Sherron Long 1988 Michael Hall 2008 Senator Evelyn Lynn 1989 Tippin Davidson 2009 Commissioner Bill Segal 1990 Bob Naismith 2012 Jeanne Reynolds 1991 Norman Easterbrook 1998 Lester Malizia THEATRE FOR YOUTH 1999 Howard Millman 1986 Nancy Yoje 2001 Ann Reinking 1987 Ruth Foreman 2004 Patrick Wilson 2006 Mark Chambers 1988 Linda DeGabrielle 2008 Gene Colombus 1989 Cornelia Dozier 2011 Bridget R. Bartlett 1990 Bill Petterson 2012 Judy Lisi 1991 Rene Sands 2013 Michael Donald Edwards 1993 V. Ann Nall 1995 Carole Ries COMMUNITY THEATRE 1998 Jerry Bickel 1986 Hazel Lewis 2000 Judith Delgado 1987 Phyliss Walters 2002 Stephen D. Nelson 1988 Angus McPherson 1989 Norman Small 2005 Doreen Heard 1990 Mario Sanchez 2006 Jeff Revels 1991 Michael Fortner 2008 Linda Downey 1992 Ken Garner 2012 Earl Malden 1993 Mary Ann Dean 1997 Mary Britt 1998 Fran Walker LIFETIME ACHIEVEMENT AWARD 1999 Rosemary Greene 1997 William H. Lockey, Jr. 2001 Dallas Zonkers 1998 Donald Creason 2002 Peg Brandon 2002 Robert E. Ankrom 2005 Tammy Serebrin 2004 James Randolph, Sr. 2006 Murray Chase 2006 Mary Ann Dean 2007 Janet Castro 2008 Mary Hausch 2008 Deborah and Dale Carpenter 2009 Sandra Cockrell 2009 Eric Hurst 2011 Don E. Jones, Jr.

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MEMBERSHIP FORM

FLORIDA THEATRE CONFERENCE 5650 Park Boulevard Suite 7 Pinellas Park, FL 33781

(727) 544-8915

Name of Individual / Organization ______Contact Person (If Applicable) ______Address ______City ______State ____ Zip ______Evening Phone ______Day Phone ______Email Address______What is your area of interest? ☐ Secondary School ☐ Theatre For Youth ☐ Professional Theatre ☐ Community Theatre ☐ College/University ☐ DraMature

With your paid membership in the Florida Theatre Conference, your organization will receive:

• Two free newsletters • Free theatre season listing in both FTC newsletters • Free hotlink on our website • Free festival registration for sponsor.

Annual Membership Fee Group $70.00 $ ______Indiv Adult $50.00 Student $40.00 Lifetime $400.00

Would you like to contribute to the Robert Ankrom Memorial Fund for the Advancement of Theatre Education in Florida? Please include any contribution you can.

Charitable Contribution $ ______

Total Due: $ ______

Organization Check or Money Order only, no personal checks can be accepted. (Credit card only accepted through website) Mail completed form with check to :

Florida Theatre Conference 5650 Park Boulevard, Suite 7 Pinellas Park, FL 33781

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FTC BOARD OF DIRECTORS 2013–2015

PRESIDENT SECONDARY SCHOOLS CHAIR Bill Murray Rick Kerby Margie Timmons Director of Admissions Producing Artistic Director Gulf Breeze High School The Art Institute of Jacksonville Manatee Performing Arts Center 675 Gulf Breeze Parkway 8775 Baypine Road 502 3rd Avenue W Gulf Breeze, FL 32561 Jacksonville, FL 32256 Bradenton, FL 34205 (850) 602-3792 (678) 521-9069 (941) 748-0111 [email protected] [email protected] [email protected] DraMature CHAIR Tammy Serebrin VICE PRESIDENT Mary Britt, Executive Director 1122 Kells Court Gary Cadwallader Ocala Civic Theatre Lakeland, FL 33813 Education Director 4337 E. Silver Springs Blvd. (863) 838-2583 Orlando Repertory Theatre Ocala, FL 34470 [email protected] 1001 E. Princeton Street (352) 236-2851 Orlando, FL 32803 [email protected] Sara Skinner-Probst (407) 896-7365, ext. 201 Theatre & Stage Craft [email protected] UNIVERSITY/COLLEGE CHAIR Freedom High School Glenn Avery Breed 2500 West Taft Vineland TREASURER/SECRETARY Associate Professor of Theatre Orlando, FL 32837 Terry A. Klenk Costume Design and Technology (315) 690-9501 Professor/Theatre Director The University of West Florida [email protected] Santa Fe College 11000 University Parkway 82-288 3000 NW 83rd Street Pensacola, FL 32514 Dr. Rodney Whatley Building FAH, Room 127-8 (850) 857-6286 Director of Theatre Gainesville, FL 32606-6200 [email protected] Pensacola State College (352) 395-5092 1000 College Boulevard [email protected] SETC REPRESENTATIVE Building 8 Donna A. White Pensacola, FL 32504 PAST PRESIDENT 8401 W. Gulf Blvd (850) 484-1807 Jeff Revels Treasure Island, FL 33706 [email protected] Artistic Director (727) 360-3477 Orlando Repertory Theatre [email protected] Ex Officio Board Members: 1001 E. Princeton Street Orlando, FL 32803 SETC PRELIMINARY AUDITIONS EXECUTIVE DIRECTOR (407) 896-7365, ext. 216 Marci J. Duncan, Asst. Professor Stephen Bayless [email protected] Theatre 4945 B 91st Avenue Florida A&M University Pinellas Park, FL 33782 COMMUNITY THEATRE 515 Orr Drive, Room 105 (727) 560-8879 CHAIR Tallahassee, FL 32307 [email protected] Kristofer Geddie (850)412-5532 Director of Diversity [email protected] FESTIVAL REGISTRATION Venice Theatre Elizabeth Gress 140 W Tampa Avenue DIRECTORS 11783 7th Lane N., Apt. 3 Venice, FL 34285 Glenn Avery Breed St. Petersburg, FL 33716 (941) 488-1115 ext 247 Associate Professor of Theatre (727) 577-9613 [email protected] Costume Design and Technology [email protected] The University of West Florida THEATRE FOR YOUTH 11000 University Parkway 82-288 Adjunct: CHAIR Pensacola, FL 32514 NEWSLETTER EDITOR Gary Cadwallader (850) 857-6286 Susan M. Smith Education Director [email protected] 6520 SW 45 St Orlando Repertory Theatre Miami FL, 33155 1001 E. Princeton Street H. Scott Keys (786) 299-0860 Orlando, FL 32803 Booker High School [email protected] (407) 896-7365, ext. 201 3201 N Orange Avenue Sarasota FL 34234 WEBMASTER [email protected] Randy Ford (941) 355-2967 RAF Web Designs & Hosting PROFESSIONAL THEATRE H.Scott.Keys@sarasotacounty- www.rafwebdesigns.com CHAIR schools.net (941)840-0723 TBA [email protected]

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How to Teach Your Children Shakespeare By Ken Ludwig; introduction by John Lithgow 2013; Crown Publishers; ww.crownpublishing.com; ISBN 978-0-307-95149-6. Pages: 348. Price $25 Reviewed by Linda Dean In his introduction to Ken Ludwig’s new book, speare.com, along with recordings of the speeches How to Teach Your Children Shakespeare, John by Sir Derek Jacobi, Richard Clifford and Frances Lithgow writes, “This book is a teaching primer for Barber. parents and a manual for making Shakespeare man- Having fun with his children during this learning ageable and fun for kids. On these terms alone, it process was clearly a priority for Ludwig, but he also succeeds splendidly. But it has an extraordinary hid- offers other goals. den virtue. It is equally informative, readable and fun 1. Shakespeare ranks next to the Bible as one for adults. It is essential reading for anyone who has of the two great bedrocks of Western civilization in grown to adulthood with the misfortune of missing out English, thus, “To know some Shakespeare gives you on Shakespeare. And it is just as rich for those of us a head start in life.” with a long history with the bard. Shakespeare’s mind 2. Memorizing and analyzing Shakespearean pas- is so limitless and Ludwig is so knowledgeable that sages, rather than simply reading them, will gradually we discover little gems on every page.” build facility in understanding Shakespeare’s lan- When his children were six years old, Ludwig guage and syntax and hone an appreciation for Shake- began teaching them Shakespeare by having them speare’s playfulness and precision in word choice. memorize short speeches. His book outlines a plan Ludwig’s commentaries on Henry V, Prologue to for teaching 25 passages, beginning with excerpts Act 1, The Tempest, IV,1, 165=175, and Hamlet, II,2, from A Midsummer Night’s Dream and ending with could spark some interesting discussions about the speeches from Shakespeare’s most psychologically theatre, imagination and the “purpose” of art. complex play, Hamlet. Appendices suggest additional Accolades from Sir Derek Jacobi (“a rare treat”), passages that students or adult learners might find fun Hal Holbrook (“scholarship dancing around with to memorize, as well as providing favorite epigrams, fun”) and Rocco Landesman (“a delight from first a chronological listing of Shakespeare’s plays, and an page to last”) accurately convey Ludwig’s gleeful annotated bibliography of children’s books, scholarly approach to working with Shakespeare’s language. research, recordings, and films. Come join the fun, even sans children. Ludwig provides a careful analysis of each passage – paraphrasing, defining archaic words, and breaking down complex metaphors or images – to ensure that learners understand what they are memo- Linda Dean has served as education rizing. He also illuminates how each passage re- director at the Alabama Shake- veals character or advances plot. Along the way, he speare Festival and on the Execu- explains Shakespeare’s use of iambic pentameter, tive Board of Shakespeare Theatre alliteration, rhyme, and puns, using examples easily Association and is an adjunct grasped by children. instructor in Auburn University’s So that passages will not appear intimidating to Department of Theatre children, Ludwig suggests printing them in a large font, a few lines per page, breaking each line into short chunks based on rhythm. A few examples of a Reprinted with permission from the Spring 2014 issue “Quotation Page” are shown in Appendix 5, but others of Southern Theatre, the quarterly magazine of the are available at www.howtoteachyourchildrenShake- Southeastern Theatre Conference (www.setc.org).

12 FLORIDA THEATRE CONFERENCE NEWS SUMMER 2014

Florida Theatre Conference 2014 Festival Registration

Name of Individual / Group ______Contact Person (If Applicable) ______Address ______City ______State ____ Zip ______Evening Phone ______Day Phone ______Email Address ______Choose an area of interest: ☐ Secondary School ☐ Theatre For Youth ☐ Professional Theatre ☐ Community Theatre ☐ College/University ☐ DraMature

☐ Check here and do not pay Annual Membership Fee if you have already paid your current year’s membership dues.

Annual Membership Fee (required) Group $70.00 $ ______Adult $50.00 Student $40.00 Lifetime $400.00

Festival Registration Fee (required) Adult $50.00 $ ______Student $40.00

With the decrease in funding for the arts from the State of Florida, your contributions are becoming increasingly important to allow us to continue providing services to theatre institutions of Florida. Charitable Please include any contribution you can. Contribution $ ______

Total Due: $ ______

Mail completed registration form with payment to:

Florida Theatre Conference 5650 Park Boulevard, Suite 7 Pinellas Park, FL 33781

13 SUMMER 2014 FLORIDA THEATRE CONFERENCE NEWS

Coming Soon ..... at Florida Theatres If you would like your theatre’s schedule to appear in the next newsletter, please send your season no later than August 15 to: Susan M. Smith, 6520 S.W. 45 Street, Miami, FL 33155 or [email protected] (please note NEW EMAIL

TALLAHASSEE LITTLE NORTHWEST THEATRE NORTHEAST 1861 Thomasville Rd. KALEIDOSCOPE THEATRE Tallahassee, FL 32303 AMELIA COMMUNITY P. O. Box 526 Mailing address: P.O. Box 3262 THEATRE Lynn Haven, FL 32444 Tallahassee, FL 32315 209 Cedar Street (PO Box 662) (850) 265-3226 (850) 224–4596 or (866) 893-7972 Fernandina Beach, FL 32034 www.kt-online.org www.tallahasseelittletheatre.org (904) 261-6749 The Liar Mainstage: www.AmeliaCommunityTheatre.org May 30–June 15, 2014 Coffeehouse: Mainstage Clybourne Park The Foreigner PENSACOLA LITTLE THEATRE May 1–18, 2014 June 12–28, 2014 400 South Jefferson Street Harvey Always a Bridesmaid Pensacola, FL 32502 June 12–29, 2014 October 9–25, 2014 (850) 432-2042 A Few Good Men www.pensacolalittletheatre.com August 21–September 7, 2014 LIMELIGHT THEATRE Improvable Cause Improv Comedy Proof 11 Old Mission Ave. Troupe September 19–October 5, 2014 St. Augustine, FL 32084 June 7, 2014 (904) 825-1164 The Taming of the Shrew THEATRE A LA CARTE www.limelight-theatre.org June 6–15, 2014 1516 Copperfield Circle Oliver! Songs for a New World Tallahassee, FL 32312 June 6–July 6, 2014 June 26–29, 2014 (850) 385-6700 Nick Tickle, Fairy Tale Detective www.theatrealacarte.org July 12–13 & 19–20, 2014 Show Boat CENTRAL Annie July 18–27, 2014 July 25–August 17, 2014 ACTOR’S WAREHOUSE Annie Get Your Gun YOUNG ACTORS THEATRE 608 N. Main Street September 12–21, 2014 609 Glenview Drive Gainesville, FL 32601 The Rocky Horror Show Tallahassee, FL 32303 786.543.5737 October 27–31, 2014 (850) 386-6602 www.actorswarehouse.org www.youngactorstheatre.com The Nacirema Society PENSACOLA STATE COLLEGE Mainstage: May 8–24, 2014 1000 College Blvd Godspell Godspell Pensacola, Florida 32504 June 20–29, 2014 (850) 484-1807 June 20–29, 2014 www.pensacolastate.edu FLORIDA SCHOOL OF THE ARTS Sherlock Holmes and the Case of 5001 St. Johns Avenue AMERICAN STAGE the Suicide Club Palatka, FL 32177 163 3rd Street North (386) 312-4300 May 15–18, 2014 St. Petersburg, FL 33701 www.floarts.org BIG: The Musical (727) 823-PLAY Run For Your Wife July 25–August 3, 2014 www.americanstage.org June 12–15, 2014 Jesus Christ Superstar Mainstage Series: Nov. 7-9 and 14-16, 2014 Steel Magnolias May 21–June 15, 2014

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AMERICAN STAGE, continued Mark Twain’s Is He Dead? Youth Production: It’s a Living Improve Comedy Show July 11–27, 2014 Law and Order June 1, 2014 Let Me Be Your Star August 6–17, 2014 The Chosen July 21 & 22, 2014 September 5–28, 2014 HIGHLANDS LITTLE THEATRE Nureyev’s Eyes FRANCIS WILSON PLAYHOUSE 356 W. Center Ave October 17-26, 2014 302 Seminole Street Sebring, FL 33870 29th Annual Stage in the Park: Clearwater, FL 33755 (863) 382-2525 2014 Summer Camp (5-12 Year (727) 446-1360 www.highlandslittletheatre.org Olds) www.FrancisWilsonPlayhouse.org Mainstage: Teen Summer Institute (13-17 Year Olds) Mainstage: Proof June 9–August 8, 2014 Guys and Dolls June 13–15, 2014 BAY STREET PLAYERS May 8–25, 2014 at the Historic State Theatre A Day in Hollywood/A Night in the LAKELAND COMMUNITY 109 N. Bay Street Ukraine THEATRE at Lake Mirror Theatre Eustis, FL 32726 July 10–19, 2014 121 South Lake Street (352) 357-7777 Les Miserables Lakeland, FL 33801 www.baystreetplayers.org September 4–21, 2014 (863) 603–7529 Mainstage: George Washington Slept Here www.lakelandcommunitytheatre.com Legally Blonde:The Musical October 9–19, 2014 Shout! Jun. 27–July 20, 2014 The Glass Menagerie May 30 –June 1, 2104 Second Stage: November 6–16, 2014 August: Osage County Glengarry Glen Ross June 6 & 7, 2014 July 6–20.2014 FREEFALL THEATRE Spamalot Young Peoples’ Theatre: 6099 Central Avenue July 18–27, 2014 The Adams Family Peter Pan Jr. St. Petersburg, FL 33710 October 17–November 2, 2014 May 22 - 25, 2014 (727) 498-5205 www.freefalltheatre.com Theatre for Youth: Disney’s Aladdin Jr The Little Mermaid July 31–August 3, 2014 The Mikado April 26–May 18, 2014 June 20–29, 2014 Ramona Quimby The Burnt Part Boys CARROLLWOOD PLAYERS September 26–October 1, 2014 4333 Gunn Highway (in Plantation June 14–July 6, 2014 Plaza) Into the Woods LARGO CULTURAL CENTER Tampa, FL 33688 October 11–November 9, 2014 Resident Theatrical Group: The Eight (813) 265-4000 O’Clock Theatre www.carrollwoodplayers.org GAINESVILLE COMMUNITY www.eightoclocktheatre.com One Act Weekend PLAYHOUSE 105 Central Park Drive May 30–June 3, 2014 (at the Vam York Theater Largo, Florida 33771 The Cemetery Club 4039 NW 16th Blvd.) www.largoarts.com June 13–28, 2014 P.O. Box 14233 (727) 587-6793 Noises Off Gainesville, FL 32604 Hair July 11–August 2, 2014 (352) 376-4949 July 11–20, 2014 Little Shop of Horrors www.gcplayhouse.org September 5–27, 2014 Into The Woods MAD COW THEATRE May 23–June 15, 2014 COMPANY ERIE PLAYHOUSE A Chorus Line 54 West Church Street (new location) July 10–August 10, 2014 171 Fairway Circle Orlando, FL 32801 (407) 297-8788 Winter Haven,FL 33881 HIGH SPRINGS PLAYHOUSE www.madcowtheatre.com (814) 454-2852 130 NE 1st Ave Hair www.erieplayhouse.org High Springs FL, 32653 June 6–July 6, 2014 Jesus Christ Superstar (386) 454-3525 Cock June 5–28, 2014 http://highspringscommunitytheatre. June 20–July 20, 2014 Reverends Uncorked com The History Boys June 29, 2014 Dearly Departed June 13–July 6, 2014 August 8–September 7, 2014

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The Who’s Tommy ORLANDO SHAKESPEARE STAGE WEST COMMUNITY October 3–November 2, 2014 THEATER in partnership with UCF PLAYHOUSE The Letters 812 E. Rollins St. 8390 Forest Oaks Boulevard August 22–September 21, 2014 Orlando, FL 32803 Spring Hill, FL 34606 (407) 447-1700 (352) 683-5113 MELON PATCH PLAYERS http://orlandoshakes.org www.stagewest.net 311 N. 13th Street Young Audiences: Mainstage: Leesburg, FL 34748 Rapunzel The Best Little Whorehouse in (352) 787–3013 June 19–July 27, 2014 Texas www.melonpatch.org Signature Series: May 8–18, 2014 (weekends) The Little Foxes Les Miserables May 9–25, 2014 September 10–October 12, 2014 THEATRE WINTER HAVEN The Best of Enemies Post Office Drawer 1230 OCALA CIVIC THEATRE October 15–November 16, 2014 Winter Haven, FL 33882-1230 4337 East Silver Springs Boulevard (863) 294–SHOW Ocala, FL 33470 OSCEOLA CENTER FOR THE ARTS www.theatrewinterhaven.com (352) 236–2274 2411 East Irlo Bronson Highway The Phantom Tollbooth www.ocalacivictheatre.com Kissimmee, FL 34744 May 16–18, 2014 Signature Series: 407-846-6257 Buddy Camelot www.ocfta.c0m July 18–August 3, 2014 May 15 – June 8, 2014 The Full Monty Crazy For You May 2–18, 2014 September 4–28, 2014 Jekyll and Hyde SOUTHWEST Dixie Swim Club October 17–November 2, 2014 November 6–30, 2014 Driving Miss Daisy Ovation Series: November 7-23, 2014 ASOLO REPERTORY THEATRE Breaking Legs 5555 North Tamiami Trail October 9–19, 2014 RICHEY SUNCOAST THEATRE Sarasota, FL 34243 6237 Grand Blvd. (941) 351-8000 or (800) 361-8388 OKEECHOBEE COMMUNITY New Port Richey, FL 34652 www.asolo.org THEATRE (727) 842-6777 Repertory Season: 1414 S. Parrot Avenue www.richeysuncoasttheatre.com Hero - The Musical Okeechobee, FL 34974 Spamalot April 29–June 1, 2014 (863) 763-1307 May 8–25, 2014 I Loved, I Lost, I Made Spaghetti www.okeechobeecommunitytheatre. May 18–June 15, 2014 com SONNENTAG THEATRE Baritones Unbound The Wizard of Oz at the Icehouse Theatre June 7–29, 2014 December, 2014 1100 N. Unser Street Mount Dora, FL 32757 FIREHOUSE COMMUNITY ORLANDO REPERTORY (352) 383-4616 THEATRE THEATRE www.icehousetheatre.com PO Box 958 in partnership with UCF Duck Hunter Shoots Angel Labelle, FL 33975 1001 East Princeton Street May 16–June 8, 2014 239-850-2907 Orlando, FL 32803 All Shook Up The Shoemaker and the Elves (407) 896-7365 ext. 1 July 18–August 3, 2014 June 27–29, 2014 www.orlandorep.com Arsenic and Old Lace Freckleface Strawberry - The Musical September 12–October 5, 2014 LEMON BAY PLAYHOUSE April 17–May 25, 2014 Annie Get Your Gun 96 W. Dearborn Street The Borrowers November 21–December 14, 2014 Englewood, FL 34223 September 2–28, 2014 (941) 475-6745 Click, Clack, BOO! A Tricky Treat www.lemonbayplayhouse.com October 6–November 9, 2014 The Four Poster April 30–May 18. 2014 The Heiress June 11–29, 2014 16 FLORIDA THEATRE CONFERENCE NEWS SUMMER 2014

MANATEE PLAYERS ADRIENNE ARHST CENTER FOR GABLESTAGE AT THE 502 3rd Avenue West THE PERFORMING ARTS BILTMORE Bradenton, FL 34205 1300 Biscayne Blvd. 1200 Anastasia Avenue (941) 748-5875 Miami, FL 33132 Coral Gables, FL 33134 www.manateeplayers.com (305) 949=6722 (305) 445-1119 My One and Only www.arshtcenter.org www.gablestage.org May 1–18, 2014 Broadway in Miami: Vanya and Sonia and Masha and Spike Disney’s Tarzan Evita May 17–June 15, 2014 August 7–24, 2014 May 27–June 1, 2014 Dames at Sea Theatre Up Close: MARATHON COMMUNITY September 11–28, 2014 Peter and the Starcatcher (with University THEATRE Mornings at Seven of Miami Dept of Theatre Arts) 5101 Overseas Highway September 18, 2014 October 9–26, 2014 Marathon, FL 33050 The Best Little Whorehouse in Texas Detroit (with Zoetic Stage) (305) 743-0408 October 23–November 9, 2014 November 6-23, 2014 www.marathontheater.org Godspell Marrying Terry October 30–November 16, 2014 BROWARD CENTER FOR THE PER- May 8–24, 2014 FORMING ARTS tah Dance VENICE THEATRE 500 E. Broward Blvd. June 13 & 14, 2014 140 W. Tampa Avenue Fort Lauderdale, FL 33394 Venice, FL 34285 (800) 764-0700 MIAMI THEATRE CENTER (941) 488-1115 www.BroadwayinFortLauderdale.com (formerly the Playground Theatre) http://venicestage.com/ Annie 9806 NE 2nd Avenue Mainstage: October 7–19, 2014 Miami Shores, FL 33138 How I Became a Pirate The Phantom of the Opera (305) 751-9550 May 8–25, 2014 November 19–30, 2014 www.mtcmiami.org Stage II: Twitter @MTCMiami 19th Annual Loveland Follies CITY THEATRE Facebook/MiamiTheaterCenter May 29–June 1, 2014 444 Brickell Avenue Suite 229 Everybody Drinks the Same Water AACT World Fest 2014 Festival Miami, FL 33131 April 30–June 1, 2014 June 16–21, 2014 (305) 949-6722 Sandbox Series: www.citytheatre.com Bare Bones Summer Shorts Festival 2014 June 13–28, 2014 June 12–July 6, 2014 Musical Theatre Summer Camp SOUTHEAST at the Adrienne Arsht Center in the Carni- June 9–27 & July 14–August 1, 2014 val Studio Theatre NEW THEATRE ACTORS PLAYHOUSE AT THE FLORIDA INTERNATIONAL 8567 Coral Way #355 MIRACLE THEATRE UNIVERSITY DEPARTMENT OF Miami, FL 33155 280 Miracle Mile performing at the South Miami Dade THEATRE Coral Gables, FL 33134 Cultural Center Herbert & Nicole Wertheim Performing (305) 444-9293 10950 SW 211 Street Arts Center www.actorsplayhouse.org Cutler Bay, FL 33189 11200 SW 8th Street, WPAC131 Mainstage: (305) 443-5909 Miami, FL 33199 www.new-theatre.org Scott and Hem in the Garden of Allah (305) 348-2895 Gideon’s Knot May 14–June 8, 2014 www.fiu.edu May 30–June 15, 2014 Childrens Theatre: Alternative Theatre Festival 2014 Rapunzel June 19–August 2, 2014 April 24–May 23, 2014 An Ideal Husband Pinocchio Dates TBA June 26–August 2, 2014 Juanita’s Statue Dates TBA Six Characters in Search of an Author Dates TBA The Wild Party Dates TBA 17 SUMMER 2014 FLORIDA THEATRE CONFERENCE NEWS

PALM BEACH DRAMAWORKS VERO BEACH THEATRE GUILD 201 Clematis Street 2020 San Juan Avenue West Palm Beach, FL 33401 Vero Beach, Florida 32960 PLEASE NOTE NEW (561) 514-4042 (772) 562-8300 EMAIL www.palmbeachdramaworks.org www.verobeachtheatreguild.com ADDRESS Tryst The Miracle Worker May 16–June 8, 2014 May 8–18, 2014 Please email your Zorba No Sex Please, We’re British theatre’s schedule to June 20–29, 2014 September 18–28, 2014 Susan M. Smith at The Most Happy Fella Sweet Charity susansmith305@hotmail. July 18-27, 2014 November 13–30, 2014 com Our Town October 10–November 9, 2014 or mail to 6520 SW 45 St. RED BARN THEATRE Miami, FL 33155 319 Duval Street (rear) Key West, FL 33040 (305) 296-9911 www.RedBarnTheatre.com Random Acts of Comedy May 6–31, 2014

SAVE THE DATE! November 5–8, 2014 2014 FTC Festival Santa Fe College Campus Gainesville, FL

Santa Fe College Theatre

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From Broadway to Your Backyard for years and years. But this is the exception. continued from page 2 I refer to Broadway as the launch pad. The lift- off site. The starting point of a roll-out plan that will schools in the top third of graduation rates had 35 % enable the show to live in its after-life throughout more graduates completing three or more arts courses the course of the copyright. The after-life being the than schools in the bottom third. The report recom- professional, community and school marketplace. mends: And with copyright term now being the lifetime 1. Expanding course offerings in the arts of the author(s) plus 70 years, and this being the 2. Full-time certified arts teachers on staff last surviving author if a show has multiple writers 3. Student access to the city’s cultural arts sector plus 70 years, the longevity of value for a show has 4. Adequate space for arts instruction never been more important. The roll-out plan, which 5. Adequate resources to support the arts follows a long established hierarchy, begins with a na- 6. Compliance with existing state regulations for arts tional tour (usually equity first followed by non-equi- education ty). Next in line are professional theatres, followed by Broadway as the Launch Pad civic light operas, equity regional theatres, communi- With the economic crisis arts organizations lost ty theatres and amateur groups, colleges and universi- funding and lost sponsors. In all theatres decision ties and high schools, middle schools and elementary makers looked for shows that were safe; sell tickets, schools. The cycle begins. You are all essential to be profitable, and guarantee an audience. Shows that this process. Keeping a show in the forefront of the had name recognition, a known brand. On Broadway, theatre landscape rewards the authors and producers the original musical has been replaced by shows based and enables discussions of revivals and tours. on well-known movies. The same formula holds true From your productions, the show enjoys a healthy for a revival. Familiarity breeds ticket purchasing. Are after life and I receive wonderful phone calls from audiences telling writers and producers to give them producers saying “with this royalty check from your what they already know? Or are writers and producers school and amateur licensing, I now have paid back creating product that assures audience recognition? all my investors and my Broadway show was a suc- Is the economy driving the art? Or the art driving the cess.” Of course this could be 12 years later and their economy? Broadway show only ran for 3 months, but who am I Hundreds of new plays and musicals debut at to judge their interpretation? What I can judge is the regional theatres and new work’s festivals each year spirit, dedication, talent and artistic sensibilities you and demonstrate the abundance of talent in the theatre bring to your production. industry and validate the commitment to fostering new Whether you get on a plane or live down the work. But if Broadway is the pinnacle, the source pro- block, Broadway is a destination. It can be the last vider, the distribution system, without the Broadway stop or the starting point. It’s something writers and attachment to its launch pad, rarely do these shows producers aim to achieve and audiences aim to attend. achieve the same production history, profile, notoriety A destiny. When a tour production comes to town, it’s or revenue value as those titles that make it to the four a location. The performing arts center, the arena, the blocks in NYC. They rarely get produced internation- hall. Like a location shoot for a movie, you set it up, ally and infrequently provide a steady income stream take it down and move on. But, when you perform a for the author. A sad reality. show at your theatre, your auditorium, your room, it So, shows journey to Broadway hoping to be an is a foundation. Nothing can be built without a strong artistic and financial success. Here is where it gets in- foundation. Nothing lasts without a solid foundation. teresting. You, everyone reading this article, are essen- Your foundation is the fuel, keeping both the art and tial to this process. Over 85% of the shows that open commerce alive. on Broadway do not make their money back for the So getting from Broadway to your backyard is producers and investors during their Broadway run. crucial to the evolution of the work. Which brings me Were they too elaborately produced and too expensive to the performance venue. When including Theatre to keep open? Why did they not run long enough? For Young Audiences (TYA shows), performance Why did they not attract enough ticket buyers? Of venues encompass a huge array of structures and fa- course there are the blockbusters, the shows that run cilities. Many are newly introduced to the art form of

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From Broadway to Your Backyard continued from Page 19 theatre but offer great opportunities for development of new work, growth of existing work, solidifying of current audiences and introduction of new ones. SAVE THE DATE! Among these venues are: arenas, outdoor amphithe- aters, playhouses/theatres, dinner theatres, auditori- March 4–8, 2015 ums, multi-purpose rooms , casinos, hotels, cruise ships, theme parks, zoos, tents, museums, aquariums Southeastern or pubs. Support New Writers Theatre I conclude by saying that the strongest influence on New Vistas, New Voices, New Venues is the Conference consumer. The audience. Who you want to create it and where do you want it performed, is under your control. Broadway can shape the landscape, but the Chattanooga foundation you create in your backyard has the most direct impact on theatrical presentation. Encourage Tennessee new work. Support new writers. Invent places for shows to occur. Influence a change in national buying habits to allow non-Broadway shows to stand side by side with Broadway shows in popularity, in impor- tance. That’s the new civilization I look forward to.

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