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18 ANNUAL REPORT 19 MISSION VISION • We will educate enterprising artists, thinkers, innovators, leaders, and globally conscious citizens who transform The School trains students communities across DePaul, , the nation, and the world. • We will support an expert, passionate faculty and staff to the highest level of professional committed to advancing the vibrancy of live theatre and performance while continually adapting to a broadening skill and artistry in an inclusive and changing profession. • We will become a model of diversity and inclusion for the University and the field. and diverse conservatory setting. • We will produce public programs and performances that challenge, entertain, and stimulate the imagination. • We will foster cross-disciplinary collaboration to further student understanding and appreciation of every aspect of theatre work.

VALUES EDUCATION We advance intellectual development and ethical consciousness. We foster moral, spiritual, social, political, and artistic growth. We promote participation in civic life. RESPECT We inspire respect for self, for others, for the profession, and for humanity. We embrace the Vincentian model of service. FREEDOM We build a community founded on the principles of creativity and freedom of expression. We value initiative, innovation, exploration, and risk-taking. IMAGINATION We celebrate the primacy of imagination in our work. SPIRITUALITY We believe theatre is a place for reflection, awakening, and the development of moral awareness. Welcome to The Theatre School’s 2018-19 Annual Report. This year we auditioned and admitted students in our new Arts and Projection Design majors. We also received approval for a new BFA degree in Wig and Makeup Design & Technology, which will greet its first class in Fall 2020. And we launched our first-ever Summer High School Training Program, hosting 38 rising high school juniors and seniors to study with us for three weeks. We’ve been busy!

The Theatre School also continued to explore identity, religion, and race relations through our production season, which included A Dybbuk or Between Two Worlds, Water by the Spoonful, and Jane of the Jungle, among many others. We seek to spark important conversations among our students, faculty, staff, and audience members around the issues that face our local and global communities.

Throughout the year, we focused on the Take Care DePaul initiative, creating programming around student wellness and stress reduction through guided meditation sessions, yoga classes, and group meetings around topics including the mental health of emerging theatre professionals, prayer in community, and addressing JOHN CULBERT gender issues. We also cancelled a day of classes DEAN AND during Spring quarter to discuss wellness issues as a school, which included smaller break-out groups where students, faculty, and staff could express their feelings and concerns. We took a collective breath and created the needed space to engage in our best academic and artistic work.

WELCOME In addition to these new programs and activities, we continue to train students through a “learning by doing” approach with a robust schedule of academic and production activity. As I look forward to a new year, I am pleased to share some of the accomplishments, activities, and accolades from this past year made possible by the hard work of our students, faculty, and staff. YEAR-AT-A-GLANCE Applicants from 27 different countries, 46 different states plus DC and Puerto Rico. Applicants from audience members every continent 28,184 except Antarctica public performances 337 Applicants: 18% from IL, 82% from out of state Chicago Playworks has welcomed 1,507,429 Admitted students: 15% from IL, 85% from out of state audience members since it began in 1925 Admitted students from 35 different states, first time ticket buyers 1,970 plus Puerto Rico and 5 different non-U.S. countries University student audience members. 2,991 Admitted: 56% female, 40% males, 4% gender-diverse 482 University faculty and staff audience members. (agender, non-binary, transgender, etc.) 16 Theatre School students declared minors Admit rate 12% overall (out of 73 graduates) 44% increase in the number of internships All 10 MFA graduates received honors completed by students. 80% of 2019 graduates had a GPA of 3.5 or higher 174 non-TTS events were held in the building 3 Theatre School students declared double majors +13.1% new Facebook Page Followers and declared a dual major (out of 73 graduates) 1 +36% new Instagram Page Followers undergrads received honors 49 world premiere productions (out of 63 BFA graduates) 2 4 BFA students graduated in the Honors college 1,152 people auditioned or interviewed 15 audition/interview dates in Chicago, Houston, San Francisco, Los Angeles, and City 33% of all applicants self-identified as students of color 62% of all applicants self-identified as white 1,671 BFA applicants 214 MFA applicants When filmmaker Meghann Artes set out to make PRIDE AND JOY: DEPAUL SCHOOLS her latest film, she envisioned complex stop-motion animation, a dance number with a rainbow of colorful COLLABORATE TO MAKE ‘OH BABY!’ FILM costumes, and a whimsical, heart-tugging score. She didn’t 94 Students, Professionals Contribute from School of Cinematic Arts, need to look far to find the talent to bring her vision The Theatre School and School of Music to life. Over the course of two years, some 94 DePaul students, alumni, faculty, and staff contributed to her By Kristin Claes Mathews latest Project Bluelight short film, Oh Baby!

The result is a first-of-its kind collaboration among DePaul’s School of Cinematic Arts—where Artes teaches—and The Theatre School and School of Music. “We’re used to doing curricular collaboration,” says David Miller, dean of the College of Computing and Digital Media. “This degree of creative collaboration across all three schools… I think is groundbreaking.”

Weaving Together ‘Smaller Parts’

Along the way, Artes’ husband and producer, Joe Lyons, captured the making of the film for a newly released documentary that interviews the professionals and students who worked on set and behind the scenes, including filmmakers, animators, actors, costume designers, and musicians from across campus. The film was supported by Project Bluelight, the DePaul production company that pairs faculty filmmakers with students to offer real-world experience in making professional films.

Having the documentary as a record has been a treat for Artes. “When making a film this ambitious, one of the only ways to get through it is to break it down into smaller parts,” she says. “Watching the doc really has given me a sense of the size and scope of the project and how many amazing and talented people had to come together to actually get this project made.”

For Lyons, associate director of DePaul Cinespace, it was also a chance to show Artes’ creative process. “During the festival runs on Meghann’s past two films, Speed Dating and Sleepy Steve, people would always ask how we made them and what exactly we did to create certain scenes and effects. This doc answers all of those questions,” Lyons says. Magic, Science, and Film Real-World Experience On The Set and Behind The Scenes The inspiration for the film was very personal, as Artes reflected on her and Lyons’ journey to parenthood. “I Giving students a chance to see how their talents can realized this kind of magical experience was luck and be applied in a different venue—and maybe even a science all rolled into one,” Artes says. The documentary different career path—is a benefit of this collaboration, shows Artes working with colleagues in the same way she explains John Culbert, dean of The Theatre School. must approach parenting her three kids—with energy, “The geographic distance between the schools is patience, and joy. greater than the actual distance between these disciplines,” Culbert says. As a first step, associate professor Rob Steel in the School of Cinematic Arts wrote the score, then School of Music DePaul alumna and filmmaker Ella Lubienski said it was faculty member Tom Matta worked on the arrangements. exciting to see the schools coming together. “I hope In the documentary, Artes listens as Matta conducts it fosters new connections, for students and faculty in music students in playing different versions of the score general,” she says. while director of sound recording technology Tom Miller records it. Oh Baby! currently is making the film festival circuit and recently won Best Experimental Film at the USA Film Next viewers see Artes dancing along with actors from Festival. Many fests do not accept films that have been The Theatre School, including choreographer Kristina posted or screened elsewhere, so Artes plans to debut Fluty. Head of Costume Technology Deanna Aliosius also the short film to wider audiences this fall. brought her expertise to design the look of a live-action dance scene, which was modeled after 1930s dance Filmmaker Meghan Artes watches actors from The Theater School numbers by filmmaker Busby Berkeley. perform choreography by Kristina Fluty of The Theatre School during the making of Oh Baby! (DePaul University/Jamie Moncrief) Associate professor Brian Andrews, who teaches in the School of Cinematic Arts, explains how his team helped make the transition from live-action to animation look seamless. “When visual effects are done right, quite often we disappear. We do all this work in order that you can’t ever see our footsteps,” he says.

WATCH MORE To learn more about Project Bluelight, visit http://bit.ly/bluelightDPU. LITERARY CORNER The Theatre School is proud to highlight the following faculty authors who had books published during the 2018-19 school year.

The Art of Theatrical Sound Design: Rise Up! Broadway and American Society Ensemble-Made Chicago: A Guide to Devised Theater A Practical Guide from ‘’ to ‘’ By Chloe Johnston and Coya Paz Brownrigg By Victoria DeIorio By Chris Jones Published by Press Published by Bloomsbury Academic Published by Bloomsbury Academic Ensemble-Made Chicago brings together a wide range Emphasizing the artistry behind the decisions made Penned by one of America’s best-known daily theatre of companies to share strategies for by theatrical sound designers, this guide is for anyone critics and organized chronologically, this lively and co-creating performance. Co-created theatre breaks seeking to understand the nature of sound and how readable book tells the story of Broadway’s renaissance down the traditional roles of , director, and to apply it to the . Through tried-and-tested from the darkest days of the AIDS crisis, via the performer in favor of a more egalitarian approach in advice and lessons in practical application, The Art of disaster that was Spiderman: Turn off the Dark through which all participants contribute to the creation of Theatrical Sound Design allows developing artists to the unparalleled financial, artistic, and political success original material. Each chapter offers a short history apply psychology, physiology, sociology, anthropology, of Lin-Manuel Miranda’s Hamilton. of a Chicago company, followed by detailed exercises and all aspects of sound phenomenology to theatrical that have been developed and used by that company sound design. to build ensemble and generate performances. July 2, 2018 Paul Konrad (BFA August 13, 2018 The Theatre October 15, 2018 Susan Vargo IN THE NEWS Acting ’97) was featured in School hosted ConFest curated by (BFA Theatre Management ’98) was The Theatre School is proud to celebrate the DePaul Magazine for his work the Consortium of Asian American named the Vice President of Global as the weathercaster for Theaters and Artists. Live Entertainment at Nickelodeon. newsworthy accomplishments of its students, alumni, WGN Morning News. faculty, and staff. August 14, 2018 The Theatre School October 16, 2018 The Kids Are July 12, 2018 Ann Dowd (MFA announced two new BFA programs in Alright starring Sam Straley Acting ’82) was nominated for her Comedy Arts and Projection Design. (BFA Acting ’17) premiered on ABC. second Emmy for playing Aunt Lydia on Hulu’s The Handmaid’s Tale, and August 17, 2018 Mikael Burke October 19, 2018 Halloween, starring (BFA Scene Design ’64) Eugene Lee (MFA Directing ’18) was announced Judy Greer (BFA Acting ’97) as was nominated for an Emmy for as Northlight Theatre’s inaugural Karen, opened nationwide. Production Design for his work on artistic fellow. . November 2018 Regina Garcia August 23, 2018 The Theatre School (Faculty) was named to American July 17, 2018 Dave Dastmalchian was ranked #9 in The Top 25 BFA Theatre Magazine’s list of 6 Theatre (BFA Acting ’99) was featured in Theatre Design & Tech Programs for Workers You Should Know. The Hollywood Reporter talking 2018-19 by Onstage Blog. about his role in The Dark Knight on the film’s 10th anniversary. November 16, 2018 Rightlynd, August 27, 2018 The Theatre School written by was ranked #3 in The Top 25 BFA (BFA Playwriting ’07) and directed The Theatre School July 19, 2018 Acting/Performance Programs for by (Faculty), opened hosted the 2018 Latinx Theatre 2018-2019 by Onstage Blog. at starring Commons Carnaval of New Jerome Beck (MFA Acting ’17), with Latinx Work. lighting design by October 11, 2018 Isaac Gomez Jared Gooding (Faculty) received The Migdalia Cruz (BFA Lighting Design ’12), and scenic design by Mentorship Award and Regina Garcia Collette Pollard (Faculty) received an ALTA Award for (BFA Scene Design ’00). the Scenic Design of Fade at Victory Gardens Theatre at the 2018 ALTA Awards hosted by The Alliance of Latinx Theater Artists of Chicago.

October 12, 2018 Tar and Feather, written by Kristin Idaszak (BFA Theatre Arts ’09, Faculty) received a reading hosted by the . August 8, 2018 Mikael Burke (MFA Directing ’18) was named a October 12, 2018 The Theatre Directors Inclusion Initiative fellow School opened our LEED Gold at Victory Gardens Theater. Certified artistic home at November 30, 2018 Narda Alcom 2350 N Racine Avenue for the (Faculty) was appointed Chair of the Chicago Architecture Center’s Stage Management program at the Open House Chicago. Yale School of Drama. IN THE NEWS December 3, 2018 Disney’s January 2, 2019 Katerina Dion March 26, 2019 Second Stage Ralph Breaks the Internet starring (BFA Theatre Arts ’14), Thomas Dixon Theater announced Broadway John C. Reilly was #1 at box offices (Faculty), Isaac Gomez (Faculty), productions of Tracy Letts’ Linda for two straight weeks. Kendall Karg (MFA Arts Vista, directed by Dexter Bullard Leadership ’13), Catherine Miller (Faculty), and Take Me Out, directed JUDICIARY (BFA Dramaturgy/Criticism ’14), by Scott Ellis (BFA Acting ’78). Coya Paz (Faculty), and Michael BICENTENNIAL GALA (BFA Acting ’90) were named Weber March 29, 2019 You Too, directed The Bicentennial Celebration of the Illinois Judiciary to the New City Stage list of and produced by Rob Adler, was held on October 9, 2018 at the Abraham Lincoln “Fifty People Who Really Perform (Faculty, BFA Acting ’99) was featured Presidential Museum in Springfield. More than 200 for Chicago.” at Underexposed Film Festival and people attended the black-tie affair, with speeches Pasadena International Film Festival. from Chief Justice Lloyd Karmeier, emcee Kirk Dillard, January 2, 2019 Krissi McEachern (MFA Arts Leadership ’20) was and keynote speaker Scott Turow. A video highlighted April 1, 2019 The Theatre School was featured in American Theatre ranked #13 on StateUniversity.com’s the successes of the Commission and particularly its Magazine’s article “The Kids Are History on Trial series. The Commission presented its list of 100 Most Popular Schools for All Right: The Next Generation of Technical Theatre/Theatre Design and sixth Hon. George N. Leighton Award to The Theatre Theatre Managers.” Technology Major & Degree Programs. School at DePaul University for its efforts in making December 11, 2018 Isaac Gomez (Faculty) was featured in the Chicago the workings of the legal profession more accessible February 11, 2019 The Theatre Tribune April 7, 2019 Tony Award-winning ahead of the world premiere School’s production of A Dybbuk or to the public by producing the History on Trial series. production of his play setdesigner Donyale Werle La Ruta at Between Two Worlds was featured Dean John Culbert accepted the award on behalf Steppenwolf Theatre Company. hosted Green Design Lectures at in Chi Tribe. of The Theatre School. The date October 9 was The Theatre School. specifically chosen because that was the date in 1818 December 11, 2018 Jessica Hanna when the Illinois General Assembly appointed the first February 21, 2019 Catherine Miller April 25, 2019 Isaac Gomez (BFA Acting ’93) was named a new (BFA Dramaturgy/Criticism ’14) was four members of the Illinois Supreme Court. member of The Kilroys. (Faculty) was selected as a writer- featured in Scapi Magazine for in-residence at the Eugene O’Neill her work in inclusive casting Theater Center during their annual December 26, 2018 John C. Reilly beyond binaries. National Playwrights Conference. (BFA Acting ’87) was featured by the Associated Press ahead of the release March 6, 2019 Ben Raanan of his new movie May 13, 2019 Tarrell Alvin Stan & Ollie. (MFA Directing ’20) was named McCraney (BFA Acting ’03) was among the 2019-20 Campus Compact featured in Chicago Magazine for Newman Civic Fellows. The Newman January 2019 Kristin Idaszak Steppenwolf Theatre Company’s (BFA Theatre Arts ’09, Faculty) was Civic Fellowship is a yearlong program production of Ms. Blakk for President featured on the podcast that recognizes and supports The Subtext. which he co-wrote and starred in. community-committed students who have demonstrated an investment in finding solutions for challenges facing May 14, 2019 Amanda communities throughout the country. McDonald (Faculty) spoke at TEDxDePaulUniversity.

June 30, 2019 The Theatre School was named #6 on Campus Explorer’s Dean John Culbert with faculty members Sandy Shinner, ranking of Technical Theatre/Theatre Dean Corrin, and Shane Kelly. Design and Technology Colleges. Performance Department Stephanie Potakis, Casting Theatre Studies Department Javier Dubon*, Marketing GUEST Director, Onion, Inc. Manager, Steppenwolf Aaron Abrams, Actor* China Addison, Audience Theatre Company ARTISTS Leah Raidt, Actor* Services Manager, Wirtz Center Luis Alfaro, Performance Artist, Jon Faris, Managing Director, During the 2018-19 Playwright, Director Eunice Roberts, Dean, British for the Performing Arts American Drama Academy Theatre academic year, The Greg Allen, Founder, Theatre School was proud Nathan Allen, Artistic Director, Anna Marie Faulkner, Director The House Theatre of Chicago Jaqueline Russell, Co-Founder Neo-Futurism to host a variety of guests of Marketing, Lookingglass and Artistic Director, , Senior Analyst, Adam Belcoure, Casting Director, ShaKea Alston Theatre Company who spoke to various Chicago Children’s Theatre Capacity Interactive classes within the Design/ Jessica Fisch, Director Sam Samuelson, Agent, , Senior Analyst, Technology, Performance, JC Clementz, Casting Director, Adam Ball Stewart Talent Capacity Interactive Ryan Garson, Associate Company and Theatre Studies Steppenwolf Theatre Company Manager, Hamilton Angelica Tour Claire Simon, Founder, , Theater departments or offered Celeste Cooper*, Ensemble Henning Bochert Claire Simon Casting Translator and Networker, John Gilmour, Director of workshops to current Member, Steppenwolf Communications, Hamilton students. These guests Theatre Company Dr. Steven Sims, Director, Drama Panorama The Chicago Institute for , Director of included the following Jay Bonansinga, Author, Lara Goetsch Glenn Davis*, Ensemble Member, Voice Care Marketing & Communications, individuals: Steppenwolf Theatre Company The Walking Dead Novels *, Actor TimeLine Theatre Company Dan Smeriglio Jacinda Bullie, Creative Lead, Ann Filmer, Artistic Director, Morgan Greene*, Staff Writer, 16th Street Theater Elizabeth Terrel, Professor, Kuumba Lynx Western Michigan University Melissa Cameron, Marketing & Ricardo Gamboa, Playwright , Theatrical Literary Stef Tovar, Route 66 Theatre Audience Services Director, Samara Harris Dawn Gray, Founder, Company, Founder and Emerald City Theatre Agent, The Robert A. Freedman Gray Talent Group Artistic Director Dramatic Agency, Inc. Karen Cardarelli, Executive , Executive Director Jamil Khoury, Founding Artistic David Turrentine, David Director and Co-Founder, Ashlee Harris Director, Turrentine & Associates, Emerald City Theatre of Marketing, Broadway Tax Attorney in Chicago AJ Links, Casting Director, Jasmin Cardenas, Arts Educator , Assistant Paskal Rudnicke Casting Michael Weber*, Artistic Director, & Activist, Chicago Workers’ Claire Haupt Production Manager, , Artistic Associate/ Porchlight Music Theater Theater Bob Mason Steppenwolf Theatre Company Casting Director, Chicago McKenzie Chinn*, Actor/Poet/ Shakespeare Theater Filmmaker/Educator Jerrell Henderson, Director and Teaching Artist, Chicago , Director and Producer Matt Miller Hailey Cohn*, Digital Marketing and Philadelphia *, Theatre Analyst, Capacity Interactive Michael Osinski , Director of Director and Educator Timothy Holbrook Sarah Cuddihee*, Executive Faculty Affairs, Northwestern Marisa Paonessa, Founder, Director of Finance and Theatre University Kellogg School Paonessa Talent Agency Management, Broadway of Management/ Former in Chicago Sean Parris*, Actor Production Finance Manager, , Head Librarian, Lyric Opera , Casting Director, Robin Dillow Mickie Paskal Forefront Paskal Rudnicke Casting Mary Hungerford, AEA Stage Manager, Chicago * indicates alumni GUEST ARTISTS Heather Jagman, Coordinator Alyssa Vera Ramos, Artistic Design Technology Department Jessica Pushor, Collections of Reference, Instruction, Director, For Youth Inquiry Manager, Chicago History and Academic Engagement, Erin Albrecht, Stage Manager, Museum Cree Rankin, Education DePaul University Libraries Consultant, Congo Tlaloc Rivas, Director , Artistic Director, Square Theatre Bambi Banks, Drag Queen BJ Jones Denise Yvette Serna, Director Northlight Theatre Company , Resident Christine Bolles, Scenic Artist Maren Robinson David Turrentine, David Eva Keller, Program Manager, Dramaturg, TimeLine Meryn Daly, Engagement Turrentine and Assoc., Arabella Advisors Theatre Company Manager, Tax Accountant , Theatre Scholar , Assistant Kedar Kulkarni Jesse Rothschild Jacob Fine, , Beth Uber, Draper/Cutter, Producer, Joey Parnes Stephanie Kulke, Arts Editor, Lighting Supervisor Threadline Studios Northwestern University Productions LLC Jessica Fisch, Director Matthew Walters, Central Region , Board Relations Manager, Dawn Kusinski, Producer, A.J. Roy , Director of Business Representative, Steppenwolf Theatre Company Jennifer Gadda Production, Court Theatre USA Local 829 , Managing Cheryl Lamm, Director of Erik Schroeder , Production Stage Richard Woodbury, Sound Director, The House Theatre Laura D. Glenn Community Relations, Manager, Steppenwolf Theatre Designer of Chicago McMaster Carr Company , Director of Jana Liles, Director of Marketing Matthew Sitz , Artistic Director, Audience Services, Jonathan Green & Communications, Sideshow Theatre Victory Gardens Theater Court Theatre *, , Marketing and Rachel Henneberry John MacGaffey, Marketing and Joel Solari Stage Manager, Lyric Opera Communications Manager, Operations Manager, of Chicago The Actors Gymnasium Wirtz Center for the Performing Arts Katrina Hermann*, Stage Manager , Formerly with Susan Marks , Fight and Community Partnerships, Ben Thiem*, Director of Member Gaby Labotka Intimacy Choreographer Services, League of Chicago Marti Lyons, Director Laura Matalon, Hamilton, Marketing Director Jerry Tietz, Director of Concert Ryan Magnuson, Costume Shop Management, Northwestern Manager, Chicago Shakespeare *, Co-Founder, Pinnacle Gary Mills Bienen School of Music Theatre Performance Company Jaquanda Villegas, Creative Leas, Jenny Mannis, Erin Murray, Director Kuumba Lynx , Director of *, Artistic Director, Tom Pearl P.J. Powers Katy Walsh, Director, Chicago Production, Steppenwolf TimeLine Theatre Company Alison Zehr, Arts/Culture/ Theatre Company , Senior Tour Scott Praefke Nonprofit Consultant , Artistic Director, Marketing and Press Director, Tyrone Phillips Definition Theatre Allied Touring Alyse Porsella*, Automation Technician

* indicates alumni FACULTY/STAFF Music Theatre Heritage new plays received National Theatre Insituite Northlight Theatre Company 10 workshops, readings, Point Park University ACTIVITIES or full productions at theatres Oregon Shakespeare Festival such as: Remy Bumppo Theatre Company Peninsula Players Theatre Chicago Dramatists Shakespeare and Company Remy Bumppo Theater Company Caltech University of Houston Rivendell Theatre Company Circle X University of Illinois— Urbana/Champaign Faculty and staff directed, Faculty and staff participated in Seattle Repertory Theatre Cleveland Playhouse performed in, or produced design/technical University of Southern Shattered Globe Theatre Goodman Theatre productions at 45 projects in costume Yale School of Drama. 22 companies such as: design, design consulting, lighting Steppenwolf Theatre Company Pasadena Playhouse Birch House Immersive design, scenic design, sound Playwrights Center design, and stage management Theatre Wit Faculty and staff received Center Theatre Group at companies such as: WildClaw Theatre DePaul grants including: Timeline Theatre Company 4 Children’s Theatre Company The Competitive University of Wisconsin-Madison Dallas Opera American Players Theatre Faculty and Staff taught Instructional Grant classes and workshops Dovetail Studios National Opera 18 Professional Production outside of DePaul University Work Grant Illinois Supreme Court Historic Baltimore Center Stage in areas of study including: Preservation Committee Yirra Yaakin Theatre Company Quality of Instruction Barrington Stage Co. acting for the camera Council Grant Latinx Theatre Commons Birch House Immersive acting for the stage and screen University Research Council Grant articles and reviews Blackswan State Theatre Company accents , 8 contributed to: Canadian Opera Company auditioning Millennium Park American Theatre Magazine Faculty and staff received CenterStage Shakespeare outside grants Milwaukee Chamber Theatre Broadway World from: Chicago Opera Theatre sword fighting 4 Miracle the Musical Chicago Latino Theater Alliance Chicago Department Contemporary American voice Molly Shanahan/Mad Shak Milwaukee Journal Sentinel of Cultural Affairs Theater Festival At organizations such as: Proboscis Theatre Company NY Stage Review Country Arts of Western Australia Court Theatre A.B.L.E. Ensemble Purdue University Shepherd Express Fault Lines Firebrand Theatre AdlerImprov Acting Studio Remy Bumppo Theater Company Stage Directions The Press Goodman Theatre Chicago on Camera Royal George Theatre Chicago Tribune. Kansas City Repertory Theatre Highland Park High School Shakespeare and Company Faculty members are Hubbard Street Dance Chicago Steppenwolf Theatre Company participating in research Latinx Theatre Commons Gray Talent Group projects with 9 This Immersive Moment focuses such as: Green Shirt Studios TimeLine Theatre The 2019 Year of Chicago Theatre Merrimack Repertory Theatre Lou Conte Dance Studio Victory Gardens Theater Clear Sight Montana Shakespeare Lyric Opera of Chicago FACULTY/STAFF ACTIVITIES Association of Theatre Village Players International Council of in Higher Education Voice and Speech Fine Arts Deans Feldenkrais mentoring sessions Faculty and Staff attended Behind the Scenes: Trainers Association. International Federation for Houdini/Houdin conferences including: Journal of Theatre Production Theatre Research Practice Journal Training Performing Arts 16 Faculty members won awards League of Professional 2019 DePaul Teaching and Chicago Dramatists Theatre Women Managers and Leaders for Learning Conference such as: the 21st Century Chicago Music Commission LESSAC Institute Confluence Regional Audiofile Earphones Award Yanga: An African Hero Writers Project Classical Kids Music Education Berkshire Theatre Critics Lifeline Theatre in Mexico. Designing Immersive Cloudgate Theatre Association Awards Lookingglass Theatre Company Environments Workshop Committee for the Award for Alliance of Latino Theatre Midwest Independent Film. Faculty and staff gave Artists Awards Equity Quotient: Undoing Racism Leadership in Community-Based Modern Language Association presentations at Theatre and Civic Engagement Drama League Directors conferences or Fulbright Workshop New Workshop 13 Diverity and Inclusion Task Force Fellowship programs such as: Immersive Design Summit SAG-AFTRA Editorial Review Board of The Excellence in Teaching at AAAE/ENCATC Kennedy Center American American Journal of Arts DePaul University. Stage Directors and International Panel College Theatre Festival Management Choreographers Society British American Drama Academy MoCap Summit The COOP Free Street Theatre Faculty and staff held DePaul University Southeastern Theatre Conference George Freedley Prize Theatre memberships with Theatre Communications Group Alumni Conference Spolin Workshop Library Association organizations 31 Theatre Mir DePaul University’s CDM including but not The Future of Arts Administration Journal of Theatre Frame By Frame Animators limited to: United Scenic Artists Education Conference Production Practice Conference Actors’ Equity Association United States Institute for Theatre Theatre Communications Group Latinx Theatre Commons Technology (USITT) ENCATC Alliance for Women 2019 National Conference League of Chicago Theatres Latinx Theatre Commons Film Composers Voice and Speech Trainers TLCP Foundations Conference MacDowell Colony Association Ontario Contact Improvisation American Society for Wigs & Hair Chicago Michael Merritt Awards Steering Warren Lamb Trust Purdue University Theatre Research Committee USITT Stage Expo Association of Theatre Faculty and staff held Mudlark Theatre in Higher Education Voice and Speech leadership positions Recording Academy Association of Theatre Trainers Association at other organizations 34 Movement Educators such as: Repertorio Español Costume Society of America 50 Playwrights Project TD&T Journal Dueling Arts International American Theatre Magazine Theatre Communications Group Feldenkrais Guild of Amigas Latinas Theatrical Sound Designers & Composers Association North America Association of Arts Interact Theatre Company Administration Educators United States Institute for Theatre Technology (USITT) INTERNSHIPS Performance Hubbard Street Dance Design/Technology Students in the Design/Technology, Performance Chicago Shakespeare Theater Innovocative Theatre A to Z Theatrical Suppliers, Inc and Theatre Studies departments completed 72 Steppenwolf Theatre Company JAM Theatricals Adirondack Studios internships during the 2018-2019 academic year. These included internships at various theatre Theatre Basel, Switzerland League of Chicago Theatres Cambodian Rock Band companies, producing and general management TimeLine Theatre Company Lookingglass Theatre Chicago Shakespeare Theatre companies, agencies and arts organizations. Lost Nation Theatre Goodman Theatre Theatre Studies Lyric Opera Kirkegaard Associates Martian Entertainment Laika Studios Miami New Drama Music Theatre Wichita Allied Touring Milwaukee Repertony Theater San Francisco Opera American Players Theatre Children’s Theatre Selene Creative, LLC Artifact Events Momentary Theatre The Cher Show Athenaeum Theatre Northlight Theatre The Public Theatre Baseline Theatrical Paonessa Talent Agency Theatre Workshop of Nantucket Birch House Immersive Pittsburgh Civic Light Opera Willow Creek Community Church Center for Living Arts Remy Bumppo Theatre Company Writers Theatre Chicago Festival StoryCorps Chicago Chicago Shakespeare Theater San Antonio Disney College Program Victory Gardens Theater First Floor Theatre Weston Playhouse First Stage YatKids Full Spectrum Features Zach Theatre Goodman Theatre

Grossman and Jack Talent

Heron Agency In The Watts Theatre Jane of the Jungle Winter 2019 PRODUCTIONS book and lyrics by Karen Zacarías She Kills Monsters music by Deborah Wicks La Puma The Wolves written by Qui Nguyen directed by Michelle Lopez-Rios written by Sarah DeLappe directed by Damon Kiely directed by Lisa Portes

A Dybbuk or MFA Projects One Flea Spare Between Two Worlds written by Naomi Wallace written by S. Ansky Mud directed by Barry Brunetti adapted by written by Maria Irene Fornes directed by Jeremy Aluma directed by Stephanie LeBolt Spring 2019

Oresteia The How and the Why Fur written by Aeschylus written by Sarah Treem written by Migdalia Cruz adapted by Robert Icke directed by Mallory Metoxen directed by Melanie Queponds directed by April Cleveland Kin Anna Karenina written by Bathsheba Doran written by Helen Edmundson In the Healy Theatre directed by Kiera Fromm directed Ben Raanan

Falling written by Deanna Jent Enhanced Studio Productions Intros directed by Ben Raanan Twelfth Night Fall 2017 Water by the Spoonful written by Lessons for the Newly Dead written by Quiara Alegría Hudes directed by Melanie Queponds directed by Nicole Ricciardi directed by Melanie Queponds Oedipus Rex Gone Honey Girls written by Sophocles based on Sophocles’ Antigone written by Grace Grindell directed by Ben Raanan directed by Tlaloc Rivas directed by Jeff and the Dead Girl dis/ease written by Madison Fargo directed by Dado Chicago Playworks for Families directed by Shade Murray and Young Audiences Winter 2018

The Wong Kids In The Secret Of Studio Productions The Retreat or Whatevs The Space Chupacabra, Go! written by Joe Zarrow Fall 2018 by Lloyd Suh directed by Saren Nofs Snyder directed by Coya Paz Henry VI The Old No. 4 written by William Shakespeare Go, Dog. GO! adapted and directed by directed by Jeff Mills story by P.D. Eastman Steve Pickering adapted by Allison Gregory and Steven Dietz How Peter Changed the World music by Michael Koerner written and directed by directed by Kristina Fluty​ Edgar Miguel Sanchez PRODUCTIONS Spring 2018 Spring 2019 South Wind written by JP Heili A View from the Bridge Talking With by Arthur Miller written by Jane Martin We Didn’t Start The Fire directed by Phyllis E. Griffin directed by Charlotte Meffe written by Brent Leibowitz

The Fantasticks About Irene Toora Loora Lay by Harvey Schmidt and written by Madie Doppelt written by Grace Lowry Tom Jones directed by Brenna Barborka directed by Rob Adler Hard Left written by Megan Lucas The Scarecrow, Or the Glass of Wrights of Spring Truth: A Tragedy of the Ludicrous Polysthetica by Percy MacKaye Untitled Friendship Play written by C McLennan directed by George Keating written by Brenna Barborka and Grace Grindell Uproot Sunrise written by Elena Gonzalez Molina Labs Boxed in written by Connor Bradshaw CANCELED! THE GAME SHOW Fall 2018 or: waiting for gwen STAMPS (a story about needing written by Chloë Orlando Hunter Gatherers and loving) directed by Madison Fargo written by Matthew D. Carpenter Rain Above Clouds written by Brady James Pierce Fires in the Mirror We Will See The Sky directed by David Barber written by Ian Chong Drag Her! written by Jake Pinckes Club 90 Where’s My Smoothie? Conceived and directed by written by Jacob Craigo-Snell gone Bri Schwartz written by Amanda Playford The Model Play kids, ourselves written by Madie Doppelt 12.5% directed by Jill Cutro written by Molly Rosen Catastrophic Winter 2019 written by Ethan Doskey Cowboy Play written by Lily Rushing Dry Land The Sex Play written by Ruby Rae Spiegel written by Emma Durbin Etty + Agnes directed by Zandra Starks written by Erin Wilborn Light as Sand I’m Such a Water Activist written by Camilla Dwyer Xylene devised by ensemble written by Jay Williams directed by Frankie Pedersen Knife Play written by Madison Fargo

Saltwater written by Robert Halvorson PRODUCTIONS Prototypes Winter 2019 Spring 2019

Fall 2018 Nothing Human is Alien to Me Zack, Emily Lindsay, and Versace directed by Faith Hart Go To Climb a Mountain to Save Empirical Their Town From a Once-A- by Cedric Hills Mudlarks Century Curse, And It’s Cold: directed by Jasper Johnson The Cult Classic Musical Voicemails by Christian Borkey, Amy Do, by Elena Gonzalez-Molina Optymus Rex and Jerwn Santiago directed by Trey Harris Thoughtless Cattle directed by Sarah Whitcomb by Immanuel Garcia Just Before The War With Tidewrack The Eskimos by Ethan Doskey Otherside directed by Isabelle Muthiah by Adam Todd Crawford directed by Oskar Westbridge Not Excited Anymore by Bryce McAuliffe

Self-Love, Vol. 1 written and performed by Jessica F. Morrison

Clementine written by Cameron Roberts directed by Zandra Starks FACULTY PROFILE designers, sound designers, scenic designers, theatre Any advice to current and new students? studies students, and stage managers. They all bring such Keep painting to stay comfortable with the technicalities NAN ZABRISKIE passion to the makeup shop. I will miss their energy and of the medium so that you can have makeup as a tool talent. I will miss working with other faculty on a team to help you find and give a subliminal or large tweak to Nan Zabriskie retired from The Theatre School after that helps to realize the vision of directors young and old. your character’s look. You may go through your whole 39 years running the makeup and wig shop, as well career and not need makeup… until you need it. I love it as the Wigs and Hair Chicago continuing education What recent makeup or hair trend is your least favorite when I encounter former students at theatres who can program. Her contributions to The Theatre School and why? quickly implement the makeup design with ease and and the greater theatrical community were honored Trends will always come and go in makeup and hair but understanding. They know the techniques. at a celebration on May 20, 2019. probably my least favorite in recent history is the heavy black eyeliner on the lid just above the lashes and below You’re retired after 39 years at The Theatre School! the eye all the way into the nose, sometimes even on What’s next? the water line of the eye. While that is a trend, it makes My husband will spend one more season as the bass many people’s eyes look beady and small, closing the clarinetist with the Chicago Symphony, and then we’ll eye—which is the opposite of what we want on stage. move out to Bend, Oregon, where we will pursue many I certainly did not love many women’s hairstyles in the other passions including: being closer to our kids and 1980s. Did we all know how bad we looked? their partners who all live on the west coast, hiking, playing in the lakes, mountains and rivers of the area, What are a few memorable makeup or hair designs and singing, dancing, brushing up on French and Spanish creations from your career? (which may feel a lot like starting over), cooking, and I like them all the best. Seriously I had great fun guiding entertaining those who come to visit us. I leave feeling my team through the Rapunzel wig for . so grateful that I have had such a full and satisfying career We bought about 9 long wigs “as yellow as corn” and in Chicago theatre and I am leaving to pursue other made them into two separate 10’ braids connected by passions while I can still do them! braided ladder rungs. It was heavy and full of mathematic calculations and it took all the efforts of my assistants and I to do it, but we were all proud of it in the end and the designer loved it. Other than that, with 39 years and about 150 shows I’ve been part of, I can’t recall many specifics.

Favorite eye shadow color? Oh gosh, that is so dependent on whose eye, what What will you miss most about working in the Theatre we’re trying to do, and what space we’re in. I generally School makeup shop? like something like Mac’s “Cork” which is a nice brown I will miss the students. Not only will I miss taking 45- that looks good on many people and does a great job 60 students a year on a journey into the world of stage of creating a realistic shadow. So much of my favorite makeup, but I will miss the 10-12 makeup shop assistants work in makeup is not the showy fantasy stuff which is who helped me keep the shop running smoothly, tutored really fun but the subtle tweaks that add a few years to others, cleaned, laughed with me, ventilated wigs and a character or create a realistic black eye that appears to beards, cleaned more, and were demonstration victims fade over time. Although, when we did all the drag queens with patience and gracious acquiescence. Actors were in Wig Out!, we found some pretty special Ben Nye the root of my program, but I have trained many costume “Lumiere” Blues, Pinks, and Gecko Greens. STAFF PROFILE What brought you to The Theatre School? What’s the funniest thing you’ve ever been asked by ASHLEY MECZYWOR My background is in theatre and college admissions—so a prospective student and/or their parent? Assistant Director of Admissions when I saw a job post for a literal “theatre admissions” We get everything here—no question is off limits so position, I knew I had to apply. When I was here for my we’ve heard it all. I think my favorite question is “what interview, everything just felt right. I loved the building is your nudity policy?” You just don’t get that question and the work I would be doing, but the main thing was working in other admissions offices. the students. The level of passion and dedication they’re bringing to their work is really incredible, and I knew I Favorite Food? wanted to work with students like that. Sushi.

What are plans for new initiatives or projects in Hometown the Admissions Office? What are your goals for the I grew up in Berkshire County, in western Massachusetts. upcoming school year? The big thing on our mind right now is recruiting and What’s one thing you would like people to know admitting students to the new BFA Wig and Makeup about you? Design & Technology major, which will have its first class I’m also a student! I’m currently pursuing my master’s of students starting in Fall 2020. Some other projects on degree in Counseling (with a specialization in college our plate include piloting online information sessions, live counseling and student affairs) through DePaul’s College of online chats, and a virtual tour in order to help students Education. So you may see me hunched over a textbook who can’t visit in-person learn more about us. Building off during my lunch break or hanging out around campus of an initiative we started last year, we’re also continuing after work, waiting for my night classes to begin. Working to pilot collecting gender pronoun information from our and being a student at the same time can be a lot, but I prospective students. It’s optional for students to disclose, absolutely love both the things I’m doing. but it’s really helped us get a better understanding of our gender diversity and make sure we’re not mis-gendering anyone. Many of our goals are about finding new/better ways of supporting diverse students (in every sense of the word) throughout the college search and application process, so we’re constantly collecting data and feedback so that we can improve things.

What’s your greatest personal or professional accomplishment? I feel a ton of pride when I see the students that I helped bring into the college thriving. There are the obvious examples of seeing a student’s work on stage or hearing that they got the internship they were after... but the little things too. Seeing them existing comfortably in the school, just being who they are and surrounded by friends... it makes me smile knowing I had a part in helping them get here. ALUMNI PROFILE In the new Broadway musical , unemployed actor From Actor to Director Michael Dorsey disguises himself as a woman to get Ellis originally set out to be an actor, earning admission SCOTT ELLIS back on stage, a choice that leads to both comedy and to Chicago’s famed Goodman School of Drama and complications. Dorsey’s willingness to do whatever it takes becoming one of its final graduates. Struggling financially, “When I auditioned for the Goodman School of to pursue his dream is what persuaded Scott Ellis (THE ’78) the Goodman was acquired by DePaul in 1978 and merged Drama, which then became the DePaul theatre to direct the theatrical adaptation of the 1982 movie. with the university’s existing theatre program, creating school, the dean said to all of us, ‘if you would be TTS. Ellis credits the Goodman/TTS faculty, especially happy doing anything else, anything, you have to “As artists, we go into this profession with no guarantees, Joe Slowik (THE MA ’53) and Bella Itkin (THE MFA ’43), get up, no judgment, and leave the room.’ I knew at with no 9-to-5 job, with no retirement fund, with with his on-stage success, first in Chicago and then in that moment I would not be happy doing anything nothing—only the sense that we don’t want to do : “Those two people really changed my life.” else. Theatre is what I want to do. But if someone anything else,” says Ellis from a seat in a rear row of told me, ‘you can’t do this anymore,’ what would I Chicago’s , where Tootsie debuted Ellis shared the Broadway stage with luminaries such as do? How far would I go?” last fall before going to its Broadway opening in April Liza Minnelli and Chita Rivera for more than a decade. —Scott Ellis 2019. He believes people in any profession can relate to Throughout that period, he had an itch to direct. In 1987, Dorsey’s situation. “What would you do if you were told he scratched it, directing an off-Broadway musical called you could no longer do what you were born to do?” Flora the Red Menace.

Ellis was born to direct. He’s been nominated for a Tony “Directing shifted where my passion was. All of a sudden Award for Best Director eight times. He won the Olivier I was on the other side of the table, and I liked it,” Award for Best Director/Musical for . He Ellis recalls with relish. He spent the next several years was nominated for an Emmy for directing an episode of directing off-Broadway plays and musicals, including a 30 Rock and frequently directs episodes of hit television revue called And the World Goes Round that won him a shows such as Modern Family, Frasier, and The Marvelous Drama Desk Award for Outstanding Director of a Musical. Mrs. Maisel. “That is the best revue I’ve ever seen in my life, then “He has an impressive record of successful shows. and now,” says Todd Haimes, artistic director and CEO Consistency is one of his hallmarks,” says John Culbert, of Roundabout Theatre Company, Manhattan’s largest dean of The Theatre School (TTS). He notes that Ellis’ nonprofit theatre company. When Haimes saw the show, steadily advancing career contrasts with many other he knew he had found the director for Roundabout’s directors who have big hits followed by big busts. first musical.

At first, Ellis’ finely tuned instinct for what audiences Ellis persuaded Haimes not only to hire him, but also to want caused him to turn down the invitation to direct produce She Loves Me, a show that Haimes had never Tootsie, since the script was set in the 1980s and involved heard of. a . Even though he adores the movie, “I felt very strongly that you can’t just put a movie on stage. You “I was in way over my head because I didn’t know how to have to find a different way into that story,” he says. Ellis produce a musical, but Scott knew what he was doing and finally agreed to direct when the revised script set the assembled the best team,” Haimes says. “She Loves Me was action on Broadway in today’s #MeToo environment, with the most expensive play we had ever done. I was terrified Dorsey awakening to what it means to be a woman in a that if it wasn’t a hit, we would never do another one. ruthless industry. “I knew that we had a story that today’s audiences would relate to.” “Luckily, Scott’s production was perfection.” ALUMNI PROFILE

lead,” Culbert explains. “They are artists working with peer artists. It’s a balancing act, being decisive and, at the same time, giving actors the freedom to try things and become their characters.”

And that’s what makes a great show, says Haimes. “Scott finds the humanity in situations. For example, all the characters in Tootsie, as crazy as they are, aren’t cartoons. They are real people, and that’s what makes them funny.”

The Last Puzzle Piece Ultimately, it’s the audience that decides whether the show works. Ellis says that the people who attend previews—the dozen or so performances before a production officially opens—tell him whether his instincts are on target. “The audience is the last piece of the puzzle,” says Ellis, who watches the crowd instead of the stage during these performances. “They’ll tell you what they’re following, what they’re not understanding, whether the line that is supposed to get a laugh really is funny.”

That’s why he wanted to debut Tootsie in Chicago, even though the show was bound for Broadway. “Chicago theatregoers are savvy. They’re a smart audience,” he says. Captain of the Ship of seats to serve as temporary desks for set designers, “If it works in Chicago, it works.” Roundabout Theatre is now renowned for its musicals, stage managers, musical directors and others. Ellis was in due in no small part to Ellis, who has been the charge of it all. After observing audience reactions, directors tinker with company’s associate artistic director since 2003. the show until opening night nears. Then they turn the “Just the administrative aspects of doing a musical are “The director in any theatre piece has said yes or no to production over to the stage manager—and leave the show. staggering, and you have to bring it together. Lights, everything you see on stage,” says Ellis. It’s my job to make sounds, costumes, orchestrations, music direction, every decision. You’re like the captain of a ship.” “On Broadway, you freeze a show five or six days before choreography, all of them are separate rehearsals, critics come in [to review it],” Ellis says. “Once you freeze and it’s huge! It’s an art form that transcends just being Good directors know that collaboration is essential, he a show, there are no more changes. Your job is done.” a director,” says Haimes. “It’s a big deal doing a musical adds. “You surround yourself with great people who bring on Broadway in New York.” out the best in you, just as you help them. If you’re secure These days, he is accustomed to leaving one show for the enough, you give them space and allow everybody to do next, but the first time was rough. “I had never felt that It’s a big deal in Chicago, too. In rehearsals for Tootsie what they do and do it well.” type of sadness before in my life. You create a family and last fall, the Cadillac Palace lobby was strewn with then, all of a sudden, they don’t need you anymore.” musical instruments, electrical equipment, and stacks of Culbert says that Ellis excels at this tricky task, disarming boxes, barely leaving enough room for patrons to reach people with his thoughtful consideration of their ideas “It’s like being a dad,” continues Ellis, who has 9-year-old the box office. Costume racks lined the second-floor and his approachable style, which includes his ubiquitous twins with his husband, Broadway actor Scott Drummond. hallway. Big sheets of plywood were laid across rows baseball cap. “Directors have to lead without appearing to “You are there when they are born, and you raise them. ALUMNI PROFILE

As a television director, Ellis often has to adapt to established characters, sets and visual styles. “In a show that’s been running a while, the actors know more about the characters than you do, and that’s just the opposite of theatre,” he says. Like most directors, he enjoys directing pilots of new shows, where you have much more say because you’re helping set things up. You’re creating.”

Ultimately, he believes his success directing television stems from his passion for the stage. “I have an ego with theatre, but I don’t have an ego with television,” says Ellis, who accommodates the preferences of executive producers and studios. “I get all my artistic stuff out in theatre, and that’s what I love. I don’t need to in television, because I have it in the theatre world.”

TTS Love “I love this school [TTS]. I’m obsessed with it,” enthuses Ellis. For years he has helped recruit celebrity guests for the school’s annual gala and emceed the event several times. He has served on the TTS Advisory Board. He created the Joseph Slowik Endowed Scholarship in memory of the school’s late directing instructor. He’s a frequent visitor and guest lecturer; just last fall he talked for more than two And then, if you do it well, they don’t need you anymore. and progressing to popular programs such as 30 Rock, hours with students in the directing program. You’ve got to let go. That was a very, very hard thing for Desperate Housewives, and Modern Family. By 2009, me to learn.” he was executive producer as well as a director for He thinks TTS is even better now than when he shows such as Weeds and the hit Amazon original series attended. “The backbone of DePaul theatre has been Luckily, there’s always something waiting in the wings. The Marvelous Mrs. Maisel. there for a long time,” Ellis explains. “The new theatre “Three seasons ago, I had three shows running at the building allows it to be recognized as one of the top same time on Broadway. That was a lovely year,” says Ellis, Haimes is thankful that Ellis still directs for the stage. schools in the country.” whose boundless energy boggles everyone. “A whole generation of great directors in theatre went to the West Coast to do television. They said they’d In fact, Ellis always finds a way to work DePaul and “Scott has 100 percent drive and determination to make be back, and none of them came back,” Haimes says TTS into every media interview he gives, even if the a project be the best it can be, and relentless, endless wistfully. “It’s really great that Scott and some others reporter doesn’t ask, Culbert says. “We could not ask energy to make that happen,” Culbert says. have found a way to make it work.” for a better spokesperson.”

Stage to Screen and Back It’s all part of the plan, Ellis says. “I made a deal with The reason is obvious, Ellis says. “I owe so much to these Ellis is one of the rare directors who maintains a myself that I would never, ever say yes to a television teachers. I owe so much to this school… I love what I’m successful career in both theatre and television. In 2000, show or program unless I know what my next theatre doing. I’m doing what I wanted to, and my career never he began directing for television, beginning with Frasier show is going to be.” has to end. I still get to play.” LIGHTS UP! Photos by Joe Mazza

The 2018 Lights Up! fundraiser supporting student scholarships was held at The Theatre School on Monday, November 5th. The event featured Emmy-winning actress and alumna Ann Dowd as well as scenes from She Kills Monsters directed by Damon Kiely. THEATRE SCHOOL Sustaining Board Members Professional Associates Brian Montgomery, Chair Whitney A. Lasky Paula Cale Lisbe BOARD Vice President, Labor and Actor The Theatre School Board has two primary functions: Employee Relations Irene Michaels to raise funds to support the school’s programs and Exelon Corporation IOnTheScene.com Scott L. Ellis scholarship awards, and to raise the visibility and ADAMS Associate Artistic Director, Sondra A. Healy, Chair Emeritus The Roundabout Theatre, New York stature of the school in Chicago and nationally. There Marcello Navarro Chairman of the Board Director of Business Development are three categories of membership: Sustaining Turtle Wax, Inc. Elite General Contractors Scott & Samantha Falbe Members, who actively support the mission of Intelligent Lighting Creations the school through advocacy and philanthropy; Joseph Antunovich Vonita Reescer Professional Associates, who promote connections President VDR & Associates, LLC Zach Helm between the school and the entertainment industry; Antunovich & Associates , Director and Honorary Board Members, elected in recognition Joseph Santiago Jr. Monika L. Black, MA, MHA, PhD Managing Director and Team Leader Criss Henderson of their dedication and service to The Theatre Strategy Catalyst The Private Bank and Trust Company Executive Director School. We are grateful for the many ways in which DyMynd Chicago Shakespeare Theater our board members contributed to the life of the Linda Sieracki school this year. Paul Chiaravalle Paul Konrad President/CEO Richard Sieracki Weather /Reporter Chiaravalle & Associates CEO WGN-TV news The Kenneth Group, LLC Lorraine Evanoff John C. Reilly Director of Finance Monsignor Kenneth Velo Actor CineSky Pictures LLC Office of Catholic Collaboration DePaul University Amy K. Pietz Mike Faron Actor Chairman Tomer Yogev W.E. O’Neil Construction Company Co-Founder and Managing Director Charlayne Woodward TANDEMSPRING Actor and Playwright Karen Hale Vice President, Senior Banking Advisor Dennis Zacek PNC Wealth Management Director, Former Artistic Director Victory Gardens Theater

Honorary Board Members

Dr. John Ransford Watts Dean Emeritus, The Theatre School

Merle Reskin