Notes

______The Kennedy Center American College ______Theater Festival

______Festival XLI

______Presented and Produced by the ______John F. Kennedy Center for the Performing Arts ______

The Kennedy Center American College Theater Festival is sponsored in part by ______Stephen and Christina Schwarzman The U.S. Department of Education ______Dr. Gerald and Paula McNichols Foundation The Kennedy Center Corporate Fund The National Committee for the Performing Arts ______

______Locally Produced and Sponsored by

Texas State University - San Marcos ______Department of Theatre and Dance College of Fine Arts and Communication ______

Region VI ______Arkansas, Louisiana, Missouri, New Mexico, Oklahoma, Texas ______

______February 24, 2009 - February 28, 2009 ______

36 Kennedy Center American College Theater Festival Region VI Festival XLI Notes Texas State University-San Marcos General Festival Information ______Registration Festival Registration will be held in the lobby of the Theatre Center. ______The main hours for registration are: Monday, Feb. 23 - 5:00pm-8:00pm TABLE OF CONTENTS Tuesday, Feb. 24 - 9:00am-10:00pm After Tuesday, register in the main Theatre Office. ______Name Tags Letter from Dean of College of Fine Arts 3 Your registration nametag is your entry to all and Communication performances, events, and workshops. Ushers and ______workshop coordinators will be checking for these. You Festival Credits 4 must have your nametag on at all times.

Transportation and Parking KCACTF History & Goals 5 ______Parking – Parking is limited on campus, so we have secured two Participating Productions 6 city parking lots within walking distance of the Theatre Building. Their locations are marked on your Maps and ______are both most easily accessible by exiting at Aquarena Schedule of Events 7 Springs on IH35 and then following the map. One lot is for individual cars/trucks and will require you to cross a bridge over our lovely San Marcos River. Signs will Workshop Descriptions 12 ______help direct you to the walking path. The other lot is reserved for SCHOOL VANS ONLY. There is no over- National Selection Team Bios 16 night parking in either lot. Please plan on carpooling, parking, and staying parked for the day. If you park ______in any space other than those two lots it is possible Respondents, Workshop Leaders that you may be towed or ticketed. Please observe all & Special Guests’ Bios 17 posted city signs. On Saturday you can park in the lot directly beside our building without getting ticketed. ______Regional Committee Bios 25 Transportation – We have 15 passenger vans to shuttle you to and from Festival History 30 the festival. We will have a 15-minute shuttle going ______from 8am (9am on Tuesday) until midnight each day between the Embassy Suites and the Theatre building. Participating/Associate Entries for 2008 31 During peak hours (10am-2pm and 4pm-8pm) there will be 4 vans running. All other hours there will be 2 vans. ______These vans will only stop at the Embassy Suites hotel The National Partners American Theatre 32 and the Theatre Building. As it is our goal to get you to your location in a timely and safe manner, there will be Notes 34 no extra stops at any time for any reason. ______Trains – It’s important to know that San Marcos has the highest ______volume of train traffic in the state of Texas. The train Texas State University would like to welcome all tracks divide the town in half and, very rarely, the trains of you to our campus. If you need any help feel have been known to stop on the track blocking traffic free to ask anyone with a badge. up to 20 minutes. Because of this, we recommend that ______you allow for plenty of time to get to your next destina- tion to make sure that you get there on time. Ticket Reservations ______Tickets will be available for pick up at the Theatre Center Box Office. You should pick up your ticket no later than 20 minutes before the performance begins. Tickets not picked up at this time will be sold to the ______general public.

35 Notes

______

______

______

Dear Festival Participants: ______Welcome to Texas State University - San Marcos. President Denise Trauth, Provost Perry Moore and the entire faculty, staff, and administration join me in expressing pleasure that you ______have come to our campus for the 2009 Region VI Kennedy Center American College Theatre Festival.

______Authorized by the Texas Legislature in 1899, Southwest Texas State Normal School opened its doors to 303 students in 1903. Since that time the Legislature has broadened our mission and increased the scope of our academic programs – each time changing our name to reflect the ______new expectations. We have moved from “normal school” to “teachers’ college” to University during our century-plus existence. Today, Texas State University offers one hundred bach- elor’s, 88 master’s and eight doctoral degree programs to meet the needs of more than 29,000 ______students. Our University motto for many years boasted of a “Progressive University with a Proud Past.” ______That motto certainly fits our excellent programs in theatre and dance. Indeed, we are proud of our past – a past than includes a command performance for President Lyndon Johnson at the LBJ ranch, a past that includes award-winning alums like Powers Boothe, Chelcie Ross, Thomas Carter, and Eugene Lee, and a past that has featured our children’s musical theatre ______performances in Washington, St. Petersburg, and Moscow while entertaining 12,000 elementa- ry students annually. We are equally excited about our future. Over the next five years we will open the new Patti Harrison Theatre, just west of our current facility. That theatre will be one ______of three halls that comprise our Performing Arts Center – the new “front door” to the campus. We are excited about the work of Artist-In-Residence, Eugene Lee, as he strives to build upon ______the current successes of our Texas State Black and Latino Playwrights Conference. Our new university tag line celebrates Texas State University as “The Rising Star of Texas.” While some complain that we should boast “The Star Has Risen,” we in the College of Fine ______Arts and Communication are dedicated to the notion of continuous improvement. We see our work as a journey – not a destination. We are honored to have you on our campus this week, and we would be pleased to host you again in the future in the new Patti Harrison Theatre – ______after our star has risen further above the horizon.

Sincerely, ______T. Richard Cheatham, Dean College of Fine Arts ______

34 3 The Kennedy Center American College Theater Festival Notes Region VI Committee Region VI Chair Penelope Hosekoester Region VI Vice Chair Jim Winter Region VI Design Chair J.C. Laucks ______Region VI Design Vice Chair Michelle Ney Region VI Playwriting Chair Gretchen Smith Region VI Playwriting Vice Chair David Blakely ______Arkansas Chair Mary Handiboe Arkansas Vice Chair Gary Harris Oklahoma Chair Kimberly Weast Texas Chair Terry Lewis ______Texas Vice Chair A. Ray Newburg Louisiana Chair Raymond Vrazel Louisiana Vice Chair Nyalls Hartman New Mexico Chair + Vice Chair Vacant ______Missouri Chair + Vice Chair Vacant Region VI New Initiatives Coordinator James P. Dolph Irene Ryans Coordinator Chad Winters Irene Ryans Vice Coordinator Darryl Thompson ______Region VI Web Master David McTier KCACTF National Committee ______National Chair Dr. Harry Parker National Vice Chair Rebecca Hilliker Member at Large Daniel LaRocque David Lee Painter Member at Large Member at Large Debra Bergsma Otte ______Immediate Past National Chair and ATHE Liaison Mark Kuntz National Chair, Design and Technologies David C. (“Kip”) Shawger Jr. National Vice Chair, Design and ______Technologies Karen Anselm USITT Representative Holly Monsos National Partners of American Theatre Jeff Koep National Chair, New Plays Program Roger Hall ______National Vice Chair, New Plays Program Joel Murray KCACTF National Office Staff Vice President, Education Darrell M. Ayers ______Artistic Director, KCACTF Gregg Henry Producing Director, KCACTF Susan Shaffer

Festival 41 National Selection Team ______Steve Reynolds Kaleta Brown Cathy Norgren

Texas State University Festival Management Staff Festival Host John Fleming ______Festival Co-Host Michelle Ney Workshop Coordinator Richard Sodders Technical Director Shane K. Smith Scene Shop Supervisor Dwight Markus ______Lighting & Sound Coordinator Darren McCroom Costume Coordinators Sheila Hargett, Lindsay Jones, Christina Hobbs Lodging & Travel Coordinator Chuck Ney ______Parking & Transportation Coordinators Melissa Grogan, Tom Copeland Design Expo Liaison Michelle Ney Irene Ryan Liaison Michael Costello Critics Institute Liaison Debra Charlton Other ACTF Committee Members Paige Bishop, Monica Michell, ______Nadine Mozon, Greg White ACTF Webmaster Teresa Stankiewicz House Manager Caleb Straus Box Office Manager Katie Townsend ______Theatre Department Admin. Asst. Annie Patton, Lori Smith Other ACTF Support Alpha Psi Omega & many Student Volunteers 4 33 Kennedy Center American College Theater Festival Region VI Would like to thank our Region VI and National Design Award Sponsors KCACTF History & Goals

Started in 1969 by Roger L. Stevens, the Kennedy Center’s founding chairman, the Kennedy Center American College Theater Festival (KCACTF) is a national theatre program involving 18,000 students from colleges and universities nationwide which has served as a catalyst in improving the quality of college theatre in the United States. The KCACTF has grown into a department and student artists showcase their work and receive outside assessment by Houston Office: KCACTF respondents. 5423 Jackwood Drive 3355 West 11th Street San Antonio, TX 78238 Houston, TX 77008 800-942-0555 toll free 800-292-7490 210-684-0091 The goals of the Kennedy Center American College Theater Festival are: Fax 210-684-4557 Dallas Office: To encourage, recognize, and celebrate the finest and most diverse work produced in university Scenic Design Award 2639 Electronic Lane Ste 101 Dallas, TX 75220 and college theatre programs; 877-454-6370 Toll free To provide opportunities for participants to develop their theatre skills and insight, and achieve New Orleans Office: professionalism; 629 B Distributors Row New Orleans, LA 70123 877-942-0555 Toll Free To improve the quality of college and university theatre in America;

Properties Award To encourage colleges and universities to give distinguished productions of new plays, Stage Management Award especially those written by students; the classics, revitalized or newly conceived; and experimental works. Through state, regional, and national festivals, KCACTF participants celebrate the creative process, see one another’s work, and share experiences and insights within the community of theater artists. The KCACTF honors excellence of overall production and offers student artists individual recognition through awards and scholarships in playwriting, acting, criticism, direction, and design. The KCACTF is a year-round program in eight geographic regions of the United States. Regional activities are coordinated through eight KCACTF regional chairs and eight KCACTF playwriting awards chairs. With funding and administrative support from the Kennedy Center, the regional Program & Graphics Award chair coordinates with the Co-Managers of KCACTF all aspects of the adjudication competitions. The playwriting chair works with schools that have entered new and student-written plays providing expertise in the development of new scripts - assessment specifically designed for the developing play - and by providing information on the numerous playwriting awards offered. In January and February of each year, regional festivals showcase the finest of each region’s entered productions and offer a variety of activities, including workshops, symposia, and regional-level award programs. Regional festivals’ productions are judged by a panel of three judges selected by the Kennedy Center and the KCACTF national committee. These judges in consultation with the Artistic Director select four to six of the best and most diverse regional festival productions to be showcased in the spring at the annual noncompetitive national festival at the Kennedy Center, all expenses paid. Since its inception, KCACTF has given more than 400,000 college theatre students the opportunity to have their work critiqued, improve their dramatic skills and receive national recognition for excellence. More than one million theatre goers have attended approximately 10,000 festival productions nationwide.

Lighting Design Award

32 5 Participating Productions

Wednesday, February 25, 2009 11:00 am THEA Studio Theatre As It Is In Heaven Oklahoma Baptist University 2:00 pm THEA Mainstage Caucasian Chalk Circle Texas State University 5:30 pm THEA Studio Theatre As It Is In Heaven Oklahoma Baptist University 8:00 pm THEA Mainstage Caucasian Chalk Circle Texas State University Thursday, February 26, 2009 11:00 am THEA Studio Theatre House of Several Stories Texas State University 2:00 pm THEA Mainstage Rabbit Hole West Texas A&M 5:30 pm THEA Studio Theatre House of Several Stories Texas State University THE NATIONAL PARTNERS OF THE AMERICAN THEATRE IS AN ORGANIZATION OF THEATRE EDUCATORS AND OTHERS WHO ARE DEDICATED TO 8:00 pm THEA Mainstage Rabbit Hole SUPPORTING THE NEXT GENERATION OF West Texas A&M THEATRE ARTISTS. MANY PARTNERS ARE PRESENT OR FORMER MEMBERS OF Friday, February 27, 2009 THE KCACTF NATIONAL COMMITTEE 11:00 am THEA Studio Theatre The Anatomy of Gray The University of Oklahoma THE NAPAT CLASSICAL ACTING AWARD IS PRESENTED EACH YEAR AT THE KCACTF NATIONAL FESTIVAL AND IS FUNDED BY MEMBER CONTRIBUTIONS 2:00 pm THEA Mainstage Metamorphoses Centenary College THIS YEAR’S AWARD WILL BE CO-SPONSORED BY THE PRESTIGIOUS 5:30 pm THEA Studio Theatre The Anatomy of Gray SHAW FESTIVAL IN ONTARIO, CANADA The University of Oklahoma AND WILL INCLUDE A 2 – 3 WEEK INTERNSHIP AT THE FESTIVAL. 8:00 pm THEA Mainstage Metamorphoses Centenary College THE PARTNERS ALSO PRESENT CLASSICAL ACTING AWARDS AT EACH OF THE KCACTF REGIONAL FESTIVALS, Saturday, February 28, 2009 AND A DESIGN EXCELLENCE AWARD AT THE NATIONAL FESTIVAL. 10:00 am THEA Mainstage Doubt Midwestern State University Join us: Contact Membership Chair Joyce Cavarozzi [email protected] 1:30 pm THEA Mainstage Doubt or Midwestern State University Regional Representative, D. Andrew Gibbs [email protected] Alternates Miss Margarida’s Way - University of New Orleans Spunk - Southeastern Louisiana University

6 31 2009 KCACTF Region VI Schedule Schools entered into KCACTF, Participating and Associate, 2008 Locations: JCK - J.C. Kellam Adminstration Building Evans - Evans Liberal Arts Building Abilene Christian University Ouachita Baptist University EMB - Embassy Suites *Unless otherwise noted all activities are in the Theatre Center Building Amarillo College Prairie View A&M Angelo State University Rogers State University MONDAY FEBRUARY 23 Arkansas State University - Beebe Rose State College 2:00pm-5:00pm Setup Design Exhibit Tables/panels – Understage 5:00pm-8:00pm Festival Registration – Lobby Austin Community College Sam Houston State University Cameron University San Jacinto College South TUESDAY FEBRUARY 24 8:00am - 10:00pm 2009 Region VI National Critics’ Institute Workshop Room 104 Centenary College Southeastern Louisiana University James Dolph, University of Central Oklahoma Coffeyville Community College Southern Methodist University 8:30am – 5:00pm Break Room for VIPs, Faculty, Staff - Room 100 Dillard University Southwestern Oklahoma State University 9:00am – 10:00pm Festival Registration – Lobby East Central University Texas A&M University - Corpus Christi 9:00am – 6:00pm Hang-Design Exhibit – Understage Room 105 11:00 am Information session & Registration for Irene Ryan Eastern New Mexico University Texas A&M University - Commerce Scholarship Audition – Room 206 Eastern Oklahoma State College Texas State University 12:00pm – finish Irene Ryan – Preliminary Round – Room 209 Grayson College Texas Tech University 12:30pm – 1:30pm Technical information for shows being performed at the Houston Community College The University of Oklahoma-School of Drama festival - Mainstage Lon Morris College Trinity Valley Community College 1:00pm – finish Irene Ryan Responses, Room 106 & 201 1:30pm – 5:30pm Load-in Caucasian Chalk Circle-Mainstage Lone Star College - Montgomery Tulsa Community College 3:00pm Information session for Irene Ryan Scholarship Lone Star College - North Harris College UL Lafayette Performing Arts Department Audition – Room 206 Lyon College University of Central Arkansas 6:00pm Information session for Irene Ryan Scholarship McNeese State University University of New Mexico Audition – Room 206 Midwestern State University University of New Orleans 6:30pm – 10:30pm Load-in As It Is In Heaven - Studio Theatre 7:00pm – 9:00pm Meeting for 10-minute Plays – Directors, Mentors, and Northwestern Oklahoma State University University of Texas at El Paso Playwrights - Room 110 Oklahoma Baptist University West Texas A&M University 10:00pm “Alan’s Hot Tub,” Centenary Comedy Improv Troupe (Embassy Suites) Oklahoma City University Wharton County Junior College Faculty Sponsor/Director: Emily Heugatter WEDNESDAY FEBRUARY 25 8:00am-10:00pm 2009 Region VI National Critics’ Institute Workshop Room 104 James Dolph, University of Central Oklahoma Kennedy Center American College Theatre Festival 8:30am – 10:30am Auditions for 10-minute plays –Room 209 Special Thanks: 8:30am – 4:30pm Break Room for VIPS, Faculty, Staff - Room 100 9:00am Irene Ryan Semi-finalist List posted Tannoy, Texas State University Bookstore, Texas State University Marketing, The Family of Monica 9:00am – 10:00pm Festival Registration- Front Office- Room 101 9:00am – 5:00pm Hang Design Exhibit – Understage-Room 105 Michell, Paper Bear, San Marcos Chamber of Commerce, Colloquium Bookstore, Jo on the Go 10:30am – finish Casting Meetings with 10-minute play Directors, Mentors, Playwrights – Room 209 and 11:00am Performance – As It Is In Heaven - Studio Theatre 11:30am-1:00pm Workshops A special welcome to the state of Missouri which has joined Region VI in 2009. Video Editing Richard Sodders Room 104 Texas State University The Powerful Presence: Effort, Risk, Momentum, Joy James Peck Room 106 Dell’Arte International School Just as the show must go on, so, too, must the program go to press. Improvisational Playwriting Leonard Madrid Room 113 Our apologies for any omissions, misspellings, or typos. University of New Mexico Thank you for joining us at the Region VI 2009 Festival! Backstage Look at the Santa Fe Opera Tracy Armagost Room 201 Santa Fe Opera Playing Your Instrument-Exploiting Your Trained Nadine Mozon Room 206 Actor License to Fully Live in Language & Storytelling Texas State University

30 7

The Actors Gang Style Explored Lauren Lane JCK, 11th Floor www.theactorsgang.com Texas State University Festival History Region VI The Rubber Chicken Factory Improvisational Chris Cameron Evans Comedy Troupe Coffeyville Community College Past Chairs Production Dramaturgy: A Director and David A. McTier Room 110 Designer-Friendly Approach Sam Houston State University Claudia Beach 2005-2008 David Hoover 2002-2005 12:30pm-1:30pm Technical information for shows being performed at the Bob Willenbrink 2000-2002 festival - Mainstage Charles Harrill 1999-2000 Adonia Placette 1996-1999 2:00pm Performance – Caucasian Chalk Circle - Mainstage Robert Buseick 1993-1996 2:00pm-4:00pm SSDC Scenes – Room 209 D. Andrew Gibbs 1991-1993 2:00pm-3:30pm Workshops Kathryn Robinson 1987-1990 Construction and Renovation Planning for Theatres Erich Friend Room 104 Lee Hicks 1984-1987 Teqniqal Systems Richard Weaver 1981-1984 Nancy Vunovich 1978-1981 The Powerful Presence: Effort, Risk, Momentum, Joy James Peck Room 106 Dell’Arte International School James Barton 1975-1978 Gresdna Doty 1972-1975 Torture the Heroine Sarah Greenman Room 110 Jack Wright 1969-1972 Playwright

Finding the Action in Verse Chuck Gorden Room 201 University of Texas at El Paso Festival I 1969 University of Oklahoma-Norman (OK) Lysistrata Q & A Tim O’Brien Room 206 University of Texas-Austin (TX) An Enemy of the People Festival II 1970 Grambling College (LA) A Raisin in the Sun Montage Workshop Vanessa Gibens JCK, 11th Floor Festival III 1971 East Texas State University (TX) The Time of Your Life National Theatre Institute Southern Methodist University (TX) Oedipus the King Play Your Way to a Freer Voice Rena Cook Evans Festival IV 1972 Southeastern Oklahoma State University Of Mice and Men University of Oklahoma Southern Methodist University (TX) Liberty Ranch Central State University (OK) A Moon of Misbegotten 5:30pm-7:30pm New play readings – Room 209 Festival VII 1975 Louisana State University (LA) Juno and the Paycock Voodoo Vows by Tommie Sorrell (SLU) Festival IX 1977 Texas A&M University (TX) Stories to be Told Midwestern State University (TX) Who’s Happy Now Sometimes, It Snows by Barney Lopez (UNM) Festival X 1978 Angelo State University (TX) Sideshow Respondents: Sarah Greenman and Eric Prince Festival XII 1980 Trinity University-Dallas (TX) Ladybug, Fly Away Home 5:30pm Performance – As It Is In Heaven - Studio Theatre Festival XIV 1982 Prairie View A&M University (TX) Don’t Bother Me I Can’t Cope 6:00pm Design Exhibit closed to public Festival XV 1983 Centenary College (LA) My Sister in this House 8:00pm Performance – Caucasian Chalk Circle - Mainstage Festival XVII 1985 University of Tulsa (OK) What I Did Last Summer 8:30pm Load out – As It Is In Heaven - Studio Theatre Festival XXI 1989 Louisiana State University-Baton Fool for Love Rouge (LA) 10:30pm – 12:00am Load out – Caucasian Chalk Circle - Mainstage Festival XXII 1990 Texas Women’s University (TX) Six Women with Brain Death University of Texas-El Paso Chess THURSDAY FEBRUARY 26 Festival XXIV 1992 Louisiana State University Balcony Scene 7:00am-11:00am Load-In House of Several Stories - Studio Theatre Festival XXVI 1994 Amarillo College (TX) Breaking the Code 8:00am-10:00pm 2009 Region VI National Critics’ Institute Workshop Room 104 Festival XXVII 1995 University of New Orleans (LA) Father’s Prize Poland China James Dolph, University of Central Oklahoma Festival XXVIII 1996 Collin County C.C. - Plano (TX) Stand-Up Tragedy 8:30am-11:00am Design Responses – Understage Festival XXIX 1997 Prairie View A&M University (TX) Fences West Texas A&M University (TX) The Homage That Follows 8:30am-4:30pm Break Room for VIPs, Faculty and Staff - Room 100 Festival XXX 1998 University of Oklahoma-Norman (OK) Guarding the Bridge 9:00am-10:00pm Registration – Main Office (ALT) University of Texas-El Paso Call of the Serpent God to Me 9:00am-10:00am Response session As It Is In Heaven – Room 201 Festival XXXII 2000 University of New Orleans (LA) Lot’s Daughters 9:00am-12:30pm Irene Ryan Semi-Finals – Evans Festival XXXIII 2001 University of Oklahoma-Norman Drive-In America 10:00am-1:30pm Irene Ryan Semi-Final Responses, Evans Dressing Room Festival XXXV 2003 Sam Houston State University(TX) The Laramie Project 10:00am-11:00am Response Session Caucasian Chalk Circle – Room 201 Festival XXXVI 2004 University of Texas - El Paso (TX) Danny and the Deep Blue Sea Festival XXXVII 2005 University of Arkansas-Pine Bluff (AR) Hip Hop Project 10:00am-2:00pm Load-in Rabbit Hole - Mainstage Festival XL 2008 University of Oklahoma (OK) Ernestine Shuswap Gets Her 11:00am Performance House of Several Stories - Studio Theatre Trout 11:00am-2:00pm Design Exhibit Open for Viewing - Understage

8 29 11:30am-1:00pm Workshops Raymond Vrazel, Jr., (Louisiana Chair) In 2006, Ray joined the Theatre Faculty of Dillard University as Assistant Professor of Theatre, where he teaches Acting, Movement, Voice & Diction, Children’s Theatre, and Directing. At Video Editing (Second Session) Richard Sodders Room 104 Dillard, Ray directed Medea, TopDog/Underdog, Gem of the Ocean, and last fall, Macbeth. Texas State University Ray was the mime, movement and improvisation instructor at NOCCA|Riverfront from 1988 to 2007. He was Interviews for the Santa Fe Opera Tracy Armagost Room 111 Chair of the NOCCA Theatre Department for 15 years. He also served as Dean of Performing Arts, 2001-2, Dean Santa Fe Opera of Instruction and Curriculum, 2002-4 and was a member of the NOCCA|Riverfront Board of Directors, 2001-6. Shurtleff Audition Workshop Thomas Huston Orr Room 106 While at NOCCA, Ray was honored as the 1995 Senior High Teacher of the Year for Orleans Parish and was a University of Oklahoma CAC Beauz Arts recipient for in 2003. He has directed many plays and ensembles for NOCCA|Riverfront including: the Movement Theatre Troupe, The NOCCA Mime Troupe, FYI! Listen Up!, Comedy of Errors, The Winter’s Tale, Planning a Theatre Safety Program Erich Friend Room 110 A Midsummer Night’s Dream, Cyrano, Twelfth Night, A Mystery Play, and the student developed full length story Teqniqal Systems theatre play concerning the Greek Myths: Theogony,The Orgins of the Gods. His last production at NOCCA was a Play Your Way to a Freer Voice Rena Cook Room 113 student developed monologue play about their Hurricane Katrina experiences called, Katrina’s Tongue. University of Oklahoma A professional actor with membership in both Actor’s Equity and the Screen Actor’s Guild, Ray’s work encom- passes a wide range of media and stage acting credits and performances, from membership in two accomplished Playwriting: How do I begin? Mark Frank Room 201 improvisational story theatre companies: The Everybody Players and The United Stage, to being cast in Frag- Coffeyville Community College ments, a play written and directed by Edward Albee. He has directed two original operas, Dawn in the Floating Playing Your Instrument-Exploiting Your Trained Nadine Mozon Room 206 City, and The River May Cry, both by Jay Weigle. He received his improvisational theatre training based on the Actor License to Fully Live in Language & Storytelling Texas State University work of Viola Spolin from his former director, Robert Moyer and from Viola Spolin’s son, Paul Sills. He directed Hamlet for Merely Players at Southern Repertory Theatre and the new play about big oil, New Directing Shakespeare in America Charles Ney Room 209 Orleans, and hurricanes, Pink Collar Crime, by Ivette Sirker, at Teatro Weego for the Jefferson Performing Arts. Texas State University Recently for the Cripple Creek Players, Ray directed a well received production of Dario Fo’s We Won’t Pay! We Improvisation for the Theatre: The Theatre Games Ray Vrazel JCK,11th Floor Won’t Pay! of Viola Spolin Dillard University Kimberley Weast (KCACTF Vice-Chair for Oklahoma) is an Assistant Professor of Theatre and Facilities Man- The Camera Reads Thought Paige Bishop Alkek TV Studio, Rm. 139 ager/Technical Director at Northwestern Oklahoma State University, Alva Oklahoma, where she teaches everything Texas State University from Principles of Acting to Technical Theatre Courses. She earned her M.F.A. in Theatrical Directing from Linden- 2:00pm Performance Rabbit Hole - Mainstage wood University and her M.A. in Communication Arts from Southwestern Baptist Theological Seminary. She has 2:00pm-3:30pm Workshops taught on the university level for 18 years in Missouri, Oklahoma and Texas. A recipient of many honors Weast has recently received the Oklahoma Higher Education Theatre Professor of 2007 award. She is pleased to be On-Line Learning/ Teaching: Realities and Fallacies Kaleta Brown Room 104 serving ACTF region VI. Cypress College (Retired) Portfolio Reviews Terry Stump Room 111 Jim Winter (Vice Chair, Region VI) is a professional actor, director, playwright, and producer. Four of his plays Sinclair College have been published, and he has written two theatre textbooks for Kendall/Hunt Publishing. His plays have been produced in New York, Cleveland, Texas, and Louisiana. As an actor, Jim has performed at Madison Square Clown Work in Actor Training Michael Costello Room 106 Garden, 13th Street Repertory Theatre, The Hudson Guild, The Kennedy Center, Cleveland Public Theatre, and in Texas State University China. Jim is a founding member and the production director of the award-winning InSideOut production company Not What You Expected Cathy Norgren Room 110 in New Orleans. He is currently an assistant professor of acting and directing at Southeastern Louisiana Univer- University of Buffalo sity. In addition to his full-time duties at Southeastern, Jim teaches graduate playwriting for the University of New Orleans’ distance learning program. He also works as a screenwriter and actor for LA Studios and Ghost Rider The Viewpoints System: Exploring New Tools of Emily Heugatter Room 113 Pictures, two award-winning, Louisiana-based film companies. Jim holds a Master of FineArts in Acting from the Physical Expression for the Actor Centenary College of Louisiana University of New Orleans and a Bachelor of Arts in Theatre from Baldwin-Wallace College. Beginning Stage Managers: from Prompt Script Brad Buffum Room 201 to Closing Night University of Nebraska–Lincoln Chad Winters (Irene Ryan Coordinator) is a full-time acting and directing instructor at Southeastern Louisiana University. Chad has received his MFA in Directing from the Actors Studio Drama School where he is a member You Gotta Have H-E-A-R-T: Finding Truth in Greg White Room 206 of the Playwright and Directors Workshop. Chad has directed and worked with numerous theatres including The Musical Theatre Texas State University New Globe Theatre (NYC), Great Lakes Theatre Festival (Cleveland), The Actors Studio (NYC), Theatre Studio, Inc (New York City) and Dobama Theatre (Cleveland). As a performer, Chad has been seen at Cain Park, West- Improvisation for the Theatre: The Theatre Games Ray Vrazel JCK,11th Floor beth Theatre, The New Globe Theatre and The Beck Center for Performing Arts. of Viola Spolin Dillard University Writing from the Heart Eric Prince Evans Colorado State University The Camera Reads Thought Paige Bishop Alkek TV Studio, Rm. 139 Honor Crew Texas State University 2:00pm-5:00pm William Inge Festival – Room 209 Will Stacy (SELU), Martin Steger (Rose State), David Gibson, Mariah Borden, Erin Lynch, Solana Bolton, Douglas 4:00pm Irene Ryan Finals List posted Ferguson, Blake Whitaker, Brittany Baugh, Bobby Streif, Eric Babin, Richard Tregilas, Heidi Harrison, Sara McCul- ley, Bryan Stinnett, Cameron Shelton, Jessika Dunbar, Nicki Williams, Joe Martin, Joe Pauli, Stephen Bassinger, 4:30pm-5:30pm Director’s Forum-As It Is In Heaven & Caucasian Chalk Circle –Room 100 Andrea Ball, Travis Drake, Thomas Meche, Jason Tamez, Robert Peterson, Will Stacy, Jack DiBlasi, Rae Wy- 5:00pm-8:00pm Design Exhibit Open for Viewing - Understage man, Maida Camacho, Alyssa Ochoa, Stephen Wood, Mary Kathryn Roothame, Garrett Parker, Heather Ross, 5:30pm Performance House of Several Stories - Studio Theatre Tait Brooks, Tisha Kaspar, Heather Tucek, Gina Escobedo, Jennifer Moore, Roy Hernandez, Taylor Myers, Martin 5:30pm-7:30pm New Play Readings - Room 209 Stegar, Katherine Beamer, Ashley Taylor, and Bohb Nelson The Three Senorita Pigletitas and El Diablo by Patricia Crespin (UNM) The Journal by Margaret Iha (UNM) Respondents: Eric Prince, David Blakely, Gretchen Smith

28 9 8:00pm Performance Rabbit Hole - Mainstage 8:30pm Load out- House of Several Stories - Studio Theatre A. Ray Newburg, Jr., a graduate of Amarillo College’s Theatre Arts program, is an AC Theatre faculty member. 10:30pm Load out- Rabbit Hole - Mainstage Prior to coming home to Amarillo, he spent 10 years in Dallas/Fort Worth and New Orleans. After completing his B.A. at Texas Wesleyan University in Fort Worth and his M.F.A. at Tulane University in New Orleans, Ray taught FRIDAY FEBRUARY 27 theatre for the University of Texas at Arlington, Texas Wesleyan University, and Tarrant County College in Arling- 7:00am-11:00am Load-In The Anatomy of Gray - Studio Theatre ton. In addition, he freelanced for the Fort Worth Theatre, Hip Pocket Theatre, Granbury Opera House, Watertower Theatre, and Dallas Theatre Center. Ray has also had the pleasure of working with the New Orleans Opera 8:00am-10:00am 2009 Region VI National Critics’ Institute Workshop Room 104 Association as a scenic artist, and Irene Corey Design Associates (makers of the famous Barney® character). As a James Dolph, University of Central Oklahoma performer, Ray has been seen at Amarillo College, Amarillo Summer Arts Festival, Texas Wesleyan University, Tar- 8:30am-4:30pm Break Room for VIPs, Faculty and Staff - Room100 rant County College, Amarillo Little Theatre, and Merely Players. Currently, in addition to teaching at AC, he serves 8:30am – 11:00am Design Responses, Understage as faculty sponsor for Delta Psi Omega at Amarillo College, as a critic judge and contest manager for the Universi- ty Interscholastic League, and as the College/University Vice-President for Texas Educational Theatre Association. 9:00am-10:00pm Registration – Main Office In 2004, Ray received the Teacher of the Year Award for Community Colleges from TETA. He married his college 9:00am-10:00am Response Session House of Several Stories - Room 201 sweetheart, Georgianna, at TWU, and she is a playwright who has been published by the Kennedy Center 10:00am-11:00am Response Session Rabbit Hole - Room 201 American College Theatre Festival. 10:00am – 2:00pm Load-In Metamorphoses - Mainstage Michelle Ney has designed scenery and costumes for numerous theatre and opera companies, including The 11:00am Performance The Anatomy of Gray - Studio Theatre Colony Theatre and The Theatre at Boston Court (Los Angeles), Illinois Shakespeare Festival, Texas Shakespeare 11:00am-2:00pm Design Exhibit Open for Viewing - Understage Festival, Idaho Repertory Theatre, Austin Shakespeare Festival, The Search Party, and Austin Lyric Opera. Re- 11:30am-1:00pm Workshops cent projects include the world premiere of Romulus Linney’s Going After Cacciato; Macbeth; Gulls; Valparaiso; Film 1o1 Tom Copeland & Chris Caddel Room 104 An Ideal Husband; The Glass Menagerie; The Comedy of Errors; Two Gentlemen of Verona; Cymbeline; Henry IV, Texas State & Louise Hopkins Underwood Center Part I; and Tongue of A Bird. In 1999, Michelle’s work was featured in the Prague Quadrennial International Design Exposition, and her scenic and costume designs have been published 3 times in Theatre Design & Technology. Contact Improvisation: Deep Listening and Pat Stone Room 106 Michelle is Head of Design & Technology at Texas State University and Design Vice-Chair for KCACTF Region Exploring Nonverbal Communication Texas State University VI. Prior to joining the faculty at Texas State, she was on the design faculties at University of Idaho, University of Writing and Performing Our Stories Jayetta Slawson Room 110 Texas at Austin, and St. Edward’s University. Southeastern Louisiana University Gretchen Elizabeth Smith is Head of Theatre Studies and Associate Professor in the Division of Theatre at And Once More with Feeling: Yoga-Mind/Body Camille Bulliard Room 113 Southern Methodist University, where she teaches playwriting, theatre history, and performance studies. Her plays Awareness and the Actor’s Instrument University of Louisiana at Lafayette have been read and performed in the U.S. and in Europe, while her work as a theatre historian focuses on French The Directing Process Peter Ellenstein Room 201 performance in the 17th and 19th centuries. This fall, she was on sabbatical in Paris researching her latest project, William Inge Center for the Arts and wishes to thank David Blakely and Penny Hasekoester for all their generous support and commitment to the NPP program while she was away. A Career in Theatre: The Role of Actors’ Equity Tom Miller Room 206 and a Practical Approach to the Business Actors’ Equity Association Darryl H. Thompson is an Assistant Professor in the Department of Music and Theatre at Prairie View A&M Uni- versity, Prairie View, Texas. He received his Master of Fine Art degree from the University of Florida. He teaches Montage Workshop Vanessa Gibens JCK, Floor 11 Stage Diction, Stage Movement, Acting, and Acting Styles. He is trained in the systems of Arthur Lessac, The Alex- National Theatre Institute ander Technique, Constantine Stanislavski, Michael Chekhov, Sanford Meisner, and Anne Bogart. As an actor, Darryl’s resume includes such roles as Tom in The Glass Menagerie, Jonathan in Arsenic and Old Fightin’ Dirty!: An Unarmed Combat Workshop H. Russ Brown Evans Lace, Emcee in Cabaret, Arnold in The Boys Next Door, Scrooge in A Christmas Carol, the world premiere of Lon Morris College BING, BANG, BOOM, Brother Boy in Sordid Lives, and Adam in As You Like It. Directing credits include Rumors, 1:30pm-3:30pm SSDC Directing Scenes Finals - Room 209 The Laramie Project, ‘night Mother, The Tempest, The Chalky White Substance, an original production Unheard Voices: the slaves’ narratives, Lost In Yonkers, and Oedipus the King. He has also worked with several Broadway 2:00pm Performance Metamorphoses - Mainstage and Hollywood talents including Larry Alford, Marvin Hamlisch, Jonathan Demme, Peter Palmer, Ken Howard, and 2:00pm-3:30pm Workshops Yanci Bukovec. The Basics of Vectorworks J. C. Laucks Room 104 Tulsa Community College Contact Improvisation and Voice: Deep Listening Melissa Grogan Room 106 & Discovering Verbal Response Texas State University How to Improve Communication Skills for Karen Anselm Room 110 Presentation of Stage Makeup Design Bloomsburg University Long-Form Improv Leonard Madrid Room 113 University of New Mexico

Connections Arlene Hutton Room 201 Playwright & Actor

Stage Management: the job for the person who D. Andrew Gibbs Room 206 knows everything University of Arkansas, Fayetteville Finding Center: An Approach to Characterization Richard “Buzz” Herman Evans University of Central Missouri 3:30pm-4:30pm Town Hall – Room 209 4:30pm-5:30pm Directors’ Forum Rabbit Hole & House of Several Stories - Room 100

10 27 5:00pm-8:00pm Design Exhibit Open for Viewing - Understage Nyalls Hartman is an Associate Professor of Theatre, currently serving as Chair of the Department of Performing 5:30pm-7:30pm VIP Dinner - JCK, 11th Floor Arts at the University of Louisiana, Lafayette. An SSDC Theatre Director, Nyalls was the Founding Artistic Direc- tor of The People’s Repertory Theatre Company, a company committed to Theatre of Social Action. Teaching and 5:30pm Performance The Anatomy of Gray - Studio Theatre directing for over 20 years, Nyalls is a committed educator and working professional whose academic and artistic 8:00pm Performance Metamorphoses - Mainstage interests include the Experimental Theatre, Theatre of Social Conscience, Solo Performance, and Farce. 8:30pm Load-out The Anatomy of Gray - Studio Theatre In additional to receiving a Research Grant for his study on “The changing elements of language, image, and 10:30pm Load-out Metamorphoses - Mainstage performative techniques in alternative theatre performance,” Nyalls’ paper, “Social Conscience and the American Theatre” was presented as part of the Milton Center’s National Panel Discussion on Responsibility and the Arts. 10:00pm-Midnight Student Party – JCK, 11th Floor An advocate for interdisciplinary dialogue in the arts, Nyalls coordinated and served as Moderator for the four National Symposiums, “Staggering Toward America: We the People(s)…” Defining a National Identity, “Live from SATURDAY FEBRUARY 28 the Front Lines: Is Anybody Listening?”, “War/Peace & the Anatomy of Being Human: Aftermath, Understanding, & 6:00am-10:00am Load-In Doubt - Mainstage Human Responsibility”, and “Dead Man Walking: Theatre, Social Change, Prison Ministry, and the Death Penalty.” 8:00am-10:00am 2009 Region VI National Critics’ Institute Workshop Room 104 Honored to be recognized for his accomplishments as one of the Nation’s most respected teachers, Nyalls has James Dolph, University of Central Oklahoma been acknowledged for excellence as a distinguished educator in Who’s Who Among America’s Teachers in 2002, 8:00am-12:00pm 10-minute Play Festival Dress Rehearsals - Evans 2003, and 2004. Receiving numerous awards for his directing, Nyalls’ production of Samuel Beckett’s, Rough for the Theatre 1, was produced as part of An Evening of Samuel Beckett: Directors and Critics, at The National Sym- 8:30am-11:00am Design Responses - Understage posium on Samuel Beckett. As Director/ Dramaturg-in-Residence he work-shopped the premiere production of the 8:30am-12:00pm Break Room for VIPs, Faculty and Staff - Room 100 original collaborative musical Voices with the New York Institute of Dance and The Kaleidoscope Dance Theatre 9:00am-10:00am Response Session The Anatomy of Gray - Room 201 Company. Along with his responsibilities at UL Lafayette, Nyalls currently holds a position with The Higher Learning Com- 10:00am-11:00am Response Session Metamorphoses - Room 201 mission serving the North Central Association as a Consultant-Evaluator in their PEAQ and AQIP Peer-Review 10:00am Performance Doubt - Mainstage Corps. Nyalls received his M.F.A. in Directing from Illinois State University. This January, Nyalls began serving as 11:30am Workshops the KCACTF Region VI Louisiana State Vice-Chair. Properties in the Professional Theatre Karin Rabe/Nathan Michaels Room 110 Penelope Hasekoester is the Chair of the Department of Theatre & Dance at Sam Houston State University. Alley Theatre, Houston Penny holds an M.F.A. from the University of Texas at Austin, an M.A. from Western Kentucky University, and a B.A. from Eastern Kentucky University. She is a produced playwright with professional acting and directing credits Sound in Theatrical Spaces Jason Romney Studio Theatre and a creative drama specialist. In 2003 the SHSU production of The Laramie Project was one of the Kennedy University of North Carolina School of the Arts Center American College Theatre Festival National Finalists. Penny has served as the Region 6 Vice Chair of Texas, the Texas State Chair, the Vice Chair of Region 6, and is currently in her first year as KCACTF Regional Draping The Basic Two-Dart Bodice Christina Hobbs Costume Shop Chair for Region 6. Texas State University J.C. Laucks, KCACTF Region IV Design Chair Interim/Oklahoma Vice-Chair is the Coordinator of Design and Technical Theatre and oversees the Stage Production Technology Program at Tulsa Community College. He 12:00pm-1:00pm Director’s Forum Metamorphoses & The Anatomy of Gray – Room 100 teaches courses in Lighting, Theatre Graphics, CAD, Introduction to Design and the Stagecraft classes. J.C.’s de- Sandwiches provided sign credits include lighting designs for Annie for Children’s Theatre of Bartlesville, Listen to My Heart: The Music 1:00pm-4:30pm Break Room for VIPs, Faculty and Staff – Room 100 of David Friedman Tulsa Premiere starring David Friedman as well as for many performances by the Signature 1:00pm-3:00pm 10-minute Play Festival – Evans Symphony at TCC. Scenic designs include All In The Timing, Goodnight Desdemona, Good Morning Juliet, The Speed of Darkness, as well as many others. J.C. received his B.A. degree from Oklahoma Christian University Thorns by Clinnesha Dillon (UArk/Fayetteville) and his M.A. from Oklahoma State University. He is a member of USITT. Sabine by Bradley Troll (UNO) Burglar by Shannon Flynn (UNM) Terry Lewis, Region VI Texas Chair, is Director of Theatre at Texas A&M University-Corpus Christi. Six of his productions have been selected to perform at the Region VI KCACTF. His production of Breaking the Code was A Stoic Boy by Simon Blair (UNM) selected as a KCACTF national winner. He has served as Artistic Director and Founder of four theatre groups. His Sangria by Tyler Powell (SWOSU) past credits include: Department Chair, Theatre Arts and Dance, Southern Utah University; Director, “Revels Com- Whatever There’s Inside Of You Will Fester by Whitney Buss (UNO) pany”, Utah Shakespearean Festival; Director, Cornell University Interactive Theatre Ensemble; Head of Acting, Respondents: Eric Prince, Emily Cicchini, Steve Reynolds Texas Tech University; Playwriting Chair, Region VI, KC/ACTF; Theatre Arts Department Chair, Amarillo College, and Texas Community College Theatre Educator of the Year. He holds a Ph.D. from Texas Tech University. 1:30pm-3:30pm Performance Doubt - Mainstage 3:30pm Load out Doubt - Mainstage David McTier is Associate Professor of Theatre at Sam Houston State University. Raised on a cattle farm in rural 4:00pm-6:00pm Irene Ryan Rehearsals - Evans Georgia, he holds a Ph.D. in theatre history and criticism from the University of Texas and has taught on the facul- 5:00pm-6:00pm Response session Doubt - Room 201 ties of the University of Kentucky, the University of Vermont, Agnes Scott College, and Rockhurst University. Be- fore moving back to Texas, he served as Student Dramaturgy Coordinator and member of the Regional Advisory 5:00pm-6:00pm New Play Reading - Room 209 Committee for Region V; he also directed two company-developed productions performed at Region V festivals. In Dinner Guest by Bradley Troll (UNO) 2004, he won KCACTF’s Faculty Fellowship in Criticism and attended the National Critics Institute at the Eugene Respondents: Emily Cicchini and Eric Prince O’Neill Theater Center. Over the past eighteen summers, he has taught gifted and talented high school students at the Governor’s programs in Virginia, Georgia, and Missouri. 6:00pm-6:30pm Director’s Forum Doubt – Room 100 Sandwiches provided 7:00pm-Finish Irene Ryan Finals - Evans Awards Ceremony following Irene Ryan Finals - Evans

26 11 Workshops by Area 2009 Region VI National Critics’ Institute Workshop Acting & Musical Theatre James Dolph, University of Central Oklahoma Terry Stump (Sinclair College) is the Theatre Manager for Blair Hall Theatre on the campus of Sinclair College in Dayton, Ohio and has designed over 300 productions over his 35 year career. Listed in Who’s Who in Entertain- The Viewpoints System: Exploring New Tools of Intensive daily 2-hour sessions that include tips on writ- ment, second edition, he has also received the Sinclair Visionary Award, five Kennedy Center American College Physical Expression For The Actor ing craft, followed by production attendance, review- Theatre Festival Meritorious Achievement Awards and eleven DayTony Awards for his scenic designs for both Emily Heugatter writing and revision process. One participant will be selected to attend the KCACTF National Festival. professional and educational theatres. Stump also served as the Chair of Design & Technology for the KCACTF Centenary College of Louisiana Region III. He was inducted into the Dayton Theatre Hall of Fame in 2007 and he received the Kennedy Center Gold Medallion for Excellence in Theatre Education in 2008. Workshop participants will explore the foundations of Writing and Performing Our Stories the Viewpoints System, developed by Anne Bogart and Dr. Jayetta Slawson, Southeastern Louisiana University Tina Landau. Through this “crash course,” student Ray Vrazel (Dillard University) is on the Theatre Faculty of Dillard University as Assistant Professor of Theatre. actors will begin to gain a new understanding of their This workshop provides hands on practice for using nar- Ray teaches Acting, Mime & Movement, Voice & Diction, Directing, and Improvisation. A professional actor with bodies as tools of expression, expand their vocabulary rative writing to create performance scripts. Participants membership in both Actor’s Equity and the Screen Actor’s Guild, Ray’s work encompasses a wide range of media of movement, learn how to work as an ensemble, and should bring paper and writing instruments, and should and stage acting credits. Ray has worked with Theatre games for many years, studying with Paul Sills and Bob begin to explore new choices with which to create a wear comfortable clothing. Students will be writing origi- Moyer. His latest directing project was Dario Fo’s We Won’t Pay! We Won’t Pay! for Cripple. character’s physical life. This workshop will also incor- nal material as well as performing the work. porate the training tools of Movement to Music, devel- Greg White (Texas State University) is the Director of Musical Theatre at Texas State University. Favorite acting oped by Chicago artists John Jenkins and Ric Murphy. Connections Arlene Hutton, Playwright and Actor credits include: Original New York Cast of Nunsense A-men! (Amnesia), the Broadway National Tour of State Fair (as Harry) with John Davidson, the Broadway National of Forum (Miles Gloriosus) starring Rip Taylor, Hello, Dolly! You Gotta Have H-E-A-R-T: Finding Truth in Musical (Cornelius) with Sally Struthers, Oklahoma! (Will) featuring Broadway great Terrence Mann. As a director Greg has Theatre Whether you are a writer starting or in the middle of a Greg White, Texas State University project or an actor wanting to explore playwriting, you worked throughout the United States and notably at the historic Bucks County Playhouse. Greg holds a PhD from already possess, deep inside you, everything you need Texas Tech University, and a degree in Musical Theatre from the University of Central Oklahoma. Tired of cheesy, insincere Musical Theatre? Explore to jumpstart your art and bring forth your unique voice. the real heart of the musical beyond sequins and tap Through a series of in-class exercises, this workshop is Regional Committee dancing. Join us for an enlightening, honest approach a roadmap to the wonder of the unconscious mind and the thrill of creation. to this unique American art form led by a Musical The- David Blakely is Vice-Chair of New Plays and Playwriting, Region VI, Assistant Professor at Rogers State atre historian, performer, and director. Improvisational Playwriting University, and Director of the RSU Theatre Program. He is a director, designer, actor, musician and playwright. He received his BFA from the University of Oklahoma and his MFA from the Iowa Playwrights Workshop. He has Montage Workshop Leonard Madrid, University of New Mexico Vanessa Gibens, National Theater Institute directed over 25 new works, including Edmund White’s Terre Haute, Jerry Sipp’s Falling in Like, and the upcoming Learn more about your characters. Build scenes. production of JudyLee Oliva’s Quietly Standing in the Shade. His plays have been produced in Oklahoma, New This workshop addresses the question, “how can we Discover your play. Use improvisational exercises to Mexico, Iowa, North Carolina, Tennessee, Virginia, and Texas. His play, Tales of Shoogilly, the 2003 winner of the use montage in theater?” Participants are placed into help write your play. Charles M. Getchell Award, will be performed at Alvernia University in March 2009; Laying Felt, was voted “Best groups to create a montage that expresses the story of of the NeST”in Mockingbird Theatre’s 2003 New Southern Theatre Festival; and his adaptation of Frankenstein, love and loss. Each group is also given a list of the- Playwriting: How do I begin? was performed at Rogers State University in October 2008. He has attended the Summer Playwright Intensive at atrical elements to include in their montages. Groups Mark Frank, Coffeyville Community College the Kennedy Center, and is an associate member of the Dramatists Guild of America, Inc. He is a musician and a present their montage to all participants and a discus- part-time member of the Celtic band, The Wild Rumpus. sion of the images follows. Participants must be ready Students will learn the basic skills about how to put idea’s down on paper and write a play. The workshop to work collaboratively, to be physically engaged, and James Dolph works as a lecturer in the English Department at the University of Central Oklahoma. He studied to have an exciting time. also will explore how to work on a second draft, how to enter a playwriting contest, and how to get published. theatre at Northeastern Oklahoma State University, political science at California State University San Bernardino, The Actors Gang Style Exploded Published professional playwright, Mark Frank conducts Russian at Monterey California’s Defense Language Institute, creative writing at UCO, drama at the University of www.theactorsgang.com the workshop and uses the tools found in Stuart Spen- Oklahoma, and interdisciplinary art at Vermont’s Goddard College. Lauren Lane, Texas State University-San Marcos cer’s book, The Playwrights Guidebook. Mary Handiboe, Arkansas State Kennedy Center American College Theatre Festival Chair, teaches mainly perfor- Learn the basic elements of The Style, used by Tim Torture the Heroine Robbins’ experimental Theatre company. The Actors Sarah Greenman, Playwright mance classes at Ouachita Baptist University, where she also received her B.A. in theatre. Mary’s M.F.A. in acting Gang. Actors/Students bring a memorized monologue, is from the University of New Orleans. She has also studied with The New Actors Workshop (Paul Sills/Story The- 1 minute in length and explode the work with “The Dramatic action. What is it and why it can make or atre) in New York City, and now utilizes much of their philosophies of improvisation and status work in her teach- Style.” break your play? Playwright Sarah Greenman provides ing and directing. Besides being very active with her teaching career, Mary enjoys being a wife and the mother of some tried and true tools for building a stronger story. three children, ages 13, 10, and 11 months. Playwriting, Criticism, and Dramaturgy Q & A with Tim O’Brien Gary Harris (Arkansas Vice Chair) is a native of upper East Tennessee and Southwest Virginia. Educated as an Writing from the Heart Tim O’Brien, Novelist, Texas State University Eric Prince, Colorado State University undergraduate art major at the University of the South (Sewanee) and holding advanced degrees from the Univer- National Book Award-winning novelist Tim O’Brien sity of Tennessee-Knoxville, Mr. Harris has taught in the collegiate setting for 20 years. He serves the Harlequin An active participatory workshop for all who are inter- discusses the craft of writing and the process of seeing Theatre as principal designer/technical director. As an associate professor, he teaches a broad range of courses ested in playwriting and discovering/expressing the his work adapted for the stage and screen. including theatre history, gender studies, voice and diction, stagecraft, stage management and a variety of design stories we carry around inside ourselves. Be ready to courses. Mr. Harris also serves Lyon College as the resident faculty mentor of Spragins House, the learning com- talk, play, listen. The writing itself comes later-in your munity for freshman. He and his family live in a home adjacent to the freshman quad. In his career as a designer own time and space. for the academic and professional theatre, Mr. Harris has over one hundred and fifty productions to his credit. Among these is a pilot for the Public Broadcasting System, and designs for the Mockingbird Public Theatre, Nash- Production Dramaturgy: A Director and Designer- Friendly Approach ville Academy Theatre, and the Florida Jewish Theatre and the Cumberland County Playhouse. He has designed David McTier, Sam Houston State University two exhibit halls for the Old Independence Regional Museum, as well. His artwork was most recently exhibited at the American Men’s Studies Tenth Annual Conference in Nashville at the Vanderbilt Divinity School. Mr. Harris is a A practical workshop on strategies, resources, and member of numerous professional organizations including the National Academic Advising Association, the United best practices for collaborating with your production States Institute for Theatre Technology-Southwest Theatre Association and the Southeastern Theatre Conference. team to make the most creative, dynamic, and in- He is past president of the Tennessee Theatre Association and has served as editor for two regional professional formed choices. publications. 12 25 Performance: Voice, Movement, Combat & Improv Long-Form Improv Eric Prince (Colorado State University and NPP Chair Region VII) is Professor of Theatre at Colorado State Leonard Madrid, University of New Mexico University where he teaches Acting, Directing, Playwriting, Theatre History, Shakespeare and Experimental Per- Clown Work In Actor Training formance. Eric has published many essays and interviews on Samuel Beckett and directed many Beckett plays Michael Costello, Texas State University-San Marcos Explore the fun and the art of Improvisational acting. Not just the games you learned in high school, we will explore including: Waiting For Godot, Footfalls, Embers, Play, Come And Go and Catastrophe ( in a bi-lingual Spanish The workshop is an introduction to clown work and long-form improv, by using the basic rules and the idea of and English staging). He has directed productions of his own plays in venues as diverse as London, Edinburgh, how it can be used effectively in actor training. heightening characters. Scarborough, Plymouth, Augsburg, Utrecht, Amsterdam, Berlin and San Diego as well as children’s theatre on the sandy beaches of Yorkshire and multi-cultural theatre on the streets of Leeds. Five of his plays were selected for Contact Improvisation: Deep Listening & Explor- Playing Your Instrument – Exploiting Your Trained Ac- the national finals of the British National Student Drama Festival, two of them Kafka’s Last Request and Wildsea ing Non-Verbal Communication tor License to Fully Live in Language and Storytelling Wildsea, receiving the prestigious London Sunday Times Playwriting Award and Best Production Awards. For Pat Stone, Texas State University- San Marcos Nadine Mozon,Texas State University-San Marcos many years Eric also worked in close association with playwright Sir Alan Ayckbourn. Two plays, Love Is In The Air and Red Roses were professionally produced by Ayckbourn’s own acclaimed company, The Stephen Joseph Exploration of relationships based on physical sensa- An interactive laboratory process engaging actors’ instinct, Theatre in North Yorkshire. This past year Eric has directed Pinter’s The Birthday Party, Brecht’s Caucasian Chalk tion, deep listening and mutual support. We will prac- skill and sensibilities for script analysis, poetic text, imag- Circle and Shakespeare’s Much Ado About Nothing. tice trust in the intuitive body as vehicle for non-verbal ery and rhythm. We will explore physical manifestations communication/intimacy. of emotional realities; investigate genuine full measure of voice, speech and physicality as source for produc- Karin Rabe (Alley Theatre) has been with the Alley Theatre as the Properties Master since 2004. She has Contact Improvisation and Voice: Deep Listening ing organic sound and movement to establish theatrical propped over 50 productions there, including Cyrano de Bergerac, The Gershwins’ An American in Paris, Arsenic & Discovering Verbal Response conventions, and create characters. Techniques appli- and Old Lace, Treasure Island, Subject to Fits, The Pillowman, Be My Baby, Christmas Carol, The Crucible, and Melissa Grogan, Texas State University-San Marcos cable for experimental performance as well as subtext and After the Fall. Prior to working at the Alley, she served as the Properties Master for Studio Arena Theatre in Buffalo subtleties in more traditional performance work. Process New York, Merrimack Repertory Theatre in Lowell Massachusetts, and as the Assistant Properties Master at the This workshop builds upon principles learned in the includes individual and collective writing exercise. Santa Fe Opera. She is an active member of both S*P*A*M (The Society of Properties Artisan Managers) and workshop “Contact Improvisation: Deep Listening and USITT (United States Institute of Theatre Technology). She has a BFA in Theatre Design and Technology from Exploring Non-Verbal Communication”. In an effort Improvisation for the Theatre: The Theatre Games of Florida State University. to find more natural, healthy uses of vocal variety it is Viola Spolin important to trust the vocal responses that can come Ray Vrazel, Dillard University ( is a Sound Design Instructor in the School from connecting with the energy brought up as a result Jason Romney University of North Carolina School of the Arts) of deep kinesthetic awareness. Using Contact Impro- Intuitive, spontaneous, energetic, playful, fun, disciplined, of Design and Production at the University of North Carolina School of the Arts. He received his B.F.A. in theatre visation, the participants will find ways to identify the ensemble, focused, exploration. These are words that design and technology from Utah State University and his M.F.A. in sound design from the University of North difference between sound coming from spontaneous describe the theatre game experience. Using traditional Carolina School of the Arts. He has designed sound professionally at Triad Stage, Playmakers Rep, Alliance choice vs. intellectual choice. Participants will need a games as a starting point, the play intensifies as the Theatre Company, Piedmont Opera, Weston Playhouse Theatre Company, Utah Festival Opera, and others. Mr. piece of text that they know well to experiment with. games effortlessly lead the players into ever more com- Romney is also a computer programmer developing software solutions for sound designers and engineers. His plex and exciting theatrical experiences. If you have programs are used by professionals in the theatre, film and music industries and in educational institutions across The Rubber Chicken Factory Improvisational never experienced the Games as created by Viola Spolin the country. Mr. Romney is an associate of the Center for Design Innovation, an inter-institutional research center Comedy Troupe and her son Paul Sills, or you would like to return to that of UNCSA, Winston-Salem State University, and Forsyth Technical Community College. He also serves as vice Chris Cameron, Coffeyville Community College wonderful land of spatial awareness and contact between commissioner for the computing industry on the U.S. Institute for Theatre Technology (USITT) Sound Commission. player, then this workshop is for you. He is currently the co-principal investigator on a National Science Foundation curriculum development research Students will learn how to start an improvisational comedy troupe at their school by participating in audi- Play Your Way to A Freer Voice grant: “Linking Science, Art, and Practice Through Digital Sound,” a joint research project with Jennifer Burg from Rena Cook, University of Oklahoma Wake Forest University. ence participation games, sketches, and warm-up games. The workshop is run by the RCF troupe, but the games are played by the students who attend the This workshop presents the fundamentals of voice for Kim Slade (Broadway Theatre Project) has overseen Broadway Theatre Project as it has doubled in size to over workshop. Be prepared to participate and have a fun- the actor—alignment, breath, resonance, articulation and two hundred students. Kim has also worked as a producer, director, and actress. She produced and cast live plucking hilarious time! expressivity—in the joyous mode of play. Explore the free Industrial shows for national clients including companies such as Land Rover, Nortel, CAN and MacGregor Golf. A and open voice through the use of toys: balloons, rubber member of Actor’s Equity, Kim’s performance credits include featured roles in Alice in Wonderland, Chicago, The The Powerful Presence: Effort, Risk, Momentum, bands, dowel rods, music, drinking straws. Heidi Chronicles, Lies and Legends, The Music of Harry Chapin, An Enemy of the People,The Dining Room, The Joy Fantasticks, Portrait of a Madonna, An Actor’s Nightmare, and others. She has also produced and/or performed James Peck, Dell’Arte International School of Physical Finding Center: An Approach to Characterization in numerous film, TV, and commercial projects, including the children’s program Big Fun, Little Playhouse and the Theatre Richard “Buzz” Herman, University of Central Missouri feature film Curdled starring William Baldwin. Kim is a graduate of the University of Tampa and studied theatre This hands–on workshop will explore the use of physical at the University of Florida and the Burt Reynolds Institute and Theatre in Jupiter, Florida where she performed An intensive workshop in fundamental aspects of the Dell’Arte training system developed over 30 years of centering as a means toward building the physical life of a as a Resident Company Member. Kim created the Broadway Theatre Project Comes To You program providing actor-training. Includes work on games, the actor’s character. Students will have the opportunity to participate professional training to students across the country. In addition to teaching various acting and dance workshops, presence, physical efforts, movement, and improvisa- in numerous exercises focusing on centering, sounding Kim helmed the Broadway Theatre Project workshop productions of Frank Wildhorn’s Broadway bound musicals, tion. and aligning their physical instrument. This will be followed Wonderland and Havana. by using their bodies to shape characterizations and Fightin’ Dirty!: An Unarmed Combat Workshop H. actions for the stage. Dr. Jayetta Slawson (Southeastern Louisiana University) is Associate Professor of English and Director of the Russ Brown, Lon Morris College Southeastern Writing Center at Southeastern Louisiana University. She holds a Ph.D. from NYU in Performance And Once More with Feeling: Yoga-Mind/Body Aware- A vocal violence workshop for all skill levels. Basic in- ness and the Actor’s Instrument Studies, and teaches creative writing, drama, and composition courses. Her interests are cultural performances Camille Bulliard, University of Louisiana at Lafayette and ethnographic writing. struction in some of the more common forms of stage violence: Falls, Slaps, Chokes, Hair Pulls and more- fun things you can do to your neighbor! Emphasis on Discover how Yoga and Breath practice can Benefit, Ex- Richard Sodders (texas State University) is Professor of Theatre at Texas State University, where he teaches Technique, Safety, Partnering Skills and “Playing the pand and Impact the Instrument of the Actor. Participants directing for stage and film. He earned his Ph. D. at Louisiana State University, attended Film School at New York Pain”. will explore and discover how a basic Yoga and breath University, and has taught at Texas A&M as well as Midwestern State University. In addition, he was Managing practice can develop mind/body awareness, offer stress Director of the Shakespeare Festival of Dallas. For six years, he served as Chair of the Department of Theatre & management and relaxation training, as well as experi- Dance at Texas State. Dr. Sodders holds the Kennedy Center for the Performing Arts Medal of Achievement for ence movement as a kinesthetic intelligence and modality his work with ACTF and the Amoco Medal for National Excellence for directing a production selected to perform at of communication while supporting the actor in creating the Kennedy Center as part of the National American College Theatre Festival. character.

24 13 James Peck (Dell’Arte International School of Physical Theatre) is an actor, writer, director and games player Film Design & Technology who has performed and taught throughout Europe since the mid-1980s. Studying Improvisation with Kevin Tomlinson, writing with Keith Tutt, and graduating from The Central School of Speech and Drama, James worked Film 1o1 Portfolio Reviews Tom Copeland, Texas State University-San Marcos Terry Stump, Sinclair College mostly in Film and TV in the 1990s until an overwhelming desire to find a better way led him to Dell’Arte. He came Chris Caddel, Louise Hopkins Underwood Center for to Blue Lake in 2002 to join the MFA program and graduated with the school’s MFA in Ensemble Based Physical the Arts One-on-one portfolio reviews for student designers and Theatre in 2006. technicians. STUDENTS MUST BRING PORTFOLIO Theatre has long been the intro for on-camera roles AND RESUME to the session. Patrick Pearson (Director) is an award-winning director and educator based out of Orange County/Los Angeles. but it is a perfect fit for behind the camera too. Wheth- His production of William Finn’s A New Brain was recently remounted for its third incarnation at the El Portal Forum er you’re into Directing, Designing, Stage Managing, Not What You Expected Theatre in North Hollywood as a preview event for the Festival of New American Musicals. This production had Makeup, Wardrobe etc. the crossover is there. Join Cathy Norgren, University at Buffalo the honor of performing for the playwright himself, was selected as an LA Times Critic’s Choice, made the Best of former Texas Film Commissioner and current faculty the Year List in the OC Register and was recognized for Director of the Year, Best Small Musical, Best Ensemble member at Texas State University Tom Copeland and An exercise in the collaborative conversation between and Excellence in Musical Direction by Stage Scene LA. Patrick also has been involved with KCACTF for several Louise Hopkins Underwood Center for the Arts Theatre playwright, director, and designers. Using Fine Art as an years, having been a national finalist for Directing in 2006 and 2007, when his production ofThe Diviners was one Director and award-winning filmmaker Chris Caddel access point, this workshop will address and investigate of four full-length plays selected to perform at the Kennedy Center. Other credits include the LA premiere of Songs in an abridged version of their popular workshop Film any or all of the following elements: Did we read the 1o1. same play? How can you talk about “essential quali- from an Unmade Bed (Celebration Theatre – LA Times Critic’s Choice, Stage Scene LA Director of the Year), ties” – of play, environment, etc.? How do you get from Falling Dreams (Stages Theatre), Under Milk Wood (Dylan Thomas Boathouse, Laugharne, Wales), Dead Man The Camera Reads Thought inspiration to execution? What is “visual dramaturgy”? Walking, Seussical, Marisol, and Not About Nightingales (2004 Runner-Up to KCACTF National Festival). He is Paige Bishop Embracing ambiguity. Literalness and symbolism as currently directing A Piece of My Heart and is in pre-production for Company and Altar Boyz. Patrick has his MFA Texas State University-San Marcos four-letter words. Collaborative communication. Bring a in Directing from California State University, Fullerton and his BFA in Musical Theatre from Sam Houston State copy of your favorite play, and an image that works for University. On-camera exercises to enhance the intensity and you somehow in explaining how you feel about the play. specificity needed to create camera worthy perfor- Or just bring yourself, and an inquisitive brain! Beate Pettigrew (Johnson County Community College) is the National Irene Ryan Acting Scholarship mances through thought and reaction. Coordinator and Region V’s Student Dramaturg Coordinator. She is the immediate past chair for KCACTF Region Construction And Renovation Planning for Theatres V, and was honored to be a part of the National Selection Team in 2007. She is an Associate Director for the MFA/ Video Editing (All the world’s a stage, but who are the players?) University Playwrights’ Workshop at the Kennedy Center and plans to continue her work developing new plays. By Richard Sodders She received a BFA and BSE from Emporia State University, an MA in Theatre from the University of Kansas, Erich Friend, Teqniqal Systems and graduated as a Hallmark Fellow from the University of Missouri-Kansas City with an MFA in Theatre Direc- Learn basic video editing using Final Cut Pro/Express. There are two workshops scheduled in order to have An exploration of the construction planning process. A tion. Beate is currently the Artistic Director for the Theatre Dept. at Johnson County Community College in Kansas enough time to instruct the material. The sessions look at all the parties involved in designing a theatre - be City, a top-ten community college. She is proud to have directed the student original play, Tabula Rasa, an invited will cover navigating, capturing, 3 point editing, drag it a new facility or a renovation. What are their roles and regional festival production in 2008. and drop editing as well as titles. Participants will be how you interact with them to get a functional theatre? instructed on computers. FACULTY ONLY PLEASE. The differences between Architects, Engineers, Theatre Amy Pietz (Actress) just finished playing the title role inThe Amazing Mrs. Novak, a pilot for Lifetime, about a Consultants, Contractors, and Vendors. supermarket manager who unexpectedly becomes governor of New Jersey. She was also recently seen play- Performance: Auditions & Careers ing “Franny Tollchuck,” on the CW’s critically acclaimed series Aliens In America, and “Annie Spadaro,” Caroline’s Planning a Theatre Safety Program (How to not break best friend, on the NBC sitcom, Caroline In The City, for which she was nominated for a SAG Award. Other shows a leg) where Amy has been a regular include: Rodney (ABC), The Weber Show (NBC), Muscle (WB), and Trust Me A Career in Theatre: The Role of Actors’ Equity and Erich Friend, Teqniqal Systems (TNT), starring Eric McCormack and Tom Cavanaugh. Amy has starred in the telefilms, Call for Help and All Lies a Practical Approach to the Business End in Murder, and has guest starred on such shows as Curb Your Enthusiasm, The Closer, Ghost Whisperer, Tom Miller, Actors’ Equity Association Alas, poor Yorick . . . He didn’t read the safety manual! Bones, Burn Notice, Law and Order, SVU, ER, CSI, Ally McBeal, The Drew Carey Show, I’m With Her, Conrad Understanding the challenges and opportunities when Bloom, and The Division. Amy’s film credits include Rudy; Jingle All The Way, Dysenchanted, Jell-Ohh Lady (also The workshop describes Equity’s mission: to support working with staff, students, and administration as you producer), The Whole Ten Yards, Reunion, and the filmYou , directed by Melora Hardin (The Office). and protect the rights of Actors and Stage Managers. Amy is a founding member of Chicago’s Eclipse Theatre Company and is a graduate of the Goodman School of It explains how and when to join and outlines contracts integrate a culture of safety with your theatre program. A and benefits. Additionally, the workshop offers insights look at people, equipment, facilities, and liability. Drama, which awarded her with “Excellence in the Arts” for her work in radio,television, and theatre. Her Chicago into balancing artistic & business mindsets and covers credits include A View From The Bridge and You Can’t Take It With You at Steppenwolf Theatre, In The Flesh at personal negotiating skills, record keeping, networking, How to improve communication skills for presenta- the Organic Theatre, The Love Of The Nightingale at The Next Theatre, and Waiting For Lefty at the Artistic Home. and more. The session is Q & A driven, and is de- tion of Stage Makeup Design. While television brought Amy to Los Angeles, she continued her work in theater, first at The Met, starring with signed to ease the transition from an academic envi- Karen Anselm, Bloomsburg university Pruitt Taylor Vince and playing Brittany Murphy’s mother in A Dead Man’s Apartment. She originated the role of ronment to a professional career. Martha Boswell in the musical, The Boswell Sisters, at The Old Globe Theatre; she has continued singing Boswell We will review ways to improve communication skills for Sisters arrangements with the women from that show in their 1930’s New Orleans-style jazz trio, “Shout Sister,” The Shurtleff Audition Workshop your presentation of Stage Makeup Design for the Alcone culminating in an invitation to sing at Sag Harbor in New Orleans on the Centennial of Connie Boswell’s birth. Tom Huston Orr, University of Oklahoma School of Makeup Design Competition and also ways to present Other theater credits include Christmas In Naples at the Williamstown Theatre Festival, Lobby Hero at the Odys- Drama sey Theatre (nominated for an Ovation award), and at LA’s Reprise, the musicals, Fiorello and Company (which Using 5 principles set forth by famed casting director your work to other collaborators, including use of makeup Michael Shurtleff, this workshop explores strategies worksheet or mapping and research materials. Please she was nominated for a 2004 Ovation Award for Best Featured Actress in a Musical). In 2001, Amy produced a and techniques designed to give you a competitive bring an 8 x 10 photo to use for a character makeup musical adaptation of the movie Xanadu, at the Gascon Center Theatre. The show went on to Broadway, winning edge in your auditions and prepare you to make the which we will design in the workshop. Bring art supplies Tony nominations, and is now on a national tour. Her love of radio plays has led her to do 15 plays with L.A. The- most of your audition/interview opportunities. No or makeup to use on worksheets if you have them. We atre Works and The Play’s The Thing on NPR. Some of her favorites are A View From the Bridge, The South Paw, memorized audition material is required to attend. will not actually do makeup in this workshop. After the Fall, Voir Dire, Dinosaur Dreams, The Cherry Orchard, Middle of the Night, and Falsettos. She is a found- ing member of Teatro de Facto, an exciting, new L.A. theatre company, led by writer, Zach Helm, scribe of the film, Stranger Than Fiction. Her work for charities includes a passion for the Winter Special Olympics, where she has spent her last 7 birthdays skiing with athletes from Northern California. She shared executive producer credit with Brad Pitt on the documentary filmThe Tehuacan Project, which garnered Andy Lauer, the film’s director, with a humanitarian award from the White House. She’s a regular singer for the Alzheimer’s Association’s yearly fundraiser, and for “What a Pair,” raising money for breast cancer research. Her experience with adoption, both as a birth mother and adoptee, motivated her to become a certified birth doula in 2003, a passion and career as important to her as performing.

14 23 Leonard Madrid (University of New Mexico) has an MFA in Dramatic Writing from the University of New Mexico. Backstage Look at the Santa Fe Opera Beginning Stage Managers: from Prompt Script to He is an artistic member of Blackout Theatre of Albuquerque. Leonard has performed Chicago style improv for Tracy Armagost, Santa Fe Opera Closing Night over ten years. Brad Buffum, University of Nebraska–Lincoln The workshop will include visuals of the facilities, pro- Nathan Michael (Alley Theatre) is the Assistant Properties Master at The Alley Theatre. A 2000 M.F.A. degree duction designs past, present, future and discussion Many student stage managers work without instruc- recipient from the University of Illinois’ Department of Theatre, he returned to Champaign-Urbana last fall as about seasonal employment opportunities. Krannert Center’s Properties Director. He has practiced his skills in properties design, construction, and manage- tors, figuring it out as they go along. This workshop will ment at the Utah Shakespearean Festival, Heart of America Shakespeare Festival, Idaho Shakespeare Festival, give you a needed jump start and some basics of how SOUND IN THEATRICAL SPACES to get your show off the ground. VERY informal with Missouri Repertory Theater, Coterie Theatre, Unicorn Theatre, Actors Theatre of Louisville, Milwaukee Repertory Jason Romney, University North Carolina School of the Theatre, University of Illinois’ Krannert Center for the Performing Arts, and Shakespeare Santa Cruz. He has also lots of Q&A. We’ll include basics of blocking notation, served on the faculty at the University of Missouri–Kansas City as both a lecturer and assistant professor. Arts rehearsal/performance notes and how to stage manage your fellow students and work with faculty designers Tom Miller (Actors’ Equity Association) Prior to joining the staff of Actors’ Equity Association, Tom Miller was an As sound designers we often ignore the most important and directors. actor for over 25 years, performing in National Tours, Regional Theatre, Off Broadway and Europe. Additionally, he component of our sound design: the theatrical space. performed with the Atlanta Ballet, Ballet Florida, the Carl Radcliff Dance Theatre and at Opryland USA. He can be You may have the most interesting content ever, but if it Directing and Shakespeare seen in the documentary Show Business –The Road To Broadway hosting a Broadway opening night Gypsy Robe is not executed effectively in the theatre space, you may presentation. For over a decade he was honored to serve as a voter for the Tony Awards. Tom is a graduate of not communicate the most appropriate meaning. Sub- Directing Shakespeare in America Indiana University with a degree in Education. jects explored include: the case against point source; Charles Ney, Texas State University-San Marcos the case against stereo; surrounding with loudspeak- Production pictures as well as information on how Nadine Mozon (Texas State University) is an actor, poet, and teaching artist whose original work has been pro- ers vs. surrounding with sound; panning vs. revealing; directors currently approach Shakespeare in North duced for the stage. Such productions include her one-woman show Confirming the Search: That Girl’s Still Here underscoring; and dramatic shape. America. Somewhere, and I.D. Please. She has been a featured performer and collaborative partner developing new work with dancers, choreographers, and musicians. Ms. Mozon currently teaches acting and movement for actors at STAGE PROPERTIES IN THE PROFESSIONAL Finding the Action in Verse Texas State University. THEATRE Chuck Gorden, University of Texas at El Paso Karin Rabe, Alley Theatre Charles Ney (Texas State University) is a professor of acting and directing in the Department of Theatre & Nathan Michaels, Alley Theatre A crash-course in scansion for beginners. How to use Dance. Since receiving a grant in 2004 he has traveled to Shakespeare theaters coast to coast, interviewing over the clues in Shakespeare’s scansion to determine the 50 artistic directors and directors about their current working methods and productions. He has had two articles Karin Rabe/Nathan Michaels of the Alley Theatre will playable action in a soliloquy or monologue. Partici- on the artistic direction of U.S. Shakespeare published in American Theatre: “The Monte Spin” (2008) and “Force discuss the properties department in the professional pants are encouraged to bring prepared monologues of Will” (2005). Presently he’s working on a book, Directing Shakespeare in America. He has directed at the Illinois with them. Those without are also welcome as read- Shakespeare Festival, Texas Shakespeare Festival, Idaho Repertory Theatre, Mary Moody Northen Theatre, and theatre. Topics will include: how the department func- ings will be provided. Through exercises, students will Zachary Scott Theatre Center. He is currently working with Workingman’s Clothes Productions on an upcoming tions within the production process; various positions learn to regard Shakespeare’s language as their ally, New York City production of Romulus Linney’s Going After Cacciato, based on the novel by Tim O’Brien. within the properties’ field; skills needed to work within not their enemy. the profession; and how to start a career in the field. Cathy Norgren (University at Buffalo) has served KCACTF in a number of administrative capacities for over 20 The Directing Process years; she is happy to end her official service to KCACTF by being on the National SelectionTeam. In civilian life THE BASICS OF VECTORWORKS Peter Ellenstein, William Inge Center Cathy teaches design at the University at Buffalo, where she is Professor and Associate Chair of Theatre & Dance. J.C. Laucks She teaches at the KC Summer Intensives in Playwriting each July.Cathy is also a member of United Scenic Art- A step-by-step examination of this director’s process. ists, local 829. As a freelance designer she has designed costumes for: Theatre for Young Audiences at the Ken- This workshop introduces the basics of Vectorworks, This session runs the gamut from choosing a play to nedy Center; Actors Theatre of Louisville, Humana Festival of New American Plays; the Cleveland Playhouse; the Spotlight, and basic drawing for the theatre designer working with designers to casting to the first rehearsal former Studio Arena Theatre in Buffalo; Alabama Shakespeare Festival; North Carolina Shakespeare Festival; the and technician within a CAD environment. to working with actors (students and pros), and gives a National Shakespeare Company; Indiana Repertory Theatre; Virginia Stage; Vermont Stage; Pennsylvania Center breakdown of rehearsal weeks leading to performance. Stage; and Arden Theatre of Philadelphia. Cathy has upcoming designs at the Roundhouse Theatre, Bethesda Draping The Basic Two-Dart Bodice The session covers practical tips and methods that MD; and GEVA Theatre in Rochester NY. Cathy holds a Bachelor of Arts degree cum laude from Mount Holyoke Christina Hobbs, Texas State University enable a director to make “the whole” greater than the College, and Master of Fine Arts degree from Carnegie Mellon University. sum of the parts in any production. The workshop is a Alternate draping technique used to map out guide- lecture-demo, using audience members to illustrate the Tim O’Brien (Novelist, Texas State University) has been called “the best American writer of his generation.” The lines & measurements to ensure a smooth-fitting 2 dart process. author of eight books, O’Brien’s Going After Cacciato won the National Book Award in Fiction in 1979. The Things bodice. They Carried was named by the New York Times as one of the ten best books of l990. It also received the Not What You Expected (Cross-listed with Design) Chicago Tribune Heartland Award in fiction, and was a finalist for both the Pulitzer Prize and the National Book Cathy Norgren, University at Buffalo Critics Circle Award. In 1993 the French edition of The Things They Carried received the prestigious Prix du Meil- Stage Management & Education leur Livre Etranger. In the Lake of the Woods was named by Time magazine as the best novel of 1994. The book An exercise in the collaborative conversation between also received the James Fenimore Cooper Prize from the Society of American Historians and was selected as one Stage Management: the job for the person who playwright, director, and designers. Using Fine Art as of the ten best books of the year by the New York Times. His other books include If I Die in a Combat Zone, North- knows everything. an access point, this workshop will address and inves- ern Lights, and The Nuclear Age. His most recent novels In The Lake of the Woods, Tomcat in Love, and July, July D. Andrew Gibbs, University of Arkansas, Fayetteville tigate any or all of the following elements: Did we read were national bestsellers. O’Brien has been awarded fellowships from the Guggenheim Foundation and the Na- the same play? How can you talk about “essential tional Endowment for the Arts. Since 1999, in alternating years, he has held the Roy F. And Joann Cole Mitte En- An overview of stage management with emphasis on qualities” – of play, environment, etc.? How do you get dowed Chair in Creative Writing at Texas State University where he teaches in the MFA Creative Writing program. the communication process, who does what to whom, from inspiration to execution? What is “visual drama- and differences between the academic and professional turgy”? Embracing ambiguity. Literalness and symbol- Tom Huston Orr (University of Oklahoma) holds the James Garner Chair as Director of the University of theatre expectations. ism as four-letter words. Collaborative communication. Oklahoma School of Drama. He has served as a performer, producer, director, or combat choreographer on over Bring a copy of your favorite play, and an image that 250 theatrical productions. As an actor, Tom most recently appeared in the feature films,The Downwinders and On-Line Learning/Teaching: Realities and Fallacies works for you somehow in explaining how you feel Pearl: The Pearl Carter Scott Story and was seen in the title role in Hamlet with the Oklahoma Shakespeare Kaleta Brown, Cypress College (Retired) about the play. Or just bring yourself, and an inquisitive Chautauqua. New York credits include Petruchio in The Taming of the Shrew, Stanley in The Glass Mendacity, brain! Silvio in PVT. Wars, and Jonathan Harker in Dracula, The Journals of Jonathan Harker. Tom’s directing and fight This workshop investigates the options, possibilities and choreography credits include Noises Off, Texarkana Waltz, Macbeth, Henry IV, p1, Le Bourgeois Gentleman, processes for Theatre education as an on-line teaching Hamlet, Two Booths and a Lincoln, Man of La Mancha, My Favorite Year, The Pirates of Penzance, The Zoo Story, vehicle. Student learning opportunities will be an impor- Metamorphoses, A Midsummer Night’s Dream, West Side Story, and Romeo and Juliet (five times). He is a gradu- tant part. ate of the University of Texas MFA Acting Program and is professionally represented by the Switzer Talent Agency.

22 15 National Selection Team Christina Hobbs (Texas State University) is the Cutter/Draper for Texas State University. She has an M.F.A. in Costume Technology from The University of Texas at Austin.

Gregg Henry Artistic Director KCACTF. Upcoming productions: A Sleeping Country by Melanie Marnich for Round Arlene Hutton (Playwright and Actor) is best known for The Nibroc Trilogy, which includes Last Train to Nibroc House Theatre and Teddy Roosevelt and the Ghostly Mistletoe by Tom Isbell and Mark Russell for The Kennedy (New York Drama League Best Play nomination), See Rock City (In the Spirit of America Award) and Gulf View Center. Recent productions include the U.S. Premieres of Girl in the Goldfish Bowl for MetroStage and You Are Drive (LA Weekly and Ovation Award nominations). Her plays have been presented Off- and Off-Off-Broadway, at Here for Theatre Alliance; An Experiment with an Air Pump for Journeymen Theater Ensemble; Two-Headed and regional theatres and throughout the world, including four times at the Edinburgh Festival Fringe. Her first one-act, Scaramouche for Washington Shakespeare Company. Productions for Kennedy Center Theater for Young Audi- I Dream Before I Take the Stand, has been performed around the world and translated into Chinese, Dutch and ences: Mermaids, Monsters and the World Painted Purple by Marco Ramirez, Mark Russell & Tom Isbell’s Teddy Romanian. New York credits include 78th Street Theatre Lab, Alice’s Fourth Floor, A-Train Plays, ArcLight, Barrow Roosevelt and the Treasure of Ursa Major, Barbara Field’s Dreams in the Golden Country and Norman Allen’s The Group, Circle-in-the-Square Downtown, Duplex, EST, Guerilla Rep, HERE, New York Fringe, Rude Mechanicals, Light of Excalibur. He has directed development workshops for Arena Stage’s Downstairs and Centerstage’s First Vital and West Bank Downstairs. An alumna of New Dramatists, Hutton is a member of Dramatists Guild, six-time Look. He hosts the MFA Playwrights’ Workshop at the Kennedy Center in partnership with NNPN. He is artistic as- Heineman Award finalist, three-time winner of the Samuel French Short Play Festival, finalist for the Francesca sociate for Kennedy Center Theater for Young Audiences for New Works & Commissions, developing projects by Primus Prize and recipient of the Lippman and Calloway Awards. Residencies include the Australian National Play- Marsha Norman, Jason Robert Brown, Naomi Iizuka, Quiara Hudes and others. Gregg is the Curator of the Ken- wrights Conference, New Harmony Project, MacDowell Colony and Yaddo. About to begin the William Inge Center nedy Center Page-to-Stage New Play Festival. He holds an MFA from the University of Michigan, and has served for the Arts Residency in Kansas, Hutton was resident playwright for the Greenville Centre Stage New Play Fes- on the faculties of the University of Michigan, Western Michigan University, Iowa State University and Catholic tival and was twice named the Tennessee Williams Fellow in Playwriting at the University of the South. She has University of America. Gregg is a proud member of LMDA, The Dramatists Guild and SSDC. served on the faculty of the Glen Workshop and the Sewanee Writers Conference. Last Train to Nibroc, the first play to transfer from the New York Fringe to Off-Broadway (Urinetown was the second), was recently produced in Kaleta Brown is a retired fine arts dean and professor emeritus of theater from Cypress College. She is a past London and at Cincinnati Playhouse and has seen over a hundred productions around the country, including a pre- president of the California Educational Theater Association (CETA) and the Legislative Action Committee for Arts sentation by The Journey Company at the Last Frontier Theatre Conference in 2007. Hutton continues developing in Education. Her awards include the Region VIII Lifetime Achievement Award, two Kennedy Center Medallions for Letters to Sala, a Holocaust story, and Parhelia, about the Brontë family. She and Tony-nominated composer/lyri- Theater Excellence, the CETA Medallion for dedication to theatre, and CETA’s Outstanding Theater Educator cist Jeff Blumenkrantz have been commissioned to write a new musical, The Red Rose Girls. Hutton’s scripts are Award. She has been a festival and/or Irene Ryan respondent in several of the nation’s regions and has directed published by Samuel French, Applause Books, Smith & Kraus, Playscripts, and Dramatists Play Service. the Irene Ryan Festival of Scenes at the Kennedy Center in Washington, D.C. Harold Hynick (Missouri Valley College) is an actor, director, and Assistant Professor of Theatre at Missouri Val- Cathy Norgren has served KCACTF in a number of administrative capacities for over 20 years; she is happy to ley College. He holds an M.F.A. in Directing from the University of South Dakota, and has taught theatre at Drake end her official service to KCACTF by being on the National SelectionTeam. In civilian life Cathy teaches design University, Chadron State College, Midland Lutheran College, Dakota Wesleyan University, and the University of at the University at Buffalo, where she is Professor and Associate Chair of Theatre & Dance. She teaches at the South Dakota. His professional experience includes work in Houston, Maine, and the beautiful Black Hills of South KC Summer Intensives in Playwriting each July. Cathy is also a member of United Scenic Artists, local 829. As a Dakota where he spent 12 seasons at The Black Hills Playhouse. For the past two years he has worked with the freelance designer she has designed costumes for: Theatre for Young Audiences at the Kennedy Center; Actors Great Plains Theatre Conference as an actor and director. He has served KCACTF Region V as a respondent, Theatre of Louisville, Humana Festival of New American Plays; the Cleveland Playhouse; the former Studio Arena workshop presenter, Irene Ryan judge, member of the Regional Selection Team, and as Coordinator of the Show- Theatre in Buffalo; Alabama Shakespeare Festival; North Carolina Shakespeare Festival; the National Shake- case of Invited Scenes. speare Company; Indiana Repertory Theatre; Virginia Stage; Vermont Stage; Pennsylvania Center Stage; and Ar- den Theatre of Philadelphia. Cathy has upcoming designs at the Roundhouse Theatre, Bethesda MD; and GEVA Ron Keller (Virginia Communwealth University) incoming Chair of Design and Technologies for Region IV, is Theatre in Rochester NY. Cathy holds a Bachelor of Arts degree cum laude from Mount Holyoke College, and a the Head of Design and Resident Scenic Designer at Theatre VCU where he has taught for 24 years. He has been Master of Fine Arts degree from Carnegie Mellon University. a member of United Scenic Artists, NY local 828 since 1989. He has designed nearly 200 stage productions. He is a life member of the Southeastern Theatre Conference and is very active as a design respondent for KCACTF Steve Reynolds, professor of theatre at Wittenberg University in Springfield, OH, has been directing and teaching and has served as Chair and Regional Chair of Design and Technologies for both organizations. His designs acting, playwriting, and contemporary American drama since 1981. Recent Wittenberg directing credits include have been exhibited in USITT’s Art For The Stage, at the Anderson Gallery and Spirit Square Galleries. He has Urinetown, a gender bent Taming of the Shrew, The Seagull, The Learned Ladies, and My Fair Lady. Favorites designed and executed decorative painting projects with clients in Virginia and Florida. over the years at Wittenberg include Dancing at Lughnasa, H.M.S. Pinafore, The Boys Next Door, A Midsummer Night’s Dream, Gogol’s Inspector General set in the American Wild West, All My Sons, and Picnic. In 2000 he Lauren Lane (Texas State University) has worked extensively in television, film, and theater. She starred as directed Dan Stroeh’s it is no desert, which received the 2001 National Student Playwriting Award from KCACTF. C.C. Babcock for six years on the television series The Nanny. She also starred as Chris Novak on Hunter and as While completing his M. A. and Ph.D. at The University of Michigan he directed In Celebration, Ah, Wilderness!, Julie Rayburn on LA Law. She received her M.F.A. training at The American Conservatory Theater in San Fran- Of Thee I Sing and the rock musical version of Two Gentlemen of Verona. His other productions include Pirates cisco. She has worked at Berkley Repertory Theater, The Mark Taper Forum, Actors Theater of Louisville, The of Penzance, Man of La Mancha and She Loves Me (Springfield, OH Summer Arts Festival), Camelot, Bye Bye Dallas Theater Center and The American Conservatory among others. She is one of the creators of the Austin hit Birdie, Man of La Mancha, The Sound of Music, Gigi and The Unsinkable Molly Brown (Croswell Opera House, The Dick Monologues. For five years she was a company member of the critically acclaimed experimental theatre Adrian, Michigan), Brigadoon (Ann Arbor Civic Theatre), a Wittenberg alumni showcase of Lloyd’s Prayer (Holly- company The Actors Gang under the artistic direction of Tim Robbins. She has taught undergraduate and gradu- wood), Reckless (Mira Costa Community College) and The Chairs (Wilton, CT Playshop). Reynolds fell in love with ate studies in acting at The University of Texas and Texas State University where she is currently an Assistant theatre as an undergraduate at Tufts-in-London. He has published reviews in Theatre Journal and received a Professor. She and her daughter, Kate, live in Austin, Texas. She is represented by Collier Talent. N.E.H. Summer Seminar Grant to study American playwrights at Columbia University. From 2004-2008 Reynolds served as Region III National Playwriting Program Chair. He has received the O.D.K. Teaching Award at Witten- Thai-Hoa Le (Actor) was born and raised in Montreal and speaks fluent Vietnamese, French and English. He berg and a Kennedy Center Gold Medallion Award for Excellence in College Teaching from Region III of KCACTF. recently starred in Casino, a Canadian TV Series that has earned critical acclaim and high ratings in French-Can- This past November he directed a Julie Harris tribute production of The Member of the Wedding for Cape Rep ada. Here in the U.S., he appeared in Sanctuary a new show on the Sci-Fi Channel, which already has its cult-like Theatre on Cape Cod, Massachusetts while on sabbatical from Wittenberg. following. Currently he is hosting D’est en Ouest, an off-the-beaten-path Canadian travel show, for the International French Channel TV5. Also, he is a Working Finalist at the Actors Studio, having graduated from the M.F.A. Pro- gram at Actors Studio Drama School (NYC) in May ‘05. In addition to his training as an actor, he also holds a Law Degree from the University of Montreal. Smile, a short movie directed by Julia Kwan and featuring Thai-Hoa, was selected to screen at the 2008 Sundance Film Festival.

21 16 Dr. Harry B. Parker is currently serving as the National Chair of KCACTF. He is a Professor and the Chair of D. Andrew Gibbs (University of Arkansas) is currently Professor and Chair of the Department of Drama at the the Department of Theatre at Texas Christian University in Fort Worth, Texas. A native of Oklahoma City, Harry University of Arkansas, Fayetteville, where he has taught since 1978. In addition to his administrative responsi- received a B.F.A. (magna cum laude) in Theatre from TCU, and from the University of Kansas in Lawrence he bilities, he serves as director of the Master of Fine Arts (MFA) Lighting program and teaches courses in lighting earned an M.A. in Theatre (Acting/Directing), and a Ph.D. in Theatre and Film. He has also served on the fac- design and technology, theatre architecture, theatre and stage management and scene design. Professor Gibbs’ ulty of Westmar College in Iowa, and spent eleven years as the Director of Theatre at Emporia State University educational background includes a Ph.D. in Theatre from the University of Illinois, an MA in Drama/Design from in Kansas. For seven summers Harry worked professionally as the Assistant Artistic Director at Lyric Theatre of the University of Washington and a BFA in Theatre from the University of Connecticut. A primary research interest Oklahoma, where he assisted in staging over 30 major musicals. He has directed more than 75 professional, has been the planning and design of theatres and performing arts centers. Studies in this area has lead to teach- community and academic theatre productions across the country including Emporia State University’s production ing in this field as well as an on-going practice as a theatre consultant with experience in new theatre and perform- of The Car, which performed at the 1997 KCACTF Region V Festival. Harry has directed professionally at Stages ing arts center design as well as restoration and renovation of existing theatres and the development of theatres in Repertory Theatre (Houston); American Heartland Theatre (Kansas City); Lyric Theatre (Oklahoma City), Jubilee found spaces. Professor Gibbs is a past Chair of Region VI. More recently he was the National Design Chair for Theatre (Fort Worth) and five shows at Circle Theatre (Fort Worth). His directing credits include Holiday, Antigone, the Kennedy Center American College Theatre Festival. Additional experience with the KCACTF includes serving South Pacific, The Importance of Being Earnest, Extremities, Godspell, The Miser, Charley’s Aunt, The Phila- as a member of the National Selection Team and as a National Committee Member-at-Large. Currently, he is a delphia Story, Joseph and the Amazing Technicolor Dreamcoat, The Will Rogers Follies, The Comedy of Errors, board member of National Partners-American Theatre (NAPAT), serving as the representative to KCACTF Region Marvin’s Room, Bus Stop, Little Women, The King and I, The Matchmaker, The Laramie Project and The Taming VI. Other organizational involvement includes active memberships in the U.S. Institute for Theatre Technology and of the Shrew. Harry has also written the libretti for four original musical revues, featuring the music of Irving Ber- the Association for Theatre in Higher Education. He has published several articles and presented research papers lin, George Gershwin, and others. In Fort Worth, he currently serves on the Boards of Circle Theatre and the Live and programs at a variety of regional and national conferences. Professor Gibbs’ career includes, in addition to the Theatre League of Tarrant County. He is also an Associate member of the Society of Stage Directors and Chore- Arkansas tenure, six years as designer/technical director at East Texas State University (now Texas A&M, Com- ographers. A former Regional Chair of KCACTF Region V, Harry has served as a respondent for more than 130 merce) and several years in the commercial lighting business. different KCACTF entries from Alaska to South Carolina, as well as serving as a Guest Respondent and/or Irene Ryan Respondent in every KCACTF Region. He has served as a preliminary screener/reader for various National Vanessa Gibens (National Theater Institute) is a member of Wide Eyed Productions and FullStop Collective. KCACTF awards (including the KCACTF Musical Theatre Award), directed for the National Ten-Minute Play Fes- She is a graduate of Manhattanville College and the National Theater Institute. She currently works as a tival at the Kennedy Center, and served as the Host for the Irene Ryan Winners’ Circle of Scenes at the Kennedy Recruitment Consultant for the National Theater Institute. Vanessa was recently seen in Wide Eyed Productions’ Center. He also serves as an annual reader for the Eugene O’Neill Theater Center in Waterford, Connecticut. Phedre (Oenone). Other credits include Queens Garden Stage’s A Midsummer Night’s Dream (Hermia), Latino Flavored Productions’ Jose Can Speak, Wide Eyed Productions’ Much Ado About Nothing (Margaret), The Living Room Theater’s Tryannos Rex (Antigone), and Manhattanville College’s Romeo and Juliet (Juliet) and The Taming Respondents, Workshop Leaders, & Special Guests of the Shrew (Kate). Karen Anselm (Bloomsburg University) is a Professor of Theatre, Costume Designer and Director and is the Chuck Gorden (University of Texas at El Paso) is an Associate Professor and Head of Directing at the Univer- National Vice Chair of Design for the Kennedy Center American College Theatre Festival. For Bloomsburg Uni- sity of Texas at El Paso. Prior to this appointment, he served for 7 years as Head of the MFA Directing program versity, she directed Lysistrata, and Trojan Women, which toured to the International Theatre Festival of Ancient at the University of Arkansas. He served as Regional Chair of Playwriting for Region VI from 2001 thru 2004. His Greek Drama in Cyprus. A graduate of CMU, some of her favorite costume designs include: Romeo & Juliet at 2007 production of Anna in the Tropics was chosen as an alternate for that year’s national festival. He has directed Bloomsburg University, You Can’t Take It With You at BTE, The Three Sisters at La MaMa, NYC and Wolf Sonata more than 100 productions professionally and academically. Bacchae at Dell Arte in Blue Lake, CA. Most recently for Bloomsburg University’s V-Day events, she hosted A Memory, A Monologue, A Rant & A Prayer and performed “I was there in the room”, in The Vagina Monologues. Sarah Greenman (Playwright) is a playwright, actor, director and educator. She holds a BA in creative writing from Mills College where she was awarded the Gertrude Hung Chan Playwriting Prize for her original play Leni, Tracy Armagost (Santa Fe Opera) is the Assistant to the Production Director with The Santa Fe Opera. She based on the life of German filmmaker Leni Riefenstahl. Leni has since been produced in New York, Seattle, San began 22 seasons ago as a Properties Carpenter Apprentice, then moved on to the Props Running Crew as an Francisco, Portland, and Santa Maria, CA. Sarah is also a graduate of the Pacific Conservatory for the Performing Assistant and then ran the Props Running Crew for 10 years. Her main responsibilities at SFO include oversee- Arts in Santa Maria, CA where she most recently served as Interim Director of Outreach and Education. Please ing the program for the Technical Apprentices (including recruiting and programming), production scheduling and visit www.sarahgreenman.com for more information. supervising the onstage rehearsals.

Melissa Grogan (Texas State University) received her M.F.A. in Acting from the University of North Carolina at Paige Bishop (Texas State University) has been teaching in the Texas State University Department of Theatre Greensboro. She is certified as an Associate Teacher of Fitzmaurice Voicework, trained in Knight Speechwork, and Dance since 1991. She has taught Acting for Television and Film, Beginning Acting for Stage, Intermediate and is an active member of the Voice and Speech Trainers Association. She is an Assistant Professor of Voice Acting, Characterization, B.F.A. Pre-Professional, Improvisation for the Actor, and Introduction to Fine Arts. She and Speech at Texas State University. Professionally, she worked as Vocal/Text Assistant at the Tony Award Win- has extensive professional experience in theatre, nightclubs, television, and film. Paige wrote and performed a ning Utah Shakespeare Festival. Melissa has collaborated with Zachary Scott Theatre as dialect coach on several one-woman play called Like a Fish Needs a Bicycle and toured the show from 1990 to 1992. Other credits with productions, including Doubt directed by Stephen Dietz. She will be playing the role of Sue in House of Several the department include directing The Miracle Worker, Harvey, The Exonerated, and The Catfish Prince, as well as Stories during this week’s ACTF festival. performing roles in Come Back to the 5 & Dime, Jimmy Dean, Jimmy Dean, The Impossible Marriage, and The Catfish Prince. Richard “Buzz” Herman (University of Central Missouri) is Chair and Professor of Theatre at the University of Central Missouri. He holds his PhD in Directing and Acting from Texas Tech University. Buzz teaches courses in H. Russ Brown (Lon Morris College) is Dept. Chair and Head of Performance at Lon Morris College in directing, acting, and theatre history and has served as director for over 100 academic and professional produc- Jacksonville, Texas. He is a Certified Teacher and Advanced Actor Combatant with the Society of American Fight tions. Buzz currently serves as the KCACTF Region V Vice-Chair of the New Plays Program and as President of Directors. His areas of expertise include Acting, Musical Theatre, Voice/Dialects, Movement & Stage Combat. the Speech and Theatre Association of Missouri. His honors include the Missouri Governor’s Award for Excellence in Teaching and the Speech and Theatre Association of Missouri Outstanding Teacher Award. Kaleta Brown (Cypress College, Retired) is a retired fine arts dean and professor emeritus of theater from Cypress College. She is a past president of the California Educational Theater Association (CETA) and the Leg- Emily Heugatter (Centenary College of Louisiana) holds an M.F.A. in Acting from DePaul University in Chicago, islative Action Committee for Arts in Education. Her awards include the Region VIII Lifetime Achievement Award, a B.F.A. in Acting from the University of Utah, graduated with a degree in Theatre from Interlochen Arts Academy, two Kennedy Center Medallions for Theater Excellence, the CETA Medallion for dedication to theatre, and CETA’s and trained at the British American Drama Academy in Oxford, UK. Regionally, she has performed with Pioneer Outstanding Theater Educator Award. She has been a festival and/or Irene Ryan respondent in several of the na- Theatre Company, The St. Louis Black Repertory Theatre, Ozark Actors Theatre, The Salt Lake Acting Company, tion’s regions and has directed the Irene Ryan Festival of Scenes at the Kennedy Center in Washington, D.C. The MUNY Theatre, The St. Louis Shakespeare Company, Orthwein Theatre, and Chicago’s Appetite Theatre Company, among others, as well as abroad at the Edinburgh Fringe Festival. She is currently a Professor of Acting and Directing at Centenary College in Shreveport, LA, and a proud member of Actor’s Equity Association.

20 17 Brad Buffum (University of Nebraska–Lincoln and Nebraska Repertory Theatre) has stage managed for 10 Rena Cook (University of Oklahoma) is an Associate Professor of voice, speech, and dialects in the School of years for Nebraska Repertory Theatre and the Johnny Carson School of Theatre and Film. He has been Produc- Drama at the University of Oklahoma where she is also Head of Performance. She has dialect coached Cabaret, tion Stage Manager for such blockbusters as A Christmas Carol (several versions), Fiddler on the Roof, Guys and The Beauty Queen of Leenane, Great Expectations and The Grapes of Wrath. Rena holds an MA in voice from Dolls, Oklahoma! and nearly forty productions for NRT, including Carnival. He has stage managed productions the Central School of Speech and Drama in London and an MFA in Directing from the University of Oklahoma. Her in Russia, Poland, New York City and around the Midwest. An active participant in the Kennedy Center American book, Breath in Action, will be available in May; she is also Editor-in-chief of the Voice and Speech Review. She College Theatre Festival, he serves as stage management coordinator both regionally and nationally. has presented workshops through out the US and the UK.

Camille Bulliard (University of Louisiana at Lafayette) is currently an Assistant Professor of Theatre, Acting/ Tom Copeland (Texas State University) has been one of the state’s most-respected advocates for its film pro- Movement concentration, at the University of Louisiana at Lafayette. Camille received her B.F.A. in Choreographic duction industry since 1983. During his tenure as the director of the Texas Film Commission, he was the state’s Design from the University of Louisiana at Lafayette and completed her graduate studies in Theatre at Southern primary liaison between Hollywood, government and the private sector. During his leadership, total budgets of Methodist University. Prior to arriving at ULL, Professor Bulliard worked professionally in NYC, Dallas and Los Texas-made films exceeded $3 billion. Following his retirement from the State in 2005, he joined the Theatre Angeles. Camille also holds the designation of CPCC, Certified Professional Co-Active Coach, as well as is a Department faculty at Texas State, returning to the University where his career began. His classes, “The Business registered yoga teacher with Yoga Alliance. Now at ULL, Camille leads the Acting and Movement concentration for of Film” and “Independent Shorts”, provide hands-on production training and allow his students to interact with the curriculum. To learn more about her work, please visit www.camillebulliard.com. nationally-known film professionals.

Chris Caddel (Louise Hopkins Underwood Center for the Arts) has worked over twenty years in the film and Michael Costello (Texas State University) is Head of Acting at Texas State University. Along with teaching, video business. Chris’ short films have played film festivals around the world including; the St. Louis International Michael continues to work professional as an actor and director. Recently, he played opposite Claire Danes in the Film Festival, Santa Monica Film Festival, Olympia Film Festival, New York Independent Film and Video Festival, HBO filmTemple Grandini. and the Clermont-Ferrand International Short Film Festival and Market. Chris is also the Technical Director for the Louise Hopkins Underwood Center for the Arts in Lubbock, Texas. James Dolph (University of Central Oklahoma) works as a lecturer in the English Department at the University of Central Oklahoma. He studied theatre at Northeastern Oklahoma State University, political science at California Chris Cameron (Coffeyville Community College) is from Chetopa, Kansas and the Technical Director at Cof- State University San Bernardino, Russian at Monterey California’s Defense Language Institute, creative writing at feyville Community College. Chris is a CCC Alumnus and attended Texas A&M University-Commerce where he UCO, drama at the University of Oklahoma, and interdisciplinary art at Vermont’s Goddard College. received his Bachelors of Arts degree in Theatre. He has performed in a variety of plays at CCC including Titus Andronicus, Agamemnon, No-Code, Pippin, The Secret Garden, School House Rock, Charley’s Aunt, and Marcus Xanthe Elbrick (Actor, Irene Ryan Judge) appeared on Broadway in Coram Boy, for which she earned a Tony is Walking. While at Texas A&M Chris appeared in Who’s Afraid of Virginia Woolf?, The Rivals, Sorry, A Purrfect Nomination, Drama Desk Nomination, and a Theatre World Award. Her Off-Broadway and Regional credits include Life, Richard the III, In The Jar, and Learning Curves. Chris was recognized for his set designs while at Texas Leaves of Glass (Playwright’s Horizon), Mrs. Warren’s Profession (Berkshire Theatre Festival), Jubiliation (Royal A & M including his design for The Chairs which got rave reviews. He won numerous awards while at Texas A&M Shakespeare Company), as well as shows at venues such as Wiliamstown, Actors Studio, New School, and the including Best Newcomer, and Best Comedic Actor for The Rivals. Chris performed for The Second City School in Gate Theatre, London. Her film and television credits include Body of Lies (dir. Ridly Scott), a recurring role on All Chicago in 2006. My Children as well as work for the BBC. Her training is from both the Royal Academy of Dramatic Art and the Ac- tors Studio. Robin Carr (University of Southern Mississippi) is an Associate Professor of Voice and Acting in the Depart- ment of Theatre and Dance at the University of Southern Mississippi. Since she has been at Southern Miss, Robin Peter Ellenstein (William Inge Center) is Artistic Director of the William Inge Center for the Arts in Independence, has directed Songs for a New World, Voice of the Prairie, Little Shop of Horrors, Cabaret, The World Goes Round, Kansas, home of the William Inge Theatre Festival and Professional Playwriting Certificate Program. Former and Picasso at the Lapin Agile. Ms. Carr also directed Coyote on a Fence for the Kennedy Center/American Col- Producing Director of the Los Angeles Repertory Company, he served on the Governing Counsel of Association lege Theatre Festival (KC/ACTF) and has served on the regional selection committee for KC/ACTF. Ms. Carr has of Theatre for Higher Education (ATHE), a former Board Member of Theatre LA and the Southern California Arts been the dialect coach for various USM productions such as Waiting for the Parade, Candida, The Country Wife Coalition. Member: Actors Equity Association, Screen Actor Guild & the Society of Stage Directors and Choreog- and The University of New Orleans’ production of Our Country’s Good. Robin has taught at the University of Con- raphers. Multiple award-winning director and producer of professional theatre productions from Shaw to Shake- necticut, Old Dominion University, and at the Berkshire Theatre Festival. A member of Actor’s Equity, Robin has speare to Sondheim to Odets to children’s theatre. Peter’s work has been seen across the country from little performed such roles as Fefu in Fefu and Her Friends, Mrs. Lovett in Sweeney Todd, and the Ouisa in Six Degrees theatres in Los Angeles and New York to Broadway and Off-Broadway. As an actor Peter appeared in dozens of of Separation. She holds an M.F.A. in Acting from the University of Connecticut and a Shakespeare Acting Cer- professional stage productions and had numerous appearances on Film, Television and Radio. Has taught pro- tificate from the Royal Academy of Dramatic Arts. Robin is a Certified Lessac Trainer. Ms. Carr is vice president fessional and theatre classes for over 25 years. BA from Thomas Edison State College, NJ; MFA from Minnesota of the Voice and Speech Committee for the Southeastern Theatre Festival and is a member of the International State University, Mankato. Centre for Voice (ICV), The Lessac Training and Research Institute and Voice and Speech Trainers Association (VASTA). She is also the co-director of Midsummer Musical Theatre Experience, a musical theatre youth camp Mark Frank (Coffeyville Community College) has been the Artistic Director of Theatre at Coffeyville Community held on the campus of USM. Robin is the 2008 USM recipient of the Innovation Award for Creative Activities. College since 1994. He has the largest community college theatre program in the state of Kansas with a depart- ment of over 80 theatre students which produces 10 plays a year including improvisational comedy and children’s Emily Cicchini (Pollyanna Theatre Company) is an active playwright and screenwriter. Her work includes theatre. He has a Masters of Fine Arts Degree from Western Illinois University. He has directed and acted in over a Becoming Bronte, The Mystical Meeting of Mays and Terese, and most notably, Edward, The Owl, and The Calico hundred professional/community plays. He is the co-founder of the Rubber Chicken Factory Improvisational Com- Cat, which is available from Dramatic Publishing. She is playwright-in-residence for The Pollyanna Theatre Com- edy Troupe along with his wife Bethanie since 1995. Mark is an award-winning professional playwright and has pany, http://www.pollytheatre.org, a professional theatre for youth company that tours Texas with plays for audienc- had his plays performed all over the country for the last ten years. In 2002, he published , A Collection of Plays es ages 4 and up. Her play Pattern Nation will premiere at the Long Center for the Performing Arts in August of by Mark Frank; Volume II was published in 2005 and Volume III will be published in 2009. He is currently writing a 2009, and a direct-to-DVD video based on the Patterns stage series will also be released at that time. Emily was a children’s book, Princess Atlantis and the Journey to the Battle Lands. (www.markfrankplays.blogspot.com) co-founder of Austin Script Works, and has worked in a variety of capacities at numerous regional theatre compa- nies, including BoarsHead Theatre, Capitol City Playhouse, The Cleveland Playhouse, and Zachary Scott Theatre Erich Friend (Teqniqal Systems) has been involved with Theatre Consulting for over 30 years and has designed Center. She holds an MFA from the University of Texas at Austin where she was a continuing and post-graduate technical systems for facilities across the US, Mexico, and South America. Mr. Friend was a past Health and James A. Michener Fellow, and a BFA in Acting from the Goodman School of Drama/DePaul University. She has Safety Commissioner for USITT Southwest. served on the boards of Texans for the Arts and the International Centre for Women Playwrights, and has taught for VSA arts, an affiliate of the John F. Kennedy Center for the Performing Arts, and numerous other arts organiza- tions, colleges, and universities.

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