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MUSICAL THEATRE IN THE MOUNTAINS: AN EXAMINATION OF WEST VIRGINIA PUBLIC THEATRE’S HISTORY, MISSION, PRACTICES, AND COMMUNITY IMPACT. David S. Sollish A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY August 2010 Committee: Michael B. Ellison, Advisor Elaine J. Colprit Graduate Faculty Representative Jonathan L. Chambers Ronald E. Shields ii ABSTRACT Michael B. Ellison, Advisor The purpose of this study was to examine the ways in which a professional theatre can impact its community and to provide useful suggestions for young producers hoping to start their own theatre. By using the West Virginia Public Theatre as a case study and by examining its three-part mission (to entertain, to educate, and to improve the quality of life), this study highlights both effective and ineffectual practices conducted by the theatre, its administration, and its staff to ascertain the efficacy of that mission. Furthermore, the numerous voices stemming from my personal interviews with a cross-section of the community have served as a principal source of data from which to analyze the theatre’s impact on the blue-collar, sports- focused society of North Central West Virginia. West Virginia Public Theatre was established in 1985 and since has grown to be a reputable summer stock company. Modeled on the Pittsburgh Civic Light Opera, West Virginia Public Theatre has developed from a small, unknown theatre performing in a parking lot tent to a well-respected summer stock theatre with aspirations of further developing into a regional company. By investigating the efficacy of the theatre’s attempt to satisfy its three-fold mission through the guiding lens of Jill Dolan’s theories of “utopic performance,” I have gleaned several considerations for burgeoning producers to contemplate as they attempt to launch a new theatre company or to grow an already established company. These considerations, meant to be suggestions assembled from the analysis of my case study, will provide touchstones for fledgling companies to contemplate as they develop their own missions and attempt to impact their own communities. iii Dedicated to my mother, Linda S. Sollish, for her never-ending love and support. iv ACKNOWLEDGMENTS First and foremost I would like to thank my advisor Dr. Michael B. Ellison for sacrificing many hours of his sabbatical (Faculty Improvement Leave) to guide me through this process. Graciously, he took so much time and care with mentoring my focus, my words, and my spirit. Dr. Ellison was also a phenomenal mentor and friend during my four years in residence at Bowling Green State University and I can say, without a doubt, that my life has changed for the better because of him. He has my undying gratitude and admiration. I would also like to thank my committee for helping to shape my research and to avoid major pitfalls that are possible in a work such as this. Dr. Elaine J. Colprit, from the College of Musical Arts, came into my process late, but has been extremely helpful in making me focus my thoughts, especially when it comes to matching my data with my research questions. Dr. Ronald E. Shields has been equally as valuable in that regard, but moreover has been a wonderful teacher throughout my time at BGSU and has helped to open my eyes to new ideas, theories, and practices. He has also always been there if I needed a few words of wisdom, which was quite often. Dr. Jonathan Chambers was the first faculty member that I encountered during my application process to BGSU and has since become a wonderful mentor and has helped me traverse my way through the rigors of doctoral study. Some of my favorite classes were taught by Dr. Chambers and I will forever be thankful for the knowledge he has instilled in me. I could never have finished this project without the help and openness of the administration and staff of West Virginia Public Theatre including Executive Producer Ron Iannone and Associate Artistic Director Michael Licata. By opening up their archives to me and always being available for questions, I was able to be very specific and thorough in my research. Thanks are also due to the faculty and staff members of West Virginia University for their candid comments about the theatre, especially Joshua Williamson, James D. Held, and former v President Neil Bucklew. My gratitude also goes out to the numerous participants of my study, which comprise the backbone of my research. I opted to take on full-time teach responsibilities (and everything that goes with those duties) while finishing my research study. This decision was based on a financial need, but has grown to be so much more than that. Throughout this past year of teaching at Blackburn College, I have fallen in love with teaching and mentoring young artists. I believe I have found a home at Blackburn and need to express tremendous appreciation to the faculty, staff, and students of Blackburn for their support, patience, and understanding this year as I have been working through this process. In particular President Miriam Pride, Provost Jeffery Aper, Performing Arts Department Chair Elizabeth W. Zobel, Corporate Relations officer Barbara Clark, and students Katie Palsen, Kristen Kichinko, Mariel Hildenbrand, Amanda Orzechowski, Katie Finch, and Adrienne Stockley have been immensely supportive. However, the entire Blackburn community has made this difficult process much more tranquil than it could have been. The Board of Directors of the Summer Repertory Theatre have also been behind me every step of the way. I have also had great support from a number of friends, all of which I cannot mention here. You know who you are and I appreciate all that you have done for me during this process. However, I must mention three special friends who supported by during the toughest part of the journey: Macaela Carder, Stephen Harrick, and Ellen Rooney. Finally, as it says in my dedication, I owe my mother, Linda S. Sollish, everything for her undying love and support. She has never stopped believing in me and for that, this is for her. vi TABLE OF CONTENTS Page CHAPTER I. INTRODUCTION........................................................................................... 1 Brief History of West Virginia Public Theatre.......................................................... 5 Geographical Context: Morgantown, West Virginia................................................. 6 Statement of the Problem and Key Questions ........................................................... 9 Definitions of Key Terms .......................................................................................... 10 Methodology.............................................................................................................. 14 Limitations of the Study............................................................................................. 21 Significance of the Study........................................................................................... 22 Outline of the Study................................................................................................... 23 CHAPTER II. ENTERTAINMENT: CREATING AN AUDIENCE .................................. 24 Production History: Defining Moments..................................................................... 25 Audience Reception/Perception................................................................................. 57 Premier Entertainment Destination............................................................................ 68 Considerations from History...................................................................................... 73 CHAPTER III. EDUCATION.............................................................................................. 78 Professional/Academic Theatre Relationships .......................................................... 80 Educational Programs at West Virginia Public Theatre ............................................ 99 Educational Programming in the Future.................................................................... 125 CHAPTER IV. IMPROVING THE QUALITY OF LIFE ................................................... 136 Defining “Quality of Life”......................................................................................... 137 Economic Stimulus .................................................................................................... 140 vii The Arts Impact Lives ............................................................................................... 150 Perceived Contributions............................................................................................. 159 Controversy: Interrupting the Mission....................................................................... 165 Lessons Learned......................................................................................................... 169 CHAPTER V. LOOKING TOWARD THE FUTURE ........................................................ 174 A Changed Cultural Landscape ................................................................................. 176 The Turning Point: Adjusting and Responding to Change........................................ 181 Considerations for Burgeoning Producers................................................................. 184 Limitations and Areas for Future Research ............................................................... 216 West Virginia Public Theatre:

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