CSouthern Theatreontents–Quarterly Magazine of the Southeastern Theatre Conference Features
10 Filling Seats Study Finds Quality Children’s Education Program Departments Is Key to Attracting New Audiences to the Theatre by Lisa Cesnik 4 400 Words Swim Together – or Sink Alone – in Today’s Economy by Catherine Rye Gilmore 22
8 Outside the Box: Teacher of the Year Design-Tech Solutions Roy Hudson’s Passion Is Fabric Release Curtain: Teaching Theatre to Kids Build a Kabuki Rig for Under $300 – and Educating Adults on the by Bill Webb Value of the Arts in Schools by Barbara Sloan 32 Words, Words, Words... Review of The Influence of Tennessee Williams: Essays on Fifteen American Playwrights edited by Philip C. Kolin by Frazer Lively Special Content: Golden Anniversary 6 Southern Theatre Celebrates 50 by Philip G. Hill
9 Pictorial: 50 Years of Southern Theatre Trace the history of Southern Theatre through its covers.
Cover Southern Theatre celebrates its golden anniversary in 2009. On the front of this issue, samples of covers from the magazine’s 50 volumes are displayed. See story, Page 6, and displays of additional covers throughout the magazine. (Cover design by Garland Gooden)
from Catherine Rye Gilmore 400 Words President, Virginia Samford Theatre, Birmingham, AL Swim Together – or Sink Alone – in Today’s Economy I just heard today the theatre – made it clear that the new This season the Virginia Samford Theatre of another theatre nonprofit facility must establish a business will produce four of its own productions company closing plan to be self-sustaining. It meant we had under the name VST Productions – and its doors in this awful economy. Since the to think outside the box about how to run more than 20 stage productions from four financial crisis has reached epic levels, a successful performance venue. It meant other theatres and one contemporary ballet most arts organizations are retreating to we had to reach out to other local theatre company, all of whom have chosen to lease their respective corners trying to stay afloat companies. What? Ask competing arts our theatre and call it their home. – alone. What’s wrong with this strategy? groups to work together toward a common In addition, the theatre’s arts incubator There is strength in numbers. goal? Impossible. offices provide administrative support When the historic Virginia Samford What followed were extensive meetings for other new creative ventures. The Theatre in Birmingham, AL, was reborn in with theatre board members, artistic revenue generated from these sources 2002, it became clear that business as usual directors, actors, musicians, civic leaders, – the incubator offices, performance lease was no longer the case. For more than 80 not to mention lawyers, to help iron out fees, a ticket preservation fee and rental years, the landmark playhouse had operated the details. Finally, a comprehensive from special events such as weddings as a single theatre company. Most of this and profitable plan emerged. Theatre and receptions – makes it possible for the time, it had served as the cultural center for companies could reserve performance Virginia Samford Theatre to provide below- the University of Alabama at Birmingham dates on an annual basis for their respective market rental rates for its theatre and ballet as the Town and Gown Theatre, under the seasons. Strict guidelines would ensure that companies while maintaining an in-house direction of the legendary James Hatcher. each company had state-of-the-art technical support staff and upkeep for the historic In 1999, when the university decided to and performance support in a beautifully building. sell the theatre, the corporate community restored facility, and each company would We’re all swimming together and – which helped provide $3 million to restore retain its identity with its own patrons. making it work! n
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heatre From the SETC President ... TSETC Executive Director Elizabeth N. Baun Editor Deanna Thompson
ADVERTISING MANAGER Hardy Koenig, [email protected] In this historic year, Southern Theatre celebrates its 50th anniversary as SETC BUSINESS & ADVERTISING OFFICE th th Southeastern Theatre Conference commemorates its 60 anniversary. Traditionally, the 50 anniversary is the PO Box 9868 “golden anniversary.” As you can see from the cover and contents of this Greensboro, NC 27429-0868 336-272-3645 magazine, SETC is indeed rich in its “gold” – you, our membership. Raise a th PUBLICATIONS COMMITTEE glass and toast yourself, the “gold” of SETC, as you enjoy this 50 anniversary Paul B. Crook, Chair, Louisiana Tech University Icelebration of Southern Theatre. David Balthrop, Murray State University (KY) You can take a trip through the years and the many changes in the publication J. Caleb Boyd, University of West Georgia Steve Burch, University of Alabama by flipping through the pages of this magazine. Your journey starts on Page Jack Young, University of Houston (TX) 6, where you’ll find a short history of the magazine by Phil Hill, as well as EDITORIAL BOARD illustrations of the first issue of Volume 1 and the first issue of Volume 50. On Jesse Bates, Alabama School of Fine Arts the following pages, you’ll travel forward in time, as we spotlight one issue from Sonya/Tim Bixler, Washington School/Delta Center Stage (MS) Doug Brown, University of North Carolina School of the Arts each of the other volumes in the right-hand column of the magazine pages. Tessa Carr, Lees-McCrae College (NC) If you want to attract new audiences to your organization’s shows (and what Denise Gillman, Christopher Newport University (VA) Kendra Johnson, Clemson University (SC) theatre doesn’t seek to do so today?), you’ll want to read Lisa Cesnik’s story Jerry Lapidus, Titusville Playhouse (FL) about a recent John S. and James L. Knight Foundation study which examined Ray Paolino, University of Georgia double-digit audience growth at the Springer Opera House in Georgia. The Scott Phillips, Auburn University (AL) Richard St. Peter, Actors Guild of Lexington (KY) chief finding? Quality children’s programming linked to a theatre’s core mission Jim Stacy, Louisiana State University at Alexandria not only brings children into the theatre – but their parents as well. The Knight Steve Willis, Bennett College for Women (NC) Amile Wilson, Pippin & Maxx Arts and Entertainment (MS) Foundation believes this information could prove vital to other theatres. PROOFREADERs Those who bemoan the arts’ diminishing presence in schools will find a reason Philip G. Hill, Furman University to cheer in Birmingham, site of this year’s SETC Convention. A teacher at Shades Chris Chandler, SETC Marketing/Website Manager Valley High School in suburban Birmingham is the first-ever arts teacher to be PRINTING named Alabama’s Teacher of the Year. Roy Hudson has a passion for teaching Clinton Press, Greensboro, NC theatre – and a plan to use his position to educate others on the value of the arts Note on Submissions Southern Theatre welcomes submissions of articles pertaining in education. Barbara Sloan tells his story. to all aspects of theatre. Preference will be given to subject The downturn in the economy is having an impact on the arts as well as matter closely linked to theatre activity in the Southeastern business, but so far no bailouts have been mentioned for theatre. Catherine Rye United States. Articles are evaluated by the editor and members of the Editorial Board. Criteria for evaluation Gilmore, president of the Virginia Samford Theatre in Birmingham, urges fellow include: suitability, clarity, significance, depth of treatment theatre operators to join hands to ensure their survival. and accuracy. Please query the editor via e-mail before sending articles. Submissions are accepted on disk or via You’ll find some cost-saving strategies in our regular “Outside the Box: e-mail. A double-spaced hard copy of the article also should Design-Tech Solutions” column, as Bill Webb shares tips on building a kabuki be sent. Stories should not exceed 3,000 words. Color photos rig for under $300. And in our regular book column, “Words, Words, Words…,” (300 dpi in jpeg or tiff format) and a brief identification of the author should accompany all articles. Please note any Frazer Lively reviews The Influence of Tennessee Williams: Essays on Fifteen American photos, disks and other materials to be returned and include Playwrights, edited by Philip C. Kolin. SASE. Send stories to: Editor, Southern Theatre, PO Box 9868, Greensboro, NC 27429-0868. E-mail: [email protected]. As you enjoy this celebratory publication, don’t forget that the “toasting” will continue in Birmingham. Don’t miss the opportunity to celebrate with fellow Southern Theatre (ISSNL: 0584-4738) is published quarterly by the Southeastern Theatre Conference, Inc., a nonprofit “golden” members at SETC’s 60th anniversary convention March 4-8. organization, for its membership and others interested in theatre in the Southeast. Copyright © 2009 by Southeastern Theatre Conference, Inc. All rights reserved. Reproduction in whole or part without permission is prohibited. Subscription rates: $24.50 per year, $8 per single copy (U.S.); $30.50 per year, $10 per single copy (Canada); $47 per year, $15 per single copy (International). Glen Gourley, SETC President
Southern Theatre Celebrates 50 by Philip G. Hill
Southern Theatre traces its roots to 1956, when the Southeastern Theatre Conference published of pictures was kept to a minimum. the first issue ofSouthern Theatre News, which billed itself as “a quarterly newsmagazine.” Above all, the content of the magazine With the publication this year of Volume L , Southern Theatre celebrates the half-century provoked disagreement. Some thought it Smark. (It took 53 years to put out 50 volumes because of interruptions in publication.) Over should be primarily a newsletter for SETC the years, the format, content and size of Southern Theatre changed many times. members. Some thought it should be an The firstSouthern Theatre News (cover page shown below) was edited by Burnet Hobgood, all-theatre magazine in the mode of Theatre who simultaneously served as executive secretary-treasurer of SETC and put out an eight- Arts, which had ceased publication in 1963. page, newspaper-style publication that was 11 inches by 14.5 inches in size. His debut issue Still others thought Southern Theatre should carried a story about the upcoming SETC Convention in Louisville, an article about a New be a scholarly journal. Elected editors York opening by Virginia’s Barter Theatre and other news from around the region. simply chose for themselves among these In fall 1959, Jack Clay assumed the editorship and changed the size to 9.25 inches by and other options, and the Board remained 12.125 inches while keeping the newsmagazine format. When Arthur McDonald became divided over what should be done. editor in 1962, the publication moved to an 8.5 by 11-inch magazine format and was re- Robert Canon was appointed to chair named Southern Theatre. To maintain continuity with Southern Theatre News, McDonald’s a committee that examined the problems first issue was numbered Volume VII, Number 1. of Southern Theatre. Under his leadership, McDonald and the next two editors, James Byrd and John Crockett, were elected to the Bylaws were revised in 1971 to create a their positions, since the editor was constitutionally established as an elected officer of the Publications Committee (of which he was corporation. However, it was easier to get elected than to get four issues out on time each the first chair) and to make the Southern year. There was endless distress at Board meetings over late or nonexistent issues on the Theatre editor an appointed (but unpaid) one hand and the difficulty of finding articles on the other. Some issues during this time position answering to that committee. With were never published, and others appeared as “combined” issues. From 1962 to 1971, 27 these changes, the magazine shifted to a less issues were published; it is possible that two more were published, but if so all copies have expensive format. Not all of the problems been lost. were solved, but there was progress: 11 Cost was also a problem. Southern Theatre from the first accepted advertising, but volumes, each with four issues, were the circulation was not large and ads were hard to sell. Byrd was the first editor to published in the next 11 years. print a full-color cover, but as printing expenses soared, color became more difficult The five volunteer editors during those to justify. Even printing pictures stretched the budget, and in some years the number 11 years leaned for the most part toward a scholarly publication, a choice with which
Volume L Number 1 • Winter 2009 • $8.00 more than a few SETC members disagreed. The level of scholarship in the articles published was not always the best, a fact that the editors recognized. But finding
Planning Your Future good scholars willing to place their articles Hot Jobs in Theatre BA or BFA? Which Is Right for You? INSIDE: with a magazine whose identity kept 2009 College, Primer: Top Theatre Philosophies University & Successful Artists Share Advice Professional shifting was no easy task, and more than Training Program Directory one editor expressed his frustration in print. Advertising was even harder to sell in the new format, and printing costs continued to escalate. In 1982, publication of Southern Theatre was temporarily suspended after Volume XXV, Number 2, and the Publications Committee was charged with finding a way to make the magazine pay for Volume I, No. 1, Fall 1956 Volume L, No. 1, Winter 2009 itself or cease publication permanently.
50 Years of Southern Theatre Vol. XXVII, #1–XXVIII, #1 Vol. 1985-1986 Darwin Honeycutt #3 XXVIII, #2–XXXV, Vol. 1987-1994 Thompson Deanna #3; XXXV, Vol. Co-editor, #4–Present XXXV, Vol. Editor, 1994-Present 1968-1971 Ralph Swanson Furman (SC) University #4 #2–XVI, XV, Vol. 1971-1973 Lockwood Patton (VA) College Longwood #4 #1–XVIII, XVII, Vol. 1973-1975 Johnson Albert E. (TN) Memphis State University XIX, #1–XIX, #4 Vol. 1975-1976 Kahan Gerald of Georgia University XX, #1–XXIII, #2 Vol. 1976-1980 Mays David Tech Virginia #2 XXIII, #3–XXV, Vol. 1980-1982 Daisy Leslie P. (Managing Editor) Fisher-Harrison Inc. Publications, NC Greensboro, #3–XXVI, #4 XXV, Vol. 1984-1985 Mary Anne Blazek EDITORS, EDITORS, 1956-2009 Hobgood Burnet M. College Catawba I, #1–III, #3 Vol. 1956-1959 Clay Jack of Miami (FL) University III, #4–VI, #4 Vol. 1959-1962 Arthur McDonald Presbyterian Andrews St. College VII, #1–IX, #1 Vol. 1962-1965 Byrd James of Louisville (KY) University IX, #2–XII, #1 Vol. 1965-1968 John Crockett College Community Maysville (KY) #1 XII, #2–XV, Vol.
began Theatre Theatre was was XL, #1 in the in the , a nationally Southern Theatre n has grown and became a four-color Southern Theatre Southern Theatre Southern is its scholarly journal. Southern Theatre News Southern Southern Theatre Southern Theatre Southern . In 1995, Southern Theatre Southern Theatre In 1999, the magazine was redesigned Note: In the early years of SETC, before before of SETC, In the early years Note: the first other several were there published, publications. attempts to create regular can about these More information in be found 40-42. (Winter/Spring 1999), Pages the full range of membership, while while membership, of range full the Symposium that’s – L Volume publish we year, This 50! – of recognized, award-winning magazine of which SETC is proud. Philip G. Hill, a past president of SETC, is professor emeritus of drama at Furman University in South Carolina. the of result a as years, recent in prospered steadying influence of paid editors who didn’t rotate out of office and the work of SETC Central Office staff, the Editorial Board and the Publications Committee. Costs are comfortably managed within SETC’s budget, with advertising paying a now is It costs. those of portion substantial universally accepted that is SETC’s popular magazine appealing to Theatre publishing the plays that wonannual SETC’sCharles M. Getchell Award. New Play and a second color added to the interior. issue double a in debuted design new The celebrating SETC’s 50th anniversary. In 2007, College, first magazine’s the and magazine University & Program Training Directory was published. Southern Southern Southern , but also could could also but , moved from a color Southern Theatre Southern returned with the publication of With the change to contract editors, After a hiatus of more than a year, year, a than more of hiatus a After Additional research on Southern Theatre’s 50 volumes was completed by Jennifer Motszko, Motszko, Jennifer completed by was 50 volumes Theatre’s Additional research on Southern Nanette by of North at the University Carolina at Greensboro; of the SETC Archives curator Theatre. Thompson, editor of Southern Deanna and by assistant; SETC executive Harbuck, a separate Editorial Board charged with reviewing stories submitted for magazine with a In two-color 1994, cover. the Publications Committee, which had created Board, Editorial the as served also Southern Theatre publication back to a black-and-white a Greensboro-based person on a contract approved Board The editor. as serve to basis this arrangement, which continues today. production responsibilities for the magazine magazine the for responsibilities production if the Publications Committee would hire then SETC’s administrative director (later volunteered thereupon director), executive to assume advertising solicitation and Harrison found that it could not make the anticipated profit and terminated SETC’s Smith, Marian issues. six just after contract throughout. The Board was happy with the the with happy was Board The throughout. immediate shift to more popular content in a more attractive format, but Fisher- It was an 8.5-inch by 11-inch magazine with a full-color cover (nearly 20 yearsafter the first one) and used more color Theatre Fisher-Harrison. by 3, Number 25, Volume problems of of problems publishing it. make a profit in-flight, corporate andmagazines). organizationThe Greensboro, NC-based firm believed it could not only solve the content and its business management to Fisher-Harrison Publications (now Pace Communications, publisher of numerous Several plans were discussed,Board but eventuallythe votedfull toresponsibility turn over for the magazine’s to 2009’s four-color magazine (opposite page, right). (opposite page, magazine four-color to 2009’s pages of this magazine. One issue from each volume (except Volume Volume (except volume each One issue from this magazine. pages of the showing is displayed, the archives) from is missing which 2, left) page, (opposite newspaper 1956’s from progression magazine’s Readers can take a trip through 50 years of years 50 trip through take a can Readers t h e b o x
DESIGN/ It all adds up: TECH SOLUTIONS Fabric Release Curtain o u t s i d e Build a Kabuki Rig for Under $300
by Bill Webb
or a production of Jekyll and Hyde at Elon University, the design team visualized the play Fbeginning with the drop of a kabuki (fabric release) curtain. We set out to build our own rig for the china silk fabric drop we had envisioned. Our goal was to make a kabuki rig that was cheap, quiet, user-friendly and reusable. Depending on how many of the materials required are already in your stock, this rig could be built for as little as the cost of the pillow blocks. It worked very well for this production of Jekyll and Hyde and has subsequently been used for other productions. Making the Rig Pillow Block We made our kabuki rig Kabuki Rig Sample from pieces of threaded, Schedule 40, 1½-inch, black steel pipe, with pillow blocks Schedule 40 Pipe set at approximately every 10 feet, and 1-inch-long, ¼- Sandbag ¼" Steel Peg inch steel rod pegs welded at every foot on center. We extraordinary attached a T-handle (welded education out of 1-inch, 15-gauge T-Handle square tube) to one end of Operating Line the pipe. Sash cord attached Design for kabuki rig. to one side of the T-handle became our operating line. It was counterbalanced by a small sandbag (weighing slightly more than the fabric) that we attached to the other side of the handle (see drawing above). Loading and Operating The loading and operating process is quite simple. The kabuki is tailed down or rigged off of a line set, and flown in for loading of the fabric. It is attached to the batten by mounting small sections of 1½-inch pipe to each pillow block, and then connecting that small pipe
Joseph P. Tilford, dean
UNDERGRADUATE & GRADUATE PROGRAMS Scene Design Stage Automation Lighting Design Stage Properties Sound Design Costume Technology Technical Direction Wig and Makeup Scenic Painting Stage Management Costume Design Performing Arts Management
The University of North Carolina School of the Arts is an equal opportunity campus of the UNC system.
The drop of a kabuki curtain begins a production of Jekyll and Hyde at Elon University.
NCSA4_SETC_2.32X9.5.indd 1 8/7/08 5:02:25 PM 50 Years of Southern Theatre Volume 5, Fall 1960 5, Fall Volume 1961 6, Fall Volume SOUTHERN THEATRE THEATRE SOUTHERN the find Can you TRIVIA: Barter features that cover Robert founder Theatre Actor/director Porterfield? Allen? Costume Woody Long? William Ivey designer 31. on Page Answers 6 Page I, see Volume 2, no issues remain Volume 3, Summer 1959 Volume 1959 4, Fall Volume - - . Varies $ 5.00 $83.00 each $ 3.00 $20.00 $27.00 $12.00 each Varies n . Outside the Box book Outside the Box Modify the rig as needed. This is a very a.m. a.m. Friday at the SETC Convention. location. for program your Check WANT TO READ MORE TIPS? TO WANT to (www.setc.org) website SETC’s Visit order the AN ‘OUTSIDE THE BOX’ IDEA? HAVE E-mail “Outside the Editor Box” Doug come Or [email protected]. at Brown 9 at workshop Box” the “Outside the to SOURCE Local steel supplier Cost Local hardware store Local hardware McMaster-Carr Part #6494K18 Local steel supplier store Local hardware Sapsis Rigging Sapsis Rigging store Local fabric flexible system that can be used and modi and used be can that system flexible diam Smaller desired. if dramatically fied cost the if used be can fittings and pipe eter or weight of the rig is a consideration. tion on the joint. 4 (see drawing above, right) is technical director at Elon University. Bill Webb If you have questions about this technique, e- mail him at [email protected]. When the cue comes, a simple pull on the so that the the pipe operating line will roll off slips fabric the Presto, down. rotate pegs of the pegs and falls magically to the floor
- . The The . Total Cost: Under $300 Total Materials Needed . (see drawing above, center) above, drawing (see Tips for Building Your Kabuki Rig Kabuki Tips for Building Your (see photo above) (required length) of rig) 10 to 12 feet every (one for The pipe then is rotated so the pegs Be sure to provide extra support for long for support extra provide to sure Be Be sure to space the grommets correctly. correctly. grommets the space to sure Be Be sure to grommet the top of your fabric. fabric. your of top the grommet to sure Be riAL Mate pipe Threaded 1½" Schedule 40 black ¼" Solid steel rod blocks Pillow tube 1" Box cord line sash Operating Small sandbag with sand block pillow Cheeseborough clamps at every of choice Fabric
together. We mounted a pillow block at the intersection ofdistribu weight theseunnecessary any eliminate two pipes to rigs. Our rig, which was 40 feet long, was Schedule threaded of pieces two from made 40 pipe that were threaded and coupled may stretch too tightly between pegs. This pegs. between tightly too stretch may in the fabric binding. could result 4 A little swag of fabric A can’t hurt, but if the fabric the apart far too spaced are grommets 4 The grommets will easily slide off of the pegs. 4 rotating and allowing the fabric to slide The rig is then flown out. off prematurely. point upward, and the fabric is slipped pegs the onto from pipe the keeps sandbag the of weight section to the batten using cheeseborough clamps Left: Cheeseborough clamps are used to connect the small pipe section to the batten. to the batten. used to connect the small pipe section Cheeseborough clamps are Left: line is pulled. operating slips off as Fabric Right: is slipped onto pegs. Fabric Middle:
Filling Seats Study Finds Quality Children’s Education Program Is Key to Attracting New Audiences to the Theatre
‘The presence of children on the INSIDE will rearrange the molecules of your organization.’ - Paul Pierce, Producing Artistic Director, Springer Opera House
by Lisa Cesnik
Ask Ron Anderson how the Springer Opera House in Columbus, GA, increased its attendance by double digits over the past three years, and you’ll get a quick rejoinder. “What have we done to grow our audiences? Well, it sort of starts with a disclaimer. ‘Cause we didn’t set out to do this. AWe didn’t set out to build an audience. We set out to build an education program. That’s why Paul [Pierce] brought me to Columbus,” says Anderson, who came from Milwaukee in 1996 to start the Springer Theatre Academy. “The idea that . . . 12 years later we would wake up and say, ‘Wow! Our audience is growing, and it has a direct relation to our Theatre Academy’ – that never occurred to us. It was a natural and organic byproduct of what we were doing.” The humility and service-through-art philosophy exemplified in his remarks are key characteristics of the leadership of Springer Opera House. But regardless of the original intentions of the Springer Theatre Academy, this fact remains: The Springer Opera House is growing its audience, and the Springer Theatre Academy is the major impetus for that growth. That’s the key finding from a study of the Springer Theatre Academy that was commissioned by the John S. and James L. Knight Foundation. The study was conducted by Lisa Mount, director of the Georgia-based Artistic Logistics, a cooperative of
10 of Southern Theatre 50 Years 11 Volume 9, Winter 1965 Winter 9, Volume Volume 10, No. 4, 1966 10, No. Volume Volume 7, Fall 1962 7, Fall Volume News Theatre Southern a magazine, becomes Theatre Southern 8, Summer 1964 Volume among youth. only Ron Anderson - So, can it be that a historic theatre in a One academy student quoted in the student the me,”” inspires building “The building venerable the isn’t it However, The answer to these questions lies with lies questions these to answer The unto themselves, when(professional teachers they their see get they theatre, to the uncles and babysitters with them to watch to them with babysitters and uncles vibrant live theatre at the Springer Opera House. study speaks of the draw of the Springer. so place this owing of sense a have “I says. much, I love going back to it.” alone that draws people. students have created Becausea large community the an unexpected population in Columbus – young people. This is not to say that the increase of audience is The Springer has not transformed itself into a place where only children belong. But it is to say this: A substantial portion of young people, ages 5-18, in Columbus, They theatre. live about passionate are GA, entire their to home passion that taking are families and then totin’ Mom, Dad, aunts, portion southwest the in city moderate-sized of Georgia, a city known mainlyArmy its and industry textile the forin history its base, Fort Benning, is increasing cultural theatresignificant a making and audiences impact on its community? And because Columbus has one of the fastest growing metro areas in Georgia, is it positioned to become a leader in the performing arts for the state? How and why is this happening at the Springer Opera House? the possibility of an educational program having a direct effect on audience growth already sounded Foun to plausible dation leaders. The potential to quantify the these to lead helped factsorganizations other help to Springer study. instrument as a child or had sung in a Hence, choir. ------the The Learning ence members had played a musical where symphony orchestra audienc r e s u l t senlightening. w e r that reported e study more than 70 per cent of symphony orchestra audi es come The from. was completed March 20, 2008. March was completed
A A few years ago, the Knight Founda These unusually successful numbers “Audiences in American theatre are For the study, Artistic Logistics Paul Pierce Paul Brown, Inc., in Cambridge, MA, to find out find to MA, Cambridge, in Inc., Brown, tion commissioned a study from Wolf- and are looking for solutions to the audi ence lag conundrum and developing new models to build audiences for the arts. tion maintains relationships with theatres throughout the country – theatres that are experiencing a collapse of their audiences are are what drew the attention of the Knight Foundation, which wanted to understand Founda The enigma. arts this for reason the increase last year, 13% the year 9% before, last increase year, year.” the previous professional theatre in Columbus, Georgia Georgia Columbus, in theatre professional - has experienced astonishing audience growth in the past several years. A 17% are collapsing and single-ticket attendance single-ticket and collapsing are is slipping nationwide. Despite this trend, 137-year-old a – House Opera Springer the graying at an alarming rate,” Mount states Mount rate,” alarming an at graying bases “Subscriber summary. executive her in productions even as the economy lags and and lags economy the as even productions tightening everywhere. belts are to be doing what most theatres dream of of people more and more bringing – doing its see to families, young including ages, all interviewed parents, students, Springer staff, teachers and findings:guest This professional theatreartists. seems The study and families Academy Theatre 50 surveyed services across the Theatre U.S.Springer the of Titled Impact The Everywhere: Academy on the Springer Opera House, independent arts consultants that provides provides that consultants arts independent
Filling Seats Filling Springer Theatre Academy, the Springer’s mammoth education program, has been doing innovative work with young people that has had a profound impact on individual children and their families. This, in turn, has resulted in these students and their families eventually emerging as subscribers, single-ticket buyers, donors and board members. The Springer audience is getting bigger and YOUNGER - a reverse of the national trend. “This study recognizes these trends for what they are: The Springer is beginning to reap the benefits of its long-term commitment to developing audiences from the ground up. The Knight Foundation sees this as a potential ‘sustainability’ model Each day at the Springer Theatre Academy ends with Salutations, a series of choreographed that might be exported to theatres all over movements performed to Pachelbel’s Canon. The movements are repeated three times: to acknowledge the present, to honor the past and to salute the future. the U.S.” Beverly Blake of the Knight Foundation theatrical workers) onstage, and their peers Springer. Period. encourages theatres across America to take working backstage, onstage or in the house Lisa Mounts says, in the Executive note of the study findings. as ushers. The youth of the Columbus Summary of the report: “The findings “These results are extremely important community are leading the way to the are astonishing: For the past 11 years the for the entire theatre community,” she says.
12 of Southern Theatre 50 Years 13 Volume 13, Summer 1969 Volume 14, Summer 1970 Volume Volume 11, No. 1, 1967 No. 11, Volume 1, 1968 12, No. Volume Evidence of the success of the Springer that they saw more plays since becoming Academy. involved in the Theatre Theatre Academy is seen in the growth of fresh and committed audiences, Knight new the to according who, theatre-goers Foundation study, would not have come to the theatre except for the exceptional educational programmingchildren participatedthat in attheir the Springer Theatre Academy. According to surveyed,those 98 percent Theatre Springer the to going of rate experience say the percent overall87.8 and “excellent” as Academy according to the study, this leadershipweighs heavily in importance, as do the teachers Anderson that assembles Ron (or Academy the at instruct to casts) essentially When asked to each rate year. elements of Academy in terms of the Springer Theatre what is important to them, 90 percent of those surveyed said that Anderson was “extremely important” and 82 saidpercent that the teachers were “extremelyimportant.” venture, with an ambitious, creative and committed leader whose focus is on the learning of each individual child. In fact, , like all of the Springer’s mainstage productions, featured lots of featured mainstage productions, all of the Springer’s , like Springer Theatre Academy is a carefully, carefully, a is Academy Theatre Springer Actually, the Springer Theatre Academy Academy Theatre Springer the Actually, “Really?” one might think, “Well, that’s that’s “Well, think, might one “Really?” backstage work by Springer Theatre Academy students. Jef Holbrook (Ben Hecht), left, students. Theatre Academy Springer work by backstage Jens teacher. and a longtime Academy Theatre Academy of the Springer is a graduate with more than 20 York, actor from New is a professional Selznick) O. (David Rasmussen years. several for who has been teaching at the Academy experience, years’ Moonlight and Magnolias the Springer is shown on Page 10. the Springer on Page shown is The Springer historic House is an Opera The interior of theatre that dates to 1871. uniquely pre-planned, rigorously organized organized rigorously pre-planned, uniquely other theatres other – theatres this model works to build audiences,” says Blake. is not just any education program. is not just any education “[Springer Academy] is a very different model than [the educational programs at] education program and start reaping the benefits!” a no-brainer. a Let’s no-brainer. get our organization to our up beef We’ll classes. more some teach people involved in every aspect, they are not only your future audience – they will audiences.” develop future “[This study] shows that if you get young Thousands audition...
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www.sft.edu 888.645.0030 39 w 19th street, nyc 10011 of Southern Theatre 50 Years 15 Volume 17, Spring 1974 Volume Winter 1975 18, Volume Volume 15, March 1972 March 15, Volume 16, Spring 1973 Volume parents parents . Alice In Wonderland Alice In The Springer Board of Directors is also to way its of out goes also Academy The accounts. Those statistics alone are jaw- dropping. involvement on all fronts. For instance, parents are invited to observe any and all parents’ builds This academy. the at classes trust and support of the connects programthem to the and big picture of what is so special to their children. According to the study, an average of 750 students Academy each year and attend the of academy students accounts (pastticket season and the of present) percent 11 hold single-ticket of percent 42 remarkable a and aware aware of the importance of the Academy overall the in played has it role key the and success of the theatre. In 2006, the Board on student a include to bylaws its changed member board This directors. of board the is not a figurehead, butinvolvement an lively actualand vote board a with member discussions. in board parental encourage to and parents include and is viewed as “a resourceand ability of for talentthe organization.” Season scripts are chosen withutilizing the studentsintent wheneverof and possible,students work in everyproduction aspect– backstage,of administrative and, yes, onstage. There is a widely held perspective But back to the point, how is the Springer Springer the is how point, the to back But As one academy parent quoted in the that “the Academy does have a positive impact on the bottom line,” it also has a fundamental effect on “artistic decisions” many organizations utilize their training programs as a way to stabilize their cash flow concerns. While the study states in theatre organizations that education programs are secondary or even tertiary addition, In programming. artistic other to generator that is ancillary to main stage - Learning Everywhere programming.” “The Springer has made the integralAcademy to its programming and artisticvision, rather than treating it as a revenue ION 1: EDUCAT STRATEGY PROGRAM IS CENTER STAGE companies around the country. companies Following around the country. are some of the key strategies used at the Springer. interviews with students, parents, teachers, teachers, parents, students, with interviews Springer staff, Columbus area and leaderseducation directors at comparable achieving these fantastic results? Artistic Logistics notes that of series a itthrough question arrivedthat to answers at some stronger, richer and closer. We’ve seen nothing like it, anywhere.” study stated, “It makes our family’s life Springer Theatre Academy students KrystalTheatre Academy CarterSpringer (Caterpillar) (Alice) and Lucy Flournoy in smaller and bigger of growing discuss the advantages A Christmas Carol, like all of the Springer large-cast musicals, is made possible in large part by the efforts of many Springer Theatre Academy students – both onstage and backstage.
STRATEGY 2: THEATRE’S ROLE IN enhancing and will carry forward into [the ask them: What do you think of this phrase, LIFE IS EMPHASIZED rest of] these young people’s lives.” ‘life skills through stage skills’? And if that “The philosophical basis of the Theatre It should also be noted that Anderson’s tends to launch a whole new conversation, Academy – “life skills through stage skills” commitment to building life skills through a real eager kind of give and take, then I – creates an entry point for students theatre did not begin in the Theatre know this is a person that I want to really, regardless of their ambitions for a life in the Academy classrooms. The Springer Opera seriously consider hiring.” theatre.” – Learning Everywhere House risked an entire year of salary So, despite Anderson’s denial of It is this philosophy that Academy by sending Anderson to classrooms all planning to grow an audience, it was a Director Ron Anderson coined and over the city of Columbus, orienting the cleverly hatched strategy that brought the developed, focusing on creating strong community to this concept and giving Springer to this point, even if it wasn’t young people, emphasizing skills of a taste of what would be offered in the a plan to develop bigger audiences. commitment, discipline and teamwork coming years at the Springer – providing Anderson’s strategy was to change the face – “an ongoing commitment to invest in help to theatre teachers and making contact and culture of a community – one young an education program that builds good with area schools and principals. It was person at a time – growing better citizens, citizens who are now arts consumers,” a risk that both Pierce and Anderson say creating thoughtful and confident young says Anderson. This commitment to young has been profitable in ways they never people. By doing so, the Springer may have people from the very beginning centered dreamed, forging connections with their stumbled on an audience development on his key principle of youth performing community that have only gotten stronger model that could benefit any performing arts training: “Life Skills through Stage over the years. arts organization. Skills.” Anderson adds that this philosophy STRATEGY 3: LEADERS ARE As one parent noted in the study, “It also begins interviews for the positions of COMMITTED AND CARING seems to me that the Academy and Ron teacher and assistant teacher for the Theatre “The excellence of the program has built and the staff make an incredible impact on Academy: “We hire pro’s in the classroom strong bonds between Academy families a significant number of children and youth – teacher/performers…. Whenever I – students and their parents – and the in this area – and it seems to me that that interview potential faculty, I assume their Springer Opera House. The characteristics impact is positive, nurturing and growth stage skills… [from their resumes], and I of this excellence include caring and com-
16 of Southern Theatre 50 Years 1717 Volume 21, Summer 1978 Volume 22, Summer 1979 Volume Volume 19, Summer 1975 Summer 19, Volume Winter 1976 20, Volume
The saying, and , and , which Daisy Fay and the the and Fay Daisy Greater Tuna and and A Tuna A Tuna Christmas Learning Everywhere, . Y Red, White and Tuna Parents also note the strong leadership. strong the note also Parents gentle guidance. I cannot name a finer role finer a name cannot I guidance. gentle model.” other interactions in the company. Pierce is quoted in “Ron Anderson is the conscience of this I ask myself, ‘What’s Ron going company. to say about this?’” As one parent states in the “I study, truly cannot imagine the program phenomenal without beingRon Anderson. The as kids adore and respect his wise, firm, but ball in 1964 and underwent a restoration in the 1990s majorthat increased its size from 35,000 75,000 square feet. square feet to TRIVIA GHOSTLY The Springer Opera House known is for its well-ghost sightings. Several years Channel The ago, Travel named it Ghostly Ten one of Top “The World’s Destinations.” who lives in Atlanta. Over the years, the Springer has premiered several of Howard’s other works, including Tossed Tempest Man Miracle HISTOR The Springer Opera House, which is the State Theatre of Georgia, opened February 21, 1871, and soon gained a between theatre finest the as reputation The Orleans. New and DC, Washington, Springer was saved from the wrecking producing producing artistic director Paul Pierce and associate artistic is Springer the Furthermore, Anderson. director Ron the first theatre in America to be given rights to until now had only been performed by the original cast/creators. In addition, the Springer has mounted separate productions of the original national its play, in productions those included touring schedule. All four productions will be directed by creator Ed Howard, - was A Tuna Christmas Tuna A TNERSHIP Fun Facts about the Springer the Facts about Fun The excellence of the “caring and the associate artistic director/Academy director (Anderson), have relationship that sets athe standard workingfor all committed leadership”above occurs in referenced two producingways. artistic First,director (Pierce)the and fun engagements for students.” – Learning– students.” for engagements fun Everywhere mitted leadership, teachers who mitted share leadership, the philosophy and a highly organized admin consistently to up add these of All istration. DGET: BUDGET: 2008-09 (Jaston Williams, Joe Howard) in which Sears and Ed performed in the Studio Series by the R PA ‘TUNA’ partnership a developed has Springer The with the creators of the “Tuna” plays performing in about 60 American cities each year. The Big Friendly Giant The Big Friendly Tour: National nationally Tours as Springer Theatricals, Children’s Series: Children’s a Pig a Party Give You If Winnie the Pooh Jones and Tammy Wynette Tammy Jones and Christmas Tuna A Charm School Red, White and Tuna White and Red, Studio Series: The Music of George Why: Baby Why Peter Pan Peter Hamlet Big River CTION SEASON 2008-09 PRODU Mainstage: the Musical Menopause, of the Bride Father 2006-07 Season 106,300 96,500 2005-06 Season WTH: AUDIENCE GRO 2007-08 Season 108,000 $2.2 Million As co-administrators and artists, Pierce something about themselves. We want our LEARN and Anderson are a formidable force of students to learn the value of discipline, DISCOVER creativity. Their solidarity of purpose leads commitment, integrity and teamwork. CREATE to both season selections and day-to-day We want our students to be competent choices that benefit the entire organization, in the craft [of theatre] and confident in maintaining a connection between the themselves, fearless on stage and joyously Academy and all Springer productions. supportive of each other.” The level of pride and care that employees STRATEGY 4: SPRINGER CREATES put into their jobs at the Springer Opera SENSE OF COMMUNITY House also is unusual. There is a sense that “The Springer has capitalized on its loca- every staff person, Academy instructor or tion, history, standing in the community guest artist working at the Springer has and strong administration in creating and an awareness of being part of something implementing the Academy.” - Learning bigger than himself or herself. Everywhere The Knight Foundation study asserts One of the ways it has done so is that Ron Anderson’s introduction to the by nurturing a relationship between Academy’s curriculum “encapsulates community theatre artists, professional the philosophy and attitude of the theatre artists and students. The rewards for program,” but it also seems to capture this are many – but the crux of the reason the spirit of the Springer Opera House that this works so thoroughly is this: In itself. The introduction, as quoted in theatre, all types of persons are brought Learning Everywhere, states: “We want our into the rehearsal room to do one thing students to have fun and make friends, – create a story that they hope will live on learn something about theatre and learn in the audience’s memory. The theatre at Success has a face.
Anna Camp Matt Lauria Rebecca Naomi Jones Billy Magnussen Jennifer Ferrin Class of 2004 Class of 2007 Class of 2003 Class of 2007 Class of 2003 Jill Mason, Roy Merritt, Sherry/Desi, Casey Hughes, Pamela/Margaret, Equus (Broadway) Lipstick Jungle (NBC) Passing Strange (Broadway) As the World Turns (CBS) The 39 Steps (Broadway)
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NCSA_FACES4C_SETC_7.5x4.75.indd 1 9/17/08 9:35:10 AM 18 of Southern Theatre 50 Years 1919 Volume 25, Spring 1984 Volume 1984 26, Fall Volume Volume 23, Spring 23, 1980 Volume 24, Spring 1981 Volume
Abruptly, TISTIC DIRECTOR “When the Springer began to let He notes the following: “Every organization is different and one-size-fits-all a isn’t there course, “Of “However, I feel strongly that we left As Pierce digests the study results and department, working load-ins, answering phones, sweeping up, running errands. too quick to discard the high-involvement too quick to discard model of the ‘little theatre’ in movementour pursuit of excellence. communities that were accustomedbeing on to the inside found themselves on that essentially, them, told We outside. the to was participate to them for way only the either buy a ticket or donate money.” young people IN, they looked for ways to marketing our in volunteering – participate is know do I What strengths. different has want IN and, for the most part we have not created ways for them to get IN. By IN, I mean access to every aspect of our operations, policies and decision-making. When the great ‘oaks’ of the Americanregional theatre movement emerged in the 1950s and ‘60s, cultural history was made and a new identity for indigenous was created. American theatre something important behind. We were is eager to share the results with theatres. other country the like is audiences attracting that one them save you – souls saving preacher at the time, not in bunches. answer to the audience crisis American in theatre but this is what I have learned:The community wants IN. people Young “They’re always teaching by example. Paul Paul example. by teaching always “They’re they need fixing.” fixes the sets if he sees CE FROM THE ADVI TAKE-AWAY SPRINGER’S AR what they mean for the Springer, he also Learning - Lisa Mount, Artistic- Lisa Mount, Logistics “sustainability” model that might be model “sustainability” , “We want to have a theatre that that theatre a have to want “We , As one student notes in the study, Pierce has a leadership style that “One of these days, when we lay our Strong companies have steady How does the Springer achieve this As Scooter MacMillan, Springer potential the U.S.’ exported to theatres all over ‘The Knight Foundation sees this as a this as sees Foundation Knight ‘The large. He also has and encourages a hands- a encourages and has also He large. on style of work. encourages growth, and he surroundshimself with the right people to help him achieve his goal of benefiting theatre at and leave a larger audience for the next generation.” careers, careers, we will have failed the American theatre, “ Pierce states “It emphatically. is our responsibility to increase audiences heads down in our graves, if the audience our began we when was it than bigger not is of his team, his comment onbuilding is a telling one. audience leadership, and members other although to praise redirects routinely Paul Pierce happenstance? Perhaps at least a portion of the answer can be found with the chief executive officer. the Academy can be proud of.” Academy can be proud the atmosphere? A mystical and lucky marketing director, notesEverywhere in front-of-house volunteers perform their roles – all with the hope and intention of something wonderful together. creating community actors and professional actors and staff and designers while onstage, work Opera House organization, in action. It is not unusual to have 10 silent and efficient as assisting Academy the from stage-hands all hands are on deck to create something one is This audience. an to give to beautiful Springer the of aspects satisfying most the of large is one of the “great social equalizers.” equalizers.” social “great the of one is large Differences are left outside the door, and .
of Southern Theatre 50 Years 21 Volume 29, Spring 1988 Volume Winter 1989 30, Volume Volume 27, Fall 1985 Fall 27, Volume Winter 1987 28, Volume
n Learning I’m a strong- season at the st another 100,000 miles my will on boards and citizens. won I so person, willed many battles. But once I started opening doors on my careerreinvigorated and theatre this – this in fact. munity, com- “This is the fourth theatre I’ve my runcareer, and I’m inin my 21 Springer. Even though this theatreyears isold, I 138 feel thelike founding director and I’m good for least another at 10 years. I think of all the years I spent trying to force study pertains directly to the And I’m guessing that identity will last last will identity that guessing I’m And “The advent of the Springer Theatre Theatre Academy, but the findings are far- are findings the but Academy, Theatre – reaching and may the provide signposts other theatres need to guide them on similar path to audience growth. a Lisa Cesnik is the producing artistic director and a founding member of Rose of Athens Theatre, a professional theatre in Athens, GA. She has worked at the Springer Opera House as an actor and a director and has taught in the Springer Theatre Academy. ideas, challenges, opinions, desires and dreams to blow through the creative theatre,more and happier much a became it youth of flow free that And work. to place of identity the define to began vitality and could head hard my that ways in theatre the not. long after I am gone.” The Knight Foundation’sEverywhere Springer Opera House and the Springer and windows and allowing other people’s other allowing and windows and Academy has put founding director. Don’t let the theatre’s you down. past weigh - Paul Pierce, Pierce, - Paul Producing Artistic Director the American theatre. the American theatre. It is our responsibility to increase audiences and a larger audience for leave generation.’ the next ‘One of these days, when when ‘One of these days, in down our heads lay we if the audience our graves, it was is not bigger than began our when we failed will have we careers, A A revolution is
they If there was one basic idea that Want to know more? Download a PDF of the Springer study online: online: a PDF of the Springer study more? Download to know Want Run your theatre as if you are the “After many years in this business, there there business, this in years many “After When asked what he learned from the “The exceptions to that [are] founding “Two years ago, www.artisticlogistics.org/wp-content/content/files/LearningEverywhere.pdf I think could transfer to other theatres it’s this: years in one place, max. directors. Running a theatre takes a lot out physically That’s and mentally, ofspiritually. you why most artistic directors last about 10 presence of childrenorganization. your on of the molecules INSIDEthe rearrange will still possible if you’re willing to allow change change allow to willing you’re if possible still and to allow erupt for the unexpected. The Knight Foundation study that might transfer transfer might that study Foundation Knight stated: Pierce well to other theatres, are still new tricks to learn. an integral part of the community we serve, serve, we community the of part integral an do we?” have a theatre, we don’t really from budgets to policy get to ways for look to got We’ve matters. are we unless because – IN community the meetings and teenagers these participate in every discussion Now, the voice Now, of youth is represented at board directors to revise the bylaws to board. the provide on slot student a we asked the board of [This] also invigorated our theatre from top to bottom. connections, and those connections turned into donations, ticket sales and true friendships. asking for things could do at the theatre. These were personal capable of being usefulknow to than got we we thought quickly, Very be. might they their parents, and soon the parents were We We found that these kids were far more Meredith Hastings and Allie Bruner (front, left to right) appear in Pump Boys & Dinettes, a 2007 Best of Show winner at the state level. Alabama Teacher of the Year Roy Hudson’s Passion Is Teaching Theatre to Kids – and Educating
by Barbara Sloan “Today’s sermon is on fear,“ Hudson good about how you have progressed.” says. To progress, he emphasizes, students Students meander into the large auditorium Looking around at students, Hudson must be vigilant in their work, rehearsing in twos and threes at 9:30 on an October reminds them that they have only a month their lines every day. morning. Some are in the cast of the school’s before the district competition in Alabama’s “If you haven’t done your piece a million Supcoming play, Lilies of the Field. Most come Walter S. Trumbauer High School Theatre times, you’ll never get it,” he says. “Never, ready to work on scenes for the upcoming Festival. never, never, never, never, never.” state high school theatre competition. “We don’t go to Trumbauer for a Such fierce passion is a hallmark of Once students have settled, their teacher certificate or an award, though those Hudson’s approach to his advanced – Roy Hudson, the first arts teacher to may be nice,” he says. “We go for the theatre class at Shades Valley High School be named Alabama’s Teacher of the Year performance opportunities. We go so you in Irondale, AL, just outside Birmingham. – takes center stage. will improve and perform well and feel He is head theatre instructor in the school’s
22 of Southern Theatre 50 Years 2323 Volume 33, Summer 1992 Volume 34, Spring 1993 Volume Volume 31, Spring 31, 1990 Volume 32, Summer 1991 Volume , with with , , a play by (2006), which (2006), Once a Pond. A Time. A Pond. a Once Forever Plaid Forever My Father’s House Roy Hudson Roy (2004) and and (2004) Even with all this success, though, other other though, success, this all with Even “I never thought that would happen,” Now Shades Valley is preparing to nearby Vestavia Hills High School. “I’ve that in and, years 10 over for teaching been and 300 of those applied to be part of the festival. was Shades one Valley of only 64 selected to perform. surprised were state the in teachers theatre was – Hudson – teacher arts fellow a when announced in May as the Teacher of the Alabama. for Year who teaches at theatre Alan Gardner, says High School Theatre Festival at High the School Fringe Theatre year, This Scotland. Edinburgh, in Festival 1,500 school programs were nominated Story also received the Best Play Award at the 2007 SETC regional competition. In 2008, Shades Valley won its district’s Best Play Award with Hudson. perform internationally. In August 2009, take will Hudson book and lyrics by him, to the American
The Zoo Meteor Boy (2003), Happily Never After
The program’s popularity is The nationally acclaimed academy at and, in April, will have the opportunityand, in April, will have Obama. Barack to meet President as Alabama Teacher of the Year, is is Year, of the Teacher as Alabama throughout the state making speeches everyone in the arts in the to administrators everyone Hudson who, Roy says and politicians,’ ‘As the first arts‘As the first this position, teacher in to represent huge responsibility a I feel won the SETC regional competition once. State play winners include (2000), Festival, Shades has Valley placed Best of Show nine of the last years. 11 It has won the state Best Play four Award times and not surprising in lightValley program’s of artistic, the academic Trumbauer Shadesstate and the In success. competitive applicants, 30 of whom were accepted after after accepted were whom of 30 applicants, an interview and an audition. all over the county to study theatre. For this this For theatre. study to county the over all 70 had Valley Shades year, school particular largest school system in Alabama. system in school largest Shades attracts Valley young people from addition to teaching at Shades Valley, Roy addition to teaching at Shades Valley, serves as theatre supervisor and second the drama County, Jefferson for consultant the opportunity to study their craft in a intended program professionally-oriented In theatre. about serious are who those for “academy” magnet program,in 2002 tostarted allow gifted drama students
of the Year of the Adults on the Value of the Arts in Schools Value Adults on the Alabama Teacher Alabama versary b nni y in th A tr One-Week Intensives – Acting od 0 u 4 c s i it n s g 4 schools e a t a n r 4 sets of workshops e b w e 4 different locations l
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Participating schools are members of U/RTA. Each school is responsible for University/Resident Theatre Association University/Resident Theatre its specific programming and related services (housing, meal plans, etc.). SUMMER In of Southern Theatre 50 Years 25 Volume 37, Winter 1996 Winter 37, Volume 38, Spring 1997 Volume Volume 35, Spring 35, 1994 Volume 1994/ 36, Fall Volume Winter 1995 . “Then Forever Forever Migrating east in 1978, Hudson got a “All children need the arts,” says Rogers. Rogers. says arts,” the need children “All Roy Hudson didn’t set out to be a high town a TX, Burkburnett, in up grew He at Town at and Town Gown community theatre in Birmingham. I was hooked,” he He sayspursued withan undergraduatea and University State grin. Midwestern at degree theatre degree (MFA) arts fine of master a received the Dallas Theater Center. from job on the faculty theatre/music/dance at Alabama at Birmingham the University of and designer lighting and set the as (UAB) technical After director. two years, James Hatcher hired him to be the set designer school teacher – and, in fact, didn’t enter the secondary school education field until he was in his 40s. with little theatre or arts, located halfway between Dallas, TX, and Oklahoma City, OK, on the Red River. He auditioned for a play his senior year in high school and was cast in the lead role of Ayn Rand’s The Night of January Sixteenth importance of the arts in education. “In this day of teaching for testing, it is important for us as a state to step up to the plate and tell people: ‘The important.’” arts are classroom path to the Hudson’s
, which won the Best Play Award in the SETC High School Theatre Festival in 2007. Festival Theatre School in the SETC High Award the Best Play , which won She believes that Hudson’s selection is “So many of us in the profession are She notes that because his job involves “What stands out about Roy is that he So how did an arts teacher become a milestone because, through it, Alabama makes a strong statement about the “Roy … teaches other teachers and takes delight in their progress. He is passionate about what he does.” Valley. so passionate about the arts,” she says. instructing other teachers in the county, as county, the in teachers other instructing well as teaching students at his school, he has an impact beyond the walls of Shades came late to teaching after a successful in theatre.” career teaches theatre and he is good at it,” Rogers Rogers it,” at good is he and theatre teaches He notes. “And he has a compelling story. – Teacher of the Year in of 2003, the – who Year Teacher was on the panel that chose Hudson. Teacher of the Year? That’s an easy question question easy an That’s Year? the of Teacher America’s and – Alabama’s Rogers, Betsy for way, and it’s great to see a theatre director director to see a theatre and it’s great way, the of one mention to not – recognition get of Roy.“ best in the state! I’m proud ‘elementary’ model of teaching: one teacher, teacher, one teaching: of model ‘elementary’ 26 students, a classroom, one door. But that work don’t programs arts performing time, experience has an instructed on based are me education that in decisions most Josh Bruner, Jake Bridges, Will Bruner and Grant Wilson (left to right) appear in Will Bruner and Grant Bridges, Jake Josh Bruner, Plaid Six years later, Hudson left to form his Hudson began teaching at Shades program,” he says. “Teaching the classes is own company, Roy Hudson Productions. Valley in 1995 – and soon discovered there the easiest part. What makes the difference ”I did mostly art direction for com- were many advantages to working with is knowing how to act and direct and design mercials, industrial films, print ads, trade young people. and build scenery and all those other shows and sports events,” Hudson says. “They have more passion than adults, technical aspects.” “My big clients were Parisian, Food World, and they bring such life to their work – such Hudson believes that his team’s Big B, Vulcan, Liberty Jeans, several ad freshness,” Hudson says. “Plus, I wanted professional approach is what sets his high agencies like Lucky and Forney, and the to create new work, and they are willing to school theatre program apart. Colonnade Sports Group (which is where do that. More established arts groups don’t “We expect the students to perform at I did my big business with the SEC and want to do anything but what has worked a high level all of the time,” Hudson says. the PGA). Along the way, I did a lot of in the past. Young people are willing and “We don’t expect second best from them. work for Birmingham Children’s Theatre, eager to explore new, uncharted waters. We also are in constant production. It means Birmingham Festival of Arts, and City It has been an adventure, but it has been they must always be prepared, always be Stages.” fantastic.” working.” In his early 40s, he grew tired of traveling Inspiring Professionalism The school also produces new plays and decided to make a major career move Hudson’s practical advice on running a annually, he adds, giving the students – to teaching at the high school level. high school theatre program is for teachers valuable experience in creating a role “With my company, I was doing more to learn everything they can about every on their own. In new plays, “there is sports production and less theatre,” facet of theatre, especially the technical nothing to copy from,” he says. “They have Hudson recalls. “I was doing a lot of area. He says the time he spent working ownership.” commercial work, but I wanted to do at his own production company, where In addition, the school brings in guest theatre exclusively. I also wanted to work he had to “do everything,” was crucial in artists “to work with the students to give more with young people, having enjoyed equipping him for the classroom. them a fresh perspective on their work.” teaching workshops and seminars.” “That prepared me to run a high school Jane Baker, the principal at Shades
26 of Southern Theatre 50 Years 27 SETC 50th Anniversary Anniversary 50th SETC Volume 41, Winter 2000 Winter 41, Volume 2001 42, Fall Volume Volume 39, Spring 39, 1998 Volume Winter/Spring 40, Volume 1999,
n was students,” students,” Les Miz
educationally as a team and who Ten-week classes were were classes Ten-week schools. were recommended by extract professionalism and and professionalism extract - School Edition in 2008, e, with an emphasis on drug productions of setting. theatre professional a in from his participating his from Theatre will produce a second Back in the auditorium at Shades Valley, Valley, Shades at auditorium the in Back The class is paying attention and now, Gilmore says she has been impressed quality rare that possesses Hudson “Roy When the opportunity arose to produce produce to arose opportunity the When relevant relevant musical works utilizing students from Birmingham Hudson adds, “I am sorry I couldn’t make couldn’t I sorry am “I adds, Hudson night, last Chick-Fil-A the at karaoke for it excellence Hands-On Teaching Hudson is talking to his class. “I said this …” listening all weren’t you and yesterday Students persist laughing and chattering. “And you’re not all listening now,” says, he pausing. “Now you are. Tonight is Stop Whistle the to go we’ll and dress, final together our It’s supper. for Café) (Irondale time. Our family time.” with Hudson’s ability to work with young with work to ability Hudson’s with people. to able being of she says. “I have never seen better trained young performers from all backgrounds who work together view working in the theatre as business.” serious Les Miserables the program STARS evolved from theatre classes into so successful that, in 2009, the VirginiaSamford musical through the STARS Jekyll and Hyd program, and education. prevention their teachers and asked to write a full-page full-page a write to asked and teachers their in participate to wanted they why on essay program. STARS the dance study, scene voice, acting, in offered and technical and theatre, concluded in a students. showcase of the participating live theatre live Initially, students his and encourage to - Betsy Rogers, Alabama’s – and America’s – Teacher of the Teacher – and America’s – Alabama’s - Betsy Rogers, Year in 2003, and a member of the panel that chose Hudso 2003, and a member of the panel in Year Hudson also works with theatre students students theatre with works also Hudson A A dedicated team assists Hudson, and “He always makes me work harder,” Alan Gardner, Hudson’s theatre The end result of his work with the “Roy has passion for the kids and train young performers in all areas of on the community level. He and Catherine and He level. community the on Rye Gilmore, STARS president the of Birmingham’screated Theatre, Samford Virginia arts Samford) the at Role A Take (Students education program in 2006 dance teacher at the school; and Michael King, the school’s musical consultant. he credits them with the program’s success. success. program’s the with them credits he fellow a Sanders, Janice includes team His theatre teacher; Jamie Grimes, a fulltime (his or the students.) Those are big assets educator.” for a theatre whatever-needs-to-be-done attitude. Roy is is Roy attitude. whatever-needs-to-be-done also very practical and doesn’t waste time it to state.’ Roy is a natural leader and an inspiration to his students. He challenges a with up it follows and big dream to them Gardner Gardner says. “It has been a given in our district that his production would ‘make colleague at a nearby school, sayshe has that competed with Hudson from the schools. different vantage point of three notes: “You forget they are kids when they when kids are they forget “You notes: onstage.” are best interest at heart. ” best interest students is high-level performance, she students. They accept constructive criticism criticism constructive accept They students. from him because they know he has their technical theatre and design and painting and construction. And it is amazing what he and his team can get out of high school craft,” she says. “He is knowledgeableand talented. He can teach acting and Valley, who has worked Valley, with Hudson for a decade, calls him “the complete ‘teacher package.’” up to the plate and tell people: “The arts“The are important.”’ plate and tell people: up to the ‘In this day of teaching for testing, it is important testing, it is as a state to step us for of teaching for ‘In this day B.A. in Drama Many student assistantships available Minor in Dance
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UVa Department of Drama PO Box 400128 Charlottesville, VA 22904-4128 434-924-3326 of Southern Theatre 50 Years 29 Volume 45, Spring 2004 Volume 46, Spring 2005 Volume Volume 43, Summer 2002 Summer 43, Volume 44, Spring 2003 Volume at the , Leisl Leisl , Parade Ben Hope, rightBen Hope, Now living in Birmingham, He pauses and they discuss different Hank Williams: Lost Hank Williams: Highway Dallas Taylor, “your Dallas reaction Taylor, to your wife on forgetting your anniversary – you are glossing over it. I’ve been married a long I’ve birthday. wife’s my forgot I Once, time. was there And life. my in bad that felt never nothing I could do. got You’ve to have an what? feel… and wait can you where instant show and on move can you Then Remorse? anger. It’s a phenomenal scene and your not is What in. kick to starting are nuances working for you?” Michael King, Shades Valley’s musical musical Valley’s Michael King, Shades and Hudson (right)consultant (at piano) Kirkpatrick. work Justin with student in The Wizard The of Oz. (below (below at right) attended Shades Valley briefly before leaving to tour nationally nationally tour to leaving before briefly Valley Shades attended , and Dorothy in , a 2001 graduate of Jefferson County , a 1997 graduate of Shades Valley, , attended a the 1997 University of graduate of Alabama’s Valley, Shades , a went on 2002 graduate to of become Valley, Shades a KC/ACTF Irene . Once he is sure the student is “That’s not true – I think I’m really a lazy a really I’m think I – true not “That’s Later, at a piano on the side stage, He had stayed late painting the stage The Sound of Music whatever path you choose!” path you whatever in teacher a as encouraging so was and vision amazing an has Hudson “Mr. says: Sharpe and now as can’t a You help friend. but do great things coming from his program in forward, even after they have left his program.” have after they even forward, Sharpe Bowden Kristen of tour national first the in Phagan Mary portrayed She grader. 10th a as theatre program before becoming the resident scenic and lighting designer and technical technical and designer lighting and scenic resident the becoming before program theatre director for the Virginia move them helps and people Samford talented recognizes TheatreHe in today. am I where Birmingham. for responsible Hudson, Boyer says, “is University. “Hudson University. was very influential inmy decision to he says. enter theatre management,” Ben Boyer Shades Valley), Shades Valley), is company manager for Atlantic Theater communications in earnedBA He a York. New in Company from DePauw University in 2005 and is finishing an MFA in theatrical management and producing at Columbia Sierra RepertorySierra Theatre in California. Aaron Thompson International Baccalaureate (the sister high school to Ryan regional winner and national finalist while earning his degree at the University of University the at degree earning his while finalist national and winner regional Ryan Central He Florida. now is an Equity and actor working living York across in the New He recently appeared country. Where Hudson’s Former Students Are Today Former Students Are Where Hudson’s Ben Hope was a really good moment. advises he But,” more. some it punch even You might them over the difficulty of playing 30 when 30 playing of difficulty the over them not the even young 18. people Hudson are “That section, one compliments particularly progressing, Hudson moves to a scene being being scene a to moves Hudson progressing, practiced on stage. After the duo finishes running through it, he commiserates with singing “Extraordinary” from the musical Pippin Hudson and King coach a young man develop a very efficient way to accomplish ever, work at sit don’t do. I I that everything sees. school at everyone what that’s think I so I sit.” there, I love to go home, and person at heart, but I also want everything to to everything want also I but heart, at person be perfect,” Hudson says. “Since those two elements don’t coexist very well, I had to among the performing arts students that the theatre. their teacher never leaves floor for the play, and manycomment studentson its beauty. A rumor floats but I was covered in dusty brown paint.” in dusty brown covered but I was Students Say Hudson ‘Opens Doors of Opportunity’ parts. “I need to see more subtlety. Some of your emotion is…” In the middle of Student Dallas Taylor (shown below in Once a Pond. A Time., a new musical fable by this dissection of the scene, Hudson notes Roy Hudson, which Shades Valley will premiere at the American High School Theatre that the Pippin singer has finished and Festival in Edinburgh, Scotland in August 2009), says: “What is beneficial in the Shades prompts another student to go to the piano, Valley theatre program is that Mr. Hudson gives us a lot of freedom and choices, but he tells us if something is not revealing a mind that can be on several working. He guides us, but also groups of students at one time. lets us make mistakes, and Hudson finds himself at that precarious explore and learn…. We are place in young people’s lives where, as a all learning life lessons we will teacher, he can lead them across a precipice never forget: punctuality, hard and make a huge difference. Back at work, getting up in front of people the piano, Hudson takes hands out of a to speak and perform. I am a student’s pockets as the fellow practices a completely different person now than two years ago. This program piece from Les Miserables. “Diction, diction, helps you find yourself and what diction. I can’t understand what you are you love.” singing. Now you have stopped singing. Allie Bruner (pictured on Page Don’t stop singing…” As the student 22) says: “He [Hudson] gets very continues, Hudson and his crew begin to involved. He helps pick scenes, coax greatness out of him. and devotes time to get a scene working. He never stops. He goes on and on and on. Now Nomination for Award he’ll work on scenery, then lines, then music… Mr. Hudson opens doors of opportunity. He finds what we are passionate about, and pulls the desire and the enthusiasm out of Hudson’s first step toward the state’s us. He makes us put that on stage. Mr. Hudson is honest and prepares us. He doesn’t highest teaching award came when he baby us. He makes us face the music and trains us for what is to come.” learned, as he prepared to leave the school for Christmas break in 2007, that his fellow
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30 of Southern Theatre 50 Years 31 2/15/07 10:27:43 AM 2008 INSIDE: NOBODY Winning Play Getchell Award Getchell Award Volume XLIX Number 4 • Fall 2008 • $8.00 XLIX Number 4 • Fall Volume Volume XLVIII Number 2 • Spring 2007 • $8.00 XLVIII Volume Woody Allen is at Woody Long William Ivey Robert Porterfield Is NOT Pornography Inside: 2007 SETC Professional Theatre Directory Theatre Inside: 2007 SETC Professional Partnerships Atlanta: Alliance Theatre Links Students, Professionals Charlotte: ImaginOn Merges Theatre, Literature, Technology Commentary Romeo and Juliet Take it to the Fringe Take How to Produce a Show Festival at the World-Famous Playwrights 40 Groundbreaking Should (but Might Not) Know Names You 27065_Cover.indd 1 death, including eulogies from individuals ranging from then-President Richard Nixon to actor Gregory Peck. 15: Page White, left, with George C. conference, at a playwrights’ 16, Volume of on the cover Spring 1973. 29: Page and in a story is on the cover 43, Summer 2002. Volume in Volume 49, Fall 2008 49, Fall Volume Winter 2009, 50, Volume 6 see Page TRIVIA TO ANSWERS 9: ON PAGE QUESTIONS 15: Page Volume of is on the cover 15, March 1972, which a storyfeatures on him and Theatre upon his Barter Volume 47, Fall 2006 Fall 47, Volume 48, Spring 2007 Volume As As
But But “She “She n It was in my application and it it and application my in was It “I do not feel that we are in any way “That is such a great perk,” he notes. he perk,” great a such is “That As the Teacher of the Year, Hudson and Shades his Valley department also “Of course, I also get to meet the new Hudson is using his position to call Hudson has written about his agenda He could have taken the year off from director of The Seasoned Performers, Alabama’s director of The Seasoned Performers, Alabama’s only senior adult theatre, in Birmingham, AL. extracurricular,” he says. “We are andshould be at the core of any curriculum. I have spoken and writteneverywhere. about appearances. my thisof all of center the at is the first arts teacher in this feelposition, a I huge responsibility toand administrators to arts the in everyone represent politicians.” Barbara Sloan is a freelance writer and executive received $2,500, which Hudson used to purchase wireless microphones and scene paint. he April,” in States United the of president adds. “I can’t wait!” arts The message: important an to attention integral to education. are well. He is mentoring Alyssa Crisswell, as well. He is mentoring this is her first year of teaching. teach to getting like is it and wonderful, is student one-on-one. “ this great received the use of a carThe state foralso pays thefor his year. gas to attend functions associated with that addition, role.he received a In monetary award, which “is nice because I didn’t have any suits, and I need suits speaking engagements,” Hudson notes. for all of these in education journals that have reached superintendents, principals, school board members, and educators. In July, he was by honored Theatre Area the Birmingham Alliance for being Alabama’s firstYear. of the Teacher teacher to be named arts to not chose but Valley, Shades at teaching do so. He did get another teacher to much. help so road the on is he because teach as her teaching resist can’t Hudson so, even in education and promoting imagination the curriculum. across Then Hudson says he is rarely Since winning this prestigious honor, He was immediately asked to speak to “We had a wonderful reception in “After digesting all that, we [came] to The state names an elementary winner, The last step for the four finalists was When Hudson was selected as one of the the of one as selected was Hudson When Betsy Rogers notes that teachers who Hudson has regained his composure and state the around locations many at spoken about his platform: promoting the arts not sure how well I did.” not sure Lesson Plan of the Year’s Teacher overwhelmed, but “I was overwhelmed, and then asked to I’m speak intelligently. the packed room, full of state school board board school state of full room, packed the members, local school board members, principals, teachers,and the press. family, friends name. I assumed they had counted [the ballots] wrong.” they announced the secondary winners. Then, they elementarycalled my and Montgomery in May where they honored “They says. he finalists,” district the of 16 all showed a film of the four finalists. recalls his surprise when his name was announced as the overall winner. a secondary school winner, and Hudson thenwinner. an Year the of Teacher overall selection team asked questions. our final decision,” says Rogers. an interview, an 16-member the hour-long which during Montgomery, session in viewed the materials and narrowed the 16 down to four finalists. of group that include business and and specialists professional academic as well as people, and read Year, the of Teachers state former 16 state finalists, he had to submit a video of video a submit to had he finalists, state 16 himself teaching and a lesson plan. Teams many steps. Among other items,nominee each is asked to essay and a resume. application, a written submit a paper are nominated for the state title go through through go title state the for nominated are a rigorous selection process that involves as the school’s Teacher of the Year. Next, he Next, Year. the of Teacher school’s the as competed at the county level and moved competition. into the state teachers at Shades Valley had selected him selected had Valley Shades at teachers WORDS, WORDS, WORDS. . . Editor: Scott Phillips
Words, words, words… [Hamlet II,ii] reviews books on theatre that have a connection to the Southeast or may be of special interest to SETC members. Scott Phillips, an associate professor at Auburn University, edits this regular column. If you have a book for review, March 4 - 8, 2009 / BIRMINGHAM, AL please send to: SETC, Book Editor, P.O. Box 9868, Greensboro, NC 27429-0868.
The Influence of Tennessee John Clum explains how Christopher Williams: Essays on Fifteen Durang – who wrote two parodies of American Playwrights Williams, For Whom the Southern Belle Edited by Philip C. Kolin 2008, McFarland & Company Tolls and Desire, Desire, Desire – attacks www.mcfarlandpub.com the institution of marriage in a way that ISBN 978-0-7864-3475-6 is similar to Williams’s style. Kirk Wood- Pages: 239. Price: $39.95; soft cover ward claims that notions of scandal link
by Frazer Lively Williams’s Cat on a Hot Tin Roof with Tony Kushner’s Angels in America. Verna Foster he essays in this collection support writes that Beth Henley’s plays provide • Off-Stage Jobs for Technicians, Designers, Stage Managers, T the contention of editor Philip C. comic versions of characters from A Streetcar Administrators & Academicians Kolin, a professor of English at the Named Desire and The Glass Menagerie. University of Southern Mississippi, that Brenda Murphy’s essay, which is particularly • Intern and Apprentice Opportunities “Tennessee Williams is, unquestionably, well-written, looks at the fate of artists in • Workshops covering all areas the most influential playwright America plays by David Mamet and Williams. of Theatre has ever produced.” The book examines One important aspect of this book is • Keynote the impact that Williams had on 15 other its analysis of what Williams has meant Speakers playwrights: William Inge, Neil Simon, for African-American playwrights. Harry • Master Edward Albee, A.R. Gurney, Lorraine Elam describes how the plays of Suzan- Classes for film & Hansberry, Adrienne Kennedy, John Lori Parks follow in a Williams tradition television Guare, Sam Shepard, August Wilson, of using illicit sexual desire as a visceral David Mamet, Beth Henley, Christopher exploration of character. Sandra Shannon • Exhibits, Commercial Durang, Tony Kushner, Suzan-Lori Parks calls August Wilson and Williams fellow and Educational and Anna Deveare Smith. sons of the South; she shows how the Williams has clear connections to many South permeates Wilson’s dramas even • 5 Theatre Performance Festivals of these writers. He promoted the early though they take place in Pittsburgh. Presenting Over 40 Productions work of Inge, who admired his mentor Nancy Cho claims that, although Lorraine • K-12 Educators Institute until rivalry soured the relationship Hansberry’s plays are more overtly political between the two dramatists. Edward Albee than those by Williams, both playwrights REGISTER has acknowledged his debt to Williams questioned the sexual and racial politics on site in in repeated interviews, including one of America. birmingham by David Crespy in this volume. Both Better copy editing would improve playwrights battled criticism because of Kolin’s book, which has a number of www.setc.org their sexual orientation and, according to typographical and grammatical errors (e.g., Albee, both felt a Chekhovian and tragic use of the word “an” where “and” should SOUTHEASTERN THEATRE sense of life. appear, and use of a present-tense verb CONFERENCE where past tense is needed). Nevertheless, Correction The Influence of Tennessee Williams will interest anyone who wants to know more Due to an editing error, an incorrect location was given for Riverside about one of America’s finest playwrights Theatre in the “Hot Jobs in Theatre” and his heirs. n story in the Winter 2009 Southern Frazer Lively is chair of the theatre department Theatre. Riverside is located in Vero Questions? Information? Details? at Wesleyan College, a liberal arts college for Call 336.272.3645 or E-mail [email protected] Beach, FL. women in Macon, GA.
32 THE AMERICAN MUSICAL AND DRAMATIC ACADEMY NEW YORK • LOS ANGELES AMDA is a two year conservatory founded in 1964 for the study of Acting for the Theatre, Film and Television, Musical Theatre and Dance. • 2-year full-time programs in Acting for Stage, Film and Kenita Miller is on Broadway in Television, and Musical Theatre – Audition required. the new musical • 2 campuses in the leading entertainment cities of the XANADU in the United States – New York City and Los Angeles. role of Erato. • The New York campus is in the historic West Side of Manhattan, minutes from Lincoln Center and the Broadway Theatre district. Ward Billeisen • The Los Angeles campus is in the heart of Hollywood, is in the role of Brick Hawvermale one block north of the intersection of Hollywood on Broadway in Boulevard and Vine Street. Capitol Records is across the CURTAINS starring street and the Pantages Theatre is around the corner. David Hyde Pierce • Certificate, BA and BFA degree programs. and Debra Monk. • National & International Student Body. Gretchen Mol • Student Housing available in both locations. is in the new movie 3:10 TO YUMA in • Scholarships are available. the role of Alice Evans. • Faculty of Professional Artists. The movie stars Russell Crowe, Christian Bale • In 2006/2007 twenty-nine alumni worked on Broadway. and Peter Fonda. They also worked Off-Broadway, in National and International Tours,and in Film and Television. • Auditions held monthly in New York City, Los Angeles Tiffany Engen plays Noreen in and 33 cities in the United States, Canada and Mexico. the new film HAIRSPRAY with John Travolta. AMDA NY AMDA LA Shannon Durig 2109 Broadway, 6305 Yucca Street, is currently starring New York, NY 10023 Los Angeles, CA 90028 in the leading role of (800) 367-7908 (866) 374-5300 Tracy Turnblad in the (212) 787-5300 (323) 469-3300 Broadway hit HAIRSPRAY. www.AMDA.edu BFA & BA in theAtre VCU Professional training Program TAT VIRGINIAheatre COMMONWEALTH UNIVERSITY n performance n design/technology n stage management Member of NAST - National Association of Schools of Theatre n Senior Showcase EGD;:HH>DC6A the only undergraduate program in Virginia that produces acting showcases for seniors in nYC, Chicago & Washington DC n Guest Artist Program Featuring nationally recognized guest artists to conduct week- long master classes n Guest Director Program two of theatre VCU’s four annual main stage productions are directed by renowned professional directors MFA, PeDAGoGY Cabaret 8=6AA:C<>C< n dramatic literature & dramaturgy n voice & >CHE>G>C< speech n performance n movement & musical theatre MFA, SCeniC & CoStUMe DeSiGn n a unique 2-3 year graduate program n practical training For Colored Girls Who Have Considered Suicide n professional mentoring When the Rainbow is Enuf financial aid & assistantships available
Smokey Joe’s Cafe David S. Leong, Chairman • [email protected] For information contact: VCU Glynn Brannan, Creative Director • 804.828.2695 Virginia Commonwealth University [email protected] Department of Theatre 922 Park Avenue • Richmond, Virginia 23284-2524
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