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A study of four selected career-entry training programs in the performing arts

Watanabe, Stephanie L., M.A.

The American University, 1990

Copyright ©1990 by Watanabe, Stephanie L. All rights reserved.

UMI 300 N. Zeeb Rd. Ann Arbor, MI 48106

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with with permission permission of the of copyright the copyright owner. owner.Further reproduction Further reproduction prohibited without prohibited permission. without permission. A STUDY OF FOUR SELECTED CAREER-ENTRY

TRAINING PROGRAMS IN THE PERFORMING ARTS

by Stephanie L. Watanabe

submitted to the

Faculty of the College of Arts and Sciences of The American University

in Partial Fulfillment of the Requirements for the Degree of Master of Arts

in Arts Management

Signatures of Committee:

Dean of the College August 21, 1990 Date

1990

The American University

Washington, D.C. 20016

THE AMERICAN UNIVERSITY LIBRAS?

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. A STUDY OF FOUR SELECTED CAREER-ENTRY

TRAINING PROGRAMS IN THE

PERFORMING ARTS

BY

Stephanie L. Watanabe

ABSTRACT

Career-entry training programs in the performing arts

often bridge the gap between an artist's formal education and professional career, and give young artists the neces­

sary experience so that they may enter the professional

world. This thesis is a study about career-entry training

programs. Four career-entry training programs were selected

and investigated. The programs were the New World Symphony

(Miami, FL); the Wolf Trap Opera Company (Vienna, VA) ; the

Joffrey II Dancers (New York, NY); and the Shakespeare

Theatre at the Folger, Acting Fellowship Program in partner­ ship with the University of South Carolina (Washington, DC) .

Results from this research were promising. The four train­

ing programs had all been successful in accomplishing their

goals and mission. Career-entry training programs made a

positive impact on the young artists' professional careers

and gave the artists the experience needed to gain positions

in professional arts organizations.

ii

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. © COPYRIGHT

by

STEPHANIE L. WATANABE

1990

ALL RIGHTS RESERVED

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. TABLE OF CONTENTS

ABSTRACT ...... ii

Chapter I. INTRODUCTION ...... 1

II. THE NEW WORLD SYMPHONY ...... 6

Founding by the N F A A ...... 6 Mission ...... 9 Musician Selection Process ...... 12 Organizational Structure ...... 14 Finance and Development ...... 16 Programming...... 19 Community Benefits ...... 25 A l u m n i ...... 26 C o n c l u s i o n ...... 29

III. THE WOLF TRAP OPERA COMPANY...... 30

B a c k g r o u n d ...... 30 Evolution of WTOC ...... 32 M i s s i o n ...... 33 Musician Selection Process ...... 34 Education...... 35 Organizational Structure ...... 36 Finance and Development ...... 36 Programming...... 37 Community Benefits ...... 38 A l u m n i ...... 39 C o n c l u s i o n ...... 41

IV. THE JOFFREY II DANCERS ...... 42

Background of the Joffrey Ballet ...... 42 Founding of the Joffrey II D a n c e r s ...... 43 M i s s i o n ...... 44 Selection Process ...... 46 Education of the Dancers (1969-89) 47 Organizational Structure ...... 48 Programming...... 49 Community Benefits ...... 51 A l u m n i ...... 51

iii

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Recent Changes: The Joffrey II Dancers (1989-90) 54 C o n c l u s i o n ...... 57

V. THE SHAKESPEARE THEATRE AT THE FOLGER: ACTING FELLOWSHIP PROGRAM IN PARTNERSHIP WITH THE UNIVERSITY OF SOUTH CAROLINA ...... 58

B a c k g r o u n d ...... 58 Beginnings: The Training Program ...... 60 Mission...... 61 Selection Process ...... 62 Education...... 62 Organizational Structure.... .- ...... 63 Programming...... 64 Community Benefits ...... 65 A l u m n i ...... 66 C o n c l u s i o n ...... 70 VI. COMPARISONS AND CONTRASTS BETWEEN THE FOUR TRAINING P R O G R A M S ...... 71

Training Programs ...... 71 Organizational Structure...... 72 Selection Process and Entrance Level ...... 72 Stipend-based Programs ...... 74 Length of Program...... 74 Learning M e t h o d s ...... 75 Audience Communication and Education ...... 76 What Happens Afterwards? ...... 77

VII. CONCLUSION ...... 78

APPENDIXES ...... 81

BIBLIOGRAPHY ...... 90

iv

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. CHAPTER ONE

INTRODUCTION

Discipline, hard work, intense training, talent, and

dedication are needed to succeed as a performing artist.

Many artists have been faced with the difficulty of estab­ lishing themselves in the professional arts arena. Educa­

tion in schools and studios usually does not provide young

artists with enough skills to immediately enter the profes­

sional field. Young artists may be technically ready to

enter a professional career, but they may lack the necessary

experience to gain a position in a professional company.1

Young artists often need "hands-on" experience in the

field to gain positions in symphonies, opera, dance, or

theater companies. Many major symphonies search for

musicians who have already had experience in a professional

orchestra. Dance and theater companies look for young art­

ists with previous professional experience. For many young artists, career-entry training programs give them the cre­

dentials and experience needed to enter professional com­

panies or orchestras.

1In this thesis, a "professional artist" is defined as an artist who is engaged in a specific activity as a source of livelihood, receives pay for higher services, and has great skill in a particular field.

1

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Over the past few decades, several career-entry train­

ing programs have developed to give young artists the neces­

sary experience to enter the professional world. The train­

ing programs have acted as bridges between the artists'

student and professional lives, and have launched the young

artists into their professional careers. Training programs

are offered in each field of the performing arts, including

music, opera, theater, and dance.

This thesis investigates four career-entry training

programs— one in each of the fields of music, opera, dance,

and theater. The general questions this study has raised

are the following: What are career-entry training programs?

Who can participate in these programs? What kind of pro-

grams are offered in music, opera, dance, and theater? What

are the similarities and differences in the programs within

the various disciplines? What are the benefits for the

young artists who participate in these programs? What is

the impact on these artists' professional careers? Should

there be any changes in the way the programs are adminis­

tered? Are these career-entry programs of value for young

artists and their professional careers?

There is significant value and importance in career-

training research. Limited documented sources exist per­

taining to career-entry training programs, therefore docu­

mented research in this area is essential. Research will

not only bring awareness of these programs to arts educators

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 3

and arts administrators, but can be used as a source of

reference in the future.

Arts administrators will benefit from the analysis of

the management of such career-entry programs. Included are

specific organizational structures and program goals neces­

sary for development of career-entry training programs.

Knowledge about another program's goals, ideas, projects,

and organizational structure can offer fresh ideas and pos­

sible improvements for any existing program. On the other

hand, for those organizations investigating the possibili­

ties of beginning training programs, it is important to

identify potential organizational structure and goals.

Training programs are extensions of the artist's formal training and act as bridges between "student" and

"professional" life. Arts educators can look at this study

as a guide to career-entry training programs in order to

become better informed about the options students have in

pursuing their artistic careers.

Written materials on career-entry programs are vir­

tually nonexistent. A few newspaper and magazine articles

exist that discuss selected aspects of several programs. In

most cases, primary materials were used as the sources of

research for this thesis: brochures and publications from

the organizations themselves, newspaper reviews and clip­

pings, and interviews with the administrators of the pro­

grams and alumni.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 4

In the initial stage of research, an identification of various career-entry programs was undertaken in order to

make a careful selection of programs to be studied. Since

the thesis is not intended as a full survey of career-

training programs, four programs were chosen. The programs are the following: New World Symphony (Miami, FL); Wolf

Trap Opera Company (Vienna, VA); Joffrey II (New York, NY);

and the Shakespeare Theatre at the Folger-Acting Fellowship

Program University of South Carolina (Washington, DC).

The four programs were selected based on the following

criteria: outstanding managerial and artistic achievements, positive managerial and artistic reputations, and availabil­

ity of documentation on the history and activities of the

organizations. Fulfillment of these criteria labeled the

programs as training programs in the arts worthy of study.

Although the selected training programs encompassed a wide

variation in program structure, an effort was made to

include a balanced cross-section. The orchestral and dance

programs are both full-time and year-long, while the opera

and theater programs are short-term. Currently, the New

World Symphony is the only full-time training orchestra in

the United States.2 The Shakespeare Theatre is one of the

most prominent classical theater training facilities in the

United States and is a unique program developed in

2Kenna Simmons, "Greater Miami," Horizon. April 1988, 17.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. cooperation with the University of South Carolina. Wolf

Trap Opera Company serves as a career-entry program for some of the finest vocalists in the United States, while the Jof­

frey Ballet II program is one of the prominent full-time

classical ballet training programs.

The following aspects of each program were covered: the founding, mission, artistic selection process, organiza­

tional structure, financial considerations, programming, alumni, and community and artistic benefits. Research

methods included interviews with current artists and manage­

ment from these training programs. Comparisons and con­

trasts of each of the programs were formulated, and conclu­

sions about career-entry training programs were drawn.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. CHAPTER TWO

THE NEW WORLD SYMPHONY

February 4, 1988 marked the debut performance of the

New World Symphony (NWS). The first symphony orchestra of its kind in the United States, the New World Symphony is the

nation's first "full-time advanced training orchestra.1,1 It

provides "a bridge between the musicians' formal education

and their professional music careers."2 Most NWS members

are recent graduates from the top music schools in the

nation and are between the ages of 21 and 30. Through com­

petitive auditions, eighty musicians are chosen to be part

of this "unique environment that allows them to develop

. . . talents to the fullest."3 The NWS is more than a

symphony orchestra where music is played. It is an environ­

ment where the musicians eat, sleep, and breath music.

Founding by the NFAA

The NWS is an affiliated program of the National Foun­

dation for the Advancement in the Arts (NFAA) . This Miami-

^•George Volsky, "Miami's New Orchestra Teaches While It Plays," New York Times. 1 February 1988, N16.

2Simmons, 17.

3Ibid.

6

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 7 based organization was established in 1981 to serve the

needs of artists throughout the nation in the early stages of their development. The most widely known program of the NFAA is the annual Arts Recognition and Talent Search

(ARTS), through which artistically accomplished secondary-

school seniors receive financial awards to pursue their edu­

cational and professional goals. It is solely through this

search that the NFAA nominates to the White House Commission

for the Arts ARTS awardees who are selected as Presidential

Scholars in the Arts. The NWS inaugurated a new phase for

the NFAA in its support of young artists by offering career-

entry opportunities to aspiring professionals. Although the

NWS is an affiliated program of the NFAA, the NWS acts as

its own independent entity with its own staff, board of

directors, and funds.4

The idea for the New World Symphony was developed, in

part, by Dr. Grant Beglarian, the NFAA's president. Dr.

Beglarian believes strongly in the development of career-

entry programs for the arts. He has said,

The need for help is greatest when these people are fin­ ished with their training. . . . When I joined the NFAA in January 1982, right from the beginning I knew that the future of NFAA was in the career-entry arena.5

4Volsky, N16.

5"NFAA President: Rare Opportunity Awaits Young Symphony Musicians," The New World Symphony News. Fall 1987, 6 .

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 8

Thirty-five years previously, Dr. Beglarian had an experi­

ence which inspired the formation of the NWS. He was

drafted into the Army as a violist assigned to play in the

Seventh Army Symphony. This group, composed of 22- to 23-

year-old men, performed throughout Germany and Austria. He

had an excellent experience. He formed strong friendships

with his fellow musicians. He felt he grew as a musician

because everyone was treated as a professional. He has said

that the Seventh Army Symphony marked a very important phase

in his development.6 The experience made a great impact on

his beliefs as an educator and arts administrator.

Mr. Ted Arison, chairman of the board for the National

Foundation for Advancement in the Arts, also took great

interest in this project, because he had heard a similar

training orchestra in Europe. Mr. Arison was impressed by

that orchestra and thought that the United States needed an

orchestra in which young musicians could train and polish

their skills.7 Mr. Arison later offered the seed money for

this new endeavor.

Two other important men in this new creation were Dr.

Jeffrey Babcock, the former executive director of the Los

Angeles Philharmonic Institute and the present Executive

6Ibid.

7Marty Merkley, general manager, the New World Symphony, interview by author, Tape recording, Miami Beach, 22 January 1990.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 9

Director of the NWS, and Maestro Michael Tilson Thomas. Through mutual professional friendships, Mr. Beglarian, Mr.

Arison, Dr. Babcock, and Maestro Thomas developed the ideas

for the founding of the NWS.8 The NWS grew from the joint efforts and unified vision

of these individuals. Dr. Grant Beglarian asked Michael

Tilson Thomas, a noted conductor, to create a training orchestra in Miami.9 In response to this request, a meeting

was called. The New World Symphony became reality during a September 1986 meeting . . . attended by Mr. Thomas; Ted Arison, chairman of Carnival Cruise Lines; David L. Paul, chairman of the CenTrust Bank; the theatrical producer, Zev Bufman; and Jeffrey N. Babcock, now the orchestra's executive director. Mr. Arison, the founder of the parent organization; Mr. Paul, today the orchestra's chairman; and Mr. Bufman agreed with Mr. Thomas about the group's musical goals and pledged financial support to begin the project.10 With artistic and financial backing, the NWS came into exis­

tence in late 1986.

Mission

The formation of the NWS was in keeping with the basic

mission of its parent organization, the NFAA, which is "to

provide significant career entry opportunities for highly

motivated young artists. The NFAA seeks to establish the

8Ibid. 9"Close-up: Michael Tilson Thomas," The New World Symphony News. Fall 1987, 3.

10Volsky, N16.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 10

New World Symphony as the national resource center for

launching the careers of young artists."11 To fulfill its mission, a committee of distinguished musicians, guided by the artistic adviser Michael Tilson Thomas, sets artistic

policy. The committee is also a resource for the selection

of guest conductors and soloists, repertoire for performance

and study, guest artists for master classes, and guidelines

for chamber music study. A group of eighty highly skilled

musicians, graduates of the best schools in the country, is

selected by national auditions to participate in the NWS.

Each musician receives a fellowship that includes a weekly

stipend and housing. The fellowships are renewable for up to three years. The young musicians have the opportunity to

work and perform in Miami with great conductors and solo

artists. In addition, musicians receive coaching in master

classes, orchestral techniques, specialized repertoire,

audition preparation, and chamber music. Executive Vice

President and Managing Director Dr. Jeffrey Babcock has

articulated the NWS's mission as follows:

The scope of performance activities, coupled with intensive interaction with some of the world's leading musical artists, orchestra personnel and managers, will provide The New World Symphony member with invaluable preparation for their professional careers. . . . The unique concept of The New World Symphony, as well as the quality and stature of its artistic adviser and solo artists, will more than ever continue to focus national and international attention on Miami and NFAA as one of

1:LJeffrey N. Babcock, Miami, to American Symphony Orchestra League, Washington, D.C., 5 March 1987, Transcript in the hand of American Symphony League, Washington, D.C.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 11

the most prestigious and valuable channels for recogni­ tion of young artistic talent in the United States.12

The mission of the NWS addresses the need for career-

entry training programs in the arts in the United States.

The NWS "answers a significant national need to expand the

aesthetic and technical horizons of exceptionally gifted

musicians beyond that which is possible at even the most sophisticated conservatories and university schools of

music."13 The program is not unlike a medical residency

prior to going into a medical practice. The NWS is "hands-

on" training for a professional musician's career. In an

interview, the artistic adviser, Michael Tilson Thomas, has

expressed his concern from an artistic point of view for the

members of the NWS. He has said that his purpose "is to pro­

vide an artistic community where very wonderful musicians who

are interested in orchestral playing can really learn reper­

tory and also a lot of the savvy and stylistic sense that is

important to know around the symphonic repertory."14 Maestro Thomas wants to instill in the musicians an idealism about

music. At their young age, Maestro Thomas feels he can still

do this. Through explorations in repertory and musical

styles, Thomas hopes the musicians will learn and will have

the necessary experience to play in major symphonies.15

12Ibid. 13Ibid. 14Ibid.

15Hank Klein, "Volunteer Support Group Plans 'Fun- raising' Events," The New World Symphony News. Winter 1988, 1 .

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 12

Musician Selection Process

The First Season More than eight hundred musicians auditioned for the

eighty positions available in the NWS the first season. Auditions were held across the nation in September, October,

and November of 1987. Musicians were given a list of audi­

tion pieces they were to play. The average audition time

was only ten minutes. The judges for the auditions looked

for an applicant with a high degree of technical ability,

artistic accomplishment, and musical understanding. The

applicants were also interviewed to determine their attitude

about and commitment to the goal of the NWS. Audition

results were made available after November 5, 1987. Alter­

nates were also notified. Auditions for principal chairs

were held in mid-November.16

The Current Season: 1989-90

The NWS application form describes the current selec­

tion process:

The selection of the musicians is based on technical ability, musical understanding, and a high degree of artistic accomplishment. NWS orchestra member must be committed to full participation in a comprehensive and intense program of artistic development and must be prepared to accept a significant degree of personal responsibility.17

16Merkley interview.

17The New World Symphony, residency information and application, 1989-90 season.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 13

As NWS orchestra members find placement in professional symphonies, positions in the NWS become available. New mem­

bers comprise approximately 30 percent of the orchestra each season.18 Applications and audition tapes are accepted on

an ongoing basis, and those musicians demonstrating talent

are invited for in-person regional auditions.

The musicians vary in ages between 21 and 30 years

old, with a limit of 30. The NWS has attracted many musi­

cians from the top music schools in the country, such as the

Juilliard School and the Eastman School of Music, who have

recently graduated with bachelor's or master's degrees. The

musicians live in the Plymouth Hotel, a historical art deco

building, in South Miami Beach. The hotel, now known as

Symphony House at the Plymouth, was purchased in November

1987 by trustees and major benefactors of the NWS. The

musicians receive a weekly stipend of $300, a travel

allowance, and housing. As noted before, their fellowships

may be renewed for up to three years.

The first season was a short, eleven-week season. The

next season, beginning in October 1988, was thirty-one

weeks. The 1989-90 season was comprised of a thirty-two-

week residency in Miami from October through April and a

four-week summer residency.

18Ibid.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 14

Organizational Structure

The NWS's administration has grown tremendously since

its first concert season in 1987. The organizational struc­

ture consists of the Board of Directors, the artistic divi­

sion, and the administrative division.

The Board of Directors

The Board of Directors is chaired by Ted Arison,

chairman and chief executive officer of Carnival Cruises.

In 1989, the previous thirty-two-member board was stream­

lined to nineteen directors comprised of prominent business

leaders, educational leaders, and community leaders in the

Miami area. The restructuring was done to "increase its

efficiency and broaden its fund-raising network."19 Of the

nineteen directors, eleven directors chair committees and

eight directors act as cochairmen to committees. The eleven

committees are the following: Nominating, Host and Special

Events, Finance and Planning, Public Relations and Market­

ing, Symphony Hall Coordinating, South Florida Corporate,

South Florida Individual, South Florida Professional,

National Corporate, National Individual, and Government Task Force.

Included in the restructuring was an eleven-member

International Board. Unlike the Board of Directors, the

International Board does not vote or participate in policy-

19"Symphony Founder Ted Arison Takes Over as Chairman," The New World Symphony News. Winter 1989-90, 1.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 15

making decisions. The International Board was "established

to help the directors raise money and accomplish the

Symphony' s artistic goals.1,20

Artistic Division

The NWS has a fine artistic staff. Michael Tilson

Thomas, artistic adviser, heads the artistic division, while

Leif Bjaland is the resident conductor and artistic coor­

dinator, and Scott Nickrenz is the chamber music adviser.

To shape the artistic direction of the NWS, the National

Advisory Committee, consisting of twenty-three members

including such renowned musicians as Leonard Bernstein,

Zubin Mehta, and Sir George Solti, helps to set artistic

policy.

Administrative Division

The NWS staff is as follows: Dr. Jeffrey N. Babcock,

executive vice president and managing director; Marty Merk-

ley, general manager; an orchestra manager; a music librar­

ian; an artist liaison; directors of development, finance,

marketing, communications, and community relations; a ticket

office manager; and various support staff positions. In

all, there are twenty-two staff positions. The positions

increase as the orchestra expands.

20Ibid.

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Finance and Development

Without financial support from corporations and indi­

viduals, the NWS could not exist. The NWS started with a major grant from the Arison Foundation and Carnival Cruise

Lines, distributed through the NFAA. The Arison Foundation

recently completed a three-year, 1.23-million-dollar commit­ ment to the NWS and states that it will continue to support

the NWS.21

Since the NWS was founded, the budget has grown from

1.5 million dollars to an anticipated 5 million dollars for

the 1990-91 season.22 The budget has increased with the

expansion of programming and the building of the NWS's new

home at Lincoln Theatre.23 (The Lincoln Theatre will be

discussed later.)

Corporate Support To support the 5-million-dollar budget of the NWS,

various Miami-based businesses have pledged funding, includ­

ing Barnett Bank; the Continental Companies; Capital Fund

Foundation; Ryder System, Inc.; Southeast Banking Corpora­

tion Foundation; and Miami Savings Investment Corp.24

21The New World Symphony, press release, 11 April 1988.

22Merkley.

23Ibid. 24Ibid.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 17 Other corporate support includes the underwriting of concerts and tours. Grants from Texaco and American Express

funded NWS's South American tour in July of 1989. Citibank

funded NWS's performance at Carnegie Hall in December 1989. Holland America Cruises, CenTrust, and Texaco have under­

written three series for the 1989-90 season.25

Individual Support

Individuals have pledged major financial support for

the NWS. These individuals have included the following

board members: Mr. and Mrs. S. Adler, Mr. and Mrs. D. Paul,

and Mr. and Mrs. N. Braman. Gifts from Mr. and Mrs. G.

Katcher and Mr. and Mrs. H. Scharlin were used to underwrite

Miami Bamboula. a work commissioned by the NWS for its

inaugural concert on February 4, 1988.26

Other Support

Other financial support for the NWS comes from the

Dade Country Council on the Arts and Sciences, the Tourist

Development Council, and the Board of County Commissioners.

(The dollar amounts of these grants were not available.)

In 1988, the NWS received a $700,000 Cultural

Facilities Grant from the State of Florida to, in part,

cover the costs for renovation of the Lincoln Theatre in

25ll0n Tour with the New World Symphony," The New World Symphony News. Winter 1989-90, 3.

26The NeWS: A Publication of the Friends of the New World Symphony. Spring 1988, 5.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 18

historic Miami Beach. In October 1989 the NWS moved into

its new permanent home. Located in the Lincoln Mall area,

the four-story building has been renovated into offices, a music library, rehearsal and practice rooms, and a 796-seat

concert hall.

Programs to Build Support

The NWS has various programs to build financial sup­

port. One program brings in support of at least $1,000 from

each individual, foundation, or corporation. Contributing a

minimum of $1,000 designates a person or company as Founding

Member of the NWS. This contribution entitles the donor to

certain benefits such as his name appearing in each season's

program book, invitations to special events, etc. (The

exact number of donors in this category is not known.)

Along with corporate, individual, and foundation sup­

port, there is the Friends of the NWS membership group. The

Friends of the NWS have no time or donation minimum; Friends

are, however, required to buy four season tickets at any

level. The Friends have two objectives: raising the com­

munity's consciousness level about the NWS and assisting in

the area of subscription sales.27 The ticket requirement

encourages the Friends to bring their friends and expose

them to the NWS. The Friends also plan fund-raising events.

An example of this was a January 16, 1988, preseason concert

27Ibid.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 19

sampler featuring members of the NWS, aboard the cruise ship Celebration. which was cosponsored by Carnival Cruise Lines,

Citicorp Savings, and WTMI. The Friends also participate in

an "adopt-a-musician" program in which some musicians enjoy homecooked meals, a ride home, or someone to talk to.28 The

Friends are an essential part of the NWS organization in

that the group publicizes the NWS and raises funds.

Programming

In fulfilling the mission and purpose of the NWS, pro­ gramming is most important. The mission includes explora­

tion of a variety of orchestral and chamber works that range

from traditional to contemporary commissioned works. An

example of this programming was the world premiere concert

of the NWS on February 4, 1988. This performance, conducted

by Michael Tilson Thomas, included Bela Bartok's Concerto

for Orchestra. Ludwig van Beethoven's Symphony No. 5 . and a

newly commissioned piece for the NWS by Charles Wuorinen

titled Miami Bamboula. This program was a balance between

the new and the traditional, and displayed the symphony's

talents in each style of music. The NWS received outstand­

ing reviews from music critics for this concert.

Since its inaugural season, the NWS's programming has

grown in number and variety. The inaugural season consisted

of eleven weeks and offered a four-concert series. The

28Ibid.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 20

1988-89 season expanded to a thirty-one-week Miami residency

with two separate series, one of seven concerts and the other of six concerts.

The 1989-90 thirty-two-week season has expanded to five series, with performances at the Gusman Center in Miami and the Lincoln Theatre.

The programming consists of a balance of great works

in the symphonic repertory as well as new and unfamiliar

works. The use of guest conductors and soloists also adds

to the musicians' challenges. The Symphony is conducted by

the artistic adviser, the assistant conductor, and guest

conductors. The programs selected for the concerts are a

carefully chosen cross-section of works from the 18th, 19th,

and 20th centuries. Some past guest conductors have

included Hugh Wolff, James Conlon, Maxim Shostakovich,

Kazuyoshi Akiyama, John Nelson, and Neal Stulberg. The

guest soloists have included violinists Joshua Bell, Anne-

Sophie Mutter, and James Buswell; pianists Jeffrey Kahane,

James Tocco, Horacio Gutierrez, and Christoph Eschenbach;

cellist Carter Brey; clarinetist Richard Stoltzman; and

soprano Sylvia McNair.29 The repertoire addresses both the

musicians' needs to grow artistically and technically and

the audiences' needs to listen to diverse programs of the highest artistic merit.

29The New World Symphony, program book, 1989-90.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 21

Other Performance Opportunities

Along with the demanding symphonic concert schedule,

the musicians also participate in a variety of classes that

contribute to their training. Such training includes master

classes with guest artists, guest conductors, teaching

master classes to youth orchestras around the area, and per­ forming chamber music concerts and youth programs. In an

interview, a violist in the symphony noted that being able

to take classes with a renowned instrumentalist and rehearse

with a variety of acclaimed conductors is one of the great

advantages of the NWS.30

In fact, guest conductors underscore the NWS's mission

to season a musician to enter the professional arena. One such conductor was Julius Hegyl, conductor of the Albany

Symphony Orchestra, who visited the NWS in March 1989 and

rehearsed with the orchestra for three days. Although no

concert resulted, Maestro Hegyl stated the following:

The performance is only one objective; you'd have to have a concert every day to expose young players to everything. . . . When the musicians are eager and interested, a rehearsal can even transcend the concert. . . . They may not always know what they're absorbing during a rehearsal, but there are certain insights you need to bring to a performance, and when the time comes that they need these insights in a performance, they'll be there.31

30Susan Pardue, musician, the New World Symphony, interview by author, Tape recording, Miami Beach, 22 January 1990.

31"Conductor's Visit Underscores Symphony's Mission," The New World Symphony News. Spring 1989, 3.

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Without a concert as the finale, the young musicians still

learned a great deal.

A children's concert series, chamber music series, and

holiday concerts complete the Miami season. In addition,

NWS has been invited on special concert tours. Most

recently, the Symphony performed at Carnegie Hall, at vari­

ous locations around the state of Florida, and completed a

four-city tour on an invitation from the United States Com­ mittee for UNICEF. The UNICEF tour was part of Concerts for

Life— An American Tour for the World's Children. On this

tour, Michael Tilson Thomas debuted his new composition,

titled The Diary of Anne Frank, which was narrated by Audrey

Hepburn, UNICEF's goodwill ambassador.32

Summer Programming

The Symphony participated in several tours since its

founding. The first summer, in 1988, the orchestra spent a

three-week residency in Southern California. David L. Paul,

chairman of the Symphony's Board of Directors noted,

As a national orchestra, touring and out-of-town residencies are an integral part of the New World Symphony's mission. . . . We are delighted to have this significant opportunity to share with Southern Califor­ nia the extraordinary artistry and excitement that the Symphony's sold-out Miami audiences have experienced this year. We view this residency as an important

32"NWS to Embark on Four-city UNICEF Tour in March,1' The New World Symphony News. Winter 1989-90, 1.

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vehicle to establish a national identity and to broaden our audience beyond South Florida.33

The Symphony was presented by the Orange County Philharmonic

Society, June 24-July 17, 1988, and was the centerpiece of the New World Music Festival in Costa Mesa, California.

This music festival was jointly sponsored by the Phil­

harmonic Society, the Orange County Performing Arts Center,

and the University of California at Irvine. The NWS per­

formed concerts as well as participated in master classes

and chamber music study. Jeffrey N. Babcock said, "Our con­

cept from the beginning was to have a substantial winter

season and training residency in South Florida, supplemented

by summer residencies in other parts of the country for pur­ poses of intensive study, repertoire building and as a kind

of retreat."34 The NWS has fulfilled this mission.

The 1989 summer tour began in France. The NWS was

invited to open Paris's new high-tech opera house, the

Bastille Opera, on July 19. The NWS, with its conductor

Michael Tilson Thomas, received several encores from an

audience of 2,700.35 In August, the Symphony gave a six-

concert tour in South America that included Buenos Aires,

Argentina; Montevideo, Uruguay; and Sao Paulo, Brazil.

33The New World Symphony, press release, 11 April 1988. 34Ibid.

35"On Tour with the New World Symphony," The New World Symphony News. Winter 1989-90, 3.

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Presented by Mozarteum Argentino, a private institution that organizes South American tours of international orchestras,

the tour received support from several corporations and

foundations. Finally, the Symphony wrapped up its summer

tour with a performance at Wolf Trap Farm Park for the Per­ forming Arts in Vienna, Virginia. The concerts met with

critical acclaim. With this tour, the NWS entered the

international symphonic scene. During the summer of 1990,

The NWS will make its first European tour.36

Overall, the programming for the NWS has shown careful

thought and selection by the artistic advisers. They are

able to bring in international music figures, which has

benefited the musicians and audience. The programming also

has shown a balance of different styles of music to aid in

the exposure to a variety of repertoire for the young

musicians. This programming, which reflects the goals of

the NWS, is geared toward the teaching of the musicians and

prepares the musicians for what they will encounter in the

professional world. The programming also considers the

interests of the audience. The audience wants to hear good,

exciting music. Sold out performances for the past seasons

have shown that the audiences have been inspired by the NWS.

36Ibid.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 25 Community Benefits

The arts in Miami have blossomed in the past few

years. Miami is growing into a reputable arts center. The NWS is among Miami's newest arts organizations and, other

than the regional Philharmonic Orchestra of Florida, is the

only other resident orchestra in the South Florida area.

The residency of the NWS brings internationally renowned

musicians to Miami and gives Miami residents an opportunity

to hear exceptional concerts by "great" as well as "up and

coming" artists.

The NWS shares its talents with the Miami community.

It offers a series of concerts for all age groups and tastes. There are children's concerts that attract school

groups as well as families. The Sunday afternoon chamber

music series has highlighted NWS members and guest soloists.

NWS musicians also give master classes in the Dade County

schools. These programs expose the musicians to all types

of music and allow concerts for the entire family.

The new permanent home of the NWS at the Lincoln

Theatre has helped the revitalization of the historic Art-

Deco section of Miami Beach. This section was one of the

most fashionable shopping areas in the country from the

192 0s through the 1940s. The NWS has joined a growing arts

community in and around the Lincoln Mall area. The Lincoln

Theatre itself is considered of major architectural sig­

nificance by Florida's Department of State Division of

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Archives, History and Records Management. The building is an example of streamline architecture in Miami Beach.37

Alumni

Already, about 30 percent of the orchestra members

have started their professional careers in education, cham­

ber music, and professional orchestras worldwide.38 The

other 70 percent will continue with NWS. Musicians have

entered positions with the following organizations: New

York City Opera, San Francisco Ballet, Chicago Symphony

Orchestra, the Florida Orchestra, Barcelona Symphony

Orchestra, Munich Chamber Orchestra, Gabrieli Brass Quintet

(Puerto Rico), and other organizations worldwide.39 The 30

percent placement rate is one way of measuring the NWS's

success (see appendix 1).

In several phone interviews with former members of the

New World Symphony, the musicians offered positive views on

the NWS's program. Karen Dixon, a flutist, played with the

NWS 1988-89. She now plays professionally with the Greater Palm Beach Symphony and the Naples Marcos Philharmonic. In

an interview she said:

37The New World Symphony, program book, 30.

38The New World Symphony, press release, 20 October 1989.

39Ibid.

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Playing in the NWS was an excellent experience. The intensive training, and the fact that you play all the time, made me a stronger and more confident player. I particularly liked the fact that I was able to build a big repertoire. Exposure to many works has helped me a lot professionally since leaving the New World Symphony.40

Ms. Dixon believes that the NWS helped to build her musical

repertoire and made her a stronger player. Her experience

with the NWS has paid off since she is professionally

employed.

Ms. Dixon's husband, Dwayne Dixon, also a former

member of the NWS, spent one year with the Symphony before

obtaining a full-time position. He now is a member of the

Philharmonic Orchestra of Florida as coprincipal French

horn. One of the most important benefits he felt the NWS

offered was the exposure to many top-notch conductors. He

learned a lot playing under the various guest conductors

that would perform with the NWS or conduct rehearsals. In a

phone interview, he noted the following: "Nowhere else

could a young musician have that much exposure to so many

fine conductors as the NWS offers."41 He learned from his

exposure to various conductors. This exposure prepared him

to enter a full-time professional symphony.

Alicia Engley, a violinist who played with the NWS

from its first season until February 1939, is currently a

40Karen Dixon, musician, telephone interview by author, Florida, 5 March 1990.

41Dwayne Dixon, musician, telephone interview by author, Florida, 5 March 1990.

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tenured member of the San Diego Symphony. In a phone inter­

view, she offered very positive feedback on the NWS's pro­

gram. Since Ms. Engley already had a solid technique, she

felt the NWS helped her to become a mature, more seasoned

musician. She particularly liked the master classes and

learned a lot from them. The lectures on auditions and

keeping a job helped her to prepare for the professional

world. Though Ms. Engley said that orchestral playing does

not allow one to be musically creative, she made up for this

in the chamber music groups she played with. She learned

from these chamber music sessions and from the coaching by

chamber music masters. The only aspect Ms. Engley said that

was unrealistic about the NWS was the extraordinary amount

of time spent on rehearsing. She said that in the "real

world," orchestras never rehearse for a single concert as

much as the NWS does.42

The musicians have learned from the program. Their

intensive training has developed their musicianship level

past what a conservatory or music school could teach.

According to NWS musicians, nowhere else in the United

States could an orchestra musician who has not yet entered

42Alicia Engley, musician, telephone interview by author, San Diego, 10 March 1990.

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the professional circuit have as much experience and season­

ing as a member in the NWS.43

Conclusion

The NWS is the first full-time career training orchestra in the United States. Most importantly, the NWS

is one of the few programs that provide full-time training

and fellowship awards. Already, after two years, members

have gained positions in major and regional orchestras.

43Peter Steffans and Susan Pardue, musicians, the New World Symphony, interview by author, Miami Beach, 22 January 1990.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. CHAPTER THREE

THE WOLF TRAP OPERA COMPANY

The second training program investigated was the Wolf

Trap Opera Company. This ten-week program was founded in 1971 and has resulted in the discovery of many operatic

talents. The Company selects, develops, and nurtures young

opera singers and gives them the experience needed to enter

major opera companies.

Background

Wolf Trap Farm Park for the Performing Arts is a

national park for the performing arts. In 1966, Catherine

Filene Shouse donated 100 acres of her Virginia farmland to

the U.S. Government as well as the funds for construction of

an outdoor theater. The gift was accepted by an act of Con­

gress and construction began on the park. In 1971, the Filene Center opened.

The Wolf Trap Foundation for the Performing Arts was

established in 1968 as a not-for-profit organization. The

Foundation is responsible for creating and selecting pro­

gramming, developing educational programs, ticket sales,

marketing, publicity, and funding. In cooperation with the

Wolf Trap Foundation, the National Park Service is

30

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responsible for the maintenance of the grounds and buildings

and provides technical theater assistance for the Filene Center.

In 1981, Mrs. Shouse donated the land and funds for

construction of a year-round center for the performing arts.

This facility, called the Barns of Wolf Trap, was built from

two 18th-century barns. Both previously located in upstate New York, the barns were rebuilt on their present site using

an original 18th-century method. The German barn, given

that name because of the origin of its design, serves as a

252-seat theater. The English barn, actually of Scottish

design, serves as a general reception area. The Barns offer

concerts during fall, winter, and spring. During the

Summer, it is the home of the Wolf Trap Opera Company.

Wolf Trap offers a variety of programs for the public.

Along with the performances during the summer at the Filene

Center and the remainder of the year in the Barns, the Wolf

Trap Institute for Early Learning Through the Arts provides

educational programs for young children and training work­

shops for teachers. The Wolf Trap Opera Company provides

opportunities for young opera singers.

From Wolf Trap's beginnings, it was the goal of the

founder, Mrs. Shouse, to create a company in which young

talents could be taught and heard. In 1971, the Foundation

established the resident Wolf Trap Opera Company (WTOC), in

which young promising operatic talents were heard, seen, and

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taught the demands of a professional career in the arts.

The WTOC is a ten-week summer residency program in which a

nationally selected fifteen- to twenty-member troupe receives advanced training in acting, diction, movement,

role, and repertoire coaching. Along with this training,

they perform in solo roles in three operatic productions.

Many former members of the WTOC have gone on to become

leading young singers in prominent opera companies through­ out the world. The WTOC stresses performance and training

and is one of America's outstanding career-entry programs

for young singers.

Evolution of WTOC

Although the literature claims that the WTOC began in

1971, the actual beginning was different from the Company as it is today. In 1971, Wolf Trap administered a program

called the Wolf Trap Company in which singers, dancers, and

musical theater actors were in residency during the summer.

In 1973, Frank Rizzo, a known artistic director for opera,

and a diction coach, John Moiyardi, administered the Opera

Company. Each summer through 1977, one opera was performed

at the Madeira School in McLean, Virginia, and two other

operas were performed at the Filene Center.1

1Peter Russell, administrative director, the Wolf Trap Opera Company, interview by author, Vienna, Virginia, 9 November 1988.

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In 1978, the program was practically abandoned because of administrative difficulties. There were two operas that

summer at the Filene Center; however, the singers were hired

to perform. In 1979 and 1980, with the WTOC in transition,

Sarah Caldwell, a renowned conductor and director, directed

the program and laid the groundwork for what it is today. In 1981, the WTOC began its summer residency in the newly

built Barns. From 1982 to 1984, there were two or three

productions each summer in the Barns. In 1985, Mr. Peter

Russell, now the WTOC administrative director, came to Wolf

Trap and organized the Company as it is today.2 The discus­

sion in this thesis will focus on the current organization

of the WTOC.

Mission

The WTOC is one America's outstanding career-entry

training programs for young singers. The Opera Company's

primary goal is to discover and foster the finest operatic

talent in the U.S. To fulfill this, the singers are pro­

vided with classes every day in movement, diction, and

acting to develop their talents. The morning hours are

usually spent in classes, while the afternoon hours are

spent in performance rehearsal. The singers perform three

full operatic productions. While offering fist-rate

2Ibid.

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entertainment for Wolf Trap's patrons, the WTOC also pro­

vides the best possible environment for the singers.

Musician Selection Process

Each fall, applications are scanned by the administra­

tive director, who looks for educational/training back­

ground, repertoire, teachers and coaches, and performing

experience, weighing the applicant's age and number of years

pursuing a career against accomplishments to date. Singers

may not perform with the WTOC for more than two years,

unless there is a change in vocal range. Applicants must be

under the age of thirty-two years.

For the 1988 season, 350 of the 600 applicants were

chosen for live auditions. November and December auditions

were held in five cities across the U.S., including New

York, Chicago, San Francisco, Houston, and Washington, D.C.

The singers were required to prepare four selections, at

least one in English. The auditions were reviewed by two

judges who include the administrative director and artistic

consultant of the WTOC. The judges look for technical

ability, stage presence, and acting ability. Each audition

is recorded.

The judges review all applicants and place them into

four categories: those to be considered strongly, those to

be kept in mind as possibilities, those who show promise but

are in the developmental stages, and those who are not

suitable. From the first two groups, the judges review each

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applicant's recordings, comment sheets, and application.

The final choices are based on vocal talent and technical

abilities, while keeping in mind the intensive advanced

training and rigorous performance schedule of the WTOC.

Education

Each WTOC member receives a weekly stipend of $350 for

the ten-week residency, which is from mid-June to mid-

August. During the ten weeks, the singers receive intensive

training and coaching. The morning hours of each workday

consist of acting instruction (during the 1989 season with

Leon Major), movement classes, period dance, and fencing.

Coaching with affiliated members of the Washington, Metro­

politan, and San Francisco Opera companies, which include

Arthur Fagen, Kate Lewis, and William Huckaby, augment the

intensive training. There is also a diction coach. Nico

Casel, who is resident diction coach at The Met, was a mem­

ber of the 1989 WTOC staff. The singers also take part in

master classes with guest artists. Past guest artists have

included Beverly Sills, Jerome Hines, and Placido Domingo.

Although The Barns of Wolf Trap is the residence of

the WTOC, classes and rehearsals are located at the private

Langley School due to the lack of rehearsal space at the

Barns. Rehearsals in the Barns begin a week or so before a

performance with technical and dress rehearsals. Even­

tually, the WTOC would like to have its own building for

rehearsal.

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Organizational Structure

The WTOC is a program under the aegis of the Wolf Trap

Foundation. The Wolf Trap Foundation has a board and administrative positions. The full-time administrative

staff for the WTOC is composed of the administrative direc­

tor, an artistic consultant, and an assistant, expanded

during the summer to include conductors, musical preparation

and diction coaches. The directing staff includes a move­

ment/choreography coach and stage directors for the various

operas. The production and technical staff include a wig

and make-up designer, costume designers, technical direc­

tors, production manager, lighting designers, set designer,

scenic artist, and various technical support. Finally,

there is the intern staff, which includes interns in all

aspects of opera production, stage management, and lighting

design. The orchestra for the performances consists of

hired union musicians. The chorus for the operas consists

of hired union singers.

Finance and Development

Working with a $500,000 budget and revenues of about

half this amount, the WTOC must raise at least $250,000 to

break even. In previous years, there has not been much sup­

port for the WTOC. Moneys have come from the Wolf Trap

Foundation's annual fund and various trusts. In the past

two years, the Development office has sought active

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financial support for the WTOC. For the 1989 season, the

WTOC received a $5000 in-kind gift from the Hechinger Foun­

dation for set construction materials. In 1989, the

National Endowment for the Arts-Opera/Musical Theatre pro­

gram awarded the WTOC $7000; the Billy Rose Foundation con­

tributed $20,000; and the National Institute for Music

Theatre contributed $5000.3

The Development office is now actively seeking support for WTOC's future programs. To assist in seeking support

for the Company, a support group for the WTOC called the

Friends of the WTOC was created in late 1987. There are

currently forty-three members. There is a $250 minimum

level of support. Members receive many benefits, including

listing in the program, subscription to the WTOC newsletter,

invitations to meet the artists at receptions, attend final

auditions. With the Friends, Wolf Trap hopes to establish a

core WTOC audience and support group.4

Programming

For the past eighteen years, the WTOC has presented

some of the finest operatic repertoire. The programming is

selected taking into consideration the variety of works,

artistic ability and challenges, audience and performance

3Ibid., 10 February 1990.

4John Goode, development associate, the Wolf Trap Foundation, interview by author, Vienna, Virginia, 9 Novem­ ber 1988.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 38 space feasibility. The operas presented in the Barns, due

to its limited small stage, are usually baroque or classical

period operas, while the operas presented at the Filene

Center are grand operas. For the 1988 season, the WTOC pre­ sented Mozart's Don Giovanni, sung in Italian; Britten's The

Rape of Lucretia; the Washington premiere of Prokofiev's

Love of Three Oranges, performed in French; and the annual

"Showcase" concert, at which the Opera Company members pre­

sented a variety of operatic arias.

During the 1989 season, WTOC presented Offenbach's

Orphee aux Enfers. with two performances in the Filene

Center; Chabrier's L'Etoile, with three performances in the Barns; and Mozart's Cosi fan tutte. with three performances

in the Barns. The "Showcase" concert was also performed at

the Filene Center.

Community Benefits

Not only does WTOC provide opportunities for young

singers, but it offers its audience an opportunity to dis­

cover and listen to the rising young stars of tomorrow's

opera world. The Company also provides its audience with a

chance to hear opera during the summer, when the Washington Opera and other companies are off-season. With the increas­

ing prices of operatic performances, the WTOC box office

price is affordable. Prices range from $15 to $30 per

ticket. The Company has also given programs at the Blue

Ridge Arts Council. Next year, with the assistance of a

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board member, the Company hopes to schedule performances, basically for publicity purposes, at community centers.

These "no-fuss" performances would include solo pieces,

duets, trios, and chamber pieces that the singers could per­ form with a piano.

Alumni

Many young artists have used the WTOC as a step on the

way to earning roles in prominent opera companies throughout

the world. Since 1971, WTOC has had over 200 singers who

have gone through the summer training program. Former mem­

bers have performed with the Metropolitan Opera, Houston

Grand Opera, New York City Opera, Santa Fe Opera, Vienna

State Opera, Paris Opera, and most of the major opera com­ panies worldwide (see appendix 2) .

One of the many successful singers is Alan Held, a

baritone, who sang with the Company for two years (1988,

1989) . This past season he has sung with the Metropolitan

Opera in the Ring, at the Lyric Opera of Chicago, the Buf­

falo Opera, and will have leading roles in the Washington

Opera's 1990-91 season. He recently appeared on the live

PBS telecast of "Pavorotti Plus" on February 28, 1990, per­ forming operatic excerpts in concert with the great Italian

tenor.5

5Alan Held, opera singer, telephone interview by author, Connecticut, 19 March 1990.

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In a phone interview, Mr. Held's exuberant feelings

toward the WTOC were obvious. He has been to most of the

other major summer festivals including Santa Fe Opera Festi­ val (New Mexico) and Central City (Colorado) and says, "In

my opinion, Wolf Trap is by far the most professional pro­

gram in developing talent."6 He attributes his recent suc­ cess to his training and exposure at Wolf Trap. He says,

Peter [Russell] is a great public relations man and really tries to get important opera scouts to see the performances. My favorable reviews in the Washington Post surely helped my career get off the ground.7

The Wolf Trap Opera program is different from the

other opera programs in that it places its members in lead­

ing roles. Mr. Held feels this is why Wolf Trap is one of

the most rewarding programs in the country. He says:

We are given lead roles in the operas and not chorus roles like the other opera programs I've attended. Along with the lead roles, we are given enough rehearsal time to develop our characters. Also, we are given the chance to sing all the operas in the original language, something that not many young singers are given the chance to do.8

Mr. Held feels that Wolf Trap has all the right elements to

prepare a young singer to enter a professional opera career.

Another singer who recently finished performances with

the Washington Opera in Mozart's Cosi fan tutte is Tracy

Dahl. As a soprano who was a member of WTOC in 1986, she

has gone on to perform major roles in the San Francisco

Opera, Aix-en-Provence Festival, Houston Grand Opera,

6Ibid. 7Ibid. 8Ibid.

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Canadian Opera Company (Toronto), Opera Theatre of St. Louis, Los Angeles Music Center Opera, Santa Fe Opera, and

Washington Opera.9 Donald Kaasch, tenor, has made a great professional start after his time with the WTOC in 1988. He has appeared

with the Metropolitan Opera, Paris Opera, Lyric Opera of Chicago, Washington Opera, Florence May Festival, and

Seattle Opera. Next season, 1990-91, Mr. Kaasch will take

the lead role in the Lyric Opera of Chicago's revival of Dominick Argento's Voyage of Edgar Allen Poe.10

Conclusion

The Wolf Trap Opera Company offers singers an intensive ten-week program of preparing and performing three

operas. The invaluable experience of the program has

resulted in singers' gaining positions with major opera com­ panies.

9The Wolf Trap Opera Company, Newsletter. Winter 1990.

10Ibid.

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THE JOFFREY II DANCERS

The Joffrey II program trains young dancers to enter

the professional arena by giving them experience dancing in

a company. Most importantly, it prepares them to enter its

own main company, the Joffrey Ballet.

Background of The Joffrey Ballet

The Joffrey Ballet (the Joffrey II's parent organiza­

tion) was founded in 1956 by Robert Joffrey and Gerald

Arpino. The company consisted of six dancers, a borrowed

station wagon, and a tour of twenty-three one-night stands.

Robert Joffrey was twenty-five when his company was born,

and he kept it going through his skills as a manager,

teacher, and choreographer.1 Over the years, the company

increased in size, developed a fine repertory, and received

artistic recognition. As the company developed, Mr. Joffrey

sought to achieve his primary artistic goals: "commission­

ing new ballets from contemporary choreographers, while also

reviving 20th-century classics and reconstructing rare

•••Foundation for the Joffrey Ballet, "Biography of Robert Joffrey" (press kit insert), 1.

42

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masterworks."2 Renowned for a remarkable repertory of 196

ballets by 71 choreographers, the Joffrey Ballet has from the very beginning commissioned the first ballets of such

American choreographers as Alvin Ailey, Laura Dean, and

Twyla Tharp. The Joffrey has revived ballets of George

Balanchine, Frederick Ashton, and Jerome Robbins, and re­

introduced ballets by Kurt Jooss. The ballets of Robert

Joffrey and Gerald Arpino continue to be important com­

ponents of the repertoire.3

Today, the Joffrey is bicoastal, with homes in New

York's City Center Theater and the Dorothy Chandler Pavilion

of the Los Angeles Music Center. "The Joffrey is considered

a truly national dance company, one of the preeminent per­

forming arts institutions in the United States, and one of

the leading ballet companies of the world."4 The company

has performed nationally as well as internationally. With

the death of Robert Joffrey on March 25, 1988, the company

has entered a new period under the artistic direction of its

cofounder and long-time associate director, Gerald Arpino.

Founding of The Joffrev II Dancers

Founded in 1969, the Joffrey II Dancers began with a

grant from the Ford Foundation for an apprentice program.

2Ibid.

foundation for the Joffrey Ballet, "The Joffrey Ballet Today" (press release), 1988, 1.

4Ibid.

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The Joffrey II company was founded by Robert Joffrey and Gerald Arpino, with Jonathan Watts as artistic director and

Sally Brayley Bliss as associate director. Under the admin­

istrative umbrella of the Foundation for the Joffrey Ballet, the Joffrey II provides a training ground for young dancers

and prepares them to join the Joffrey Ballet as well as

other American and European companies. For the past twenty

years, the company has trained its dancers through a blend

of classroom and touring experience. However, during the

1989-90 season, the Joffrey II altered its training emphasis

to limit touring and include a more intense classroom expe­

rience for young dancers.5

(The following sections pertain to The Joffrey II's

program from 1969 to 1989. A separate section will be

devoted to the changes in the program that occurred during

the 1989-90 season.)

Mission

The Joffrey II mission includes four main elements:

(1) artistic ideals, (2) touring and performing ideals, (3)

educational ideals, and (4) support for main company activi­

ties. Artistically, the Joffrey II serves

To prepare young dancers of exceptional promise to join the Joffrey Ballet or other major ballet com­ panies

foundation for the Joffrey Ballet, "1989-90 Plans for Joffrey II Announced" (press release), September 1989.

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To develop dance artists with a mastery of both ballet and the diverse dance styles that are hallmarks of the Joffrey style

To develop repertory for young dancers that represents the unique qualities and style of the Joffrey Ballet6

Touring and performing ideals include

To present high quality professional dance in localities and theatres which cannot accommodate or afford a large ballet company, reaching broadly across the United States to audiences that other­ wise might be unable to see stage performances of ballet7

To provide audience exposure for emerging dancers and choreographers

To offer opportunities for professional development to designers, stage managers and administrators

Educational ideals include

To develop future audiences by educational activities for elementary and high school audiences, and college and university touring

Lastly, the Joffrey II supports the Joffrey Ballet main com­

pany activities:

To provide supplementary dancers to the Joffrey Ballet for the main company's productions of full- length larger-cast ballets

To provide the security to the Joffrey Ballet of having well-prepared dancers, with performing expe­ rience and knowledge of the Joffrey's unique com­ pany style, in readiness to enter the Joffrey when needed

6These and subsequent quoted ideals from the Founda­ tion for the Joffrey Ballet, "The Joffrey II Dancers" (report), November 1986, 1.

7The 1989-90 season does not include touring as an entire company. The only touring will be to perform with the Joffrey Ballet.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 46

To provide opportunities to new and emerging choreographers of possible future interest to the Joffrey

To serve as an outreach arm of the Joffrey in special projects linked to main company activities, and in communities across the country where it is not feasible for the main company to appear

In fulfilling its mission, The Joffrey II prepares the young

dancers by giving them experience and training needed to move to a major ballet company.

Selection Process

Dancers are chosen for Joffrey II by its director,

Richard Englund, and the artistic director of the Joffrey

Ballet, Gerald Arpino. The dancers chosen are between the ages of 16 and 19 years old. There are several sources of

dancer selection which include (1) identification at dance

festivals and competitions; (2) auditions in Joffrey Ballet

and Joffrey II company classes in tour cities; and (3) iden­

tification at the Joffrey School-American Ballet Center, the

official Joffrey school based in New York City, or at the

Joffrey Workshop in San Antonio, Texas, which is an intensive three-week workshop for young dancers. The dan­

cers chosen receive a $200 weekly stipend.8

8Kathleen Conforti, administrator, Joffrey II, inter­ view by author, Tape recording, New York City, 5 February 1990.

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Education of the Dancers (1969-89)

For twenty years, the Joffrey II combined classes with

an intensive touring schedule. Until the recent changes in

its training program, touring was the most significant

aspect of the dancers' training. The touring activities

prepared the dancers in many ways. Rehearsals and classes

before touring prepared the dancers for the demands of the

repertoire, increased stamina, and provided skills for

learning ballets. The Joffrey II acted like a community

outreach company and exposed communities with no major com­

panies to quality dance.

The training also included appearances with the main

company. Each year selected dancers appeared with the Jof­

frey Ballet in main productions. Since 1970, the Joffrey II

Dancers have appeared in Joffrey Ballet productions such as

Petrouchka. Romeo and Juliet, and The Taming of the Shrew.9

During these years, the most significant aspect of

Joffrey II was the amount of performing experience it pro­

vided. The young dancers usually lacked experience in per­

formance; therefore rigorous rehearsals and classes before a

tour readied them for the demands of the repertoire. The

dancers built their stamina and skills so that they devel­

oped the abilities needed for maintaining many ballets and

roles simultaneously. This demanding performance experience

foundation for the Joffrey Ballet, "Joffrey II Dan­ cers," 12.

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helped prepare the dancers so they could understudy and "pick up" choreography at the pace required by a profes­

sional company.10

The dancers were instructed in make-up technique, on­ stage and back-stage deportment, awareness of lighting, wing

positions, other dancers' positions, and the ability to

"space" a ballet on a variety of different sized and shaped

stages while retaining the choreographer's artistic inten­

tion. Most importantly, the dancers "gain[ed] the poise and

confidence that only comes from experience.1,11 Dancers

usually move to the main company or to other ballet com­

panies with an average of two years experience in the Jof­

frey II.12

Organizational Structure

The Joffrey II Dancers is managed under the Foundation

for the Joffrey Ballet. The Joffrey II artistic staff

includes the artistic director, Richard Englund; associate

director, Jeremy Blanton; and the Joffrey Ballet's artistic

director, Gerald Arpino. The Joffrey II is administered by

Kathleen Conforti. During touring, the production staff

includes a stage manager, assistant stage manager, and war­ drobe supervisor. A pianist is hired for classes only,

because the company rehearses and performs to taped music.

A guest teacher/coach is hired for classes and rehearsals.

10Ibid., p. 2. 11Ibid. 12Ibid.

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Rena Shagan Associates, Inc. is the booking management firm

for the Joffrey II. Rena Shagan works on a commission basis while Joffrey II covers expenses for conferences, advertis­

ing, marketing materials, and mailings.13

The administrative organization of the Joffrey II is

small. Since it is a program under the aegis of the Founda­

tion for the Joffrey Ballet, it has the same board as the

Joffrey Ballet. The Joffrey II receives its funds from the

Foundation. Fundraising for Joffrey II Dancers is the

responsibility of the Foundation.

The Joffrey II Dancers has an annual budget of

$230,000 for 1990.14 Approximately $85,000 of this total is

a Joffrey Ballet main company budget line, which provides

the financing for various Joffrey II/Joffrey Ballet coopera­ tive activities.15

Programming

As previously noted, The Joffrey II's main emphasis

had been touring until the 1989-90 season. When the company

did travel, the size was kept small and production needs and

repertory were flexible so that the Joffrey II could be pre­

sented in a wide range of facilities. The company traveled

light with no more than essentials. Sets and props were

13Ibid., 11.

14Conforti interview.

15Ibid.

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simple. As a result the personnel and equipment traveled in

one chartered bus.16

The company traveled mainly to smaller towns and

cities where another professional ballet performance was not

readily available. The company has performed in every state

(except Hawaii) and as well as Bermuda, Canada, and Hong

Kong.17 Performance locations range from a community center

or high school auditorium to a university arts center or

civic center.

In the 1988-89 season, the Joffrey II Dancers pre­

sented nine works, which included three premieres and the

full-length ballet Beauty and the Beast choreographed by the

artistic director, Richard Englund. The three premieres included were Divertimento (Richard Englund), Transcription

(Carl Corry), and Lacrvmosa D'Amore (Edward Stierle). The

other six works were Bournonville Divertissment (August

Bournonville), Diary (Lynne Taylor-Corbett), Flower

Festival-pas de deux (August Bournonville), Spring Waters-

pas de deux (Asaf Messerer), Swan Lake-pas de trois (Marius Petipa), and Visitations (Matthew Wright). Most dances did

not require the entire company of twelve. Therefore, the

dancers had some solo experiences.

16Foundation for the Joffrey Ballet, "Joffrey II Dan­ cers," 4.

17Ibid.

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Community Benefits

When the Joffrey II Dancers toured, it provided the public with the opportunity to see professional ballet. Because of the small size of the company and practicalities

of their touring, the company traveled to small towns and

areas of the United States that might otherwise not have the

opportunity to see ballet. The company emphasized smaller

cities and avoided the large cities. Along with its per­

formances, the company often provided such services as

master classes for local students and teachers, mini­

performances in nontheater situations, and lecture-

demonstrations to provide an introduction to ballet. The

company also participated in receptions after performances

to develop local arts support.

Alumni

More than 280 dancers have been members of the Joffrey

II Dancers since its beginnings in 1969. Many of the dan­

cers have continued their careers with the Joffrey Ballet or

other major dance companies. Former Joffrey II members

dance leading roles in the Joffrey Ballet. For example, the

1988-89 season starred Douglas Martin, Beatriz Rodriguez,

and Patrick Corbin in the Joffrey Ballet's premiere of Billy

the Kid. Currently, out of the forty Joffrey Ballet dan­

cers, twenty-seven are former members of the Joffrey II Dan­

cers (see appendix 3). Most major dance companies now cur­

rently employ former Joffrey II dancers. Such companies

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include the American Ballet Theater, Berlin Opera Ballet,

Frankfurt Ballet, Martha Graham Dance Company, National

Ballet of Canada, Royal Danish Ballet, San Francisco Ballet, Twyla Tharp Dance Company, Dennis Wayne's Dancers, Boston

Ballet, Feld Ballet, Milwaukee Ballet, Hartford Ballet, and

many other companies18 (see appendixes 4 and 5). The time spent with the Joffrey II is deemed a neces­

sary aspect of the dancer's training. Because of the small

size of the Joffrey II company, the dancers perform several

solo roles within a year and receive much performance expe­

rience. As quoted from a former member:

It turned out to be exactly what I needed. With only five boys and five girls, everything you did was solo work. In companies like Ballet Theater and City Ballet, you have to work three or four years or more to build to a soloist. At the Joffrey, you are doing solo roles within a year and dancing in a lot of different styles, too.19

Jenny Sandler, a second-year member of the Joffrey II,

has found the program rewarding and necessary. She says:

To get into a good [dance] company you have to have experience. It isn't the training I receive, it's the experience that is the most valuable element in being part of the Joffrey II. There's a certain point when taking class isn't enough. You need experience and the Joffrey II has given me this experience. It's a small company so you get to big roles, unlike if you were in a larger company where you'd be dancing in the chorus.20

18The Joffrey II Dancers, alumni roster, September 1986.

19Jennifer Dunning, "Young Dancers Define Joffrey Style," New York Times. 15 November 1981, D12.

20Jenny Sandler, dancer, telephone interview by author, New York City, 17 March 1990.

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Next year, Ms. Sandler will be entering the Joffrey Ballet. Richard Colton, a member of the Joffrey II from 1970

to 1972, danced during the formative years of the Joffrey

II. After training at the School for American Ballet and

Joffrey Ballet School-American Ballet Center, Mr. Colton

joined the Joffrey II as a member of the first dance troupe.

He treasures his days with the Joffrey II because he found

them to be a very rewarding experience. He trained under

Robert Joffrey and Gerald Arpino, and was able to work under

noted choreographers such as Anthony Tudor and Laurence

Rhodes. Mr. Colton says:

The Joffrey II was a good bridge between my training and professional career in dance. The company provided a good opportunity to dance and perform, but at the same time we [the dancers] were still treated like students. It [the program] was a good transition.21

Since his time with The Joffrey II, Mr. Colton has had a

very successful career. He moved up into the main company,

the Joffrey Ballet, and remained there for four years. From

1977 to 1988, he danced with the Twyla Tharp Dance Company,

and with the American Ballet Theater 1988-89. He has staged

works with Twyla Tharp for the Paris Opera Ballet and the

American Ballet Theater. Currently, he is at the Concord

Academy (Massachusetts) as a dance instructor, and is an

21Richard Colton, dancer, telephone interview by author, Massachusetts, 1 June 1990.

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independent choreographer who has presented works at such

places as the American Repertory Institute.22

Recent Changes: The Joffrev II Dancers fl989-90f

This season, the Joffrey II has undergone a change in

its training emphasis. In an interview with company man­

ager, Kathleen Conforti, she said that the artistic direc­

tor, Richard Englund, wanted to include more intensive

training for the dancers with the main company. His feeling

was that, in recent years, the Joffrey II dancers have

devoted too much time to touring and not enough time in

preparation for integration into the main company. In order

to better prepare the dancers, the training program has been streamlined.23 The following excerpt is from the Joffrey

II's press release on the 1989-90 season:

The 1989-90 training program for the Joffrey II will combine intensive individualized classroom training with hands-on experience and involvement with the main com­ pany dancers and staff, both in studio and performance situations. Mr. Englund and Mr. Arpino have developed this year's program to provide an enhanced and diver­ sified preparatory experience for Joffrey II's dancers. Work periods of intensive studio study will alternate with participation as a Joffrey II member in selected rehearsal and performance activities of The Joffrey Ballet and will include as well the annual six-week Jof­ frey II Choreographers' Workshop.24

22Ibid.

23Conforti interview.

24Foundation for the Joffrey Ballet, "1989-90 Plans."

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With this new programming, the Joffrey II will not

tour as a single company. Touring to small cities and towns

has been completely eliminated for the 1989-90 season.

The new program will consist of three components:

base program, joint program, and performance. The base pro­

gram is composed of technique classes and style classes.

The joint program involves the Joffrey II dancers and the

Joffrey Ballet company. Joffrey II dancers take class with

the main company dancers and receive coaching from the main

company's staff. Thirdly, the performing experience was

limited to The Nutcracker during the Christmas season and

performing with the main company in Romeo and Juliet in May

1990.

The Joffrey II continues to serve the development of

new choreographers in the annual Choreographers' Workshop,

which is a program that was not cut in the company's train­

ing program reorganization. "The company actively seeks to

identify new choreographers and offers opportunities such as

commissions and special projects for the creation of new

ballets."25 For example, in the 1988-89 season, Joffrey II

presented Lacrvmosa D'Amore choreographed by Edward Stierle.

This twenty-four-minute ballet was made possible in part by

a "Building Ballet Repertory" grant from the New York State

25Foundation for the Joffrey Ballet, "The Joffrey II Dancers," 4.

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Council on the Arts and is dedicated to Robert Joffrey.26

The Joffrey II also premiered new works by choreographers

and "tested" the new works. If the works are successful,

the main company will dance them. For example, in 1979,

Choo San Goh choreographed Momentum for Joffrey II and the

following year, the Joffrey Ballet presented the work.27

The streamlining of the Joffrey II includes cutting

down the size of the company from twenty dancers to ten

(five males, five females). With this streamlining, the

director and associate director hope to be able to better train the dancers for entrance into the main company.

Though the dancers will not be touring, the directors

believe that the opportunity to take class with the main

company will be beneficial for the young career-entry group

as well as for the dancers in the main company.28

Since this is the first season that the Joffrey II

will devote less time to touring and more time to training

with the main company, the impact of these changes is not

yet known. This season is experimental and alterations will be made accordingly.29

26Joffrey II Dancers, "Repertory Notes, 1988-89 Season."

27Joffrey II Dancers, "Activities Schedule," 21 August 1989.

28Conforti interview.

29Ibid.

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Conclusion

The training program in dance begins at an earlier age

than those in music or opera, due to the nature of dance and

training. Though a training company of the Joffrey Ballet, the Joffrey II Dancers present quality ballet productions.

By training the dancers in the Joffrey style, the Joffrey

Ballet is assured of a constant influx of dancers. The

training also prepares the dancers to gain positions in

other major ballet companies.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. CHAPTER FIVE

THE SHAKESPEARE THEATRE AT THE FOLGER: ACTING FELLOWSHIP PROGRAM IN PARTNERSHIP

WITH THE UNIVERSITY OF SOUTH CAROLINA

The Shakespeare Theatre at the Folger offers a train­

ing program under a cooperative agreement with the Univer­

sity of South Carolina. Known as the Acting Fellowship Pro­

gram, selected third-year master of fine arts students spend

a year of study and apprenticeship at the Shakespeare

Theatre in Washington, D.C.

Background

The Shakespeare Theatre at the Folger (STF) in Wash­

ington, D.C., was founded in 1970 by 0. B. Hardison, then

director of the Folger Shakespeare Library. The company was

founded under the name The Folger Theatre Group as a divi­

sion of the Folger Shakespeare Library. Until 1985, the

Folger Theatre Group was supported by the Folger Shakespeare

Library, which is in turn supported through Amherst College.

The first artistic director was Richmond Crinkley (1970-72).

In 1972, Louis W. Scheeder (1972-80) became the artistic

director of the Folger Theatre Group and established its

reputation as a producer of first-rate classical and new

58

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 59

works. In 1981, John Neville-Andrews became the artistic

director.

In January 1985, the Folger Library trustees withdrew support from the Theatre because of an ever-increasing

deficit. When support was withdrawn, there was an outcry

from several influential community members. Jim Gibson,

then head of the Meyer Foundation in Washington, D.C.,

organized a meeting in an effort to save the Theatre. It

was this meeting that encouraged R. Robert Linowes, a Wash­

ington attorney and influential member of the Washington

business, civic, and political community, to lead the

campaign the save the Theatre. After failing to change the minds of Amherst College trustees, Mr. Linowes was convinced

that the only way to save the Theatre was to establish it as

a separate entity. With this in the works, Linowes con­

vinced the Folger Library trustees to withdraw support over

a two-year period to allow the newly established Theatre to

rebuild itself. In 1985, the Shakespeare Theatre at the

Folger became an independent institution with its own admin­

istration, separate from the Folger Shakespeare Library. Linowes became the president of the board and recruited

theater devotees from the political, social, and business

communities. Then British Ambassador Sir Oliver Wright and

his wife Lady Marjory Wright became strong supporters of the

Theatre. With the newly formed board, STF began to secure

gifts from individuals, foundations, and corporations.

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With the new beginning, the Theatre's then-artistic

director, John Neville-Andrews, decided to move on, and

Linowes looked for a major artistic director. Michael Kahn, a noted classical actor, teacher, and director, joined STF.

His tenure has helped make STF into a nationally recognized

theater. "Long established in classical theater circles and

a faculty member at Juilliard, Kahn is credited with

engineering the theater's renaissance by combining quality

and novelty."1 Mr. Kahn has attracted top actors such as

Brian Bedford, a member of the Shakespeare Theatre National

Council; Kelly McGillis, known for her roles in the movies

Top Gun and The Witness: and Sabrina Le Beauf, known for her

role in The Cosbv Show. Completing its fifth season as an

independent institution, STF has built a strong foundation

of support both financially and artistically. It is the

preeminent year-round theater in the country dedicated to

the performance of Shakespearean and classical repertory.2

Beginnings: The Training Program

When Michael Kahn joined STF in 1985, it was his

vision to have a Shakespearean theater training program.

His vision came to reality shortly after he arrived. The

training program, called the Acting Fellowship Program,

formed in cooperation with the University of South Carolina

■•■David Patrick Stearns, "Shakespeare Prospers in the Nation's Capital," USA Today. 4 October 1989, Life section.

2Ibid.

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(USC), has been in existence since 1986. Entering its fifth year (1990-1991 season), the program selects third-year MFA

students from the USC program. The students receive inten­

sive training and the opportunity to work on stage in

Shakespeare Theatre productions. In addition, the time

spent on stage counts toward earning Actors' Equity Associa­

tion points, which is one way to become a member of the

actors union. To gain a position in most professional

theaters, one must belong to Actors' Equity.

The idea behind the training program was whole­ heartedly supported by then British Ambassador Sir Oliver

Wright and Lady Marjory Wright. The STF board approached

USC president Dr. James Holderman, who was a personal friend

of the Wrights. Dr. Holderman saw this program as an oppor­

tunity for the USC MFA program in theater to become a

nationally recognized program through ties with the Shakespeare Theatre. Mr. Kahn saw an opportunity to create

the only year-long Shakespearean training program for actors

in the United States. USC has an agreement with STF to pro­

vide funding for the training program until 1996.

Mission

Quoted below is STF's mission as stated by Michael

Kahn:

The mission of The Shakespeare Theatre at the Folger is to produce alive, challenging, and enriching theatre. We do not see the Theatre as a museum, but as a con­ tinually evolving, eminently changeable entity which uses the past as a guide and a foundation upon which to

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 62

build a body of work that pays honor to the spirit which invented these plays and illuminates the time in which they are performed.3 As an extension of this mission, STF believes in the impor­

tance of classical, theatrical education. Through various

educational programs, including the Acting Fellowship Pro­

gram, STF trains the young to become the leading actors of

tomorrow.

Selection Process

Eight MFA students from the University of South Caro­

lina are selected each year as fellows at STF. The fellows

are selected through auditions by STF's artistic director

Michael Kahn and educational director Stephen Welch.

Education

The fellows, who receive graduate fellowships from USC

of $7,000 for the academic year, are in residence at STF

from August through May.4 Training is intensive and

includes classes and performances in at least three produc­

tions, with a fourth as an option. In addition, there are

tours with the Shakespeare Theatre Young Company, which per­

forms in schools around the Washington, D.C., metropolitan

area.

3Shakespeare Theatre at the Folger, "Mary Stuart," stage bill, 1989-90 season, 15.

4Stephen Welch, director of education, the Shakespeare Theatre at the Folger, interview by author, Tape recording, Washington, D.C., 13 June 1990.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 63

A typical day as a fellow begins with the morning,

which includes classes in classical scene study, voice and

speech, movement and dance, Alexander technique, text, and stage combat. The following are instructors in the program:

Ralph Zito, vocal consultant; Roberta Gasbarre, movement

consultant; and other general acting teachers. The afternoon hours are spent in rehearsal. The fellows are

cast in supporting roles in Shakespeare Theatre shows during

the season and serve as understudies as well. All eight

fellows appear in the first three productions of the season.

Selected fellows are asked to remain for the fourth, final,

production. During the performance run, which lasts about

eight weeks, the fellows appear in eight shows each week.

The training is intensive and demanding.5

Organizational Structure

STF is headed by Michael Kahn, artistic director and a

managing director, and has a staff of sixty-eight people.

Mr. Stephen Welch is the director of educational programs

and has been the administrator of the Fellowship Program

since its inception in 1986.6

Along with the staff members, STF has a Board of

Trustees composed of prominent people in business, govern­

ment, and society. The thirty-one-member board is chaired

by R. Robert Linowes with Lawrence Hough as vice-chairman,

5Ibid. 6Ibid.

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Kenneth Ludwig as secretary, and James B. Adler as

treasurer.7 The total operating budget is about $3 million, while

the Acting Fellowship Program's budget is $300,000. The program's budget is provided by the University of South

Carolina.8 Foundations and corporations also contribute to

the program. Supporters include Mobil Foundation, American Express, The Corina Higginson Trust, Virginia Commission for

the Arts, the National Endowment for the Arts, and the D.C.

Commission on the Arts and Humanities.9

Programming

Each season STF has presented four productions. The

fellows perform supporting roles in the first three produc­

tions, which coincide with the University of South Carolina

academic year. The fourth production, which occurs after

the close of the academic year, is not mandatory, but

selected fellows are chosen to complete the season. Since

the Acting Fellowship Program began in 1986, fellows have

performed in the following productions: Romeo and Juliet.

Mandragola. Winter's Tale. Love's Labour's Lost (1986-87),

Witches of Edmonton. All's Well that Ends Well. MacBeth. The

Merchant of Venice (1987-88), Antony and Cleopatra. Richard

II. Beggar's Opera. As You Like It (1988-89), Twelfth Night.

7Ibid. 8Ibid. 9Ibid.

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The Tempest. Marv Stuart, and Merry Wives of Windsor (1989-

90) .10

In addition to the primary productions, each spring

the fellows tour to various schools around the D.C. metro­

politan area and perform hour-long adapted Shakespearean

productions. Known as The Shakespeare Theatre Young Com­

pany, they have presented Lovers and Other Madmen (1987),

which featured selections from several Shakespearean works;

Midsummer . . . and All That Jazz (1988), which was adapted

from A Midsummer Night*s Dream: Romeo and Juliet (1989) ; and

The Comedy of Errors (1990).11 These productions give the

fellows the experience of performing lead roles, which they are usually not able to do in the main productions. Not

only do they develop their craft, but they learn the rigors

of performing on the road in a variety of locations.

Community Benefits

STF offers several community outreach programs that

include the USC fellows. STF is especially dedicated to

exposing young audiences to live Shakespearean theater. In

addition to the spring tours of the Shakespeare Theatre

Young Company, the Young Company had a month-long residency

at the Smithsonian's Discover Theater (1990), expanding even

further the Theatre's commitment to young audiences.

10Ibid. ^Ibid.

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In addition to these programs that include the acting

fellows, STF offers special matinees for students with

teacher training materials and study guides. Other programs

are a library lecture tour, an audience discussion series, weekend acting classes, and a summer acting workshop. With

STF1s commitment to education, it hopes to gain a reputation not only as a producer of first-rate theater but also as a

Shakespearean learning resource center.12

Alumni

Since 1986, there have been twenty-eight fellows who

have completed the Acting Fellowship Program. Written

materials about the present endeavors of the alumni were not

available. Dr. Thorn Compton, chairman of the theater

department at USC, offered information on the endeavors of a

few of his former students. Art Morton (1986-87 fellow) is

working at the Old Globe Theatre in San Diego; Ronnie Higdon

(1987-88 fellow) is currently employed at the Studio Theatre

in Washington, D.C.; and Paris Peet (1988-89 fellow) is on

faculty at East Carolina University, North Carolina, in the

theater department.13

Dr. Compton says the training program has been suc­

cessful in several ways. He says, "The program's [STF

12Ibid.

13Dr. Thorn Compton, chairman, Department of Theatre, University of South Carolina, telephone interview by author, Columbia, South Carolina, 29 June 1990.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 67

training program] reputation has increased because of the

Folger's affiliation, making it now a competitive graduate program to enter."14 STF's director of education, Stephen

Welch, also supports this statement. He says, "The caliber

and talent of the fellows have increased each year. Now the

fellows are really top-notch young actors."15 Dr. Compton

is proud to have USC affiliated with STF. He believes it

has been a tremendous asset for the university and the MFA

students. His students have gained much knowledge and expe­

rience from the year at STF. He knows that the experience of working with Michael Kahn at STF provides an incredible

and rewarding year for the MFA students.16

Karen Eterovich, who was a fellow in 1987-88, has remarked that the program exceeded all her expectations.

She received her BA at the University of Akron and MFA from

the University of South Carolina. When asked how the pro­

gram was beneficial to her career she said:

It exploded my creativity and expanded my technique. I have continued to practice the exercises in voice and movement I learned at STF. I try to use the Alexander "technique" everyday to take care of my posture and my body. Artistically, my standards are much higher. I find very few professional productions fully satisfying. . . . The program exceeded all my expectations. It was wonderful. The only improvement I would make is adding an "agent showcase" at the end of the year. This is

14Ibid.

15Welch interview.

16Compton interview.

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something that most theater training programs have that train future professionals.17

Ms. Eterovich was quite satisfied with STF's program.

When asked if the program prepared her to enter the profes­

sional arena she remarked, "It helped me to acquire a tech­

nique that is 'rock solid.' It also provided some contacts

and made New York City seem less scary."18 Since she left

the program and began her professional career, Ms. Eterovich

has been associated with the following: USC's Summer

Repertory, a professional company (1988, 1989); the Kings

County Shakespeare Festival in Brooklyn, New York (1989) ;

and two films, Modern Love, directed by Robby Benson, and

Fisher King, directed by Terry Gilliam.19

Stephen T. Harley, a fellow in 1988-89, also feels the

training program was rewarding and helpful to his career.

When asked in what ways the Acting Fellowship Program was

beneficial, he said:

My own personal experience was growth in all areas— personally, professionally, intellectually, technically. I improved my voice, stature, and my movement. I became aware of movement habits I have and how to correct them. I learned even more about Shakespearean text— its intricacies. Mostly, I learned from observation. In rehearsal, I learned how other actors deal with direc­ tors. . . . I learned what a productive and nonproduc­ tive encounter with a director was. I sought and found examples of a good ethic and became aware of many people who lacked integrity. . . . And, I unashamedly watched the actors I believed in perform and tried to evaluate them. Awareness was something I learned from the

17Karen Eterovich, actress, written questionnaire by author, Long Island City, New York, 30 June 1990.

18Ibid. 19Ibid.

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program. By staying aware, I have learned lessons I shall keep and use forever.20 Mr. Harley believes that the program has helped him

enter the professional world. He has gained confidence in

his acting, and is more aware of his strengths and weak­ nesses. Mr. Harley finishes his MFA upon completion of a

comprehensive exam and a thesis. He has also appeared with

the Kennedy Center Theatre for Young People.21 Hunter Boyle, who was a fellow this past 1989-90

season, is also an MFA candidate at USC. When asked how the

program was beneficial for him, he responded: I became much more aware of how to make Shakespeare accessible to modern audiences. Through text analysis, vocal work, scene study, and close supervision by pro­ fessionals, I learned how to perform and become at ease with Shakespeare. The contacts I made at the Shake­ speare Theatre are immeasurably beneficial. I made lifelong friendships and business contacts for future work. . . . It's [Acting Fellowship Program] like a "boot camp" for the theater. I learned stamina, patience, how to be humble, how to be appreciative, cooperative, etc. By putting in an average of eleven hours a day in classes, rehearsals, and performances, I now know I can do anything!22

Mr. Boyle feels the training program was both profes­

sionally and personally rewarding. He grew in many ways—

emotionally, as well as technically. For Hunter Boyle,

vocal work was very important. Through nine months of hard

20Stephen T. Harley, actor, written questionnaire by author, Washington, D.C., 30 June 1990.

21Ibid.

22Hunter Boyle, actor, written questionnaire by author, Washington, D.C., 30 June 1990.

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work, he was able to eradicate his southern regional

dialect. Mr. Boyle will complete his master's in 1991 from

USC and appeared in the STF's fourth production of the year, Merrv Wives of Windsor.23

Conclusion

The Acting Fellowship Program at STF is the only year­

long training program for young actors in classical and

Shakespearean theater in the United States.24 The program

provides actors with intensive study and performance, pre­

paring them to enter into a professional acting career. It

differs from other training programs in the arts because it

is part of an MFA program, but the focus is on training

young artists to enter the professional arena.

23Ibid.

24Welch interview.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. CHAPTER SIX COMPARISONS AND CONTRASTS BETWEEN

THE FOUR TRAINING PROGRAMS

Career-entry training programs in the arts, which

bridge the gap between educational and professional activi­

ties, are important to the quality of the arts; master art­

ists can share, express, and teach their knowledge to young

people, who will become artists of tomorrow. In the next

few pages, aspects of the New World Symphony, the Wolf Trap

Opera Company, Joffrey II Dancers, and the Acting Fellowship

Program at the Shakespeare Theatre at the Folger are com­

pared and contrasted.

Training Programs

The programs discussed are all training programs in

the arts. They prepare and expand the young artists' knowl­

edge of their art forms. The training programs have helped

to launch the careers of the young artists. The New World

Symphony and the Wolf Trap Opera Company are strictly

career-entry programs that accept young artists, usually

after formal educational training. The Acting Fellowship

Program and Joffrey II accept students still in school. All

the programs give young artists the experience needed to

71

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enter major orchestras or opera, dance, or theater com­

panies.

Organizational Structure

All of the training programs are under the umbrella of

larger organizations. The New World Symphony, though an

entity in itself, is an affiliated program with the National

Foundation for Advancement in the Arts. The Wolf Trap Opera Company functions under the auspices of the Wolf Trap Foun­

dation for the Arts. The Joffrey II Dancers is a program

administered by the Foundation for the Joffrey Ballet, and

the Acting Fellowship Program is administered by the Folger

in cooperation with the University of South Carolina.

The Wolf Trap Opera Company, Joffrey II, and Folger programs are all headed by a program director and assisted

by staff. However, fundraising, public relations, and other

elements are the responsibility of the organizations' main offices. The New World Symphony is an entity in itself, and

therefore is responsible for all aspects of administration

and performance.

Selection Process and Entrance Level

Everyone who enters these training programs is

selected by auditions and interviews. Those selected for

the New World Symphony are often as proficient with their

instruments as individuals in major symphony orchestras, but

lack the experience of playing in a major orchestra. At

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NWS, they gain that experience. The Wolf Trap Opera Company

gives talented singers the experience necessary to sing in

major opera companies. The Joffrey II provides the training

and experience necessary for entrance into a ballet company.

The Folger Fellowship program selects third-year MFA stu­

dents from the University of South Carolina and offers them

intensive study in the classics and the experience of per­

forming with a professional Theatre.

The ages of the artists vary within the disciplines.

The New World Symphony's musicians are between twenty-one

and thirty, with thirty being the upper age limit. There­

fore, the program is strictly for musicians who have fin­

ished their formal training and are beginning to embark on

their professional lives. The Wolf Trap Opera Company's

members usually are in their twenties, but not older than

thirty-two. This program again is for those singers who are

finished with their formal training and are embarking on

their professional careers. Most singers in the Opera Com­

pany are older because of the nature of voice development.

The youngest members in the training programs surveyed are

the dancers, who range between seventeen and twenty-two. At

the Shakespeare Theatre Fellowship Program, there are no age

restrictions. However, due to the very nature of the pro­

gram, since it draws from MFA students at the University of

South Carolina, the actors are usually in their mid­

twenties .

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Stipend-based Programs

All of the programs are stipend-based. Young perform­

ing artists are selected and provided with stipends and

sometimes housing. The stipends are very minimal, but pro­ vide the performing artists with enough money to pay for

expenses during their tenure with the training companies.

The New World Symphony provides housing for all the musi­ cians, while in the other three programs the program admin­

istrator helps the young artists find housing.

Length of Program

The lengths of the programs vary from three years in

the New World Symphony to ten weeks at Wolf Trap. The New

World Symphony is a year-long program in which the musicians

can recontract and play up to three years, after which they

must leave and find professional positions. The Wolf Trap

Opera Company is a ten-week program in which singers may participate for no more than two summers. The Joffrey II is

a year-long program after which most participants move on to

the main company or other ballet companies. Some young dan­

cers have joined professional companies in less than a year.

Two years is usually the average length a dancer can be with

the Joffrey II. The Acting Fellowship Program at the Shake­

speare Theatre is a year-long program in which the fellows

then complete their requirements for a MFA at the University

of South Carolina.

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Learning Methods

All the programs emphasize the importance of intensive training in a relatively closed environment. In the case of

The New World Symphony, the musicians even live together in

the same hotel. The artists spend the majority of each day in class or in rehearsals. One of the goals is to give

young artists exposure to professional lives on a day-to-day

basis. The rigorous schedule gives them a taste of the

professional life. The training methods all include intensive, with

rehearsal almost every day. There is emphasis on artistic

study through master classes and daily classes whether it

in technique, musicality, or movement. There is also an

emphasis on performance. Many of the young artists may be

skilled technically but lack performance experience. Young

dancers need experience dancing solo and in the corps.

Musicians need the experience of playing in large orchestras

and singers need operatic stage performance. Actors need

special training in classical theater and in working with a

professional company. Training methods emphasize variety in programming.

Contemporary and classical repertoire is necessary for young

people to become well-rounded artists. In the New World

Symphony and Joffrey II, performance includes classical

repertoire as well as contemporary works, especially commis­

sioned and world premieres. Both programs feel that artists

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should be able to perform a wide stylistic range. In Wolf

Trap's case, the Opera Company performs operettas as well as

grand opera. Since the mission of the Folger is to perform

classical and Shakespearean works, repertoire is limited to

these types of productions.

Audience Communication and Education

Arts organizations realize the importance of the

audience. There is a growing trend among arts organizations

to educate audiences and make the arts accessible to more

people. In the training programs, there are also opportuni­

ties for exposure of the arts to the community.

The New World Symphony performs children's concerts

and coaches rehearsals with youth orchestras. The orchestra

travels to other cities in Florida and has expanded its

touring nationally and internationally. With the increasing

ticket prices in opera, the Wolf Trap Opera Company offers

performances at affordable rates. The company also gives

performances for the community and plans to expand these.

Previously, the Joffrey II traveled to cities and outlying

areas where a large ballet company could not appear. The

small size of the company allowed it to travel and perform

in community centers and high school auditoriums. The com­

pany offered the audience quality ballet and often gave

classes or lectures at local dance studios. The Shake­

speare Theatre at the Folger has very active community out­

reach and educational programming. The fellows travel with

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the Shakespeare Theatre Young Company to schools around the D.C. metropolitan area and was in residency at the Smith­

sonian's Discover Theater.

What Happens Afterwards?

The purpose of these training programs is to prepare

young artists to enter and launch them into professional

careers. In its third season, the New World Symphony has

alumni who already have gained positions in the Chicago

Symphony Orchestra, Munich Chamber Orchestra, Hong Kong

Symphony Orchestra, San Diego Symphony Orchestra, and Hart­

ford Symphony. The Wolf Trap Opera Company has had its

alumni gain positions in most major opera companies. The

Joffrey II Dancers have gained positions in the main com­

pany, the Joffrey Ballet, and in other major ballet com­

panies. The twenty-eight alumni of the Acting Fellowship

Program have appeared in productions at regional and major

theater houses in the United States.

These training programs are intensive and rigorous but

for many participants, the hard work has paid off. The young artists learn, develop, expand, and challenge their

artistic talents as well as themselves.

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CONCLUSION

Training programs in the arts are important to the

development of the careers of young performing artists.

These programs often give young artists the necessary expe­

rience to enter professional careers. Through intensive

training and study, artists gain the experience needed to

join major orchestras, opera, dance, or theater companies.

In this initial study of career-entry training programs,

several conclusions have been reached.

Career-entry training programs in the arts provide

additional training for young artists who are near comple­

tion of or who have completed their formal training. Since

it is difficult for young artists to gain professional posi­

tions without experience, these programs give performance

experiences.

Career-entry training programs are offered in the

fields of music, opera, dance, and theater. The programs

selected for this study are all respected programs in their

field. The programs vary in length, with ten weeks being

the shortest and three years being the longest. Length of

the programs does not seem to affect the success rate of the

alumni. 78

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The New World Symphony, the Wolf Trap Opera Company,

and the Shakespeare Theatre at the Folger concentrate on

preparing artists to enter professional companies or orches­ tras, while the Joffrey II concentrates on preparing its

students to enter its main company, the Joffrey Ballet.

The programs are administered by two different meth­

ods. In the New World Symphony's case, the organization is

a separate entity and is responsible for all administrative

and artistic endeavors. The Wolf Trap Opera Company, Jof­

frey II, and Acting Fellowship Program at the Folger have

individual program administrators, but are run under the

auspices of the main organization. For example, the Joffrey

II is under the auspices of the Foundation for the Joffrey

Ballet. In these cases, whether or not the program is a

separate entity does not seem to affect the quality or

effectiveness of the training program.

With many similarities and differences, the training

programs all strive toward the goal of preparing, educating,

and training the young artists of today to become the master

artists of tomorrow. In all cases, the programs have been

successful in educating and providing the necessary experi­

ences so the artists may enter their professional careers.

Many of the alumni of these programs are members of leading

orchestras, opera, dance, and theater companies. Their

extraordinary achievements are proof of the success of the

training programs.

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In many cases, alumni have expressed the worthiness of

the training programs. They agree that the programs pro­

vided them with additional study and performance experience

that helped them to gain professional positions. The posi­

tive feedback and positive success rate of the young artists

reflects the competent administration of each training pro­

gram.

This thesis has been a study of career-entry training

programs in the arts. Such training varies from program to

program and discipline to discipline. Since training

varies so widely, further research in each particular dis­

cipline should be pursued. Directors of career-entry pro­

grams need to keep records of alumni, their professional

pursuits and the feedback on the programs.

The question this thesis raised concerned the value of

these career-entry training programs. Are they valuable for

young artists and their professional careers? The answer

seems to be yes. Career-training programs in the performing

arts augment young artists' training and better their

chances to gain positions in professional arts organiza­

tions. With the ever-increasing competitiveness in the

arts, career-entry programs can make positive impacts on the

young artists' professional careers.

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THE NEW WORLD SYMPHONY ALUMNI

One way of measuring the Symphony's success is by following the careers of the New World Symphony "alumni." NWS musi­ cians have launched careers in education, chamber music and professional orchestras worldwide.

Laurie Baefsky Second Flute, The Virginia Symphony Felicia Brunelle Violin, The New Artists String Quartet (Sarasota) David Bushnell Principal Horn, The Florida Orchestra (Tampa) Luisa Bustamante Cello, New York City Opera (substitute) James Connors Principal Cello, The Florida Orchestra (Tampa) Dwayne Dixon Co-Principal Horn, Philharmonic Orchestra of Florida Lee Ann Edwards Principal Flute, Hartford Symphony Orchestra Alicia Engley Violin, San Diego Symphony Orchestra Robin Hansen Violin, San Francisco Ballet Erik Harris Double Bass, Chicago Symphony Orchestra John Kehayas Bassoon, The Florida Orchestra (Tampa) Nancy Lochner Associate Principal Viola, San Diego Symphony Orchestra David Low Cello, Artist-in-Residence, Brandeis Bardin Institute (Los Angeles) James Martin Violin, Philharmonic Orchestra of Florida Carolyn Mooz Principal Viola, Orchestra del Teatro Comunale (Trieste, Italy) Jaime Morales-Matos Trombone, Gabrieli Brass Quintet (Puerto Rico) Karen Moratz Principal Flute, Indianapolis Symphony Orchestra Kirby Nunez Double Bass, Honolulu Symphony Orchestra Cynthia Pick Violin, Orchestra London Canada Ruben Ramirez-Rios Tuba, Gabrieli Brass Quintet and The Puerto Rico Symphony Orchestra Miguel Rivera Principal Trombone, Barcelona Symphony Orchestra Anna Schaum Viola, Jacksonville Symphony Orchestra

81

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Eric Schweikert Principal Timpani, Fort Wayne Philharmonic Tamara Seymour Violin, Philharmonic Orchestra of Florida Andrew Simon Principal Clarinet, Hong Kong Symphony Orchestra Jennifer Startt Violin, Philharmonic Orchestra of Florida Mary Stephenson Violin, New York City Opera (substitute) Elizabeth Suh Violin, Munich Chamber Orchestra John Thorne Principal Flute, Florida West Coast Orchestra, Chamber Orchestra and Woodwind Quintet (Sarasota) Glen Wanner Assistant Principal Double Bass, Nashville Symphony Julius Wirth Viola, Baltimore Opera and Baltimore Chamber Orchestra Beth Woodside Violin, Rochester Philharmonic Orchestra Yang Xi Violin, Philharmonic Orchestra of Florida (as of October 20, 1989)

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. APPENDIX TWO THE WOLF TRAP OPERA COMPANY HONOR ROLL

A glance at The Wolf Trap Opera Company rosters of years past reveals the following partial "honor roll” of young artists who have gone on to successful careers at some of the world's leading opera houses:

Albert, Donnie Ray (bass, 1974,1975): New York City Opera, Washington Opera, Houston Grand Opera, Broadway per­ formances, U.S. and European tour, and complete RCA recording of title role in Gershwin's Porcrv and Bess.

Balthrop, Carmen (soprano, 1972): Metropolitan Opera, San Francisco Opera, Houston Grand Opera, Santa Fe Opera, Teatro la Fenice, Broadway performances, national telecast, and complete recording of title role in Joplin's Treemonisha. Washington Opera.

Blake, Rockwell (tenor, 1974, 1976): Metropolitan Opera, New York City Opera, Vienna State Opera, Paris Opera, Houston Grand Opera, Washington Opera, Hamburg Opera, Lyric Opera of Chicago, Pesaro Festival, many solo recordings.

Cheek, John (bass, 1976): Metropolitan Opera, New York City Opera, Ravinia Festival/Chicago Symphony Orchestra, National Symphony Orchestra, many solo recordings.

Christin, Judith (mezzo, 1974, 1975): Metropolitan Opera, Washington Opera, Netherlands Opera, San Francisco Opera, New York City Opera, Santa Fe Opera, Opera Theatre of Saint Louis.

Coburn, Pamela (soprano, 1980): Bavarian State Opera (Munich), Vienna State Opera, Washington Opera, Bonn Opera, many solo recordings.

Croft, Richard (tenor, 1985): Washington Opera, Drottning- holm Court Theatre (Sweden), 1'Opera de Montreal, L'Opera de Nice, Opera Theatre of Saint Louis, Canadian Opera Company, Lyric Opera of Chicago.

83

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Dahl, Tracy (soprano, 1986): San Francisco Opera, Aix-en- Provence Festival, Washington Opera, Houston Grand Opera, Canadian Opera Company (Toronto), Opera Theatre of Saint Louis, Los Angeles Music Center Opera, Santa Fe Opera. Dickson, Stephen (baritone, 1974,1976): Metropolitan Opera, New York City Opera, Santa Fe Opera, Houston Grand Opera, Washington Opera, Lyric Opera of Chicago, San Francisco Opera, Glyndebourne Festival, Orchestre de Paris Mozart Cycle.

Dietsch, James (baritone, 1982): New York City Opera, English Opera North (U.K.), Washington Opera.

Ellsworth, Warren (tenor, 1975): Royal Opera Covent Garden, Washington Opera, Houston Grand Opera, English National Opera, Welsh National Opera, Hamburg Opera, Canadian Opera, complete EMI/Angel recording of title role in Wagner's Parsifal.

Esham, Faith (soprano, 1977): Metropolitan Opera, Vienna State Opera, La Scala, New York City Opera, San Fran­ cisco Opera, Washington Opera, Glyndebourne Festival, Santa Fe Opera, film and RCA soundtrack recording of Bizet's Carmen with Placido Domingo.

Freeman, Carroll (tenor, 1972,1973): New York City Opera, Houston Grand Opera, Opera Theatre of Saint Louis, Opera Pacific.

Friede, Stephanie (soprano, 1980): Netherlands Opera, Hous­ ton Grand Opera, Opera Theatre of Saint Louis, Virginia Opera, Opera Pacific.

Glassman, Allan (tenor, 1974,1975, 1985): Metropolitan Opera, Frankfurt Opera, New York City Opera, Washington Opera, Opera Company of Philadelphia, Seattle Opera, New Jersey State Opera, Opera Orchestra of New York, Opera Theatre of Saint Louis.

Hall, Janice (soprano, 1974,1976): Washington Opera, New York City Opera, Houston Grand Opera, Santa Fe Opera, Hamburg Opera, Cologne Opera, Teatro la Fenice (Venice).

Hamilton, David (baritone, 1983): Metropolitan Opera, New York City Opera, Israel Philharmonic, Tulsa Opera, Paris Opera, Washington Opera, 1'Opera de Nice, 1'Opera de Montreal.

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Held, Alan (bass-baritone, 1987,1988): Metropolitan Opera, Lyric Opera of Chicago, Washington Opera, Spoleto Fes­ tival (Italy), Seattle Opera, New Jersey State Opera.

Kaasch, Donald (tenor, 1988): Metropolitan Opera, Lyric Opera of Chicago, Washington Opera, Florence May Festi­ val , Seattle Opera.

Kesling, Diane (mezzo, 1981): Metropolitan Opera, World Premiere co-production of Leonard Bernstein's A Quiet Place/Trouble in Tahiti at Houston Grand Opera/Kennedy Center/La Scala, Seattle Opera.

Kilduff, Barbara (soprano, 1985): Metropolitan Opera, Wash­ ington Opera, Vienna State Opera, Bavarian State Opera, San Francisco Opera, Bregenz Festival, Rome Opera, Bonn Opera.

Knighton, Elizabeth (soprano, 1977): Metropolitan Opera, Washington Opera, New York City Opera, Canadian Opera, Greater Miami Opera, Houston Grand Opera.

Link, Kurt (bass, 1983): New York City Opera, Lyric Opera of Chicago, Santa Fe Opera, Opera Theatre of Saint Louis.

Merritt, Chris (tenor, 1973): La Scala, Royal Opera Covent Garden, Paris Opera, Lyric Opera of Chicago, Rome Opera, Teatro comunale (Florence), Carnegie Hall Rossini and Strauss Festivals, Pesaro Festival, many solo recordings.

Orth, Robert (baritone, 1975,1976): Washington Opera, Hous­ ton Grand Opera, Opera Theatre of Saint Louis, New York City Opera, Los Angeles Music Center Opera.

Resick, Georgine (soprano, 1972) : Paris Opera, Lyric Opera of Chicago, cologne Opera, Drottningholm Court Theatre (Sweden), complete LOiseau Lyre recording of Mozart's Cosi fan tutte as Despina, Washington Opera, Houston Grand Opera.

Roark-Strummer, Linda (soprano, 1973,1974): New York City Opera, Opera Orchestra of New York, La Scala, Deutsche Opera (Berlin), Teatro la Fenice (Venice).

Rosenshein, Neil (tenor, 1973,1974,1976): Metropolitan Opera, Royal Opera Covent Garden, Zurich Opera, Wash­ ington Opera, Lyric Opera of Chicago, Santa Fe Opera, San Francisco Opera, Paris Opera, Netherlands Opera.

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Schuman, Patricia (soprano, 1981): Vienna State Opera, Zurich Opera, Washington Opera, La Scala, Netherlands Opera, Theatre Royal de la Monnaie (Brussels), Opera Theatre of Saint Louis, Ravinia Festival.

Upshaw, Dawn (soprano, 1985): Metropolitan Opera, Salzburg Festival, Aix-en-Provence Festival, Ravinia Festival, Opera Theatre of Saint Louis, Berlin Philharmonic, many solo recordings. Wilson, Neil (tenor, 1980): Metropolitan Opera, Los Angeles Music Center Opera, Washington Opera, Bonn Opera, Teatro Massimi (Palermo), Stuttgart Opera, Salzburg Festival Hamburg Opera, Bavarian State Opera (Munich), Cologne Opera, Glyndebourne Festival.

Zoghby, Linda (soprano, 1972): Metropolitan Opera, Washing­ ton Opera, Glyndebourne Festival, Houston Grand Opera, Santa Fe Opera, London/Decca and Philips recordings.

(September 1989)

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. APPENDIX THREE 1989-90 ROSTER OF THE JOFFREY BALLET DANCERS

WHO WERE PREVIOUS MEMBERS OF THE JOFFREY II

Name Season with Joffrey II

Mary Barton 1986 Cameron Basden 1977-1979 Linda Bechtold 1982-1984 Alexander Brady 1988-1989 Carl Corry 1976-1978 Jill Davidson 1981-1982 Philip Gardner 1987-1989 Jodie Gates 1981-1983 Cynthia Giannini 1984-1987 Kathryn Ginden 1984-1986 Meg Gurin 1985-1986 Jennifer Habig 1983-1986 Julie Janus 1980-1981 Tina LeBlanc 1982-1983 Douglas Martin 1982-1984 Edward Morgan 1979-1981 Tom Mossbrucker 1978-1980 Elizabeth Parkinson 1982-1984 Brent Phillips 1985-1987 Roger Plaut 1985-1986 Beatriz Rodriguez 1971-1972 Lissette Salgado 1986-1988 Joseph Schnell 1984 Adam Sklute 1986-1988 Amanda Smith 1987-1989 Johanna Snyder 1983-1987 Tyler Walters 1982-1984

Note: There are forty dancers in the Joffrey Ballet. Thir­ teen members of the Joffrey Ballet were not former members of the Joffrey II.

87

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PARTIAL LISTING OF DANCE COMPANIES WHERE JOFFREY II ALUMNI HAVE CONTINUED THEIR CAREERS

American Ballet Theatre Martha Graham Dance Company Atlanta Ballet Metropolitan Opera Ballet Berlin Opera Ballet Milwaukee Ballet Boston Ballet National Ballet of Canada Cleveland Ballet Netherlands Dance Theatre Cologne Opera Ballet New York City Ballet Dennis Wayne's Dancers Pacific Ballet Theatre Dutch National Ballet Royal Winnipeg Ballet Eglevsky Ballet San Francisco Ballet Eliot Feld Ballet Stuttgart Ballet Frankfurt Ballet Twyla Tharp Dance Company Hamburg Ballet Washington Ballet Les Grands Ballets Canadiens

(September 1986)

88

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JOFFREY II DANCERS 1988-89 SEASON ROSTER AND CONTRACTS OFFERED

Name Contracts Offered

Kyle Ahmed Dennis Wayne's Dancers Jim Bess Hartford Ballet Alexander Brady Joffrey Ballet Nicole Duffy Dennis Wayne's Dancers Philip Gardner Dennis Wayne's Dancers Jennifer Gelfand Boston Ballet Adriana Jacinto Dennis Wayne's Dancers Kim Lewis offer pending Joe Marshall Feld Ballet Jennifer Polins Milwaukee Ballet Jenny Sandler Joffrey II Amanda Smith Joffrey Ballet Gregory Paul Taylor Dennis Wayne's Dancers Maia Wilkins Dennis Wayne's Dancers

(May 1989)

89

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. BIBLIOGRAPHY

Asides (quarterly publication of the Shakespeare Theatre at the Folger), Fall, Winter 1989; Winter, Spring 1990.

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Babcock, Jeffrey N., Miami, to American Symphony Orchestra League, Washington, D.C., 5 March 1987. Transcript in the hand of American Symphony Orchestra League, Wash­ ington, D.C.

Boyle, Hunter. Written questionnaire by author. Washing­ ton, D.C., 30 June 1990.

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Colton, Richard, dancer. Telephone interview by author, 1 June 1990, Massachusetts. Compton, Thorn, chairman, Department of Theatre, University of South Carolina. Telephone interview by author, 29 June 1990, Columbia, South Carolina.

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Dunning, Jennifer. "Young Dancers Define Joffrey Style." New York Times. 15 November 1981, P12.

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Eddy, Junius. Toward Coordinated Federal Policies for Sup­ port of Arts Education. Washington, DC: Alliance for Arts Education, 1977.

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______. "The Joffrey Ballet Today" (press release). 1988.

______. "1989-90 Plans for Joffrey II Dancers Announced" (press release). September 1989. ______. "1989-90 Roster of the Joffrey Ballet Dancers Who Were Previous Members of the Joffrey II." 1990.

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Ginell, Richard S. "Thomas' Talented Ear Discovers New World." Los Angeles Daily News. 13 May 1988, 27.

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Held, Alan, opera singer. Telephone interview by author, 19 March 1990, Connecticut.

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Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. The Joffrey II Dancers. "Partial Listing of Dance Companies Where Joffrey II Alumni Have Continued Their Careers." 1986.

______. "Alumni Roster." September 1986.

______. "Repertory notes, 1988-89 Season."

______. "Joffrey II Dancers 1988-89 Season Roster and Contracts Offered." May 1989.

______. "Activities Schedule." 21 August 1989.

Klein, Hank. "Volunteer Support Group Plans "Fun-Raising1 Events." The New World Symphony News. Winter, 1988, 1 . Kuznik, Frank. "The Winners' Tale." Dossier. May 1988.

Madeja, Stanley S. Arts and Aesthetics; An Agenda for the Future. St. Louis, MO: CEMREL, Inc., 1977.

McLaughlin, Milbrey and Margaret A. Thomas. Art History. Art Criticism and Art Production: An Examination of Art Education in Selected School Districts. Vol. 1, Comparing the Process of Change Across Districts: Vol. 2, Case Studies of Seven Selected Sites? Vol. 3, Exec­ utive Summary. Report prepared for the Getty Center for Education in the Arts of the J. Paul Getty Trust by the Rand Corporation, December 1984.

Merkley, Marty, general manager, the New World Symphony. Interview by author, 22 January 1990, Miami Beach. Tape recording. "Music News." Arts Reporting Service. March 1988, 3.

The New World Symphony. Audition Pamphlet, 1988 Season."

______. "Subscription Brochure, First Season." 1988.

______. Press release (no title). 11 April 1988.

______. "Brochure, 1988-89 Season."

______. "Program Book, 1988-89 Season."

"Alumni Roster." 20 October 1989.

. "New World Symphony Alumni" (press release). October 20, 1989.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 93

______. "Residency Information and Application Brochure, 1989-90 Season."

The NeWS; A Publication of the Friends of The New World Symphony. Spring 1988 and Winter 1988. "NFAA Announces Program for Post-Graduate Music Professional (New World Symphony Orchestra)." American String Teacher. January 1987, 17.

"NFAA President: Rare Opportunity Awaits Young Symphony Musicians." The NeWS: A Publication of the Friends of The New World Symphony. Fall 1988, 6.

"On Tour with The New World Symphony." The New World Symphony News. Winter 1989-90, 3.

Pardue, Susan, musician, New World Symphony. Interview by author, 22 January 1990, Miami Beach. Tape recording.

Roos, James. "Magnificence in the Making." Miami Herald. 12 January 1988.

______. "Creating The New World Symphony." Miami Herald. 31 January 1988, Kl.

______. "Symphony Excellent in Debut." Miami Herald. 5 February 1988, Cl; 15.

______. "New World Symphony Better than Ever." Miami Herald. 7 March 1988, Cl.

______. "A New World Triumph for Symphony of Same Name." Miami Herald. 28 March 1988, C6.

Russell, Peter, administrative director, Wolf Trap Opera Company. Interview by author, 9 November 1988 and 10 February 1990, Vienna, Virginia. Tape recording.

Sandler, Jenny, dancer. Telephone interview by author, 17 March 1990, New York City.

The Shakespeare Theatre at the Folger. "Red Brochure." 1989.

______. "Mary Stuart." Staaebill. 1989-90 Season.

______. "The Tempest." Staaebill. 1989-90 Season.

Simmons, Kenna. "Greater Miami." Horizon. April 1988, 17-18.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 94

Smith, Tim. "New World Symphony Extraordinary." Sun- Sentinel. 7 March 1988.

Stearns, David Patrick. "Shakespeare Prospers in the Nation's Capital." USA Today. 4 October 1989, Life section.

Steffans, Peter, musician, New World Symphony. Interview by author, 22 January 1990, Miami. Tape recording.

Stein, Dorothy. "New World Symphony Announces Plans for First Full Season" (press release from NWS). 11 April 1988.

______. "New World Symphony to Perform in California this Summer" (press release from NWS). 11 April 1988.

"Symphony Founder Ted Arison Takes Over as Chairman" The New World Symphony News. Winter 1989-90, 1.

Van Tuyl, Laura. "From a 10-minute Audition to a Full-Time Musical Career." Christian Science Monitor. 3 Febru­ ary 1988.

Volsky, George. "Miami's New Orchestra Teaches While It Plays." New York Times. 1 February 1988, N16.

Wallace, Richard, and Jane Wooldridge. "Symphony Opens on Upbeat Note." Miami Herald. 5 February 1988, Al; 14.

"We Hear a Symphony." Miami News. 2 February 1988.

Welch, Stephen, director of education, the Shakespeare Theatre at the Folger. Interview by author, 15 May 1990 and 13 June 1990, Washington, D.C. Tape record­ ing.

The Wolf Trap Opera Company. "Honor Roll." September 1989.

______. Newsletter. Winter 1990.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.