Artment of Theatre and Dance Kennedy Center American College Theater Festival Region Two Festival 47 the Kennedy Center

Cleveland State University Department of Theatre and DancE Kennedy Center American College Theater Festival Region two Festival 47 The Kennedy Center

Festival 47 January 2-6, 2015 KCACTF HAS GONE MOBILE! WELCOME REMARKS Welcome from the Chair of Region II

I have been looking forward to this festival for two years. Ever since I came to Cleveland KCACTF HAS State to respond to a production of Miss Julie and our festival host, Michael Mauldin, gave me the grand tour. I loved hearing the story of Playhouse Square’s fall into disrepair and its revival. You have to admire the dedication of the artists who produced Jacques Brel Is Alive and Well and Living in Paris in the State Th eater lobby to prove that theater in downtown Cleveland was a viable proposition. Th e original three-week run extended to two years. Th e beautiful Playhouse Square art deco facilities are just the tip of the iceberg. Cleveland State University has renovated the Middough building, a former car dealership and offi ce building, into its Arts Campus fi lled with rehearsal halls, dance GONE MOBILE! studios, class rooms, art studios, and a black box theatre. We have lots of spaces for great workshops, wonderful performances, exciting exploration of new plays and the latest in design technology. If you aren’t worn out and fi lled with the theatre joy by the end of the festival, you just aren’t trying. Please take advantage of all the festival has the off er and enjoy everything you do this week. We’re glad you’re here Region II’s Festival 47

Dr. Scott Mackenzie Chair, KCACTF Region 2

Welcome from the President of Cleveland State University

Welcome to Cleveland State University! Th e University is so pleased to partner with Playhouse Square in hosting the Kennedy Center American College Th eater Festival (KCACTF) for Region II.

Th e Festival encourages, recognizes, and supports the fi nest and most diverse work produced in university and college theater programs. During the next 5 days, you will join approximately 1,200 other students and faculty members from Region II colleges and universities for a wide range of workshops and seminars from playwriting and auditioning to stage combat and scenery construction.

While you are with us, I encourage you to enjoy many festival productions and showcases on some of the fi nest stages in the nation at Playhouse Square, the second largest theatre district in the country. I am particularly proud that the University’s production of Th e Dybbuk—featuring a cast and crew of 46 students and associates—has been selected for performance during the festival on January 6.

Cleveland State University is wholly immersed in the vibrant arts and theatre scene in Cleveland and is committed to supporting the arts in this region and beyond. In 2012, we established our Arts Campus in the heart of Playhouse Square. Th e University’s Middough Building, which includes more than 120,000 square feet of classrooms, rehearsal space, art studios, offi ces, and production shops for sets and costumes, is one of the most extensive undergraduate theater and dance facilities in the nation, and our unique partnership with Playhouse Square and Cleveland Playhouse gives our students an opportunity to learn alongside working theater professionals.

Th ank you for supporting and participating in the Kennedy Center American College Th eater Festival, a distinguished tradition and a catalyst for improving the quality of college theater in the United States.

Please enjoy the festival and your time in Cleveland.

Dr. Ronald M. Berkman President Cleveland State University KCACTF 2015 3 Cleveland State University WELCOME REMARKS Welcome from the Dean of the College of Liberal Arts and Social Sciences

I would like to extend my warmest welcome to all our guests attending the Kennedy Center Amer- ican College Theatre Festival. Welcome to Cleveland State University’s Fine Arts Campus, located in Cleveland’s Playhouse Square. We are proud to share our space with you and hope that, despite the cold weather, you will fully enjoy our warm Cleveland hospitality. Our program’s recent history is a story of struggle and triumph. Although our emeriti faculty include the likes of Reuben Silver and Joe Garry (whose production of Jacques Brel is Alive and Well and Living in Paris played a key role in the revival of Playhouse Square), only ten years ago our Dramatic Arts program had dwin- dled to only a few hardy students, who performed in a run-down Factory Theatre on Chester Ave. Through the leadership of two visionary Cleveland State University Presidents, Michael Schwartz and Ronald Berkman, the University established creative partnerships with Cleveland Play House, the oldest regional theatre in the country, and Playhouse Square, and, with our community partners, helped raise the funds to refurbish the Allen Theatre (in the process creating three exciting new performance venues) as well as large parts of the Middough Building. As a result, our Theatre and Dance programs now enjoy a new home in what has become the second largest live theatre district in the country. At the same time, under the inspired leadership of Michael Mauldin and (now) Lynn Deering, our old Dramatic Arts Program merged with the University’s old Dance Program to become the new Department of Theatre and Dance while growing to its present size of about 90 undergraduate theatre majors. We believe that we are only at the beginning of a long and illustrious performance.

Finally, I would like to thank our partners in the KCACTF organization for bringing the Festival to our city and campus. It is an honor for us to host the Festival, and we will do our best to make sure that this year’s gathering is among the best ever. Now, let’s raise the curtain!

Dr. Gregory M. Sadlek, Dean College of Liberal Arts and Social Sciences Cleveland State University Welcome from the Department of Theatre and Dance

On behalf of the Cleveland State University Department of Theatre and Dance, it is our pleasure to welcome the Region 2 Kennedy Center American College Theatre Festival 47 to our Arts Campus in Playhouse Square! You are now in the second largest theatre center in the United States, with only Lincoln Center in New York City having more theatrical venues and seating. Along with our partners, Playhouse Square and Cleveland Playhouse, the nation’s first professional Regional Theatre, we know that you will have an exciting week in the theatrical heart of a vibrant theatrical city.

The partnership between Playhouse Square and CSU Theatre goes back further than hosting KCACTF or moving into our state of the art facilities two years ago. In the early 1970s, Playhouse Square was doomed for the wrecking ball, with plans to level the grand old theatres in order to make a parking lot downtown. As part of an effort to bring attention to this emergency, our department’s founding director, Joseph Garry, staged a production of the musical review Jacques Brel is Alive and Well and Living in Paris for what was planned as a two weekend run in the lobby of the State Theatre. Two and a half years and 355 performances later, that production was credited for being the impetus to save Playhouse Square and bring it to the exciting theatre and business center you see today. Some may doubt that theatre has the power to do anything but entertain, but we at CSU know with certainty that its power for change is virtually unlimited in the hands of dedicated artistic visionaries.

We know that you will enjoy some of the finest dining and shopping available in our bustling downtown. We also know that you will have an exciting and inspiring time as you take in the workshops, performances, and other offerings of Festival 47. It is rare that theatre students, faculty, and practitioners can share their work, their passion, and their dreams with each other in one set- ting, and we are proud to have been able to make this possible.

Welcome to our city, and let the festivities begin!!!

Dr. Michael Mauldin, Festival Liaison, Past Chair Lynn Deering, Present Chair Department of Theatre and Dance Department of Theatre and Dance Cleveland State University Cleveland State University Bill Bowers, KEYNOTE SPEAKER

Sunday, January 4, 2015, 12noon-1pm Performing his solo show BEYOND WORDS Ohio Th eatre

Hailed by critics as the most accomplished and renowned mime of his generation, Bill Bowers currently performs and teaches the art of physical storytelling throughout the world. His methods and exploration of universal truths transcend the spoken word to educate and touch audiences in countries as varied as Poland, Holland, Scotland, Japan, Macedonia, Romania, Italy, Germany, Norway, Germany and Austria.

An award-winning actor, Bowers has also performed in all 50 United States and Puerto Rico appearing on the stages of Broadway, Th e Kennedy Center, Th e White House, Steppenwolf, LaMaMa, Th eatre for a New Audience, St. Anne’s Warehouse, Urban Stages, Rattlestick Playwrights Th eater, Ensemble Studio Th eater, Radio City Music Hall, HERE, and the New York International Fringe Festival. His Broadway credits include Zazu in Th e Lion King and Leggett in Th e Scarlet Pimpernel. He has also por- trayed the great silent clowns: Charlie Chaplin in the world premiere of Little Tramp, Pierrot in the world premiere of Beethoven N Pierrot, and Petruchka with Th e Colorado Symphony.

A passionate student and educator, Bowers studied with the legendary Marcel Marceau and currently serves on the faculties of New York University, Neighborhood Playhouse, Stella Adler Conservatory, and William Esper Studios. He holds an MFA from Rutgers University’s Mason Gross School of the Arts, and an Honorary PhD from Rocky Mountain College.

Most recently, Bowers is volunteering with the Wounded Warrior Project, and is developing a play inspired by soldiers returning with considerable physical and psychological damage from the wars in Iraq and Afghanistan. He is working to expand his exploration of masculinity through their stories of loss and survival, identity and self-perceptions, and how manhood is measured in our country. He is concurrently developing a physicalized version of Dalton Trumbo’s anti-war book, Johnny Got His Gun, supported by a Individual artist grant from NYSCA (NY State Council on the Arts.)

To learn more, visit www.Bill-Bowers.com.

KCACTF Region 2 @KCACTFR2 #KCACTF2

KCACTF 2015 5 Cleveland State University Cleveland state university Cleveland State University Mission Statement Our mission is to encourageexcellence, diversity, and engaged learning by providing a contemporary and accessible education in the arts, sciences, humanities and professions, and by conducting research, scholarship, and creative activity across these branches of knowledge. We endeavor to serve and engage the public and prepare our students to lead productive, responsible, and satisfying lives in the region and global society

CSU Department of Theatre and Dance Mission Statement The Dramatic Arts Program at Cleveland State University is dedicated to producing educated citizens who have identified theatre as their primary academic and vocational focus. The theatre is among the oldest documented venues for human expression and has been a powerful medium in practically every culture to explore religious beliefs, shape communal viewpoints, question au- thoritarian behavior, support or subvert public opinion, and provide an imaginative escape from daily routine. Given this rich and diverse legacy, we believe that the theatre and its practitioners bear a responsibility to keep, and in many cases reinvigorate, the theatre as a vital communicative tool in the community. It is our goal that our graduating students will have the necessary qualifications to enter the profession or pursue graduate work at the program of their choice. We are determined that the foundational theatre experiences on the undergraduate level shall provide a valid educational basis for a myriad of eventual careers. Accordingly, our students will focus on the theatre within the context of a strong liberal arts education. The student will focus on the study and practice of theatre in addition to the full compliment of accredited academic classes. Within the theatre major itself, the student will receive rigorous training specializing in either theatre performance or the design/technical fields. This practicum training will be accomplished in tandem with a thorough grounding in the history, literature, theory and social contexts of theatrical production. With this broad based approach, our students will have the foundational education and training for traditional choices such as acting, directing, design and technical support, as well as such ancillary fields as dramaturgy, criticism, drama therapy, marketing, facilities coordination, arts advocacy, marketing and education, among others. With this springboard, our students will have the training and education to actively and positively contribute to the theatre and their communities.

The Kennedy Center American College Theatre Festival Started in 1969 by Roger L. Stevens, the Kennedy Center's founding chairman, the Kennedy Cen- ter American College Theater (KCACTF) is a national theater program involving 18,000 students from colleges and universities nationwide which has served as a catalyst in improving the quality of college theater in the United States. The KCACTF has grown into a network of more than 600 academic institutions throughout the country, where theater departments and student artists showcase their work and receive outside assessment by KCACTF respondents. Since its inception, KCACTF has given more than 400,000 college theater students the opportunity to have their work critiqued, improve their dramatic skills and receive national recognition for excellence. More than 16 million theatergoers have attended approximately 10,000 festival productions nationwide. INVITED PRODUCTIONS SCAB by Sheila Callaghan Produced by: Slippery Rock University Director: Laura Smiley Saturday, January 3, 9:30 a.m. and 2:30 p.m. Allen Theatre

Anima, a fragile graduate student, is surrounded by dysfunctional family and relationships and has lost her father, her heart and her self. When her new, sweet, camera obsessed roommate Christa, shows up, things change for Anima. Never in her life has Anima had someone that takes care of her the way that Christa does. The roommates quickly become best friends and Anima’s feelings towards Christa awaken something much deeper. Anima, tells a story of her journey as she is trying to work through her challenges to resurrect her faith in self and the world. As this play of mag- ical realism unravels, Anima and Christa are joined by Susan the plant, a particularly malevolent statue of the Virgin Mary and a journey of self-discovery, self-acceptance and forgiveness that we can all relate to in our own lives.

THE ADDING MACHINE Written by Elmer Rice Produced by: The University of Toledo Directed by Irene Alby Saturday January 3, 8:00 p.m. Ohio Theatre

“The Adding Machine” follows the story of an ordinary accountant, Mr. Zero, who murders his boss after learning he will be replaced at work by an adding machine. This action – his only unique and spontaneous act after a lifetime of obedience – and its consequences are explored in Rice’s expressionistic play. After he is sentenced and executed for murder, Mr. Zero finds his afterlife to be a most unexpected experience. Funny, sad, poignant and startling, this ex- pressionist, metaphorical play is a visually rich contemplation on right and wrong, life and death.

LOW LEVEL PANIC by Clare McIntyre Produced by: Alvernia University Director: Nathan Thomas Sunday, January 4, 9:30 a.m. and 2:30 p.m. Allen Theatre

London. Now. Three young women who share a flat get ready for a party. We enter their lives, their thoughts, and their relationships. We see how a “porn culture” influences the way they are seen and how they see themselves. For mature audiences – adult language, depiction of suggested sexual violence, frank discussion of sexuality. Playing time: 75-80 minutes with no intermission.

KCACTF 2015 7 Cleveland State University INVITED PRODUCTIONS MAELSTROM A Silent Opera by Jeffrey Lentz and Cocol Bernal Produced by Albright College Director: Jeffrey Lentz Sunday, January 4, 8:00 p.m. Ohio Theatre

At last year’s KCACTF Region 2 Festival, audiences witnessed the tragic outcome to a lethal love-triangle at the center of Vortex: Queen Mira and her pernicious lover were dead; the Kingdom was in shock, and a grief-striken King Ubu was left to raise his beloved Queen’s love child, the Princes Charlotte, all by himself. It is less then a year later as the curtain rises on Maelstrom-- the bereft King Ubu enlists his faithful house staff to help remove all traces of his fallen wife from the palace in order to protect Charlotte from the painful truth of her identity. Time then leaps sixteen years to the eve of Charlotte’s betrothal to the most worthy prince. But, will history repeat itself? Can we ever truly succeed at removing all traces of our past? Will Charlotte and Ubu be saved by the power of love and forgiveness, or will they be swept into the raging currents of the maelstrom? There are the questions that fuel the growing storm of secrets that now threaten to destroy everything in tonight’s episode. Join us as Albright College presents the third and final install- ment in their award-winning UBU SAGA -- a story told by movement and music alone.

RED by John Logan Produced by: Grove City College Director: Betsy Craig Monday, January 5, 9:30 a.m. and 2:30 p.m. Allen Theatre

The premise is simple. Mark Rothko has just landed the biggest commission in the history of modern art, a series of murals for New York’s famed Four Seasons restaurant. A blending of fact and fiction over a taunt 90 minutes of what occurred iin the creation of those murlas is what this play is about. You are invited into that famed Bowery Street Stu- dio space in New York City, which Rothko rented specifically to create these murals. While painting, Rothko, Ken (his assistant) and we the audience will explore a range of ideas about art, life love death and faith.

THE LAST DAYS OF JUDAS ISCARIOT by Stephen Adly Gurgis Produced by Carroll Community College Director: Bill Gillett Monday, January 5, 8:00pm Ohio Theatre

Set in a time-bending, darkly comic world between heaven and hell, The Last Days of Judas Iscariotreexamines the plight and fate of the New Testament’s most infamous and unexplained sinner. A purgatory defense attorney wants to get Judas Iscariot out of hell. The epic trial that follows raises poignant question about humankind’s relationship with religion as testimony is received from witnesses that include Mother Theresa, Sigmund Freud, Pontius Pilate, and Satan. Filled with the poetry of “lowdown street talk,…” this play “presents dilemmas of ancient Galilee in terms winningly accessible to the twenty-first century.” This play is an “expressionistic fantasy,” with “raw language and flamboyantly street-savvy characters.” We hope you will attend and enjoy Carroll Community College’s production of this exciting play.

KCACTF 2015 8 Cleveland State University INVITED PRODUCTIONS

VANISHING POINT An adaptation of a verse novel by Jeri Kroll Produced by: George Washington University Directed and Adapted by Leslie Jacobson Tuesday, January 5, 2015, 9:30am and 2:30pm Allen Theatre

Vanishing Point explores the interior and exterior life of Diana, a nineteen-year-old girl living in South Australia. She struggles with the question tormenting many young people today: How do you learn to be comfortable in your own body? Living with a demanding father, a mother who dabbles in charismatic religion, and a brother with Down syn- drome, Diana feels pressured to be the family savior, to be “perfect.” In her need to control something in her life, she retreats into the self-destructive world of anorexia and bulimia. The play takes us on Diana’s journey into a place of healing and hope. Jeri Kroll’s rich, evocative language enables us to examine difficult situations without looking away. Vanishing Point has evolved through workshops and staged readings over the past four years, during which time Roy Barber’s original music has been added to Leslie Jacobson’s stage adaptation. The result of this process, Vanishing Point onstage, seems to exist at the intersection of acting, musical theatre, movement, and language.

THE DYBBUK Written by S. Ansky Produced by: Cleveland State University Director: Michael Mauldin Tuesday, January 6, 2015, 2:00pm Ohio Theatre

The Dybbuk is a romantic horror tale of a young bride possessed by a dybbuk —a spirit, believed to be the dislocated soul of a person taken before their time— on the eve of her wedding. S. Ansky’s 1914 play is considered a seminal play in the history of Jewish theatre.

KEYNOTE PERFORMANCE IT GOES WITHOUT SAYING Written and Performed by Bill Bowers Developed with and Directed by Martha Banta Sunday, January 4, 2015 at 12pm Ohio Theatre

Compared to the work of David Sedaris, Claudia Shear and Augustin Bur- roughs, IT GOES WITHOUT SAYING is a uniquely crafted autobiographical tour-de-force in which Bill shares funny, heartbreaking, and unbelievable true stories from his career as an actor and mime,and his life-long exploration of the role silence plays in all our lives.

IT GOES WITHOUT SAYING takes you on a scenic tour of Bill’s life thus far; from his childhood in the wilds of Montana, to outrageous jobs as a performer across the country, to the whirlwind of Broadway and studying with the legendary Marcel Marceau.

KCACTF 2015 9 Cleveland State University FESTIVAL INFORMATION Registration and Information Desk Event Entry The Registration Desk will be located in the Entry to all events is on a first-come Allen Theatre Lobby on Friday from 12pm to first-served basis. All performance seating is 6pm. Registration will remain open in a limited general admission. It is highly encouraged to capacity until 8pm. arrive 30 minutes prior to the scheduled start time, especially for Invited Productions. The Festival Information Desk will be located in the 2nd Floor of the Middough Building. The Admission to Invited Productions Information Desk will be open from 9am-Noon Show programs will be distributed in the and 1pm-6pm. If you still need to register on lobby of the Allen Theatre or the Ohio Theatre Saturday, please contact Grechen Wingerter at on a first-come, first-served basis starting one 208-596-2391. hour prior to the scheduled start time for all productions. Any seats not filled ten minutes Hospitality prior to the scheduled start time are subject Information regarding hospitality will be to reassignment to attendees waiting to enter. provided to individuals in their “Guest To receive a show program, or to be placed in Folders”. If we have missed you, please visit the an available seat, you must show your Festival Information Desk in the Allen Theatre lobby. badge.

Dining Security There is no meal plan this year for Festival at- In case of extreme emergencies, medical or oth- tendees. Registered attendees are urged to uti- erwise, ALWAYS dial 911 immediately. From a lize all there is within the City of Cleveland in campus phone, dial 9-911. To report potential- regards to meals. There is a list at the rear of ly violent activity, dial (216) 523-7233. this program of restaurants that will be open during festival. All registered attendees will be All Festival participants are asked to wear their provided a restaurant dining card that will earn Festival badge while on campus. you discounts at local eateries. Safety escorts are provided to or from any loca- Badges and Admission to Events tion on or near campus 24 hours a day, 7 days Festival badges will be required for all events a week, 365 days a year. Safety Escorts are pro- and participants are required to have badges in vided by Police Officers, Security Officers, and their possession at all times during Festival ac- Student Campus Safety Officers (CSO’s). Don’t tivities. If you lose your badge or it is damaged, walk alone - use the Safety Escorts! Call (216) please report to the Information Desk on the 687-2020 to request an escort. second floor of the Middough Building. A $5.00 replacement fee will be charged (cash only). Workshop Cancellations Should you need to cancel or change a workshop or it’s schedule, please contact Andy Trus- cott at 484-894-5925 or AGTruscott@gmail. com

KCACTF 2015 10 Cleveland State University FESTIVAL INFORMATION Transportation Printing There are no dedicated Festival trolleys. If you feel like your copy is pertinent to one of All festival hotels are within walking distance your programs, please find the program head of Playhouse Square, so please dress for the to discuss the need. weather

Trolleys Registered attendees may utilize the following Lost and Found trolleys while in Cleveland free of charge. Each All found items should be turned in to the trolley’s frequency is listed as every 10 minutes. Information Desk in the Allen Theatre lobby. Lost and Found claim forms will be avail- E-Line (Weekdays from 7am-7pm) able there as well. If you are missing anything, C-Line (Same as above, Weekend 11am-11pm) please check in with the Information Desk first. If the item is not there, please complete Attendees can also utilize the Health Line the appropriate lost item form so you can be busses for a negligble $1.25-$2.25 charge. contacted if found. The Festival or University is not responsible for any lost personal mate- Should you have an ADA accomodation and rials. not be able to utilize these methods of transportation, please call Andy Truscott at 484- 894-5925. Host Hotels Wyndham Playhouse Square 1260 Euclid Avenue, Cleveland, OH 44115 Alternative Transportation 888-595-3868 Taxi cabs are availabe from Cleveland Cab Company at 216-856-0867. Renaissance Cleveland 24 Public Square, Cleveland, OH 44113 Parking 216-696-5600 Each hotel has valet overnight valet parking for festival attendees. Please let them know Holiday Inn you are with ACTF. 629 Euclid Avenue, Cleveland, OH 44114 216-443-1000 Computers and Internet Access On campus wireless access has been CSU Alcohol Policy provided for all registered Festival attendees. In Ohio, it is illegal for anyone under the age of 21 to purchase, possess or consume alcohol. It Attendees should access the wireless acount: is also illegal for any one to use or possess con- CSU-Guest trolled drugs. At Cleveland State University it is illegal for any student, regardless of age, to There is no username or password required. possess or consume alcohol on campus or to return to campus under the influence.

KCACTF 2015 11 Cleveland State University FESTIVAL INFORMATION CSU Tobacco Policy Guidebook/Digital Program Smoking is restricted to designated areas out- A digital copy of this program may be side of buildings only. You will find designat- downloaded from our webiste at ed smoking zones. Please respect this policy www.kcactf2.org. and only use tobacco products at any of these pre-designated locations around campus. All The Guidebook will be available for down- host hotels are smoke-free indoors with desig- load beginning on Registration Day! This nated outdoor smoking locations. program can also be accessed via a Smartphone app called Guidebook. It can be accessed via Festival Locations the iTunes Store of Google Play Store. Once you Events and Workshops around Festival will be have downloaded the app, follow these steps to held at the following two campus buildings. download the Guide: Below you’ll find their full names, abbrevia- tions that are used throughout the Program, 1) Click on Download Guide in the bottom and their street addresses. left-hand corner 2) In the Search Bar, search for CSU CSU Middough Building (M) 3) Click on our Guide 1901 East 13th Street, Cleveland, OH 44114 It will automatically be downloaded The Middough Building hosts all the 3) When it has finished downloaded, click on workshops and some area programming the Guide and begin exploring! within. Features of Guidebook PlayhouseSquare (PHS) 1501 Euclid Avenue Cleveland, OH 44115 The Festival Schedule can be found under PlayhouseSquare houses all the invited “Festival Schedule”. When you read through productions, as well as some area the various events or workshops you can ADD programming. TO MY SCHEDULE to add it to your own personal schedule. Late Night Entertainment There are a myriad of options available to Each workshop session has the ability for you to Festival attendees for late night entertainment provide feedback for the workshop. Please do following the final performance of the evening. so! It allows us to learn from you, the Attendees are welcome to visit the Wyndham attendee! Hotel where events are taking place in the Palace Ballroom and Stillman Room. You can also upload your favorite pictures from the Festival’s Workshops, Events, and Late Please note: Only REGISTERED Festival Night Entertainment for every user to see via attendees are allowed into late night events. the KCACTF Photo Album.

Wyndham Hotel: Wednesday-Friday Nights You can access the ITJA Festival Reviews via the Everynight from 11pm-1:30am there will be Festival Blog. programming meant for registered attendees to mingle and socialize. General Feedback Surveys will be pushed out to attendees nightly via the Feedback portion of the app. KCACTF 2015 12 Cleveland State University For Faculty

FACULTY

SUPPER Sunday, January 3, 2015 6:00-7:30pm PlayhouseSquare Upstairs Allen Theatre Lobby

Regional faculty are invited to join colleagues for a light supper and informative discussion about ways Regional tofaculty strengthen are invited support to for our supperstudents and informal throughout discussion KCACTF. about ways to strengthen support of our students through KCACTF

SAMPLE TABLES:

2 Year Colleges & KCACTF

Boosting support of DTM students

Teaching Intro to Theatre

New Play Production on College Campuses

Coaching Ryan Nominees Successfully

Supporting Undergrad Student Directors

Developing the Student Dramaturg

KCACTF 2015 13 Cleveland State University WORKSHOPS

HOW TO READ THIS... AN INTRODUCTION TO GREENER THEATRE Presented by Ellen Jones WORKSHOP TITLE This session is a primer on ways to introduce sustain- Presented by Presenter ability into theatrical production and design using Workshop Description low cost/no cost ideas no matter the scale of your Date Time, Room Number department. It will cover ways to determine how to make the most of greening efforts and also offer some specific examples for scenery, lighting, and costuming. Monday 1/5 12:00-12:50pm, M252 100 YEARS OF THE STANISLAVSKY SYSTEM ANIMAL MEET & GREET AND MODERN ACTOR TRAINING Presented by Joan Willard Presented by Sergei Tcherkasski A creative, imaginary exploration of the actor’s voice, The lecture formulates the logic of the Stanislavsky body and acting impulses through physical move- System’s development. Traditional opposition of ear- ment and vocal expressiveness. This fun, inspiring ly and late Stanislavsky is argued. International de- exercise was inspired by Kristin Linklater and en- velopment of the System and its comparison with the courages the actors to observe and experience just Method (Strasberg, Adler, Meisner) are discussed. what the “animal” in them can accomplish. Rehearsal techniques (etude technique, method of Saturday 1/3 4:00-5:50pm, M523 physical (psychophysical) actions, active analysis) BECOMING A PROFESSIONAL DIRECTOR are discussed. Presented by Karen Kessler Monday 1/5 2:00-3:50pm, M533 A discussion with SDC Guest Director/Respondent 3D AUTOCAD Karen Kessler on navigating a career path as a profes- Presented by Patrick McCreary sional director. 3D CADD isn’t that hard. I’ve been working exclu- Tuesday 1/6 9:00-10am, M521 sively in 3D in AutoCad for years now, and the ben- BEST PRACTICES ROUNDTABLE FOR TEACH- efits are more than worth the (not as steep as most ING INTRODUCTION TO THEATRE (AND BE- people think) learning curve. Some advice, tricks, YOND) and methods for making the transition effortless and Presented by Julie Lewis rewarding. “Best Practices for Teaching Introduction to Theatre” Tuesday 1/6 1:00-2:50 pm, M255 Faculty are invited to attend a Roundtable discussion 3D PRINTING OVERVIEW about their best assignments, plays and creative proj- Presented by Ola Kraszpulska ects used to teach Introductory Theatre courses. The An overview of the use of 3D printing technology facilitator will bring examples of exercises that have in the theatre world. Examples will include models, worked well during her decade of teaching both ma- as well as full scenic pieces. 3D scanning will also be jors and non-majors. How can we make students life- explored, including examples from SUNY Oswego’s long theatre goers and make theatre relevant? How “Young Frankenstein”. do we lay a strong foundation for students who will Saturday 1/3 11:00-11:50am, M236 continue to study and train in theatre? How do we A CAREER IN THEATRE: THE ROLE OF AC- engage the entire class? Please share your best prac- TORS’ EQUITY AND A PRACTICAL GUIDE TO tices, challenges, failures and triumphs in an open THE BUSINESS discussion. Presented by Tom Miller Saturday 1/3 11:00-11:50am, M255 Equity’s mission is to secure and protect the rights of BIO-DRAMATURGY Actors and Stage Managers. The workshop explains Presented by Lisa A Wilde how and when to join, outlines benefits of member- Bio-Dramaturgy: The What and the How ship, provides tips for negotiating, record keeping Since biography, per se, can’t be placed on stage, and networking. It is designed to ease the transition dramaturgical questions must be asked and choices from an academic environment to a professional ca- made to transform real-life biography into active the- reer. atrical subject (the what) and to figure out the best Sunday 1/4 4:00-5:50pm, M236 form for telling the story (the how). Carlyn Aquiline KCACTF 2015 14 Cleveland State University WORKSHOPS will share her recent experience as dramaturg with DIGITAL PORTFOLIO PREPARATION AND IN- three different collaborative models exploring con- TERVIEWING tent and structure on works based on the lives of Paul Presented by assoc. professor suzy campbell Robeson, Judy Holliday, and teen caregivers written How to prep a digital portfolio and what that means and directed by Daniel Beaty, Moisés Kaufman, Wil- for interviews. Tricks to ensure your information is ly Holtzman, and David Greig. clear and to show off the right stuff. Monday 1/5 11:00-11:50am, M254 Tuesday 1/6 1:00-1:50pm, M252 BREAKING IN TO AUDIOBOOKS DO YOU THINK YOU MIGHT BE A TECHNI- Presented by Julia Motyka CIAN? Sunday 1/4 9:00-9:50am, M236 Presented by Seth Schwartz COMMANDING IMAGES: STARTING A DIREC- So you’re a theatre major, or your thinking about be- TOR-DESIGNER CONVERSATION ing a theatre major, and maybe you thought you were Presented by Lars Tatom a performer, but maybe you like being a technician Using Bill Ball’s “Commanding Image/Metaphor” more? Or maybe you’re just not sure which way you technique, participants will explore ways to start to want to go in Theatre? In this workshop we’ll explore forge a director-designer vocabulary when going into the opportunities for theatre techs and the steps to- production. wards a career in this field. This is a great opportunity Saturday 1/3 4:00-450pm, M236 to ask questions about theatre tech careers to see if CREATING A LIGHTING PORTFOLIO this is the right direction for you. Presented by Ellen E. Jones Saturday 1/3 1:00-2:50pm, M541 This session focuses on ideas for creating a lighting DRAMATURGY PORTFOILO REVIEW portfolio based on career and educational goals. Par- Presented by Lisa Wilde ticipants are encouraged to bring their portfolio and Dramaturgy portfolio review open to public but re- resume. The initial presentation will be followed by quired for all applicants for the Dramaturgy Award breaking participants into groups to examine each Monday 1/5 4:00-5:50pm, M254 others portfolios and resumes in light of the presen- ETC NOMAD ITS MOBILE DESIGN CAPABI- tation. LITES Sunday 1/4 1:00-2:50pm, M252 Presented by Gregory Griffin DESIGNERS STORYBOARD RENDERINGS With the introduction of ETC’s Nomad console and Presented by Sean Urbantke software for the Eos Family of consoles, designers Trimble’s Sketchup, Adobe’s Photoshop, and Au- can now easily take a console on the road via laptop todesk’s Sketchbook: A Scenic Designer’s Workflow and this opens the door for studio, found space, and for Creating Digital, Editable Storyboard Render- special event designs. This workshop will explore the ings. This workshop is a guided tour of the creation necessary equipment to set up an ETC Nomad sys- of a 3d model in SketchUp and the use of Photoshop tem. Students will also be given the opportunity to and Sketchbook to format, paint, and finish design work with the program software, and equipment in storyboards entirely digitally. this hands on workshop. Monday 1/5 10:00-10:50am, M236 Monday 1/5 1:00-1:50pm, M255 DEVISING AT PLAY: CREATING ORIGINAL EXPLORING THE ACTORS VOICE THEATRE VIA UNCENSORED PLAY Presented by Anjanette Hall Presented by Nicholette Routhier “Exploring the Actors Voice Workshop” A combina- This workshop will begin with a short discussion tion of Catherine Fitzmaurice and Patsy Rodenburg about devised theatre and move into a participatory voice work. Students will explore the basic funda- group creation of an adaptation of an existing fairy mentals of destructuring and structuring through a tale using a technique called “uncensored play” and sequence of tremoring poses, as well as exploring a other devising techniques practiced at Dell’Arte In- couple of different Rodenburg exercises. For example ternational School of Physical Theatre in Blue Lake, the “three circle exercise” CA. Tuesday 1/6 1:00-2:50pm, M523 Sunday 1/4 9:00-10:50am, M530

KCACTF 2015 15 Cleveland State University WORKSHOPS FINDING THE GAME movie in a format that is easy to share and distribute. Presented by Michael Legg Saturday 1/3 3:00-3:50pm, M236 Finding The Game--building a long-form improvi- HELP! I NEED A HEADSHOT sation performance. Students will build their own Presented by Amy Rene Byrne scenes and characters, and implement the concept This presentation/lecture based workshop details of the “the game”--a theme of the scene that can be what a headshot is, the current industry standards, replicated, exaggerated, and heightened in successive how to get a headshot, what to do before/during/after scenes. The ability to pick a theme and run with it a session, and what to do with headshots once you is an integral part of long-form improv. Monday 1/5 have them. A small interactive component deals with 1:00-2:50pm, M504 posing and interacting with the camera. FREE YOUR MEISNER Monday 1/5 1:00-2:50pm, M236 Presented by Amy Rene Byrne HOSTING A KCACTF REGIONAL FESTIVAL This condensed introduction to Meisner technique Presented by Scott Mackenzie, Grechen Wingerter, gives actors a glimpse into a different way of thinking and Andy Truscott on stage. Meisner technique addresses action/reac- Want to throw the best theater festival Region 2 has tion through a process of repetition exercises. This ever seen? This meeting is for faculty, administrators, workshop will start the actor on the journey of being and staff who are interested in serving as a future fes- completely present and truthful on stage. tival host. Find out how, now! Saturday 1/3 1:00-2:50pm, M504 Monday 1/5 2:00-2:50pm M255 FROM RUSSIA WITH ZEN; STANISLAVSKI IMPROVISATIONAL STORYTELLING: PLAY- AND YOGA BACK THEATRE AND AUDIENCE ENGAGE- Presented by Sergei Tcherkasski & Marilouise Michel MENT With the understanding that Stanislavsky’s work was Presented by Heidi Winters Vogel much more heavily based in the art and science of “Listening to stories with openness and responding with yoga than previously accepted, Professors Tcherkass- artistry is a unique way to build awareness, connec- ki (of Russia), and Michel present the juxtaposition tion, empowerment and change.” Jo Salas, Co-founder of some of Stanislavsky’s core exercises and premises of Playback Theatre from her book Improvising Real with their yogic roots to deepen the understanding Life. Playback Theatre invites dialogue & communi- of the intention. Actors will be thrilled to discover ty-building through interactive storytelling. Practice that one third of their basic training is rooted in yoga. creating a safe space for audience members to offer Tuesday 1/6 9:00-10:50am, M519 personal stories, then learn how bring them to life FROM WORDS TO IMAGES--SCRIPT ANALY- with improvised music, movement and dialogue. SIS FOR THEATRE ARTISTS Saturday 1/3 1:00-2:50pm, M255 Presented by Becky Prophet INTRODUCTION TO DROZNIN RUSSIAN This workshop, open to all festival participants, and MOVEMENT created for the Directing Institute, explores the man- Presented by Brendan Naylor ner in which the essence of language chosen by a Students will be introduced to Russia’s foremost playwright guides and shapes discovery of central movement technique, developed by Andrei Droznin, images, creation of characters, and choices in move- Professor of Stage Movement at the world renowned ment patterns. Exploring images, rhythms, and feel- Moscow Art Theater. Rigorous physical exercises and ing thought meaning, specific choices and phrases partner acrobatics will help students access the phys- are the center of this workshop. ical freedom to respond truthfully to their impulses. Saturday 1/3 9-10:50am, M521 Monday 1/5 5:00-5:50pm, M523 GOOGLE SKETCH UP IN THE DESIGN PRO- INTRODUCTION TO MICHAEL CHEKHOV CESS Presented by Stephen Strosnider Presented by Jason Coale Nephew to Anton Chekhov and one of Stanislavsky’s Utilizing Google Sketch-up in the Theatrical Design star pupils, Michael Chekhov developed a technique Process. This will cover important tools, tips and for acting which uses imagination, feeling, and at- tricks, and demonstrate how quickly an initial idea mosphere to transform into a character. This intro- can be worked up into a completed rendering or duction to Chekhov will explore impulse, archetypes, KCACTF 2015 16 Cleveland State University WORKSHOPS and psychological gesture to better achieve an in- MONOLOGUE AS DIALOGUE: OPENING spired and connected performance. THE DOOR TO GREAT (AND CONSISTENT!) Sunday 1/4 3:00-3:50pm, M252 MONOLOGUE PERFORMANCE. IPAD ART - FROM THUMBNAIL SKETCHES TO Presented by Julie Motyka FINISHED RENDERINGS Sunday 1/4 1:00-2:50pm, M523 Presented by Terry Dana Jachimiak II MORE TECH MISC Digital painting has never been more fun. Through Presented by Patrick McCreary several digital art apps, I will show you how to go We had so much fun with this subject last year, why from thumbnail sketches to final renderings, all on not do it again? 10 (or more) things you didn’t (or the iPad. might not have) known about things technical. Tuesday 1/6 2:00-2:50pm, M252 Monday 1/5 9:00-9:50am, M236 LET SHAKESPEARE DO THE HARD WORK MOVING WITH MICHAEL CHEKHOV Presented by Alisha Huber Presented by James Savage Acting is hard! Directing is hard! If only there were a This workshop will focus on the following tools; The playwright who handled all the annoying details for Ideal Actor’s Center, Crossing the Threshold, the you. As it turns out, there is--and he’s rather popular. Four Brothers, and Qualities of Movement, and how We’ll learn how to find and trust the things Shake- these tools can be used by themselves, or in combina- speare does on every page to make your life easier. tion with any technique in the creation of character Saturday 1/3 5:00-5:50pm, M252 body and point of view. This workshop is very physi- LIGHT PERFORMS cal and will require using the whole body as a means Presented by Lynne Koscielniak of getting out of the head and into the moment. Lighting designers Dyan Burlingame, Lynne Kosci- Tuesday 1/6 9:00-10:50am, M523 elniak, and Carlie Todoro-Rickus discuss the artistic NAVIGATING THE BUSINESS: MAKING DI- and technological challenges of using “light” as the VERSITY AN ASSET “performer” in site-specific work installed at Silo Presented by Christine Bruno City, Buffalo, NY’s historic grain elevator district. Fo- Get the practical tools and resources you need to help cus will be given to design concept, gear selection, you navigate the business as an artist of color and/or and methods of control. performer with a disability from one of the country’s Tuesday 1/6 3:00-3:50pm, M252 leading advocates for full diversity and inclusion in MASTER MINDS: A PRACTICAL GUIDE TO theatre, film and television. During this interactive GRADUATE STUDY workshop, we’ll discuss the importance of being your Presented by Katie Mallinson own advocate; auditions—before, during and after; Ok, I have a Bachelor’s degree in Theatre—now what? creating professional relationships with agents and For performers, designers, and directors this can be a casting directors; anddeveloping strategies and re- daunting question. This workshop is an opportunity sources to give you the edge you need! for an open discussion about the benefits of graduate Monday 1/5 11:00-11:50am, M255 study in theater and performance, and the various NEW PLAY DRAMATURGY practical opportunities an MA can provide. Presented by Lisa Wilde and Ally Currin Sunday 1/4 3:00-3:50pm, M255 NPP Chair Ally Currin and Dramaturgy Chair Lisa MICHAEL CHEKHOV TECHNIQUE Wilde will demonstrate best practices of collabora- Presented by Fabio Polanco tion between playwrights and dramaturgs and how Participants will experience foundational elements dramaturgs can enhance and support new work us- of the Michael Chekhov Technique. Concepts and ing text examples. Required for all Guerilla Drama- practices will include Crossing the Threshold, High- turgs; strongly recommended for all playwrights and er Ego, Ideal Center, Staccato-Legato, and The Four dramaturgs (NPP and Dramaturgy) Brothers. Strategies for applying elements of this Saturday 1/3 10:00-11:30am, M254 seminal system into actor training, ensemble build- OWNING YOUR ARTISTIC IDENTITY ing, and rehearsal will be addressed. Participants Presented by Julie Motyka should dress to move. What are you passionate about? What are you good Monday 1/5 9:00-10:50am, M530 at? What could the world use more of? Artists Striv- KCACTF 2015 17 Cleveland State University WORKSHOPS ing to End Poverty (ASTEP) wants to help you locate REFLECTING AMERICA:INCREASING DIVER- the perfect intersection between your unique passion SITY ON YOUR STAGES and the needs of your community. We’ll veer away Presented by Christine Bruno from the straight-and-narrow to consider non-tradi- Whether we view art as a mirror to reflect society or tional career paths, and to help you find what reso- as a hammer to shape it, it’s no secret that the faces nates deepest with you in order to use it to shape your and bodies we see on our stages and screens don’t re- life, your art, and the world around you. flect what we see on America’s streets. In this interac- Sunday 1/4 10:00-10:50am, M236 tive workshop led by a representative from one of the PHYSICAL THEATRE PUSHES BOUNDARIES country’s leading advocates for artists of color and Presented by Drew Leigh Williams performers with disabilities, we’ll discuss the value Physical theatre pushes boundaries. For Actors, the of increased diversity in theatre training programs, challenge lies within communicating when text isn’t as well as practical tools to help prepare students for present. Through dance, movement and improv, this what to expect after graduation. We’ll tackle essen- workshop is designed to explore devising concepts & tial questions, including:What is diversity and why is production through the body and voice (& music). it important? Is there a difference between non-tra- Participants need non-restrictive clothing. ditional and inclusive casting? Whose stories are Sunday 1/4 9:00-1050am, M523 being told and by whom? We’ll share strategies and PICTURES >1000 WORDS best practices for how to expand the culture of our Presented by Heidi Winters Vogel professional training programs, encouraging diverse This workshop is targeted at directors but is useful perspectives and nurturing diverse artists committed for actors and designers too. We will work with im- to telling stories that reflect our changing world. ages and pictures created by bodies, set and props on Monday 1/5 9:00-9:50am, M255, FACULTY ONLY stage to investigate better ways to communicate story RESPONSE TRAINING and action to our audiences. Issues raised working in Presented by Elizabeth van den Berg, Debra Otte proscenium, thrust, arena and hybrid spaces will be Come learn how to be part of the heart of the Ken- explored. nedy Center American College Theatre Festival in Monday 1/5 3:00-4:50pm, M505 Region 2. This 4 part workshop begins with informa- POLYFOAM PUPPETRY tion on how to give a response to a show. An over- Presented by Terry Pieritz and Russ Borski view of response. What to expect upon arrival at the CSU Professors Russ Borski and Terry Pieritz debut hosting school, what to discuss over dinner, how to their video “The Art of Polyfoam Puppetry” derived frame your response, nominations, and paperwork. from their experience while designing/creating the Respondent trainees will also attend the production muppets for a regional theatre production of Avenue of The Adding Machine this evening at 8:00 pm in Q. This 90 minute workshop will utilize the “how to” the Ohio Theatre. video in conjunction with a presentation of physical Saturday 1/3 10:00-10:50am and 8pm, M255 examples of steps, supplies and their fully realized RESPONSE TRAINING collection of Avenue Q Puppets. Presented by Elizabeth van den Berg, Debra Otte Sunday 1/4 10:00-11:50am, M515 Respondent trainees will attend the response to The Q LAB FOR DUMMIES Adding Machine, with Julia Motyka and Jeannette Presented by Seth Schwartz Farr. The Q Lab software program offers sound & video Sunday 1/4 11:30-1230pm, Kennedy Theater designers and engineers valuable tools for theatre. RESPONSE TRAINING Seth Schwartz will demonstrate how to integrate this Presented by Elizabeth van den Berg, Debra Otte software with your current sound system, how to cre- Response to the response - discussion, questions, ate and control sound and video cues, how to control problems, successes. multiple mic and speaker systems, as well as the ba- Monday 1/5 10:00-10:50am, M255 sics of how to control multiple video sources. Your RESPONSE TRAINING questions are welcomed. (Standby by Q lab work- Presented by Elizabeth van den Berg, Debra Otte shop... Q lab workshop, GO!) Meet with a panel of seasoned respondents who can Tuesday 1/6 9:00-9:50am, M255 address challenges, successes and give general re- KCACTF 2015 18 Cleveland State University WORKSHOPS sponding advice. Wrap up session with workshop SHAKESPEARE’S FIRST FOLIO: AN ACTOR’S leaders.. Tuesday 1/6 10:00-10:50am, M255 RESOURCE RUSSIAN SCHOOL OF DIRECTING: ACTION Presented by Robert Bullington ANALYSIS AS A TOOL TO TRANSLATE A Shakespeare’s First Folio: An Actor’s Resource PLAY INTO PRODUCTION In this part lecture, part hands-on presentation, you Presented by Sergei Tcherkasski will learn how to use Shakespeare’s First Folio to un- The workshop will expose Action Analysis of a lock the “secret” acting hints that have been waiting play – the tool of translation of a play into work of 400 years for you to discover them. No prepared stage art. The ideas of Stanislavsky, Meyerhold, and material necessary! modern Russian directors’ school will be revealed. Tuesday 1/ 6 9:00-10:50am, M252 Practical session will focus on Romeo and Juliet SHAKESPEARE’S FOLIO TECHNIQUE by Shakespeare and General Inspector by Gogol: Presented by Adam Heffernan Attendees are asked to re-read Romeo & Juliet by Learn to read Shakespearean verse like musicians Shakespeare and General Inspector by Gogol and read music. Drawing on a 400 year-old acting tradi- bring texts of these plays to the workshop. tion, this workshop is a exciting exploration of the Sunday 1/4 9:00-10:50am, M505 Bard’s work through breath, spelling, punctuation, SERVING AND LEADING WITH ASTEP and common sense. Presented by Julie Motyka Sunday 1/4 10:00-11:50am, M252 Artists Striving to End Poverty (ASTEP) is a New SOLOS ARE SOLILOQUIES York City based non-profit that provides artists with Presented by Terri Kent and Jennifer Korecki opportunities to share their passion with under- Many solos are soliloquies. In Musical Theatre a served kids, in the US and abroad. ASTEP places character turns to song when the energy of the mo- volunteer artists all over the world and maintains ment can no longer be supported by the spoken the Future Leaders Network, a support system for word. A soliloquy, on the other hand, is the act of young leaders in the arts, which hosts the annual talking to oneself. The very nature of a soliloquy, Artist as Citizen Conference at Juilliard each sum- and the energy of a song, seem to be in direct con- mer and supports the efforts of ASTEP Chapters flict. In this workshop actors will explore how to an- around the country. Come talk to an official ASTEP alyze and perform soliloquy songs with depth and representative to find out more about how ASTEP understanding. The process of “splitting a song” al- can help you pursue your dreams of changing the lows the actor to raise the stakes and collaboratively world through art. create a solo performance. Saturday 1/3 1:00-1:50pm, M252 Monday 1/5 3:00-4:50pm, M519 SEWING LIGHTS INTO COSTUMES STAGE COMBAT SINGLE SWORD Presented by Judith McCabe Presented by Dusten Welch There will be a short lecture/powerpoint on types Suave and debonair sword fighting. This class is de- of lighting effects happening in costumes. Then I signed to give the actor basic technique in the art have a small project the students will be doing with of theatrical sword fighting through swashbuckling new material such as electro-conductive thread and styles and form. snaps and diodes. Sunday 1/4 10:00-11:50am, M537 Sunday 1/4 4:00-5:50pm, M252 STAGE COMBAT SWORD II SHAKESPEARE: PERFORMANCE ESSEN- Presented by Dusten Welch TIALS. This class takes an advanced and critical approach Presented by Donald Carrier to theatrical sword fighting. Actors will learn to ap- What I feel are the most important elements to ad- ply a sense of danger to techniques learned from dress when tackling Shakespearean verse and cer- Single Sword I, as they develop a piece of choreog- tainly starting off with a verse monologue. Everyone raphy. Attendance in Single Sword I is mandatory should be prepared to have a piece of Shakespearean for participation. verse of not more than 20 lines. Sunday 1/4 1:00-2:50pm, M537 Saturday 1/3 3:00-4:50pm, M530

KCACTF 2015 19 Cleveland State University WORKSHOPS STAGE COMBAT UNARMED THE ART OF THE SLAPSTICK Presented by Dusten Welch Presented by John Bellomo Conflict is an integral part of storytelling. This class is Using the batocio (slapstick) of the commedia dell’ar- designed to give the actor basic technique in the nec- te, students will learn how to stay safe while slapping essary skills when dramatic conflict calls for physi- themselves silly. cal violence in the form of domestic assault and un- Sunday 1/4 11:00-11:50am, M530 armed fighting for contemporary theatre. THE BUSINESS OF ACTING: HEADSHOTS, Saturday 1/3 10:00-11:50am, M537 RSEUMES, AND EFFECTIVE MARKETING STAGE COMBAT UNARMED II Presented by Elizabeth van den Berg Presented by Dusten Welch What makes for an effective headshot? What does an This class will take technique learned in the Unarmed Actor’s resume look like? What areas of the US are I class and apply it towards creating a performance the best markets for living and working as an actor quality piece of choreography. Attendance in the Un- just getting started? How do I market my skills? How armed I class is mandatory for participation in the can I use the internet more effectively at letting folks Unarmed II class. know about my work? What about agents, casting di- Saturday 1/3 1:00-2:50pm, M 537 rectors and managers? If you are asking these ques- STEEL OR WOOD? tions, this workshop is for you! Presented by Patrick McCreary Monday 1/5 3:00-4:50pm, M255 A lot of people like to build scenery out of steel - it’s THE DIY TEN-MINUTE PLAY FESTIVAL strong, it’s durable, and it’s cool. But does it make the Presented by Gary Raymond Fry, Jr. most sense? A discussion of whether steel or wood A candid and constructive conversation about the makes the most sense under what circumstances. methods and mayhem to mounting a successful Sunday 1/4 2:00-250pm, M236 ten-minute play festival, and the benefits to you and STOP INVENTING & PLAY WHAT’S ALREADY your artistic community. THERE Tuesday 1/6 9:00-10:50am, M236 Presented by Matt Fotis THE ELEMENTS OF NEW LIFE SCRIPTS This improv workshop focuses on playing what al- Presented by Elle Morgan ready exists between you and your scene partner. The Elements of New Life Scripts uses the content of Stop spending so much time trying to invent someone’s own life as the “material” for creating mono- thing clever or funny (which probably is neither) logues, scenes of conflict and tableaus of the future. when you can simply react to the many offers that are The context of the “elements” of nature-earth, water, right in front of your nose. fire and air guide the imaginative mind to view per- Saturday 1/3 2:00-3:50pm, M519 sonal growth and exploration as a natural as well as TAXES FOR ARTISTS AND ACTORS artistic process. Presented by Victor Capecce Monday 1/5 9:00-10:50am, M504 Even starving artists, actors, and designers need to THE EMBODIED VOICE (eventually) pay income taxes. This presentation Presented by Robin Carr helps prepare you for your inevitable dealing with the This experiential workshop will be focused on con- IRS. What records do you need to keep? What are de- necting the voice and body for creative expression. ductions? The “Business” of Show Business from the Using the Lessac Kinesensic Voice and Body training perspective of a non-accountant theatre practitioner, as tools, participants will engage and feel the musi- and IRS audit survivor! cality of consonants, resonance and tonal vibrations Saturday 1/3 5:00-5:50pm, M236 through bone conducted tone and optimal vowel THE ART OF CASTING WITH HOT GLUE! usuage in connection with breathing, posture and Presented by Terry Dana Jachimiak II embodiment of language. In the reduced budgets of today, a cheap casting Sunday 1/4 5:00-5:50pm, M530 material is important. Using hot glue as our casting The Silent and Not-So-Silent ART OF MIME material, learn how to cast and mold body parts and Presented by Bill Bowers other objects. There will be materials on hand to cast Bill Bowers offers an introduction to this artform, your thumb as well! Monday 1/5 4:00-5:50pm, M537 including a brief history of Mime, physical warm- KCACTF 2015 20 Cleveland State University WORKSHOPS up, and movement improvisation. Participants will YOGA FOR THE ACTOR learn illusory skills, and have the opportunity to in- Presented by Geoff Knox corporate mime technique into their acting work. We will explore the benefits of yoga postures on the Ideally students will begin to gain an awareness of actor’s body as well as the effects of yogic meditation how pantomimic skill and corporeal style enhance and breathwork on the actor’s psychology, with the and impact actor training. This workshop is open to goal of attaining an instrument that is free, open and all, movers and non movers. organic from the inside out. Monday 1/5 1:00pm-1:50pm M523 Monday 1/5 9:00-10:50am, M523 THE WRITER’S PROCESS SO YOU’VE GRADUATED, NOW WHAT? Presented by David Zarko Presented by Andy Truscott There is much more to encounter in writing a play Often times graduates are left in the cold once besides plot, character, and dialog. There’s the ev- they graduate with a Theatre Degree. Learn what er-present threat of writer’s block, the dread guard- you should be doing during your final semester of ian at the gate, the internal critic, the procrastinator, college to prepare yourself for the “real world”. Real morning-after blues. This workshop explores your life situations will be discussed in this class, as Andy relationship to your process, how to discover what shares how he moved from Corporate America to that process is, and how to exploit and embrace its unpaid internships, part time employement and unique qualities -- whatever they happen to be. finally full time employment at a LORT Regional Sunday 1/4 4:00-4:50pm, M255 Theatre. THEATER AND SOCIAL PROTEST Saturday 1/3 4:00-4:50pm, M541 Presented by Lisa Wilde Sunday 1/4 4:00-4:50pm, M541 How can theater artists respond to contemporary Monday 1/5 4:00-4:50pm, M541 events in complex and thoughtful ways? We will con- YOU WANT ME TO DO WHAT WITH WHO? sider examples from the past including the Living Presented by Marilouise “Mel” Michel Newspaper, Zoot Suit, The Laramie Project, Spell#7 “You Want Me to do What? With Who?: Directing and statements by current theater artists. and Acting in the Intimate Scene” What could be less Saturday 1/3 1:00-1:50pm, M254 natural than pretending to be intimate with someone WHAT ABOUT A FUTURE FAMILY? you barely know or perhaps even downright dislike? Presented by Seth Schwartz A technique for acting in, and guiding actors through You want to do theatre, but you also want to have a intimacy on stage. Participants are encouraged to family. How’s this going to work? Let’s face it... The- come with a partner. Observers also welcome. atre is often not very lucrative, and it’s extremely time Monday 1/5 4:00-5:50pm, M504 consuming. How can you create a work/life balance that allows you to pursue your theatrical passion, while still fulfilling your family hopes? Seth Schwartz, father of two, has assembled a panel of theatre professionals to discuss how they made this balance work. Saturday 1/3 10:00-10:50am M541 WHAT CAN YOU DO WITH A BA IN THEATRE? Presented by Bill Gillett You’ve got a BA in theatre... You want to be a theatre professional... However to support this life in art, you may sometimes need to find non-theatre work. In this workshop, Bill Gillett will share strategies on how theatre majors can market themselves for non-theatre jobs. A theatre degree is a mighty degree and, believe it or not, many jobs are looking for applicants with your qualifications. Come find out why this is true. Sunday 1/4 9:00-9:50am, M255 KCACTF 2015 21 Cleveland State University DRAMATURGY KCACTF supports the development of dramaturgical skills for all students. This year’s festival will include workshops in research and script analysis that will be of interest to a wide variety of student actors, technicians, designers, directors, and playwrights. We also hope to inspire some students to pursue production dramaturgy as a way to exercise their artistic and intellectual talents. Students can gain firsthand dramaturgical experience at the festival by becoming “guerilla dramaturgs” on scripts that will be read as part of the region’s new playwrights’ program or participating as part of the brand new “Design Storm” initiative with designers and directors. . They can also learn more about the art of production dramaturgy from our guest dramaturg, Carlyn Aquiline, who will hold a public review session of the entries in the Student Dramaturgy Initiative.

The Student Dramaturgy Initiative In recognition of the important role dramaturgy can play in college productions, The Literary Managers and Dramaturgs of America, the Association for Theater in Higher Education, and the KCACTF have created a partnership to support dramaturgy by students. Together, these groups sponsor an award presented in each KCACTF region to recognize the work of student dramaturgs. The winner of the award in each region receives a year’s membership in both LMDA and ATHE. In addition, the student is invited to the Kennedy Center for the opportunity of working with professional dramaturgs at the national festival. In addition to competing for the award, student dramaturgs have the opportunity to meet with a professional dramaturg and have their work critiqued. This gives the student dramaturgs the opportunity to learn more about their craft and to leave the festival with insights they can apply to future dramaturgical projects.

Design Storm directors have found that the research added con- This project will run during the festival, invites siderably to the development of both the new play young and/or developing directors to apply to be a and the play reading. Past student dramaturgs part of a production team which will meet and de- have learned much about how they can contribute liberate during the festival and then present pre-pro- to a play’s production. Guerrilla dramaturgs will duction plans. The aim is to provide a collaborative also be able to learn about the play development experience for a range of students planning to enter process through a series of workshops they can any one of the theatre arts. Teams will be created take with the rest of each play’s production team. from applicants to each of the areas of Directors, Guerrilla Dramaturgs do not need to bring anything Dramaturgs, Scene Designers, Costume Designers, to the festival, other than an interest to research and Lighting Designers, and Sound Designers. Through present information related to the play (if available, text analysis, hearty discussion, and production a laptop is always handy). No preparation is nec- planning, each group will have the opportunity to essary. Students can sign up to be Guerrilla Dra- create a virtual production and present it to the oth- maturgs when they arrive at the Regional Festival, er groups as if in a pre-audition/pre-rehearsal state. where they will be placed in teams to work on par- ticular assigned plays. The research will be done at Guerrilla Dramaturgy the host school, using the resources of the library. Guerilla dramaturgs will also have ample time to Initiated at the 2005 Festival, in cooperation with participate in other workshops and festival activities. the National Playwriting Program, Guerrilla Dra- maturgy creates an active collaboration among The plays that Guerrilla Dramaturgs will work on budding student dramaturgs, a student playwright, will be determined shortly before the Festival with and a faculty director for a stage reading of a new the approval of the playwrights and the directors. play. Dramaturgs conduct research relating to a new work for Festival, and then share their find- ings with the playwright, director and cast during the rehearsal period. The selected playwrights and

KCACTF 2015 22 Cleveland State University The Institute for Theatre Journalism and Advocacy

KCACTF, in partnership with the Eugene O’Neill Institute, sponsors the Institute for Th eatre Journalism and Advocacy (ITJA). ITJA provides students with the opportunity to learn and practice diff erent types of theatre journalism. While theatre criticism will still be central to the experience, students may also have the opportunity to create feature pieces, theater blogs, as well as other types of theatre journalism. We will be led by our Guest Critic who conducts a three-day seminar on diff erent types of theatre journalism. Th e student critics will write on the plays and the festival, write reviews of some of the productions at the festival, discuss their writing with the guest critic and the other student critics, and by the end of the festival submit a piece that demonstrates what they see as their best work. One student critic from each region may be selected to attend ITJA workshops at the Kennedy Center.

Th roughout the festival, students meet with the guest critic in a seminar format, where they talk about theater in general and the plays they see at the festival and where they share their writing with each other. Although the experience is intense and time-consuming, with fi ve or six scheduled sessions, the atmo- sphere is open and collegial, and students generally leave the festival recognizing they have learned a lot and grown as student critics and writers. Indeed, the selection of a person to go to the Kennedy Center is usually viewed as far less important than the experience itself.

We have been very fortunate to have had some excellent professional critics serve as Guest Critics for ITJA. And we are very pleased to announce that Andrea Simakis will be leading us this year. Andrea Simakis is a theater journalist/reviewer from the Cleveland Plain Dealer with a wide range of experiences in all facets of theatre journalism.

ITJA Schedule (Th ese times may changes aft er we all meet together.)

Jan. 2--Preliminary Meeting aft er the Opening Ceremonies Jan. 3—Session 1—3:00-5:30 PM - Middough 204 Jan. 4—Session 2—9:30-11:30 AM - Middough 204 Jan. 4—Session 3—12:30-2:30 PM - Middough 204 Jan. 5—Session 4—9:30-11:30 AM - Middough 204 Jan. 5—Session 5—12:30-2:30 PM - Middough 204 Jan. 6—Session 6—9:30-12:00 AM - Middough 204

View Their reviews in the Festival Blog On Guidebook and on Twitter @kcactf2!

KCACTF 2015 23 Cleveland State University STUDENT DIRECTING INSTITUTE

Th e Directing Institute is designed to give students experience in directing at the festival. Th ere are a total of four programs under this aegis. Th e fi rst and the largest is the Institute which is for all students with an interest in directing, but designed to accommodate those who may not have directing classes or opportunities on their home campuses. In addition, it is for students of any experience level who wish to re-engage in the process of directing. Th e series of auditions, workshops, rehearsals, and presentations of the Directing Institute should be challenging and invigorating. Students who are accepted in the Directing Institute will, before the festival, choose a scene, do a good deal of script work, and prepare for auditions. At the Festival, students attend four workshops, attend auditions, cast their scenes, and continue the process of directing though rehearsals. Th e experience concludes with a staged reading of their work. With guidance from an experienced director as a mentor, the scenes are, at the end of the festival, presented for the public and for a response from directors in the region.

DESIGN STORM DIRECTOR SHADOW PROGRAM AKA “Play Development Project” and in an earlier with the National Playwriting Program: Students form as Collaboration Tank. Students at the festival sign up to follow a director of one of the new plays who are interested in directing join a team of stu- for National Playwriting Program. Shadows sit in dent designers to develop a production concept for on auditions, rehearsals, and listen to discussions a classic play. Public presentations of the results will for an introduction to directing. Sign up for this be in the aft ernoon of the last day of the festival. Stu- program at registration. dents may sign up for the program at registration.

COLLABORATION in New Work! Th is new venture is to bring new plays and playwrights together

availability of chairs, acting blocks, etc)

everything else. Be careful about making assumptions (

•Regions will only provide the space; ensembles must bring

value spectrums, and performance styles.

creating new work includes multiple aesthetics, production

•Devising isn’t an aesthetic; it’s a process. Th is approach to

responsibility for form and content.

of process and

expected to speak articulately about their work, displaying rigor

ulty and/or devising guest artists. Each deviser will be

•Each showing will be given a short response from regional fac-

Additional Information:

•No live fl ame, smoking, or functional weapons

students should drive the work

January 5, 2:30-4:30 pm, M545 •Faculty advisors may provide outside-eye feedback, but

but the majority should Participating Productions)

distributed, Not every member of the ensemble must perform,

Devised Performance Block (Workshop and

•Contributions of the ensemble are to be balanced and evenly

•Set up and strike can be part of the performance

participants following opening ceremonies. and strike

Th ere will be a breakout group for interested •20 minute time limit which must include set-up, performance

lights, etc)

technical sources (boom box, extension cords, projector, clip

the performance block.

•Regions provide electrical power, ensemble must provide all

All participants must commit to all three sessions and

ensemble-generated

•Work lights up/down provided, any additional lighting will be

audience placement & interaction January 5, 9 am - 11 am, M545

•Approximately 16’X16’ playing space, ensemble determines

January 4, 9 am - 11 am, M545

Logistics/parameters:

January 3, 9 am - 11 am, M545

imaginations and deepen your exploration.

Devised Th eater Workshop Sessions: designed to form a creative container to spark your

considerations. Th ese parameters are

•Ensemble should consider time restraints and travel performance.

aesthetic.

the exploration of physical training and devised

and scenic environment and communicate the piece’s style and

which grew out of students’ interest in continuing

include movement, voice, visual image, sonic landscape, text

Program. DAME is a CSU student organization

informed by their source materials. Th is vocabulary should

participant in Grotowski’s Objective Drama

•Each ensemble will create a unique performance vocabulary

the University of California, Irvine where she was a

sources informed process and product, form and content.

original plays. Holly holds an MFA in Acting from

response from directors in the region.

etc.). Ensemble will be asked to clearly articulate how their

years and has created/performed in over fi ft een

or non-fi ctional short story, a memory, interviews, a question,

experienced director as a mentor, the scenes are, at the end of the festival, presented for the public and for a

She has been a Cleveland artist for over twenty

ative container (examples: a photograph, a poem, a fi ctional

though rehearsals. Th e experience concludes with a staged reading of their work. With guidance from an voice, movement, and devised theatre techniques.

•Ensemble will select their sources of inspiration as their cre-

Cleveland State University specializing in acting, students attend four workshops, attend auditions, cast their scenes, and continue the process of directing

program at registration. Holly Holsinger is an Associate Professor at interest in new plays! Th is is an exciting project that has students collaborating in new work!

before the festival, choose a scene, do a good deal of script work, and prepare for auditions. At the Festival,

ing a specifi c prompt: Sometimes It’s Easier to Hear If We Whisper

for an introduction to directing. Sign up for this

are interested in this program, please apply to the Directing Institute and include a statement of your level of

Institute should be challenging and invigorating. Students who are accepted in the Directing Institute will, participants to create their own 20 minute devised performance utiliz-

culminating in a demonstration of student work.

ed this initiative to acknowledge and incorporate Devised Performance programming into the regional festival activities.

on auditions, rehearsals, and listen to discussions

Th ese readings will be presented along with other scenes from the Directing Institute. If you, as a director, devised performance to be produced at this year’s festival. We invited the process of directing. Th e series of auditions, workshops, rehearsals, and presentations of the Directing

three-session devised theater workshop

ways of perceiving and creating. Gregg Henry, the Artistic Director of the National KCACTF organization, has spear-head-

All festival participants were welcome to participate and create a

for National Playwriting Program. Shadows sit in

be to bring playwright and director together at the festival to work on bringing the script to a staged reading.

ties on their home campuses. In addition, it is for students of any experience level who wish to re-engage in

Cleveland State University DAME ensemble for a

performance emerge. It is necessary for the health and life of performance to acknowledge and embrace non-traditional

sign up to follow a director of one of the new plays four or fi ve new plays, chosen by the National Playwriting Project (NPP) readers in Region 2. Th e object will Join Holly Holsinger and participants from the interestLeadership in directing, Team: but designed to accommodate those who may not have directing classes or opportuni-

multi-disciplinary and collective tools of devising. As we develop our craft , new perspectives and processes of creating good KCACTF Photo Album!

with the National Playwriting Program: Students

with new directors. Directors accepted for the Directing Institute will have the opportunity to choose from

offor four Festival programs Using aunder Prompt this Created aegis. Th by Oure fi rstNational and the largest is the Institute which is for all students with an

productions which are created outside the text-based traditions, and which utilize the non-traditional, non-linear,

DIRECTOR SHADOW PROGRAM PROJECT FOR DEVISED THEATRE

2015COLLABORATION Devised Th eatre in NewWorkshop Work! Th is new venture is to bring new plays and playwrights together ThPerformance e Directing of InstituteDevised isPieces designed Created to give Specifi students cally experience in directing at the festival. Th ere are a total Th e Project for Devised Th eatre is intended to give space, voice, recognition and credibility to processes and

Share Photos via Guidebook’s

STUDENT DIRECTING INSTITUTE

dents may sign up for the program at registration.

be in the aft ernoon of the last day of the festival. Stu-

a classic play. Public presentations of the results will

dent designers to develop a production concept for

who are interested in directing join a team of stu-

form as Collaboration Tank. Students at the festival

AKA “Play Development Project” and in an earlier with new directors. Directors accepted for the Directing Institute will have the opportunity to choose from DESIGN STORM four or fi ve new plays, chosen by the National Playwriting Project (NPP) readers in Region 2. Th e object will be to bring playwright and director together at the festival to work on bringing the script to a staged reading. Th ese readings will be presented along with other scenes from the Directing Institute. If you, as a director, are interested in this program, please apply to the Directing Institute and include a statement of your level of interest in new plays! Th is is an exciting project that has students collaborating in new work!

Share Photos via Guidebook’s KCACTF Photo Album!

KCACTF 2015 24 Cleveland State University PROJECT FOR DEVISED THEATRE The Project for Devised Theatre is intended to give space, voice, recognition and credibility to processes and productions which are created outside the text-based traditions, and which utilize the non-traditional, non-linear, multi-disciplinary and collective tools of devising. As we develop our craft, new perspectives and processes of creating good performance emerge. It is necessary for the health and life of performance to acknowledge and embrace non-traditional ways of perceiving and creating. Gregg Henry, the Artistic Director of the National KCACTF organization, has spear-headed this initiative to acknowledge and incorporate Devised Performance programming into the regional festival activities. Performance of Devised Pieces Created Specifically for 2015 Devised Theater Workshop Festival Using a Prompt Created by Our National Leadership Team: Join Holly Holsinger and participants from the Cleveland All festival participants were welcome to participate and create State University DAME ensemble for a three-session de- a devised performance to be produced at this year’s festival. We vised theater workshop culminating in a demonstration invited participants to create their own 20 minute devised per- of student work. Holly Holsinger is an Associate Professor formance utilizing a specific prompt: Sometimes It’s Easier to at Cleveland State University specializing in acting, voice, Hear if We Whisper movement, and devised theatre techniques. She has been -Ensemble will select their sources of inspiration as their a Cleveland artist for over twenty years and has created/ creative container (examples: a photograph, a poem, a fictional performed in over fifteen original plays. Holly holds an or non-fictional short story, a memory, interviews, a question, etc.). Ensemble will be asked to clearly articulate how their MFA in Acting from the University of California, Irvine sources informed process and product, form and content. where she was a participant in Grotowski’s Objective – Each ensemble will create a unique performance vocabulary Drama Program. DAME is a CSU student organization informed by their source materials. This vocabulary should which grew out of students’ interest in continuing the ex- include movement, voice, visual image, sonic landscape, text ploration of physical training and devised performance. and scenic environment and communicate the piece’s style and aesthetic. Devised Theater Workshop Sessions: -Ensemble should consider time restraints and travel considerations. These parameters are designed to form a January 3, 9:00am - 11:00am, M545 creative container to spark your imaginations and deepen your exploration. January 4, 9:00am - 11:00am, M545 Logistics/parameters: January 5, 9:00am - 11:00am, M545 •Approximately 16’X16’ playing space, ensemble determines audience placement & interaction All participants must commit to all three sessions and the •Work lights up/down provided, any additional lighting will be performance block. ensemble-generated •Regions provide electrical power, ensemble must provide all There will be a breakout group for interested participants technical sources (boom box, extension cords, projector, clip following opening ceremonies in Kennedy’s Theatre. lights, etc) •20 minute time limit which must include set-up, performance and strike Devised Performance Block (Workshop and •Set up and strike can be part of the performance Participating Productions) •Contributions of the ensemble are to be balanced and evenly distributed January 5, 2:30-4:30 pm, M545 •Not every member of the ensemble must perform, but the majority should •Faculty advisors may provide outside-eye feedback, but students should drive the work •No live flame, smoking, or functional weapons Additional Information: • Each showing will be given a short response from regional faculty and/or devising guest artists. Each deviser will be expected to speak articulately about their work, displaying rigor of process and responsibility for form and content. • Devising isn’t an aesthetic; it’s a process. This approach to creating new work includes multiple aesthetics, production value spectrums, and performance styles. • Regions will only provide the space; ensembles must bring everything else. Be careful about making assumptions KCACTF 2015 25 Cleveland State University STAGE DIRECTORS AND CHOREOGRAPHERS SOCIETY SCHOLARSHIP AWARD

An exciting opportunity for students who have who have demonstrated success in direction and/or completed the Region II Student Directing Institute (DI) to gain professional experience.

Student directors cast and rehearse a scene, chosen from a nationally selected list, at their home institution and showcase their work at festival where they receive constructive criticism from a panel of professionals. Students advancing beyond the preliminary and interview rounds are offered additional rehearsal time to integrate feedback. Each finalist will present their scene in a final round for additional feedback and an opportunity to represent Region II at the National Festival in Washington DC. This award includes travel, lodging, per diem expenses, and attendance at workshops and performances. The SDC/KCACTF Region II experience includes mentorship and advanced workshops designed specifically for directing students. For more information contact Region II SDC/KCACTF Coordinator, Arthur Adair, [email protected].

SDC Festival Schedule – 2015

Friday 1/2 Informational Meeting 9:30 PM Allen Atrium

Saturday 1/3 Workshop #1: 9:00 AM – 11:00 AM Middough 521 From Words to Images: Script Analysis (Becky Prophet) Scene Rehearsals 11:30 AM – 6:30 PM Middough 521

Sunday 1/4 Workshop #2: 9:00 AM – 11:00 AM Middough 505 Russian School of Directing: Action Analysis (Sergei Tcherkasski) SDC Meeting 1:30 PM Middough 521 First Round Presentations/Responses 2:00 PM - 6:00 PM Middough 521

Monday 1/5 Director Interviews 9:00 AM – 12:00 PM Middough 503 Workshop #3: 3:00 PM – 5:00 PM Middough 505 Picture > 1000 Words (Heidi Winters Vogel) Scene Rehearsals 5:00 PM - 11:00 PM Middough 521

Tuesday 1/6 Workshop #4: 9:00 – 10:00 AM Middough 521 Getting Started as a Professional Director (Karen Kessler) SDC Meeting 12:30 PM Middough 521 Final Presentations/Responses 1:00 – 4:00 PM Middough 521

SDC Coordinator: Arthur Adair, Queensborough Community College, CUNY SDC Respondents: Karen Kessler David Lee-Painter Sergei Tcherkasski

KCACTF 2015 26 Cleveland State University IRENE RYAN ACTING SCHOLARSHIP AUDITION

The Irene Ryan Acting Scholarships provide recognition, honor, and financial assistance to outstanding student performers wishing to pursue further education. The Irene Ryan Foundation awards eight regional and one national scholarships annually. Sixteen of the awards consist of a $500 scholarship for each regional representative. The Irene Ryan Scholarships are, indeed, scholarships; so the Foundation disburses the award through a school designated by the winner, to pay tuition and fees for further education, not necessarily limited to theatre arts.

Coordinators Overall Schedule of Auditions Tammy O’Donnell, Ryan Coordinator Prince George’s Community College Preliminary Round: Bill Gillett, Respondent Coordinator Saturday, January 3, 9am – 7pm Carroll Community College Wyndham Hotel 3rd Floor Pete Rydberg, Selector Coordinator Thiel College Semifinal Round: Monday, January 5, 9:00am-12noon PlayhouseSquare Outcalt Stage Preliminary Round Selectors: David Lee Painter Final Round: Thomas Miller Tuesday, January 6, 10:00am-12noon Sarah Mitchel PlayhouseSquare Outcalt Stage Nicholette Routhier

Semifinal Round Selectors: Preliminary Round Respondents: Julia Motyka Robin Carr Arthur Adair, Queensborough Community College Leigh W. Selting Matt Ames, Nazareth College Michael Aulick, West Liberty College Final Round Selectors: Margaret Ball, East Stroudsbrg University Matt Neves John Bellomo, West Chester university Donald Carrier Kimberly Borst, Sinclair Community College Christine Bruno Lauren Brickman, Adelphi University Ben Fisler, Harford Community College Adam Heffernan, Baldwin Wallace University The Master Schedule for the Irene Ryan Victor Jones, Ohio University Lancaster Scholarship Audition is located on the next page. Jeff Lentz, Albright University Nathan Magee, Mt. Aloysius College Michael Mauldin, Cleveland State University Marilouise Michel, Clarion University Becky Prophet, Alfred University Ed Simone, St. Bonaventure University Stephen Strosnider, Carroll Community College Elizabeth van den Berg, McDaniel College Mark Wade, Arcadia University Mark Wenderlich, Keuka College Heidi Winters-Vogel, Eastern Mennonite Univ. Peggy Yates, Prince George’s Community College

KCACTF 2015 27 Cleveland State University Irene Ryan Scholarship Audition

IRENE RYAN MASTER SCHEDULE

Friday, January 2, 2015 Monday, January 5, 2015 Who: All Ryan Prelim Round Singers & Partners Who: Any/All What: Rehearsal w/accompanist for What: Semifinal Round Performance performers singing during preliminary When: 8:30am — 12:30pm round. Sign-up for a time at the Ryan Where: PlayhouseSquare Outcalt Theatre Registration table (if you plan to sing the semis or finals, you will have a separate What: Semifinalist Response w/Selectors rehearsal) When: 3:00 — 6:00pm When: 3pm – 6pm Where: Middough 236 Where: Wyndham Hotel, Third Floor Rooms What: Announcement of Finalists Who: All Ryan Prelim Nominees and Partners When: 6:30pm What: Ryan Orientation Where: PlayhouseSquare, Allen Lobby Atrium When: Immediately Following Opening Ceremonies What: Finals Orientation and Rehearsal Where: Ohio Theatre When: 7 — 9pm Where: PlayhouseSquare Outcalt Theatre Saturday, January 3, 2015 Who: All Ryan Prelim Nominees and Partners Tuesday, January 6, 2015 What: Preliminary Round and Responses What: Final Round Performance When: 8am-8pm When: 10am — 12pm Where: Wyndham Hotel: Third Floor Where: PlayhouseSquare Outcalt Theatre Check in is in the State Room What: Finalist Response w/Selectors When: 2:00 — 5:00pm Sunday, January 4, 2015 Where: PlayhouseSquare Outcalt Theatre Who: Any/All What: Announcement of Semifinalists What: Closing Ceremony - Recipient Announced When: Immediately Following Keynote Address When: 8pm Where: Ohio Theatre Where: Ohio Theatre

Who: Semi-finalists and Partners What: Semifinal Orientation When: 3:00pm-5:00pm Where: PlayhouseSquare Outcalt Theatre

Who: Semi-finalists and Partners What: Rehearsal for Semifinal & Final Round Singers When: 5:00pm-7:00pm Where: PlayhouseSquare Outcalt Theatre

KCACTF 2015 Cleveland State University DESIGN, TECHNOLOGy, AND MANAGEMENT The purpose of the KCACTF response and presentation of awards is to provide student designers and technicians with feedback from professionals working in the field, to give outstanding student designers and technicians national recognition, and to provide the opportunity for outstanding student designers to exhibit their work at the Kennedy Center and/or USITT. Designs and other allied crafts will be appraised on the basis of quality, effectiveness, originality, and visual presena- tion techniques. Students who have designed any aspect -- scenery, costumes, lighting, sound, and allied crafts -- of a production from a school who has entered that production as an Associate or Participating entry are elibile to participate in the awards process.

At the time of registration with the Kennedy Center and Regional Chair, entering schools will in- form the Regional Chair of any student designers in one or more of the categories. Please be sure to provide contact information, including email, for all student designers. At the Regional Festival, guest designers from outside of the Region will respond to the projects of Regional nominees who are present. They will select one winner in each area (scenery, costumes, lighting, sound, and allied crafts) from the Regional design entries. Such Regional winners are therefore National Finalists.

Designs of National Finalists (scenery, costumes, lighting, and sound) will be on display during the KCACTF National Festival in Washington, D.C., and will be returned to the designers immediately following it. A single National Winner in scenery, costumes, lighting, and sound will be selected from the National Finalists by the National Design Respondents during the National Festival. De- signs of the National Finalist for Allied Crafts will be exhibited at the annual USITT Conference, and will be returned to the designers immediately following the conference.

Saturday, January 3, 2015 Monday, January 5, 2015 9am-12noon - M 252 - SM Port. Interviews 2:00pm-3:00pm - M 252 - Costume Parade 10am-12pm - State Theatre Lobby - Allied Resp. 3:00pm-4:00pm - M 252 - Design Storm 1pm-2:25pm - State Theatre Lobby - Costume 4:00pm-6:00pm - M 252 - Costume Bash Response 7:30pm-10:30pm - M 533 - Tech Olympics 2:35pm-4pm - State Theatre Lobby - Scenic Design Response Tuesday, January 6, 2015 4:00pm-6:00pm - State Theatre Lobby - Stage 8:00am-10:00am - State Theatre Lobby - EXPO Management Response STRIKE

Sunday, January 4, 2015 DTM OPEN EXPO SCHEDULE 9:00am-10:00am - M252 - DTM Faculty Daily January 3rd-5th Roundtable 10am-7pm 10:00am-12:00pm - State Theatre Lobby - Sound Response 1:00pm-4:00pm - State Theatre Lobby - Lighting Response 4:00pm-6:00pm - M 252 - Design Portfolio Review DTM REGIONAL AWARDS Tuesday, January 6, 2015 10:00am-12:00pm State Theatre Lobby

KCACTF 2015 Cleveland State University FRINGE@FESTIVAL

Fringe@Festival is the home for the bits and pieces that might get lost in the larger sweep of the Fes- tival. We celebrate the fabulous but flawed, the unapologetically skewed, and the just plain weird. This may take the form of invited scenes – chips of brilliance from larger productions; promising student work which needs a showcase; the amazing show that somehow missed the deadline; the quirky piece that is still seeking its cult following. Along the way we create too – there is the ever popular NoyReadyForPrimetime Fringe Challenge and new this year FlashFringe! Listen for details during the opening celebration.

Fringe@Festival is always a work in progress with a schedule that is often in flux. Here is what we we’ve got – so far: Invited Fringe Productions Invited Fringe Scenes An afternoon of Unusual productions, often student-driv- scenes from Associate or Participating pro- en. These productions bring an unusual or ductions nominated by Regional respondents non-traditional element to the Festival. See all during the year. Scenes are chosen for specific of them! theatrical elements which the respondents felt would broaden the scope of offerings at Sunday, January 4, 2015 the Festival and which show ambitious per- 9:00am - Helen “Lab” Theatre in PHS formance styles, unusual aesthetics or diverse The Consumables developed by Julie Lewis cultural origins. and the cast; Julie Lewis, director; The Com- munity College of Baltimore County Monday, January 5, 2015 11:00am - Helen “Lab” Theatre in PHS Middough 521 - Black Box Theatre Letters to No One, Rebecca Hayes, au- 1:00pm-1:15pm-Amadeus, Robert Morris thor-adaptor, director; Alfred University University 1:00pm - Helen “Lab” Theatre in PHS 1:20pm-1:35pm-Company, Elizabethtown Gruesome Playground Injuries by Rajiv College Joseph; Grechen Wingerter, director; Bowling 1:40pm-1:55pm-Detroit, Penn State Berks Green University-Firelands, 2:00pm-2:10pm-An Ives Evening/All in 3:00pm - Helen “Lab” Theatre in PHS the Timing, Alfred University REMEMBRANCE by Tanner Sebastian, 2:10pm-2:25pm-The Rivals, West Chester Barbara Burgess-Lefebvre, director; Robert University Morris University, 2:30pm-2:45pm-The Spitfire Grill, Youngstown University

The Fringe Challenge – Jan. 4 at 11:00 p.m., Jan. 5, 11:00 p.m - Wyndham Hotel Stillman Rm. An evening of madness and mayhem! All you need to compete in the Fringe Challenge is a team of willing co-con- spirators from your school and a bit of insanity. Every Fringe Challenge has a theme, a theatrical style, and specific theatrical conceits which must be incorporated in a completely original piece of theatre. In addition, each team will be given a prop, a piece of text, some music, and… whatever ever else strikes the fancy of the Fringe Coordinator in the moment! A team of highly qualified and professional judges will decide which scene receives the coveted Fringe Challenge Award, based on a rubrick of rigorous theatrical standards which are usually completely subverted by the judges’ own personal prejudices, tastes and ulterior motives. Bribery is encouraged. The Fringe Challenge Award is a visually compelling trophy generally assembled by the Fringe Producer, usually from stuff found in the trunk of Len Kelly’s car—yep, we’re still breaking into that. It’s worth at least $1.95 and is guaranteed to make everyone back at your home institution say “What the heck is THAT?”

KCACTF 2015 30 Cleveland State University MUSICAL THEATRE INITIATIVE

This program debuted last year with great success. MTI offers musical theatre students an opportunity to develop their material, receive a small scholarship, and showcase their talents at the closing ceremonies. In the initial audition 50 musical performers will each sing 32 bars of a musical theatre song. Three selectors from musical theatre programs and the performing arts industry will choose 16 finalists. These performers will then have the opportunity to work on their material with an accompanist and audition for a second panel of selectors from the musical performing arts industry. Two finalists will be chosen and each will receive a $250 scholarship, and will perform their song at the closing ceremony on Saturday evening.

Friday, January 2, 2015 Monday January 5, 2015 12 noon-5:30pm, Allen Atrium 12:00 pm - 2:00 pm, Middough 519 Stop by our registration table for information! Finalist Auditions

Saturday, January 3, 2015 6:00 pm, Allen Atrium 9:00 am – 10:00 am, Middough 236 Scholarship Recipients Announcement Sign up for one of only 50 audition slots 10:00am – 11:00 am, Middough 236 Tuesday, January 6, 2015 Informational Workshop on MTI Audition A mutually agreed upon time to rehearse the songs of the Scholarship Recipients will be Sunday, January 4, 2015 made prior to closing ceremonies. 8:00 – 11:00 am, Middough 519 32 bars of a musical theatre song, bring sheet 8:00pm, Ohio Theatre music, cut to the correct length in the correct Performance at closing ceremonies key. Accompanist will be provided.

1:30pm - Ohio Theatre 16 finalists announced at the end of the Key- Preliminary Selectors: note speech. Finalists meet with Peggy Yates Marilouise Michel, Clarion University for workshop time assignment. Brian Marshall, Caryl Crane Youth Theatre Sarah Mitchel, BC/EFA, Inc. 2:00pm-5:00pm, Middough 519 Workshop your song with the accompanist Final Selectors: and MTI Coordinator Peggy Yates Helen Todd, Sugar Creek Opera Michael Shirtz, Terra State Comm. College Matt Neves, KCACTF Region 8 Chair

KCACTF 2015 31 Cleveland State University National Playwrighting Program

NPP’s central mission is to develop young playwrights and their work at Festival 47. Our goals are these:

1) For the student playwright to see the potential in his/her own work, presented before an informed and supportive audience; 2) For the student to develop his/her creative vision with the guidance of talented professionals in the field, and receive sensitive and thought-provoking feedback that will help the writer further sculpt the work; 3) For the student to learn and practice the process and etiquette of new play development.

NPP exists primarily for the playwright’s development as a dramatist. However, other theatre artists should take advantage of the many opportunities NPP offers at Festival this week. We offer concert readings of ten new plays, following Actors’ Equity Staged Reading Guidelines. Actors: Casting is done of the second day of Festival, when the writers and directors see about 150 of you in cold reading auditions. Stage Managers: Each play needs a talented and focused stage manager. Dramaturgs: Some of the plays will need the assistance of a Guerilla Dramaturg. NPP is about new plays, where the real excitement happens! Come play with us! This week NPP offers awards in playwriting, auditioning, acting, and stage management.

Saturday, January 3, 2015 10-Minute Plays 1pm-6:30pm - Auditions - Helen “Lab” Theatre Performed Monday 1/5 from 2:30-5:30pm 11pm-12mid - Cast Meeting - Stillman Room at Helen “Lab” Theatre, Playhouse Square the Wyndham Hotel (2nd Floor) BITE ME, by Amanda Zeitler Sunday, January 4, 2015 Directed by Maggie Balsley 8am-Midnight - Open Rehearsals in the Wyndham DADDY’S LITTLE GIRLS, by Ryan Patrick Hotel (State, Allen, Embassy, Roxi, Hanna Rooms) Dolan, Directed by David Miller 6:30pm-9:30pm - CEASE TO EXIST (Helen) KICKING, by Karina Cochran Directed by David Zarko Monday, January 5, 2015 LA POLILLA DE LA LUNA, by Garret 9am-11:30am - 10 Minute Plays Tech Connor, Directed by John Gresh 2:30pm-5:30pm - 10 Minute Performances and LOVE, JEREMY, by Conor Bezeredi Responses - Helen “Lab” Theatre Directed by Bob Bartlett DOMESTIC HELP, by Julianne Jigour Tuesday, January 6, 2015 Directed by Michael Swanson 9am-12noon - One Act Performances #1 and #2 - Helen Theatre 1pm-4pm - One Act Performances #3 and #4 - Helen Theatre

One Act Plays One Act Plays Performed Tuesday, 1/6 from 9am-12noon Performed Tuesday, 1/6 from 1pm-4pm Helen “Lab” Theatre, Playhouse Square Helen “Lab” Theatre, Playhouse Square

The W Trilogy, by Kathleen Burke, 39 YEARS OF PEACH COBBLER, by Stephen Directed by Janice Goldberg Webb, Directed by Mark Wade STALLED, by Eugenie Carabatsos HOW YOU KISS ME IS NOT HOW I LIKE TO Directed by T. Scott Frank BE KISSED, by Dan Giles Directed by Elizabeth Kitsos-Kang

KCACTF 2015 32 Cleveland State University NEXT STEPS

The purpose of NEXT STEPS is to give you some resources for job hunting, auditions, graduate school, career options and networking. You may not know yet what to do with your theatre degree—or even what you CAN do with your degree. WAITER/WAITRESSING IS NOT THE ONLY OPTION!

The programming in this series will involve what to do next—after getting your BA degree, after complet- ing your two year degree, after changing your mind about which area of theatre you want to work in—what are your options? We are committed to providing you with as many resources, contacts and workshops as we can to help you in your journey. Case Western Reserve, CPH Merry Go Round Playhouse, and The Since 1996, Cleveland Play House has partnered with Case West- ern Reserve University to offer a Master of Fine Arts degree in Finger Lakes Musical Theatre Festival will be conducting interviews for summer work. They seek Acting. In 2003, it became a conservatory program completely stage hands, carpenters, electricians, wardrobe crew, and com- housed at Cleveland Play House. Every two years, the CWRU/ pany & production management interns. All positions are paid CPH MFA Acting Program accepts a class of eight actors into and housing is provided. its three-year program. Those accepted attend for 3-years TU- ITION FREE, PLUS receive a $13,500 yearly stipend. All three The Merry Go Round Playhouse mainstage, presents large-scale years are spent in residency at Cleveland Play House, providing Broadway spectacles with high caliber talent from Broadway students with unique access to its state-of-the-art facilities and and across the country (2015 Season: West Side Story, The Light the professional expertise of its staff. Third year students are In The Piazza, Saturday Night Fever, Sweeney Todd, The Cala- granted AEA membership! The program is designed to instill mari Sisters: My Big Fat Italian Wedding). In a second venue, the physical, mental, and practical techniques needed by today’s The Auburn Public Theatre, Merry Go Round produces small- successful theatre artists. Its intimate class size enables the cur- er musicals, plays and comedies (2015: Late Night Catechism). riculum and performance experiences to be tailored to suit the In their third venue, Theatre Mack, in a cabaret-style environ- specific training needs of each class and individual student. ment, they present a new musical in development each week, encouraging audience feedback and discourse in our new works If interested… series, “The Pitch.” -You must be graduating with your bachelor’s degree this spring 2015. If interested… -Sign up for an audition slots on Saturday, January 3 between -Sign up for an interview appointment on Saturday, January 3 9:00 & 10:00 AM in Middough, Rm 236. between 9:00 & 10:00 AM in Middough, Rm 236. -Auditions will be held on Sunday, January 4 between 9:30 -Interviews will be held on Sunday, January 4 between 9:30 AM & 12:30 PM. AM & 12:30 PM. -For auditions it is recommended that you bring 2 pieces. 1 -Bring a resume if possible, however if not, they can be sent classical (ideally in verse). No more than 4 minutes for both -Headshots and resumes are preferred, however they can be after the festival. sent after the festival if necessary.

Eugene O’Neill Theater Center, The National Theatre Institute RISK. FAIL. RISK AGAIN! The Tony award-winning O’Neill Center in Waterford, CT, offers semesters totally devoted to studying theater, only theater, within a community of theater practitioners all working towards the same goals. That is the National Theater Institute. It is a boot camp for writers, singers, actors, composers, directors, and dancers who are undergraduates or post-graduates seeking a launching pad into the professional world through intensive, credit-earning training. The National Theater Institute at the Eugene O’Neill Theater Center is the place where master teachers and industry professionals choose to teach.

If interested… -Sign up for an audition/interview appointment on Saturday, January 3 between 9:00 & 10:00 AM in Middough, Rm 236. -Audition/Interviews will be held on Sunday, January 4 between 1:00 PM & 4:30 PM. -For auditions it is recommended that you bring 1 piece, 1-3 minutes in length. In addition, you may also sing a song without accompaniment. -Bring a resume if possible, however if not, they can be sent after the festival.

Please take advantage of all the workshops throughout the Festival. Many are taught by industry professionals and practitioners who can help you better understand the world after graduation!

KCACTF 2015 33 Cleveland State University MASTER SCHEDULE

Friday, January 2, 2015 10:00am-10:50am – FACULTY – Response 12:00pm-6:00pm – Registration – PHS Allen Training – M255 Theatre Lobby 10:00am-11:00am – Musical Theatre Initiative 12:00pm-6:00pm – Load In DTM Exhibits – Information Workshop – M236 PHS State Theatre Lobby 10:00am-11:30am – New Play Dramaturgy 3:00pm-6:00pm – Irene Ryans Rehearsal – Workshop – M254 Wyndham Hotel Third Floor 10:00am-11:50am – State Combat Unarmed 4:00pm-5:00pm – Nail The Job Workshop – Workshop – M537 Wyndham State Room Third Floor 10:00am-12:00pm – DTM Allied Design 5:00pm-6:00pm – Nail The Job Workshop – Responses – PHS State Theatre Lobby Wyndham State Room Third Floor 10:00am-7:00pm – DTM OPEN EXPO – PHS 6:00pm-10:00pm – Late Registration – PHS State Theatre Lobby Allen Theatre Lobby 11:00am-11:50am – Teaching Intro to Theatre 8:00pm-9:00pm – Festival Kickoff and (and Beyond) Workshop – M255 Orientation – PHS Ohio Theatre 11:00am-11:50am – 3D Printing Overview 9:00pm-11:00pm – Irene Ryan Breakout – PHS Workshop – M236 Ohio Theatre 11:30am-6:30pm – SDC Scene Rehearsals – 9:00pm-11:00pm – NPP Breakout – PHS Helen M521 “Lab” Theatre 1:00pm-1:50pm – Serving and Leading with 9:00pm-11:00pm – Dramaturgy Breakout – PHS ASTEP Workshop – M252 Allen Theatre Lobby Glass Room #1 1:00pm-1:50pm – Theater and Social Protest 9:00pm-11:00pm – SDC/DI Breakout – PHS Workshop – M254 Allen Theatre Upstairs 1:00pm-2:25pm – DTM Costume Design 9:00pm-11:00pm – ITJA Breakout – PHS Allen Responses – PHS State Theatre Lobby Theatre Lobby Glass Room #2 1:00pm-2:50pm - Improvisational Storytelling 9:00pm-11:00pm – Fringe Breakout – PHS Allen Workshop – M255 Theatre Kalberer Lobby 1:00pm-2:50pm – Stage Combat Unarmed II 9:00pm-11:00pm – DTM Breakout – PHS State Workshop – M 537 Theatre Lobby 1:00pm-2:50pm – Free Your Meisner Workshop – M537 Saturday, January 3, 2015 1:00pm-2:50pm – Do You Think You Might Be a 8:00am-7:00pm – Irene Ryans Preliminary Technician Workshop – M541 Round – Wyndham Hotel State Room 1:00pm-6:30pm – NPP Auditions – PHS Helen 9:00am-10:00am – Musical Theatre Initiative “Lab” Theatre Audition Sign-Up – M236 2:00pm-3:50pm – Stop Inventing & Play What’s 9:00am-10:00am – Next Steps Audition/ Already There Workshop – M519 Interview Sign-Up – M236 2:30pm-4:40pm – Invited Production – SCAB 9:00am-10:50am – From Words to Images – PHS Allen Theatre Workshop – M521 2:35pm-4:00pm – DTM Scenic Design 9:00am-11:00am – Devised Theatre Workshop Responses – PHS State Theatre Lobby Session #1 – M545 3:00pm-3:50pm – Google Sketch Up in the 9:00am-12:00pm – Stage Management Portfolio Design Process Workshop – M236 Interviews – M252 3:00pm-4:50pm – Shakespeare: Performance 9:30am-11:40am – Invited Production – SCAB Essentials Workshop – M530 – PHS Allen Theatre 3:00pm-5:30pm – ITJA Session #1 – M204 10:00am-10:50pm – What About a Future 4:00pm-4:50pm – Commanding Images Family? Workshop – M541 Workshop – M236 KCACTF 2015 34 Cleveland State University MASTER SCHEDULE 4:00pm-4:50pm – You Graduated, Now What? Interviews – M504 Workshop – M541 10:00am-10:50am – Owning Your Artistic 4:00pm-5:50pm – Animal Meet & Greet Identity Workshop – M236 Workshop – M523 10:00am-11:50am – Polyfoam Puppetry 4:00pm-6:00pm – DTM State Management Workshop – M515 Responses – PHS State Theatre Lobby 10:00am-11:50am – Stage Combat Single Sword 5:00pm-5:50pm – Led Shakespeare Do the Hard Workshop – M537 Work Workshop – M252 10:00am-11:50am – Shakespeare’s Folio 5:00pm-5:50pm – Taxes for Artists and Actors Technique Workshop – M252 Workshop – M236 10:00am-12:00pm – DTM Sound Design 8:00pm – FACULTY – Response Training – Ohio Responses – PHS State Theatre Lobby Theatre 10:00am-7:00pm – DTM OPEN EXPO – PHS 8:00pm-10:00pm – Invited Production – State Theatre Lobby THE ADDING MACHINE – 11:00am-12:30pm – Invited Fringe Production #2 PHS Ohio Theatre – PHS Helen Theatre 11:00pm-12:00am – NPP Cast Meeting – 11:00am-11:50am – The Art of Slapstick Wyndham Hotel Stillman Room Workshop – M530 11:00pm-1:30am – Student Social – 11:30am-12:30pm – FACULTY – Response Wyndham Hotel Palace Ballroom Training – TBD 12:30pm-2:30pm – ITJA Session #3 – M204 Sunday, January 4, 2015 12:00pm-1:15pm – Keynote Performance 8:00am-10:00pm – NPP Open Rehearsals – IT GOES WITHOUT SAYING Wyndham Hotel 3rd Floor Written and Performed by Bill Bowers 8:00am-11:00am – Musical Theatre Initiative PHS Ohio Theatre Auditions – M519 1:00pm-1:15pm – Announcement of Irene Ryan 9:00am-9:50am - What Can You Do With a BA in Semifinalists – Ohio Theatre Theatre? Workshop – M255 1:00pm-1:15pm – Announcement of MTI 9:00am-9:50am – Breaking into Audiobooks Semifinalists – Ohio Theatre Workshop – M236 1:00pm-2:30pm – Invited Fringe Production #3 – 9:00am-10:00am – FACULTY – DTM Roundtable PHS Helen Theatre – M252 1:00pm-2:50pm – Stage Combat Single Sword II 9:00am-10:30am – Invited Fringe Production #1 – Workshop – M537 PHS Helen Theatre 1:00pm-2:50pm – Creating a Lighting Portfolio 9:00am-10:50am – Russian School of Directing Workshop – M252 Workshop – M505 1:00pm-2:50pm – Monologue as Dialogue 9:00am-10:50am – Devising at Play Workshop – Workshop – M523 M530 1:00pm-4:00pm – DTM Lighting Design 9:00am-10:50am – Physical Theatre Pushes Responses – PHS State Theatre Lobby Boundaries Workshop – M523 1:30pm-2:00pm – SDC Cast Meeting – M521 9:00am-11:00am – Devised Theatre Workshop 2:00pm-2:50pm – Steel or Wood Workshop – Session #2 – M545 M236 9:30am-11:30am – ITJA Session #2 – M204 2:00pm-5:00pm – MTI Finalist Workshop 9:30am-11:00am – Invited Production – Rehearsal – M519 LOW LEVEL PANIC – 2:00pm-6:00pm – SDC First Round PHS Allen Theatre Presentations/Responses – M521 9:30am-12:30am – Next Steps Auditions – M503 9:30am-12:30am – Next Steps Auditions/

KCACTF 2015 35 Cleveland State University MASTER SCHEDULE

2:30pm-4:00pm – Invited Production – 9:00am-11:00am – Devised Theatre Workshop LOW LEVEL PANIC – Session #3 – M545 PHS Allen Theatre 9:00am-11:30am – NPP 10-Minute Plays Tech – 3:00pm-3:50pm – Master Minds: Graduate Study Helen “Lab” Theatre Workshop – M255 9:00am-12:00pm – SDC Director Interviews – 3:00pm-3:50pm – Intro to Michael Chekhov M503 Workshop – M252 9:30am-11:30am – ITJA Session #4 – M204 3:00pm-4:30pm – Invited Fringe Production #4 9:30am-11:30am – Invited Production – RED – – PHS Helen Theatre PHS Allen Theatre 3:00pm-5:00pm – Irene Ryans Semifinal 10:00am-10:50am – FACULTY Response Orientation – PHS Outcalt Theatre Training – M255 4:00pm-4:50pm – The Writer’s Process 10:00am-10:50am – Designers Storyboard Workshop – M255 Renderings Workshop – M236 4:00pm-4:50pm – You Graduated, Now What? 10:00am-7:00pm – DTM OPEN EXPO – PHS Workshop – M541 State Theatre Lobby 4:00pm-5:50pm – Sewing Lights Into Costumes 11:00am-11:50am – Navigating the Business Workshop – M252 Workshop – M255 4:00pm-5:50pm – Actor’s Equity Workshop – 11:00am-11:50am – Bio-Dramaturgy Workshop M236 – M254 4:00pm-6:00pm – DTM Design Portfolio Review 12:00pm-12:50pm – An Intro to Greener Theatre – M252 Workshop – M252 5:00pm-5:50pm – The Embodied Voice 12:00pm-2:00pm – MTI Finalist Auditions – Workshop – M530 M519 5:00pm-7:00pm – Irene Ryans Semifinals 12:30pm-2:30pm – ITJA Session #5 – M204 Rehearsals – PHS Outcalt Theatre 1:00pm-1:50pm – ETC Nomad Workshop – 6:30pm-9:30pm – NPP “Cease To Exist” M255 Performance – PHS Helen “Lab” Theatre 1:00pm-1:50pm - The Silent and Not-So-Silent 8:00pm-10:00pm – Invited Production – ART OF MIME Workshop - M523 MAELSTROM – PHS Ohio Theatre 1:00pm-2:45pm – Invited Fringe Scenes – M521 11:00pm-1:30am – The Fringe Challenge – 1:00pm-2:50pm – Finding The Game Workshop Wyndham Hotel Stillman Room – M504 11:00pm-1:30am – Student Social – 1:00pm-2:50pm – Help! I Need A Headshot Wyndham Hotel Palace Ballroom Workshop – M236 2:00pm-2:50pm – Hosting a KCACTF Regional Monday, January 5, 2015 Festival Workshop – M255 8:30am-12:30pm – Irene Ryans Semifinal Round 2:00pm-3:00pm – DTM Costume Parade – – PHS Outcalt Theatre M252 9:00am-9:50am – More Tech Miscellany 2:00pm-3:50pm – 100 Years of Stanislavsky Workshop – M236 Workshop – M533 9:00am-9:50am – Reflecting America 2:30pm-4:30pm – Invited Production – RED – Workshop – M255 PHS Allen Theatre 9:00am-10:50am – Michael Chekhov Technique 2:30pm-4:30pm – Devised Theatre Performances Workshop – M530 – M545 9:00am-10:50am – Yoga for the Actor Workshop 2:30pm-5:30pm – NPP 10-Minute Play – M523 Performances – PHS Helen Theatre 9:00am-10:50am – The Elements of New Life 3:00pm-4:00pm – DTM Design Storm – M252 Scripts Workshop – M504

KCACTF 2015 36 Cleveland State University MASTER SCHEDULE

3:00pm-4:50pm – The Business of Acting 9:00am-10:50am – The DIY Ten-Minute Play Workshop – M255 Festival – M236 3:00pm-4:50pm – Solos are Soliloquies 9:00am-10:00am – Becoming a Professional Workshop – M519 Director Workshop – M531 3:00pm-4:50pm – Pictures > 1000 Words 9:00am-12:00pm – NPP One Act Performances Workshop – M505 #1, #2 – PHS Helen “Lab” Theatre 3:00pm-6:00pm – Irene Ryans Semifinals 9:30am-12:00pm – ITJA Session #6 – M204 Response – M236 9:30am-11:30am – Invited Production – 4:00pm-4:50pm – You Graduated Now What? VANISHING POINT Workshop – M541 PHS Allen Theatre 4:00pm-4:50pm – You Want Me to Do What 10:00am-10:50am – FACULTY Response With Who? Workshop – M504 Training – M255 4:00pm-5:50pm – Dramaturgy Portfolio Review 10:00am-12:00pm – Irene Ryans Final Round – M254 Performance – PHS Outcalt Theatre 4:00pm-5:50pm – The Art of Casting with Hot 10:00am-12:00pm – DTM Regional Awards – Clue Workshop – M537 PHS State Theatre Lobby 4:00pm-6:00pm – DTM Costume Bash – M252 12:30pm-1:00pm – SDC Cast Meeting – M521 5:00pm-5:50pm – Droznin Russian Movement 1:00pm-1:50pm – Digital Portfolio Preparation Workshop – M523 Workshop – M252 5:00pm-11:00pm – SDC Scene Rehearsals – 1:00pm-2:50pm – Exploring the Actor’s Voice M521 Workshop – M523 6:00pm-6:30pm – MTI Finalist Announcement – 1:00pm-2:50pm – 3D AutoCAD Workshop – PHS Allen Atrium M55 6:30pm-6:45pm – Irene Ryans Finalist 1:00pm-4:00pm – SDC Final Presentations and Announcement – PHS Allen Atrium Responses – M521 7:00pm-9:00pm – Irene Ryans Orientation and 1:00pm-4:00pm – NPP One Act Performances Rehearsal – PHS Outcalt Theatre #3, #4 – PHS Helen “Lab” Theatre¬ 7:30pm-10:30pm – DTM Tech Olympics – M533 2:00pm-2:50pm – iPad Art Workshop – M252 8:00pm-10:30pm – Invited Production – 2:00pm-4:45pm – Invited Production – THE LAST DAYS OF JUDAS ISCARIOT THE DYBBUK – PHS Ohio Theatre PHS Ohio Theatre 2:00pm-5:00pm – Irene Ryans Finalist Responses 11:00pm-1:30am – The Fringe Challenge – – M236 Wyndham Hotel Stillman Room 2:30pm-4:30pm – Invited Production – 11:00pm-1:30am – Student Social – VANISHING POINT Wyndham Hotel Palace Ballroom PHS Allen Theatre 3:00pm-3:50pm – Light Performs Workshop – Tuesday, January 6, 2015 M252 8:00am-10:00am – DTM Exhibit STRIKE – PHS 8:00pm-10:00pm - Closing Ceremonies - PHS State Theatre Lobby Ohio Theatre 9:00am-9:50am – Qlab for Dummies Workshop – M255 9:00am-10:50am – From Russia With Zen Workshop – M519 9:00am-10:50am – Shakespeare’s First Folio Workshop – M252 9:00am-10:50am – Moving with Michael Chekhov Workshop – M523 KCACTF 2015 37 Cleveland State University Festival Leadership, Staff, and Volunteers Region 2 Leadership Festival Host Staff - Cleveland State University Scott Mackenzie, Chair Grechen Lynne Wingerter, Vice Chair Dr. Ronald Berkman, President Elizabeth van den Berg, Immediate Past Chair Dr. Deirdre Mageean, Provost Andy Truscott, Festival Manager Dr. Gregory Sadlek, Dean, College of Liberal Arts and Allyson Currin, Chair, National Playwrighting Social Sciences Program Mrs. Lynn Deering Chair, Department of Theatre and John Gresh & Laura Smiley, Co-Vice Chairs, National Dance Playwrighting Program Dr. Michael Mauldin, Festival Host/Department of Greg Griffin, Chair, Design, Technology, Theatre and Dance Professor Management Richard Grospitch, Director of Conference Services Jay Innerarity, Vice Chair, Design, Technology, Kate Miller, Administrative Coordinator, Department Management of Theatre and Dance Heidi Winters Vogel, Directing Institute Coordinator Arthur Adair, Stage Directors and Choreographers Coordinator Ralph Leary, Chair, Institute for Theatre Journalism and Advocacy Coordinator Lisa Wilde, Dramaturgy Coordinator Becky Prophet, Fringe Coordinator Tony Rosas, Workshop Coordinator Tammy O’Donnell, Irene Ryan Coordinator Bill Gillet, Next Steps Program Peter Rydberg, Project for Devised Theatre Coordinator Peggy Yates, Musical Theatre Initiative Coordinator Maggie Hess and Sheila Fizer, Assistants to the Regional Chair

Regional Associate Response Circuit Coordinators Joseph Fahey, Ohio and West Virginia PlayhouseSquare Trish Ralph, Western/Central Pennsylvania and Western New York Art Falco, President and CEO Ben Fisler, New Jersey, Delaware, Eastern PA, Jordan Davis, Special Events Coordinator Maryland, D.C., and Northern Virginia Robert Mingus, Director of Production 2014-2015 Region Two Respondents Allyson Currin, Barb Blackledge, Barbara Burgess-Lefebvre, Program Designed by Andrew Truscott Becky Misenheimer, Becky Prophet, Ben Fisler, Bet- sy Craig, Bev Redman, Bill Gillett, Brian Jones, Bryce Brit- ton, Caleen Jennings, David Zarko, Debra Otte, Dustin Shaffer, Elizabeth van den Berg, Eve Muson, Gary Sloan, Grechen Lynne Wingerter, Gregg Henry, Gregory Griffin, Holly Holsinger, Howard Kurtz, Janice Goldberg, Jeff Lentz, Jen Whiting, Jennifer Toohey, Jessica Culligan, Joe Fahey, John Gresh, John Moletress, Jon Klein, Joseph Fahey, Judith McCabe, Julie Wunsch, Keith Hight, Larry Loebell, Lars Tatom, Laura Smiley, Leonard Kelly, Lindsay Reading Korth, Lisa Wilde, Mag- gie Lally, Margaret Ball, Marilouise Michel, Mark Wender- lich, Michael Allen, Michael Aulick, Michael Mauldin, Michael Schwartz, Michael Swanson, Moses Goldberg, Naomi Baker, Nathan Magee, P . Gibson Ralph, Patrick Reynolds, Paul Bernstein, Peggy Yates, Peter Rydberg, Ralph Leary, Rebecca Baker, Rick Stoppleworth, Robert Bartlett, Ruth Childs, Scott A. Mackenzie, Scott Frank, Seth Bauer, Shawn Clerkin, Shirley Huston-Findley, Tammy O’Donnell, Teresa Durbin-Ames. Terra Vandergaw, Thomas Burch, Tiffany Towns, Valerie Smith, Victor Capecce, Wayne Vettleson, William Gillett, Wolf Sherrill

KCACTF 2015 38 Cleveland State University Festival Leadership, Staff, and Volunteers National Acknowledgement KCACTF Design, Technology & Management Chairs Charlie Wittreich, Region I-Co-Chair - SUNY Suffolk KCACTF Festival 47 Daniel Kozar Region I-Co-Chair - Dean College Greg Griffin, Region II - University of Findlay The Kennedy Center Kathleen Donnelly, Region III - David M. Rubenstein, Chairman University of Wisconsin, Oshkosh Deborah F. Rutter, President Jesse Dreikosen, Region IV - Darrell M. Ayers, Vice President, Education Florida International University Susan Shaffer, Producing Director, KCACTF Sheila Tabaka, Region V - Gregg Henry, Artistic Director, KCACTF Southwest Minnesota State University Jason Foreman, Region VI Chair - KCACTF National Officers Oklahoma City University Rebecca Hilliker, National Chair - Rae Robison, Region VII - Humboldt State University University of Wyoming Catherine Zublin, Region VIII - David Lee Painter, National Vice Chair - Weber State University University of Idaho Jeanette Farr National Chair, National Playwriting KCACTF National Playwriting Program (NPP) Program - Glendale Community College The Michael Kanin Playwriting Awards Committee Gweneth West, National Chair, Design, Technology & Robin Stone, Region I Chair-Roger Williams University Management - University of Virginia Allyson Currin, Region II Chair- Leigh Selting, Member at Large - George Washington University University of Wyoming Jennifer Blackmer, Region III Chair- David Shawger Jr., Member at Large - Ball State University Ball State University David Moberg, Region IV Chair- Richard Herman, Member at Large Indian River State College Harry Parker, Immediate Past National Chair - Patrick Carriere, Region V Chair- Texas Christian University Minnesota State University, Moorhead Rafael Jaen, National Vice - Chair, Design, Technology Jim Anderson, Region VI Chair- & Management- Emerson College Texas A&M University-Commerce Buzz Herman, National Vice-Chair, National Nancy Lee-Painter, Region VII Chair- Playwriting Program – University of Central Lewis-Clark State College Missouri Jim Holmes, Region VIII Chair- Martha Marking, USITT Representative – Loyola Marymount University Appalachian State University Jere Wade. National Partners of American Theatre Representative

KCACTF Regional Chairs Paul Ricciardi, Region I Co-Chair - Kingsborough Community College John Devlin, Region I Co-Chair - St. Michael’s College Scott Mackenzie, Region II - Westminster College Michelle Bombe, Region III- Hope College Jeffrey Green, Region IV- Georgia Southwestern State University Rick Anderson, Region V - Kirkwood Community College Joy Pace, Region VI- Itinerant Theatre Kelly Eviston Quinnett, Region VII - University of Idaho Matthew Neves, Region VIII- Chair

KCACTF 2015 39 Cleveland State University Festival Leadership, Staff, and Volunteers

Student Volunteers East Stroudsburg University Christopher Benson, Christopher Robinson, Bri’ana Schell, Adelphi University Andrew Scoggin Alexandra Aug, Sydney Diaz, Lindsay Horgan, Alyssa Hricko, Indiana University of Pennsylvania Krista Intranuovo, Sarah Lawson, Timothy Oriani, Isuri Abby Bender, Amos Glass, Hannah Hughes, Indira LaTouch, Wijesundara Kaitlyn MacGilvray, Cortney Mandoske Anne Arundel Community College Lycoming College John Bell, William Corning, Elise Pease Neugebauer, Paul Sweet Tanner Piekarski, Bergon Sigmon, Veronica Somers, Queensborough Community College/CUNY Magdalene Urban Jay Lucero, Katreena Stuart, Starshima Trent BGSU Firelands SUNY Oswego Charlotte Besida, Daniel Contreras, D’Sha Edge, Branden Fox, Kelli McMenemon Paul Maier, Erin Paule, Sean Welch, BreAnna Wyant The George Washington University Clarion University of Pennsylvania Meghan Bernstein Cayleigh Boniger University of Akron Cleveland State University Alyssa Whiddon Amara Alberto, Alexandra Bair, Sarah Blubaugh, Nicholas Thiel College Chokan, Emma Clark, Adam Cooper, Dominique Coppells, Sara Gerdy, Ashley Reynolds Zionna Corothers, Bobby Coyne, Charles Davis, Nadia Davis, Towson University Arwyne Dorsey, Emily Dotson, Emily George, Brandi Gipson, Dean Whitfield Patrick Gladish, Caitlin Hathaway, Alyssia Haywood, Reagan West Liberty Unviersity Hernon, Joseph Jackson, Angelique Jennings, Kristen Klee- Jaccob Trifonoff mann-Whitney, Hannah Krainz, Leah Kraynak, Katrina Kroll, Westminster College Giorgiana Lascu, Ryan Mayer, Tatiana Meadows, Kayla Menz, Sheila Fizer, Maggie Hess Holly Miller, Chloe Mlinarcik, Tyler Moliterno, Rachel Mu- rar, Janel Mutum, Alita Petras, Christina Pierce, Jamie Satter- Thank you for your help! field, Shannon Sharkey, Darlene Sharp, Cody Steele, Elizabeth We could not have done this without YOU! Stewart, Joseph Virgo, Daniel Weddell, Pauletta Williams Support for KCACTF

The Kennedy Center American College Theater Festival 47, part of the Rubenstein Arts Access Program, is generously funded by David and Alice Rubenstein.

Additional support is provided by The Honorable Stuart Bernstein and Wilma E. Bernstein; the Blanche and Irving Laurie Foundation; Dr. Gerald and Paula McNichols Foundation; The Harold and Mimi Steinberg Charitable Trust; Hilton Worldwide; and Beatrice and Anthony Welters and the AnBryce Foundation.

Education and related artistic programs are made possible through the generosity of the National Committee for the Performing Arts and the President’s Advisory Committee on the Arts.

Gifts and grants to education at the Kennedy Center are provided by Adobe Foundation; Sandra K. & Clement C. Alpert; AnBryce Foundation; Bank of America; Bernstein Family Foundation; The Honorable Stuart Bernstein and Wilma E. Bernstein; Capital One Bank; Carter and Melissa Cafritz Charitable Trust; Centene Charitable Foundation; Citibank; The Charles Engelhard Foun- dation; Clark Charitable Foundation; Community Advisory Board; Mike and Julie Connors; CVS Caremark; DC Commission on the Arts and Humanities; Dr. Gerald and Paula McNichols Foun- dation; Fight for Children, Inc.; David Gregory and Beth Wilkinson; Harman Family Foundation; The Harold and Mimi Steinberg Charitable Trust; Harris Corporation; Hilton Worldwide; The J. Willard and Alice S. Marriott Foundation; The Jacob and Charlotte Lehrman Foundation; Mr. James V. Kimsey; The Kiplinger Foundation; The Kirstein Family Foundation; Natalie and Herb Kohler and Kohler Co.; Kenneth and Lucy Lehman; The Macy*s Foundation; Margaret A. Cargill Foundation; The Max and Victoria Dreyfus Foundation, Inc.; Jaylee M. Mead†; Linda and Tobia Mercuro; The Meredith Foundation; The Morningstar Foundation; The Morris and Gwendolyn Cafritz Foundation; The National Committee for the Performing Arts; National Endowment for the Arts; National Trustees of the National Symphony Orchestra; Newman’s Own Foundation; Paul M. Angell Family Foundation; Park Foundation, Inc.; Mrs. Irene Pollin; President’s Adviso- ry Committee on the Arts; Prince Charitable Trusts; Rose Mary Kennedy Education Fund; Dr. Deborah Rose and Dr. Jan A. J. Stolwijk; Ryna and Melvin Cohen Family Foundation; Share Fund; Mr. and Mrs. Albert H. Small; Target; Thomas W. Haas Foundation; U.S. Department of Educa- tion; Volkswagen Group of America, Inc.; Sherry and Eddie Wachs; Washington Gas; Wells Fargo; Beatrice and Anthony Welters; William R. Kenan, Jr. Charitable Trust; generous contributors to the Abe Fortas Memorial Fund, and by a major gift to the fund from the late Carolyn E. Agger, KCACTF 2015 Cleveland State University Participating Productions 2014

Albright College Dancing at Lughnasa Devious Laughter Maelstrom The Shape of Things Alfred University An Ives Evening/All in the Timing Anna in the Tropics Alvernia University “A Merry Death”/”Puppets at the Fairground” Low Level Panic What Mighty Magic! Anne Arundel Community College Les Liaisons Dangereuses Arcadia University The Grimms Brothers Spectaculathon The Prescott Method Ashland University In the Event of My Death Saint Joan BGSU Firelands Gruesome Playground Injuries Bloomsburg University 30 Neo-Futurist Plays from Too Much Light Makes the Baby Go Blind MacBeth Bridgewater College The Children’s Hour Carroll Community College Agamemnon Inherit the Wind The Last Days of Judas Iscariot Clarion University of Pennsylvania Nothing is Left to Tell Story Theatre Taming of the Shrew Cleveland State University The Dybbuk College at Brockport bobrauschenbergamerica Censored on Final Approach Cripple of Inishmaan Dead Man’s Cell Phone Community College of Baltimore County The Consumables Eastern Mennonite University Into the Woods Twelfth Night George Washington University Vanishing Point Grove City College Dancing at Lughnasa Red Harford Community College Dog Sees God Keuka College The Lady’s Not for Burning LIU POST CONDITIONS OF LOVE Millersville University Elton John and Tim Rice’s AIDA Montclair State University The Big Meal Muskingum University Oedipus Rex Ohio State University at Mansfield The Tin Faces Project Ohio University Lancaster The Elephant Man Penn State Altoona Eurydice Five Women Wearing the Same Dress Pennsylvania State University, Berks Campus Detroit Robert Morris University Remembrance Titanic the Musical Shawnee State University Beyond the Horizon Slippery Rock University Electra: An American Gothic Laundry & Bourbon and Lone Star SCAB

KCACTF 2015 42 Cleveland State University Participating Productions 2014

University of Findlay A Funny Thing Happened on the Way to the Forum Brilliant Traces University of Scranton Table Manners University of Toledo The Adding Machine Washington and Jefferson College Cease to Exist West Chester University Dead Man’s Cell Phone Machinal The Rivals The Wedding Singer West Liberty University The Last Days of Judas Iscariot Xavier University From White Plains

Associate Productions 2014

Adelphi University Five Women Wearing The Same Dress Generation T The Boys Next Door Twelfth Night American University Inheret the Wind The Alchemist Ashland University Songs for a New World Baldwin Wallace University A Chorus Line Performance Ensemble: A devised play based on themes in Romeo & Juliet Romeo & Juliet BGSU Firelands The Tempest Bowie State University The Colored Museum Bowling Green State University Book of Days Night of the Living Dead Urinetown Bridgewater College The Bright Smile Bucknell University Tartuffe Carnegie Mellon University Fall 2014 New Works Series New Works Series (three new plays) Carroll Community College Distracted Romeo & Juliet Catholic University of America Fifi and Hunter Forever! Cedarville University Little Women Pride and Prejudice The 39 Steps Cleveland State University Lysistrata Scab Corning Community College Jekyll and Hyde Cuyahoga Community College Sly Fox East Stroudsburg University of Pennsylvania Seussical Spike Heels Elizabethtown College A Murder is Announced Company These Shining Lives Elmira College The Last Night of Ballyhoo Frostburg State University She Kills Monsters KCACTF 2015 43 Cleveland State University Associate Productions 2014

Gannon University STRIKING 12 Gettysburg College As You Like It Circle Mirror Transformation Uncle Vanya Grove City College Guys and Dolls Harford Community College Cat on a Hot Tin Roof The Cuckoo’s Nest Casino Southern Crisis: Indiana University of Pennsylvania Fahrenheit 451 The Monster in the Garden The Pajama Game Keuka College The New York Idea Lafayette College Proof Xanadu Lycoming College In the Next Room or The Vibrator Play The Cradle Will Rock The Distance from Here McDaniel College A Midsummer Night’s Dream Fat Pig Millersville University A Lesson Before Dying Our Town Rent Montclair State University 42nd Street Hair The Threepenny Opera Wintertime Mount Aloysius College Godspell Nickel and Dimed Muhlenberg College New Visions A and B Nazareth College I Love You Because Macbeth Quilters The Cherry Orchard Penn State University -- Harrisburg Evil Dead: The Musical Prince George’s Community College A Christmas Carol (A New Adaptation) Queensborough Community College 12 Angry Jurors Dog Sees God Electra MilkMilkLemonade Ramapo College of New Jersey Bottle House Miss Julie Spring Awakening Richard Stockton College of New Jersey Crumble (Lay Me Down Justin Timberlake) Frogs (Re-)Imagined Robert Morris University Amadeus Rowan University Psycho Beach Party Threepenny Opera Rutgers University Rutgers MFA Playwright Rutgers University Camden Nickel and Dimed Rosencrantz and Guildenstern Are Dead Seton Hall University To Kill a Mockingbird Sinclair Community College bare: a pop opera Pride & Prejudice

KCACTF 2015 Cleveland State University Associate Productions 2014

Slippery Rock University the robber bridegroom St. Bonaventure University 42 Shakes, A Work in Progress... Dancing at Lughnasa Thiel College An Enemy of the People Mauritius Towson University Between Trains Lysistrata The Importance of Being Ernest Thirteen Clowns University at Buffalo How Did We Les Miserables The Man Who Would Be King The Tempest University Maryland Baltimore County Gum Nora University of Akron Godspell University of Findlay Rumors The Walls University of Toledo Twelfth Night University of Virginia A Flea in Her Ear Every Tongue Confess Museum The Forgetting River The Rimers of Eldritch Villanova University Big Love Fallen Angels West Chester University Student Written One Acts Westminster College Into the Woods The Walls Wilkes University Carrie the Musical Youngstown State University A Steampunk Christmas Carol The Spitfire Grill: A Musical

KCACTF 2015 Cleveland State University Festival Presenters and Guests

ARTHUR ADAIR is thrilled to be a part of KCACTF once ing from Temple University, a B.F.A. in Acting from the again, after serving as past SDC Coordinator in Region University of the Arts, and is also a graduate of The In- VI and receiving the 2011 National Faculty Fellowship ternational School for the Comic Actor in Reggio Emilia, in Directing. Professional Membership: Stage Directors Italy. He has performed commedia dell’arte, in Poland, & Choreographers Society; Actors’ Equity Association; Switzerland, Italy and the U.S. Dramatist Guild of America. Award-winning Set/Light RUSS BORSKI AND TERRY PIERITZ, co-creators of Designer. At La MaMa, Artist-in-Residence (97-07) & “The Art of Polyfoam Puppetry”, are two designers who present Education Outreach Coordinator for the theatre have frequently teamed together on theatre produc- history series, Coffeehouse Chronicles. M.F.A., Theatre tions for the last twenty five years. Mr. Borski arrived in Directing, Brooklyn College/CUNY. Assistant Professor Cleveland in 1990, having garnered seven Joseph Jeffer- at Queensborough Community College/CUNY. Check son awards in the Chicago theatre scene for excellence out his original theatrical installation, Your Wat’ry Grave in design. Ms. Pieritz trained in opera in Cleveland with at La MaMa June ’15, [email protected]. roots at the Cleveland Institute of Music and Lyric Op- CARLYN AQUILINE is the Literary Manager and Dra- era Cleveland. Initial collaborations included produc- maturg of City Theatre Company Pittsburgh tions of Candide, The Rape of Lucretia, Orpheus in the NAN BARNETT (NPP Respondent) is a new play advo- Underworld, The Marriage of Figaro, and The Return of cate, a developer of theatre artists, and a producer of the Ulysses. Regional productions include Into the Woods, work they create. She is currently the Executive Director The Fantasticks, Sideshow, Much Ado About Nothing, of National New Play Network, an alliance of more than Measure for Measure, Batboy, I Love You, You’re Perfect- 50 theatres that support the development, production Now Change, A Streetcar Named Desire, The Secret Gar- and continued life of new plays. During her previous den, Kiss Me Kate, Nine and The Wiz. Most Recently the tenures on NNPN’s Executive Committee and as its Pres- two have collaborated on Dreamgirls, The House of Blue ident she helped create several of the organization’s revo- Leaves and Avenue Q. Currently, both teach and reside lutionary programs, including its Continued Life of New within the Department of Theatre and Dance at Cleve- Plays Fund, which supports Rolling World Premieres, and land State University. Playwright and Producer Residencies. She was a found- CHRISTINE BRUNO has served as Disability Advocate ing company member and the long-time Managing Di- for Inclusion in the Arts since 2005 and has represent- rector of Florida Stage, which produced exclusively new ed the organization across the US and internationally. and developing work. During her twenty-four seasons As a performer, she has appeared on stage, TV and in there she oversaw the creation of plays and musicals that film. Christine sits on several diversity committees, in- have subsequently been seen around the world including cluding SAG-AFTRA, AEA and Broadway League, holds works by Nilo Cruz, Tammy Ryan, William Mastrosim- an MFA in acting and directing and is a member of the one, Israel Horovitz, Lee Blessing, Deborah Zoe Laufer, Actors Studio.Inclusion in the Arts is the nation’s lead- and many, many more. She has served as a consultant on ing advocate for full diversity as a key to the vitality and the creation of new works, organizational growth, strate- dynamism of American theatre, film, and television. We gic and succession planning and board development for promote authentic dialogue about race, culture, and dis- theatres across the country, and is especially pleased to be ability that embraces the complexity of underlying social considered a mentor of theatre-makers, including actors, and historical issues. www.inclusioninthearts.org directors, playwrights, administrators, producers, tech- ROBERT BULLINGTON teaches acting and voice nicians and volunteers. A graduate of North Carolina at Clarion University. He earned his M.F.A. in acting School of the Arts Professional Actor Training Program, at The University of Alabama and a B.F.A. in acting at Nan is the winner of the Theatre League of South Flori- Ohio University. He has also studied voice and acting at da’s Remy Award for service to the theatrical community, Shakespeare & Company in Lenox, MA, and is a junior the 2012 Fallon Award for excellence in the professional member of their teaching faculty. His productions of The theatre, and a two-time winner of South Florida’s Car- Cripple of Inishmaan and Make Sense Who May have bonell Award as an actress. been seen at Region II festivals. JOHN BELLOMO is the former Artistic Director of The BARBARA BURGESS-LEFEBVRE is an associate pro- Maryland Shakespeare Festival and Co-Artistic Director fessor of Communication and Theatre at Robert Morris of Ombelico Mask Ensemble. He is a 6 time Barrymore University where she teaches acting, directing, theatre nominee for his fight choreography and received a Bar- literature, and stage combat. Barbara earned her MFA rymore Award for Outstanding Movement/Chorography in Directing from Illinois State University, her BA in En- for his work on The Elaborate Entrance of Chad Deity at glish Writing and Drama from SUNY Potsdam and has Interact Theatre Co. John received an M.F.A. in Direct- worked professionally as a director, a costume designer, Festival Presenters and Guests and a fight director. She serves as the faculty advisor Gaeity School for Acting, The National Theatre School of for RMU’s chapter of Alpha Psi Omega and the newly Ireland in Dublin; The National Institute of Dramatic Art formed Freedom Players. in Sydney, Australia; and with the Theatre Actors Guild AMY RENE BYRNE is a professor, actor, and director in Manila, Philippines. Robin has been the Chair of the in Williamsport, PA. She graduated from West Virginia Voice and Speech Committee for the Southeastern The- University in 2012 with her MFA in Theatre, emphasis in atre Conference and is a member of the Voice and Speech Acting. While at WVU, she started a successful headshot Trainer’s Association. She has been the dialect coach for and production photography business (www.imagesby- various productions such as Dancing at Lughnasa, Hi- amyrene.com). Amy currently teaches at Lycoming Col- tchock Blonde, Waiting for the Parade and Candida at lege; she has also taught at Zane State College and West Southern Miss and Our Country’s Good for the Univer- Virginia University. Her acting style is a unique blend of sity of New Orleans. Most recently, Robin was the voice Stanislavski and Meisner technique that lends to power- and dialect coach for A Member of The Wedding at Triad ful, truthful presence on stage. She is currently working Stage in Greensboro, North Carolina. with The Actors Group, a local no-frill company focusing DONALD CARRIER is the Associate Director of the on strong acting and hard-hitting subjects. Case Western Reserve University/ Cleveland Play House SUZY CAMPBELL Assoc. professor of theatre design MFA Acting Program. For nine seasons, he played lead- has been working in costumes, scenic design and props ing roles at the Stratford Festival, North America’s pre- for over 30 years. Her work has appeared in USITT’s miere classical theatre company. He also spent three sea- “TD&T” magazine and was the first designer allowed to sons at the Old Globe under Adrian Noble, former AD redesign Martha Grahm’s iconic “Appalachian Spring” of the RSC. He has performed at the Shakespeare The- which was presented at the Ohio Theatre in Cleveland atre with Michael Kahn and at the Chicago Shakespeare to a sold out audience. She is the crafter of the Cleveland Theatre directed by Brian Bedford. He has performed at Indians mascot”Slider” and other sports mascots. She the Huntington Theatre , NDSF, Great Lakes Theatre, the prides herself on the fact that her students get employ- Wilma and the Intiman Theatre among many others. He ment...like Christine Haag who is the key costumer for has an extensive film and TV resume and has recorded “Scandal”. over 30 radio plays RONN CAMPBELL is currently an Associate Professor JANE CHILDS Director of Stagecraft Institute of Las of Theatre at Columbia Basin College. He holds a M.F.A. Vegas and a theatre career assisting her husband Don in scenic and lighting design from Humboldt State Uni- on his scenic and lighting design projects, costuming, versity. Ronn has designed scenery, lighting and sound simultaneous French translation for Ladislav Vychodil, for many companies in the Northwest including Wash- and den mother to years of theatre students. Past VP - ington East Opera, CBC Summer Theatre, Columbia Development for USITT-SW. Studies at Indiana Univer- Basin Jazz Orchestra, Mid-Columbia Regional Ballet and sity, La Sorbonne, and University of Iowa. Jane shares her Idaho Repertory Theatre. Ronn has served as the Chair husband Don’s true passion for theatre and teaching and of DTM for KCACTF Region VII and the past Chair of his demand for integrity on a daily basis. the Northwest Section of USITT. He has received several JASON COALE is an Assistant Professor of Theatre awards for his design work and was awarded the Kenne- and Resident Scenic and Lighting Designer at Ashland dy Center Medallion in 2012. Ronn was recently elected University. In the past year alone, he has worked on KCACTF national executive board Member-at-Large. productions for STAGES (Missouri), Mount Baker Rep- VICTOR CAPECCE is an Associate Professor/Techni- ertory Theatre (Washington), Reduxion Theatre Com- cal Director at Millersville University. Besides teaching pany (Oklahoma), Mamai Theatre Company (Ohio), in a range of technical theatre courses,and set designing re- addition to 4 separate productions for the New Theatre gionally, he has operated his own faux finishing and mu- (Kansas), 4 separate productions at Ashland University, ral business (Renn-Art Associates*) since 1986. He also as well as two themed youth worship centers for Black helped create MU’s Entrepreneurship Minor and teaches Rock Congregational Church (Connecticut). Previous a course called “The Art of Entrepreneurship.” experience includes designs for theatres, theme parks, ROBIN CARR is an Associate Professor of Voice and television, and commercial photography. Check out his Acting in the Department of Theatre at the University of portfolio at www.JasonCoale.com. Southern Mississippi. She is currently President-Elect for ALLYSON CURRIN (Chair, NPP, Region 2) Play- the International Lessac Training and Research Institute. wright: THE REDNECK HOLY GRAIL (March-April, As one of only 53 Lessac Certified Voice and Body Train- 2014, The Welders), CAESAR AND DADA (WSC Avant ers in the world, Robin has recently taught master classes Bard), HERCULES IN RUSSIA (Doorway Arts Ensem- at Carnegie Mellon University’s School of Theatre; The ble), TREADWELL (American Century Theatre), UN-

KCACTF 2015 47 Cleveland State University Festival Presenters and Guests

LEASHED (The Kennedy Center), THE DANCING of…fill in the blank. PRINCESSES (Imagination Stage), BENCHED (Pinky GARY RAYMOND FRY, JR. is a native of Prince George’s Swear) LOVE AND WHISKEY, CHURCH OF THE County, Maryland and an active educator and artist of OPEN MIND* and THE SUBJECT (Charter Theatre), the performing arts in the Washington D.C. region. Gary LEARNING CURVES (WSC), AMSTEL IN TEL AVIV* is an Assistant Professor and the Academic Theatre Pro- and DANCING WITH OURSELVES (Source). *She gram Coordinator at Prince George’s Community Col- has twice been nominated for the Helen Hayes’ MacAr- lege in Largo, Maryland. Gary has been freelancing as a thur Award for Outstanding New Play. She is currently designer, technician, director, and production manager working on a new musical (with Matt Conner) for Tony in the theatre and entertainment technology industry Award-winning Signature Theatre and a new commis- since 1994. He is a long standing member of the Wash- sion for Cincinnati Playhouse. She is a proud member of ington D.C. based Madcap Players where he works as a SAG/AFTRA and Actors Equity, and a founding member resident designer and production manager. In addition of the playwrights’ collective, The Welders. She teaches at to his work with the Madcap Players, Gary has worked George Washington University. with, The Source Theatre Company, Project Y, H Street JEANETTE FARR is a playwright, producer and direc- Playhouse, Purchased Experiences Don’t Count, The tor of new plays, and holds an MFA in Theatre Arts with National Ballet Company, The P.G. Philharmonic Or- an emphasis in playwriting from the University of Neva- chestra, Cherry Red Productions, The I.A.T.S.E. Local 22 da, Las Vegas. Her plays have been produced both do- Education Fund, and others in the DC area. Gary holds mestically and abroad including the Edinburgh Festival a M.A. in Communication Arts from New York Institute Fringe in Scotland, Canada, Singapore, and Japan. Her of Technology, Old Westbury NY. work has been recognized by the Nevada Arts Council, BILL GILLETT heads the Theatre program at Carroll The Kennedy Center American College Theatre Festival, Community College, where he has directed over 20 and the Association for Theatre in Higher Education. productions. Bill received his bachelor’s degree from St. She is published through Dramatic Publishing, Smith & Mary’s College of Maryland and his master’s degree from Kraus, Original Works Publishing, and online through the University of Maryland. Bill is a member of Actors’ 10-minute-plays.com. An alumnus and guest artist of Equity Association and has worked as a freelance actor the Kennedy Center Summer Playwriting Intensive, and and director. Bill is a “Theatre Generalist” having been Tennessee Williams Scholar for the Sewanee Writers’ employed as director, actor, carpenter, electrician, set de- Conference, signer, lighting designer, properties designer, technical Jeanette of is a member of Lizardclaw Playwrights Col- director, company manager, educator, teaching artist and lective and is a features writer for the popular online director of outreach (and once he was the IT manager for E-zine, The Loop which reached over 3,000 playwrights. a professional theatre). MATT FOTIS is the author of “Long Form Improvisa- GREG GRIFFIN is an Assistant Professor of Theatre at tion & American Comedy: The Harold” and “The College The University of Findlay. He enjoys teaching and im- Improv Handbook” (Forthcoming). He teaches improv, plementing designs in the areas of Lighting, Sound, Pro- writing for performance, and acting at Albright College, jections, and Scenery. He is very active as a free-lance where he is the co-chair of the Theatre Department. He professional designer across the Midwest and is also ac- studied at iO Chicago and The Brave New Workshop, and tive with KCACTF both as a respondent for Regions 2 has been performing and teaching improvisation for over and 3, and as the Vice Chair of Design, Technology, & fifteen years. He’s also an award-winning playwright, di- Management. He is a current member of USITT, MATC, rector, actor, and solo-performer. The topper? He’s been and TCG. featured in Berks County Living. You read that right. JANICE L. GOLDBERG. Over 50 new plays directed, Berks. County. Living. I’ll give you a minute…Sink in? many genres, uptown and down in NYC, and regionally Yeah. from Alaska to Florida. Recent: These Shining Lives – SCOTT FRANK is a playwright and storyteller. His AdelphiUniversity. 10 Minute Play Slam- – Last Fron- play “Butter’s Goat” has been performed in New York, tier Theatre Conference. After Anne Frank – FringeNYC, London, and Pittsburgh, and he has also directed for Fringe Encores, Soho Playhouse, United Solo. Autumn the stage in those cities as well. The fourth in his cycle of Run – (co-author with Susan Bigelow), SUNY Suffolk. McKinley College Plays, The Spring Harvest, premiered The Rubber Room by Gary Garrison and Roland Tec, at Washington & Jefferson College this fall. His other as part of Artistic New Directions “Without A Net” se- plays in the cycle, The Pledge, The Book, and The Lamp ries. 25 performances. 25 actors. Never the same cast and the Beam are available for production. T. Scott is twice. Carl & Shelly, Best Friends Forever -Theatre 3 at the past regional chair of NPP and an inveterate collector the Mint. Jeffrey Sweet’s Flyovers, co-director, (w/Rich-

KCACTF 2015 Cleveland State University Festival Presenters and Guests ard Kind and Tony Award Winner Michele Pawk). That lic University: Swimming with Whales by Bob Bartlett, Dorothy Parker – SohoPlayhouse. Off Broadway: Rose Morning, Miranda by Stephen Spotswood. For the Ken- Colored Glass (co-author with Susan Bigelow), published nedy Center- Tom Isbell’s The Mostly True Adventures by Samuel French. Artistic Co-Director of Artistic New of Homer P. Figg (from the Newbery Honor book by Directions in NYC. Member: SDC, Dramatists Guild. Rodman Philbrick, Helen Hayes Award nomination for Janice leads audition workshops for students all over the Outstanding Production Theatre for Young Audiences), country, is a licensed New York City Tour Guide, can be Teddy Roosevelt and the Treasure of Ursa Major, Teddy seen as Barb, the wardrobe lady in Ghost Light, the Web- Roosevelt and the Ghostly Mistletoe (with songs by Mark series. www.JaniceLGoldberg.com www.artisticnewdi- Russell), Six Stories Tall by Marco Ramirez, Dreams in rections.org the Golden Country by Barbara Field, The Light of Ex- MOSES GOLDBERG spent twenty-five years as Pro- calibur by Norman Allen. He is artistic associate for New ducing Director of Stage One: The Louisville Children’s Works and Commissions for Kennedy Center Theatre for Theatre. He now works as a freelance director, teacher, Young Audiences and is director of the Kennedy Center/ and playwright. He has directed professionally at theatres Kenan Trust Performing Arts Fellowship Program. For from Washington to Florida, including - in 1988 - one of twelve years, he has curated and co-produced the Kenne- the first US/Soviet exchanges at Moscow’s famed Tagan- dy Center Page-to-Stage New Play Festival. He produces ka Theatre. Sixteen of his plays for young audiences have the annual MFA Playwrights’ Workshop at the Kennedy been published, as well as his most recent book TYA: Es- Center in association with NNPN and the National Cen- says on Theatre for Young Audiences. He has taught at ter for New Plays at Stanford University. Gregg has act- Florida State University and Southwest Texas State Uni- ed, directed, and/or staged the fights with the Colorado, versity and now serves as an adjunct faculty member at Iowa, Michigan, Oklahoma and Wisconsin Shakespeare McDaniel College. Festivals. He received his MFA in Acting from the Uni- ANJANETTE HALL is an adjunct professor of acting versity of Michigan and is formerly the director of the- at Baldwin Wallace University, and have have taught ad- atre and an associate professor at Iowa State University. junct Acting and Voice at Case Western Reserve Univer- He is proud to serve on the National New Play Network sity. I hold a BFA in Musical Theatre Performance from Ambassador Council, on the Board of Taffety Punk The- Western Michigan University (where I was nominated for atre Company, on the Welders’ Advisory Council, on the an Irene Ryan award twice:) and a MFA in Acting from National Advisory Board of the Literary Managers and Rutgers University, Mason Gross School of the Arts. I Dramaturgs of the Americas [LMDA], and is a member have been an AEA member, professional actress for over of the Dramatists Guild of America. 12 years, and work frequently in the Cleveland area. I will ALISHA HUBER Since earning her MFA in directing be playing Becky Shaw in Becky Shaw at Dobama Theatre from the American Shakespeare Center, Alisha Huber in March. I am a dedicated theatre educator who would has been working as a guest artist and occasional faculty love to participate! for Eastern Mennonite University, Bridgewater College, ADAM HEFFERNAN is chair of the Department of and Pigeon Creek Shakespeare (Grand Haven, MI). She Theatre & Dance at Baldwin Wallace University. Favor- is also the co-founder and artistic director of The Great ite directing credits include Henry IV Part One (Baldwin American Theater Company (Harrisonburg, VA). Wallace), Twelfth Night (Iowa State University), The Real JATHAN INNERARITY is a theater designer, artist, and Thing (Highlands Playhouse), and Fefu and Her Friends educator, best known as “Jay” to his colleagues and stu- (Drake University). Television appearances include One dents. Jay has designed and worked for Lycoming Col- Tree Hill (CW), Surface (NBC), and a year and a half on lege, the Hattiloo Theatre, the University of Memphis, All My Children (ABC). He received his M.F.A. from The Stephen F. Austin State University, as well as the Pacif- University of Tennessee, Knoxville, and apprenticed at ic Conservatory of the Performing Arts in California. Actors Theatre of Louisville. Favorite designs include Batboy: The Musical, The Gas GREGG HENRY (Artistic Director – KCACTF) Recent Heart, Threepenny Opera and serving as the Charge Art- productions: Theatre Alliance (2012) and Hub Theatre ist and Charge Sculptor for the University of Memphis’s (2011) Helen Pafumi and Jason Lott’s Wonderful Life, centennial production of The Phantom of the Opera. Jay Round House Theatre- Melanie Marnich’s A Sleeping is a member of the United States Institute for Theatre Country, WSC Avant Bard- Julie Jensen’s Two-Head- Technology. Visit his website at jathaninnerarity.com ed and Barbara Field’s adaptation of Scaramouche. He TERRY DANA JACHIMIAK II graduated with a BFA in directed the US Premieres of Girl in the Goldfish Bowl Technical Theatre from Longwood College in Farmville, by Morris Panych for Metro Stage and You Are Here VA and an MFA in Scene Design from Wayne State Uni- by Daniel MacIvor for Theatre Alliance. For Catho- versity in Detroit, MI. He has designed at Westminster

KCACTF 2015 49 Cleveland State University Festival Presenters and Guests

College (New Wilmington, PA), The Academy of Fine She was Associate MD for “Babes in Arms”, produced in Arts (Lynchburg, VA), Lynchburg College, Saint Mary’s conjunction with the American Musical Theatre Project College (South Bend, IN), Brevard College (Brevard, this fall. She teaches Musical Theatre Performance and NC), Wayne State University, Omaha Children’s Theatre Audition Repertoire classes at KSU and accompanies (Omaha, NE) and assistant designed at Illinois Shake- auditions, master classes and performances both at the speare Festival (Normal, IL). Terry has also worked in University and throughout the northeastern Ohio area. various roles at the Blue Ridge Summer Theatre Festival GEOFF KNOX has been a professional actor for over ten (Amherst, VA), Illinois Shakespeare Festival (Normal, years and a certified yoga instructor for 6. He has acted in IL), Notre Dame Shakespeare the Cleveland area at Great Lakes Theater, CSU Summer ELLEN E. JONES is the faculty scenic and lighting de- Stages, Dobama Theatre, Cleveland Public Theatre, and signer for Youngstown State University Department of others. He received his MFA from the FSU/Asolo Con- Theatre and Dance. She an alum of Indiana University servatory. He is a certified Budokon Yoga instructor as and a member of USA Local 829 (lighting designer, sce- well as a certified Dharma Yoga instructor. He has taught nic designer, and scenic artist). Introducing sustainabili- workshops in Shakespeare under Dr. Michael Mauldin at ty in theatre design and production to interested schools CSU Summer Stages, and was a regular substitute teacher and theatre companies has been a long term project. . Her for Andrei Malaev-Babel at the FSU/Asolo Conservato- book, A Practical Guide to Greener Theatre: Introduce ry. He will be teaching Advanced Acting/Shakespeare at Sustainability Into Your Productions published in De- Cleveland State University this Spring semester. cember 2013. She is also co-author of the USITT Light- LYNNE KOSCIELNIAK A lighting and set designer, ing Commission Lighting Portfolio Guidelines that will Lynne’s work has represented the US at the Prague Qua- be published in the Fall 2014 edition of TD&T. drennial of Stage Design and World Stage Design Expo- TERRI KENT is a member of Actor’s Equity Associa- sition. She has received an Emerging Designer Residency tion and the Stage Directors and Choreographers union. (Steppenwolf), a Joseph Jefferson Citation Nomination, She is also a member of the National Alliance for Musi- The Michael Merritt Scholarship for Excellence in De- cal Theatre. Terri is a Professor at Kent State University sign and Collaboration, and the UB Faculty Award for where she serves as head of the Musical Theatre Program Excellence in Mentoring Undergraduate Research and and Artistic Director of Porthouse Theatre. Her directing Creative Activity. Lynne holds an MFA in Stage Design credits include classics such as Brigadoon, West Side Sto- from Northwestern University and is a member of Unit- ry, Oklahoma!, as well as more contemporary pieces such ed Scenic Artists - Local 829. She is an Associate Profes- as Urinetown and Rent. Professor Kent’s main area of in- sor of Scenography at the University at Buffalo where she terest lies in reconceptualizing classic musical theatre fit chairs the Department of Theatre & Dance. www.lynne- into contemporary budgets and spaces. koscielniak.com KAREN KESSLER is a proud ensemble member of A OLA KRASZPULSKA is the Assistant Professor of Sce- Red Orchid Theatre in Chicago with whom she just took nic and Lighting Design at the State University of New the world premier play The Opponent to the Off-Broad- York in Oswego. She earned her BFA in Theatre Produc- way theatre 59E59 Theatre in New York. Also directed tion and Design at Marshall University, and her MFA in for Red Orchid: Solstice by Zinnie Harris, Pumpgirl by Scenic Design at Florida State University. Originally from Abbie Spallen, Blasted by Sarah Kane, Gagarin Way by Gdansk, Poland, Ola’s work often takes her abroad. She Gregory Burke and Mr. Kolpert by David Geiselman. has twice attended the prestigious Prague Quadrennial, Other directing credits include: Glengarry Glen Ross at and was part of the 2007 USITT Study Tour through Ser- the Northern Ensemble Theatre in Newcastle, England, bia, Croatia and Monte Negro. She most recently present- Hank Williams: The Lost Highway at the Clarence Brown ed her academic work at the IV International Conference Theatre in Knoxville, TN; Wrens for Rivendell Theatre; of American Drama and Theatre in Seville, Spain. Her and the US Premier of Roddy Doyle’s War for Seanachai recent designs include “Young Frankenstein” and “The Theatre. Karen also teaches directing at Ball State Uni- Rocky Horror Show” at SUNY Oswego, and “Bunnic- versity. ula- the Musical” with Footlight Players. Ola is also a JENNIFER KORECKI (Assistant Professor, Kent State KCACTF region 2 respondent. University School of Theatre and Dance), has music di- RALPH LEARY (Chair of ITJA) is a professor in the En- rected and accompanied numerous musical theatre pro- glish Department of Clarion University, where he teaches ductions. She was most recently seen at Porthouse The- modern and contemporary dramatic literature as well as atre as the Music Director for “Starmites” and was the Shakespeare. On occasion, he is allowed to take small MD for last summer’s “Fiddler on the Roof”. She is the roles in campus productions, especially when they need MD for the upcoming fall show at KSU, “Hot Mikado”. an old guy. He responds to regional productions, and in

KCACTF 2015 50 Cleveland State University Festival Presenters and Guests

2009 he was invited to the Kennedy Center as the Faculty as an adjunct professor at Niagara University, a teaching Fellow in Criticism. artist for Shakespeare in Delaware Park, and as a drama- DAVID LEE-PAINTER is honored to have had the op- turg for several theater companies in WNY. portunity to wear many hats in KCACTF over the years BRIAN MARSHALL (MTI Preliminary Round Selector) – and now serves as incoming National Chair. David Selected National Tours: Titanic, A Christmas Carol and has been a professor of Theatre at the University of Ida- Lois Lowrey’s The Giver. Regional: Forbidden Broadway ho since 1995. His absolute favorite role is sharing life SVU, Peter Pan: A Musical Adventure, Children of Eden, with his darlin’ wife and very best friend Nancy, four fur- 27 shows at Virginia Musical Theatre and 58 shows at ry critters, two very brave, compassionate and inspiring Mercury Summer Stock. Winner of 4 Best Actor awards daughters, and their amazing fellas, and teaching pas- for Seussical, The Secret Garden, Peter Pan: A Musical sionate and curious students. What a wonderful life! Adventure and Big River. He is the current Artistic Di- MICHAEL LEGG is the Director of the Apprentice/In- rector of BGSU’s Caryl Crane Youth Theatre and Man- tern Company at Actors Theatre of Louisville, where he’s aging Director of Mercury Summer Stock. Graduate of directed world-premieres of plays by A. Rey Pamatmat, Baldwin-Wallace University’s Musical Theatre program. Laura Jacqmin, Dan Dietz, Kyle John Schmidt, Mar- Masters in Arts Administration from The University of co Ramirez, Alison Moore, and many others. He also Akron. works as an educator and guest artist at several univer- JUDY MCCABE is a Costume Shop Supervisor at SUNY sities around the country. Before coming to Actors, he Oswego since the fall of 2002. Judy teaches Basic Cos- spent three years as a theatrical agent in New York and tume Construction and the practicum sections of a his former clients can still be seen on Broadway, in televi- variety theatre courses, Judy additionally co-instructs sion/film, and in regional theatres across the country. He an Advance Costume Construction class. She has pro- holds an M.F.A. in acting from the University of North fessionally worked as a master electrician, scenic artist, Carolina at Greensboro and is a proud member of Actors stage manager, designer, and of course any thing and ev- Equity. erything costumes. From the summer of 2003 -2011 Judy JULIE LEWIS is an Associate Professor and Theatre Co- was Director of Costuming for Sterling Renaissance Fes- ordinator at The Community College of Baltimore Coun- tival. Judy is an active respondent for region II American ty. As playwright and director, her plays have been pro- College Theatre Festivals (ACTF) and an active member duced in numerous theatres, predominantly in New York of both the Costume and Education Commissions for re- City and Baltimore. As activist, Julie is interested in mak- gion II of United States Institute of Theatre Technicians ing theatre that playfully and seriously interrogates our (USITT). Judy also is an active member of Association of current systems of political, social and literal oppression. Career Technical Education(ACTE), promoting the rec- SCOTT A. MACKENZIE: Chair of Region II is an As- ognition of costuming as vocational training starting at sociate Professor of Theatre and chair of the department high school level. of Communication Studies Theatre and Art at Pennsyl- PATRICK MCCREARY Patrick was lucky enough to be vania’s Westminster College, Dr. Mackenzie earned his one of the first half-dozen Design/Tech MFA candidates MFA in Acting at Michigan State University and Ph.D. at Mason Gross School of The Arts at Rutgers University. from Wayne State University in Detroit. He is an Associ- Meaning that he and his classmates got away with lots of ate Teacher of Fitzmaurice Voicework. His acting credits things they probably wouldn’t get away with today, but include film, television, and theatre. Directing credits that they had the chance to a lot of experimenting with include All My Sons, The Subject Was Roses, The Impor- artistic concepts, scenic techniques, and a general disre- tance of Being Earnest, The Laramie Project, The Baker gard for tradition. Patrick has (hopefully successfully) From Madrigal and Kiss Me, Kate. While on active duty carried on with that experimentation in his 42 years as with the U.S. Army Reserve, Scott directed Bigfoot Stole a Technical Director, the last 30 of which have been at My Wife, the first play produced by personnel working in Indiana University of Pennsylvania. He has recently de- Baghdad’s International Zone. cided to start sharing the results of those experiments, KATIE MALLINSON, the Graduate Program Adminis- for better or worse, to an audience that extends beyond trator for the University at Buffalo’s Department of The- his students. atre & Dance, received her MFA in Dramaturgy from the MARILOUISE “MEL” MICHEL has been at Clarion American Repertory Theater’s Institute for Advanced University since before most of this year’s participants Theater Training. In addition to her work at UB, Katie where a “twinkle in the eye.” An active and enthusiastic is the Director of Audience Development for Torn Space respondent for Region II, she is currently working on a Theater, and the dramaturg for Road Less Traveled Pro- book about the connection of yoga and acting, and re- ductions, both based in Buffalo, NY. She has also worked cently returned from teaching this to the students in the

KCACTF 2015 51 Cleveland State University Festival Presenters and Guests

St. Petersburg State Theatre Arts Academy Acting Studio side, California, where he is currently directing West Side of Sergei Tcherkasski in Russia. While on sabbatical last Story. Formally he was Producing Artistic Director for year, she wrote a play about her mother’s journey after Performance Riverside and the Director of Arts Admin- hurricane Katrina called “Three Old Ladies and a Cat” istration at Southern Utah University. He has also served which will have it’s first reading this spring. as the Associate Artistic Director for the Neil Simon Fes- TOM MILLER: Prior to joining the staff of Actors’ Eq- tival and Associate Managing Director for Illinois Shake- uity, Tom was an Actor for over 25 years, performing in speare Festival. Matt has degrees in Directing (M.F.A, National Tours, Regional Theatre, Off Broadway, with the Exeter; B.A., BYU) and Arts Management (M.B.A., Illi- Atlanta Ballet, Ballet Florida, Carl Radcliff Dance The- nois State). atre, at Opryland USA, and in Europe. He can be seen in TAMMY O’DONNELL is the Chair of the Communica- the documentary “Show Business – The Road To Broad- tion and Theatre Department at Prince George’s Commu- way” hosting a Broadway Gypsy Robe presentation. For nity College. She has a BA in English Secondary Educa- over a decade Tom served as a voter for the annual Tony tion with emphasis on Theatre from the State University Awards. Equity Member since 1983 of New York at Fredonia. She has an MS in Student Per- ELLE MORGAN has a BA in theatre from Westmin- sonnel Administration from the State University of New ster College, PA, and a Masters in Mass Communication York at Buffalo. She currently serves as the Coordinator from The U. of South Carolina. She has worked in the- for the KCACTF initiative, Next Steps. In another life, atre as a contemplative and personal/societal develoment she was a publicist on Long Island and worked with Neil tool for over 20 years. As the Director of The Elements of Simon, Marsha Mason, Mary Tyler Moore, President New Life Scripts, Elle leads retreats on a 30-acre prim- Carter, President Clinton, and Shirley MacLaine to name itive campground in Clearfield County PA. for at-risk a few. She is a writer, director, producer and most impor- youth, and people interested in expanding conciousness, tantly, a teacher of theatre to the next generation. and developing a healthy lifestyle through arts and nature DEBRA BERGSMA OTTE is a professor of design and immersion. Please go to newlifescripts.org for more info. Coordinator for the Production and Design Program at Thank you! Montclair State University. Her credits include design for JULIA MOTYKA is an actor, producer, and teacher with regional, Off-Broadway and university productions, tele- a national reputation and over a decade of professional vision, dance, puppet design for Henson Associates and experience. As an actor she has appeared Off-Broadway industrial work. She has served as Regional Chair and and in some of the nation’s top regional theatres receiv- Design Chair for KCACTF Region II, as the Member-at- ing awards in San Francisco, Denver, and LA. She has large for Design on the KCACTF National Committee also narrated scores of audiobooks and is on the roster and on the National Selection Team. She is the recipient at Audible and Brickshop Audio. As a producer her com- of two Kennedy Center Gold Medallions for her work pany, RGM, co-produced the Off-Broadway production in arts education. Her MFA is in Design for Stage and of Rooms: A Rock Romance, nominated in 2009 for Screen from Tisch School of the Arts (NYU). three OCC Awards. She is currently the Vice Chair of FABIO POLANCO Associate Professor of Acting and the board for SPACE on Ryder Farm. As an activist and Directing at Kent State University and 2013 recipient educator Julia has taught for organizations nationwide of Ashland University’s Taylor Excellence in Teaching and developed programming for The Trinity School, SF Award. Acting credits include the Broadway national tour Shakes, Marin Shakespeare Co, and the Hastings Youth of Les Miserables, Brooklyn Academy of Music, Berkeley Council (Hastings-on-Hudson, NY) and is currently the Repertory Theatre, Signature Theatre Company, McCa- Interim Director of Education for Bay Street Theater. She rter Theatre, O’Neill Theatre Center, Idaho Shakespeare has been a proud ASTEP volunteer since 2011. Festival, Repertory Theatre of St. Louis, Great Lakes BRENDAN NAYLOR is a Program Representative at The Theatre, Cleveland Play House, and Porthouse Theatre. National Theater Institute, part of the Tony Award-win- Directing credits include Night Train to Bolina, Measure ning Eugene O’Neill Theater Center in Connecticut. for Measure, Circle Mirror Transformation and Eliza- A freelance director in NYC, Brendan has worked on beth Swados’ Missionaries for which he was a finalist for Broadway, off and regionally directing classics, world Northern Ohio Live! Magazine’s Award of Achievement premiers, and assisting acclaimed directors on a number in Theatre. of works. A graduate of Syracuse University, Brendan BECKY PROPHET Prof. of Theatre, at Alfred Univer- also had the pleasure of training at the famed Moscow sity has acted, directed, and taught in numerous places Art Theatre School. in the U.S. A teaching artist, she served ASTEP in In- MATT NEVES is the KCACTF Region VIII Chair and dia. Working with new plays and developing directors Artistic Director of Riverside Repertory Theater in River- are passions. Becky enjoys working in a wide range of

KCACTF 2015 52 Cleveland State University Festival Presenters and Guests genres and styles: Edgy or politically motivated theater SETH SCHWARTZ holds a BFA in Theatre from Uni- is her preference. Having stepped aside from the Direct- versity of the Arts in Philadelphia. Seth has worked at nu- ing Institute in 2014 she is now Fringe Coordinator—is merous theaters between Washington, DC and Philadel- that an oxymoron? Becky creates quirky festivals for her phia including, Round House Theatre, The Shakespeare local community of Alfred, NY., including a Traffic Light Theatre, Olney Theater Center, Imagination Stage, The Festival and a beach party for a long-drained glacial lake. Shakespeare Factory, Hedgerow Theatre, 1812 Produc- P. GIBSON (TRISH) RALPH is Associate Professor and tions and the Folger Shakespeare Library. Currently Seth Chair, Department of Theatre and Music Studies at The is the Production Manager for Carroll Community Col- College at Brockport, State University of New York where lege where has overseen production and designed sound she serves as producer and scenic designer. As former for over 40 plays. regional section chair, she is on the executive commit- MICHAEL SHIRTZ (MTI Final Round Selector)A jazz tee of the Upstate New York Regional Section of USITT. singer/pianist, composer, and educator, Shirtz is the Lead The former Focus Group Representative of Design and Faculty and Assistant Professor of Commercial Music Technology, she now serves on the Governing Council & Voice at Terra State Community College in Fremont, of ATHE as Member at Large for Finance. She is the New Ohio. In addition to teaching, Michael is the conductor York and Western Pennsylvania Curcuit Coordinator for and religious life music coordinator for Lakeside Chau- Region II. tauqua, conductor for the Terra Choral Society & Cham- ANTHONY ROSAS is the full time Technical Director ber Arts Orchestra, and music director for the Sandusky and an Adjunct Faculty member for Towson University’s Repertory Theater Company at the Sandusky State The- Department of Theatre Arts. He holds a Bachelor’s degree atre. Previously he served on the faculty of the Conser- in Communication with a minor in Theatre Arts from vatory of Music at Capital University, American Music McDaniel College and completed his M.F.A. in Techni- Academy, and Jazz Arts Group. As a performing artist, cal Theatre at the University of North Carolina, Chapel Shirtz is managed by OCM Productions and presents Hill. He completed his M.B.A. at The University of Balti- jazz concerts and “American Songbook” tribute shows more/Towson University. He has worked at PlayMaker’s with his jazz group, the Michael Shirtz Quartet. Shirtz Repertory Company, American Dance Festival at Duke received a Bachelors of Music degree in Jazz & Contem- University, Baltimore Shakespeare Festival, Mobtown porary Studies from Capital University and Masters of Theatre, and Theatre on the Hill. Music in Conducting from California State University, NICHOLETTE ROUTHIER received her MFA in En- Los Angeles. semble Based Physical Theatre at Dell’Arte Internation- ANDREA SIMAKIS (Guest Critic) is an award winning al School of Physical Theatre in Blue Lake, CA in 2010. theater critic and theater journalist for the Cleveland She was the School Administrator and Faculty member Plain Dealer. Andrea received a Nieman Fellowship in at Dell’Arte International from 2010-2014. She is an ac- the Journalism program at Harvard and teaches creative tor-creator, dancer and acrobat, and she is currently on writing with emphases in journalism and arts criticism the staff at ReWild University in Menomonie, WI. at Case Western Reserve University in Cleveland. Judges JAMES SAVAGE, JR. is a Professional Actor and an commenting at the 2013 Press Club of Cleveland Excel- Adjunct Professor teaching a variety of classes in Act- lence in Journalism Awards, where Simakis won a first ing, Movement, Improvisation, and Public Speaking place honor for her profile of the head of a local music at Queensborough Community College, Borough of theater program, wrote: “Think theater is dull? Andrea Manhattan Community College, New York Film Acad- Simakis would like to have a word with you.” These qual- emy, and Kean University. He was one of three founding ification along with her commitment to theater will make members of Duel Theatre, an Off Off Broadway Compa- Andrea an ideal Guest Critic as ITJA continues to pro- ny which was located in NYC, and is the Founder and vide students with expertise and experience in different Teacher of Yo Qi TaiTM, a unique blend of Yoga, Qigong types of theater journalism. , and Tai Chi. He has an MFA in Acting from Penn State LAURA SMILEY is an Associate Professor of Theatre University, and is a Certified Chekhov Teacher through at Slippery Rock University Laura’s teaching focuses on the Great Lakes Michael Chekhov Consortium at Kent acting and directing. She is the Artistic and Executive Di- State. rector, as well as a founding member of Unseam’d Shake- MICHAEL SCHWARTZ teaches theater history, play- speare Company which just completed its 20th year of writing, and improvisation at Indiana University of productions. In addition to many roles with Unseam’d Pennsylvania. He has studied and taught at Philly Improv Shakespeare, Laura has performed for PPT, Starlight Pro- Theater, including workshops with Upright Citizens Bri- ductions, City Theatre, and her one-woman show, Build- gade’s Matt Besser and Impro author Keith Johnstone. ing. She has guest directed for Bloomsburg University and Indiana University of PA, as well as collaborations KCACTF 2015 53 Cleveland State University Festival Presenters and Guests with the City Theatre, and the Pittsburgh Chamber Mu- vate voice studio in Cleveland where most of her students sic Society, Living Images Arts in NYC and others…She are working in either musical theatre or opera across the has been involved as a respondent with KCACTF since country and in Cleveland. In July 2015, she starred as 1999 and has enjoyed every minute of it! She received an Norma Desmond in Sunset Boulevard with Cleveland’s MFA in Acting from the University of Pittsburgh and a Mercury Summer Stock. She holds a Masters Degree in BFA in Acting from the Catholic University of America. Voice Performance from University of Cincinnati Col- STEPHEN STROSNIDER is a BFA Acting graduate lege-Conservatory of Music and a Bachelors Degree from from Shenandoah Conservatory and is currently teach- DePaul University. More info at www.helentodd.com. ing acting at Carroll Community College. ANDY TRUSCOTT is this year’s Festival Manager, a MICHAEL SWANSON is director of theatre and dance role he also undertook in 2009 at the KCACTF at The and associate professor of theatre at Elizabethtown. Fa- University of the Arts. Andy is the Director of Marketing vorite productions as a director at the College include and Development at Delaware Theatre Company, Dela- Urinetown, Gint, Cabaret, The Memorandum, Lysis- ware’s only LORT Equity House. A 2009 West Chester trata, and A Dream Play. Michael has been involved in University Theatre Arts graduate, Andy has worked for KCACTF for more than twenty years. He was regional other Philadelphia based theatre companies such as Pig chair and festival host of KCACTF Region III -- the Great Iron Theatre Company, Act II Playhouse, and The Ren- Lakes states -- where was awarded the KCACTF Gold egade Company. Andy has a BA in Theatre Arts from Medallion for his longtime service. He has also been a West Chester University, an A.A. in Business Adminis- regional officer in Region VIII and in Region II, where tration, and an A.A.S. in Marketing. Andy is the 2009 he has co-coordinated the Irene Ryan Acting Scholarship co-recipient of the J.P. Adler Prize for Excellence in The- Auditions. Michael has directed new plays for the NPP atre, awarded by the Department Faculty to a graduating at KCACTF festivals in regions II, III, and VIII. Michael senior. earned a Ph. D. at The Ohio State University, an MFA in MR. SEAN J. URBANTKE is Assistant Professor of The- directing at Wayne State University, and a BA from Ham- atre for the Performing Arts Department, at Anne Arun- line University. He is an associate member of the Society del Community College, teaching courses in the areas of of Stage Directors and Choreographers. Theatrical Design and Technology, and Co-Advisor for DR. LARS TATOM spent the past six years in Region 2, the Theatre at AACC student organization. He received both as Head of Theatre at Anne Arundel College, and as his B.F.A. in theatre from Texas Christian University a regional KCACTF officer. He holds an MFA in Direct- and his M.F.A. in Scenic Design from the University of ing from UNC-Greensboro, and a PhD in Shakespeare Maryland College Park where he also worked as a design Direction from the University of Colorado. assistant to several professional designers. In his capaci- PROF. SERGEI TCHERKASSKI PHD, DSC is a the- ty as lead or assistant scenic designer, he has worked on atre director and Head of the Acting Studio at the St. over 70 productions in seven different states from Texas Petersburg Theatre Arts Academy, Russia. He is an in- to New York. ternationally known acting teacher and expert of the MARK WADE Artistic Director, Assistant Professor and Stanislavsky System. He has led workshops in 40 major Head of the Theater Arts Program at Arcadia University. theatre schools in 17 countries; has directed at RADA, Mark is a graduate of The Yale School of Drama in Act- NIDA, NTI, etc. His books include Stanislavsky and ing, and The Neighborhood Playhouse (where he stud- Yoga; Valentine Smyshlyaev – Actor, Director and Teach- ied with Sanford Meisner). Acting and directing credits er; Sulimov’s School of Directing. His PhD has been de- include work for The Westport Country Playhouse, The voted to an analysis of director education in Russian the- Long Wharf Theater, and Trinity Repertory Theater. He atre schools of the 20th century. His second dissertation spent five years as a creative consultant for Joanne Wood- (DSc) is Directing and Teaching of Richard Boleslavsky ward, and produced with her two television movies for and Lee Strasberg as an Experiment in the Stanislavsky the “Hallmark Hall of Fame.” Mark assisted director System’s Development. Lloyd Richards on the Hallmark Hall of Fame’s television HELEN TODD (MTI Final Selector) just returned from adaptation of The Piano Lesson by August Wilson. He singing the role of Turandot in Hong Kong’s Musica Viva directed the New York premiere of The Sirens by Dar- production of Turandot. She has performed leading roles rah Cloud. At Arcadia, Mark has directed The Laramie with such companies as New York City Opera, Minne- Project, Keely and Du, Hearsay (a world premiere written sota Opera, Arizona Opera and Canadian Opera Com- by Kathryn Petersen), The Love of the Nightingale, The pany of Toronto among many others. She also founded Wind in the Willows, Home (a regional finalist and re- her own summer opera company, Sugar Creek Opera, in cipient of multiple awards including Outstanding Direc- 2002 which is now in its 13th year. She maintains a pri- tion and Outstanding Ensemble Acting by the Kennedy

KCACTF 2015 54 Cleveland State University Festival Presenters and Guests

Center/American College Theatre Festival), an all-female atre for the dept of Visual and Performing Arts. She holds version of Shakespeare’s Julius Caesar, The Swing of the an MFA in Acting from The Chicago College of Perform- Sea (a world premiere written by Molly Hagan, an invited ing Arts at Roosevelt University and is a proud BFA Mu- production to the KCACTF’s regional festival and winner sical Theatre grad from Clarion (and a past KCACTF of the Harold and Mimi Steinberg National Playwriting participant). Award soon to be published by Samuel French). GRECHEN LYNNE WINGERTER is Instructor of The- CATHERINE WEIDNER is a teacher, professional di- atre at Bowling Green State University Firelands College rector and actor. She is the Chair of the Department of in Huron, OH. Prior to arriving at BGSU Firelands, she Theatre Arts at Ithaca College. She recently directed an was an adjunct instructor/guest director at Lycoming adaptation of Jane Austen’s Emma for Nebraska Reper- College in Williamsport, PA. Grechen has directed and tory Theatre; Taming of the Shrew, Titus Andronicus, stage managed for such theatres as Moscow Art Theatre and Merry Wives of Windsor for the Illinois Shakespeare (Too), Idaho Repertory Theatre, Idaho Shakespeare Fes- Festival; Two Gentlemen of Verona for Theatre at Mon- tival, Idaho Theatre for Youth, Illinois Shakespeare Festi- mouth in Maine; Or, at Caffeine Theatre in Chicago, and val, First Stage Milwaukee, Lifeline Theatre, Circle X The- a one-man version of Henry V in Austin, Texas for Rude atre Company, and Critical Mass Performance Group. Mechanicals/Red Then Productions. She holds a BFA Grechen was a recipient of the 2009 Kennedy Center in Acting from Ithaca College and an MFA in Directing American College Theatre Festival National Teaching from the University of Minnesota, and has also trained at Artist Grant, a 2008 KCACTF National Faculty Director Complicite in London, The Second City in Chicago and Mentor, and a 2007 SDC Student Director Fellowship. The Neighborhood Playhouse in New York. Grechen received her MFA in Directing from the Uni- DUSTEN WELCH is an award-winning fight choreog- versity of Idaho. rapher and Advanced Actor Combatant with the Society ELIZABETH VAN DEN BERG, Immediate Past Chair, of American Fight Directors (SAFD) with over 10 years Region 2 - As an actor she has toured the US with Oliver!, of stage combat experience. He has choreographed vio- and been seen on many Washington DC stages, includ- lence for more than 50 theatrical productions including ing Signature Theatre, Studio Theatre, the Kennedy Cen- at Great Lakes Theatre, Cleveland Shakespeare Festival, ter, and Synetic Theater. She works as a freelance dialect Cleveland Public Theatre, Baldwin Wallace University, coach in the DC metro area, where she has coached over Ashland University, and the Academy for the Perform- 50 productions. KCACTF named her a top teaching Art- ing Arts. Dusten is an adjunct professor of stage combat ist in 2005, and she received a Gold Medallion for her at Baldwin Wallace University, resident choreographer service to KCACTF in 2006. She is an Associate Professor and stage combat instructor for the Academy for the Per- and Chair of the Theatre Arts Department at McDaniel forming Arts, and a freelance fight director throughout College in Westminster, MD. A proud member of Actors’ northeastern Ohio. Equity Association, AFTRA and SAG, as well as VASTA LISA A. WILDE, Chair of Dramaturgy for KCACTF Re- (Voice and Speech Trainers Association) she is a graduate gion 2, is the Resident Dramaturg at Rep Stage in Co- of NYU’s Tisch School of the Arts Grad Acting lumbia, Maryland and the Director of Theatre at Howard program. Community College. She is a member of Literary Man- HEIDI WINTERS VOGEL has been a theater faculty agers and Dramaturgs of The Americas and she holds a member at Eastern Mennonite University for almost 9 doctorate in Dramaturgy and Dramatic Criticism from years. She received her MFA in Directing from Penn State the Yale School of Drama where she wrote her disserta- University and worked as a freelance director around the tion on female characters in Euripides. She has worked country before moving to EMU. Her college teaching ex- at Center Stage in Baltimore and Young Playwrights Inc perience includes Shenandoah University, Webster Uni- in New York; taught at Towson University, Goucher Col- versity, Washington University in St. Louis and St. Louis lege, and in the Johns Hopkins Odyssey program and University. She teaches acting, directing and social jus- been published in Ibsen News and Comment; Theater, tice theater and is the coordinator for KC/ACTF Region and Shaw. 2 Student Directing Institute. JOAN HART WILLARD is a Designated Linklater PEGGY YATES is a Performer, Director and an Associ- Teacher, Assistant Professor of Theater, SUNY Oswego, ate Professor of Speech and Theatre. She most recently Director, Dialect Coach as well as a professional actor appeared in Signature Theatre’s world premiere musical, (AEA). She has been teaching at the college level for over Crossing. She is a two time Helen Hayes nominated ac- 15 years. tor and has performed on television and stage interna- DREW LEIGH WILLIAMS is a faculty member at Clari- tionally and at regional theatres such as Ford’s Theatre, on University where she teaches Dance and Intro to The- The Kennedy Center, Arena Stage, Olney Theatre Center,

KCACTF 2015 55 Cleveland State University Festival Presenters and Guests

among others. She is a member of Screen Actors Guild and Actor’s Equity Association and holds a Master of Fine Arts from Catholic University. DAVID ZARKO was founding artistic director of The Metropolitan Playhouse of New York, 1991 through 2000 and producing artistic director of Scranton, Pennsylva- nia’s Electric Theatre Company until 2011. He has over 90 professional directing credits plus more than 50 in academic theatre. He has taught (and directed) at C.W. Post L.I.U., American Academy of Dramatic Arts, Marywood University, and others. He is also a produced playwright and sometimes actor. He is a member of The Dramatists Guild and Society of Stage Directors and Choreogra- phers.

KCACTF 2015 56 Cleveland State University recommended restaurants

4th Street Bar & Grill Ledger Bar East 4th Street, Cleveland, OH 2017 East 9th Street, Cleveland, OH 216-298-4070 216-239-1200

Bar Louie Moko Cafe 1352 West 6th Street, Cleveland, OH 1505 Euclid Avenue 216-452-5500 216-589-0194

Barley House Otto Moser’s 1261 West 6th Street, Cleveland, OH 1425 Euclid Avenue, Cleveland, OH 216-623-1700 216-771-3831

Bin216 Parnell’s Pub 1515 Euclid Avenue 1415 Euclid Avneue, Cleveland, OH 216-860-0530 216-862-8953

Cibreo Pickwick & Frolic Restaurant 1438 Euclid Avenue 2035 East 4th Street, Cleveland, OH 216-862-9212 216-241-7425

Cowell & Hubbard Phuel Cafe 1305 Euclid Avenue, Cleveland, OH 1350 Euclid Avenue 216-479-0555 216-795-5175

David’s Restaurant Rothschild Farms 1001 Lakeside Avenue East #100, Cleveland, OH 2033 E. 14th Street 216-696-8840 216-862-7557

District Subway (Playhouse Square) 1350 Euclid Avenue 1240 Huron Road E 216-858-1000 216-241-7827

Dynomite Burgers Sung’s House 1302 Euclid Avenue, Cleveland, OH 1507 Euclid Avenue, Cleveland, OH 216-298-4077 216-696-7655

Encore and Blue Bar The Spread Buffet at Horseshoe Casino 1260 Euclid Avenue, Cleveland, OH 100 Public Square, Cleveland, OH 216-615-3307 216-297-4777

Flannery’s Pub Urban Farmer 323 Prospect Avenue East, Cleveland, OH 1325 East 6th Street, Cleveland, OH 216-771-7707 Ken Stewart’s East Bank 1121 West 10th Street, Cleveland, OH 216-696-8400

Lago East Bank 1091 West 10th Street, Cleveland, OH 216-862-8065

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