Indiana University of Pennsylvania • January 2010 • 1 Kennedy Center American College Theater Festival region two festival forty-two January 2010 2 • Kennedy Center American College Theater Festival • Region 2

Parking Meters/Pay by Space Parking on campus is free during the Festival except for spaces marked “Reserved” and Indiana Theater and The Coney metered spaces along Grant Street between S. 600 Block, Philadelphia Street 11th St. and Oakland Avenue. Parking in handi- capped spaces or tow away/no parking zones without proper permits may result in ticketing and/or towing.

Two Blocks to Downtown Indiana/Philadelphia St.

P P Hadley Pizza Union Building House

Performing Arts Center Festival Central P P Taco Bell Romeo’s

Sheetz KFC Oakland Ave./ Giant Eagle Route 286 To Indiana Mall/ Sutton Hall Walmart Areas Blue Room P Gorell Recital Hall University Museum P

Commonplace Coffee P P

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P To Holiday Inn/Quality Inn Indiana University of Pennsylvania • January 2010 • 3

Table of Contents

Campus Map...... 2 IUP Department of Theater and Dance...... 3 Support...... 3 Welcome to Festival 42...... 4 Keynote Speaker: Bill Pullman...... 4 Invited Productions and Performance Times...... 5 General Information Registration and Information Desk...... 6 IUP Department of Hospitality...... 6 Theater and Dance Dining...... 6 Mission Statement Badges and Admission to Events...... 6 The Department of Theater and Dance is dedicated to both theater and Admission to Invited Productions...... 6 dance as collaborative and highly disciplined fine arts demanding an education that offers an extended view of the world as a part of a liberal Security/Emergencies...... 6 and humanistic education. Successful students develop an artistic sensi- bility and a disciplined work ethic, skills necessary in most endeavors. Transportation...... 6 The department is committed to: Parking...... 6 • Providing comprehensive course work, from introductory Computer Access...... 7 through advanced levels of study, in all major areas of theater and dance; Lost and Found...... 7 • Providing diverse production opportunities at all academic levels Late Nights @ the Festival...... 7 to develop students as artists by developing proficiency in one or more of the areas of playwriting, research, performance, and Master Schedule...... 8-9 production while stimulating the intellectual growth of both Workshops by Discipline...... 10-20 students and faculty; • Augmenting and complementing the cultural offerings of the Office Locations...... 13 university community; and Dramaturgy...... 20 • Establishing a work ethic of collaboration, personal discipline, and respect. O’Neill Critics Institute...... 21 Student Directing Insitute...... 21 National Playwriting Program...... 21 Support Stage Directors & Choreographers Scholarship Competition.....22 Theater at the Kennedy Center is presented Irene Ryan Scholarship Auditions Information...... 23 with the generous support of Design Exhibit Schedule...... 24 Stephen and Christine Schwarzman Festival Fringe ...... 24 The Kennedy Center American College Theater Volunteers and Guests...... 25 Festival is sponsored, in part, by the Participating Productions...... 25 Kennedy Center Corporate Fund Associate Productions...... 26 U.S. Department of Education KCACTF Staff and Coorindators...... 27 National Committee for the Performing Arts Presenter Profiles...... 28-34 Dr. Gerald and Paula McNichols Foundation 4 • Kennedy Center American College Theater Festival • Region 2 Welcome to Festival 42 Keynote Speaker Something Big, Something Brilliant, Bill Pullman Something Memorable Isn’t this what all of us want to be a part of or, in some way, achieve Wednesday • 12:30 p.m. during our lives? At this festival, you will find the community, the Fisher Auditorium, IUP Performing Arts Center spirit, and the passion that is the theater of today and the theater of Bill Pullman made his silver screen debut in the Danny DeVito-Bette tomorrow. It is here that you will be asked to look at yourselves, look at the work of others, and engage in conversation about your craft. Midler comedy Ruthless People in 1986. He followed that with lead roles Indiana University of Pennsylvania has graciously opened their doors in Spaceballs, The Serpent and the Rainbow, and The Accidental Tourist. to us to welcome our quest, engage our community, and support our With his All-American nice guy looks, Pullman was, for many years, cast self-reflection. Take advantage of this opportunity. Root for your friends in the Irene Ryan competitions, design exhibits, directing competitions. as a decent but ineffectual man who almost inevitably got dumped on by Hone your literary skills as a critic, a playwright, or a dramaturg. his significant other. This trend lasted until 1995 when Pullman starred View every production opportunity that comes your way including our opposite Sandra Bullock in the crowd-pleasing While You Were Sleeping. Invited Productions, our Fringe Shows, and our New Play Presentations. Leave here learning something new, doing something big, experiencing something memorable. It is yours for the taking. Born in rural Hornell, N.Y., on December 17, 1953, Pullman was the Engage! sixth of seven children. He grew up with an interest in construction work, and, after graduating from high school, he enrolled in a technical college Juliet Wunsch, Region II Festival Chair to pursue this interest. A random visit to a local drama club and subse- quent meeting with a drama teacher convinced Pullman that he wanted to Welcome to IUP perform on the stage rather than build it. He went on to earn a B.A. in the- A hearty “hello” from Indiana University of Pennsylvania! You are lo- cated at the geographic center of the “new” region II that includes our ater from the State University of New York at Oneonta. After attaining an friends in Ohio, West Virginia, and the northern part of Virginia. Our M.F.A. degree in directing from the University of Massachusetts at Am- doors are open and our winter fires burn brightly, welcoming the caffein- herst, Pullman joined a theater company and performed throughout South ated excitement of KCACTF’s 42nd celebration of excellence in theater. Dakota and Montana. He later took a IUP has placed her College of Fine Arts at the center of university life. job teaching drama at Montana State The recent renovations of the IUP Performing Arts Center and Cogswell Music Hall are a testament to the university’s commitment to the arts University, where he became chair- as a fundamental component of higher education. I am pleased to see man of the theater department. our Fine Arts campus brimming over with your excitement and passion for theater. Pullman then moved to New York to As the chairperson of the Department of Theater and Dance, I can tell further his stage career. He became you that IUP and our surrounding Indiana County are a worthy home to the visual and performing arts. It is a warm and hospitable place very active in regional theater and for a mid-winter festival celebration. Here you will make new friends, won acclaim for his work at such renew old acquaintances, and fire up your imaginations. I bid you a places as New York’s Lincoln Cen- memorable festival. ter and Washington, D.C.’s Folger Brian Jones, Chair Theatre. In 1985, he moved to Los IUP Department of Theater and Dance Angeles to pursue more theater work and the following year made his film debut in Ruthless People. Follow- Changes/Additions/Updates ing several other films, he was cast in 1992 in A League of Their Own, The schedule and other information in this program may have changed. Please check at the information/reg- followed by Singles, Sleepless in Seattle, Casper, Lost Highway, and as istration area in the PAC for the most current informa- the president in Independence Day. In addition to his work in front of tion. Also, regular updates as necessary will be posted the camera, Pullman began to work behind the scenes in 1995 when he through Twitter. founded his own production company, Big Town. On Twitter For the latest updates and to share ideas His television directing credits include the anthology series, Night Vi- and information ... sions, and the TNT movie, The Virginian (Wrangler Award/Best Picture, Offical Hash Tag: #kcactf2 2000). His theater acting work includes the Broadway world premiere of On Facebook Edward Albee’s The Goat (Drama Desk nomination) as well as produc- Search for “IUP Lively Arts” for major tions of new plays by Beth Henley (with Holly Hunter) and Thomas Babe postings. (with Tom Waits). He was also nominated for the Helen Hayes award for his work in the Kennedy Center production of The Subject Was Roses. Please refrain from the use of cell phones. including texting, during all performances and sessions. Indiana University of Pennsylvania • January 2010 • 5 Home By Samm-Art Williams Presented by: Arcadia University Directed by Mark Wade 8:30 p.m. • Thursday • Fisher Auditorium Response: 3:00-4:00 p.m., Friday Home is the story of Cephus Miles, a young farmer in fictitious Cross Roads, North Carolina, who is content to work the land until his life is turned upside down by his girlfriend’s sudden departure. The play is an exploration of the true meaning of “home” and wrestles with the notion that it may be far more challenging to cut ourselves free from our roots than we realize. (1 hr. 30 min.)

Love@1stPlight By Drew Aloe Presented by Washington and Jefferson College, NPP Directed by T.S. Frank 9:30a.m. and 4:30 p.m. • Friday • Waller Hall Mainstage Invited Productions Response: 2:00-3:00 p.m., Saturday What would happen if four college freshmen found themselves living A Year with Frog and Toad the plot of romantic comedy by William Shakespeare? The answer is By Willie and Robert Reale Love@1stPlight, a new play by Drew Aloe. This fast-paced romp is Presented by Indiana University of Pennsylvania a satire on the lives of college freshmen who fall in and out of love Directed by Rob Gretta faster than you can say, “It’s magical!” When the beautiful Flow hands 9:30 a.m. and 4:30 p.m. • Wednesday • Waller Hall Mainstage Michael a ball-point pen, he falls head over heels into a crazy kind of Response: 2:00-3:00 p.m., Thursday love that blows his friendships apart, cracks open his heart, and teaches him the value of the telling the truth, especially to yourself. (student A Year with Frog and Toad follows two great friends—the cheerful written) (1 hr. 45 min.) and popular Frog and the rather grumpy Toad—through four fun-filled seasons. Waking from hibernation in the spring, they proceed to plant gardens, swim, rake leaves, and go sledding. Along the way, they learn The Increased Difficulty of many of life’s lessons including a very important one about friendship Concentration and rejoicing in the attributes that make each of us different and special. By Vaclav Havel (1hr. 30 min.) Presented by Muhlenberg College Directed by James Peck A Comb and a Prayer Book: 12:30 p.m. • Friday • Fisher Auditorium A Survivor’s Story Response: 5:00-6:00 p.m., Friday Adapted for the stage by Pamela Hendrick The Increased Difficulty of Concentration is an absurdist farce by Va- Presented by Richard Stockton College of New Jersey, NPP clav Havel—playwright, activist, dissident, and former president of the Directed by Pamela R. Hendrick Czech Republic—set in the midst of the Prague Spring of 1968. Havel 12:30 p.m. • Wednesday • Fisher Auditorium portrays a day in the life of Dr. Eduard Huml, a social scientist who bal- Response: 5:00-6:00 p.m., Thursday ances a doting wife, sexy mistress and youthful secretary while trying to write an essay on the meaning of happiness. To add to the hijinks, A Comb and a Prayer Book: A Survivor’s Story is based on Elizabeth four scientists bombard Dr. Huml’s home in order to test him for human Blum Goldstein’s memoir. By the age of 19, she had survived six concen- uniqueness, using their intelligent, though fussy, machine, Puzuk. To tration camps; and after sixty years of silence, she opens her heart to her top it all off, Havel presents this fast-paced four door farce entirely out granddaughter Shana. What emerges is a moving and compelling chroni- of order. (1 hr. 35 min.) cle of courage, endurance, and survival. What you will see is the triumph of the human spirit rising above tremendous adversity. (1 hr. 40 min.) Shot! Miss Witherspoon Conceived by Kimmika Williams-Witherspoon, Eugene Martin, and Douglas C. Wager By Christopher Durang Presented by Temple University, NPP Presented by Keuka College Directed by Douglas C Wager Directed by Mark Wenderlich 8:30 p.m. • Friday • Fisher Auditorium 9:30 a.m. and 4:30 p.m. • Thursday • Waller Hall Mainstage Response: 3:00-4:00 p.m., Saturday Response: 2:00-3:00 p.m., Friday Shot! is a provocative, multimedia docudrama. What is the price of a Miss Witherspoon is the story of middle-aged Veronica, who commits sui- bullet? North Philadelphians may know all too well. Rioting in 1964 cide, and the Christian secularists who reincarnate her. With the help of inadvertently triggers a fatal bullet, ripping a hole in history, echoing Maryamma, a young Hindu woman, a female Jesus, and a wizard suspi- though the streets of our city, cutting down generations of those who ciously named Gandalf, Veronica must journey from here to eternity and stand, both innocent and guilty, in its terrible, destructive path. From back again to cleanse her brown tweedy aura and learn the necessity of the glory days of a once-thriving and prosperous integrated neighbor- reengaging with life. (1 hr. 35 min.) hood to the ruined apocalyptic “hood” of today; a poetic, personal the- atrical foray into the historic life, death and future resurrection of North Philadelphia. (2 hrs, 23 min.) 6 • Kennedy Center American College Theater Festival • Region 2 Widows for any production prior to curtain time, a waiting list will be started for that production. Any seats not filled ten minutes prior to curtain are sub- By Ariel Dorfman and Tony Kushner ject to reassignment to those on the waiting list. A waiting list will not be Presented by Alfred University started more than one hour before each production. To receive a ticket or Directed by Steve Crosby to be placed on a waiting list, you must show your Festival badge. 9:30 a.m. and 3:30 p.m. • Saturday • Waller Hall Mainstage Response: 7:00-8:00 p.m., Saturday Security Widows is a smoldering political allegory that dramatizes—in a semi- mythic way—the conflict that arises out of ruthless tactics used by op- Emergencies pressive governments in their attempts to stifle dissent and fundamental In case of extreme emergencies, medical or otherwise, always dial 911 human rights. Set in a small, war-torn South American village, entirely immediately. From a campus phone, dial 9-911. In case of urgent situa- populated by women and children due to the “forced disappearances” tions, please dial 724-357-2141 to reach the IUP Campus Police. of their men, Widows illustrates how social change can begin with one Blue-Light Emergency Phones individual who refuses to abandon her quest for justice, but not without There are 61 blue-light emergency phones, wall-mounted or freestand- a price. Struggle, pain, and tragedy go hand in hand with civil disobedi- ing, strategically located across campus. A bright blue light identifies ence; but ultimately, the voice of the people cannot be ignored. (2 hrs.) both styles. The phone is activated by simply opening the box on the wall mount and picking up the receiver and talking or pushing the red button Rent on the freestanding-style phone and talking. Once an emergency blue- By Jonathan Larson light phone is activated, a call is automatically made to the University Presented by Robert Morris University Police Dispatcher. The dispatcher will know the exact location of the Directed by Ken Gargaro phone, even if an individual is unable to speak. A police officer will be 12:30 p.m. • Saturday • Fisher Auditorium sent immediately to that location. Response: 5:00-6:00 p.m., Saturday Any injury or medical situation that does not require an ambulance or Rent is a period piece. Written in the late 1980s, Rent’s NYC setting is a emergency medical technicians should be taken immediately to the In- cauldron of poverty and disease. The country was in recession, and young diana Regional Medical Center (IRMC), 835 Hospital Road Indiana, Pa. people were dying of a feared and misunderstood plague: AIDS. Young University Police performers, even in the best of times, struggle to survive, but being an 724-357-2141. artist in the late 1980s in the East Village must have been daunting. Out All Festival participants are asked to wear (or have in their possession) of this struggle, like a phoenix, grew a romanticized idealism. (2 hrs.) their Festival badge while on campus. Escort Service While on campus, individuals are urged to practice personal security pre- General Information cautions and not to walk alone, especially during hours of darkness. When an escort is requested, every effort is made to accommodate the request. Registration and Information Desk To request the escort service, call University Police at 724-357-2141. The Registration and Information Desk will be located in the Performing Arts Center lobby Transportation Tuesday: 12:00-6:00 p.m. • Wednesday-Saturday: 9:00 a.m.-6:00 p.m. KCACTF bus shuttle schedules are posted in the lobby of Festival host hotels and on the campus information board in the lobby of the PAC. Hospitality KCACTF bus shuttles are available in the morning and evening, Wednes- Information regarding hospitality for VIPs and other special guests will day through Saturday. No buses will be provided on Tuesday. Many res- be provided to individuals in their “VIP Grab Bags.” If we have missed taurants and businesses are within walking distance from campus. you, please visit the Information Desk in the PAC Lobby. Local public transportation (INDIGO) schedules are available at the in- formation desk. Website: www.indigobus.com Dining Turbo Taxi: 724-465-8294 ; Available Monday through Saturday 8 a.m.- For those who purchased meal plans in advance, Foster Dining Hall is 4 a.m., Sunday 12 p.m. to 12 a.m. open for breakfast, lunch, and dinner (as per your meal plan previously purchased). Restaurants are also located around campus, downtown, and Red and White Taxi: 724-463-0270; Available by appointment in close proximity to hotels and campus. Please see the Festival informa- tion desk for a list or check at your hotel. Parking Parking is available on campus free of charge to everyone. All lots and adges and dmission to vents B A E paid spaces will be free during the KCACTF Festival. However, be aware Festival badges will be required for all events and participants are re- that you will be towed if you park in a space marked Reserved or any quired to have badges in their possession at all times during Festival other specially marked reserved or handicapped space without the proper activities. If you lose your badge or it is damaged, please report to the permits. See your campus map for lots and entrances. Information Desk in the lobby of the PAC. A $5.00 replacement will be charged (cash only). Ticket Warning: The meters along Grant Street between Sprowls and Fos- ter Dining Halls are not campus meters and, therefore, are not free. People Entry to all events is on a first-come-first-served basis, and seating is by parking there are likely to be ticketed by the Indiana Parking Authority. general admission. It is highly encouraged to arrive at least 20 minutes th prior to the event start time, especially for ticketed events. Tow Warning: The chained off area of 11 Street behind the Performing Arts Center (Fisher and Waller Hall) is for the loading trucks of the invited productions only. Any unauthorized vehicles will be towed. Admission to Invited Productions For downtown events, there is paid parking available in the parking ga- Tickets will be distributed on a first-come-first-served basis starting one rage located on Water Street between 6th and 7th streets. Metered street hour prior to curtain time for Waller Hall productions and two hours prior parking is also available, enforced Monday through Saturday between to curtain for Fisher Auditorium productions. If all seats are distributed the hours of 8:00 a.m. and 7:00 p.m. Indiana University of Pennsylvania • January 2010 • 7 Computer Access For VIPS and Festival Faculty/Staff Late Nights @ the Festival A maximum of one account per person will be assigned by local host, Brian Jones, as needed at registration. Each person assigned an account Wednesday: Downtown will sign for their unique username and are personally responsible for it. A package will be issued to explain how to configure a wireless connec- 10:00 p.m. • Welcome Party at the Coney tion using the account information given. A maximum of 100 accounts Bar and Restaurant (including 21 and under) are available. 642 Philadelphia Street, Downtown Indiana Sprowls Hall Lab, General Access 10:30 p.m.-12:30 a.m. • Comedy at Indiana Theater Internet, Computers, Printing Comedy with The Company and The Troupe Sprowls Hall Lab will be available for general use Monday, January 11, Indiana Theater, 637 Philadelphia Street through Friday January 15, from 5:00-8:00 p.m. There will be a proctor for the computer lab to assist with access. There are 13 Macs and 7 PCs Thursday: On Campus available in this lab. 10:15 p.m.-12:30 a.m.• DJ and Dancing Stapleton Library, General Access Memorial Field House Auxiliary Gym Internet, Computer, Printing 10:30 p.m.-12:30 a.m. • Fringe Challenge Anyone can use Library computers using our public account information Zink Hall Gym B which is posted in the Library. There will be a proctor for the Library to assist with access. Hours are Monday, January 11, through Friday Janu- ary 15, from 8:00 a.m.–4:30 p.m. The Library will be closed Saturday. Friday: On Campus 11:15 p.m. • Live Swing Band Night Printing Memorial Field House Auxiliary Gym A print card will be provided to the proctors for the Library and Sprowls A dress-up, decked-out affair Lab for printing within these venues. This does not apply to the wireless accounts assigned through the Festival . 11:30 p.m.-1:30 a.m. • Fringe Challenge Zink Hall Gym B Lost and Found aturday owntown All lost items should be turned in to the Information Desk in the PAC S : D Lobby. If you are missing anything, please check there first. If the item is 10:30 p.m. • At the Coney: The Last Hurrah! not there, please leave your name, phone number, and a brief description Bar and Restaurant (including 21 and under) of the lost item in case someone turns it in. 642 Philadelphia Street, Downtown Indiana

Indiana’s Irish Pub

642 Philadelphia Street | 724-465-8082 | www.theconey.com 8 • Kennedy Center American College Theater Festival • Region 2

5 pm 6 pm Show Response to Comb Cogswell Hall 102 Master Schedule (check at information desk for changes) and a Prayer Book Tuesday, January 12 5 pm 8 pm Tape Gorell Recital Hall

12 pm 6 pm All Area Registration Open PAC Lobby 8:30 pm Cast Posted/NPP productions Cogswell Hall 120

4 pm 5 pm Cold Reading Workshop Cogswell Hall 120 9 pm 10 pm NPP Casts Meet: SMs, Cogswell Hall 120 directors, playwrights 4 pm 7 pm Stage Management Waller Hall B14 Interviews 10 pm Late Night: Welcome Party Downtown: The Coney 5 pm 6 pm Cold Reading Workshop Cogswell Hall 120 10:30 pm 12:30 am The Company and The Downtown: Indiana 7 pm 8 pm NPP Playwright Meet & Greet Cogswell Hall 120 Troupe Performance Theater 8:30 pm 9:30 pm Opening Ceremony Fisher Auditorium Thursday, January 14

9:30 pm 10:30 pm Irene Ryan Auditions Fisher Auditorium 8:30 am 9:20 am Start Your Day With Yoga PAC Rehearsal Studio Mandatory Meeting 9:30 am 10:20 am Thumbnail Sketching Sprowls Hall 211 9:30 pm 10:30 pm DI & SDC Meeting Waller Studio Theater 9:30 am 10:20 am Alignment for Character PAC Rehearsal Studio 9:30 pm 10:30 pm Guerrilla Dramaturgy Meeting Waller Hall B- 11 9:30 am 11:30 am O’Neill Critics Institute, #2 Waller Hall B12 9:30 pm 10:30 pm Meeting: All Fringe PAC Rehearsal Studio Participants 9:30 am 10:30 am SDI Workshop Waller Studio Theater

9:30 pm 10:30 pm Design, Tech, Management Cogswell Hall 121 9:30 am 11:30 am Commedia for the Modern Kipp Gallery Sprowls Actor Hall Wednesday, January 13 9:30 am 11:05 am Miss Witherspoon Waller Hall Mainstage 9 am 6 pm Ryan Auditions, Preliminary Zink Hall Round and Responses 9:30 am 10:20 am Stage Management #2 Sprowls Hall 229

9 am 10 am NPP Director/Playwright Cogswell Hall Jazz 9:30 am 10:20 am Paperwork for Lighting Sprowls Hall 118 meetings 116 9:30 am 10:20 am Directing: Movement for Waller Hall Multi- 9:30 am 10:20 am Safety: OSHA Sprowls Hall 118 Directors and Actors purpose Room

9:30 am 10:20 am Stage Management #1 Sprowls Hall 229 9:30 am 11:30 am It’s in the Text: Unlocking Cogswell Hall 126 Shakespeare 9:30 am 10:20 am Quick Change Choreography Fisher Dressing Room 2nd Floor 9:30 am 11:30 am LED Tech and High End Cogswell Hall 116 Control Systems 9:30 am 10:30 am SDI Workshop Waller Hall Studio Theater 9:30 am 11:30 am Unarmed Stage Combat Zink Gym B

9:30 am 11 am A Year With Frog and Toad Waller Hall Mainstage 10:30 am 11:30 am Storytelling Sprowls Hall 209

9:30 am 11 am Aesthetic and Technical Sprowls Hall 211 10:30 am 11:30 am Moving Scenery and Sprowls Hall 213 Contracts in Lighting Automation

9:30 am 11:30 am The Play is…Text to Image Sprowls Hall 209 10:30 am 11:30 am Costuming at American Sprowls Hall 211 Shakespeare Center 10 am 11 am Guerrilla Dramaturgs Meeting Cogswell Hall 120 10:30 am 12:20 pm ETC Sprowls, McVitty 10 am 11:30 am Scenic Respondent Cogswell Hall 121 Roundtable 12:30 pm 1:30 pm Keynote: Bill Pullman Fisher Auditorium

10:30 am 11:30 am Sentence Concept Sprowls Hall 118 1:30 pm Following Keynote: Ryan Fisher Auditorium Statements Auditions Semi-Finalists

10:30 am 11:30 am Theater in Education: A Sprowls Hall 213 2 pm 2:50 pm RoadHog Lighting Consoles Waller Hall Mainstage Foundation 2 pm 3 pm A Year With Frog and Toad Sprowls Hall 118 10:30 am 11:30 am Response Training Workshop Waller Hall Show Response Session #1 Conference Room 2 pm 4 pm O’Neill Critics Institute, Waller Hall B12 10:30 am 11 am NPP Audition Pre-Meeting Cogswell Hall 120 Session #3

11 am 2 pm NPP Auditions Cogswell Hall 120 3 pm 5 pm Baby with the Bathwater Gorell Recital Hall

12:30 pm 2:10 pm A Comb and a Prayer Book Fisher Auditorium 3:30 pm 5:30 pm From Improvisation to Kipp Gallery Sprowls Character Movement Hall 2:30 pm 3:20 pm Stressed Skin Decking Waller Hall Scene Studio 3:30 pm 4:20 pm Faculty Roundtable: Sprowls Hall 229 Selecting a Season 2:30 pm 5 pm O’Neill Critics Institute, #1 Waller Hall B12 3:30 pm 4:20 pm Costume Touring Sprowls Hall 213 3:30 pm 4:20 pm Costume Design Sprowls Hall 211 3:30 pm 5:30 pm Collaborative Play Making Sprowls Hall 209 3:30 pm 4:20 pm Releasing Your Creativity Sprowls Hall 213 3:30 pm 5:30 pm Mining the Script for Visual Sprowls Hall 3:30 pm 5:30 pm Theater Games Sprowls Hall Kipp Metaphor Computer Lab Gallery 3:30 pm 5:30 pm I’m the Singing Actor... Cogswell Hall 126 3:30 pm 5:30 pm Acting Awake PAC Rehearsal Studio 3:30 pm 5:30 pm Speak the Speech Cogswell Hall 116 3:30 pm 5:30 pm Introduction to Fitzmaurice University Museum, Voicework Sutton Hall 3:30 pm 5:30 pm Auditioning for Professional Zink Classroom 203 Theater 3:30 pm 5:20 pm Strategies/Improving Musical Cogswell Hall 126 Theater Vocal 3:30 pm 5:30 pm Zen of Improvisation: PAC Rehearsal Studio Permission to Play 3:30 pm 5:30 pm F#!k y*u…pause: Staging Sprowls Hall 118 Rhythm in Modern Drama 4:30 pm 5:30 pm The Business of the Acting Sprowls Hall McVitty Business Auditorium 3:30 pm 5:30 pm Non-Drama Acting Jobs Cogswell Hall 301 4:30 pm 5:30 pm When Your Monologue Isn’t Cogswell Hall 120 3:30 pm 5:30 pm Speak the Speech Cogswell Hall 303 Asked For...

3:30 pm 5:30 pm Art Matters Sprowls Hall 209 4:30 pm 5:30 pm Costume Rendering Sprowls Hall 211

4:30 pm 5:30 pm Freedom in Auditioning Cogswell Hall 126 4:30 pm 6:05 pm Miss Witherspoon Waller Hall Mainstage

4:30 pm 6 pm A Year With Frog and Toad Waller Hall Mainstage 5 pm 6:30 pm Fringe Open Mic Gorell Recital Hall Indiana University of Pennsylvania • January 2010 • 9

7:45 pm 8:15 pm Costume Parade Preliminary PAC Upper Lobby & 4:30 pm 6:15 pm Love@1stPlight Waller Mainstage Round #1 Rehearsal Studio 5 pm 7:30 pm Tech Olympics Cogswell Hall 126 8:30 pm 10 pm Home Fisher Auditorium 4:30 pm 5:30 pm The Song is Still the Scene... Cogswell Hall 203 10:15 pm 12:30 am Fringe Challenge Zink Gym B 5:30 pm 6:45 pm Don’t Be That Guy Sprowls McVitty 10:30 pm 12:30 am Late Night Event: DJ Fieldhouse Aux Gym 5 pm 6 pm Response to Increased Cogswell Hall 116 Friday, January 15 Difficulty of Concentration

8:30 am 12:30 pm Irene Ryan Auditions Semi- Zink Hall Dance 6 pm 8:30 pm Fringe: The Verve Gorell Recital Hall Finals Theater 7:45 pm 8:15 pm Costume Parade Preliminary PAC Upper Lobby & 9:30 am 12 pm O’Neill Critics Institute, #4 Waller Hall B12 Round #2 Rehearsal Studio

9:30 am 12 pm Invited Scenes Gorell Recital Hall 8:30 pm 11 pm Shot! Fisher Auditorium

9:30 am 11:15 pm Love@1stPlight Waller Hall Mainstage 11:15 pm Late Night Event: Live Swing Memorial Field House Band Aux. Gym 9:30 am 10:20 am Stage Management #3 Sprowls Hall 209 11:30 pm 12:30 am Fringe Challenge Zink Gym B 9:30 am 10:20 am Hosting ACTF Waller Conference Saturday, January 16 9:30 am 10:20 am Playwrighting History: Cogswell Hall 102 Plays...Pop Culture 8:30 am 9:20 am Start Your Day With Yoga PAC Reh. Studio

9:30 am 10:30 am SDI Workshop Waller Hall Studio 9 am 12 pm Irene Ryan Auditions Finals Zink Hall Dance Theater 9:30 am 10:20 am Suzuki Methodologies for Cogswell Hall 116 Directors and Actors 9:30 am 11:30 am Building a Physical Character Cogswell Hallm126

9:30 am 11:30 pm Yoga for Actors PAC Reh. Studio 9:30 am 12 pm O’Neill Critics Institute, #6 Waller Hall B12

9:30 am 11:30 am Shakespeare’s First Folio: an Sprowls Hall 118 9 am 10 am NPP Roundtable: ... Salient Cogswell Hall 102 Actor’s Resource Issues

9:30 am 11:30 am Get movement skills…Via the Cogswell Hall 201 9:30 am 10:30 am SDI Workshop Waller Hall Studio Internet Theater

9:30 am 10:20 am Building a Performing Arts Sprowls Hall 213 9:30 am 11:30 am SFX Waller Hall B14 Center... 9:30 am 11:30 am Widows Waller Hall Mainstage 10:30 am 11:30 am Playwrighting Retreat Cogswell Hall 102 10 am 12 pm Responses to Dramaturgy Cogswell Hall 121 10:30 am 12:15 pm Design Bash Sprowls McVitty Initiative Entries

10:30 am 11:30 pm Creative Approaches to Cogswell Hall 301 9:30 am 11:30 am USITT Workshop Sprowls Hall 211 Teaching Theater History 10 am 12:30 pm Tomorrow and Tomorrow and Cogswell Hall 116 10:30 am 11:30 am Every Song is a Monologue... Sprowls Hall Kipp Tomorrow Gallery 10:30 am 11:30 am Seeking the Sign for the Cry... PAC Rehearsal Studio 10:30 am 11:30 am Role of Actors’ Equity... Cogswell Hall 201 10:30 am 11:30 am Supercharging Character Waller Hall Multi- 10:30 am 12:20 pm Draping and Patterning Waller Costume Shop Work...Research purpose Room

11:30 am 12:20 pm AutoCAD Waller Hall B14 11 am 12 am Exhibit Closing Reception Cogswell Hall 121

12:30 pm 2:05 pm The Increased Difficulty of Fisher Auditorium 12:30 am 2:30 pm Rent Fisher Auditorium Concentration 12:30 am 5:30 pm Reading of Full-Length Cogswell Hall 120 2 pm 4 pm Response Training Workshop Cogswell Hall 116 Plays... Session #2 2 pm 3 pm Show Response to Cogswell Hall 203 2 pm 3 pm Show Response to Miss Cogswell Hall 116 Love@1stPlight Witherspoon 3 pm 5 pm Irene Ryan Auditions Final Gorell Recital Hall, 3 pm 4:30 pm The Embalmer Waller Studio Theater Responses Sutton Hall

3 pm 6 pm Two One-Act Readings Cogswell Hall 120 3 pm 4 pm Show Response to Shot! Cogswell Hall 201

3 pm 7 pm Irene Ryan Auditions Semi- Zink Hall Dance 3:30 pm 4:20 pm Faculty Roundtable: The Sprowls Hall 229 Finals Responses Theater Role...Response

7 pm 9:30 pm Irene Ryan Auditions Finalist Zink Hall Dance 3:30 am 4:20 pm Casting... Cogswell Hall 203 Orientation and Rehearsal Theater 3:30 pm 4:20 pm Director/Designer Sprowls Hall 118 2:30 pm 4:30 pm O’Neill Critics Institute, #5 Waller Hall B12 Collaboration

3:30 pm 4:30 pm Show Response to Home Cogswell Hall 201 3:30 pm 5:30 pm Making and Feeling Waller Hall Multi- Connections... purpose Room 3:30 pm 4:20 pm Faculty Roundtable: ... Sprowls Hall 229 Curriculum 3:30 pm 5:30 pm Widows Waller Hall Mainstage

3:30 pm 4:20 pm Automated Light Mechanics Waller Hall Scene 3:30 pm 4:20 pm Strategies/Improving Musical Cogswell Hall 126 Studio Theater Vocal Technique

3:30 pm 4:20 pm Action Analysis—Directors Cogswell Hall 203 4:30 pm 5:30 pm Honing Your Skills as a Sprowls Hall 229 Respondent 3:30 pm 4:20 pm How to Dramaturg Your Cogswell Hall 102 Theater Major 4:30 pm 5:30 pm Physicalizing Shakespeare’s PAC Rehearsal Studio Text: Get It Into Your Body 3:30 pm 5:30 pm Non-Drama Acting Jobs Cogswell Hall 301 5 pm 6 pm Show Response to Rent Cogswell Hall 102 3:30 pm 5:30 pm Physical Theater Explosion University Museum, Sutton Hall 6:30 pm 8 pm Ten-Minute Play Public Waller Hall Mainstage Readings 3:30 pm 5:30 pm It’s in the Text: Unlocking Kipp Gallery Sprowls Shakespeare Hall 7 pm 8 pm Show Response to Widows Cogswell Hall 102

3:30 pm 5:30 pm You want me to do WHAT? Sprowls Hall 118 8:300 pm 10:30 pm Closing Ceremonies Fisher Auditorium With WHOM? … 10:30 pm Closing Night Party: Last The Coney, Downtown 3:30 pm 5:30 pm Acting Awake PAC Reh. Studio Hurrah! Indiana

3:30 pm 5:30 pm The 411 on Grant Writing Sprowls Hall 213 Updates/corrections at Information Desk in PAC and Twitter: #kcactf2 10 • Kennedy Center American College Theater Festival • Region 2 The Song Is Still the Scene; but the Music or the Scene Isn’t Over Directing, Theater Making ‘til the Fat Lady Sings! Fri. 4:30-5:30 p.m. • Cogswell Hall 203 Wednesday, January 13 Directing The Play Is…Text to Image Presented by Michael O’Steen Wed. 9:30-11:30 a.m. • Sprowls 209 The workshop recreates the environment of a Broadway rehearsal with Directing the students and the instructor working as co-directors. Participants will Presented by Becky Prophet examine the musical scene’s structure and story into space and time in- Open to all festival participants, this workshop explores the manner in vestigate the director’s use of dynamics, tempo, and rhythm from the which the essence of language chosen by a playwright guides the choices beginning of the scene through the transition to song, then to dance, and for finding central images, creating characters, and movement patterns. on to the conclusion of the scene. We will also explore the natural em- Exploring rhythms, images, and feelings through meaning, specific word ployment of Stanslavski’s notion of objective within the musical scene. choices and phrases are at the center of this workshop. Saturday, January 16 F#!k y*u … pause: Staging Rhythm in Modern Drama Supercharging Character Work with Personality Dimensions Research Wed. 3:30-5:30 p.m. • Sprowls 118 nd Directing Sat. 10:30-11:30 a.m. • Waller Hall Multi-purpose Room, 2 fl. Presented by David Schuler Performance and Directing This workshop is an exploration of the specific rhythmic challenges Presented by Joseph Fahey found in the plays of Shepard, Mamet, and Pinter. Participants will work Personality Dimensions Research in Psychology—especially the “Big on short scenes discovering not only how the textual demands suggest Five” Personality Dimensions Model and published reactions to this verbal choices for timing, pace, rhythm, and tempo but also how those mode—offers an exciting exploratory tool for actors who wish to develop textual choices translate into rhythmic physical possibilities of behavior, characters that move beyond the actor’s own predispositions. The work- movement, and blocking. sheet and exercises offered in this session will allow actors and directors to structure their exploration of this technique and will point participants toward additional resources in this area. This approach can be especially Thursday, January 14 useful for actors and directors who want to breathe new life in stagnating Movement for Directors and Actors scenes and audition material, for actors to conduct a self-directed explo- Thurs. 9:30-10:20 a.m. • Waller Hall Multi-purpose Room ration of their approach, and for directors who seek a clearer actor-cen- Directing amd Theater Making tered vocabulary to assist them in their work. Several participants with Presented by J. Stanley prepared audition material will be selected at the start of the workshop session to demonstrate the technique with the facilitator. Collaborative Playmaking Thurs. 3:30-5:30 p.m. • Sprowls 209 Casting: A Practical Workshop Directing and Playwrighting Sat. 3:30-4:20 p.m. • Cogswell Hall 203 Presented by Eve Muson Directing and Performance As theater artists, we are often asked to adapt material for the stage or Presented by Mark Wenderlich make new pieces for the ensemble. But how do we begin? Using non-ver- This will be an auditioning workshop where actors ‘audition’ and direc- bal images and poetry as sources for inspiration, this workshop is an on- tors ‘cast.’ Come with prepared material. your-feet, collaborative exploration in theater making. Actors, directors, and playwrights will be guided through a sequence of ensemble and indi- Director/Designer Collaboration vidual exercises resulting in the creation of scenarios, characters, mono- Sat. 3:30-4:20 p.m. • Sprowls Hall 118 logues, and dialogues. Please bring writing materials to the workshop. Directing and Design Presented by Debra Otte and Lars Tatom Mining the Script for Visual Metaphor Thurs. 3:30-5:30 p.m. • Sprowls Computer Lab, 1st Floor Directing Presented by Debra Otte and Robyn Quick Move beyond the obvious into discovery of those visuals embedded and Dramaturgy, implied in scripts. This session will be a primer in abstracting visuals from written material. Playwrighting, Criticism

Friday, January 15 Tuesday, January 12 Suzuki Methods for Directors and Actors NPP Playwright Meet and Greet Fri. 9:30-10:20 a.m. • Cogswell Hall Jazz 116 Tues. 7:00-8:00 p.m. • Cogswell Hall Choral 120 Directing Playwrighting Presented by McCabe Presented by Ruth Childs and Scott Frank

Action Analysis for Directors Guerilla Dramaturgy Orientation Fri. 3:30-4:20 p.m. • Cogswell Hall 203 Tues. 9:30-10:30 p.m. • Waller Hall Conference Room B11 Directing Dramaturgy Presented by Nathan Thomas Presented by Robyn Quick A hands-on demonstration of the use of Stanislavski’s Active Analysis Students may gain hands-on experience in production dramaturgy dur- for directors. ing the Festival by serving as guerilla dramaturgs. This session will help students learn more about the exciting work of the dramaturg and prepare them to participate in the new play development process as guerilla dramaturgs. Indiana University of Pennsylvania • January 2010 • 11 Wednesday, January 13 NPP Cast Lists Posted Wed. 8:30 p.m. • Cogswell Hall Choral 120 NPP Ten-Minute, One-Act, Full-Length Director/Playwrighters’ Playwrighting Meeting Wed. 9:00-10:00 a.m. • Cogswell Hall Jazz 116 NPP Casts Meet with SMs, Directors, and Writers Playwrighting Wed. 9:00-10:00 p.m. • Cogswell Hall Choral Room 120 Guerilla Dramaturgs Meet with Playwrights and Directors Wed. 10:00-11:00 a.m. • Cogswell Hall Jazz 116 Thursday, January 14 Dramaturgy O’Neill Critics Institute, Session #2 Thurs. 9:30-11:30 a.m. • Waller Hall Classroom B12 NPP Auditions Criticism Wed. 11:00 a.m.-2:00 p.m. • Cogswell Hall Choral 120 Playwrighting Storytelling: Writing with Your Voice Thurs. 10:30-11:30 a.m. • Sprowls Hall 209 O’Neill Critics Institute, Session #1 Playwrighting Wed. 2:30-5:00 • Waller Hall Classroom B12 Presented by Scott Frank Criticism Presented by guest critic, Wendy Rosenfield and Ralph Leary, OCI Co- O’Neill Critics Institute, Session #3 ordinator Thurs. 2:00-4:00 p.m. • Waller Hall Classroom B12 KCACTF, in partnership with the Eugene O’Neill Institute, sponsors Criticism the O’Neill Critics Institute (OCI). OCI provides student critics with the opportunity to learn and practice the craft of theater review writing by Collaborative Playmakingl working with a guest critic who conducts a three-day seminar on the Thurs. 3:30-5:30 p.m. • Sprowls Hall 209 craft. The student critics write reviews of some of the productions at the Directing and Playwrighting festival and discuss these reviews with the guest and other student crit- Presented by Eve Muson ics. By the end of the festival, they submit a review that demonstrates Using non-verbal images and poetry as sources for inspiration, this work- what they see as their best work. One student critic from each region is shop is an on-your-feet, collaborative exploration in theater making. Ac- selected to attend OCI workshops at the Kennedy Center. tors, directors, and playwrights will be guided through a sequence of ensemble and individual exercises resulting in the creation of scenarios, On Twitter For the latest updates and to share ideas characters, monologues, and dialogues. Please bring writing materials to and information ... the workshop. Offical Hash Tag: #kcactf2 Friday, January 15 O’Neill Critics Institute Session #4 Fri. 9:30 a.m.-12:00 p.m. • Waller Hall Classroom B12 Criticism

Playwrighting History: Making Plays from Pop Culture Fri. 9:30-10:20 a.m. • Cogswell Hall Music Ed. Room 102 Playwrighting Presented by Bill Cameron

Playwrighters Retreat Fri. 10:30-11:30 a.m. • Cogswell Hall Music Ed. Room 102 Playwrighting Presented by Jeanette Farr Whether you apply for opportunities to be a writer or own up to it in your own home, we will discuss some insight into inspiration and remind ourself that you are, indeed, a playwright and share ways to motivate you into believing it.

O’Neill Critics Institute Session #5 Fri. 2:30-4:30 p.m. • Waller Hall Classroom B12 Criticism

Two One-Act Readings Fri. 3:00-6:00 p.m. • Cogswell Hall Choral 120 Playwrighting

How to Dramaturg Your Theater Major Fri. 3:30-4:20 p.m. • Cogswell Music Ed. Room 102 Dramaturgy Presented by Lisa A. Wilde Using Tennessee Williams’ The Glass Menagerie as a touchstone, we will look at the various dramaturgical skills necessary in all aspects of theater performance and theater studies focusing on text analysis, re- 12 • Kennedy Center American College Theater Festival • Region 2 search, literary management, critical thinking and feedback, and audi- Faculty Roundtable ence development. The emphasis will be on individuals finding concrete Thurs. 3:30-4:20 p.m. • Sprowls Hall 229 methods to enhance their individual programs and future artistic work. Faculty Presented b Harvey Rovine, Michael Swanson, and Gene Terruso “What’s in a Name?”—Selecting a Season aturday anuary S , J 16 The production season is an integral and necessary part of every theater O’Neill Critics Institute Session #6 department. No matter how extensive, the production component will, Sat. 9:30 a.m.-12:00 p.m. • Waller Hall Classroom B12 at the very least, provide practical production opportunities for our stu- Criticism dents. What other considerations influence our season selection? Educa- tional: is it important to have a “rotation” in place exposing students to a NPP Roundtable: A Discussion of Salient Issues certain range of literature and genres? Practical: are there considerations Sat. 9:00-10:00 a.m. • Cogswell Hall Music Ed. Room 102 of logistics, technical limitations, faculty interests? Financial: how much Playwrighting can we spend? If we retain box office receipts, how much would we like to make? All of us are involved our department’s season selection pro- Responses to Dramaturgy Initiative Entries cess. Join this faculty roundtable and share your thoughts and insights on Sat. 10:00 a.m.-12:00 p.m. • Cogswell 121 this most challenging topic. Dramaturgy Guest dramaturg, Lisa A. Wilde, will respond to the portfolios submitted as part of the Student Dramaturgy Initiative. Student dramaturgs, faculty, Friday, January 15 and those interested in what makes a dramaturgy project effective are all Hosting KCACTF encouraged to attend. Fri. 9:30-10:20 a.m. • Waller Hall Conference Room Presented by Lisa A. Wilde Faculty Presented by Juliet Wunsch and Elizabeth van den Berg Tomorrow and Tomorrow and Tomorrow This meeting is directed to schools interested in hosting KCACTF and for Sat. 10:00 a.m.-12:30 p.m. • Cogswell Hall Jazz 116 all who have any interest or questions regarding hosting a future festival. Playwrighting Staged reading and response to this new play. Creative Approaches to Teaching Theater History Fri. 10:30-11:30 a.m. • Cogswell Hall 301 Reading of Full-length Plays and Response with NPP Respondents Teaching Sat. 12:30 .m.-5:30 p.m. • Cogswell Hall Choral 120 Presented by Kerro Knox, III Playwrighting This session will be a roundtable discussion of techniques for bringing alive the too-often dry subject. Ten-Minute Play Public Readings Sat. 6:00-8:00 • Waller Hall Mainstage Show Response to Miss Witherspoon Playwrighting Fri. 2:00-3:00 p.m. • Cogswell Hall Jazz 116 Presented by Scott Frank Response: Dick Block and Kerro Knox

Response Training Workshop Session #2 Fri. 2:00-4:00 p.m. • Cogswell Hall Jazz 116 Education, KCACTF, Faculty Presented by Elizabeth van den Berg, Region II Vice Chair, and Debra Responses Otte, Former Region II Chair Workshop participants will observe the Festival response to Miss Wither- Wednesday, January 13 spoon (2:00-3:00 p.m.) and follow up with a roundtable discussion of the Response Training Workshop Session #1 response in the same location. Wed.. 10:30-11:30 a.m. • Waller Hall Conference Room Faculty Show Response to Home Presented by Elizabeth van den Berg, Region II Vice Chair and Debra Fri. 3:30-4:30 p.m. • Cogswell Hall 201 Otte, Former Region II Chair Response : Ansley Valentine and Dick Block Response training for faculty and staff who have an interest in volunteer- ing as respondents for productions entered in Region II. The first session Faculty Roundtable: Can We Agree on a Curriculum? will include specific approaches to response, protocols, and a guide to the Fri. 3:30-4:20 p.m. • Sprowls Hall 229 forms. All participants will be invited to see a performance of Miss With- Faculty erspoon at 4:30 p.m. Thursday and to attend Friday’s Session #2, where Presented by Juliet Wunsch and KCACTF Leadership Members we will observe the response to Miss Witherspoon. Presented by Harvey Rovine, P. Gibson Ralph, Tammi O’Donnell Is there a sequence of courses that should be fundamental to every Show Response to A Comb and Prayer program’s theater major? Must every major know a certain amount of Wed. 5:00-6:00 p.m. • Cogswell Hall Music Ed. Room theater history? Just how many courses in dramatic literature are ap- Response: Gretchen Smith and Dick Block propriate? Does everyone need to take the basic acting course? How many “labs” should be required? “Curriculum,” from the Latin for “race Thursday, January 14 course,” reminds us that these issues test our intellect, creativity, and endurance as we strive to stay current, accredited, and meaningful in a Show Response to A Year with Frog and Toad discipline that is vastly changed from the one most of us encountered as Thurs. 2:00-3:00 p.m. • Sprowls Hall 118 undergraduates. Join this faculty roundtable and share your thoughts on Response: Dick Block and Ansley Valentine this many-sided issue. Indiana University of Pennsylvania • January 2010 • 13 The 411 on Grant Writing tion. Let’s remove the unspoken assumptions and create clarity in what Fri. 3:30-5:30 p.m. • Sprowls Hall 213 has been a very successful process for many years. Arts Management Presented by Janet Berry Honing Your Skills as a Respondent This brief overview of grant writing for non-profit theater will inform par- Sat. 4:30-5:30 p.m. • Sprowls Hall 229 ticipants about the entire process from prospect research to reporting. You Faculty will also discover the common grant components and learn to avoid the Presented by Elizabeth van den Berg common mistakes of many first time grant-writers. Finally, participants For all those interested in becoming better production respondents we will learn about careers in grant writing and fundraising for the theater. will discuss best practices in the area of response.

Show Response to The Increased Difficulty of Concentration Show Response to Rent Fri. 5:00-6:00 p.m. • Cogswell Hall Jazz 116 Sat. 5:00-6:00 p.m. • Cogswell Hall Music Ed. Room 102 Response: Kerro Knox and Dick Block Response: Ansley Valentine and Dick Block

Show Response to Widows aturday anuary S , J 16 Sat. 7:00-8:00 p.m. • Cogswell Hall Music Ed. Room 102 st Show Response to Love@1 Plight Response: Ansley Valentine and Kerro Knox Sat. 2:00-3:00 p.m. • Cogswell Hall 203 Response: Larry Loebell and Ansley Valentine Office Locations Show Response to Shot! Registration and Information...... PAC Lobby 3:00-4:00 p.m. • Cogswell Hall 201 IUP Dept. of Theater and Dance...... Waller Hall 104 Response: Gretchen Smith and Dick Block O’Neill Critics Institute...... Waller Hall B12, Classroom National Playwriting Program...... Cogswell Hall Choral 120 Faculty Roundtable: Role of the Production Response in Region 2 Dramaturgy Office...... Waller Hall B11, Conference Room Sat. 3:30-4:20 p.m. • Sprowls Hall 229 Irene Ryan Scholarship Auditions...... Zink Hall 105, HPED Dept. Faculty Office Conference Room Times have changed and borders have shifted. This is the opportunity Student Directing Institute...... Waller Hall 104 for schools hosting respondents as well as Region 2 respondents to come Festival Administrative Offices...... Waller Hall 104 together to discuss the process. Areas of conversation will include what and PAC Lobby Ticket Office host schools feel might best serve their students as well as what respon- KCACTF Coordination Office...... Waller Hall 104 and dents can offer students through their thoughtful reflections on a produc- PAC Lobby Ticket Office 14 • Kennedy Center American College Theater Festival • Region 2 Releasing Your Creativity This session discusses a resourceful approach to Elizabethan costuming Wed. 3:30-4:20 p.m. • Sprowls Hall 213 during the current economic climate. Scenic Presented by Keith Hight ETC This is about getting back to the basics. It is an hour of fun and learning Thurs. 10:30-12:20 p.m. • Sprowls Hall McVitty Auditorium using another approach to getting the designer in you, out. Because you Lighting spend your time creating with no judgment call, there is no right or wrong, Presented by ETC Representative letting you become relaxed and getting the creating juices flowing. RoadHog Lighting Consoles Art Matters Thurs. 2:00 p.m. to 2:50 p.m. • Waller Hall Mainstage Wed. 3:30 p.m. to 5:30 p.m. • Sprowls Hall 209 Lighting Design, Technical, Management Presented by Grace Maberg Presented by Cathy Norgren This workshop explores color palettes, composition, and other elements Costume Touring and principles of design in fine art images to use as visual anchors for Thurs. 2:30 p.m. to 4:20 p.m. • Sprowls Hall 213 approach to production design. Costuming Presented by Cheryl Randal hursday anuary T , J 14 Rendering Stage Management Workshop: Session 2 of 3 Thurs. 4:30 p.m. to 5:30 p.m. • Sprowls Hall 211 Thurs. 9:30-10:20 a.m. • Sprowls Hall 229 Costuming Stage Management Presented by Tim Averill Presented by Michael Allen Clear visual communication of your design ideas is essential to the col- laboration with director, cast, and shop. Learn some techniques to im- Keeping It Visual: Paperwork for Lighting Designers prove your renderings. Thurs. 9:30-10:20 a.m. • Sprowls Hall 118 Lighting Costume Parade Preliminary Round #1 Presented by Juliet Wunsch Thurs. 7:45-8:15 p.m. • PAC Upper Lobby and PAC Rehearsal Studio Costuming Thumbnail Sketching Presented by Karen Anselm Thurs. 9:30-10:20 a.m. Sprowls Hall 211 Scenic Presented by Rob Berry Friday, January 15 Tips and tricks for the much maligned thumbnail sketch. From research Stage Management Workshop: Session 3 of 3 through ideas, sketches to rendering techniques, this workshop will work Fri. 9:30-10:20 a.m. • Sprowls Hall 229 enhance the design student’s process through repeated ‘quick’ sketches. Stage Management Presented by Michael Allen LED Tech and High End Control Systems in the Entrainment Industry Thurs. 9:30-11:30 a.m. • Cogswell Hall Jazz 116 Building a Performing Arts Center: Is it a Theater or a Barn? Lighting Fri. 9:30-10:20 a.m. • Sprowls Hall 213 Presented by Vincent Lighting Systems Design We will be exploring what the LED can do for your next show, event Presented by Victor Capecce or even architectural lighting install. We will also address the age old What are the issues and solutions to developing performance spaces? question, “Hey. I bought these things, now how do I control them?” As Whether you are building a new theater, converting a space for perfor- the entertainment industry edges more towards the green movement and mance, or renovating an existing space, there are a number of challenges with “Green Grants” being easier to acquire, LEDs will be more and to be met. Some issues need to be solved with bricks, wood, and steel; more prevalent in the world of theater and entertainment at the college some with clever modifications; and some with diplomacy and political level. The technological advancements being made every day by Color savvy. Millersville University is about to break ground on a new Visual Kinetics, Vari-Lite, and other members of the Phillips family, the LED is and Performing Arts Center. Some of the new challenges that were met quickly catching on as a must-have item. will be reviewed along with the story of the development and the solu- tions found. Take this opportunity to bring your facility challenges to the Moving Scenery and Automation table and share the solutions. Thurs. 10:30-11:30 a.m. • Sprowls Hall 213 Scenic Design Bash Presented by Colin Stewart Fri. 10:30 a.m.-12:00 p.m. • Sprowls Hall McVitty Auditorium This workshop will give a brief overview of moving scenery and the Design, Technical, Management possible ways to automate it. A modern moving scenery system often in- Presented by Lynne Koscielniak volves the use of motors and other powered actuators to drive the moving This session is an exciting live-audience viewed stage contest. Students elements. It can also incorporate complex cueing or sequencing within will register and create teams with each team given a stock of randomly a scenery move or a series of scenery moves. This workshop will give selected supplies with which to work. The challenge is to beat the clock a quick discussion of the design and components used in an automated and create a great original design in costumes, properties, set—anything system and how one might go about setting one up. they chose. The finished designs will be presented before a panel of judg- es who will determine the best design and award the winning team. Costuming at the American Shakespeare Center Thurs. 10:30-11:30 a.m. • Sprowls Hall 211 Draping and Patterning Costuming Fri. 10:30 a.m.-12:20 p.m. • Waller Hall Costume Shop Presented by LeVonne Lindsay Costuming Presented by Valerie Liberta Indiana University of Pennsylvania • January 2010 • 15 Sentence Concept Statements Design, Technology, and Wed. 10:30-11:30 a.m. • Sprowls Hall 118 Design, Technical, Management Management Presented by Cathy Norgren A quick and dirty way to get to the heart of the matter. This is for all de- signers presenting in the Design Exhibit and open to all. Tuesday, January 12 Design, Tech, Management Orientation Theater in Education: A Foundation for All Disciplines Tues. 9:30-10:30 p.m. • Cogswell Hall Instrumental 121 Wed. 10:30-11:30 a.m. Sprowls Hall 213 For all students participating/presenting in the DTM exhibit. Arts Management, Education Presented by Hank Knerr Wednesday, January 13 This discussion-based session will center around the need to incorporate theater and the arts across all curricula. It is especially geared towards Quick Change Choreography those who currently or are planning to work in educational settings wheth- Wed. 9:30-10:20 a.m. • Fisher Dressing Room 2nd Floor er they are K-12 classrooms, residency activities while on tour, or other Costuming environments where the arts can be used as an educational foundation. Presented by Cheryl Randal Stressed Skin Decking Safety: OSHA Wed. 2:30 p.m. to 3:20 p.m. • Waller Hall Scenery Studio Wed. 9:30-10:20 a.m. • Sprowls Hall 118 Scenic Scenic Presented by G. Patrick McCreary Presented by Johan Godwaldt At IUP, we have been using our own “brand” of decking panels for about twenty years and feel they are indeed “ready for prime time.” This discus- Aesthetic and Technical Contracts in Lighting sion and demonstration will show you how to build them and tailor them Wed. 9:30-10:20 a.m. • Sprowls Hall 211 to your own needs. Lighting Presented by Lynne Koscielniak Costume Design Wed. 3:30-4:20 p.m. • Sprowls Hall 211 Stage Management Workshop: Session 1 of 3 Costume Wed. 9:30-10:20 a.m. • Sprowls Hall 229 Presented by Cathy Nao Stage Management Presented by Michael Allen Updates/corrections at Information Desk in PAC and Twitter: #kcactf2 16 • Kennedy Center American College Theater Festival • Region 2 AutoCAD Fri. 11:30-12:20 p.m. • Waller Hall B14 Performance Scenic Presented by G. Patrick McCreary Tuesday, January 12 AutoCAD? Nah. Vectorworks? Nah. Both? Well, maybe. This session Cold Reading Workshop will include a discussion and demonstration of the most popular Com- Tue. 4:00-5:00 p.m. • Cogswell Hall Choral 120 puter Aided Design software packages and how they can be used in con- Performance junction with each other. Presented by Janice Goldberg Learn techniques and better your cold reading skills. ‘Literal’ Is a 4-Letter Word Fri. 3:30-5:30 p.m. • Sprowls Hall 211 Cold Reading Workshop Design, Technical, Management Tue. 5:00-6:00 p.m. • Cogswell Hall Choral 120 Presented by Cathy Norgren Performance This session centers around analogue gestures, “picture translations,” and Presented by Janice Goldberg other strategies for thinking creatively about design. Learn techniques and better your cold reading skills. Automated Light Mechanics Fri. 3:30-4:20 p.m. • Waller Hall Scene Shop Wednesday, January 13 Scenic Start Your Day with Yoga Presented by G. Patrick McCreary Wed. 8:30-9:30 a.m. • PAC Rehearsal Studio Patrick McC, a factory-certified Vari-Lite repair technician, will “open the Performance hood” on a pair of Vari-Lite fixtures and show you what goes on inside. Presented by Marilouise Michel A first-thing-in-the-morning workshop to calm the mind and get the en- The 411 on Grant Writing ergy flowing. This will be great for those who have auditions and perfor- Fri. 3:30 p.m. to 5:30 p.m. • Sprowls Hall 213 mances and anyone who wants to further their practice or begin to learn Arts Management about yoga and its many benefits. Presented by Janet Butler Berry This workshop will provide a brief overview of grant writing for non- Theater Games profit theater. Participants will learn about the entire process from pros- Wed. 3:30-5:30 p.m. • Sprowls Hall Kipp Gallery pect research to reporting. You will also discover the common grant Performance components and learn to avoid the mistakes of many first time grant- Presented by Gail Winar writers. Finally, participants will learn about careers in grant writing and In this session, we will explore theater games and improvisational ex- fundraising for the theater. ercises to wake up your creativity, imagination, and awareness during the rehearsal process. Don’t Be That Guy Fri. 5:30-6:45 p.m. • Sprowls Hall McVitty Auditorium Acting Awake Stage Management Wed. 3:30-5:30 p.m. • PAC Rehearsal Studio Presented by Johan Godwaldt and John Rikkus Performance Presented by Pat Shaw Costume Parade Preliminary Round #2 In this workshop, we explore the concept of the moment through exer- Fri. 7:45-8:15 p.m. • PAC Upper Lobby and PAC Rehearsal Studio cises in improvised movement. We will work to build a greater aware- Costuming ness of and a trust in the performer’s unique physical instrument through Presented by Karen Anselm techniques of contact improvisation, release, and viewpoints. The goal is to banish fear from improvisation through fostering a state of joyful Saturday, January 16 attention towards your partner and your ensemble. You will never lose “The Moment” as long as you know it never leaves your body. This trust- SFX thyself philosophy is valuable to performers and non-performers alike Sat. 9:30-11:30 a.m • Waller Hall B14 and experience is irrelevant. All you need is comfortable pants and an Sound open energized attitude. Presented by Joe Pino Introduction to Fitzmaurice Voicework USITT Workshop Wed. 3:30-5:30 p.m. • Sutton Hall University Museum 1st fl. Sat. 9:30-11:30 a.m. • Sprowls Hall 211 Performance Design Technology and Management Presented by John F. Gresh Presented by USITT representative Fitzmaurice Voicework is a comprehensive approach to the speaking and singing voice. Developed by Catherine Fitzmaurice, the techniques Director/Designer Collaboration are designed to develop breath, resonance, dialects, speech, and work- Sat. 3:30-4:20 p.m. Sprowls Hall 118 ing with text. This workshop is designed to introduce the actor to two Directing and Design components of Fitzmaurice Voicework: destructuring and restructuring. Presented by Debra Otte and Lars Tatom Students are required to have a Shakespearean monologue or a piece of heightened text memorized. Students should wear warm-up clothing that will allow them freedom of movement. On Facebook Search for “IUP Lively Arts” for major postings. On Twitter No cell phones or texting during sessions or per- For the latest updates and to share ideas formances, please! and information ... Offical Hash Tag: #kcactf2 Indiana University of Pennsylvania • January 2010 • 17 Strategies for Improving Musical Theater Vocal Technique Freedom in Auditioning Wed. 3:30-4:20 p.m. • Cogswell Hall Music Theater Room 126 Wed. 4:30-5:30 p.m. • Cogswell Hall Music Theater Room 126 Performance Performance Presented by Margaret J. Ball Presented by Nick DePinto Contemporary musical theater places great demands on the singing voice. If you have done all your prep-work and believe you have something Performers must be able to sing legit, mix and belt easily, and effortlessly to offer and yet it’s two minutes to audition time and your feel like your switching from one to the other. This workshop will focus on exploring nervousness is going to get in the way of your work, what do you do? healthy strategies to approach this repertoire by improving your tech- This interactive workshop explores the obstacles inherent in the audi- nique. Specific exercises to strengthen the various areas of the singing tioning process as a door to greater focus and choice in your audition. voice will be introduced. Bring sheet music of 16 bar cuts or songs from What can you, as an actor, do to maximize the audition experience the musical theater repertoire on which you wish to work. for yourself? Part philosophy, part physical/vocal, part strategic are all practical. This session is for all experience levels, students and educa- Non-Drama Acting Jobs tors. Wed. 3:30-5:30 p.m. • Cogswell Hall 301 Performance Presented by Ben Fisler Thursday, January 14 This workshop explores how to prepare for a variety of jobs that actors Start Your Day with Yoga get but which do not necessarily involve traditional acting roles such as Thurs. 8:30-9:20 a.m. • PAC Rehearsal Studio industrial training films, CGI character modeling, non-traditional voice- Performance overs, and improvisational workshops. Using hands-on practical exer- Presented by Marilouise Michel cises and performance work, students will learn how to handle these odd A first-thing-in-the-morning workshop to calm the mind and get the paying gigs with their short rehearsal schedules and unusual demands. energy flowing. This will be great for those who have auditions and This session will be repeated on Friday. performances and anyone who wants to further their practice or begin to learn about yoga and its many benefits. Speak the Speech Wed. 3:30-5:30 p.m. • Cogswell Hall 303 Alignment for Character Performance Thurs. 9:30 to 10:20 a.m. • PAC Rehearsal Studio Presented by Fabio Polanco Performance Students will explore techniques for effective vocal and rhetorical perfor- Presented by Joan E. VanDyke mances of Shakespearean soliloquies and speeches. Students may bring Actors and dancers will discover exercises in postural alignment using prepared speeches or material will also be provided. This session will be muscle balance and breath work to find the character within. Be prepared repeated on Thursday. to move more efficiently and learn to communicate through movement.

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“My“My experienceexperience in the BobbiBobbi Biron Theatre ProgramProgram gave meme a a wealth wealth of of production production and anddesign design experience. experience. This helpedThis helped me to me build to a buildportfolio a portfolio and gain and a larger gain aview larger of theview of the www.salisbury.edu/theatreanddance theatricaltheatrical process.”process.” 18 • Kennedy Center American College Theater Festival • Region 2 Directing: Movement for Directors and Actors There are three types of auditions to be prepared: the cattle call, the cold Performance, Acting and Directory reading, and the agent audition. This workshop will teach you what to Thurs. 9:30-10:20 a.m. • Waller Hall Multi-purpose Room expect and how to survive.

It’s in the Text: Unlocking Shakespeare From Improvisation to Character Movement Thurs. 9:30-11:30 a.m. • Cogswell Hall Music Theater Room 126 Thurs. 3:30-5:30 p.m. • Sprowls Hall Kipp Gallery Performance Performance Presented by Nathaneal Johnson Presented by J. Stanley Students and teachers will learn how to unlock Shakespeare’s text Examining a script leads to improvisation. Participants will discover phys- so that it becomes accessible and active. Instead of the actor work- icality and movement that lead to character development. ing on the text, the text works on the actor and directs the action line by line, moment by moment. This technique, first developed by John I’m the Singing Actor You Want; or Hello and Why You Should Barton of the Royal Shakespeare Company, gives the actor the nec- Hire Me essary tools to make the words come to life and find a personal and Thurs. 3:30-5:30 p.m. • Cogswell Hall Music Theater Room 126 visceral connection to text, character, relationship, and action. Performance Presented by Michael O’Steen Commedia for the Modern Actor Participants, working with material of their own choosing, are put Thurs. 9:30-11:30 a.m. • Sprowls Hall Kipp Gallery through a mock audition with continuous coaching by the instructor. This Performance workshop recreates the environment of a Broadway Musical Theater au- Presented by Laura Rikard dition with, as audition coach, a Broadway Musical Theater veteran.

Unarmed Stage Combat Speak the Speech Thurs. 9:30-11:30 a.m. • Zink Hall Gym B Thurs. 3:30-5:30 p.m. • Cogswell Hall Jazz 116 Performance Performance Presented by Michael Hood Presented by Fabio Polanco This will be a workshop in unarmed combat including basic falls, punch- Students will explore techniques for effective vocal and rhetorical perfor- es, slaps, and chokes. mances of Shakespearean soliloquies and speeches. Students may bring prepared speeches or material will also be provided. Auditioning for Professional Theater Thurs. 3:30-5:30 p.m. • Zink Hall Classroom 203 The Zen of Improvisation: Permission to Play in Class Performance Thurs. 3:30-5:30 p.m. • PAC Rehearsal Studio Presented by Lester Malizia Performance Presented by Karen Land

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Indiana University of Pennsylvania • January 2010 • 19 Although many theater practitioners use improvisation as a tool for the The Role of Actors’ Equity and a Practical Approach to the Business actor, this workshop utilizes play and improvisation as an art in-and-of Fri. 10:30-11:30 a.m. • Cogswell Hall 201 itself. After a brief introduction of the basic principles of improv, the stu- Performance dents spend the majority of the workshop in hands-on, heads-off play. Presented by Tom Miller The workshop describes Equity’s mission: to support and protect the The Business of the Acting Business rights of actors and stage managers. It explains how and when to join Thurs. 4:30-5:30 p.m. • Sprowls Hall McVitty Auditorium and outlines contracts and benefits. Additionally, the workshop offers Performance insights into balancing artistic and business mindsets, covers personal Presented by Gina Alvarado-Otero negotiating skills, record keeping, networking, and more. The session What makes a good headshot? What should be represented on a standard is Q&A driven and is designed to ease the transition from an academic theatrical resume? What should your cover letter say? This workshop environment to a professional career. will be a lesson and discussion of the basic three elements of a successful submission to casting directors, casting calls, talent agencies and casting Non-Drama Acting Jobs companies that will get you noticed by these industry professionals! Fri. 3:30-5:30 p.m. • Cogswell Hall 301 Performance When Your Monologue Isn’t Asked For; or You Want Me to Read Cold? Presented by Ben Fisler Thurs. 4:30-5:30 p.m. • Cogswell Hall Choral 120 This workshop explores how to prepare for a variety of jobs that actors Performance get but do not necessarily involve traditional acting roles such as indus- Presented by Michael O’Steen trial training films, CGI character modeling, non-traditional voice-overs, Explore the audition process in which we as actors must read a side for clues and improvisational workshops. Using hands-on practical exercises and to and make immediate choices regarding character, relationships and situa- performance work, students will learn how to handle these odd paying tion; make an immediate choice of objective, present ourselves at the audi- gigs with their short rehearsal schedules and unusual demands. tion and discuss what the auditioner is looking for in a cold reading. Physical Theater Explosion Fri. 3:30-5:30 p.m. • Sutton Hall University Museum, 1st fl. riday anuary F , J 15 Performance Yoga for Actors Presented by Matt Chapman Fri. 9:30-11:30 p.m. • PAC Rehearsal Studio Join us for this very physical exploration of what is possible for the actor in Performance time and space. Improvisation, movement, ferocious play, and total avail- Presented by Marilouise Michel ability will be the realms of investigation. Be prepared to move, laugh, Yoga can feed your acting not just from a movement standpoint but also and see. This workshop is grounded in the perspectives of the Dell’Arte the mind and soul of the work. Come learn how the major premises of the International School of Physical Theater. Put the “heat” back in theater. ancient art and science of yoga can help you with character development and being “in the moment.” Updates/corrections at Information Desk in PAC and Twitter: #kcactf2

Shakespeare’s First Folio: an Actor’s Resource Fri. 9:30-11:30 a.m. • Sprowls Hall 118 The Catholic University of America Performance Presented by Robert Bullington Department of Drama Shakespeare’s First Folio, published in 1623, is the original source for congratulates our Kennedy Center ACTF many of his greatest texts. Did you know that the years of editing and re- Michael Kanin Playwriting Award winners! vision that have brought us the plays in their modern form have actually eradicated countless clues that will help you perform them? In this part lecture, part hands-on presentation, you will learn how to use the First Folio to unlock the “secret” acting hints that have been waiting 400 years for you to discover them. No prepared material necessary.

Get Movement Skills…Via the Internet Fri. 9:30-10:20 a.m. • Cogswell Hall 201 Performance Presented by Edward Rozinsky This session includes a presentation of a video instructor course in stage movement with participating students performing exercises conducted by a video instructor. Discussion of the presentation will be included. 2009 — STEPHEN SPOTSWOOD Every Song is a Monologue; or The Broadway Singer is Always an Mark Twain Prize for Comic Playwriting for Miranda is Morning Actor First! Fri. 10:30-11:30 a.m. Sprowls Hall Kipp Gallery 2008 — STEPHEN LEWIS Performance Mark Twain Prize for Comic Playwriting for Well Plotted Presented by Michael O’Steen 2007 — STEPHEN SPOTSWOOD Participants, working with material of their own choosing, work Paula Vogel Playwriting Award for The Aaronsville Woman through a series of exercises enabling them to analyze, personalize, and create a performing through line within their musical monologue. Jon Klein, Head of M.F.A. Pla ywriting Program The Catholic University of America On Twitter For the latest updates and to share ideas R EASON . F AITH . S ERVICE . and information ... Offical Hash Tag: #kcactf2 20 • Kennedy Center American College Theater Festival • Region 2 It’s in the Text­: Unlocking Shakespeare of their approach and for directors who seek a clearer actor-centered vo- Fri. 3:30-5:30 p.m. • Sprowls Hall Kipp Gallery cabulary to assist them in their work. Several participants with prepared Performance audition material will be selected at the start of the workshop session to Presented by Nathanael Johnson demonstrate the technique with the facilitator. Students and teachers will learn how to unlock Shakespeare’s text so that it becomes accessible and active. Instead of the actor work- Seeking the Sign for the Cry: Finding Psychological Gesture Vie Dalcoze ing on the text, the text works on the actor and directs the action line Sat. 10:30-11:30 a.m. • PAC Rehearsal Studio by line, moment by moment. This technique, first developed by John Performance Barton of the Royal Shakespeare Company, gives the actor the nec- Presented by Pamela Chabora essary tools to make the words come to life and find a personal and This is a participatory workshop designed to assist the actor in clarifying visceral connection to text, character, relationship, and action. and connecting to the fundamental need of the character and to assist in identifying the physical sign or ‘psychological gesture’ for this vis- You Want Me to Do What? With Whom? Acting and Staging the ceral—internal—cry. Intimate Scene Fri. 3:30-5:30 p.m. • Sprowls Hall 118 Casting: A Practical Workshop Performance Sat. 3:30-4:20 p.m. • Cogswell Hall 203 Presented by Marilouise Michel Directing and Performance At times in auditions and productions, actors are asked to appear intimate Presented by Mark Wenderlich with perfect strangers or people they do not even like. This unnatural and This is an auditioning workshop where actors ‘audition’ and directors uncomfortable reality of the world of theater can be overcome and al- ‘cast.’ Come with prepared material. leviated with a few simple techniques. Please come with a scene partner. Making and Feeling Connections: The Practice of Communion in Acting Awake Stanislavski’s System Fri. 3:30-5:30 p.m. • PAC Rehearsal Studio Sat. 3:30-5:30 p.m. • Waller Hall Multi-purpose Room Performance Performance Presented by Pat Shaw Presented by Pamela Chabora In this workshop, we explore the concept of the moment through exercises What is a “moment?” This participatory workshop addresses the per- in improvised movement. We will work to build a greater awareness of, and former’s connection to “other.” Exploring the concept that acting is in- a trust in, the performer’s unique physical instrument through techniques of teracting, participants will experience exercises in heightening listening contact improvisation, release, and viewpoints. The goal is to banish fear skills, in Stanislavski’s concept of communion, and ensemble building as from improvisation through fostering a state of joyful attention towards taught by Slava Doglachev of the Moscow Art Theater. your partner and your ensemble. You will never lose “The Moment” as long as you know it never leaves your body. This trust-thyself philosophy Strategies for Improving Musical Theater Vocal Technique is valuable to performers and non-performers alike and experience is irrel- Sat. 3:30-4:20 p.m. • Cogswell Hall Music Theater Room 126 evant. All you need is comfortable pants and an open energized attitude. Performance Presented by Margaret J. Ball Contemporary musical theater places great demands on the singing Saturday, January 16 voice. Performers must be able to sing legit, mix and belt easily, effort- Start Your Day With Yoga lessly switch from one to the other. This workshop will focus on explor- Sat. 8:30-9:20 a.m. • PAC Rehearsal Studio ing healthy strategies to approach this repertoire by improving your tech- Performance nique. Specific exercises to strengthen the various areas of the singing Presented by Marilouise Michel voice will be introduced. Bring sheet music of 16 bar cuts or songs from A first-thing-in-the-morning workshop to calm the mind and get the en- the musical theater repertoire that you wish to work on. ergy flowing. This will be great for those who have auditions and perfor- mances and anyone who wants to further their practice or begin to learn Physicalizing Shakespeare’s Text: Get It Into Your Body about yoga and its many benefits. Sat. 4:30-5:30 p.m. • PAC Rehearsal Studio Performance Building a Physical Character Presented by Lars Tatom Sat. 9:30-11:30 a.m. • Cogswell Hall Music Theater Room 126 Actors will explore strategies for embracing Shakespeare’s verse, espe- Performance cially long thought speeches and soliloquies. Emphasis will be placed on Presented by Gail Winar working and physicalizing the speeches into the entire body. Prior experi- We will explore techniques from Adler, Spolin, and Strasberg you can use ence with Shakespeare is not a required. to help you build character. This workshop is fun, fast, and very physical.

Supercharging Character Work with Personality Dimensions Research Sat. 10:30-11:30 a.m. • Waller Hall Multi-purpose Room Dramaturgy Performance and Directing KCACTF supports the development of dramaturgical skills for all stu- Presented by Joseph Fahey dents. This year’s festival will include workshops in research and script Personality Dimensions Research in Psychology—especially the “Big analysis that will be of interest to a wide variety of student actors, techni- Five” Personality Dimensions Model and published reactions to this cians, designers, directors and playwrights. We also hope to inspire some mode—offers an exciting exploratory tool for actors who wish to de- students to pursue production dramaturgy as a way to exercise their artis- velop characters that move beyond the actor’s own predispositions. The tic and intellectual talents. Students can gain first-hand dramaturgical ex- worksheet and exercises offered will allow actors and directors to struc- perience at the festival by becoming “guerilla dramaturgs” on scripts that ture their exploration of this technique and will point participants toward will be read as part of the region’s new playwright’s program. They can additional resources in this area. This approach can be especially useful also learn more about the art of production dramaturgy from our guest for actors and directors who want to breathe new life in stagnating scenes dramaturg, Lisa A. Wilde, who will hold a public review session of the and audition material, for actors to conduct a self-directed exploration entries in the Student Dramaturgy Initiative. Indiana University of Pennsylvania • January 2010 • 21 The Student Dramaturgy Initiative Students who are accepted into the SDI will, before the festival, choose a scene, do a good deal of script work, and prepare for auditions. At In recognition of the important role dramaturgy can play in college produc- the Festival, students attend four workshops, hear auditions, cast their tions , the Literary Managers and Dramaturgs of America, the Association scenes, and continue the process of directing through rehearsals for a for Theater in Higher Education, and the KCACTF have created a partner- staged reading. With guidance from an experienced director as a mentor, ship to support dramaturgy by students. Together, these groups sponsor an the scenes are, at the end of the festival, presented for the public and for award presented in each KCACTF region to recognize the work of stu- a response from directors in the region. dent 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 SDI Schedule dramaturgs at the national festival. In addition to competing for the award, Tuesday student dramaturgs have the opportunity to meet with a professional dra- 9:30-10:30 p.m. • Meeting for all SDI participants • Waller Hall Studio maturg and have their work critiqued. This gives the student dramaturgs Theater the opportunity to learn more about their craft and to leave the festival with Wednesday insights they can apply to future dramaturgical projects. 9:30 a.m.• SDI Workshop • Waller Hall Studio Theater 11:00 a.m.-2:00 p.m.• Audition • Cogswell Hall Choral 120 2:30-5:30 p.m. • Auditions • Cogswell Hall Choral 120 O’Neill Critics Institute 5:30-6:00 p.m. • Pizza Provided • Cogswell Hall Choral 120 6:00-7:00 p.m. • Casting KCACTF, in partnership with the Eugene O’Neill Institute, sponsors the 8:30 p.m. • Cast Lists Posted O’Neill Critics Institute. OCI provides student critics with the opportu- 9:00-10:00 p.m. • Casts Meet with Directors/Stage Managers • Cogswell nity to learn and practice the craft of theater review writing by working Hall Choral 120 with a guest critic who conducts a three-day seminar on the craft. The student critics write reviews of some of the productions at the festival Thursday and discuss these reviews with the guest critic and the other student crit- 9:30 a.m.• SDI Workshop • Waller Hall Studio Theater ics. By the end of the festival, they submit a review that demonstrates 5:30-7:30 p.m. • Dress Rehearsal what they see as their best work. One student critic from each region is Friday selected to attend national OCI workshops at the Kennedy Center. 9:30 a.m.• SDI Workshop • Waller Hall Studio Theater Beginning on the second day of the festival, students meet with the guest 4:30-7:00 p.m. • Final Scene Presentations/Responses • Waller Hall Stu- critic in a seminar format where they talk about theater in general. They dio Theater also discuss the plays they have seen at the festival and share their re- Saturday views of these plays The experience is intense and time-consuming, with 9:30 a.m.• SDI Workshop • Waller Hall Studio Theater five or six scheduled sessions, while the atmosphere is open and colle- gial. Students generally leave the festival recognizing they have learned Rehearsal schedules for directors and their casts are available from a great deal and grown as student critics and writers. In fact, the selection the SDI registration table on Tuesday or at the Information Desk of a person to go to the Kennedy Center experience is usually viewed as throughout the week. far less important than the experience itself. We have been fortunate to have had some excellent professional critics serve as guest critics for OCI; and we are very pleased to have Wendy National Playwriting Rosenfield joining us again as this year’s guest critic. Rosenfield isa theater reviewer for the Philadelphia Inquirer and maintains a blog as the Program “Drama Queen” at www.artsjournal.com. A concert reading is a reading of the script using chairs and maybe music stands. Actors are allowed one entrance and exit. They may also stand or sit, OCI Schedule but no blocking other than that is permitted (no crossing to mime opening a door or answering a cell phone, for instance). With script in hand—or on All sessions will be held in Waller Hall Room B-12, and times are subject a music stand—the actors and directors are able to focus the reading on the to change following the first meeting. text so that the writer can hear what they have written. We follow the Ac- Wednesday Session 1 2:30-5:00 p.m. tors’ Equity Staged Reading Guidelines, which are the same rules followed Thursday Session 2 9:30-11:30 a.m. by the KCACTF National Festival in Washington, D.C. All NPP scripts are Thursday Session 3 2:00-4:00 p.m. given a concert reading at the end of the regional festival. Friday Session 4 9:30 a.m.-12:00 p.m. Casting is done the second day of the regional festival. The playwright Friday Session 5 2:30-4:30 p.m. and director will see about 160 actors audition and then, following the Saturday Session 6 9:30 a.m.-12:00 p.m. Region II system, they will cast the reading and meet with the cast that night. Auditions will be held all day Wednesday.

David Mark Cohen Nominees Student Directing Institute Skirt by Julie Tosh, Carnegie Mellon University Student Directing Institute The Princess Rescuers by Paige Hoke, Arcadia University The Student Directing Institute, launched in 2004 as the Student Direct- Full-Length ing Initiative, is designed to give students experience in directing at the A Boy Named Alice by Joshua Elias Harmon, Carnegie Mellon University festival. For students who do not have directing classes or opportuni- Carapace by David Robinson - Ohio University ties on their home campuses and for students of any age or experience who wish to re-engage in the process of directing, the series of auditions, One-Act workshops, rehearsals, and presentations of the SDI should be challeng- ing and invigorating. Baggage by Dan O’Neil, Carnegie Mellon University Terminal Condition by David Robinson, Ohio University Whistleblower by Carolyn Kras, Carnegie Mellon University 22 • Kennedy Center American College Theater Festival • Region 2 Ten-Minute 3:30-5:30 p.m...... Ten-Minute Plays 1-3, rehearse; retain same rehearsal rooms a brief theory of the cosmos by Molly Hagan, Ohio University 5:30-7:30 p.m...... Ten-Minute Plays 4-6, rehearse; retain same On a Clear Night by Dan O’Neil, Carnegie Mellon University rehearsal rooms Organum by Dean Poynor, Carnegie Mellon University Orphan Train by Julie Tosh, Carnegie Mellon University Friday, January 15 The Field by Rachel Barclay, Catholic University of America 8:00 a.m. -12:30 p.m...... NPP Play Response with NPP Respondents in The Sound of Great Flags by David Robinson, Ohio University Cogswell Hall 126 (Not open to the public) NPP Faculty Directors Reading set-up/rehearsal: 8:00-10:00 a.m. Readings: 10:00-11:15 a.m. Janice Goldberg David Pfeiffer Julia Matthews Response: 11:15 a.m.-12:25 p.m. Frank Kuhn Michael O’Steen Mark Wade There will be a 10-minute break between the readings and the re- Michael Swanson Cleo House Season Ellison sponse Laura Smiley Eve Muson 9:30-12:30 a.m...... One-Act Plays rehearse; each has one hour in performance space, Cogswell Hall Choral 120 NPP Respondents 9:30-12:30 a.m. One-Act Plays; when not in performance space, will re- Bill Cameron Rob Zellars Larry Loebell hearse in Cogswell Hall Room 303 and Sprowls Hall Rooms 229 Alison Currin Gretchen Smith and 225...... 10:00 a.m.-1:00 p.m...... Full-Length rehearsals, retain same rehearsal NPP Schedule rooms 10:30-11:30 a.m...... NPP Workshop; Bill Cameron, Playwriting Tuesday, January 12 History: Making Plays from Pop Culture, Cogswell Hall Music 12:00-6:00 p.m...... NPP Registration table open: audition sign- Ed. Room 102 up; all playwrights and directors please stop by; Playwrights, 3:00-4:00 p.m...... The Embalmer, Waller Hall Studio Theater please drop off audition sides 3:00-6:00 p.m...... 3 One-Acts, public readings with NPP Re- 4:00-5:00 p.m...... Cold Reading Workshop with Janice Gold- spondents, Cogswell Hall Choral 120 berg, Cogswell Hall Choral 120 5:00-6:00 p.m...... Cold Reading Workshop with Janice Gold- Saturday, January 16 berg, Cogswell Hall Choral 120 9:00-10:30 a.m...... Ten-Minute Plays 1-3 rehearse; retain same 7:00-8:00 p.m...... Playwrights Meet and Greet, Cogswell Hall rehearsal rooms Choral 120 10:30-12:00...... Ten-Minute Plays 4-6 rehearse; retain same 8:00-10:00 p.m...... Opening Ceremony, Fisher Auditorium rehearsal rooms...... 9:00-10:00 a.m...... NPP Workshop: Round Table Discussion of Wednesday, January 13 Salient Issues; Cogswell Hall Music Ed. 102 9:00-10:30 a.m...... Audition set up, all stage managers, Cogswell 8:30 a.m. -12:30 p.m...... Rehearsal and set-up times: Full-Length Hall Choral 120 Plays, hours each; Cogswell Hall Choral 120 9:00-10:00 a.m...... Ten Minute, One-Act, Full-Length director/ 12:30-2:30 p.m...... Ten-Minute Plays rehearse with Scott Frank, playwright meetings Cogswell Hall Choral 120 Waller Hall Mainstage 10:00-10:30 a.m...... Guerilla Dramaturg meetings with One-Act 12:30-5:30 p.m...... Reading of Full-length Plays and Response and Full-Length playwrights and directors, Cogswell Choral 120 with NPP Respondents, Cogswell Hall Choral 120 10:30-11:00 Audition Pre-Meeting: All playwrights, directors, stage 3:30-6:30 p.m...... Ten-Minute Plays; rehearsals with Scott managers, “guerillas;” Choral 120 (holding room in Jazz 117) Frank, Cogswell Hall Jazz Room 116 11:00-2:00 p.m...... Auditions, Cogswell Hall Choral 120 2:30-5:30 p.m...... Continue auditions, Cogswell Hall Choral 120 5:30-6:00 p.m...... Pizza Delivery, audition room Stage Directors and 6:00-7:00 p.m...... Casting session. audition room 8:00-10:00 p.m...... Design Bash, playwrights and directors are Choreographers Society urged to attend 8:30 p.m...... Cast lists posted, Cogswell Hall Choral 120 Scholarship Competition 9:00-10:00 p.m...... NPP–All casts meet with stage managers, di- rectors, and writers, Cogswell Hall Choral 120 The Stage Directors and Choreographers Society/Kennedy Center Amer- ican College Theater Festival Scholarship Competition is an exciting op- Thursday, January 14 portunity for more advanced students of directing to further their skills. 9:00 a.m. -12:00 p.m...... 2 Full-Length Plays, rehearse; Sprowls Hall Participants will interact with professional directors and educators from Rooms 301 and 407 within and without Region II, as well as their peers from other institutions 9:00 a.m. -12:00 p.m...... 3 One-Act Plays, rehearse; Cogswell Hall within the region. Music Ed. Room 102 and 201 and Sprowls Hall 225 The KCACTF Region II SDC experience includes workshops and round- 9:00-11:00 a.m...... Ten-Minute Plays 1-3, rehearse; Cogswell tables designed specifically for participants in the competition. Work- Hall Rooms 203, 301, and 303 shops include the actor/director relationship, collaborating with design- 10:30-11:30 a.m...... NPP Workshop, Scott Frank—Storytelling: ers, staging and use of space, new play development, and others. If you Writing With Your Voice, Sprowls Hall 209 accept an invitation into the SDC competition, be prepared to be busy 1:30-3:30 p.m. Ten-Minute Plays 4-6, rehearse; Cogswell Hall Rooms throughout the Festival. Our intent is to give you as much to feed your 203, 301, and 303 passion for directing as the schedule allows. 2:00-5:00 p.m...... Rehearsals for One-Acts and Full-Length Plays; Retain same rehearsal rooms All participating students will receive constructive critique of their work 3:30-5:30 p.m...... NPP Workshop; Eve Muson, Collaborative intended to enhance their education from a carefully chosen panel of Play Making, Sprowls Hall 209 professionals. Students advancing beyond the preliminary round of the Indiana University of Pennsylvania • January 2010 • 23 competition will be expected to actively integrate feedback, under the mentorship of members of the Directing Initiative Regional Task Force Irene Ryan Acting and then present their scene a second time for additional feedback.

SDC Schedule Scholarship AUDITIONS Tuesday Respodents, Judges, and Assistants 9:30-10:30 p.m.; Meeting for all SDC and DI participants; Waller Hall Preliminary Round Respondents Studio Theater Selena Ambush Margaret Ball Paula Barrett Wednesday Barbara Burgess-LeFebrve Mark Codson Cornel Gabara 1:30-5:30 p.m.; Rehearsal; Waller Hall Multi-purpose Room and Studio Keith Hight Leonard Kelly Jax Kubiak Theater John Kuhn Matthew Mazuroski Dennis McLernon Thursday Tammy O’Donnell Diane Rao Nathan Thomas 3:00-5:30 p.m.; Preliminary Round Presentation of Scenes and Respons- Ansley Valentine Mark Wenderlich Gail Winar es; Waller Hall Studio Theater Preliminary Round Judges Friday Dennis McLernon Kerro Knox Suann Pollock Pat Shaw 2:00-4:30 p.m.; Interviews/Portfolio Reviews; Waller Hall Conference Room Semi-final Round Judges Maggie Lally Beth McGee Andrew Paul Saturday 12:30-3:00 p.m.; Tech Rehearsal for Final Scenes; Waller Hall Studio Final Round Judges Theater Tom Miller Matt Chapman Carolyn Gillespie 3:00-6:30 p.m.; Final Scene Presentations and Responses; Waller Hall Studio Theater Assistants to the Auditions Coordinator Krystle Seit Jenna Rafferty 4:00-5:00 p.m...... The Embalmer Response for NPP Invitation, Student Assistants Cogswell Hall Music Ed. 102 Tegan McCune, Emily Shaver, Erika Scott, Donald Rider, Shannon Pow- 6:30-8:00 p.m...... Ten-Minute Plays Public Readings, Waller lick, Leslie Palmer, Geoff Maus, Andrew Martin, Sara Kochan, Kate Hall Mainstage Hilston, Brandy Eisenberg, Keva Colbert, Kate Carter, Brandy Bryant, 8:30 p.m...... Closing Ceremony, Fisher Auditorium Caitlin Brennan, Colleen Alford, Rachelle Dorce

Irene Ryan Scholarship Auditions Schedule Wednesday 9:00 a.m.-6:00 p.m. • Zink Hall, Report to Gym A Irene Ryan Auditions, Preliminary Round and Responses

Thursday 1:30 p.m. • Fisher Auditorium Announcement of Irene Ryan Scholarship Auditions Semi-Finalists, following keynote Don’t Miss These address

All-Conference Events Friday 8:30 a.m.-12:30 p.m. • Zink Hall Dance Theater Opening Ceremonies Irene Ryan Scholarship Auditions, Semi-Finals Tuesday, January 12 • 8:30 p.m. 3:00-7:00 p.m. • Zink Hall Dance Theater Fisher Auditorium, IUP Performing Arts Center Irene Ryan Scholarship Auditions, Semi-Finals Responses 7:00-9:30 p.m. • Zink Hall Dance Theater Bill Pullman: Keynote Speaker Irene Ryan Scholarship Auditions, Finalist Orientation and Rehearsal Thursday, January 14 • 12:30 p.m. Saturday Fisher Auditorium, IUP Performing Arts Center 9:00 a.m.-12:00 p.m. • Zink Hall Dance Theater Irene Ryan Scholarship Auditions, Finals Closing Ceremonies 3:00-5:00 p.m. • Sutton Hall Gorell Recital Hall, 2nd fl. Saturday, January 16 • 8:00 p.m. Irene Ryan Scholarship Auditions, Final Responses Fisher Auditorium, IUP Performing Arts Center On Facebook Join the entire conference for the final ceremony, Search for “IUP Lively Arts” for major postings. including announcements of participants selected No cell phones or texting during sessions or to attend the national festival in Washington, D.C. performances, please! 24 • Kennedy Center American College Theater Festival • Region 2

Design Exhibit Schedule Tuesday, January 12 12:00-6:00 p.m. Festival Registration PAC Lobby 12:00-8:00 p.m. Exhibit Set up Cogswell Rm 121 4:00- 7:00 p.m. Stage Management Interviews Waller B14 8:30-10:00 p.m. Opening Ceremony Fisher Aud 10:30 a.m.-11:00 p.m. DTM Info Session all students Cogswell Rm 121 Festival Fringe Wednesday, January 13 8:00-10:00 a.m. Exhibit set up Cogswell Rm 121 Tuesday 10:00-11:30 a.m. Scenic Respondent Roundtable Cogswell Rm 121 Meeting: All Fringe Participants (includ- ing those interested in the Fringe 9:30 a.m. Invited Production: A Year With Frong and Toad Waller Mainstage Challenge), 9:30-10:30 p.m., PAC 12:30-1:30 p.m. Keynote Address Fisher Aud Rehearsal Studio 1:30- 2:00 p.m. Exhibit Open to Public and Reception 3:30-6:30 p.m. Exhibit Response Session 1: Stage Management Cogswell Rm 121 Wednesday 4:30 p.m. Invited Production: A Year With Frong and Toad Waller Mainstage The Company (sketch comedy) and The Troupe (improv), 10:30-12:30 p.m., 6:45-8:00 p.m. Costume Parade Cogswell Rm 121 Indiana Theater Downtown Thursday, January 14 8:00-10:00 a.m. Exhibit Response Session 2: Scenic Cogswell Rm 121 Thursday 9:30 a.m. Invited Production: Miss Witherspoon Waller Mainstage Baby with the Bathwater, 3:00-5:00 p.m., Sutton Hall Gorell Recital Hall, 2nd fl. 10:00-11:30 a.m. Stage Management Roundtable Cogswell Rm 121 12:30 p.m. Invited Production: A Comb and a Prayer Book Fisher Aud Fringe Open Mic, 5:00—6:30 p.m., Sut- ton Hall Gorell Recital Hall, 2nd fl. 3:30-5:30 p.m. Exhibit Response Session 3: Lighting & Graphics Cogswell Rm 121 Fringe Challenge, 10:30 p.m.- 12:30 a.m, 4:30 p.m. Invited Production: Miss Witherspoon Waller Hall Mainstage Zink Hall Gym B 5:30-6:45 p.m. Portfolio Review Cogswell Rm 121 6:45-8:00 p.m. Costume Parade Cogswell Rm 121 Friday 8:30 p.m. Invited Production: Home Fisher Aud Invited Scenes, 9:30 a.m.-12:00 p.m., Friday, January 15 Sutton Hall Gorell Recital Hall, 2nd fl. 8:00-10:00 a.m. Exhibit Response Session 4: Costume, Makeup and Craft Cogswell Rm 121 Arcadia University The Princess Rescuers 9:30 a.m. Invited Production: Love@lstPlight Waller Hall Mainstage SUNY Brockport 10:00-11:30 a.m. Lighting Respondent Roundtable Cogswell Rm 121 The Cover of Life 10:30 a.m.-12:15 p.m. Design Bash Sprowls McVitty Aud Montclair State University 12:30 p.m. Invited Production: Increased Difficulty of Concentration Fisher Aud Polaroid Stories 4:30 p.m. Invited Production: Love@lstPlight Waller Mainstage Community College of Baltimore 4:30-7:30 p.m. Tech Olympics Cogswell Rm 126 County-Cantonsville Upon His Back He Carries Them 3:30-5:30 p.m. Exhibit Response Session 5: Sound Cogswell Rm 121 (The Prempeh Play) 5:30-6:45 p.m. Portfolio Review Cogswell Rm 121 College at Brockport 6:45-8:00 p.m. Costume Parade Cogswell Rm 121 Don’t Dress For Dinner 8:30 p.m. Invited Production: Shot! Fisher Aud Rampapo College Saturday January 16 Bus Stop

8:00-10:00 a.m. Costume Makeup & Craft Respondent Roundtable Cogswell Rm 121 The Embalmer, 3:00-4:30 p.m., Waller 9:30 a.m. Invited Production: Widows Waller Mainstage Hall Studio Theater 10:00-11:00 a.m. Sound Respondent Roundtable Cogswell Rm 121 The Verve, 6:00-8:30 p.m., Sutton Hall Gorell Recital Hall, 2nd fl. 11:00-12:00 p.m. Exhibit Closing Reception Cogswell Rm 121 Fringe Challenge, 11:30 p.m.-1:30 a.m., 12:30 p.m. Invited Production: Rent Fisher Aud Zink Hall Gym B 3:30 p.m. Invited Production: Widows Waller Mainstage 3:30-7:00 p.m. Exhibit Strike Cogswell Rm 121 What did you think? 8:00-10:00 p.m. Closing Ceremony Fisher Aud Tweat on the Fringe: #kcactf2 Indiana University of Pennsylvania • January 2010 • 25 Volunteers and Guests Participating Productions Student Volunteers Albright College...... Fish Out of Water The Miser Indiana University of Pennsylvania Albright College...... Albright College...... The Laramie Project Tifanny Hall-Campbell, Hank Fodor, Caitlin Collins, Jacob Santina, Albright College...... The Threepenny Opera Scott Fetterman, Nate Fessler, Kaitlin LeRoy, Nicole Battestilli, Amy Alfred University...... Widows Clyde, Kayleigh Thadani, Erika Pealstrom, Megan Adams, Abraham Alfred University...... The Heart of Art Hoose, Lyndsey Thomas, Frank Perri, Joshua Gallagher, Emily Shaver, Alvernia University...... Good Woman of Setzuan Sara Kochan, Natalie Palamides, Carolyn Chiurco, Ben Savory, Emily Alvernia University...... Tales of Shoogilly McGilvray, Natalie Brown, Shannon Scully, Kelsey Peterson, Chris Anne Arundel Community College...... Doctor Jekyll and Mr. Hyde Anthony, Ryan Hays, Anthony Lombardi, Veronica Wilt, Andrew Arcadia University...... The Princess Rescuers Venturella, Samantha Fabiani Arcadia University...... Home West Chester University Bloomsburg University...... Wit Alyssa Cole, Jessica Suda, Elena Marzolf, Brianna Choynowski, Bloomsburg University .Baby with the Bathwater and The Actor’s Nightmare Bloomsburg University ...... The Winter’s Tale Brendan Flaherty, Jeff Gallagher, Andrew Esposito, Peter Collier, Missy Catholic University of America...... This Is Not My Life, the Musical Shoup, Emily HIldenbrand, Rebecca Righi, Frank Schierloh, Donald Centenary College...... Tape Rider, Shannon Powlick, Kate Hilston, Brandy Bryant, Olivia Wiess, Clarion University...... The Water Engine/Mr. Happiness Danielle Shindler, Caroline Schneider, Doug Atkins, Paige Malizia Clarion University ...... Skin Deep P.G. Community College College at Brockport...... A Funny Thing Happened on the Way to the Forum Matilda Bangura, Juanita Avtic, Tiffany Royster, Sandy Lawson, Erika College at Brockport...... Don’t Dress For Dinner Scott, Andrew Martin, Keva Colbert College of Staten Island...... One Flea Spare Community College of Baltimore County-Catonsville...... A Servant of Two Bloomsburg University Masters Marie Darenhower Community College of Baltimore County-Catonsville...... Upon His Back He Kean University Carries Them (The Prempeh Play) Krystle Seit, Jenna Rafferty, Rachelle Dorce Fairmont State University...... Remembering #9: Stories from the Farmington Mine Disaster McDaniel College Goucher College...... PlayWorks: Three Original One-Act Plays Margaret Powell, Andrew Fleming, Brandy Eisenberg, Caitlin Brennan, Grove City College...... Godspell Colleen Alford, Julia Williams, Michelle Hierstetter Indiana University of Pennsylvania...... Boys’ Life Indiana University of Pennsylvania...... Saving Alice SUNY, Brockport Indiana University of Pennsylvania...... The Importance of Being Earnest Vanessa Soto, Kate Carter, Angela Giuseppetti. Indiana University of Pennsylvania...... New Works/New Voices Westminster College Indiana University of Pennsylvania...... A Year With Frog and Toad Tegan McCune Johns Hopkins University...... Tomorrow and Tomorrow and Tomorrow Kean University...... The Pillowman Festival Respondents and Guests Kean University...... Agamemnon Kean University...... She Loves Me Festival Production Respondents Keuka College...... Kimberly Akimbo Dick Block, Ansley Valentine, Kerro Knox, Gretchin Smith and Larry Kutztown University...... Company by Sondheim & Firth Loebell Long Island University, CW Post Campus...... Batboy, the Musical Invited Guests Long Island University, CW Post Campus...... Eurydice Irene Ryans Acting Scholarship Auditions: Dennis McLernon, Kerro Monroe Community College...... The Boys Next Door Knox, Suann Polock, Pat Shaw, Maggie Lally, Beth McGee, Monroe Community College...... Yours Anne Andrew Paul, Tom Miller, Matt Chapman, Carolyn Gillespie Morgan State University...... The Merchant of Venice Production Respondents: Dick Block, Ansley Valentine Muhlenberg College...... Increased Difficulty of Concentration O’Neill Critics Institute: Wendy Rosenfield Muhlenberg College...... Uncommon Women and Others Dramaturgy: Lisa A. Wilde Muhlenberg College...... New Voices Muhlenberg College...... The Possibilities Design/Tech/Management: Ronald Keller, Kelly Mangan, and others Penn State University Berks Campus...... Dracula Directing: Lars Tatom, Nyallis Hartman Penn State University Berks Campus...... The Bob and Al Show NPP: Janice Goldberg, Rob Zellers (Pittsburgh Playwork), Larry Penn State University Altoona Campus...... Anna in the Tropics Loebell, Bill Cameron, Allison Curran, Gretchen Smith (Regional Richard Stockton College of New Jersey...... Chastity and Destruction, and exchange) Doors Richard Stockton College of New Jersey...... A Comb and a Prayer Book: A Region II Production Respondents Survivor’s Story Andrew Ade, Matthew Allar, Michael Allen, Kevin Allen, Matthew Robert Morris University...... Sweeney Todd Ames, Lea Antolini-Lid, Michael Aulick, Naomi Baker, Barb Blackledge, Robert Morris University...... Rent Trent Blanton, Barbar Burgess-Lefebvre, Victor Capecce, Ruth Childs, Robert Morris University...... Godspell Maureen Clark, Rev. Shawn Clerkin, Rachel Evans, Gregory Fletcher, State University of New York at Oswego...... Blood Relations Scott Frank, Johan Godwaldt, Janice Goldberg, Eileen Hendrickson, State University of New York at Brockport...... The Spitfire Grill Gregg Henry, Cleo House, Leonard Kelly, Alan Kreizenbach, Maggie State University of New York at Brockport...... The Cover of Life Lally, Ralph Leary, Jeff Lentz, Scott Mackenzie, Ed Matthews, Georgia State University of New York at Brockport...... Festival of Ten McGill, Marilouise Michel, Becky Misenheimer, Eve Munson, Debra Temple University...... Dreaming of Diamonds: The Conwell Project Otte, David Pfeiffer, Becky Prophet, Robyn Quick, Trish Ralph, Bev Temple University...... Shot! Redman, Robin Reese, Paul Ricciardi, Tammy Ryan, Steve Satta, Dave The Catholic University of America...... In Good King Charles’ Golden Days The Ohio State University, Mansfield.Playing With Fire (After Frankenstein) Shuhy, Jim Simmonds, Roberta Sloan, N.J. Stanley, Judith Stevens-Ly, Towson University...... Time of Your Life Michael Swanson, Lars Tatom, Nathan Thomas, Elizabeth van den Berg, Towson University...... Miss Julie Mark Wenderlich, Grechen Wingerter, Juliet Wunsch. Washington & Jefferson College...... Love@lstPlight Region II is always looking for interested faculty to participate in West Chester University...... The Rocky Horror Show regional responses. Please look at our Festival’s Response Workshops Wilkes University...... The Love of the Nightingale in this program and contact Juliet Wunsch at [email protected]. Wilkes University...... Pride and Prejudice Wilkes University...... Le Revue Fairytale 26 • Kennedy Center American College Theater Festival • Region 2 Muhlenberg College...... CAW Associate Productions Muskingum University...... The Servant of Two Masters Muskingum University...... All My Sons Allegheny College...... The Pillowman National Technical Institute for the Deaf/Rochester Institute...... Equus American University...... Tartuffe Nazareth College of Rochester...... Side by Side by Sondheim American University...... The Wild Party Nazareth College of Rochester...... The Way of the World Ashland University...... Equus Nazareth College of Rochester...... Sweet Charity Ashland University...... Measure for Measure Nazareth College of Rochester...... Rabbit Hole Ashland University...... The Shape of Things Nazareth College of Rochester...... Sexual Perversity in Chicago Bethany College...... Salomé Penn State Altoona...... Sugar Bridgewater College...... The Visit Penn State Altoona...... Student Directed One-Acts Bucknell University...... Five Women Wearing the Same Dress Prince George’s Community College...... A Raisin in the Sun Bucknell University...... Blood Wedding Ramapo College of New Jersey...... The Government Inspector Carnegie Mellon University...... The Broken Spoke, In the Know Ramapo College of New Jersey...... Fifth of July Carnegie Mellon University...... Flying in Mud, Dark Eden Ramapo College of New Jersey...... Wood Guthrie’s American Song Carroll Community College...... Incorruptible Ramapo College of New Jersey...... Bus Stop Carroll Community College...... Animal Farm Richard Stockton College of New Jersey...... Measure for Measure Cedarville University...... Tuesdays with Morrie Richard Stockton College of New Jersey...... The Fabulous Fable Factory Clarion University...... Psycho Beach Party Rider University...... Rent Clarion University...... Big River Rider University ...... The Pillowman Community College of Baltimore County-Catonsville....Taming of the Shrew Robert Morris University...... The Miracle Worker Community College of Baltimore County-Catonsville...... Las Meninas Rowan University...... The Last Days of Dr. Jekyll Community College of Baltimore County-Catonsville...... I Hate Hamlet Rowan University...... The Children’s Hour Corning Community College...... Fallen Angel Rowan University...... Our Country’s Good Elizabethtown College...... The Memorandum Rutgers University...... One Flew Over the Cuckoo’s Nest Elizabethtown College...... 9 Parts of Desire Rutgers University, Camden...... Dracula Elizabethtown College...... The Tempest Slippery Rock University...... Inspecting Carol Elmira College...... Les Liaisons Dangereuses Slippery Rock University...... Hedda Gabler Franklin and Marshall College...... The Rover State University of New York at Oneonta...... Proof Franklin and Marshall College...... Twelfth Night State University of New York at Oswego...... Into the Woods Franklin and Marshall College...... Six Characters in Search of an Author State University of New York at Oswego...... Pera Pelas Gannon University...... Noises Off Stevenson University...... Present Laughter Gannon University...... The Trachiniae Temple University...... Sweet Charity Gettysburg College...... The Imaginary Invalid Temple University...... The Caucasian Chalk Circle Gettysburg College...... The Liar Temple University...... The Seven Gettysburg College...... The Story The Catholic University of America...... Ngala Muti Harford Community College...... Lysistrata The Catholic University of America...... Squat Harford Community College...... You’re a Good Man, Charlie Brown The College of Wooster...... The Comedy of Errors Indiana University of Pennsylvania...... Anything Goes The University of Akron...... The Taming of the Shrew James Madison University...... Blood Wedding Towson University...... Romeo and Juliet James Madison University...... City of Angels Towson University...... Tanya Tanya James Madison University...... The Diviners University at Buffalo...... Rent James Madison University...... Picasso at the Lapin Agile University at Buffalo...... Tattoo Girl Kean University...... Twelfth Night, or What You Will University at Buffalo...... The Mystery of Edwin Drood Kent State University -- Stark Campus...... Tons of Money University at Buffalo...... The Cherry Orchard Keuka College...... Miss Witherspoon University of Pittsburgh...... The Baltimore Waltz Kutztown University of Pennsylvania...... Crimes of the Heart University of Pittsburgh...... Count Dracula Kutztown University of Pennsylvania ...... As You Like It University of Pittsburgh...... Angels in America Part 2: Perestroika Kutztown university of Pennsylvania ...... The Bald Soprano University of Pittsburgh.... Angels in America Part 1:Millennium Approaches Lafayette College...... Little Women: The Broadway Musical University of Toledo...... The Doctor in Spite of Himself Lehigh University...... Rosencrantz and Guildenstern Are Dead University of Toledo...... Machinal Lehigh University...... Wintertime University of Toledo...... Macbeth Long Island University, CW Post Campus...... The Roaring Girle University of Toledo...... Crumbs from the Table of Joy Long Island University, CW Post Campus...... The Balcony University of Virginia...... The Foreigner Lycoming College...... The Antigone of Sophocles University of Virginia...... Language of Angels Lycoming College...... The Great American Trailer Park Musical University of Virginia...... The Imaginary Invalid Lycoming College...... A Midsummer Night’s Dream Ursinus College...... Dr. Jekyll and Mr. Hyde McDaniel College...... fThe Rocky Horror Show Ursinus College...... Picasso at the Lapin A’gile McDaniel College...... Reckless Villanova University...... As You Like It Messiah College...... Fertile Ground: Stories from Messiah Washington & Jefferson College...... A Streetcar Named Desire College’s First 100 Years Washington & Jefferson College...... Some Things You Need to Messiah College...... The Comedy of Errors Know Before the World Ends Messiah College...... The Spitfire Grill West Chester University...... Original Student Written 10-Minute One-Acts Millersville University...... Hair: The American Tribal Love-Rock Musical West Chester University...... The Trojan Woman Millersville University...... Into the Woods West Chester University...... tick...tick...Boom! Millersville University...... The Shape of Things Westminster College...... Premium Millersville University...... The Two Gentlemen of Verona Westminster College...... Pride and Prejudice Montclair State University...... As You Like It Westminster College...... Getting Out Montclair State University...... Polaroid Stories Wilkes University...... Brenda Bly, Teen Detective Montclair State University...... A Man of No Importance Montclair State University...... Arcadia Montclair State University...... Four Short Musicals On Twitter Montclair State University...... Meadowlands Project Montclair State University...... Homburg For the latest updates and to share ideas Montclair State University...... All in the Timing and information ... Muhlenberg College...... Bat Boy Offical Hash Tag: #kcactf2 Muhlenberg College...... A Flea in Her Ear Indiana University of Pennsylvania • January 2010 • 27 KCACTF Staff and Region II Leadership Festival Host Staff Chair Indiana University of Pennsylvania Juliet Wunsch Brian Jones: Festival Host, Department Chair Coordinators West Chester University Toni Apryasz: Programs, VIP Transportation, National Committee Vice Chair and CFO Department Secretary Elizabeth van den Berg Chair McDaniel College Jessica Sabol: Scheduling, Administrative Harry Parker Coordinator Texas Christian University National Playwriting Program Ruth Childs, Chair Patrick McCreary: Waller Hall Technical Vice Chair SUNY at Brockport Director Rebecca Hilliker David Surtasky: Fisher Auditorium Technical University of Wyoming Vice Chair, National Playwriting Program Scott Frank Director Members at Large Washington and Jefferson College Corey Lunchuck: Scene Shop Supervisor David Lee Painter University of Idaho Chair, Design, Technology and Management Bob Steineck: Production Lighting Michael Allen Debra Bergsma Otte Grace Maberg: Production Lighting Montclair State University Montclair State University Hank Knerr: Director of Public Events, Vice Chair, Design, Technology and Steve Reynolds College of Fine Arts Management Wittenberg College Rob Berry Kathy Evanko: Director of Conference Immediate Past Chair/ATHE Liaison Anne Arundel Community College Services Mark Kuntz Directing C. Thomas Ault: Library Liaison Western Washington University Becky Prophet Valerie Liberta; IUP Volunteer Coordinator Chair, Design and Technologies Alfred University Karen Anselm Cheryl Randal: DTM Liaison SDC Coordinator Bloomsburg University Grechen Wingerter Rob Gretta: Irene Ryan Acting Scholarship Vice Chair, Design and Technologies Lycoming College Auditions Liaison Gweneth West Irene Ryan Scholarship Auditions Jason Chimonides: Playwrighting Liaison University of Virginia Rachel Evans Joan Van Dyke: Workshops Liaison Chair, New Plays Program Kean University Roger Hall Assistant, Irene Ryan Scholarship Auditions James Madison University Special Thanks Scott Mackenzie PNC Bank Vice Chair, New Plays Program Wesminster College Georgia McGill Firestone Building Products Chair, Dramaturgy City University of New York/Q.C.C. Robyn Quick Focal Press USITT Representative Towson University Indiana Country Tourist Bureau Holly Monsos O’Neill Critics Institute Michael Hood University of Toledo Ralph Leary Dean of the College of Fine Arts Partners of American Theater Representative Clarion University Tim Estep Jere Wade Producer, Fringe Fine Arts Technology Manager Leonard Kelly John Veilleux The John F. Kennedy West Chester University Associate Vice President, Communications Center for the Co-Producer, Fringe Festival IUP Office of the President Performing Arts Steve Satta IUP Print Center Artistic Director, KCACTF Towson University IUP Web Team and Communications Staff Gregg Henry Workshop Coordinator Producing Director, KCACTF Debra Bergsma Otte Susan Shaffer Montclair State University Vice President, Education Immediate Past Chair Darrell M. Ayers Maggie Lally James Madison University Adelphi University Regional Circuit Coordinators National Selection Team Michael Swanson Jeanette Farr OH, WV Gregg Henry Trish Ralph Paul J. Hustoles Western/Central PA, Western NY Lynne Koscielniak Elizabeth van den Berg Karen Anselm, NST representative NJ, Eastern PA, MD, DE, DC, Northern VA 28 • Kennedy Center American College Theater Festival • Region 2 nolias, Proof, Trojan Woman, and The Prince of Gina Alvarado-Otero was a working actor in Presenter and Homburg at MSU. He has directed at The Neward New York and Los Angeles and some of the top Community School of the Arts, The Now Theatre, regional theaters in the country before becoming and the 2004 NASPA national convention in Den- the Interim Theater Program Director at Prince Guest Profiles ver, CO. At MSU he has directed The Twilight of George’s Community College. the Golds by Jonathan Tolins, In the Blood by Su- Tim Averill, associate professor of design at Michael Allen is the chair for design and technol- zan Lori Parks, World Goes Round, Kander and Muhlenberg College in Allentown, Pa. teaches ogy for Region II and deputy chair of production Ebb Review for the University Players. As a de- and designs sets and lighting during the school and assistant professor at Montclair State Univer- signer, he was the resident lighting designer for year and is an organic farmer in the summer sity. Michael has earned credits in a vaiety of areas Essex County College and has designed lights months. Tim designed the sets for this Festival’s in theater including performance, administration, for the MSU dance concert Works A Foot. He has invited production of The Increased Difficulty of and production. A few of his credits include work- served as scenic designer for the theater depart- Concentration and was the consultant on Czech ing for organizations such as NJPAC in the arts ment’s production of Working, The Musical and cuisine and culture for the show. education department and production managers has designed for the African Globe Theatre. He for Crossroads Theater Company. His stage man- has written two children’s plays; an adaption of Margaret Joyce Ball is an associate professor of agement credits include AEA stage management Snow White, entitled An African Tale and an origi- theater at East Stroudsburg University where she for The Passage Theatre, African Globe Theatre, nal script, Cindy and the Battle of Aspru. has directed A Funny Thing Happened on the Way TheatreFest, and Premiere Stages and Steel Mag- to the Forum, School House Rock Live! Good- bye Marianne, Proof, Lucky Stiff, A Midsummer Night’s Dream, and Quilters. She has taught vocal technique and private voice for CAP21 at NYU’s Tisch School. Dr. Ball has presented papers and workshops on the voice for the Voice Founda- tion, ATHE, VASTA, Kennedy Center American College Theater Festival Region II, International Voice Congress, and the Pennsylvania State Wom- en’s Consortium. Janet Butler Berry is grants administrator at Eas- ter Seals Greater Washington-Baltimore Region, where she secures grants from corporations, foun- dations, and government agencies and administers everything from research to reporting. She has re- ceived millions of dollars in grants from funders including the Shubert Foundation and the National Endowment for the Arts. Ms. Berry worked in non-profit theater for over ten years and held posi- tions at Arena Stage, Round House Theater, Wayne State University Department of Theater, and Boars Head Theater. She holds a B.A. in English and American literature from Brown University and an M.B.A/M.A. in arts administration from Southern Methodist University. Rob Berry is a professor of theater and design at Anne Arundel Community College. He earned a B.F.A. in acting from Western Kentucky Universi- ty and an M.F.A in scene design from Wayne State University’s Hilberry Company. Berry has been a professional actor, technical director, and lighting and scenic designer for over fifteen years Robert Bullington teaches acting and voice at Clarion University. He earned his M.F.A. in acting at the University of Alabama and a B.F.A in act- ing at Ohio University and also studied voice and acting at Shakespeare and Co.. He has performed as Charley in Charley’s Aunt at the Virginia Stage Company, Trinculo in The Tempest at Fort Worth Shakespeare In The Park, Nick in The Woods at The Source Theater in Washington, D.C., as well as appearances at summer stock companies around the country. He also spent five years at The Vir- ginia Stage Company as an administrator. His pro- ductions of The Cripple of Inishmaan and Make Sense Who May have been seen at recent festivals. Victor Capecce is on the faculty of Millersville University and serves as the designer and techni- cal director for MU theater. He was previously the technical director of Theater Harrisburg (at the Whitaker Center) and a designer/scenic artist (USA 829) in New York. Victor was also a project manager for DePaul Planning and Design in Lan- caster, Pa., designing and supervising residential, commercial and hospitality projects. He was a theater consultant for the Ephrata Performing Arts Center, Freedom Chapel Theater (Gap, Pa.) and has contributed renovation design work to Albright Indiana University of Pennsylvania • January 2010 • 29 College Theater and New Jersey Institute of Tech- nedy Center for the Performing Arts. Another new State University, Ohio Dominican College, Deni- nology’s Theater. He created outdoor stages and play of hers, Love and Whiskey, was recently also son University, Ohio University, and Case Western sets for Millersville University and Hersheypark produced as a workshop by Actors Equity Members. Reserve University. He currently serves as director and is instrumental in the design process of MU’s Her new musical, The Dancing Princesses (with of the theater program at The Ohio State University, new Visual and Performing Arts Center. composer/lyricist Chris Youstra), is scheduled for Mansfield. He has taught courses in stage move- its world premiere production in Imagination Stage ment, acting, directing, multicultural theater, theater Pamela D. Chabora, Ph.D., now serves as a in April 2010; and her new one-woman show about history, script analysis, and the history of American performance specialist at Theater West Virginia playwright Sophie Treadwell, God’s Little Lies, will actor training. He has developed collaborations (TWV) and Mountain State University. In her premiere at American Century Theater in May. Her with The Cleveland Public Schools, The Cleve- twenty-five years as a specialist in actor training, latest comedy, The Colony, is currently in develop- land Playhouse, Mansfield Art Center, Mansfield she has served as a master teacher and perfor- ment with Charter Theater. Ally has been nominated Playhouse, Richland Academy, and Renaissance mance specialist at North Dakota State University, twice for the Helen Hayes Awards’ Outstanding New Theater. He works actively with the Association for at the UNH, Susquehanna University, at the Uni- Play (Church of the Open Mind at Charter Theater Theater in Higher Education and serves on the Re- versity of Toledo and UMFK. Chabora has also and Amstel in Tel Aviv at Source Theater) and has naissance Education Advisory Committee and the maintained a parallel career in professional theater been honored by the Mary Goldwater Theater Lobby Pioneer Career and Technology Center Performing as a performer and director/choreographer. Most Awards. Other works have been produced at Charter Arts and Communications Curriculum Committee recently, she portrayed Amanda in The Glass Me- Theater (The Subject), Theater Alliance (Radio Free and serves on the board of the Ohio Theater Alli- nagerie as a guest artist with Tin Roof Theater. America and The Shirley Jackson Project), Wash- ance. His work has been published in The Mime She is also currently touring throughout the U.S. ington Jewish Theater (Vaudeville!), Church Street Journal, The Journal of Dramatic Theory and Criti- in the role of Emily Dickinson in The Belle of Theater (Crash and Burns), Source Theater (Fur cism, Theater Journal, Modern Drama, The Eugene Amherst. In her third season, Chabora is a mas- and Other Dangers and Dancing With Ourselves), O’Neill Review, and The Pinter Review. ter teacher and a member of the acting company and Washington Shakespeare Theater (Learning at TWV. She maintains a high profile in national Jeanette Farr holds an M.F.A. in theater arts with Curves). She has also collaborated on several op- theater organizations such as ATHE, VASTA, and an emphasis in playwriting from the University of eras and musical performances with the In-Series ATME. As a certified practitioner of both the Les- Nevada, Las Vegas. Her plays have been produced (The Magic Flute and The Vagabond Princesses) sac Voice/Movement System and of Alba Emot- in the U.S. and abroad including Off-off Broadway, and Musica Aperta (Six Degrees of Hamlet at the ing, Chabor acontinues to research the application Canada, Edinburgh Festival Fringe in Scotland, Shakespeare Theater). Currently, she is working on of neuropsychology to self-use training for actors. Singapore, and Japan. Her work has been recog- a new musical commissioned by the Tony Award- nized by the Nevada Arts Council, The Kennedy Matt Chapman plays with physical theater and winning Signature Theater with composer/lyricist Center American College Theater Festival, and the clown. He is artistic director of Brooklyn’s Under Matt Conner. She is also an actor and has appeared Association for Theater in Higher Education. Her the Table, which he co-founded in 2001. Current- on many D.C./Baltimore stages including Everyman, work is published through Smith and Kraus, Dra- ly, Matt works at Dell’Arte International, through Round House, Rep Stage, Arena Stage, Washington matic Publishing, Black Box Press, originalwork- TCG’s New Generations Future Leaders program. Shakespeare Theater, Olney Theater, Center, Studio sonlinepublising.com and theaterhistory.com. Jea- He has taught at Marymount Manhattan College Theater, Washington Stage Guild, Catalyst, Theater nette is an alumnus of the Kennedy Center Summer and has led workshops at the Kennedy Center, Alliance, American Century Theater, Theater J, and Playwriting Intensive (2007) working with play- NYU, Vassar, Sarah Lawrence, and Towson. Signature. Recent area performances include Actor wrights David Ives, Marsha Norman, Lee Blessing, Matt’s workshops abroad have included South Af- 1 in the Charter hit F.U. (Forgive Us…What Did and Melanie Marnich. Through KCACTF, she has rica, Denmark, the Netherlands, and England. He You Think We Meant?) and Martha in Olney Theater responded to over 150 new plays as a regional re- studied at Dell’Arte and the University of Kansas. Center’s The Constant Wife. Ally is on the theater/ spondent; guest respondent in Regions I, II, IV, VII; dance and English department faculty at The George J. Stephen Crosby, professor of theater, has been and past chair of the National Playwriting Program Washington University. teaching at Alfred University since 1994. An Eq- for Region VIII and was recently appointed as Re- uity actor, director, and writer, Crosby has worked Nick DePinto is an actor and educator based in gional Fellow for Region VIII. She has been com- professionally in New York and Los Angeles and Washington D.C. Educated at Wittenberg Uni- missioned by Sierra Repertory Theater to adapt Yo- in regional theaters, most notably the Guthrie The- versity, the Hilberry Theater, and the Moscow Art shiko Uchida’s children’s story, Journey to Topaz, ater in Minneapolis. He has appeared in film and Theater, he is a veteran of regional theater, national for touring. Her play, Blue Roses, based on the life on PBS television, including The School for Scan- touring productions, and D.C. stages including Ol- of Rose Williams, won the international playwriting dal, which was part of the popular “Theater in ney Theater, Ford’s Theater, Constellation Theater, competition for Prospect Theater Project; and her America” series in the mid-1970s. Stage credits in- Shakespeare Theater Company. He is an adjunct lec- play, Pitchin’ Pennies At the Stars was a finalist in clude King Lear, in King Lear, Ebenezer Scrooge turer at Mcdaniel College in Maryland. the Mildred and Albert Pinowski Playwriting Com- in A Christmas Carol, Oedipus, in Oedipus Rex, petition. She was the literary associate and assistant Season Ellison received her Ph.D. from Bowl- Harpagon, in The Miser, Banquo in Macbeth, and to the artistic director at the Pacific Conservatory ing Green State University, an M.A. from Texas Bottom in A Midsummer Night’s Dream. Crosby of the Performing Arts. She is currently the chair State University, and a B.A. from Henderson State received his M.F.A. in directing from Florida State of Theater Arts at Glendale Community College, University. She is a visiting assistant professor of University in 1972. Prior to coming to Alfred Uni- California, where she has produced and directed a theater at The College of Wooster. Her artistic and versity, he taught at Kalamazoo College, Gustavus variety of plays including the popular series, “Motel instructional specialties include directing, acting, Adolphus College, and the University of Alaska, Chronicles,” commissioning playwrights to write performance studies (solo performance, perfor- where he organized a Native Alaskan theater pro- plays taking place in a motel room. In Los Angeles, mance ethnography, performance of daily life, and gram which toured nationally and internationally she has had new plays included for Moving Arts performance as a way of knowing), and qualitative presenting original works based on cultural and in Los Angeles and the Secret Rose Theater in the inquiry. Her research interests include directing and social issues. Productions he has directed at AU NoHo Arts District. Jeanette is a proud member of acting pedagogy, performance studies, qualitative have included The Runner Stumbles, Cat on a Hot the Dramatists’ Guild. iunquiry, women’s and queer studies, American Tin Roof, (performed at the regional KCACTF in Western mythology (specifically “cowboy culture”), Ben Fisler is the advisor and lead instructor of the 2006), Beyond Therapy, Into the Woods, Tartuffe, and performing animals. Her recent directing credits Harford Community College theater program as well The Bacchae: A Ritual, Buried Child, The Cru- include The Comedy of Errors, The Shape of Things, as a professional actor whose recent credits include cible, The Mikado, Reckless, Macbeth, A Midsum- Fat Pig, All I Really Need to Know I Learned in Kin- playing Torvald in A Doll’s House for the Royal Nor- mer Night’s Dream, and Translations. Crosby has dergarten, and The Laramie Project. She is the grad- wegian Embassy and the independent film,Below the a particular interest in world theater, has taught uate student and junior faculty representative for Beltway, starring Sarah Clarke and Tate Donovan. with Semester at Sea, and will be teaching with the Directing Forum at the Association for Theater a Latin American Studies Program in Costa Rica T.S. Frank is a playwright and storyteller. He is the in Higher Education Conference and she currently this spring. He also performed in a production of chair of the Theater and Communication Depart- serves as conference co-chair for the Playwriting Henry V as part of the ’06 World Shakespeare ment at Washington and Jefferson College. Frank is Symposium at Mid America Theater Conference. Congress, held in Brisbane, Australia. vice chair of the National Playwright’s Program for Joseph Fahey has trained at the American Conser- Region 2; a member of the Dramatists Guild; and a Allyson Currin is an artistic associate with Char- vatory Theater and interned as a movement coach member of Pittsburgh PlayWorks, a consortium of ter Theater, which recently premiered her new at the American Repertory Theater. He has taught writers, directors, and actors dedicated to the devel- play for young audiences, Unleashed! The Secret graduate and undergraduate courses at The Ohio opment of new plays. His play, Butter’s Goat, has Lives of White House Pets, at The John F. Ken- 30 • Kennedy Center American College Theater Festival • Region 2 been performed in New York, London, and Pitts- Superstar, Singin’ the Rain, as well as noted cham- Michael Hood (B.A. magna cum laude Arizona burgh; and he has also directed for the stage in those ber operas il matrimonio segreto and Amahl and State University, 1972, and M.A./M.F.A. Universi- cities as well. He is an incurable collector and yard- the Night Visitors. At I.U.P., in a joint production ty of New Orleans, 1975, SAFD Certified Teacher) sale junkie. with the Department of Music, he recently directed has worked professionally as an actor, director, and Anything Goes. Guys and Dolls and The 3Penny Kenneth Gargaro, Ph.D, has a career in the per- fight arranger. He has been a member of the Society Opera both received the Kennedy Center/American forming arts in Pittsburgh that spans four decades; of American Fight Directors since 1979. In addition College Theater Festival Certificate of Merit for Di- and his dedication to the arts and to education con- to many university productions and workshops, he rection and Ensemble work. This spring, Rob will tinues to transform the local musical theater scene. has staged fights for the New Orleans Opera, the be directing Sweet Charity in the newly remodeled Disciplined training leading to immediate testing Alaska Repertory Theater, the Chekhov Center in Fisher Auditorium. Rob is a proud member of Ac- on the public stage forms the foundation of his ar- Yuzhno-Sakhalinsk, and the Theater for Young Au- tors’ Equity Association and the Society of Stage tistic-educational philosophy. The outcome of this diences in Khabarovsk, Russia, and for Unseam’d Directors and Choreographers. artistic vision can be seen across the nation in the Shakespeare in Pittsburgh, among others. Michael has been teaching combat since 1974 and contin- Broadway, touring, TV, film, and entrepreneurial Pamela Hendrick is professor of theater arts at the ues to do so at Indiana University of Pennsylvania, work of those whose educational pursuits and per- Richard Stockton College of New Jersey, earning where he serves as dean of the College of Fine Arts. forming careers intersected with Gargaro’s career her graduate degree in directing from Northwest- as a producer, director, and educator. He continues ern University. She has directed more than forty Cleo House, Jr.’s credits include the Teller and to supply the youngest performers, local profes- productions for academic and professional theater Aaron Posner Macbeth at The Folger Shakespeare sionals, and college students access to the profes- and is featured in the book Women Stage Directors Theater in D.C. and Two River Theater Company sional stage on a regular basis by actively produc- Speak: Exploring the Influence of Gender on Their in N.J., Hammet in Inssurection:Holding History at ing, directing, and teaching for Pittsburgh Musical Work, by Rebecca Daniels (McFarland, 1996). Her Theater Alliance in D.C., Amusa in Death and the Theater and Robert Morris University. research on gender and performance has been pub- King’s Horseman at The Lantern Theater in Phila- lished in On Stage Studies and Theater Topics and Carolyn M. Gillespie is a professor at the Univer- delphia, Aaron in Titus at the Oklahoma Shake- returned to a full-time academic career after several sity of Michigan-Flint where she has taught acting, spearean Festival, and was a participant in the Lin- years in professional theater. She was co-founder directing, and dramatic literature since1987. Gil- coln Center’s Directors Lab in New York City. He is and artistic director of Theater Three in Minneapo- lespie has received several awards for teaching, ser- a two-time Helen Hayes Nominee for Outstanding lis from 1980-1990. She also worked as an actor vice, and professional development including the Ensemble and is a theater professor at Penn State and director for several years with the Playwright’s Dorothea Wyatt Award for service to women, the Berks where he serves as program coordinator. Pre- Center of Minneapolis, where many of the nation’s Lucinda Hinsdale Stone Senior Research Award, vious productions directed include I Hate Hamlet, top Playwrights developed new works. and the Faculty Achievement Award for Excellence The Beauty Queen of Leenane, Turandot, Bug, and Dracula. A native Texan, Cleo received his B.S. at in Teaching and was recognized as UM Flint’s Dis- Gregg Henry serves as artistic director of the na- Texas AandM at Commerce and his M.F.A. at Texas tinguished Professor of the Year in 2008. A partici- tional KCACTF. Recent productions include A Tech University. pant in the first KCACTF in 1967, Gillespie served Sleeping Country by Melanie Marnich for Round as served as chair and vice chair of Region III and House Theater, Teddy Roosevelt and the Ghostly Paul J. Hustoles is currently professor and chair of subsequently, was a member of National Selection Mistletoe by Tom Isbell and Mark Russell for The the Department of Theater and Dance at Minnesota Team in 2006. She holds an M.F.A. in acting from Kennedy Center, the U.S. premieres of Girl in the State University, Mankato, where he has also been Stanford University and is a member of Actors’ Eq- Goldfish Bowl by Morris Panych for MetroStage artistic director of Highland Summer Theater since uity Association. and You Are Here by Daniel MacIvor for Theater 1986. Paul received his B.F.A. from Wayne State Alliance; Shelagh Stevenson’s An Experiment with John Gresh is an actor, teacher, and pianist/vocalist University, his M.A. from the University of Michi- an Air Pump for Journeymen Theater Ensemble; living in Pittsburgh. He directed Savage in Limbo gan, and his Ph.D. from Texas Tech University. A Julie Jensen’s Two-Headed and Barbara Field’s and The Music Lesson at Pittsburgh Playwrights college instructor for thirty-five years, he has taught adaptation of Scaramouche for Washington Shake- Theater Company and worked with playwright Lee in Missouri, Texas, Mississippi, and Michigan. He speare Company. Productions for Kennedy Center Blessing’s on the play, Flag Day, and playwright/ is the past artistic director of MandM Productions Theater for Young Audiences include Mermaids, director Eric Simonson on his play, Carter’s Way, of Ann Arbor, MI and of The Mule Barn Theater of Monsters and the World Painted Purple by Marco as part of the Momentum Festival at City Theater. Tarkio, MO. He just directed his 186th show with Ramirez, Mark Russell and Tom Isbell’s Teddy He has appeared at the Pittsburgh Playhouse, Pitts- recent titles including Into the Woods, The History Roosevelt and the Treasure of Ursa Major, Bar- burgh Irish, and Classical Theater and at Carnegie- Boys, and Miss Saigon, having produced close to bara Field’s Dreams in the Golden Country and Mellon’s Summer New Play Festival. He has taught 500 in his career, so far. He will celebrate his 38th Norman Allen’s The Light of Excalibur. He has at Carnegie-Mellon University, Point Park Univer- consecutive year of summer stock in 2010. Paul directed development workshops for Arena Stage’s sity, and Westminster College where he is an ad- began his association with The Kennedy Center Downstairs and Centerstage’s First Look series. junct faculty member teaching voice, speech, and American College Theater Festival in 1983 and is He hosts the M.F.A. Playwrights’ Workshop at The introduction to acting. a past Region V-South vice chair, Region V chair, Kennedy Center in partnership with the National and past chair of chairs. He directed the Irene Ryan Rob Gretta is assistant professor in performance New Play Network. He is an artistic associate for Winner’s Circle Evening of Scenes at the Kennedy (acting/directing/musical theater) in IUP’s Depart- Kennedy Center Theater for Young Audiences for Center for Festivals 30, 34, 35 and 36; was the mas- ment of Theater and Dance. As an alumnus, he New Works and Commissions, developing projects ter of ceremonies for Festival 41; and, for the past holds an M.F.A. in directing from Florida State by Marsha Norman, Jason Robert Brown, Naomi four years, has served as a judge for the KCACTF University, where he actively served as a member Iizuka, Quiara Alegría Hudes, and others. Gregg is National Musical Theater Award. Paul has received of the B.F.A. Performance Faculty. While teaching also the curator of the annual Page-to-Stage New personal KCACTF commendations for his direct- at F.S.U., he served as the associate casting direc- Play Festival at The Kennedy Center. He holds an ing of The Secret Garden, Medea, and Metamor- tor for the Southern Shakespeare Festival, as well M.F.A. from the University of Michigan and has phoses. At Minnesota State, Mankato, he has pro- as the interim artistic director of Tallahassee Little served on the faculties of the University of Michi- duced and advised five productions, all directed Theatre. Rob has been a professional actor since gan, Western Michigan University, Iowa State Uni- by students, that have been invited to the regional 1986, working off-Broadway in New York City, versity, and Catholic University of America. festival. Two of his students/advisees have won the regional theaters throughout the country, theme Region V Irene Ryan Acting Scholarship competi- Keith Hight is currently the technical director parks, and national tours. Some of his favorite roles tion and another won the Region V Student SSDC at College of Southern Maryland. Over the past include Herr Schultz in Cabaret, Mushnik in Little ten-minute scene competition. Paul currently repre- twenty-five years, he has been part of three world Shop of Horrors, Magaldi in Evita, Nathan Detroit sents Region V on the NAPAT (National Partners premiers and directed/designed well over three and Nicely, Nicely in Guys and Dolls, Billis in American Theater) Board and has been fully com- hundred shows. He continues to work as a designer South Pacific, Larry Mitchell in A Point of Order, mitted to and engaged in the work of the KCACTF and a director on both east and west coast where Clive/Cathy in Cloud 9, Giles Corey in The Cru- as a director, producer, respondent, selector, adjudi- he produces about twelve shows a year. Over the cible, Mercutio in Romeo and Juliet, Don Armado cator, and festival host. past year, he has worked diligently with TBA, in Love’s Labor’s Lost, and Dottore Lombardi in Nederlander, and Live Nation to find scholarship The Servant of Two Masters. Regionally, Rob has Nathan Johnson received his M.F.A in acting from moneys for technical students to work towards their directed such productions as Closer, How I Learned the Yale School of Drama. Since graduation, Na- degrees. Last summer, he helped open The Music to Drive, Sure Thing, Book of Days, The Woman in than has performed at regional theaters across the Factory in Charlotte, NC. Black, Always . . .Patsy Cline, Othello, Jesus Christ nation—most notably the Yale Repertory Theater, Indiana University of Pennsylvania • January 2010 • 31 Marin Theater Company, and South Coast Reper- Chicago; The Nutcracker for Neglia Ballet Artists where he teaches modern and contemporary dramat- tory. He has also appeared on several television featuring the Buffalo Philharmonic Orchestra; light- ic literature as well as Shakespeare. On occasion, he shows including The O.C., Veronica Mars, Num- ing designs for dance including Bill Evans and Jump is allowed to take small roles in campus productions, b3rs, and Medium. At Yale, he was the recipient of Rhythm Jazz Project; and set, light, and costume de- especially when they need an old guy. He responds to the Constance Welsh Memorial Scholarship and the signs for the world premiere of the musical, Paral- regional productions and served as chair of NCI and Oliver Thorndike Acting Award and received his lel Lives, at Riverside Opera Ensemble, Theater for the Dramaturgy Initiative. Last year, he went to the B.F.A., summa cum laude, from the University of the New City, New York. Based in Buffalo, N.Y., Kennedy Center as the Faculty Fellow in Criticism. Evansville. He is a member of the Screen Actors she is an associate professor of scenography and the Valerie Liberta is an assistant professor and cos- Guild and Actors’ Equity Association. director of design and technology at the University tume designer at IUP. She holds a B.F.A. in theatri- at Buffalo. She served as the chair of design and Brian Jones is chair and the resident scenic and cal production and design from Illinois State Uni- technology for Region II, Kennedy Center American lighting designer of the Department of Theater and versity and an M.F.A. in theatrical design from the Theater Festival and holds an M.F.A. in stage design Dance here IUP. He received his M.F.A. from the University of Texas at Austin. She has designed in from Northwestern University. Her work has earned University of Florida in 1984, and since then has Austin, Texas, for companies such as Capitol City her an Emerging Designer Residency (Steppenwolf), designed scenery and lighting for over 150 produc- Playhouse, Different Stages, and the Austin Gilbert a Joseph Jefferson Citation Nomination, and The Mi- tions across the nation. He frequently designs for and Sullivan Society. Her designs have also been chael Merritt Scholarship for Excellence in Design The Electric Company in Scranton, PA. His favorite seen in the Dallas-Ft. Worth area at Plano Reper- and Collaboration. Lynne is a member of United Sce- designs have been for re-imagined classics such as tory Theater, Water Tower Theater, Dallas Theater nic Artist, Local 829. Macbeth for Theater-by-the-Grove, and new plays Center, Junior Players Summer Shakespeare, and at such as Elephant Sighs for Keystone Repertory The- Frank Kuhn is on the faculty in the Department of Kitchen Dog Theater, where she was an artistic asso- ater, both at IUP. His design for Zastrozzi: The Mas- Theater at The College at Brockport. He has directed ciate. Valerie has held teaching positions at the Uni- ter of Discipline received a Meritorious Achieve- for Sacramento Opera, Delaware Theater Company, versity of Mississippi and at Texas Christian Uni- ment Award from the Kennedy Center American McCarter Theater, Princeton Repertory Company, versity. Nominated in both 1999 and 2000, she was College Theater Festival. Since 2001, Brian has New Stage Theater, the New American Theater, the recipient of the Dallas Theater League’s 2000 expanded his artistic interests to include puppetry South Jersey Regional Theater, Idaho Repertory Leon Rabin Award for Outstanding Achievement and masks. In the fall of 2004, he was an artist in Theater, Virginia Opera, Opera Delaware, and the in costume design. Since joining the TBTG faculty, residence with Mum Puppettheater in Philadelphia, Opera Festival of New Jersey, and most recently for Valerie has designed costumes for Scapin, Kiss Me where he designed The Puppetmaster of Lodz. He the Warehouse Theater in Greenville, S.C. He was Kate!, A Street Car Named Desire, and You Can’t is also the executive director of Footlight Players, named Best Director of 2006 in the Denver Post’s Take it With You. Additionally, she has designed for a theater-for-youth day camp and teen academy in statewide Ovation Awards for his production of Three Stories for Winter and Lettuce and Lovage for residence at IUP. Brian serves on the board of the Sweeney Todd at Creede Repertory Theater, where he the Northeast Theater. Indiana Arts Council and is developing The Artists will be returning this summer to direct Nagle Jack- LeVonne Lindsay is currently an assistant professor Hand Gallery and Open Studio—a center for the son’s This Day and Age. He has served as produc- of costume design at James Madison University. She arts on Philadelphia Street in Downtown Indiana. ing director for Gretna Theater and artistic director holds a B.S. degree in fashion design from Phila- for Allegheny Highlands Regional Theater, both in Hank Knerr serves as director of public events for delphia University and an M.F.A. degree in costume Pennsylvania. He has also stage managed regionally the College of Fine Arts at IUP. His duties include design from the University of Maryland, College and on Broadway. presenting, producing, and promoting visual and Park. She spent two years as a fellow at Arena Stage performing arts events as well as facilities man- Maggie Lally is immediate past chair of KCACTF and several years as a freelance designer in the D.C. agement and web development. He also heads a Region 2. She is an associate professor of theater arts area before accepting her first teaching position in 5-county arts-in-education partnership, ArtsPath, at Adelphi University, where she teaches acting and 2004 at Valdosta State University in Valdosta, Ga. for the Pennsylvania Council on the Arts. He re- cabaret theater writing and performance of sketches Lindsay worked this past summer as a costume tech- ceived his B.A. in both theater and music perfor- and songs in the Brechtian tradition. She has directed nician at American Shakespeare Center in Staunton, mance from Lycoming College and M.F.A. in the- in New York City and regionally and has developed Virg., and as a shopper for the Shakespeare Theater ater administration from Penn State. Before coming numerous cabarets including three with music writ- Company in Washington, D.C. to IUP, he worked in public relations and as a fac- ten by Jonathan Larson (Rent). Maggie has directed Larry Loebell His plays include The Dostoyevsky ulty member at the University of Northern Iowa and readings of new plays at venues including The Public Man, Pride of the Lion, Girl Science, The Bal- Minnesota State University, Mankato. He recently Theater, Barrington Stage Company, Jewish Rep- lad of John Wesley Reed, La Tempestad, and the received the first Presenter of the Year award form ertory Theater, The DR2 Theater, and through the Barrymore-nominated House, Divided. His short PA Presenters. Kennedy Center American College Theater Festival. plays include Angie and Arnie Sanguine, But Who’s Over the past few years, she is honored to have been Kerro Knox is the co-chair of KCACTF Region Counting, Edward and Ellie Supine, Emma Gold- invited to regional Festivals as a production and Irene III and is theater program director at Oakland Uni- man Imagines the Millennium, Just Before the War Ryan judge/respondent and Design Exhibit, NPP, and versity, outside Detroit, where he teaches lighting Between the Plates, and The Lion Eats His Lunch. SSDC program respondent. She has taught cabaret design and theater history. His B.A. and M.F.A. Pride of the Lion is published by Playscripts and writing and performance workshops at colleges and are from Yale and has designed for Syracuse Stage, La Tempestad is published in the anthology Play- universities including New York University, Duke Yale Rep, Cleveland Play House, Meadow Brook ing With Canons: Explosive New Work by America’s University, University of Michigan, University of Theater, and several dance companies. He directed Indie Playwrights. His other short plays, scenes, Pennsylvania, and currently at Adelphi University. Herringbone at the Body Politic Theater in Chi- and monologues are published by playscripts.com, She is a member of The Society of Stage Directors cago and stage managed for the national tour of Applause Books, and Smith and Krause. Larry was and Choreographers. Phantom. He has also worked in the Ukraine and the literary manager and dramaturg at InterAct The- Greece where he has also been in several Greek Vanessa Lancellotti, a senior at Muhlenberg College ater Company from 1999 to 2005. He has worked plays. African drumming and xylophone have tak- in Allentown, Pa., is honored that The Increased Dif- as a dramaturg on projects for Philadelphia Theater en him to New York and steel pan drumming has ficulty of Concentration was chosen for this year’s Company, American Music Theater Festival, Nice taken him to Trinidad and Canada. He has released festival. She is an English and theater double major People Theater Company, New Paradise Laborato- two recordings,—one with his arrangements of The with a dual concentration in directing and acting. ries, Seven Devils Playwrights Conference, Play- Nutcracker. His passion is the interrelatedness of Last spring, Vanessa directed a studio production of Penn, and Lark Playwright’s Week. He has an M.A. the arts. Scuba diving has also taken him to many Eugene Ionesco’s The Lesson, and she served as an in English and creative writing from Colorado State corners of the world, and he will let you know assistant director on New Voices 2007, a series of University and received his B.A. in English and when he grows up. student-written and directed one acts. Last year, she M.F.A. in film and television from Temple Univer- completed a semester in physical theater at the Acca- sity. Larry has written for film and television and Lynne Koscielniak’s lighting and set designs have demia dell’Arte in Arezzo, Italy. Next semester, Van- teaches film history as an adjunct associate professor represented the U.S. at the Prague Quadrennial of essa will serve as assistant director for Blood Wedding at the University of the Arts in Philadelphia. He also Stage Design and at World Stage Design Exposi- directed by Francine Roussel, at Muhlenberg. Vanes- teaches playwriting as an adjunct faculty member at tion. She has designed in such venues as Steppen- sa would like to thank everyone who made it possible Arcadia University in Glenside, Pa. wolf, Virginia Stage, Studio Arena Theater, Irish to take this production to festival. Classical Theater at Buffalo, and Victory Gardens Merethe “Grace” Maberg is a master’s degree can- at Chicago. Her work includes the Chicago pre- Ralph Leary is coordinator of OCI and is a profes- didate in lighting design at Illinois State University miere of Sarah Ruhl’s Eurydice at Piven Theater, sor in the English Department of Clarion University, where she is working on their winter production of 32 • Kennedy Center American College Theater Festival • Region 2 The Birds. She received her bachelor’s degree in ton College, resident designer of the NTU Reper- phers and has directed at educational and regional theater from Indiana University of Pennsylvania tory Company at Rutgers, and technical director/ theaters across Pennsylvania, Virginia, Tennessee, where she designed lighting for Henry IV/Part 1 lighting designer for the Circles and Square Dance Texas, and Louisiana. Mel recently received her and Anything Goes. She also participated in last Company in Princeton, N.J. Patrick has also done Yoga Teacher Training certification from the Mt. year’s KCACTF’s lighting design competition with consultations for various theaters and universities. Nittany Institute of Natural Health and has actively IUP’s Violet Sharp and worked as the resident de- been researching and teaching yoga and its connec- Beth McGee is president of the Voice and Speech signer for IUP’s Footlight Players each summer. tion to acting for the past three years. She stead- Trainers Association, a non-profit international or- She is a native of Norway. fastly insists that her two best productions are her ganization of over 500 voice and speech specialists. children: Emily (13) and Marshall (9). Scott Mackenzie, a recipient of the KCACTF Gold An associate professor at Case Western Reserve Medallion for Excellence, is an associate professor University, she serves as voice coach for the Case/ Tom Miller was, prior to joining the staff of Actors’ of theater at Westminster College. His acting expe- Cleveland Play House Professional Actor Train- Equity Association, Tom an actor for over twenty- rience includes film, television, and theater. Roles ing Program. Beth has studied with internation- five years, performing in national tours, regional in Othello, Medea, The Crucible and A Tale of Two ally known voice specialists Arthur Lessac, Kris- theater, off-Broadway, and in Europe. Additionally, Cities are among his theater performance credits. tin Linklater, and Catherine Fitzmaurice and with he performed with the Atlanta Ballet, Ballet Flor- His directing credits include All My Sons; Born Yes- London’s Royal National Theater and the Roy Hart ida, and Carl Radcliff Dance Theater and at Op- terday; The Imaginary Invalid; Kiss Me, Kate!; The Theater Centre Internationale in France. Her essays ryland, U.S.A. He can be seen in the documentary Laramie Project; A Midsummer Night’s Dream; have been published in The Voice and Speech Re- Show Business–The Road to Broadway, hosting a Pride and Prejudice, and Rabbit Hole. While on ac- view, and she received a New Playwright’s Award Broadway opening night Gypsy Robe presentation. tive duty with the U.S. Army Reserve, Mackenzie for her play, Indian Territory. Beth is also a voice For over a decade, Tom was honored to serve as a directed Bigfoot Stole My Wife, the first production and dialect coach for Cleveland’s professional the- voter for the annual Tony Awards and has been a by American personnel stationed in Baghdad’s In- aters and a member of Actors’ Equity Association. proud AEA member since 1983. ternational Zone. Dennis McLernon is the head of performance Eve Muson is an assistant professor of theater at Kelly Wiegant Mangan comes to the festival as in the Department of Theater at the University of University of Maryland, Baltimore County, where a representative of the Society of Prop Artisan Alabama at Birmingham and a member of Actors’ she teaches acting, directing, and other performance Managers (SPAM). She has worked professionally Equity Association. In summer 2010, he will be ap- courses. She is a professional stage director and the- in the area of props and scenic design for over 20 pearing as Prospero in The Tempest with the Free- ater educator; and her particular research interests years, and served as properties master and resident port Shakespeare Festival in Maine. His production include collaborative playmaking, the develop- scenic designer at Stage One, the Louisville Chil- of Suzanne-Lori Park’s In the Blood was performed ment and production of new works, the adaptation dren’s Theater, for eighteen years. Kelly has also at the Terrace Theater at the Kennedy Center as an of mythological and archetypal stories in contem- served as properties master at Shakespeare Santa invitee for the 2008 KCACTF. Since December porary settings, and theater for young audiences. Cruz, the Utah Shakespearean Festival, and Mount 2008, Dennis has had the privilege of conducting From 1991-2007, she was an assistant professor Holyoke Summer Repertory Theater. In August, she monthly acting workshops through the Alabama De- at Boston University’s School of Theater. Profes- accepted a faculty position at Bowling Green State partment of Corrections at the Donaldson Maximum sional directing credits include Venus, Godspell, University in Ohio. Kelly holds a bachelor’s degree Security Prison in Bessemer, Ala. In April 2007, the Big River, and Peter Pan, all at Olney Theater in theater and education from the University of KCACTF awarded Dennis the Actors Center Teach- Center, Md., and plays at Boston Playwrights The- Missouri-Columbia and an M.F.A. from Minnesota er Development National Fellowship, for which he ater, American Stage Festival in New Hampshire, State University, Mankato. completed two-week residencies in 2007 and 2008 and Edinburgh Festival Fringe. At university level, in New York City at The Actors’ Center. There he she has directed dozens of plays including Meta- Julia Matthews is associate professor and chair of worked with Christopher Bayes, in clown and physi- morphoses, The Cripple of Inishmaan, Arcadia, the Department of Theater at Albright College in cality; Ron Van Lieu, in contemporary scene work; Slavs!, The Trojan Women, Two Shakespearean Ac- Reading, Pa. A director and performer as well as Slava Dolgachev, in Stanislavski and Chekhov; J. tors, On the Razzle, The Three Sisters, and Orpheus a scholar and dramaturg, Julia began her career as Michael Miller; and William Esper. In 2009, Dennis Descending. As a writer and director, she has led an actor, earning her B.F.A. from the North Caro- was invited to direct The Laramie Project Ten Years collaborations of many ensemble-created works for lina School of the Arts. She continued on to earn Later: An Epilogue, a staged reading concurrent with projects including Cinderella and Her Sisters and her M.Phil. and Ph.D. in dramatic literature from over 100 simultaneously staged readings coordinat- Pearls From Salt, The Other Side, Call of the Wild, the University of St. Andrews and the University ed internationally. In 2009, Dennis also worked with James Joyce’s A Portrait of the Artist as a Young of Warwick, U.K. She has taught on the theater playwright Elyzabeth Gregory Wilder and director Man, J.D. Salinger’s Just Before the War with the faculties of Wesleyan College and Kennesaw State Nancy Rominger on the premiere of The Flagmaker Eskimos, and How Do I Keep From Singing, based University, Ga., and has worked as a dramaturg, of Market Street in the featured role of George at the on the life of a student with a traumatic brain injury. director, and teacher with several Atlanta theater Alabama Shakespeare Festival’s Southern Writers’ She was twice cited for Outstanding Direction by companies. Julia has served on the national execu- Project. Summer 2008, ASF audiences saw him play- the KCACTF for her work on two new plays, Un tive board of the Association for Theater in Higher ing a variety of roles in the Southern Writers’ Proj- Tango En La Noche and a musical version of Jack Education and actively participates in the Ken- ect. During 2005, Dennis was a member of the acting London’s Call of the Wild. nedy Center American College Theater Festival. ensemble with the Alabama Shakespeare Festival as At Albright College, Julia teaches theater history, Cathy Norgren has served KCACTF in a num- Rev. Tooker in Cat on a Hot Tin Roof and in Co- dramatic literature, acting, and directing. She lives ber of administrative capacities for over twenty riolanus as Titus Lartius. Dennis is a founding com- in Wyomissing, Pa, with her husband, James N. years. She is a former national chair of KCACTF pany member of Birmingham’s professional acting Brown, and their two sons. and she is happy to conclude her official service to company, City Equity Theater. In 2009, he directed KCACTF by being on the National Selection Team. G. Patrick McCreary is an assistant professor Frankie and Johnny in the Claire De Lune. Other In civilian life, Cathy teaches design at the Univer- and technical director of the IUP Department of City Equity credits include American Buffalo (direc- sity at Buffalo, where she is professor and associate Theater and Dance. His lighting design credits in- tor), Someone Who’ll Watch Over Me (Edward), and chair of theater and dance. She teaches playwriting clude Endtime, Tartuffe, Crimes of the Heart, and The Cripple Of Innishmaan (Johnny Pateen Mike). at the KC Summer Intensives each July. Cathy is A Funny Thing Happened on the Way to the Fo- His directing credits at UAB include The Miser, A also a member of United States Scenic Artists, lo- rum. His scenic design credits include Waiting for Streetcar Named Desire, The House of Blue Leaves, cal 829. As a freelance designer, she has designed Godot, Good Woman of Setzuan, and Extremities. In the Blood, The Tempest, The Piano Lesson, The costumes for Theater for Young Audiences at the In addition, he managed both scenic and lighting Seagull, The Body of a Woman as a Battlefield in the Kennedy Center, Actors Theater of Louisville, Hu- design for The Importance of Being Earnest, God’s Bosnian War, Falsettos, and Hay Fever. mana Festival of New American Plays, the Cleve- Favorite, and The Mouse Trap as well as sound re- Marilouise “Mel” Michel has been teaching at land Playhouse, the former Studio Arena Theater inforcement for Jesus Christ Superstar and Fiddler Clarion University since 1990. She has been ac- in Buffalo; Alabama Shakespeare Festival, North on the Roof. Patrick earned his B.A. in theater arts tive in KCACTF since 1994 and helped to host Carolina Shakespeare Festival, the National Shake- from Livingston College of Rutgers University in the snowy Region II Festival in Clarion in 2000. speare Company, Indiana Repertory Theater, Vir- 1975 and served there as faculty technical director. Her production of Songs for a New World was per- ginia Stage, Vermont Stage, Pennsylvania Center He received his M.F.A. in theater technology and formed at the Kennedy Center in April of 2002. Stage, and Arden Theater of Philadelphia. Cathy design from Mason Gross School of the Arts, also at Mel is a member of Actors’ Equity Association has upcoming designs at the Roundhouse Theater, Rutgers University. Previously, he was the faculty and the Society for Stage Directors and Choreogra- technical director of dance and drama at Benning- Indiana University of Pennsylvania • January 2010 • 33 Bethesda, Md.; and GEVA Theater in Rochester, tional Tour of Les Miserables as Thénardier, as well a professional theater for young audiences in Coral N.Y. Cathy holds a B.A., cum laude, from Mount as in Missionaries at the Brooklyn Academy of Mu- Gables, FL. His extensive research in the area of the- Holyoke College and an M.F.A. from Carnegie sic, The Life of Galileo at Berkeley Repertory, and ater has resulted in a series of articles published in Mellon University. Nine at Cain Park. He is assistant professor of theater Russia, Canada, and the U.S., as well as a published at Ashland University. book, The Silent Art, and a video instructor course in Michael O’Steen, a native of Pittsburgh, is an asso- essential stage movement. ciate professor of acting and directing at the Univer- Suann Pollock is the general manager of the two- sity of Scranton. Michael’s directing and choreog- time Tony Award winning Cincinnati Playhouse in Wendy Rosenfield is a freelance arts and lifestyle raphy credits include the off-Broadway production the Park, where her stage managing credits include features writer and theater critic for the Philadelphia of Just Feet From Broadway, A Tribute To Michael the world premiere of Notebook of Trigorin with Inquirer. She was previously chief theater critic for Bennett for Kansas City cable television; Any- Lynn Redgrave, and John Doyle’s Company, win- the Philadelphia Weekly, where she also wrote a thing Goes and The Sound of Music at Westchester ner of the 2007 Tony Award for Outstanding Musical monthly column covering the area’s theater scene. Broadway Theater; both Guys and Dolls and Little Revival on Broadway, as well as the recent critically Her “Drama Queen” blog for artsjournal.com is an Shop of Horrors at Struthers Library Theater, where acclaimed collaboration with Sarah Ruhl on a new outgrowth of that column. She was chosen as a Fel- he was artistic director; You’re a Good Man, Char- version of Chekov’s Three Sisters. Directing credits low for the 2008 NEA Arts Journalism Institute in lie Brown at Pittsburgh Musical Theater; and Annie include The Phantom Tollbooth at Cincinnati Play- Theater and Musical Theater at USC/Annenberg and Get Your Gun at Cidermill Playhouse; among many house in the Park; Urinetown and Seussical at Miami was a participant in the 1992 Bennington Writer’s others, including dozens of productions at the Uni- University; and Bat Boy, The Musical at Stage One of Workshop. She was also proof reader to a swami versity of Scranton, Carnegie Mellon University, Wichita. Suann is a proud member of AEA. (not a job she’d recommend). She is a graduate of and Missouri State University. In addition, Michael Bennington College and is a wife, mother of two, Becky Prophet, Ph.D, (Student Directing Institute/ performed on Broadway in Meet Me in St. Louis vegan, occasional fiction writer, publications editor SDC, Workshop Leader, Regional Selection Commit- and Starlight Express and in the National Compa- for the Women’s International League for Peace and tee, Regional Executive Committee) is a professor of nies of Cats, Sayonara, Fame, and Guys and Dolls. Freedom, and a Brownie Girl Scout troop leader. theater at Alfred University has taught and directed for His film and television appearances include Woody thirty-some years in the Boston area, Michigan, Wis- Harvey Rovine, Ph.D., is the current chair of the Allen’s film Everyone Says I Love You. Michael consin, Atlanta, and most recently, Virginia. She has Department of Theatre and Dance at West Chester has also performed at many of the country’s most often worked with new plays and developing directors. University where he teaches theater history, drama- renowned regional theaters including The Manhat- From a festival of readings of women’s plays to the turgy, and playwriting. He is the author of Silence in tan Theater Club, Goodspeed Opera House, Paper- Association of Theater in Higher Education, Becky Shakespeare: Drama, Power and Gender, as well as mill Playhouse, Walnut Street Theater, The Studio has worked with dozens of new plays and playwrights. articles and study guides on Shakespeare. At WCU, Arena, and others. He also has taught at Missouri Six years ago, with the launch of the Student Directing Dr. Rovine supervises the student-written one act State University, Carnegie Mellon University, Lee Institute, she found great satisfaction in bringing di- play program, an annual festival of student-written Strasburg Theater Institute, and New York Univer- recting opportunities to students at the festival. In ad- and produced work. sity. He holds both a B.F.A. and M.F.A. in drama dition, she serves Region II as a regular festival work- and directing from Carnegie Mellon. Steven J. Satta is assistant coordinator of Fringe at shop instructor, a production respondent, occasional KCACTF and past coordinator of SDC Scholarship Debra Bergsma Otte (Design/Tech/Management director for NPP, and an aide in planning the festival. Competition. He is an associate professor and co- Task Force and Project Management Initiator) is In 2006, Becky was the Directing Faculty Fellow at ordinator of the acting track at Towson University a faculty member in theater and fashion studies at the Kennedy Center from Region II. In 2009, she was where he teaches all levels of voice, speech, dialect, Montclair State University. She previously served named a Region 2 Teaching Artist. Becky lives in Al- verse technique, and scene study. Also a director, he as director of both theater arts management pro- fred, N.Y., with her artist-husband and is trying to re- recently initiated Towson Theater Infusion, an out- grams at Long Island University and as resident cover from “Empty Nest Syndrome.” reach program which trains undergraduate theater costume designer. Her design credits include cos- Robyn Quick is an associate professor and coordi- majors as teaching artists, and sends them to local tume designs for CBS, the Joffrey Ballet, Linda nator of the theater studies track in the Theater Arts high schools under the mentorship of local arts-in- Tarnay, Merce Cunningham, as well as many re- Department at Towson University. She serves as the education organizations. He is a founding member gional, off-Broadway, and university productions, KCACTF Region II chair of criticism and drama- of Iron Crow Theater in Baltimore, which celebrates puppet design for Henson Associates, and industrial turgy. She has been published in several journals, the voices of those who, through choice or neces- design. In the past ten years, she has produced and including American Theater and has served recently sity, live in the margins of mainstream society with costumed six productions that performed at the as a production dramaturge for the Maryland Arts special emphasis on LGBT/queer voices. He works KCACTF Region II Festival including Skriker, Festival and the Baltimore Shakespeare Festival. The professionally as an actor, director, and dialect coach which performed at the National Festival in 1998. most recent project she initiated is the collaboration for such companies as the Baltimore Shakespeare She is serving on the national festival as a Member- between the Center for International Theater Devel- Festival, Everyman Theater, the Olney Theater Cen- at-Large and previously served as Chair of Chairs, opment and the Theater Arts Department at Towson ter and Maryland Ensemble Theater. Festival Production Respondent in Region V and University to translate and produce new Russian dra- Regional Design Respondent in Regions I, II, IV, David Schuler is an assistant professor of theater mas in the 2009-2010 season. V, and VI. She was chair of Region II from 2002 at the University of Wisconsin-Platteville, where he to 2005 and was design co-chair prior to that. In Cheryl Randal is the IUP Department of Theater teaches upper-level courses in acting, theater histo- 1999 and again in 2005, she was honored to receive and Dance costume shop supervisor. She previously ry, dramatic literature, and theater theory, as well as the Kennedy Center Gold Medallion for her work toured as a professional wardrobe supervisor and has play analysis, and voice and diction. He received his with KCACTF. She holds an M.F.A. in design from traveled the world with a variety of Broadway musi- Ph.D. in theater from the University of Colorado and Tisch School of the Arts, New York University. cals including Footloose, 42nd Street, Blast, Annie, has taught previously at Genesee Community Col- Annie Get Your Gun, and many more. She has had lege in New York, the University of Colorado, and Andrew Paul is originally from Philadelphia but the pleasure of working in all fifty states and on three Binghamton University. His research interests also grew up in Rome, Italy, and trained as an actor at different continents. She has acted as a costume coor- involve circumpolar indigenous theater and living the Guildford School of Acting, London, England. dinator and assistant director and as a costume shop history characterization. Recent directing credits in- He is the founding artistic director of the Pittsburgh manager in a vast array of venues. Cheryl has also clude The Marriage of Bette and Boo, The Laramie Irish and Classical Theater and has directed sev- designed productions for many local, regional, and Project, Dancing at Lughnasa, The Last Five Years, eral of the company’s productions including The off-off-Broadway theaters, including IUP, when she and Anything Goes. He remains active in KCACTF Constant Couple, Faith Healer, The Seagull, The was a student here. Her favorite show to be a part of and the Society for the Advancement of Scandina- Gigli Concert, Aristocrats, Hamlet, The School for is the Radio City Christmas Spectacular, featuring the vian Studies. Scandal, and The Shaughraun. Under his leader- world famous Rockettes, which she had the pleasure ship, PICT has produced thirty-six productions and Pat Shaw lives in Brooklyn where he writes, acts, of working on as wardrobe supervisor for eight years. two successful international tours. In 2006, PICT’s dances, and paints. In the past few years, he has BeckettFest was named Performance of the Year by Edward Rozinsky, stage director, choreographer, performed in a number of plays including Negative the Pittsburgh Post-Gazette and Theater Event of and physical theater specialist has over forty years Space, The Essentials of Flor, and Gone Eatin and the Year by the Pittsburgh Tribune-Review. of experience in various aspects of theater. He has two films: Parallel Play, and Kitchen Hamlet. As a taught acting and stage movement at the University playwright, he has won the James E. Michael Prize Fabio Polanco most recently performed the role of of Miami, FIU, and New World School of the Arts. for Playwriting and the Graham Gund Award for A Frank Butler in Annie Get Your Gun at Porthouse He also was an artistic director of Chamber Theater, Miracle Study, which was also selected as a semifi- Theater. He also performed in the Broadway Na- 34 • Kennedy Center American College Theater Festival • Region 2 nalist for the O’Neill Playwright’s Conference. An- in Westminster, Md. Elizabeth is a proud member of Theater’s 40th anniversary season. For television, other of his works, Girl Words, has been produced Actors’ Equity Association, AFTRA, and SAG, as Wager directed the series premier and several epi- in New York. A graduate of Kenyon College and the well as the Voice and Speech Trainers Association, sodes of The Lot, produced by the AMC Network. National Theater Institute, Pat regularly performs and is a graduate of NYU’s Tisch School of the Arts In the fall of 2007, Wager adapted and directed the with Spessard Dance and is a founding member of Gradudate Acting program. highly acclaimed world premiere of In Conflict for Fourth River Theater Ensemble in Pittsburgh and Temple Theaters, based on the book by journalist Joan E. Van Dyke holds an M.S. degree in bal- FullStop Collective in N.Y. Yvonne Latty, In Conflict: Iraq War Veterans Speak let from Indiana University and an M.FA. in dance Out on Duty, Loss and the Fight to Stay Alive. The Colin Stewart is the assistant professor of techni- from Arizona State University, where she performed, show was subsequently invited to perform at the Re- cal direction at Ithaca College, where he has taught taught and conducted extensive research on The Ef- gion II Kennedy Center American College Theater since 1995, serving as technical director or techni- fect of Climate on Young Ballet Dancers. Van Dyke Festival, The Long Wharf Theater in New Haven, cal director mentor for over 100 productions. Pro- has choreographed numerous productions for In- Conn., and the Edinburgh Fringe Festival (garnering fessionally, he has recently been a technical director diana University of Pennsylvania Department of a coveted Fringe First Award) and had its New York for the Hanger Theater and Williamstown Theater Theater and Dance and IUP Dance Theater for the Off Broadway premiere in late September of 2008, Festival. His thirty-year career has included posi- past twelve years. She has served as vice president of opening the new fall season for The Culture Project. tions as production manager, technical director, or dance for the Pa. State Association of Health, Physi- master carpenter for numerous professional theaters cal Education, Recreation, and Dance and is a mem- Lisa A. Wilde holds a doctorate in dramaturgy and and scene shops including Studio Arena Theater, ber of the National Dance Association and Corps de dramatic criticism from the Yale School of Drama. Berkshire Theater Festival, Long Wharf Theater, Ballet. She was awarded outstanding professional of She is the director of theater arts and an associate Shea’s Theater, North Carolina Shakespeare Fes- the year award in 2006 and was appointed ballet mas- professor of theater at Howard Community College. tival, Backstage Productions and North Carolina ter for the Pennsylvania Governor’s School for the She also works at Rep Stage in Columbia, Md., as Scenic Studios, where he has worked on sets for Arts from 2001-2007. Presently, she is an associate the resident literary manager/dramaturg. She has numerous operas, theaters, theme shows, industrial professor of dance at IUP and the artistic director and worked as a dramaturg and education director at presentations and television. He received his B.A. director of curriculum for Van Dyke and Company Center Stage in Baltimore and Young Playwrights from Trent University and his M.F.A. from North and the Mahoning Valley Ballet. She is the founder Inc. in New York City. Lisa has also taught theater Carolina School of the Arts. and director of Forest Dancing and serves as assistant as an adjunct at Towson University, Johns Hopkins director for IUP Dance Theater. Most recently, Van University, and Goucher College. She made her di- Michael Swanson is coordinator of theater and Dyke was the invited guest choreographer for Darsa/ rectorial debut at Rep Stage with Vita and Virginia dance and associate professor of theater at Eliza- Farsa written and directed by Matko Srsen, which in January 2003. bethtown College in Pennsylvania. Swanson’s premiered at the 59th anniversary of the Dubrovnik teaching career includes stints at Western Illinois Gail Winar currently teaches at Kean University International Festival Croatia in 2008. University, Fresno City College, the University of and New York University’s Tisch School of the Arts Arizona, and Franklin College where he was direc- Mark Wade is the director of the theater arts pro- for the Lee Strasberg Institute of Acting for Stage tor of theater and first chair of the fine arts depart- gram at Arcadia University. An actor and director, and Film. She also serves as a master teaching artist, ment. Swanson was co-founder and artistic director Mark is a graduate of the Yale School of Drama in lecturer and dramaturg for the Roundabout Theater of the Shakespeare and More Theater Company of acting and The Neighborhood Playhouse, where he Company on Broadway in New York City. She has Central Indiana. He is an associate member of the studied with Sanford Miesner. His acting and direct- over twenty years of experience as an actress and di- Society of Stage Directors and Choreographers and ing credits include work for The Westport Country rector in regional and New York theaters and earned has directed in Minnesota, Michigan, Ohio, Indi- Playhouse, The Long Wharf Theater, and Trinity her M.F.A. from the Shakespeare Theater Com- ana, Illinois, Arizona, California, Utah, and Penn- Repertory Theater. Mark was a creative consultant pany’s Academy for Classical Acting at the George sylvania. Last year, he directed the staged reading for Joanne Woodward and, with her, produced two Washington University. of Stephen Spotiswood’s Achieving Escape Velocity television movies for The Hallmark Hall of Fame. He Juliet Wunsch is Region II Chair and the associate for NPP at the Region II festival in Philadelphia. As also had the honor of working with Lloyd Richards professor of set and lighting design at West Chester a past chair of KCACTF Region III, Swanson was and August Wilson on the Hallmark Hall of Fame University, Pennsylvania. She has designed for the awarded the KCACTF Gold Medallion for his ef- production of The Piano Lesson. Mark directed the Walnut Street Theater, Freedom Theater, Philadel- forts. He serves on the selection team in Region II New York premiere of The Sirens by Darrah Cloud. phia Arts Bank, Society Hill Playhouse, Irongate and has served on the selection committee and as Before moving to Philadelphia, Mark taught acting Theater, the Merriam Theater, and the Mount Gretna circuit and workshop coordinator for Region VIII. for ten years at Wesleyan University in Middletown, Playhouse. In the academic arena, Julie has designed Michael co-hosted Region III’s festivals in India- Conn. He moved to Philadelphia eight years ago with lighting for the University of Delaware Professional napolis in 1998 and 1999 and has been a judge or his wife, Kelly. He is the proud dad of two boys: Ja- Theater Training Program, The University of the a respondent in Regions I, II, III, IV, VII, and VIII. mieson, age 8 and Grayson, age 6. Arts, and Evansville University. Prior to relocating Michael earned his Ph. D. at The Ohio State Uni- Douglas C. Wager currently serves as a full tenured to the Philadelphia area, she worked extravaganzas versity, an M.F.A. in directing at Wayne State Uni- professor, artistic director, and head of directing for in Atlantic City and designed in New York, Pitts- versity, and B.A. from Hamline University. Temple University. Prior to that, he spent several burgh, and D.C. Julie holds an M.F.A. from Carn- Lars Tatom is a professional director and educator years working in Los Angeles in film and television egie Mellon University. and has directed and taught, Shakespeare all over after spending more than twenty years as a resident Chris Zaccardi, is a proud member of Actors’ Eq- America, and in such far off places as Cairo, Egypt director and producer with the renowned Arena Stage uity Association. His Broadway credits include All and Bangkok, Thailand. He is currently the head of in Washington, D.C. Wager served as Arena’s artistic Shook Up, Lestat, A Chorus Line (the new one), the theater program at Anne Arundel Community director of Arena Stage from 1991 to 1998, partici- Wicked, and 9 to 5: The Musical. Off-Broadway College located in Annapolis, Md. pating in over two hundred productions, beginning credits include Playwrights Horizon, Theater for a his distinguished career there as an intern in 1974. Nathan Thomas, Ph.D., serves as director of the- New Audience. For regional theaters, he has per- During his tenure, he directed over fifty plays in the ater at Alvernia University in Reading, Pa. His formed with Center Theater Group, Goodspeed Op- main season, including world and American pre- academic focus is on Russian Theater History; and era House, Coconut Grove Playhouse, Walt Disney mieres, and produced over sixty productions while he has studied at the Vakhtangov Theater in Mos- World, and the United States Marine Corps. artistic director. For his work as a director in D.C., cow, Russia. Wager has received three Helen Hayes awards and Elizabeth van den Berg is Region II vice chair and thirteen nominations for Outstanding Director. His associate response circuit coordinator. As an actor copious and nationally celebrated work as a direc- On Twitter she has toured the U.S. with Oliver!, and been seen tor has been seen in New York both on Broadway For the latest updates and to share ideas on many D.C. stages, including Signature Theater, and off-Brodway and regionally at major theaters and information ... Studio Theater, the Kennedy Center, and the War- across the country such as The Mark Taper Forum, ner Theater. KCACTF named her a top teaching art- The Guthrie Theater, Seattle Repertory Theater, Offical Hash Tag: #kcactf2 ist in 2005. She performed with Synetic Theater in Pasadena Playhouse, and The Shakespeare Theater D.C. as Ugolino in Dante last spring. She received a in D.C., Oregon Shakespeare Festival, Yale Reper- On Facebook Gold Medallion award for her service to KCACTF tory Theater, and Washington Opera. In 2002, he was Search for “IUP Lively Arts” for major postings. in 2006. She is an associate professor and chair of invited to direct The Front Page as the opening pro- No cell phones or texting during sessions or the Theater Arts Department at McDaniel College duction of England’s acclaimed Chichester Festival performances, please! Indiana University of Pennsylvania • January 2010 • 35 36 • Kennedy Center American College Theater Festival • Region 2

Indiana University of Pennsylvania

ExPlorE Your Passion

TheaTer and dance B.A.

Music/Music educaTion B.A., B.S.Ed., B.F.A., M.A.

arT/arT educaTion B.A., B.S.Ed. B.F.A., M.A., M.F.A.

IntEr-dIScIplInAry FInE ArtS

cEntEr For turnIng And FurnIturE dESIgn

The LiveLy ArTs • ArTsPATh

UniversiTy MUseUM • KiPP GALLery inforMaTion An All-SteinwAy School oFFIcE oF thE dEAn collEgE oF FInE ArtS ndIAnA nIvErSIty oF EnnSylvAnIA nASAD, nASM, nASt AccreDiteD I u p 110 SprowlS hAll IUP is a member of the Pennsylvania State System of Higher Education IndIAnA, pEnnSylvAnIA 15705 (724) 357-2397 • www.arts.iup.edu