ANNUAL 17 REPORT 18 MISSION VISION • We will educate enterprising artists, thinkers, innovators, leaders, and globally conscious citizens who transform The School trains students communities across DePaul, , the nation, and the world. • We will support an expert, passionate faculty and staff to the highest level of professional committed to advancing the vibrancy of live theatre and performance while continually adapting to a broadening and changing profession. skill and artistry in an inclusive • We will become a model of diversity and inclusion for the University and the field. and diverse conservatory setting. • We will produce public programs and performances that challenge, entertain, and stimulate the imagination. • We will foster cross-disciplinary collaboration to further student understanding and appreciation of every aspect of theatre work.

VALUES EDUCATION We advance intellectual development and ethical consciousness. We foster moral, spiritual, social, political, and artistic growth. We promote participation in civic life. RESPECT We inspire respect for self, for others, for the profession, and for humanity. We embrace the Vincentian model of service. FREEDOM We build a community founded on the principles of creativity and freedom of expression. We value initiative, innovation, exploration, and risk-taking. IMAGINATION We celebrate the primacy of imagination in our work. SPIRITUALITY We believe theatre is a place for reflection, awakening, and the development of moral awareness. Welcome to The Theatre School’s (TTS) 2017-18 Annual Report. It was a year of “firsts” for TTS. For the first time, we held our annual fundraising event, now titled LIGHTS UP!, at TTS, offering guests behind-the-scenes access to our artistic home. We created our first-ever voice and representation task force with the goal of developing and reporting strategies to support a consistently diverse range of voices and opportunities in productions and classrooms. We also created a season selection taskforce to design a selection process that includes broader-based input and appropriate transparency around how and why we select certain plays for inclusion in our season. And, for the first time, we offered sections of Discover Chicago classes specifically for incoming Theatre School students. The classes focused on exploring Chicago neighborhoods, , and cultural organizations.

We continued the exploration of identity and race relations in a number of the plays we produced this season, including Native Son, Augusta and Noble, and Growing Up Blue. Faculty and staff also participated in Equity Quotient’s JOHN CULBERT two-day Undoing Racism workshop designed specifically DEAN AND EXECUTIVE PRODUCER to address our needs. The workshop was held in response to our identified continued need to open up a dialogue about race, racism, and gender in relation to the work we engage in and the students we serve.

As I look forward to a new year, I am pleased to share some of the accomplishments, activities, and accolades WELCOME from this past year made possible by the hard work of our students, staff, and faculty. FEATURES UNDOING RACISM WORKSHOP On Tuesday, November 28, and Wednesday, November 29, 47 members of The Theatre School (TTS) faculty and staff participated in Equity Quotient’s Undoing Racism Workshop designed specifically to address TTS’s needs. The first day of the workshop, themed “Let’s Talk About It”, featured presentations by facilitators about the history of racism in the and offered some small group work with participants. The focus of the second day was “The Way Forward- A Path Toward Equity and Inclusion.” The workshop was held in response to our identified continued need to open up dialogue about race, racism, and gender in relation to Theatre School issues, the work we engage in, and the student we serve. The Vincentian Endowment Fund, the Quality of Instruction Council, and DePaul’s Office of Institutional Diversity and Equity generously provided funding for the 2-day event. FEATURES

Actor, writer, and director Roger Guenveur Smith FREDERICK DOUGLASS NOW performed his one-man show, Frederick Douglass Now, in honor of the Frederick Douglass Bicentennial on February 22nd on TTS’s Fullerton Stage. Smith bookends classic 19th century texts by Douglass with original narrative to achieve a stylistic mash-up informed by the present American moment. The event was presented with generous support from DePaul’s Vincentian Endowment Fund, DePaul’s Office of Institutional Diversity and Equity, and University Research Council, and was produced by Theatre School faculty member Rob Adler.

Roger Guenveur Smith is an internationally acclaimed actor, writer, and director. He adapted his Obie Award- winning solo performance of A Huey P. Newton Story into a Peabody Award-winning telefilm, directed by his longtime colleague Spike Lee, with whom he continues to collaborate. Also among Smith’s recent credits are The Birth of a Nation and Bitch, which have achieved distinction in three consecutive Sundance Festivals, and the acclaimed independent films Mooz-Lum, and Better Mus’ Come, in which he plays the Prime Minister of Jamaica. Big budget feature films include the cult classics Deep Cover, King of New York, Eve’s Bayou, Hamlet, All About the Benjamins, and American Gangster, for which he was nominated for a Screen Actors Guild Award. Photos by DePaul University/Jamie Moncrief FEATURES NATIVE SON RECAP

In February, The Theatre School presented Richard Wright’s Native Son adapted by alumna Nambi E. Kelley, and directed by Princess Grace Award winner Mikael Burke (MFA Directing ’18).

The story takes place in 1930s South Side Chicago, and explores the systemic racism and poverty that oppressed a young man named Bigger Thomas from birth. Bigger Thomas lands a job with a wealthy white family but his fate is sealed when a violent act unleashes a chain of events that cannot be undone.

“Racism is a poison that destroys everything it touches, and people have to recognize and confront their role in it, whether explicit, implicit or complicit,” Burke said.

“What is so genius about the novel and the adaptation is that it is asking the hard questions of those in power: Is Bigger born a black rat, or is his monstrous behavior the result of your treatment of him?” Burke said.

Burke mentions that dealing with such polarizing issues in a theatrical setting isn’t always easy, but it is useful to investigate the hard topics through art.

“Is this difficult to watch? Certainly. Uncomfortable? Absolutely. But it is nonetheless true. And as more Black lives hang in the balance over racist thinking, we should all do what we can to expose and undermine racism, even if that means taking a good hard look in the mirror,” he said.

Along with the performances, TTS partnered with several other DePaul departments and offices to host supplemental programming. FEATURES NATIVE SON RECAP

On February 8, DePaul University’s Center for Black On February 14, following the performance of Native Fullerton Stage, Juelle Daley hosted a post-show discussion Diaspora and the DePaul University Geography Son on the Fullerton Stage, Ted Anton held a post- on the topic of Richard Wright, The Expat. Daley is the Department co-sponsored a panel discussion on the show talkback. Anton Assistant Director of DePaul University’s Center for Black topic of literary geographies in the Fullerton Stage Lobby is a professor in the Diaspora. at TTS. Rashad Shabazz and Dr. Beryl Satter hosted English department at and facilitated discussion with attendees. Shabazz is DePaul University, and These events facilitated discussion with our audience the author of Spatializing Blackness: Architectures of chair of the Age Studies members, students, staff and DePaul community members Confinement and Black Masculinity in Chicago. Dr. Satter Executive Committee around the themes of Native Son, and welcomed many is the author of Family Properties: Race, Real Estate, and of the Modern people from the DePaul and greater Chicago community the Exploitation of Black Urban America, which won Language Association. into our artistic home for the first time. the Liberty Legacy Award in Civil Rights History and TTS looks forward to continuing to develop and forge the National Jewish Book Award in History, and was a On February 16, following community partnership around productions in the future. finalist for the J. Anthony Lukas Book Prize and the Ron the performance of Ridenhouer Book Prize. Native Son on the

On February 12, TTS and DePaul’s Center for Black Diaspora held a screening of Black Boy that was hosted by Dr. David Akbar-Gilliam, Associate Professor and Department Chair Modern Languages, Spanish; Critical Ethnic Studies Faculty DePaul University.

On February 13, TTS held a screening of the 1951 film adaptation of Native Son starring Richard Wright facilitated by Diversity Advisor Dexter Zollicoffer. FEATURES FULLERTON STAGE RENAMED DR. JOHN R. AND JOYCE L. WATTS THEATRE

The Theatre School renamed the Fullerton Stage in recognition of philanthropists John Ransford Watts, a former dean and artistic director, and his wife, Joyce, a former business consultant and academic administrator, for a generous gift to the school. A ceremony to acknowledge the couple’s philanthropy and unveil the 250-seat theatre as the Dr. John R. and Joyce L. Watts Theatre was held on June 12th at 5:30 p.m. at The Theatre School. Faculty, staff, and friends recognized John and Joyce Watts and their longstanding leadership and financial contributions to the establishment and growth of The Theatre School. In remarks, DePaul President A. Gabriel. Esteban, Ph.D., acknowledged the Watts for their most recent generous gift as well as their 2006 scholarship endowment that supports students in the playwriting program.

In 1979, a year after DePaul acquired the ailing Goodman School of Drama, John Watts, a teacher, designer, director and scholar, was recruited as dean and charged with reestablishing the school to restore its proud reputation, appoint a faculty and acquire facilities. Over the next 20 years, Watts reshaped The Theatre School at DePaul into one of the top conservatory theatre programs in the country.

Under his guidance, The Theatre School has graduated countless actors, designers, directors, technicians, playwrights, managers and dramaturgs whose impact on the landscape is immeasurable, according to John Culbert, the current dean.

“John’s inspired leadership for the first two decades of The Theatre School’s life at DePaul University built the foundation upon which all that we now do rests. His work to secure the position of the school within DePaul, attract high-quality staff and faculty, and develop sophisticated FEATURES FULLERTON STAGE RENAMED DR. JOHN R. AND JOYCE L. WATTS THEATRE

JOHN R. AND JOYCE L. WATTS

John Watts holds an undergraduate degree and a Master He was appointed as the founding chairman of the of Education degree from Boston College, a Master of Massachusetts council on the Arts and Humanities, Fine Arts degree from Yale University, and a doctorate serving in that position for four years. from Union Graduate College. He has done post-graduate work at Harvard, UCLA and Oxford. In 1974, he accepted a one-year guest artist appointment to the faculty of the School of Fine Arts at California He has had a distinguished and productive association State University, Long Beach, which led to his becoming a with the arts, the humanities, and with education in tenured professor, associate dean, and then dean of the Massachusetts, California and Illinois. For 15 years he school. While in California, he help found and served as was on the faculty of the School for the Arts at Boston director and vice president of the Public Corporation for University as Professor of Theatre, and for five years as the Arts. associate dean. In 2000, John Watts received a lifetime achievement award from the Joseph Jefferson Committee “for development curriculum made top 10 conservatory rankings, our new and support of theatre artists and the Chicago theatre facilities, and amazing alumni accomplishments possible,” community during his almost two decades as Dean of says Culbert. the Theatre School/DePaul University.” That same year, he also received a Via Sapientiae Award from DePaul “He continued the legacy of the Chicago Playworks for University, its highest recognition for excellent service and Families and Young Audiences series, which has served accomplishment. nearly 1.2 million young people since his arrival in 1979,” Culbert notes. Joyce Watts has a Bachelor of Arts degree in English and journalism from California State University, Long Beach, Many of the programs and activities Watts put in place and an MBA from the Kellogg School at Northwestern have become traditions at The Theatre School: remote University. auditions, annual touring graduate showcases, and discussions with visiting artists. He also started the Annual She has 20 years of higher education experience and Awards for Excellence in the Arts in 1989, which has 22 years of business consulting experience. In addition generated to date more than $7 million for the school. to being a past president of Chicago Women in In 1988 Watts was instrumental in orchestrating DePaul’s Management, she is an active member and fundraiser acquisition of the historic Blackstone Theatre, now known for P.E.. International, a philanthropic organization that as the , in Chicago’s South Loop. provides educational opportunities for women. YEAR-AT-A-GLANCE 1,778 BFA applicants 206 MFA applicants Applicants from 31 different countries, 48 different states Applicants from every continent except Antarctica Applicants: 18% from IL, 82% from out of state Admitted students: 21% from IL, 79% from out of state 35,346 audience members Admitted students from 29 different states, plus Washington D.C. and Puerto Rico 363 public performances Admitted: 118 females, 81 males, Chicago Playworks has welcomed 1,490,619 10 non-binary/gender-queer students audience members since it began in 1925 Admit rate 10% overall 3,046 first time ticket buyers Hosted 3 national conferences 2,950 University student audience members 169 non-TTS events were held in the building 676 University faculty and staff audience + 16.6% new Facebook Page followers 15 Theatre School students declared minors (out of 80 graduates) 4 world premiere productions 11 grad students received honors (out of 12 MFA graduates) 78.75% of 2017 graduates had a GPA of 3.5 or higher 5 Theatre School students declared double majors (out of 80 graduates) 52 undergrads received honors (out of 68 BFA graduates) 1,259 people auditioned or interviewed 18 audition/interview dates in Chicago, Houston, San Francisco, Los Angeles, and 34% of all applicants self-identified as students of color 62% of all applicants self-identified as white IN THE NEWS The Theatre School is proud to celebrate the newsworthy July 10, 2017 Lucas Baisch (BFA September 13, 2017 Kiki Layne accomplishments of its students, alumni, faculty, and staff. Playwriting ’14) received a staged (BFA Acting ’14) was cast in the leading reading at for role of Barry Jenkin’s new feature film his play Refrigerator. If Beale Street Could Talk.

July 11, 2017 Will Davis (BFA September 7, 2017 Ann Dowd Theatre Studies ’05) was one of (MFA Acting ’82) won an Emmy for six theatre professionals named to Best Supporting Actress for playing national theatre organization Theatre Aunt Lydia in The Handmaid’s Tale. Communication Group’s Board of Directors. September 13, 2017 Isaac Gomez July 31, 2017 Delaney Feener (BFA (Faculty) and Kristin Idaszak Acting ’18) received a Princess Grace (BFA Theatre Arts ’09) were named Theatre Scholarship and Robert and to the 2017-2018 Goodman Theatre Gloria Hausman Theater Award. Playwrights Unit.

August 9, 2017 Kristin E. Ellis (BFA November 7, 2017 Kymberly Acting ’11), Kiki Layne (BFA Acting ’14), Mellen (MFA Acting ’00) won an Shadana Patterson (MFA Acting Equity for Best Actress in a ’15), Kemanti Porter (MFA Directing Supporting Role for The Columnist ’03), and Jacqueline Williams (BFA at . Acting ‘87) all received nominations from the Black Theater Alliance. November 7, 2017 Nick Belley (BFA Scene Design ’13) won an Equity July 13, 2017 Ann Dowd September 22, 2017 TTS’s BFA (MFA Acting ’82) was nominated for Jeff Award for Best Lighting Design Acting program was ranked #1 in the (Large) for Sweeney Todd: two Emmy Awards: Outstanding country by OnStage blog. Guest Actress in a Drama Series for The Demon Barber of Fleet Street HBO’s The Leftovers and Outstanding at Paramount Theatre. Supporting Actress in a Drama Series September 12, 2017 Eugene Lee for Hulu’s The Handmaid’s Tale. (BFA Scene Design ’64 ) won an Emmy October 27, 2017 Coya Paz (Faculty) for Outstanding Production Design of Free Street Theater received for Variety Nonfiction Reality or the $15,000 ProPublica Illinois/Illinois July 31, 2017 Mikael Burke Reality Competition Programming for (MFA Directing ’18) received a Humanities Engagement his work as production designer on Challenge Award. Princess Grace Theatre Scholarship. NBC’s Saturday Night Live. IN THE NEWS October 12, 2017 The Theatre February 16, 2018 Rightlynd written May 9, 2018 Lucas Baisch School was listed on College by Ike Holter (BFA Playwriting ’07), (BFA Playwriting ’14) was included on Magazine’s Top 10 Colleges was announced as a part of Victory American Theatre Magazine’s “Role for Playwriting. Gardens 2018-2019 season, to be Call: 6 Theatre Workers You Should directed by Lisa Portes (Faculty). Know List.” October 20, 2017 Nambi E. Kelley (BFA Playwriting ’95) had her May 11, 2018 CBS ordered a pilot adaptation of Native Son presented called Red Line based on A Twist of at Yale Repertory Theatre. Water, written by Caitlin Parrish (BFA Theatre Studies ’05) which was originally directed in Chicago by November 10, 2017 Lin Kahn Erica Weiss (BFA Theatre Studies ’06). (Adjunct Faculty) received the Innovative Use of the Art Institute in a First-Year Program Course prize.

November 6, 2017 Michael McKeogh (MFA Acting ’12) was announced as a member of the February 15, 2018 Celeste M. ensemble. Cooper (MFA Acting ’12) was named as a new ensemble member at Steppenwolf Theatre Company. November 21, 2017 Tarell Alvin McCraney (BFA Acting ’03) received the YoungArts 2018 Alumni Award. March 5, 2018 The Theatre School was included in Backstage.com’s list of “The Best 24 MFA & MA Acting December 5, 2017 Erica Weiss June 20, 2018 Isaac Gomez Programs in the U.S. and U.K.” (Faculty) was named to the Windy (BFA Theatre Studies ’05) and Caitlin City Times’ 30 Under 30 list. Parrish (BFA Theatre Studies ’06) won Best Screenplay and Best Feature March 9, 2018 Rachel Shteir Film in the Midwest Independent (Faculty) was published in the New June 22, 2018 Isaac Gomez (Faculty) Film Festival for the filmThe View York Times with her article “Ibsen was announced by The Dramatist From Tall. Eric Staves (BFA Acting ’13) Wrote ‘An Enemy of the People’ in Guild of America as the co-recipient appeared in the film. 1882. Trump Has Made It Popular Again.” of the 2018 Lanford Wilson Award.

February 28, 2018 La Ruta, written June 25, 2018 Kat & June Think Stuff! by Isaac Gomez (Faculty) was executive produced by Mackenzie announced as a part of Steppenwolf Yeager (BFA Acting ‘09) was picked Theatre Company’s 2018-2019 season. up by YouTube Premium. ACADEMICS

Performance Department Ian Bedford, Goodman Theatre, Bob Peterson Melissa Bochat, Chicago GUEST Actor Shakespeare Theatre, Roger Guenveur Smith, Actor Ethan Weber Crafts Supervisor ARTISTS Andrus Nichols, Goodman During the 2017-18 academic Eunice Roberts, British American Theatre, Actor Ethan Deppe, Freelance Designer Andrew Boyce, Northwestern year The Theatre School Drama Academy, Dean and Composer University, Assistant Professor was proud to host a variety of Set Design Lisa Wolpe, Women’s Theatre Studies Department Meryn Daly, Chicago Flyhouse, of guests who spoke to Shakespeare Company, Production Manager Scott Davis, Freelance classes within the Design/ Artistic Director Ricardo Gamboa, The Goodman Scenic Designer Technical, Performance, and Theatre, Playwright Jennifer Gadda, , Theatre Studies departments, Roche Shulfer, Goodman Production Manager John Coleman, Lyric Opera of Theatre, Executive Director Will Davis*, American Theatre Chicago, Stage Manager or offered workshops to David Turrentine, David current students. These Company, Artistic Director Barbara Gaines, Chicago Turrentine and Associates, James VanBergen, Freelance guests included the Shakespeare Theater, Irina Zadov, Senior Program Owner Sound Designer following individuals: Artistic Director Specialist, Chicago Park District Anthony Forchieli, Cricket Meyers, Freelance Nathan Allen, The House Theatre Karly Bergmann* Freelance Designer Sound Designer of Chicago, Artistic Director Jim MacGruder Kimberly Senior, Lindsay Jones, Freelance Tara Mallen, Rivendell Theatre Freelance Director Sound Designer Company, Artistic Director Design Technology Department Rachel Flesher, Freelance Michael Roth, Freelance Sarah Fornace, Manual Cinema, Intimacy/Fight Choreographer Composer/Sound Designer Co-Artistic Director Jack Reuler, Mixed Blood Theatre, Artistic Director Malcolm Ewen, Steppenwolf Katerina Herman, Freelance Julia Miller, Manual Cinema, Theatre Company, Stage Manager Co-Artistic Director David Stewart, Guthrie Theatre, Stage Manager Director of Production Courtney O’Neill, Freelance Ben Kauffman, Manual Cinema, Matthew Ozawa, Scenic Designer* Co-Artistic Director Kelly Claussen, The House Freelance Designer Theatre, Assistant Kelsey Lamm, Freelance Kyle Vegter, Manual Cinema, Production Manager* Hallie Gordon, Steppenwolf Stage Manager* Co-Artistic Director Theatre Company, John Featherstone, Lightswitch, Artistic Producer Beth Uber, Uber Costume, David Diamond, Theatre for Co-Founder Owner Living, Artistic and Brian Newman, Indiana Managing Director Peggy Eisenhower, Broadway Repertory Theatre, and Film Lighting Designer Production Manager Sylvia Hernandez-Distasi, Actors Gymnasium/ Laura Hubka Timmel, Mary Ellen Park* Lookingglass Theatre, Artistic Laura Hubka Millinery Director/Artistic Associate * indicates alumni ACADEMICS

Dramatists, and Remy Bumppo Albany Park Theatre Project, Faculty and staff gave 9 Faculty members won awards such FACULTY/ Theatre Company. Primary Stages, and Children’s presentations at conferences or as the Kernodle New Play Award, STAFF Theatre Company of , programs such as NACAC Chicago ProPublica/Illinois Humanities and 3 new plays were published. College Fair, NACAC PVA Dallas Engagement Award, Lansford design/technical projects ACTIVITIES 38 College Fair, Price School of Wilson Award, and the Jeffery in technical direction, costume Public Policy, Chicago Ideas Week, Melnick New Playwright Award. Performed in, or produced design, set design, properties Faculty and Staff taught 44 25 Chicago Community Trust event: productions at companies such design, sound design, and design classes and workshops outside Art, Activism & Resistance in ‘Our as , Remy consultant at companies such of DePaul University in areas of Faculty and staff held Chicago,’ and TEDxDePaul. Bumppo Theatre Company, as Cloudgate Theater, CBS/ study including acting, rigging, memberships with 37 , Dallas Warner Brothers, The Lyric modern dance, voice and organizations including but not Opera, Comedy Central Network, Opera of Chicago, Stage Factor, speech, improv, Shakespeare, Faculty and Staff attended 6 limited to USITT, Costume Society Court Theatre, Shattered Globe Inc., Birch House Theatre. Court stage combat, scene study, and conferences including Chicago of America, Kristin Linklater Theatre, The House Theatre, Lit Theatre, Goodman Theatre, millinery at organizations such as Anti Racism Conference, National Voice Center, Voice and Speech y Luz Festival, ShPleL Theatre, Repertory Theatre of St. Louis, Green Shirt Studios, Yale School Association of College Admissions Trainers Association, Association Pegasus Theatre, Goodman , Getty Villa, of Drama, North Carolina School Counseling (NACAC) Conference, of Theatre in Higher Education, Theatre, Stone Soup Shakespeare, American Players Theatre, Long of the Arts, USITT, University of Intersections, Kristin Linklater Voice Screen Actors Guild-American Lifeline Theatre Company, Wharf Theatre, Rivendell Theatre Wisconsin- Milwaukee, Lou Conte Centre, Undoing Racism, American Federation of TV and Radio Milwaukee Chamber Theatre, Company, Firebrand Theatre Dance Studio, Lit Moon Theatre, College Testing Enrollment Artists, Actor’s Equity Association, Portland Center Stage, Prague Company, American Players Columbia College Chicago, Remy Management Conference. International Council of Fine Shakespeare Company, Tura New Theatre, Theatre at the Center, Bumppo Theatre Company, Roy Arts Deans, United Scenic Artists Music, Steppenwolf Theatre Remy Bumppo Theatre Company, Hart Theatre Voice Training, #829, Alliance for Women Film Company, , Victory Gardens Theater, and Oakton Community College, Faculty and staff held 23 Composers, League of Professional Underscore Theatre Company, Sideshow Theatre Company. University of Southern California, leadership positions at other Theatre Women, Feldenkrais Prague Shakespeare Company, and The Henry Ford Museum. organizations such as MacDowell Guild of North America, Theatre Theatre Dybbuk, and the Notre Colony, Repertorio Espanol, Free Communications Group, New Dame Shakespeare Festival. 9 articles and reviews written for Street Theatre, Season of Concern, York Theatre Workshop, Stage Tablet Magazine, The New Republic, Faculty and staff received 8 ShPleL Theatre, Michael Merritt Directors and Choreographers, The New Yorker, The Times of DePaul grants including the Awards Steering Committee, Association of Arts Administration Directed 17 productions at London Literary Supplement, and Vincentian Endowment Grant, Amigas Latinas, Chicago Educators, National Academy companies such as Victory The New York Times. 2 books Professional Development Dramatists, Chicago Repertory of Recording Arts and Sciences, Gardens Theater, TimeLine featured work by faculty. Grant, Global Engagement grant, Theatre, Lifeline Theatre, Literary Managers and Dramaturgs Theatre, Steppenwolf Theatre Competitive Instructional Grant, Theatrical Sound Designers and of the America, American Society Company, the Houston Grand and the Institutional Diversity Composers Association, Chicago for Theatre Research, and Adler Had new plays receive Opera, the Irish American Heritage 7 Grant, 2 outside grants and are Contact Improv, USITT, Voice Improv Acting Studio Member. workshops, readings or full Center, Free Street Theater, participating in 7 research projects and Speech Teachers Association, productions at theatre such as Maria Irene Fornes Playwriting with focuses such as Feldenkrais Dueling Arts International, Theatre Haven Theatre, Adventure Stage Workshop, Children’s Theatre Mentoring, and cultural activities. Communications Board, League of Chicago, The New Writing Festival Company of Minneapolis, Yirra Chicago Theatres, and the Latinx at Rose Bruford College, London, Yaakin Theatre Company, Black Theatre Commons. Swan State Theatre, Chicago Latinx Theatre Commons Carnaval, ACADEMICS INTERNSHIPS About Face Theatre Jujamcyn Students in the Design/Technical, Adventure Stage Kennedy Center Performance and Theatre Studies Alliance Theatre Know Theatre departments completed 50 internships during the 2017-2018 Ashland New Play Festival Lakia Studios academic year. These included B Street Theatre LiveNation internships at various theatre companies, producing and Birch House Lookingglass Theatre general management companies, arts organizations, and schools. Black Ensemble Theatre Media Projects Incorporated Northlight Theatre

CC Dramatics Periscope Post Production

Chicago Children’s Theatre PRG Chicago

Chicago Dramatists Raven Theatre

Chicago Shakespeare Theatre

CIRCUS Magazine Santa Fe Opera

COR Theatre Shattered Globe Theatre

COR Theatre TROIKA Entertainment

Creative Compass Dramatics University of the Arts London- Central St. Martins First Stage Victory Gardens Theater Front Porch Theatricals Walt Disney Company Full Spectrum Features Williamstown Theatre Festival Goodman Theatre Writer’s Theatre Hangar Theatre Zumanity by Indiana Shakespeare Company PRODUCTIONS ON THE FULLERTON STAGE CHICAGO PLAYWORKS Desert Stories for Lost Girls Into the Woods FOR FAMILIES AND YOUNG by Lily Rushing music and lyrics by Stephen AUDIENCES directed by Ann Filmer Sondheim Augusta and Noble book by James Lapine by STUDIO PRODUCTIONS directed by Barry Brunetti directed by Lisa Portes musical direction by Mark Elliott FALL 2017 choreography by Kelly Maryanski Junie B. Jones Is Not A Crook In A Word by Allison Gregory by Lauren Yee Native Son adapted from the book series by directed by Lavina Jadhwani by Nambi E. Kelley Barbara Park adapted from the novel by directed by Krissy Vanderwarker The Call of the Wild Richard Wright by Jack London directed by Mikael Burke The Cat in the Hat adapted by Ian Frank by Dr. Seuss directed by Ian Frank Three Sisters adapted by Katie Mitchell by Anton Chekov directed by Jeff Mills Life Sucks translated by Curt Columbus by Aaron Posner directed by Jacob Janssen MFA directed by Keira Fromm I and You Growing Up Blue by Lauren Gunderson Big by Chloe Orlando directed by Ben Raanan by Charles Mee directed by Shade Murray directed by Stuart Carden 26 Miles by Quiara Alegria Hudes WINTER 2018 IN THE HEALY THEATRE directed by Melanie Queponds Hamlet Seven Homeless Mammoths by William Shakespeare Wander New England The Great Divide directed by Cameron Knight by Madeleine George by Adam Chanzit directed by April Cleveland directed by Patrice Egleston A Bright New Boise By Samuel D. Hunter Mr. Burns, A Post-Electric Play directed by Jacob Janssen by Anne Washburn ENHANCED STUDIO directed by Jeremy Aluma PRODUCTIONS Mr. Sadman The House of Bernarda Alba by Delia VanPraag Satyagraha: Gandhi/King by Frederico Garcia Lorca directed by Meghan Beals devised by the ensemble directed by Jeremy Aluma directed by Dexter Bullard Blown Youth The Witness By Dipika Guha by Terrence McNally directed by Kaiser Ahmed directed by April Cleveland Under Milk Wood by Dylan Thomas directed by Jason Beck

LABS FALL 2017 The War Boys by Naomi Wallace directed by Jennie Russianoff

2007: Britney’s Breakdown devised and directed by Keegan Condon and Steph Meza

WINTER 2018 Penetrator SPRING 2018 Fray the Tethers by Anthony Neilson devised by the ensemble Betrayal directed by Julissa Castrejon by Harold Pinter directed by Kristina Fluty directed by Jeremy Aluma Fourth Wave Bunny WINTER 2018 devised and directed By Madi Cockroach Kodachrome Delk by Sam Holcroft by Adam Szymkowicz directed by April Cleveland directed by Julie Kline WRIGHTS OF SPRING A Midsummer Night’s Dream Like It Reactions to a Crumbled by William Shakespeare by Shannon Pritchard Foundation directed by Mikael Burke directed by Ian Custer by David Barber Pocatello Homecoming INTROS by Samuel D. Hunter by Brenna Barborka FALL 2017 directed by Azar Kazemi Morrison Golgotha’s Ghost Bee’s Knees SPRING 2018 by Drew Beyer devised by the ensemble A Doll’s House directed by Laura Biagi by Henrick Ibsen Super-Ron: The Tale of a Not-So-Super Hero Stains (true stories of) directed by Lavina Jadhwani by Connor Bradshaw devised by the ensemble Other Desert Cities directed by Coya Paz by Jon Robin Baitz HEART directed by Phyllis E. Griffin by Matthew D. Carpenter Terminal Velocity Antlers (Failing Expectations & That Woman Pierre, et le Nouveau Film by Ian Chong Chuck Tingle) by Megan Lucas by Jake Pinckes by Immanuel Garcia Apocrypha 130 Yellowstone Ave, Cody, Certified Witches by Chandler Clamp Honey Girls WY 82414 by Molly Rosen by Grace Grindell by Connor McCarson Somewhere Far Office Romance by Kate Coley Spot Gut by Lily Rushing About Irene by Robert Halvorson by Camille Mitchell Tracing Knowledges by Madie Doppelt Eternal Daisy Will this dildo make my husband by Elon Sloan Inside the Palace Royale by Ryan Hebert love me? by Emma Durbin by Chloe Orlando I miss Me Leo’s Sophomore Band Concert by Delia Van Praag The Lesbian Play by JP Heili The Wasted Years by Camilla Dwyer by Frankie Pederson Grandma Onion and Friends I’m A Dragon by Erin Wilborn Jeff and the Dead Girl by Brent Leibowitz by Madison Fargo FACULTY PROFILE

What brought you to The As a voice trainer, I am interested in helping people MICHELLE LOPEZ-RIOS Theatre School (TTS)? find a powerful voice on stage and in society. Everyone Associate Professor of Voice and Speech The people! Theatre is a has a story and everyone’s story is important. I have community event that collaborated on such wildly different projects that is essential. As a theatre stemmed from this voice work. Being new to Chicago, artist and educator, I have I am getting to know the people, communities, and collaborated with many amazing theatre companies like Free Street Theater and faculty and alumni of Albany Park Theater Project. What are the stories here? The Theatre School over the years. I have always What’s your greatest personal or professional been excited by what my accomplishment? colleagues were doing and I am very proud of being a founding member of how they were doing it. It is such an honor to mentor and The Royal Mexican Players (a Latinx performance learn with young artists. The mission statements of both troupe) in 2004. The creative energy, social commentary, The Theatre School and DePaul University were inspiring and community engagement in the original works we to me. I have a long history of working on theatre that produced are the foundation of the exciting work engages communities and works towards social justice. I I do today. It was also the beginning of my now family easily imagined myself contributing to the TTS community of three. and growing as a teaching artist in this environment. Favorite food? What are plans for new initiatives or projects in your My mom’s tamales. area at TTS? What are your goals for the upcoming school year? Hometown I am excited to direct Jane of the Jungle in our Chicago I grew up in Spring, Texas. Playworks Series. Theatre for young audiences is such an exciting part of what we do at TTS. I am curious about how What’s one thing you would like people to know our students could more often and more deeply engage about you? with the community. One of my goals is to investigate how I am an ally, artist, activist and chocoholic. that might happen in classes or through Playworks. STAFF PROFILE

What brought you to The What are plans for new initiatives or projects in your DOMINIC DIGIOVANNI Theatre School? area at TTS? What are your goals for the upcoming Scene Shop Foreperson I’d be deflecting if I didn’t school year? say it was my friend Shane This year we’re doing a big push on safety. I’ll be the Kelly (Head of Theatre Safety Coordinator beginning this season and I’ve been Technology). He emailed working over the summer on our safety presentation for me out of the blue while the beginning of the school year. I hope that the incoming I was working at Seattle students take my view of safety as a team effort to heart. Rep to point me towards the job opening here What’s your greatest personal or professional and I’m glad he did. My accomplishment? time at the Rep had been I hope my greatest accomplishments are yet to come. great and I didn’t really have any intention to move so I Although the world premiere set for The Hunchback of basically applied on a lark. As the process got more and Notre Dame at the La Jolla Playhouse was pretty fantastic. more serious I looked at the position and recognized that it could be a really good thing for me and, potentially, a Favorite food? great fit. Banh Mi. The rice flour baguette is a special treat, not to mention everything else about it too. I met Shane while I was working at UC San Diego and my experience there played the second largest part in wanting Hometown to join TTS. I enjoyed the educational part of my role Oakland, California born and raised. there very much. I’d had a chance to work with students and do some on the job teaching, both of which I took to What’s one thing you would like people to know easily. If the jobs were similar, going back into education about you? was something I was certainly looking forward to. I recently started baking my own sourdough. ALUMNI PROFILE DESIGN/TECH ALUMNI TAKE ON CAREERS AT CIRQUE DU SOLEIL

The Theatre School’s alumni from the Design and Technology department pursue all kids of career paths. Many of these students end up being involved in the Chicago theatre scene as professional designers, stage hands or theatre administrators, working for prestigious theatre companies such as The Paramount Theatre, TimeLine Theatre Company, Steppenwolf Theatre Company, Writers Theatre, and many more. Unknown to many, a significant number of alumni from Design/ Tech majors at The Theatre School (TTS) end up working for organizations that are not traditionally thought of as theatres, in particular, Cirque du Soleil.

Although TTS is specifically a theatre conservatory, the in-depth training design/tech students receive prepares them for a wide variety of positions within an organization like Cirque du Soleil. Todd Bleiman (BFA Theatre Technology ’17) now works as the Automation Technician touring with Crystal after working operating developed this experience by technically designing program made her feel that she needed to be constantly automations for The Beatles LOVE show in Las Vegas. automated elements for TTS course projects. Another working on something, and also is grateful for how she TTS Design/Tech alum, Castille Ritter (BFA Costume already had a portfolio of professional work to showcase “As Theatre Technicians [at TTS], we lead the scheduling Technology ’15), is a Costume Technician at Cirque’s in interviews immediately after graduation. Ritter brings and organization of the scenic elements for the Mindfreak after working with The Wynn Resorts’ Le the physical portfolio that she started at TTS to every production and attended frequent production and design Réve show, as well as Cirque’s Michael Jackson ONE, A interview, even today, and also has a website of her work team meetings while also regularly meeting with the Paint Choreographer’s Showcase, and One Night for One Drop to reference in phone and Skype interviews. Charge and Scene Shop Foreman,” Bleiman noted. “We shows. She is also currently working on building costumes then create a materials list, estimate budget, materials of Criss Angel’s new show opening in late 2018. Anna Ashley (BFA Stage Management ’09) now woks as and labor requirements for the scenic elements, followed the General Stage Manager of the show Kooza on tour in by technically designing and drafting the set. As these “The Costume Tech program provides a well-rounded Hong Kong. drawings are sent to the scene shop to be built, where skill-set that enabled me to say, ‘I can do that’ in most we oversee the construction of the set while preforming situations I encountered fresh out of school,” Ritter said. “Stage management is all about striking the balance regular quality control checks.” “I use my stitching, millinery, crafting, and production- between hard skills vs. soft skills, and looking at details vs. practice experience on a daily basis.” looking at the big picture of a show,” Ashley said. “At TTS, While at TTS, Bleiman interned with the automation both in the classroom and in the rehearsal room I was department on two different Cirque shows and further She also appreciates how the momentum of the TTS always challenged to work on all of these things. I learned ALUMNI PROFILE

she didn’t get the internship, she was hired into the “Being teachable and hungry to learn reveals much more about DESIGN/TECH ALUMNI Wardrobe department of Cirque du Soleil’s Michael Jackson a person that the skills on their resume,” Melito said. “You ONE about a month before she graduated from TTS. Ten can teach technical skills, but you can’t teach personality.” TAKE ON CAREERS AT months later, she was hired full time at Cirque du Soleil. CIRQUE DU SOLEIL Bentson agrees, and adds that networking with professionals Ashley was inspired to pursue a career at Cirque du Soleil and having a strong work ethic are vital to success in this when she saw in Chicago in 2006. She saw the industry. Bleiman also had comparable advice for current show twice and was blow away. Samantha Bentson (BFA students looking to achieve similar career goals. Theatre Arts ’14) was passionate about Design/Tech, despite her major in the Theatre Studies Department, and worked “Networking is something you can’t do enough of while at her way into a TTS Design/Tech trip to Indiana for a Cirque TTS,” Beiman added. “Whether that means building contacts Convention. There, the group was introduced to Sandra Fox and connections with the faculty and staff at TTS itself or , Cirque’s wardrobe representative. Bentson reflects that she using those resources to get internships or use a connection introduced herself, and the rest is history. She now works for of someone who may know someone, anything you can use Sandra Fox as part of the Resident Show Division in Las Vegas, to start a conversation is a good first step. The worst anyone Nevada with The Beatles LOVE show. These alums prove can say is no…remember to keep a level head, be positive, make that there are many paths to success in Design/Tech careers, a conscious effort to listen to what everyone has to contribute but they all take persistence and determination to achieve. and say please and thank you as much as you can.” to ‘speak the language’ of all the different departments In addition to pursuing internship opportunities, these Ashley concludes that soaking up everything you can during working on a show, which helped me to be a good alums recognize how interpersonal job hunting can be in you time at TTS will serve you for the rest of your career. communicator at Cirque.” the theatre industry, and recommend current students capitalize on any and every professional interaction. Alum “I think the more knowledgeable and well-rounded you When looking at the successes of alumni of their Marisa Melito (BFA Theatre Technology ’17) also works for are the more opportunities you will have in the long run,” departments at TTS, the go-to question current TTS the Resident Show Division in Las Vegas. she said. students always ask is “How do I get that job?” These alumni prove that there are many answers to that question.

Bleiman got to “assist the Cirque team for the entire five day set-up of the site and venue starting from an empty parking lot through premiere” and was able to “shadow a multitude of the different show tracks including the Lighting, Sound and Automation operators, Riggers, Carpenters, and Stage Management for a full show each” before landing his current job. Ritter started out by visiting another TTS alum interning at Mystére, a Cirque show in Las Vegas. She said she immediately “felt that I could see myself working there.”

Ritter then checked the Cirque website every day, waiting for their internship application to be posted, and although DONOR PROFILE PETER AND SUSAN STRAUSS

Peter and Susan Strauss support The Theatre School years. She was aided and abetted by Al, who was an actor. turn into a theatre [now the Wallis Annenberg Center for in memory of Peter’s mother, Lucille (Lulu) Strauss They worked as a team, and if she needed help teaching a the Performing Arts]. Inspired by Lucille, I got involved in the (GSD ’25, DHL ’88), and her longtime professional particular class, he would take over. building of the theatre, and now I sit on its board. Naturally, partner, Alan Peters. Peter is executive vice president we wanted to get involved when The Theatre School built of Mandalay Pictures in Los Angeles. Susan is a member Susan: I was very inspired by Lucille Strauss. Up until the its new building. They were kind enough to name one of of the board of directors of the Wallis Annenberg age of 90 she was attending theatre three or four times a the conference rooms there after Lucille and Alan. Center for the Performing Arts in Beverly Hills, Calif. week and was very involved. She was a great influence on my life in terms of inspiring me to give back. Why do you continue to support The Theatre School? Tell us about your mother and Alan. Peter: We recognize that the mission of DePaul is to Peter: My mother was in the first graduating class of the When did you get involved with The Theatre School? educate qualified people, many of whom may not be Goodman School of Drama. She was an actress in the Peter: We initially got involved when the school redid the able to afford the cost of tuition and books. To see them ’20s and ’30s and later became a director. She was an Blackstone Theatre [now the Merle Reskin Theatre]. We working in the new building is really very heartwarming. extremely devoted theatregoer and critic and served on bought seats in my mother’s and Al’s names. When my mother We’re just incredibly appreciative of the opportunity to the Joseph Jefferson Awards Committee for many, many passed, her wishes were that there should be a scholarship be of help to these young people at the beginning of years. She was very active with the Goodman School fund established at The Theatre School. We maintain that in their careers. and, after DePaul acquired it, became active with The my mom’s and Al’s names. Then there were opportunities to Theatre School. She found DePaul to be exceedingly help with the construction of the new building. Susan: We’re very impressed with the way The Theatre welcoming as an environment and also a wonderful School has grown. We’re excited to be able to continue school to nurture young talents. Susan: About 15 years ago, the City of Beverly Hills bought the legacy that Lucille and Alan began and support future She was a guest lecturer at The Theatre School for many the old post office down the street from where we lived to generations of students. LIGHTS UP! Supporting Student Scholarships brought and support, and encouraged them to continue their GALA 2017 RECAP together talented artists, business and civic leaders, and generosity during the paddle raise and auction. visionaries who came together in support of Theatre School students. Actor, alumnus, and Honorary Co-Chair Members of the Chicago theatre and civic community John C. Reilly welcomed guests and shared his personal showed their support, and included Alderman Edward story of how receiving a scholarship at a difficult time M. Burke and Illinois Supreme Court Justice Anne M. enabled him to stay in college. Burke, PJ Powers (Artistic Director, TimeLine Theatre Company), Lou Raizin (President, Broadway in Chicago), Reilly talked about his father’s linen company going up and Deb Clapp (Executive Director, League of Chicago in flames when Reilly was attending DePaul, leaving his Theatres), among many other industry professionals. family struggling financially. “I would not have been able Also in attendance were Theatre School board members to stay in school had it not been for my scholarship,” Brian Montgomery (Board Chair, Exelon), Monika Black Reilly explained. He thanked guests for their attendance (Strategy Catalyst, DyMynd), Karen Y. Hale (Vice President, PNC Wealth Management), Tomer Yogev (Co-founder of TANDEMSPRING), Scott and Samantha Falbe (Intelligent Lighting Creations), and Dennis Zacek.

Event co-chairs included Joseph Antunovich (President, Antunovich Associates), Sondra A. Healy (Chairman, Turtle Was, Inc.), and Brian Montgomery (Vice President, Labor and Employee Relations, Exelon Corporation). Major supporters of the event included Antunvoich Associates, Exelon, Illinois Tool Works, Illinois Brick Company, R4 Services, and W.E. O’Neill.

“We are so grateful to each and every person who supported this event, and contributed to The Theatre School Scholarship Fund,” says John Culbert, Dean of The Theatre School. “This crucial support directly impacts the success of the next generation of theatre artists.”

The celebration also featured a raffle and live auction. Many members of the League of Chicago Theatres generously donated tickets and arts experiences in support of these onsite fundraising initiatives. By the end of the evening, LIGHTS UP! grossed over $250,000 for The Theatre School Scholarship Fund.

Photo by Joe Mazza Sustaining Board Members Vonita Reescer Amy K. Pietz THEATRE SCHOOL VDR & Associates, LLC Actor Brian Montgomery, Chair BOARD Vice President, Labor and Joseph Santiago Jr. Charlayne Woodward The Theatre School Board has two primary functions: Employee Relations Managing Director and Team Leader Actor and Playwright The Private Bank and Trust Company to raise funds to support the school’s programs and Exelon Corporation Dennis Zacek scholarship awards, and to raise the visibility and stature Sondra A. Healy, Chair Emeritus Monsignor Kenneth Velo Director, Former Artistic Director of the school in Chicago and nationally. There are three Chairman of the Board Office of Catholic Collaboration DePaul Victory Gardens Theater categories of membership: Sustaining Members, who Turtle Wax, Inc. University actively support the mission of the school through advocacy and philanthropy; Professional Associates, Joseph Antunovich Tomer Yogev Honorary Board Members President Co-Founder and Managing Director who promote connections between the school and the TANDEMSPRING entertainment industry; and Honorary Board Members, Antunovich & Associates Dr. John Ransford Watts Dean Emeritus, The Theatre School elected in recognition of their dedication and service to Monika L. Black, MA, MHA, PhD The Theatre School. We are grateful for the many ways Strategy Catalyst Professional Associates Merle Reskin in which our board members contributed to the life of DyMynd the school this year. Paula Cale Lisbe Paul Chiaravalle Actor President/CEO Chiaravalle & Associates Scott L. Ellis ADAMS Associate Artistic Director, Lorraine Evanoff The Roundabout Theatre, New York Director of Finance CineSky Pictures LLC Scott & Samantha Falbe Intelligent Lighting Creations Mike Faron Chairman Zach Helm W.E. O’Neil Construction Company Screenwriter, Director

Karen Hale Criss Henderson Vice President, Senior Banking Advisor Executive Director PNC Wealth Management Chicago Shakespeare Theater

Whitney A. Lasky Paul Konrad Weather /Reporter Irene Michaels WGN-TV news IOnTheScene.com John C. Reilly Marcello Navarro Actor Director of Business Development Elite General Contractors