AUGUST 1–5, 2018 THEATRES OF REVOLUTION: PERFORMANCE, PEDAGOGY, AND PROTEST Association for Theatre in Higher Education Annual Conference Boston, Massachusetts “AN ESSENTIAL WORK for theatre management, producing and arts administration students...a welcome addition to our curriculum.”—Steven Chaikelson, Director, MFA Theatre Management & Producing Program, Columbia University School of the Arts “SHOULD BE IN EVERY INDUSTRY CLASS AT COLLEGES AND UNIVERSITIES AROUND THE COUNTRY! I’m looking forward to using it as a base text in multiple classes.”—Lisa Dozier King, Director, BFA Theatre Management Program, University of Miami “WILL BE SURE TO HAVE A LIFE IN THEATRE SCHOOLS NATIONWIDE… CERTAIN TO SERVE AS A BIBLE for the trade moving forward.” —Megan Lohne, Stagebuddy “INVALUABLE and ENTERTAINING – A MUST READ for aspiring Broadway managers and producers!” —Charlotte St. Martin, President, the Broadway League Stop by the Allworth Press booth in the Exhibit Hall to meet the author! For more info, visit www.broadwaygeneralmanager.com and www.allworth.com TABLE OF CONTENTS “AN ESSENTIAL WORK for theatre management, producing and arts administration students...a welcome addition to our curriculum.”—Steven Chaikelson, Director, MFA Theatre Management & ATHE President’s Welcome Letter . 5 Producing Program, Columbia University School of the Arts ATHE Vice President for Conference 2018 Letter . 7 ATHE Mission and Goals . 8 ATHE Focus Group Representatives and Conference Planners . 9 ATHE Governing Council . 11 2018 Conference Committee . 11 Leadership Institute Information . 12 First-Time Attendees . 13 ATHE Annual Membership Meeting . 14 ATHE Awards Ceremony . .14 Keynote Speakers . 15 All-Conference Plenaries . 16 Performances . 18 Paid Workshops . 20 Excursions and Performances Series . 24 All-Conference Events . 28 Focus Group Pre-Conferences . 31 List of Sponsors . 33 List of Advertisers . 34 List of Exhibitors . 35 Conference Registration Hours . 37 Hotel Information and Map . 37 Exhibit Hall Hours and Map . 42 ATHE Conference Mobile App . 43 ATHE 2019 Conference—Orlando . 44 All Conference Schedule at a Glance . 46 Session Key . 52 Concurrent Sessions . 54 Index of Speakers . 190 “SHOULD BE IN EVERY INDUSTRY CLASS AT COLLEGES AND UNIVERSITIES AROUND THE COUNTRY! I’m looking forward to using it as a base text in multiple classes.”—Lisa Dozier King, Director, BFA Theatre Management Program, University of Miami “WILL BE SURE TO HAVE A LIFE IN THEATRE SCHOOLS NATIONWIDE… CERTAIN TO SERVE AS A BIBLE for the trade moving forward.” —Megan Lohne, Stagebuddy “INVALUABLE and ENTERTAINING – A MUST READ for aspiring Broadway managers and producers!” ATHE Conference 2018 Program Graphics: Kevin McGroarty —Charlotte St. Martin, President, the Broadway League Program Layout and Design: Larry Bell Program Proofreading and Copyediting: Jessica Hinds-Bond Special Thanks: Kate Chisholm, Managing Editor, SDC Journal; Kareem Khubchandani; Boston Business Printing Cover image licensed under Creative Commons Attribution 2.0 (generic). Image can be found at Stop by the Allworth Press booth in the Exhibit Hall to meet the author! pxhere.com/en/photo/364288; photographer is unlisted. Photo has been retouched and colorized for layout purposes. For more info, visit www.broadwaygeneralmanager.com and www.allworth.com CONTEMPORARY | GLOBAL | ESSENTIAL Your source for • interviews with leading directors, curators, and writers • creative dossiers by cutting-edge theatermakers • engaging articles and provocative, in-depth criticism • new plays by international authors such as Guillermo Calderón, Theater tom sellar, editor Toshiki Okada, and Nobel laureate Elfriede Jelinek published by duke university press on behalf of Subscribe today. yale school of drama Three issues annually and yale repertory theatre Individuals: $30 | Students: $20 | Single issues: $12 To subscribe, email [email protected] or visit dukeupress.edu/theater. THEATRES OF REVOLUTION: PERFORMANCE, PEDAGOGY, AND PROTEST | ATHE 2018 | AUGUST 1-5 | BOSTON, MA WELCOME TO THE 2018 ATHE ANNUAL CONFERENCE Walking throughout the city of Boston, we are continually reminded of the revolutionary spirit that defines much of this region’s history. Some stories have been told with more gusto than others. Many of us have heard about the “party” in which tea was thrown overboard in protest of English taxes or the raising of twin lanterns in a nearby church tower to warn about English troops crossing the Charles River. Few of us have encountered stories about the Wampanoag, who fought unsuccessfully to maintain their lands and preserve their way of life from the encroachment of white settlers. Not everyone knows about the campaign to integrate Boston’s public schools in the 1970s and 1980s, a generation after the US Supreme Court’s ruling in Brown v. Board of Education. Boston is a reminder that revolution can happen both quickly and painfully slowly. It can open the doors to diversity and inclusion and, at the same time, expose the deep divisions of society and seemingly turn back the clock. To put it simply, revolution is never easy and is not always good. We gather at a moment in which students, faculty, artists, and audiences are asking, “What does revolution look like in 2018?” Is it knitting and wearing a hat as you assemble on the National Mall? Is it “taking a knee” during the national anthem? Is it explicitly writing for underrepresented actors when creating new works for the stage and screen? Is it employing social media to encourage folks to see, cite, hear, and ultimately “follow” a new generation of visionaries? We gather at a moment in which the promotion of ethics and social responsibility, especially within the arts, is proving to be a revolutionary act. Whether it is #MeToo, Time’s Up, or “50/50 in 2020,” among other initiatives, there is increasing attention to the fact that positive social change through the arts mandates positive social change within the arts, such as rooting out harassment, sexual misconduct, bias, and prejudice. Regardless of our individual political beliefs, we know that there is power in the arts. We understand the importance of community and how the arts help to connect people and bridge differences. We gather to renew our sense of purpose as educators, scholars, and artists and, of course, to contemplate revolution. Harvey Young ATHE President THEATRES OF REVOLUTION: PERFORMANCE, PEDAGOGY, AND PROTEST | ATHE 2018 | AUGUST 1-5 | BOSTON, MA 5 THEATRES OF REVOLUTION: PERFORMANCE, PEDAGOGY, AND PROTEST On behalf of the 2018 Conference Committee, welcome to Boston! When we wrote our call for papers in spring 2017, we could only speculate on where we would be at the moment of the conference—how the political and cultural energies following the 2016 US presidential election would play out on public stages, in the classrooms and rehearsal halls of our schools, and in our lives as artists, teachers, and scholars in the year ahead. It has been a privilege beyond reckoning to witness the work of ATHE’s members—individually and through focus groups—since that time. From the proposals, to ranking processes, to development of pre-conferences, the response to the conference theme “Theatres of Revolution: Performance, Pedagogy, and Protest” has been nothing short of inspiring. Through the collaborative efforts of the Conference Committee, we’ve assembled a series of plenaries, workshops, performances, and special events around our theme. Drawing on the city of Boston for its historical significance in the US American Revolution and for its legacy of both academic excellence and artistic innovation, we aim to explore revolutions at the multiple intersections of politics, theatre education, and professional practice. We have put together an Excursions and Performances Series to explore how contemporary and historical enactments of US foundational stories perform race and gender—as well as erasure of the land’s history before colonization—raising complex questions concerning representation and revolution. In a culminating roundtable, we invite dialogue in how these questions resonate with casting practices, season planning, performance practices, and pedagogies, as well as contemporary trends in theory and scholarship. We offer six paid workshops from local and international artists who advance revolutions on multiple fronts—from the use of digital technologies in education and performance to political and cultural revolutions and revolutionary performance strategies. We are thrilled to offer a keynote from sisters Quiara Alegría Hudes and Gabriela Sanchez, who will discuss their Latinx Casting Manifesto and other aspects of their work as activists and artists. Our plenaries aim to further dialogue between leaders in higher education and in the profession and to advance fights for justice through concrete action steps. We offer performances by Sister Sylvester, History Matters/Back to the Future, and History Alive from Salem, MA, and we support focus group pre- conferences on topics ranging from immersive theatre to self-care as revolution. Finally, we are proud to offer platforms for the Jubilee 2020 initiative, revolutionary work by Ireland’s Gaiety School, as well as artists and scholars from around the world. As witness to the work of the Conference Committee, focus groups, and members this year, I have never been prouder to be a part of this association and to work with you in the field of theatre in higher education. I look forward to experiencing the fruits of your