Volume LVI Number 3 • Summer 2015 • $8.00 BEN VEREEN Change Your Mind, Change Your Life KRISTIN LINKLATER Free Your Voice PAATA TSIKURISHVILI Shakespeare without Words KATIE DAWSON Discover Reflexive Thinking ... BFA Design and theatre technology | BFA Production and stage Management Design Your Future BA theatre | BFA theatre Performance and Musical theatre Act now! Photo: 2010 Production of Machinal, by Sophie Treadwell, Directed by Heather May. Contact: C OLLEGE OF L IBERAL A RTS Department of Theatre Dr. scott Phillips, chair, Department of theatre tel [email protected] 334.844.4748 www.auburnuniversitytheatre.org www.auburn.edu | Auburn University is an equal opportunity educational institution/employer. STELLAADLER.COM | 212-689-0087 | 31 W 27TH ST, FL 3 | NEW YORK, NY 10001 The Stella Adler Studio of Acting is a 501(c)3 not-for-prot organization and is accredited with the National Association of Schools of Theatre THIS SUMMER TAKE YOUR TRAINING TO THE NEXT LEVEL WITH A WORLD-CLASS FACULTY IN NEW YORK CITY TEEN SUMMER CONSERVATORY July 6 - August 7, 2015 Intensive 30-hours-per-week training program for the serious young actor (ages 14-17) taught by the same faculty as our Professional Conservatory and NYU Tisch Undergraduate Drama programs. Classes: Acting Technique Contemporary Scene Study Shakespeare Movement Voice & Speech Improvisation with master classes in Acting for Film and Television Business of Acting EMAIL [email protected] and Stage Combat FOR MORE INFORMATION J_Drama_SoutheastTheatre2015_AD_A1_J_Drama_SoutheastTheatre2015_AD_A1 7/22/14 11:41 AM Page 1 JAMES HOUGHTON Richard Rodgers Director of the Drama Division MFA IN ACTING Juilliard added to Juilliard‘s renowned BFA in Acting Full-tuition and stipend are DRAMA provided for MFA final year APPLY BY DECEMBER 1 Auditions in NYC, Chicago, San Francisco juilliard.edu/drama Lila Acheson Wallace American Playwrights Program at Juilliard Christopher Durang Marsha Norman Co-Directors A Postgraduate Artist Diploma program APPLY BY DECEMBER 15 juilliard.edu/playwrights THE JUILLIARD SCHOOL Joseph W. Polisi, President Photo by Jessica Katz Iphigenia and Other Daughters by Ellen McLaughlin J_Drama_SoutheastTheatre2015_AD_A1_J_Drama_SoutheastTheatre2015_AD_A1 7/22/14 11:41 AM Page 1 JAMES HOUGHTON Richard Rodgers Director of the Drama Division MFA IN ACTING Juilliard added to Juilliard‘s renowned BFA in Acting Full-tuition and stipend are provided for MFA final year DRAMA Volume LVI Number 3 l Summer 2015 l Southern Theatre – Quarterly Magazine of the Southeastern Theatre Conference APPLY BY DECEMBER 1 Contents Auditions in NYC, Chicago, San Francisco juilliard.edu/drama Lila Acheson Wallace American Features Playwrights Program 6 Ben Vereen at Juilliard Change Your Mind, Change Your Life Christopher Durang Departments by Paul B. Crook Marsha Norman Co-Directors 4 400 Words A Postgraduate 12 Kristin Linklater Artist Diploma program You Must Know Theory to Act Free the Voice, and You Free the Person APPLY BY DECEMBER 15 by Joseph R. D'Ambrosi by Kim Doty juilliard.edu/playwrights 32 Words, Words, Words … 16 Celebrating SETC’s 66th in Chattanooga Photos by David Humber Review of Bertolt Brecht: A Literary Life by Stephen Parker 20 Paata Tsikurishvili reviewed by Bill Gelber Shakespeare without Words by George Hillow Cover 24 Katie Dawson Ben Vereen, SETC’s 2015 Distinguished Career Award The Power of Reflexive Thinking winner, speaks to a packed audience on Saturday at the SETC Convention in Chattanooga. (Photo by David Sidebar: Teachers Institute: The Teaching Artist at Work Humber; cover design by Deanna Thompson) by Amy Cuomo 30 To Alan Litsey: Happy Saturday, Friend! Comments on Suzanne Davis Award winner from Pat Gagliano 31 2015 SETC Young Scholars Award Winners Abstracts by Elizabeth Bernhardt and Shannon Savard Summer 2015 x Southern Theatre x 3 THE JUILLIARD SCHOOL Joseph W. Polisi, President Photo by Jessica Katz Iphigenia and Other Daughters by Ellen McLaughlin from Joseph R. D’Ambrosi, graduate student, 400 Words University of Central Florida ries as building blocks; they expanded on You Must Know Theory to Act the ideas that worked for them and revised those that did not. Thus, experimenting often find myself debating with other this information from the stage to the audi- with existing theories may lead to the foun- theatre artists, particularly young actors, ence. But what is the most effective way to I dation of the next big idea in contemporary about the relevancy of acting theory in the- do so? Over the last 3,000 years, actors have theatre practice. Who knows? Perhaps your atre practice. They argue that the develop- developed hundreds of theories to answer theory will be studied next. ment of acting is a result of “doing theatre” this loaded question. History shows us that From classical styles of acting to post- rather than wasting time studying the there are many successful methods of act- modern realism, we owe the theories rarely employed theories of the far-distant ing. Therefore, to know which one works behind our practice to the many theatre past. However, I believe that studying the best for your own practice, it is imperative artists who have come before us. I chal- evolution of acting and applying acting to understand the theories that have come lenge anyone who has a passion for acting theory to contemporary theatre practice before you. to faithfully study and apply the theories is essential to the growth and further ad- Applying theory to theatre practice leads behind the art. This not only honors the- vancement of the craft. Here’s why: to the further development of acting tech- atre’s history, but it enriches the quality At the core, we act to embody the hu- nique for modern actors. Sanford Meisner of performance and secures the successful man experience in a way that surpasses the developed his technique after working future of the actor. n efficiency of the spoken or written word; closely with Lee Strasberg at the Group since human beings have the innate ability Theatre in New York. Strasberg’s “method” Have an opinion you would like to share on to create something from nothing, we make style of acting is highly influenced by the a topic related to theatre? Send your column theatre to bring stories to life, to tell the ideas of Konstantin Stanislavsky. These art- of 400 words or less to [email protected]. truth. It is the actor’s job to communicate ists developed their ideas using other theo- creator of A THEATRICAL LICENSING COMPANY TO RECEIVE A PERUSAL SCRIPT OR TO LICENSE YOUR OWN PRODUCTION CONTACT: www.TedSwindleyProductions.com FOR OTHER EXCITING, CROWD PLEASING SHOWS VISIT OUR WEBSITE! 4 x Southern Theatre x Summer 2015 s o u t h e r n heatre From the SETC President TSETC EXECUTIVE DIRECTOR Betsey Horth EDITOR Deanna Thompson ADVERTISING [email protected] This issue of Southern Theatre looks back at the inspiring call to action provided BUSINESS & ADVERTISING OFFICE Southeastern Theatre Conference by our keynote speakers at the 2015 SETC Convention in Chattanooga. If there 1175 Revolution Mill Drive, Studio 14 was a theme to this year’s presentations, it was the power that resides in each of Greensboro, NC 27405 336-272-3645 us to change our lives, our work and the theatre. PUBLICATIONS COMMITTEE Entertainment legend Ben Vereen, SETC’s 2015 Distinguished Career Award J.K. Curry, Chair, Wake Forest University (NC) T Annette Grevious, Claflin University (SC) winner and the Saturday keynote speaker, enthralled a standing-room-only crowd Denise Halbach, Independent Theatre Artist (MS) with his personal story and his entreaty to those in attendance to take charge of Scott Phillips, Auburn University (AL) Dominic Yeager, University of Alabama their own destinies and become warriors for the arts. Paul Crook shares Vereen’s EDITORIAL BOARD story and advice. Karen Brewster, East Tennessee State University Renowned voice teacher Kristin Linklater also mesmerized a large audience, Kent R. Brown, Independent Theatre Artist (SC) Tessa Carr, Auburn University (AL) urging those attending her Friday keynote presentation to recognize the power Larry Cook, University of North Georgia of their voices, the importance of mindfulness, and the vital role that breath plays F. Randy deCelle, University of Alabama Bill Gelber, Texas Tech University in the craft of acting. Kim Doty provides highlights from Linklater’s presentation H. Duke Guthrie, Valdosta State University (GA) and her masterclasses. Edward Journey, Alabama A&M University Jen Nelson Lane, AEA Stage Manager (AL) Theatre without words took center stage Thursday, when Paata Tsikurishvili Jerry Lapidus, Independent Theatre Artist (FL) of the Washington, DC, metro area’s Synetic Theater delivered a keynote address Stefanie Maiya Lehmann, University of Cincinnati-CCM (OH) Scott Phillips, Auburn University (AL) which included demonstrations of the physical theatre that has won Synetic Megan Monaghan Rivas, Carnegie Mellon University (PA) multiple awards. In a story by George Hillow, Tsikurishvili discusses his methods Steve Willis, Bennett College for Women (NC) PROOFREADERS and why he sees such innovations as the future of 21st century theatre. Kim Doty, SETC Communications Specialist The importance of reflexivity in teachers and artists was the cornerstone of Denise Halbach, Independent Theatre Artist (MS) Philip G. Hill, Furman University (SC) Katie Dawson’s keynote address and Teachers Institute presentation, which PRINTING opened the SETC Convention on Wednesday. Amy Cuomo shares Dawson’s Clinton Press, Greensboro, NC theories, along with some exercises for teachers. NOTE ON SUBMISSIONS Southern Theatre welcomes submissions of articles pertaining At the convention, we surprised former SETC President Alan Litsey with to all aspects of theatre. Preference will be given to subject the Suzanne M. Davis Memorial Award, our most prestigious award for one of matter closely linked to theatre activity in the Southeastern United States. Articles are evaluated by the editor and SETC’s own. On Page 30, Pat Gagliano shares details of Litsey’s contributions members of the Editorial Board.