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• Dialing Down Feedback by Ringing a Room
• The Gracie Theatre Debuts to Much
Applause and Many Tenants
• Flying the Moon for Bat Boy: The Musical
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O C T O B E R 2 0 1 0
SubHead
Amanda Palmer talks about
what made her turn in the
American Repertory Theater
production of Cabaret such a
special experience.
+ An interview with the new
USITT leadership team
+ Three innovative programs
keeping theatre education in
schools
+ PLUS!
+ Hundreds of school listings in our
Education Directory and a Spotlight on
the American Musical and Dramatic
Academy

Table Of Contents O c t o b e r 2 0 1 0
76
36
Features
12 To Tweet or not to
Tweet?
What Theatre Companies should consider
when using social media. By Michael
S. Eddy
14 True To Her Roots
An interview with Amanda Palmer, ukulele
star and Cabaret queen. By Bryan
Reesman
18 Light on the Subject
Dimming LEDs smoothly is tricky business,
but not impossible. By Richard
Cadena
22 You Can’t Tuna Fish
But can you tune a room? Tips for ringing
out a room. By Jason Pritchard
24 Amping Up Power
Balladz
Alex Ritter shares how he got that ‘80s
sound just right in an unforgiving room
and an unpredictable show. By Bryan
Reesman
28 A Place To Be Heard
and Seen
A look at the new multi-purpose Gracie
Theatre at Husson University in Bangor,
Maine. By Michael S. Eddy
Special Section:
Education
32 Keeping Theatre Alive
in Schools
Three very innovative, and very different,
programs aimed at ensuring theatre’s
continued presence in the classroom.
By Iris Dorbian
36 Membership Has Its
Privileges
Joe Aldridge and David Grindle, the
new leadership team at USITT, talk
about recent changes and plans for
the Institute’s next 50 years. By Jacob
Coakley
40 Teachers Make the
School
Tony-nominated director Marcia
Milgrom Dodge talks about why she and
other successful pros teach at AMDA
42 Administration-Friendly
Theatre Programs
Seven ways to ensure your department
stays healthy. By Kevin M. Mitchell
Departments
ON OUR COVER: Amanda Palmer as the
Emcee and the Kit Kat Dancers in the American
Repertory Theater production of Cabaret.
PHOTOGRAPHY BY: Marcus Stern
4 Editor’s Note
Balancing thought with action, and
action with strategy. By Jacob Coakley
4 Letters to the Editor
TheatreFace.com users discuss life on
the beach.
6 In the Greenroom
The NEA awards $100k in New Play
Development Grants; Arizona Theatre
Company receives $150K; Another J.R.
Clancy engineer gets certified and more.
14 Tools of the Trade
Backstage gear designed to make life
easier for all.
46 Off the Shelf
Books and plays on dealing with today’s
world. By Stephen Peithman
76 Answer Box
A design team moves the moon for Bat
Boy the Musical. By Nick Van Houten

LINDA EVANS
Editor's Note
Misquoting Your Dreams
“Whatever you can do or dream
you can, begin it. Boldness has
genius, power and magic in it.
Begin it!”
love that quote. You probably know who
it’s usually attributed to: Goethe. But what if
I were to tell you that was wrong?
See, an interesting thing happened as I began to write this
column. I wanted to write a paean to dreaming big, but planning
carefully. It’s our annual education issue, and school is starting
everywhere, and the season was filling me with the relentless
optimism and determination that fall usually does, which reminded
me of that quote. The problem for most of my life was that I always
misread it. The quote ends with “Begin it!”, But for years, I ignored
that bit and—somehow—jumbled it up with the Nike slogan, so it
ended “Do it!” And thanks to my own fuzzy thinking “Do it!” always
meant ALL of it, all at once.
But the quote doesn’t say that. It just says, “Begin it!” And it took
years for that penny in my brain to drop. All that’s required is a
step, as small as you want. In fact, probably the smaller the better.
I learned that from Daniel Alexander Jones of Creative Capital in a
workshop he gave on Individual Strategic Planning. So I headed
into this column fully prepared to write about how I now read that
quote. Except, suddenly, even that interpretation of it was wrong!
Because, as I researched the phrase to be sure I could cite it
correctly, I discovered that the quote isn’t even really from Goethe.
It’s from W. H. Murray, and is based on a very loose translation of
some lines the Manager speaks in the Prologue in the Theatre
from Goethe’s Faust. (Head over to the Goethe Society of North
America’s website for the full story http://www.goethesociety.org/
pages/quotescom.html.) And those lines call for action, as opposed
to merely talking about things. So here I was back at taking all sorts
of furious action.
So this fall, as school starts up again and we learn skills to achieve
our dreams, and the new theatre season takes the stage, fulfilling
the dreams of everyone who has worked on those shows, I’m giving
up on that quote, and focusing on something Daniel said in his
workshop. A new motto that reflects my propensity to action, but
balanced with a need to think things through: “No dream too big.
No step too small.”
Enjoy the fall!
Jacob Coakley
jcoakley@stage-directions.com
Letters
Sand on Stage
TheatreFace.com users discuss life on the beach…
I am doing the show Hooters, by Ted Tally. It has a beach
scene and I wanted to know if anyone had any alternatives to
the use of sand.
Thanks!
Peter Schoenthal
You can look at rubber mulch. The companies that sell that
stuff often sell other more finely shredded rubber in colors
that could pass for sand.
BAM Creative Arts
Can you give us any other guidelines that you have or
want? I’m not familiar with the show or your venue. Perhaps
you could use a paint treatment/spatter? There is a texture
that you could mix with your paint if you can paint the flooring.
David Phillips
At Cirque du Soleil’s show KA, we use ground cork for the
beach scene.
FxDrew
Furthermore, the cork we use is naturally fireproof!
David Fox
Wet sand is hard. Dry sand is dusty. When we had to use
sand at UW, we added glycerin and water with watering cans
and bow rakes to our sand to keep down the dust. We had the
worst of both, hard and dusty.
I advise you to avoid real sand. Last time we painted and
spattered the flooring, but that went well with the cartoon-y
paint style for the comedy we were doing. I would also consider
a ground cloth.
Chuck Driscoll
When we have used sand, I mixed sand with Sculpt or
Coat from Sculptural Arts Coating and put a thin layer of the
mixture on the “hill” I built. There was no dust and keeps it in
place, so need to rake it. Sculpt or Coat is flexible so it didn’t
crack. Check out their website—www.sculpturalarts.com.
Patrick Reading
Have you considered chicken
wire with sand colored toilet
tissue or fabric pieces inserted
into the holes? We did a similar
sort of thing with one of our
operas. It worked pretty well.
Not entirely realistic but enough
to get by.
Phoebe Hall
www.Theatreface.com/join
Find tips, tricks, and more on
TheatreFace.com. Join today!
Theatreface.com/join
4 October 2010 • www.stage-directions.com

Publisher Terry Lowe
tlowe@stage-directions.com
Editor Jacob Coakley
jcoakley@stage-directions.com
Lighting & Staging Editor Richard Cadena
rcadena@plsn.com
New York Editor Bryan Reesman
bryan@stage-directions.com
Editorial Assistant Victoria Laabs
vl@plsn.com
Contributing Writers Richard Cadena, Iris Dorbian,
Michael S. Eddy, Kevin M. Mitchell,
Stephen Peithman, Jason Pritchard,
Bryan Reesman, Nick Van Houten
Consulting Editor Stephen Peithman
ART
Art Director Garret Petrov
ProduCTion
Production Manager Linda Evans
levans@stage-directions.com
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wvanyo@stage-directions.com
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In the Greenroom
theatre buzz
Shaw Festival Establishes
Gabriel Pascal Memorial Fund
The Shaw Festival at Niagara-On-The-Lake, Ontario, has established
the Gabriel Pascal Memorial Fund in honor of the man
Bernard Shaw regarded as a “genius.” The renowned director,
producer and friend of Bernard Shaw, was honored at the Shaw
Festival on August 14 with the unveiling of a memorial plaque in
the Festival Theatre lobby and the establishment of a memorial
fund in his name. Members of the Shaw Festival community and
friends of Mrs. Valerie Pascal Delacorte, wife of the late Pascal,
were in attendance. Delacorte took part in the ceremony, via
Skype, from the Norton Museum in West Palm Beach, Fla.
Gabriel Pascal was the only person to single-handedly convince
Bernard Shaw to give him the film rights to his plays, which include
Major Barbara, Caesar and Cleopatra, Androcles and the Lion, The
Devil’s Disciple and Pygmalion. Shortly before his death in 1954 at the
age of 60, Mr. Pascal retained an option for the musical My Fair Lady.
Within two years after his death, My Fair Lady opened on Broadway
and the Pascal Estate, worth nothing at the time of Mr. Pascal’s
death, grew to an estimated $2 million when the movie rights for
My Fair Lady were optioned. Mrs. Valerie Pascal Delacorte received
a portion of his royalties. She has generously decided to irreversibly
bequeath the rights she currently holds on My Fair Lady and the
motion picture adaptations of The Devil’s Disciple, Major Barbara
and Pygmalion to the Shaw Festival upon her death. This gift will be
known as the Gabriel Pascal Memorial Fund.
Lynn Nottage & Will Eno
Named First Recipients of
the Horton Foote Prize
The first Horton Foote Prize was awarded to Ruined
by Lynn Nottage for Outstanding New American Play
and Middletown by Will Eno for Promising New American
Play. The new award, which will be presented biannually,
is named in honor of the legendary writer, and
honors excellence in American theatre. Each playwright
will be presented with $15,000 and a limited edition of
Keith Carter’s photograph of Horton Foote.
As contenders for Outstanding New American Play
and Promising New American Play, Nottage and Eno
were nominated by Manhattan Theatre Club and
Vineyard Theatre respectively. More than 50 resident
theatres throughout the country, all with a strong history
for producing new work, were invited to submit a
produced or unproduced play for consideration. With
produced works, its premiere production must have
occurred between January 1, 2008 and December 31,
2009. Nominated playwrights must be the author of a
minimum of three original full-length plays which have
been fully produced by professional theatres.
NEA Awards $100k in New Play Development Grants
The 2010 cohort for the NEA New Play Development Program
has been named. Five theatres will each receive a grant of
$20,000 to support the early stages of development for a new
play with strong potential to merit a full production. The theatres
are: About Face Theatre (Chicago, Ill.), for Tanya Saracho’s The
Albert Cashier Project; Children’s Theatre Company (Minneapolis,
Minn.) for Larissa FastHorse’s Fancy Dancer; Cornerstone Theater
Company (Los Angeles, Calif.) for Tom Jacobson’s West Hollywood
Musical; McCarter Theatre Center (Princeton, N.J.) for Emily Mann’s
Hoodwinked; Woolly Mammoth Theater Company (Washington,
D.C.) for Danai Gurira’s Zimbabwe Project. Working in close collaboration
with the playwrights, each theatre will use this funding for
development activities, such as dramaturgy, design workshops
and consultations, read-throughs, public readings, workshop
productions and open rehearsals.
“In order for the American theatre to remain vibrant and
vital, we need to invest in new work,” said NEA Chairman Rocco
Landesman. “I am proud and honored that the NEA is investing
in the development of new plays by five of this country’s most
exciting playwrights.”
Arizona Theatre Company and Actors Theatre Of Phoenix Awarded
$150,000 Grant From Piper Trust
The Virginia G. Piper Charitable Trust has awarded Arizona
Theatre Company and Actors Theatre of Phoenix a $150,000
grant over a two year time period. This grant will allow these
professional theatre companies to explore possible collaborations,
either artistically, administratively or both, to better fulfill
the missions of both organizations. La Piana Consulting from
Emeryville, Calif. will be helping through these investigations,
explorations, discussions and possible implementation.
“We are thrilled to get this opportunity to actively explore
collaborative ideas with our colleagues at Actors Theatre,” said
ATC Artistic Director David Ira Goldstein.
“New models are certainly needed to ensure the long term
stability and sustainability for all not-for-profit arts and culture
organizations in this changing economic climate,” added
Matthew Wiener, Actors Theatre’s producing artistic director.
“Due to the history and leadership of both companies we are
uniquely situated to explore a possible strategic alliance that will
enhance our collective work on stage and expand educational
and outreach services to our communities.”
The Piper Trust awarded 11 grants totaling $1.2 million
through its Arts Restructuring and Transformation Fund (ART
Fund). The one-time arts and culture initiative resulted from
redirecting remaining grants funds from the wind-down of
Metro Phoenix Partnership for Arts and Culture (MPAC) in April.
Thirty-seven previous Piper arts and culture grantees were
invited to apply.
6 October 2010 • www.stage-directions.com

industry news
Philips Vari-Lite Discontinues
Production of Vl550 80V Luminaire
Philips Vari-Lite will discontinue its VL550 80V Wash
luminaire product line, but will continue to offer the VL550,
VL550D, and the VL550CD Wash luminaires. Spurred by a
dedicated effort to offer the best in energy-efficient lighting
and due to the success of the VLX Wash luminaire, Philips
Vari-Lite has made the decision to focus on these technologies
that have surpassed the benefits provided by the VL550
80V lamp.
“Philips Vari-Lite has dedicated our most recent technology
developments to the successful real-world application
of energy-efficient lighting technologies,” stated Bob
Schacherl, vice president of sales and marketing. “We have
seen great success with the VLX Wash and the patented LED
technology driving the VLX light engine offers everything
that we desired from the VL550 80V lamp and much more.”
Although production of the VL550 80V has been discontinued,
technical and service support will continue
J. R. Clancy Project Manager
Earns ETCP Rigging Certification
Bridget Cox, a
Contract Project
Manager with J.
R. Clancy, Inc.,
has passed the
exam in the
E n t e r t a i n m e n t
T e c h n i c i a n
C e r t i f i c a t i o n
Program (ETCP)
for Theatre
Rigging. Cox is
Bridget Cox, newly ETCP-Certified rigging professional.
now an ETCPcertified
rigging professional. The certification
indicates proficiency in the use of counterweight,
mechanical and hydraulic systems installed in
theatres. ETCP riggers also understand the health
and safety issues involved in the use of theatre
rigging, as well as Occupational Safety and
Health Administration (OSHA) requirements for
the use, maintenance and inspection of rigging.
Formerly the assistant technical director for
the New York City Opera, Cox joined the Clancy
staff in 2008. She now oversees the in-house
completion of large contract projects, spending
the bulk of her time at customer sites.
www.stage-directions.com • October 2010 7

Greenroom
industry news
Exit Theatre Launches
Publishing Arm, Exit Press
Ten Plays is the first publication by Exit Press, the new
publishing arm of Exit Theatre, San Francisco’s stalwart
producer of new and classic experimental theatre since
1983. Ten Plays is the first published volume of plays by
award-winning playwright, director and performer, Mark
Jackson.
“Since our beginning in 1983 we have been dedicated
to collaborating with playwrights in support of new
work,” said Exit Artistic Director Christina Augello. “For
decades, talented theatre artists have been contributing
to the new American theatre on the Exit stages. It is our
hope that Exit Press will help this important work find a
home on many other stages in the future. Through art
we can change the world.”
The publishing subsidiary emerged with Exit Theatre’s
2009 Strategic Plan, which identified the theatre’s mission
“to develop artists by providing opportunities to
perform and to develop and audience for that performance.”
One of the activities listed in the strategic
plan was the establishment of a publishing house “in
an attempt to preserve the art that has been produced
at Exit Theatre, and to create opportunities for future
productions of that work.” The stated goal of Exit Press
is to publish multiple plays by two or more playwrights
per year.
changing roles
Wybron Adds Jim
Koza to Sales Team
Jim Koza has joined Wybron sales team
as eastern regional sales director. Jim brings
to Wybron more than 18 years experience in
sales, marketing, and executive sales management
from diverse industries. For the past 10
years Jim has been in business outsourcing,
distribution, manufacturing and channel sales
where he was responsible for national sales
for two separate companies in the consumer
electronics, satellite and wireless internet
industry.
Jim Koza, new eastern regional sales director for Wybron.
8 October 2010 • www.stage-directions.com

Allissa Wickham Joins Shakespeare &
Company’s Communications Team
Allissa Wickham has been added to the Shakespeare &
Company communications team as communications associate.
Wickham has written for publications such as The Berkshire
Record, The Brown Daily Herald, The Providence Daily Dose, and
GirlFuture.com. Her multimedia work includes credits with
Brown Television, Brown Student Radio, and NW Documentary
in Portland, Ore. Wickham is also an artist manager, a longstanding
management model within the Company that incorporates
both managerial duties along with artistic endeavors.
GamProducts Names Laurel Polson VP
Laurel Polson has been
named vice president of sales
and marketing at Gam Products.
Polson comes to the lighting
industry from the corporate
music industry. Prior to joining
GamProducts, Inc., Polson had an
extensive career with Sony Music
Entertainment holding executive
sales and marketing positions
in physical distribution. She is
known for building and retaining
Laurel Polson, new VP of sales and marketing
at GamProducts.
strong relationships with her dealer and distributor base. Polson
will be assuming responsibility for managing GAM’s sales and
service team for domestic and international sales.
www.stage-directions.com • October 2010 9

Tools of the Trade
Chauvet SlimPAR 64
Chauvet’s SlimPAR 64 is an LED
PAR fixture with a very slim casing—
only 2.5 inches thick—that makes it
easy to transport and easy to fit just
about anywhere in a rig. It offers 3 or
7 channels of DMX control, as well as
built-in automated and sound-activated
programs or pulse effect with
adjustable speed. It also offers static
colors and RGB color mixing with or without DMX and built-in
power linking for quick set up and break down.
SlimPAR 64 features 180 red, green and blue LEDs and
up to 22 units can be connected. It weighs less than three
pounds (1.3 kg) and, when placed on its unfolded mounting
brackets, stands only seven inches high. It draws less than or
equal to a quarter of an ampere, which means 80 units can fit
on the same circuit. www.chauvetlighting.com
City Theatrical PDS-750 TRX Power/Data Supply for
Color Kinetics LED Fixtures
The new City Theatrical
PDS-750 TRX is a power/
data supply for Philips Color
Kinetics LED fixtures. It provides
full control capability
for the new Philips Color
Kinetics ColorBlast 12 TRX,
as well as 16 bit and 8 bit ColorBlast 12 TRs, iW Blast 12s, and
conventional 8 bit ColorBlast 12s, ColorBlast 6s, ColorSplash
2s, and other CKDMX fixtures, and it can control any mix of
these fixtures without wasted DMX Slots. Every unit includes
a built-in SHoW DMX receiver. Power is supplied via a
PowerCON mains power inlet and programming of built-in
MasterBlast routines can be done via the LCD display. The
MasterBlast routines include six scenes each with its own “follow”
time. Each scene supports one color wash, random color,
cross fade, color wave and fixed color. The PDS-750 is ETL
listed, RoHS compliant, CE certified and FCC Part 15 certified.
It can be used with anywhere from 100-240VAC and weighs
14 pounds. www.citytheatrical.com
Clay Paky Alpha Profile 700
The Clay Paky Alpha Profile
700 is designed to feature a
cutting-edge framing system
fitted inside one of the smallest
700-watt moving bodies on the
market. It offers a full gamut of
effects, including 15 gobos, animation
effect, rotating prism,
Dyna-Cue-Creator function and
the Clay Paky patented “autofocus”
function. Focal distances
have also been especially
designed to focus effects even
inside triangles and quadrangles of all shapes and sizes.
Developed especially for the theatre, Alpha Profile 700 features
incredible brightness in compact dimensions. It also
features a decibel rating of 43 dBA (41 dBA in “half power”
mode). www.claypaky.it
Clear-Com HelixNet
The first
two products
in Clear-Com’s
HelixNet the
family are the
HelixNet Main
Station (HMS-4X) and HelixNet Beltpacks (HBP-2X). Supporting
four channels and 20 beltpacks, HMS-4X is designed to offer
the simplicity of group communication and the high-channel
capacity and flexibility of point-to-point matrix systems. HMX-
4X works on a wide variety of standard twisted-pair cabling,
such as microphone cables and Cat-5, to simplify the setup
process and reduce the overall cost for infrastructure. Power
and all audio channels are transported over a single cable.
HelixNet Main Stations have built-in expansion bays for 2-wire
or 4-wire interface modules to connect with analog partyline,
digital matrix or wireless intercom systems. The 2-channel
HelixNet Beltpack features tactile controls for intuitive touch
operation and bump-proof volume knobs. The Beltpack also
features a high-contrast OLED status display for easy visual
operation. www.clearcom.com
Robe Robin 600 LEDWash
Robe’s new Robin LEDWash
600 features 37 10-Watt RGBW
multichip LEDs that are each
individually controllable. They
are arranged in three concentric
rings designed to create color
and pattern effects when pointed
towards an audience as well
as provide a comprehensive,
even wash. The inner and middle
rings can be dimmed leaving
only the outer ring for tunnel
effects. The unit can also be strobed and pre-programmed
with random pulse strobe effects. The 10W RGBW multichips
are designed to deliver a whole array of true colors and output
pure color without any pixelation or blockiness. www.robe.cz
Sennheiser SKM 5200-II Handheld Transmitter
The Sennheiser
SKM 5200-II handheld
transmitter has nearly
five times the original
switching bandwidth
of the previous
model, extended
from 36 MHz up to
184 MHz. It also has selectable output power and a new “Low
Intermodulation” mode, adjustable sensitivity from 40 to 0
dB in 1 dB steps, and a 3-position low-frequency filter. Low
Intermodulation mode allows the sound engineer to use
approximately 30 percent more channels in a given frequency
band, according to manufacturer testing, by increasing the
linearity of the amplifier’s 10 mW output mode. As a result, the
available spectrum can be used more efficiently. The transmitter
can also operate at standard 10 mW, to significantly extend
operating time, or at 50 mW to increase the transmitter’s
range. www.sennheiserusa.com
10 October 2010 • www.stage-directions.com

Feature
|
By Michael S. Eddy
To Tweet
or not to
Tweet?
What Theatre Companies should
consider when using Social Media
Because they don’t have a physical presence,
Howard Sherman, executive director of the American
Theatre Wing, urged the Wing to move into social
media to connect more with theatre audiences.
“Most
not-for-profits
know that
people support
organizations with
which they have
personal
relationships
and social media
is an opportunity
to do that.”
—Howard Sherman
There is a lot of talk, and tweeting, about how, why and
even whether to use social media as a theatre company. It
is a little confusing, perhaps even daunting, to think about
how to best to use this new tool in your communication toolbox.
Should you be on Facebook, Twitter, both or somewhere else in
the social media landscape? Where is your audience and what
should you be saying to them in this fast moving medium? What
are the pros and the cons of joining the digital conversation?
It’s a big conversation with a lot of different considerations, but
for this article we are going to look at one of the initial considerations
for a theatre company to think about when deciding
whether to use social media: “How should you think of social
media and its role in a theatre company’s communications?”
I decided to take to Twitter and Facebook to find my sources
to answer this question. The four people that I interviewed are
all people that I “met” on Twitter and have been following and
engaging with for sometime about this very topic. During the
writing of this story I got to attend a very informative seminar,
Demystifying Social Media at A.R.T./NY where I did get the opportunity
to meet two of my twitter sources Dave Charest and Devon
Smith. Charest, of Case Ace Copy, handles writing for small business
clients as well as working as Marketing Director/Producer
with Astoria Performing Arts
Center. Devon Smith is a Social
Media Consultant for 24 Usable
Hours. I also spoke with David
J. Loehr, the artist in residence
and co-producer for Riverrun
Theatre as well as the creator
of the 2AMtheatre website. And
finally, but certainly not least,
I spoke to Howard Sherman,
executive director for the
American Theatre Wing.
It’s a Two-Way Street
Though I talked separately to
everyone they all started with the
same word, engage. Loehr explained, “It’s all about engagement.
You’re able to talk to a large number of people and have them
interact with each other as well. On Twitter people feel a freedom
to just jump in; conversations start and more and more people
join in. It’s not merely engaging your patrons one-on-one, it’s
engaging all of your patrons who are listening and facilitating
engagement between them as well.”
“I see a lot of companies focusing on using social media for
marketing and selling tickets. I think that is a little bit shortsighted,”
Smith says. “Social media allows you to build and maintain a
deeper relationship with your audience, especially between performances
as well as for customer service. It empowers audience
members to engage with the organization. I think the greatest
value in using social media is building that relationship with your
audience.”
Charest agrees that social media helps you really connect in
a new way. “Traditionally, marketing gives potential audiences,
‘We have a show opening! Buy our tickets!’ But there’s not much
beyond that. Social media allows us to share more of the journey
leading up to that point. If done in a smart way it allows your
audience to feel more invested in the work. It allows you to build
anticipation. So here’s what we need to figure out: How can we
shift our thinking of traditional marketing to that of social media
12 October 2010 • www.stage-directions.com

marketing so we invite our audience on a journey that leads them
right to the theatre?”
A good example of the value of engaging online is the effective
way the American Theatre Wing has handled social media.
Sherman explains their approach. “It is an opportunity to create a
bond between the audience and the organization. The Wing isn’t
a physical thing so it doesn’t afford us direct personal interaction
with our public. Consequently, with the rise of social media over
the last couple of years, we saw it as an opportunity for fostering
a more direct relationship.” Theatre companies have a physical
presence but not always as direct a connection, the value of
which doesn’t escape most companies. As Sherman points out,
“Most not-for-profits know that people support organizations
with which they have personal relationships and social media is
an opportunity to do that.”
It is important, Smith explains, that companies need to think
beyond the simple show announcement and ticket info ideas. “In
most cases, it should be a supplement to the traditional marketing
plan. Social media extends before and after a traditional campaign
for a specific production. People outside the marketing office are
more likely to play a role in your social media campaign, so helping
them understand marketing objectives can be useful. I like
when many people in a company are encouraged to use social
media and really engage with audiences, outside of the two or
three hours your audiences are in the theatre. It also allows for
professional networking for the theatre staff—to meet other staff
across the country and as an outlet for creative expression.”
hard but can be intimidating for some so he explains how to
approach using this newest tool. “Here it is, the big secret of social
media marketing. First listen; then engage; and finally create. All
these social media tools allow you to listen to what people are
talking about. You can see what people are interested in. Keep
an eye out specifically for people talking about you. Then talk to
these people. Don’t try to sell tickets or get a donation. Just chat,
share and make a connection. Engage with people as a person.
Did you talk about something you were both pretty passionate
about? Now you can move to step three, create. Create a piece of
media around this conversation. Chances are that others are also
interested in the topic. Chances are it’ll get some attention. Is this
an over simplified version of what you need to do? You bet. But
that’s the point. We make it harder than it needs to be. There’s
nothing to be afraid of with social media.”
The best social media is the simple, direct conversations and
exchange of ideas that really engage people. Think about your
theatre company’s personality, your work and the value to the
community that extended involvement could bring to both audience
and company. It can be a great extension of the connection
all theatres strive to make with their audiences. Think of it as the
ultimate, ongoing after show talkback but without the bored
house manager trapped in the back row waiting to lockup.
Michael S. Eddy owns Eddy Marketing & Consulting, which handles
marketing, media relations and events. He can followed online at
twitter.com/mseddy2900
Getting Creative
Loehr points out that several theatre
companies are indeed very good
at being creative in their use of social
media. “If your theatre has a specific personality,
I think that social media can
help to enhance that, to emphasize
that. If you are known for being playful
you can share that, like the New York
NeoFuturists. Their Twitter feed (twitter.
com/nyneofuturists) is fantastic, because
they do the information, they do the conversation
and they just put out random,
funny comments too. So they have a very
distinct personality. Woolly Mammoth is
beginning to get that. It’s kind of interesting
to see these groups that are a little
more flexible. The big giant theatres that
are sort of saying ‘Hi, $20 tickets, tonight only. Bye.’ People tune
that out.”
Sherman reminds theatre companies, “that simply by being
on Facebook or Twitter is not enough, it is not the reason in and
of itself. There must be some strategy or concept behind the way
in which it is used.” He remembers, “In the mid ‘80s, with the rise
in personal computers everyone suddenly had to do desktop
publishing just because the tools for design were more available
to more people. The net result was some of the most awful newsletters
and brochures you ever saw in your life. The software was
merely a means of doing something, if you could not design the
tools were useless. The same can be applied to social media. It is
a tool, but if you don’t have a strategy to use this tool that works
with your mission and your goals you are wasting your time.”
Charest knows using social media for theatre companies isn’t
Dave Charest, marketing director and producer with the
Astoria Performing Arts Center in New York City.
Right: David J. Loehr is artist in residence and co-producer for Riverrun
Theatre as well as the creator of the 2AMtheatre website and twitter feed
twitter.com/2amtheatre.
ONLINE BONUS
The use of social media by theatre companies to
attract audiences, educate and entertain is a big
topic, so Stage Directions will continue to look
at this conversation with more one-on-one interviews
online at www.stage-directions.com and
TheatreFace.com. Plus we want to hear your feedback
and experiences as well as the questions you
would like to see discussed.
Contact the writer
of this article at twitter.
com/mseddy2900, or ping
us at twitter.com/stagedirections.
www.stage-directions.com • October 2010 13

Feature
|
By Bryan Reesman
True
To Her
Roots
An interview with Amanda Palmer, ukulele star and Cabaret queen.
Amanda Palmer and Brian Viglione, her compatriot in the “Brechtian punk cabaret” band Dresden Dolls
As frontwoman/pianist for The Dresden Dolls, multifaceted
multi-instrumentalist Amanda Palmer brought
punk-cabaret chic to the rock world. She has also
explored her other musical whims with her recent solo
album and the Evelyn Evelyn side project, performed with
the Boston Pops and even released an EP of Radiohead covers
performed on ukelele. But no matter in which format
or forum she has worked, the stylish and brash Palmer has
brought a theatrical edge to her work, and that makes sense
considering she’s always been active in theatre, starting with
her theatre at her high school in Lexington, Mass.
LHS arguably has one of the finest high school arts programs
in the country, and many of its alumni go on to do
great things. What is intriguing is that Palmer not only thrived
artistically there, but she has gone back and stayed in touch
with the people who nurtured her talents. For her latest
project, a production of Cabaret at the American Repertory
Theater in Cambridge, Mass., for which she has the role of the
Emcee, she is working with fellow LHS alumni as well as her
old mentor, director Steven Bogart. Despite her international
success, Palmer has stayed true to her roots, and she opened
up about it while taking a break from a busy rehearsal.
Stage Directions: What I think is interesting about your life
story is the fact that while many famous people leave the
place where they grew up and ascend to bigger things,
they rarely go back. You have a very close relationship
with your old high school.
Amanda Palmer: It’s in part because my parents still live
there, and I have remained in Boston. That makes it easy to
continue this relationship and keep checking in on my favorite
teachers. I think a lot of it has to do with the fact that a lot
of my teachers were a real sanctuary for me in high school.
I was kind of a loner, so the drama department, the music
practice rooms and my relationships with music teacher Jeff
Leonard, Steve Bogart and my Latin teacher were more significant
than my relationships with the other tenth graders.
When I left, I missed them and I wanted to stay connected. I
went back all the time and visited, and in the case of Bogart I
went back and helped with productions. I’ve stayed in touch
with all those other people. I did a benefit for the French
Exchange Club with the Dresden Dolls, and Jeff Leonard
came and played sax at it.
I also think I was blessed with a really liberal, advanced,
artistic education for a high schooler, so the minute I felt
like I had to give anything back I wanted to give it back in
abundance because I felt so lucky. There’s something hard
about going off and having this big career and watching
Bogart struggle with the bureaucracy of a high school. He’s
a teacher, but he’s also a serious artist who has to face the
challenges of being in a high school, which loans you lots
of freedom but also has lots of limitations. Once I became
an adult, he remained one of my prime objective collaborators
because I grew up speaking his language. He taught me
how to speak his language of theatre, and I always wanted to
work with him because the more I worked with other directors—other
film directors and other theatre directors—I just
realized how special our relationship was and how deep his
work was. You don’t see that when you’re in it, when you’re a
teenager. You just assume that the whole world of theatre is
14 October 2010 • www.stage-directions.com

Marcus Stern
“This production
feels like a fantasy
because every single
person on the
artistic side is a close
friend or respected
collaborator.”
—Amanda Palmer
Amanda Palmer as the
Emcee and chorus members
from the American
Repertory Theater fall
2010 production of
Cabaret.
going to be like this. But it was not. What
Steven Bogart was doing was really edgy
and risky and profound, so I feel like it’s
the least I can do. But I don’t feel like I’m
doing it to help him out, if you know
what I’m saying. I’m doing it because I
want to work with the guy.
Lexington High School has always
been very arts-oriented, even when I
was there in the mid-to-late ‘80s. Last
year you did a musical at LHS called
With The Needle That Sings In Her Heart
that was inspired by the Neutral Milk
Hotel album In the Aeroplane Over the
Sea and The Diary Of Anne Frank. It
even got NPR recognition. Was this
production done with LHS students?
Yes, it was a workshop piece, and we
used those two things as source material
and created the show out of improv. It
was a beautiful, beautiful show and was
really fantastic.
Is the A.R.T. production of Cabaret
being done at a local nightclub?
It’s owned by the A.R.T. so it’s kind of
an ancillary space, but it’s being used for
all different kinds of theatre and interactive
nightclub shows. This venue is really
www.stage-directions.com • October 2010 15

Marcus Stern
“I think for anyone who just has
a passion for making theatre, you
know it’s not just about the work
that you’re doing in the rehearsal
room, it’s about the family you create
around you.”
—Amanda Palmer
perfect for the show because I don’t think I’d want to do it as a proscenium
piece. To feel like a cabaret you really want tables and chairs
and an environment around you that you’re in. You enter this space
that completely surrounds you, you’re not just watching it.
Tamara Hickey,
one of the Kit Kat Dancers
with Amanda Palmer.
Amanda Palmer has called
the feeling around this production
of Cabaret as a “homecoming.”
You worked with the A.R.T. previously on The Onion Cellar. What
was that experience like and how did that compare with Cabaret?
The Onion Cellar was kind of a disaster for me, but that didn’t have
so much to do with the A.R.T. as the fact that the director and I just
did not see eye to eye. The only director I had worked together with
on a workshop piece, which is what The Onion Cellar was supposed to
be, was Bogart. I didn’t realize that Bogart has a really incredible gift
in workshopping a show from scratch. So the director of The Onion

Feature
Cellar and I had a really tough time collaborating, and
that made the show a difficult experience. It was still a
good show, but my heart wasn’t in it. And my heart wasn’t
in it for 43 productions. [laughs] I threw myself into it as
best I could, and it wound up being a success and a really
satisfying experience, but mostly because I felt like I got
a really solid education in how to work. I walked into that
project very naïvely, and I walked out decades wiser.
Compared with that production, this production feels
like a fantasy because every single person on the artistic
side is a close friend or respected collaborator. I love
working with Steve Bogart, and the movement director
Steven Mitchell Wright I imported from Australia. The
music director is my great friend Lance Horne. On and on
and on. The whole thing feels like a beautiful family, and
that’s also why I love theatre. I think for anyone who just
has a passion for making theatre, you know it’s not just
about the work that you’re doing in the rehearsal room,
it’s about the family you create around you. I feel that
family now. I didn’t feel that family in The Onion Cellar. It
left me feeling like an orphan during that show because I
always associated theatre with that feeling of life or death
and close-knit community and decisions that would affect
everybody—and a lot of respect, a lot of talking and a lot
of sharing—and I wasn’t used to the professional, colder,
more detached approach to theatre that I felt that production
had and was really bumming me out. This really
feels like a perfect homecoming in every way.
Amanda Palmer speaks to the American Repertory
Theatre cast of Cabaret at an early rehearsal.
www.stage-directions.com/amandapalmer
ONLINE BONUS
For a longer version of this interview,
including info on Palmer’s
production of Hotel Blanc, visit
www.stage-directions.com/
amandapalmer
Kati Mitchell
www.stage-directions.com • October 2010 17

Light on the Subject
|
By Richard Cadena
All graphics by Richard Cadena
Defying Convention
Dimming LEDs smoothly is tricky business, but not impossible
A diagram of an LED
While the high speed of switching in LEDs
is a definite advantage in certain situations,
it’s a disadvantage when it comes
to dimming.
In the history of theatre technology, there have been
a handful of events that can be classified as “monumental.”
One was in 1977 when the first memory
console was used on a Broadway production of A Chorus
Line; another was when the band Genesis used the first
automated lighting system on their Abacab tour in
1981; and more recently, when ETC bought Selador in
February 2009.
The first two are very obvious milestones in theatre
technology, but why is the last one listed?
Selador was a small startup that designed and manufactured
LED luminaires. ETC’s main business is manufacturing
and selling conventional lighting and dimming.
Since the early ‘90s they have dominated the
theatrical lighting industry, selling a million Source
Four luminaires in 10 years and enough Sensor dimmers
to reach dizzying heights. For this company to
invest in LED technology is tantamount to cannibalism.
Conventional lighting and dimming is their bread and
butter. What’s going on?
What’s going on is progress.
Incandescent lighting has been around for 120 years.
It’s terribly inefficient—it converts anywhere from 2.5%
to 7.25% of the electrical energy put into it to visible
light—and it produces a lot of heat, which in most cases
must be removed from the venue with air conditioning,
using even more electrical energy to do so.
LEDs, on the other hand, have only been around for
50 years and they have steadily doubled in brightness
about every 36 months and they continue to do so. But
only recently have they reached levels of brightness
that allows them to be used for general illumination as
opposed to indicator lights and displays.
If It’s Not One Thing…
However, brightness is only one issue that plagues
LED technology. Before they are widely accepted on theatre
stages they also have to prove that they can render
colors and skin tones well [See “Many Shades of White”
in the Sept. issue —ed] and that they can dim smoothly
enough so that they aren’t a distraction.
The color rendering issue is being
addressed by a number of LED and luminaire
manufacturers by combining different
numbers and colors of LEDs in order
to more completely fill in the visible light
spectrum. The dimming issue is a bit trickier.
Unlike incandescent lamps, LEDs have
no filament. Instead, they emit light by
passing current through a junction formed
by two different types of semiconductor
material. In the process, electrons combine
with positive charges and give off light.
The process happens at close to the
speed of light. When the voltage supplying
the LED is removed or turned off, the process
also stops just as quickly. Therefore,
LEDs are extremely fast and responsive.
That allows them to be used for a variety of
applications, including data transmission
at speeds in the megahertz or gigahertz
range. While the high speed of switching in
LEDs is a definite advantage in certain situations,
it’s a disadvantage when it comes
to dimming.
An incandescent lamp is the polar opposite
of an LED source when it comes to speed of switching.
It works by heating a filament to the point where
it gives off light. When the voltage is removed it takes
some time for the filament to cool off and gradually stop
emitting light. In dimming incandescent lamps the thermal
inertia of the filament masks any sudden changes in
the applied voltage and it results in extremely smooth
dimming.
Contrast that with LEDs, which have a much faster
reaction time, and it’s easy to see how a very small
change in the dimming level can show up as a visible
step. Combine a series of these steps and the result
is “steppy” dimming—visible leaps from one level to
another. It’s a phenomenon that renders some LEDs
unusable in the theatre and certain other situations.
18 October 2010 • www.stage-directions.com

Light on the Subject
16-bit resolution for dimming LEDs provides a smoother dimming curve, as the “steps” between each level is less noticeable.
The 65,536 Steps
But problems like this spell opportunity to some.
Some manufacturers of LED luminaires have figured out
how to get around this problem. How do they do it?
Pythagoras said that all things are number. In this
case, numbers transmitted by a lighting console translate
to a dimmer level. The typical dimmer is controlled
by a single channel of DMX, which is eight bits long,
yielding 256 possible dimmer levels. These dimmer
levels are converted to pulses of electrical current at a
fixed frequency. The width of the pulse is proportional
to the dimmer level and determines the perceived light
output of the LED. This is called “pulsewidth
modulation.” The frequency of
the pulses, known as the “frame rate,”
varies by manufacturer, but it typically
range from 1000 Hz to tens of thousands
of hertz.
This scheme is effective but it has its
drawbacks. When the dimming level of
an LED changes in increments of 256
steps between 0 and full, it looks like
the intensity is climbing a stair case—
each step is distinctly discernable.
How can you smooth out the dimming
curve without reinventing the wheel?
The answer is to increase the dimming
resolution. By using 16-bits
instead of 8-bits for control of a single
dimmer, the number of dimming steps
can be increased from 256 to 65,536.
That’s because for every step of an
20 October 2010 • www.stage-directions.com

The trickiest part is the very bottom
part of the dimming curve
just before the LED goes to
black.
8-bit dimmer, a 16-bit dimmer has 256 intermediate
steps (256 x 256 = 65,536).
RC4 Wireless in Toronto was among the first
manufacturers to incorporate high resolution dimming
in their wireless dimmers. The first was the
14-bit DMX2dim Wireless Dimmer, followed by several
16-bit dimmers. Even with 8-bit dimming control,
which is what the vast majority of lighting consoles
use, the feature RC4 calls “digital persistence”
sweeps through 256 dimmer levels for each step in
the dimming curve, provided you are using their
16-bit dimmer.
According to James Smith of RC4, “Digital persistence
emulates the persistence time of an incandescent
filament. In simplest terms,” he adds, “this
is a smooth but brief fade in/fade out, the period of
which can be adjusted by the user. The final look is
pleasing and natural, without the harsh abruptness
often seen with LED lighting.”
In addition to emulating the smooth fade of an
incandescent lamp, high resolution dimming comes
with additional benefits on the side. The accuracy in
dimming level offered by the increase in resolution
also makes it possible to maintain the ratio between
the colors used in an LED luminaire. For example,
mixing 100% green and 100% red results in a yellow
color. But as the fixture dims, one of the two mixed
colors could fade disproportionately, resulting in a
color other than pure yellow.
But even with the use of 16-bit dimming there are
still some pitfalls in LED dimming. The trickiest part
is the very bottom part of the dimming curve just
before the LED goes to black. That is where the eye is
most perceptive to the slightest changes in dimming
levels. In order to make the light fall off linearly it has
to be decreased exponentially because of the way
the eye perceives light intensity. And making those
increasingly small changes at the bottom of the dimming
curve requires even more dimming steps, thus
even higher resolution.
To evaluate the effectiveness of LED dimming, try
a very long, slow fade to black and pay close attention
to the last few moments of the fade. If you see
any steppiness or a sudden drop to 0, keep looking;
there are LED dimmers that fade in a manner that is
virtually indistinguishable from incandescent lamps.

Sound Advice
|
By Jason Pritchard
You Can't
Tuna Fish
But can you tune a room?
Tips for ringing out a room.
People refer to feedback elimination as
“tuning the room,” but let’s reserve that
language for discussions surrounding
acoustics, not sound systems. We can’t actually
tune the room with the sound system, but
we can manipulate the sound system to work
within the room.
“Ringing out the room” is used for quick
feedback elimination on sound systems with
only a couple of speakers. This technique can
be used when the presence of feedback is
prohibiting the sound system from generating
the levels necessary to get the job done.
It can quickly help to provide a few extra dB
of gain before feedback. This isn’t the same
thing as tuning a system for flat response or
coordinating multiple sources to act as one
but rather a quick fix.
Ringing
Start with a wired microphone on a
stand center stage. It is important to use
a wired microphone rather than using
a wireless microphone. Wireless microphones
are not as linear (input = output)
as a wired microphone. That nonlinearity
will make the following process much
more difficult.
Plug the microphone into a console
channel and ensure that any channel
equalization is either turned off or set
flat. Also be sure to bypass any dynamics
processing (compression, expansion or
gating). Flatten any output equalization
and bypass any compression. In this exercise
we will be manipulating the output
equalization of the console, or an external
equalizer. Either way, we are looking to
manipulate the last EQ before the main
speaker’s amplifiers. The path must be a
clear as possible. Now you are ready to
22 October 2010 • www.stage-directions.com

Figure 1. Speaker pointed at the center of a room, in this case showing uneven coverage.
Figure 2. Speaker pointed at the back of the room, showing more consistent coverage.
carefully route the microphone to the speakers and quietly
verify the signal is flowing where you expect it to be.
There are a couple of different types of equalizers one might
encounter in a sound system. The typical filter in an equalizer
has three parameters: Gain (+ or -), a center frequency, and a
width parameter, which is referred to as bandwidth or sometimes
Q. A graphic equalizer is a series of filters which have
fixed frequency and bandwidth parameters. Most often seen
in a 1/3 octave spacing configuration, a third-octave equalizer
provides about 30 filters, which gives the engineer reasonable,
although not absolute, control over the signal. Graphic equalizers
are relatively easy to use as two of the three filter parameters
are fixed, leaving gain as the only moderated parameter.
Parametric equalizers provide precise control over all three filter
parameters. Parametric equalizers are much more difficult to
use for quickly ringing out a room, and are more often used for
system tuning and calibration. Mixing console channel equalizers
are often parametric equalizers.
The ringing out procedure consists of the iterative process of
slowly raising the level of the microphone until you can just hear the
first frequency begin to feedback, then controlling the feedback by
varying the position of the input fader while identifying the frequency
of the feedback and adjusting the output equalizer to eliminate
the ringing. Every cut one makes with an equalizer is effectively a
reduction in gain. This exercise is designed to maximize gain, so only
adjust the equalizer the minimum amount necessary to stop the
ringing. Identifying the ringing frequency can be a challenge. For a
little ear training have a look at the “Simple Feedback Trainer” (http://
sft.sourceforge.net/).
Carefully raise the level of the microphone. If the same frequency
begins to feedback again, reduce that frequency further with the
equalizer. If a different frequency begins to ring, identify and reduce
that frequency using the equalizer. Repeat this process until you
have either achieved enough gain to comfortably operate the system
or until you have identified and eliminated about five frequencies.
At that point the system is probably reaching the breakeven
point between problem frequencies and overall gain reduction. The
idea is to maximize gain before feedback. If too much cut equalization
is applied, it becomes the same thing as simply turning it down.
the speaker is all in the audience and not bouncing off of the walls.
For the vertical axis, generally speaking, point speakers toward
the back of the room, not to the middle of the room. This will produce
a more even response throughout the space. Speaker coverage
patterns have shapes, try and make those shapes complement
the shape of the room. Figure 1 shows a speaker on a stand pointed
at the center of the room. Notice the increase in level at in the third
row. In Figure 2 the speaker is pointed at the back of the room, notice
that the sound pressure levels are more even for each row of the
audience.
This method isn’t a substitute for a more extensive sound system
tuning and calibration, but sometimes ringing out the room is all
that is required to get through the gig. The process can also be used
as a tool to help the engineer understand the limits of the sound
system.
Extra Notes
There are a few other items of which to be aware before attempting
to ring out the room. It should go without saying, but the
physical relationship between the microphones and speakers is very
important. Putting microphones in front of the speakers is almost
always impossible, or at very least frustrating. A microphone should
maintain several feet of distance behind or to the side of any speaker.
When pointing the speakers, be aware of the walls. Sound reflects
off of hard surfaces. Try and point the speakers so that the pattern of
www.stage-directions.com •October 2010 23

All photography by Carol Rosegg
Sound Design
|
By Bryan Reesman
Amping Up
Power Balladz
Alex Ritter shares how he got that ‘80s sound just right in an unforgiving
room and an unpredictable show.
Following in the wake of the success of Rock Of Ages—though
reportedly thought up in a mere 18 hours about a decade ago,
beer being a key stimulant—Power Balladz combines nostalgia,
comedy and karaoke into a show designed to appeal to children of
the ‘80s. The basic premise is simple: two guys who were not cool
enough to be rockers back in the day front a band where they get to
sing their favorite power ballads. But during their performance they
discover that an old high school classmate (and unrequited flame
to one of them) is there, and she unexpectedly becomes involved
in their act. Will love blossom, friendship endure and power ballads
reign supreme? It’s a hokey shtick, but it’s meant to be. To top things
off, theatregoers are invited to participate in a karaoke session with
the full backing band after the 90-minute show ends.
The impressive aspect of Power Balladz is how sound designer
Alex Ritter managed to create a full, balanced sound with three singers
and five musicians onstage, even though they are crammed into
a 200-seat cabaret setting (the Midtown Theater) beneath a comedy
club that was clearly not meant for live music. The guitar work and
solos are crisp and clear, and the bass and drums do not overwhelm
the mix. We caught up with Ritter to learn how he did it.
Stage Directions: The show’s sound design strikes the right balance
between musical muscle and ear-friendly listening. How
tricky was it to mix a rock show for a small comedy club venue?
Alex Ritter: I would say mixing a rock show in any small space is
very challenging. The biggest challenge is stage volume; the amount
of sound coming off the stage almost dictates how loud the show is
going to be. On most shows the loudest instrument on stage is the
drums; luckily we were able to put him behind a shield. My biggest
fear with Power Balladz was that it was going to turn into mush as
soon as we turned things up, so when we first started our mix we
started with nothing on. I was then able to determine what was
going to dictate my level and build the mix around that. This allowed
us to keep a comfortable mix without creating chaos. It also gives us
a relatively large amount of headroom to boost solos and fine details
in the songs. I also played with the mic position on the guitar amps
for quite some time; I wanted to get the right balance of crisp, clean
sound versus punch. In retrospect, I would probably add another mic
on the guitar amps in order to get a better mix from song to song.
What kind of mics and transmitters are you using for the various
band members?
Because of my background in rock ‘n’ roll, I had a pretty good
idea of what kind of mics I wanted to use on the show. This isn’t the
right show for DPAs and Neumanns. I wanted to stick to the basics
and keep it as simple as possible. I have a Shure Beta-52 and Shure
SM-91 in the kick drum. Two Shure SM-57s are on the snare; one top
and one bottom. The hi-hat, overheads and gong are covered with
24 October 2010 • www.stage-directions.com

If the lights look low on Mary Mossberg and Dieter Bierbrauer in Power Balladz,
it’s because they are. The show is housed in a cabaret room in a comedy club.
Left: Dieter Bierbrauer (left) and Scott Richard Foster play
two guys chasing the rock ‘n’ roll dream.
Shure SM-81s. There are four Shure SM-98s
on the toms. The guitar amps each have one
Shure SM-57 and one Radial J48 direct box.
I’m using a Beyer M-88 along with a Radial J48
on the bass rig. For the keyboards I am using
two Radial J48 DIs. The wireless rigs for the
bass and guitar players are Shure UR1s, while
the vocal microphones are Shure UR2s with
SM-58 caps. Each guitar has its own beltpack
programmed to the same frequency so that
we can quickly change guitars with the least
amount of hassle.
What type of console are you mixing on
and why did you choose that model?
We are mixing on an Yamaha M7CL. I
originally specified a Yamaha PM5D; however,
because of space and other restrictions
we compromised on the M7. I chose digital
because I knew we would be changing EQs
and other settings from song to song, so
being able to do that with one piece of gear
as opposed to external gear would simplify
the whole process.
Have you seen any of the groups covered
in the show live? Did you check out a
number of ’80s artist shows to get a feel
for how they sound, and did that influence
your choices here?
Honestly, the only show I have seen that
was covered by Power Balladz was Aerosmith
in 2001. I did, however, spend a lot of time
listening to the songs, on the original CD and
live CDs, to get a better feel for the music.
Part of the goal for us was to make it sound
as original as possible. We didn’t want it to
sound like a cover band in a club, so knowing
how the songs were supposed to sound was
a big part of the process.
www.stage-directions.com •October 2010 25

Sound Design
What were the biggest challenges in designing the sound for this show?
The size of the room for sure; it is a very shallow but wide room with only nine feet of ceiling
height. This doesn’t give you much room to play with. The room also isn’t symmetrical in any
way, so if you came up with an idea for one side of the stage there was no guarantee that you
could do the same on the other side. There are two support pillars in the middle of the room,
one is round and the other is square. These also created rather large shadows in the room, so
we had to install more speakers to fill in those areas. Along with the physical elements of the
space, the show itself brought its own issues. Every song we cover is completely different from
the other songs; being able to make each song sound the way it is supposed to sound was
not an easy task. From drum EQs to reverb settings, each song had its own set of challenges
to overcome. The Ozzy and Lita Ford duet is my favorite part of the show, but making that
sound good was very challenging, and it still isn’t 100% perfect. There were a few moments
where I just had to start go back and start from scratch on that song in order to get it just right.
Is there something new that you learned working on the show? How does Power Balladz
compare with other productions that you’ve worked on?
Power Balladz was actually a nice blend of all types of shows that I have worked on, and
therefore a very pleasant experience. I was able to
meld my experience from rock ‘n’ roll shows with my
experience on Broadway. I feel that there is something
to be learned on every show; that is part of what
attracts me to my job. On this show in particular, dealing
with limitations was a big learning experience for
“I wanted to get the
right balance of crisp,
clean sound versus punch.”
—Alex Ritter.
Left to right: Dieter Bierbrauer, Mary Mossberg and Scott
Richard Foster in Power Balladz, a show that features crowdpleasing
rock anthems from the ‘80s, then let’s the audience
join the band with post-show karaoke.
me. There are a lot of restrictions in this space that
you don’t find in big arenas or Broadway houses, so
learning to work effectively in spite of those challenges
was rewarding.
What prior experience have you had with
Broadway shows and rock concerts?
I started my career working for Special Event Services in North Carolina. While with that
company I toured with Hootie and the Blowfish and Joe Bonamassa. I also spent some time on
the road with Joyce Meyer and Joel Osteen Ministries. When I moved to New York a few years
ago, I started working for ACME Sound Partners. For them I have assisted on Ragtime and have
worked on Minsky’s Hair and Bernstein’s Mass.
The post-show karaoke element of Power Balladz is novel. What are usually the biggest
sonic challenges in dealing with this aspect of the production? Have there been any
funny moments that have resulted from random strangers taking over the mic?
I first learned about the karaoke part of the show a few weeks before we started building in
the shop and was very interested in the idea. It’s not something that is done in theatre or rock
‘n’ roll, so besides me going to a karaoke bar with a bunch of friends I really had no idea what
to expect. The challenge of karaoke is making the audience feel like they are performing on an
arena stage with big sound and lights. However, for the most part the people that are coming
up are not trained professionals. As a designer and the engineer especially, you never know
what is going to happen once someone gets up on stage. They may or may not sing into the
mic, or they might scream into the mic, you just never know. So I would say the biggest hurdle
to overcome was not knowing anything; the only constant was the band. Also the dynamics
and EQ of karaoke singers is a big obstacle. There is no one setting that is going to sound good
for everyone, so you kind of have to create something that will work for most situations and
then deal with the rest as best you can.
26 October 2010 • www.stage-directions.com

Theatre Space
|
By Michael S. Eddy
A Place To Be
Heard and Seen
A look at the new multi-purpose Gracie Theatre at Husson University in Bangor, Maine
Husson University in Bangor, Maine, has a curriculum that
includes liberal arts, business, health and education, but
until recently it did not have a theatre. A 2007 contribution
from school trustee Hilda McCollum kicked off a campaign
that finally made it possible for the school to build a theatre,
which would serve both the students as well as the larger surrounding
community.
The Gracie Theatre, which opened in the past year, is a 500-
seat performance space named for McCollum’s granddaughter,
Grace McCollum. The new theatre, part of the larger Beardsley
Meeting House building, is designed as a multi-purpose venue
that not only will house theatrical productions, but also serves
as a lab space for hands-on learning, hosts movies and lectures,
and serves as a corporate meeting space. It is also capable of
acting as a music venue.
The New England School of Communications (NESCom), a
division of Husson, is the principal tenant, using the Gracie as a
working classroom for students in digital audio, sound mixing,
electronics, set design/construction, lighting and acting. The
production facilities include three separate booths for lighting,
A/V technology that can act as a TV master control room and an
audio booth that can handle recording and mixing audio. There
is also a professional recording studio. All of the areas have sufficient
room to enable them to function as teaching labs as well.
The theatre itself is designed for intimacy with 360 seats in
the orchestra and 140 in the balcony. Throughout the theatre
40 seats are easily removable to use as handicapped seating
locations. In fact, this past July, the Gracie was awarded an ADA
award for it numerous wheelchair accessible seats throughout
28 October 2010 • www.stage-directions.com
the venue, a wheelchair lift for the orchestra pit and for its assistive
listening devices. The orchestra pit, which can be covered
to create a thrust stage, is designed with room for 23 musicians.
Onstage there are 26 counterweighted line sets from J.R. Clancy
with a 50-foot high stagehouse. In addition to the performance
space there is rehearsal space, dressing rooms and support facilities
including wardrobe, scene shop and storage space.
For the design, Husson brought in local architectural and
engineering firm WBRC that had completed several previous
projects on the campus. David MacLaughlin, Husson’s executive
director of audio engineering, recommended bringing in
Walters Storyk Design Group (WSDG), a firm who specializes in
live performance environments, to collaborate with WBRC on
the acoustic and theatrical design portions for the theatre. “Our
firm was in charge of all the acoustics, the theatrical lighting
system design and all the construction administration for the
theatre space and the surrounding technical spaces,” comments
John Storyk, co-principal of WSDG. “We worked hand in hand
with WBRC, who were terrific. We would look forward to a future
project with them.”
“While sight lines, lighting and support spaces are critical
elements of every successful performance space, acoustics are
the linchpin,” explains MacLaughlin. “Having known WSDG principal
John Storyk for many years through the Audio Engineering
Society, I was confident that they could provide us with optimum
sound and speech intelligibility. Right from the get-go the
Gracie combined the ‘wow factor’ of an extremely handsome
physical environment with absolutely spot-on acoustics. You
can literally hear a whisper on stage anywhere in the house.”
“This theatre works. It’s got a phenomenal system capable
of handling anything.” —David MacLaughlin

The interior of the Gracie Theatre.
The audio reinforcement system, designed by WSDG, includes a
three-way mic split and allows them to feed live performances to
the school’s mobile truck for live broadcast to radio, TV or online
as well as for audio recording purposes.
Make It Work
The Gracie design needed to work for a variety of different
tenants and purposes. “The priorities for the theatre were
much like those of other multi-purpose spaces that are built by
economically-conscious facilities,” explains Storyk. “This is not
Lincoln Center; this is a school in Maine. Our first priority was to
get the seating right, the next priority was to get the acoustics
right so that it would work as a multi-purpose facility.”
Storyk notes the challenge, especially acoustically, of designing
such a space. “This is where the rub is, because it needs to
work in a music and concert configuration but it also has a stagehouse,
which means it has to work for theatrical performances.
It is an age-old kind of dilemma—is it a theatrical stage house
that also wants to be a music hall or is it music hall that also
wants to be a stage house? Because those are contradictory uses
acoustically. We viewed this as a theatrical space, because of its
stagehouse configuration, that we tried our best to optimize
for music performance. That means adding a little extra reverb
time and reflection control, and we tried to do that mostly in the
ceiling tiles. I think we succeeded since the feedback that I get
is that it does work reasonably well for music and it works very
well for theatre. That was really our main goal.” MacLaughlin
believes they did achieve that goal, “This theatre works. It’s got
a phenomenal system capable of handling anything from a full
musical to a corporate meeting.”
The WSDG team, including Storyk, co-project manager
While the FOH mixing position is shown in the house here, there are three separate booths in the theatre,
one for lighting, one for A/V and one for audio.
Romina Larrengina and systems integrator Judy Elliot-Brown,
began work in early 2007 and focused on determining the most
advantageous and flexible ceiling and wall treatments for the
best acoustics. These included Helmholtz acoustic resonators,
RPG FlutterFree diffusers and acoustic fabric panels, which provided
the joint benefits of high efficiency and economical unit
costs. “Additionally, we also did the acoustics in the giant arrival
lobby of the Gracie, which is also used as an event space,” says
Storyk.
“Bangor, Maine may not be the center of the world, but they
do have excellent craftsmen,” Storyk adds. “I was very impressed
with the level of craftsmanship throughout this project. The
ceiling acoustical clouds ended up being made by a local wood
vendor. We didn’t get them from our usual theatrical vendors;
they were custom made for us. We did however use a lot of diffusion
products from RPG and we used some isolation products
from Kinetics Noise Control.”
David Kotch, technology consultant for WSDG and for technology
provider/integrator Masque Sound was also part of the
acoustics team. “David MacLaughlin is a major Meyer Sound fan,
which was a happy coincidence as Masque Sound and WSDG
are equally strong Meyer proponents, particularly for live performance
venues,” explains Kotch. “We selected the Meyer Sound
Galileo 616 system processor, a total of 21 M’elodie speakers
augmented by Meyer 500-HP, M1D and UPJ-1P units.” The
M’elodie speakers are arranged as line arrays with seven each at
left, center and right. The line array also includes a pair of Meyer
500-HP flown subs.
The theatre has a variety of audio consoles including a
Digidesign VENUE D-Show with 48 mic/line inputs and a
Yamaha 48-channel PM5D, either of which can be used front of
www.stage-directions.com •October 2010 29

Theatre Space
The Gracie Theatre on the campus of Husson University in Bangor, Maine
“It provides the ability to
mount highly sophisticated
productions and it also presents
students with invaluable
state-of-the-art hands-on
learning tools.”
—David Kotch
Walters Storyk Design Group collaborated
with WBRC for the theatre’s acoustics.
The ceiling acoustic clouds were made
by a local wood vendor.
for monitor mixes. The recording studio features
a Digidesign ICON console and Pro Tools system.
Other consoles on hand include a 48-channel
analog Allen & Heath, a 32-channel digital Yamaha
and a 32-channel Soundcraft Ghost. There are also several JBL speaker systems, which
can be used for stage monitors or as alternate stage-mounted speaker systems. Crown
amps are used to power the building monitor system for the dressing rooms, rehearsal
space and hallways. The theatre has Clear-Com for its intercom systems and assisted
listening systems from Listen Technologies.
Because the Gracie is designed as a multi-use venue with live theatrical and musical
performances as well as TV, online and broadcast applications with video projection,
Masque developed a Crestron-based control system. The space has a Crestron MPS-
300 Multimedia Presentation System capable of coordinating projector, audio, video
and a variety of wireless microphones with a TPS-6X wireless touch panel. Masque
also developed a custom speaker splitter/patch system for the main array. “There’s a
tremendous amount of advanced technology at play in this theatre,” adds Kotch. “It
provides the ability to mount highly sophisticated productions and it also presents
students with invaluable state-of-the-art hands-on learning tools. It’s a terrific educational
tool.”
Making It Visible
WSDG brought in longtime collaborator, lighting designer Josephine Marquez
of JMarquez Consultants, to design and commission a flexible production lighting
system. “I designed a dimmer per circuit lighting system,” explains Marquez. “So no
matter where they plug in a light, there is a dimmer to control it. The dimming system
that is installed for the Gracie includes 196 2.4kW ETC Sensor dimmers for stage
lighting and 24 2.4kW ETC Sensor dimmers for the houselights. I also included 60 ETC
SmartSwitch relays for non-dims and worklights.”
An ETC Ion 1000 console with a 2x10 fader wing provides control for the stage lighting.
There is an equipment rack backstage left with all house and worklight controls
and a plug-in station for the console. The lighting booth duplicates all the controls and
there are work and houselight controls throughout the theatre as well as a designer
control plug-in station located in the house for a tech desk position. “I included an
ETCNet network in the theatre with tap positions for ETCNet nodes to be plugged in
where needed,” comments Marquez. “For the stage lighting circuits, I designed raceways
on the stage pipes as well as some drop boxes in other locations.”
The fixture package for the Gracie includes 38 Source Four ellipsoidals from
Electronic Theatre Controls with a range of 14º, 19º and 26º beam spreads; six Philips
Selecon Pacific 23º-50º Zoomspot ellipsoidals; 25 ETC Source Four PARs and four
PARNels; two Elation Lighting Opti Tri PARs; two Martin Professional MAC 250’s;

The lobby space of the Gracie Theatre
and two Philips Selecon Pacific followspots.
BMI Supply in Queensbury, NY,
handled everything as lighting dealer.
“I also included a company switch for
visiting companies to tap in touring dimmer
racks to augment the permanent
system in the hall,” says Marquez. “It is
a great teaching theatre with sophisticated
equipment that can be found in
any professional theatre.”
It was important to Storyk that it
filled both the educational needs of the
school and the performance needs. “We
have a particular affinity for educational
and performance venues,” says Storyk.
“As a lecturer on acoustics for many universities
around the country, I’m keenly
aware of the ‘working classroom’ needs
for facilities of this level. Our experience
is very helpful in enabling us to design
theatrical environments that assure the
audience of the best possible theatrical
experience both from the visual and
the audio perspectives. We are particularly
proud of this project,” he concludes.
“Initial feedback from everyone
at Husson has been very gratifying.”
The university has plans for the Gracie
Theatre to serve not only the school,
but for a wide variety of non-campus
events with the local Bangor community,
neighboring towns, civic organizations
and corporations. They got off to
a good start when the Gracie debuted
with a production of West Side Story that
featured the members of the Bangor
Symphony Orchestra in the brand new
pit. As Tony and Maria fell in love, the
audience heard every note and did as
well.
www.stage-directions.com •October 2010 31

Special Section: Education
Keeping Theatre
Alive in Schools
Three very innovative, and very different, programs aimed at
ensuring theatre’s continued presence in the classroom.
By Iris Dorbian
Arts education occupies a fragile place in the U.S. The
benefits to students of studying the arts — higher
grades, increased emotional literacy and improved
social skills — are also at risk. Here are three programs aiming
to minimize the threats imposed by slashed or cancelled
funding.
MTI/Shubert Foundation/NYC Department of Education
To increase its advocacy of arts education to children,
Music Theatre International (MTI), a dramatic licensing
organization that grants schools the right to perform
Broadway musicals and the like, created the Broadway
Junior Collection to offer 60-minute versions of Broadway
musicals tailored for the middle school market. In addition
to providing abridged versions of contemporary and classical
musicals, Broadway Junior also offers resources such as
study guides that help facilitate the study of specific shows
into the classroom.
“Historically, we have a culture that embraces the high
school musical, and this was intended to facilitate the
performance of musicals by middle and elementary school
students, in order to build future generations of performers
Sacramento Mayor Kevin Johnson with Kennedy Center for the Performing Arts' President Michael Kaiser
and theatregoers,” explains Drew Cohen, president of MTI.
“What we have learned in the dozen years since its inception
is that the Broadway Junior shows also give teachers an
opportunity to mount their first show, often in a school that
does not have a comprehensive arts program.”
To fill this void, MTI, in partnership with the Shubert
Foundation, iTheatrics and the New York City Department
of Education launched an initiative to help bring the study
and practice of musical theatre back into middle schools.
The program lasts three years for participating schools.
In their first two years, schools receive support to fully
fund an on-site “Program Advisor” who works directly with
the school teacher teams, guiding their efforts to mount
a program towards self-sustainability. “Self-sustainability”
means adequate staffing and financial commitment from
principals to invest in a dedicated theater program as well
as investment by teachers, students and school community
to remain engaged and dedicated to the process of producing
musical theater even with the extra work that it requires
from them. All of these are important, because the program
doesn’t actually give money directly to the schools, only
funding the program advisor.
What the program does do is work at
developing school capacity by providing
resources and creative support. Participating
schools receive waived rights and royalties
fees if producing MTI Broadway Jr. shows,
show kits to help teachers (a CD of the
music, director notes, etc.), opportunities
for teachers to attend professional training
sessions for producing musical theatre, and
the opportunity to participate in year-end
Student Showcase performances held at a
Broadway theatre. Last year, all participating
students performed at Broadway’s Majestic
Theatre, with popular triple threat performer
Corbin Bleu (In the Heights on Broadway &
High School Musical) acting as emcee. These
benefits continue even after the three-year
period of enrollment is over, as long as
schools continue to commit to producing
musical theatre.
32 October 2010 • www.stage-directions.com

Photos Courtesy of Utah Shakespearean Festival
Hands-on workshops are important components for teachers who become members of UCATT.
According to Peter Avery, director of theatre for the
NYC Department of Education’s Office of Arts and Special
Projects, 18 schools participated in the Broadway Junior
program last year, with three or four joining the fold each
year since its inception. For the first year that schools
are accepted into the program, they typically mount a
Broadway Junior version of Once on This Island or Annie.
“Great stories and very doable shows,” says Avery.
“The Shubert-MTI-DOE program means a great deal to
us, particularly in terms of its long-term sustainability,”
says Cohen. “We donate the materials to the participating
schools in order to lower any hurdles they face in putting on
a show. We learned that there are often unforeseen logistical
hurdles—including keeping the school open later, requiring
building staff stay overtime to clean up after rehearsals and
performances, and transportation costs—and there are
financial hurdles. Where we can help is providing the show
itself and eliminating some of the production cost. By doing
that, hopefully we’re developing future customers and
doing some good for these school communities as well.”
With this program, students learn theatrical skills while
building an ensemble culminating in a performance as their
schools lay the foundation for a theatre education program.
“This is one of those nice triangulations where the school,
the NYC Department of Education and the cultural community
partner to recognize the importance of theatre education
for these kids,” explains Avery. “The teachers really
become committed. There’s a visceral relationship that
develops between the teachers and students; each see each
other in a different light, which is quite powerful.”
Utah Advisory Council for Theatre Teachers
As difficult as it is to create self-sustaining theatre programs
in the urban classroom, it’s even more challenging
when they’re in rural, isolated areas. With this in mind,
Phaidra Atkinson, a drama teacher based in Salt Lake
City, Utah, formed the Utah Advisory Council for Theatre
Teachers (UACTT), a member organization designed to
create a support system and provide mentoring for drama
educators in the state.
Because of its history of offering strong educational outreach,
which includes an annual high school Shakespeare
competition, the Utah Shakespearean Festival was asked
by UACTT to be on its board. As a result of its involvement
with UACTT, Utah Shakespearean Festival has been very
active in developing and overseeing training programs that
www.stage-directions.com •October 2010 33

Courtesy of Utah Shakespearean Festival
Hands-on workshops are important components for teachers who become members of UCATT.
According to Peter Avery, director of theatre for the
NYC Department of Education’s Office of Arts and Special
Projects, 18 schools participated in the Broadway Junior
program last year, with three or four joining the fold each
year since its inception. For the first year that schools
are accepted into the program, they typically mount a
Broadway Junior version of Once on This Island or Annie.
“Great stories and very doable shows,” says Avery.
“The Shubert-MTI-DOE program means a great deal to
us, particularly in terms of its long-term sustainability,”
says Cohen. “We donate the materials to the participating
schools in order to lower any hurdles they face in putting on
a show. We learned that there are often unforeseen logistical
hurdles—including keeping the school open later, requiring
building staff stay overtime to clean up after rehearsals and
performances, and transportation costs—and there are
financial hurdles. Where we can help is providing the show
itself and eliminating some of the production cost. By doing
that, hopefully we’re developing future customers and
doing some good for these school communities as well.”
With this program, students learn theatrical skills while
building an ensemble culminating in a performance as their
schools lay the foundation for a theatre education program.
“This is one of those nice triangulations where the school,
the NYC Department of Education and the cultural community
partner to recognize the importance of theatre education
for these kids,” explains Avery. “The teachers really
become committed. There’s a visceral relationship that
develops between the teachers and students; each see each
other in a different light, which is quite powerful.”
Utah Advisory Council for Theatre Teachers
As difficult as it is to create self-sustaining theatre programs
in the urban classroom, it’s even more challenging
when they’re in rural, isolated areas. With this in mind,
Phaidra Atkinson, a drama teacher based in Salt Lake
City, Utah, formed the Utah Advisory Council for Theatre
Teachers (UACTT), a member organization designed to
create a support system and provide mentoring for drama
educators in the state.
Because of its history of offering strong educational outreach,
which includes an annual high school Shakespeare
competition, the Utah Shakespearean Festival was asked
by UACTT to be on its board. As a result of its involvement
with UACTT, Utah Shakespearean Festival has been very
active in developing and overseeing training programs that
www.stage-directions.com •October 2010 33

Members of Sacramento’s For Art's Sake team, left to right: Assistant Superintendent Dr. Ziggy Robeson of the Twin Rivers Unified School District, Sacramento City Unified School District Superintendent Jonathan Raymond,
Sacramento Mayor Kevin Johnson, Michael Kaiser of the Kennedy Center for Performing Arts and Arts Education Chair Ruth Rosenberg.
organizations. For communities that are
accepted into the program, a team from
the Kennedy Center is deployed to conduct
an audit of that area’s arts education
programs and existing resources.
Following the review, the team develops
a long-range plan pertinent to that community.
“Every community is different and the
survey is based on the facilitated conversations
we hold with each Community
Arts Team,” says Ayers. As part of the
survey the team gathers information
from “all constituents who have an interest
in arts education,” (superintendent,
principals, assistant principals, teachers,
arts organization personnel, parents,
community leaders, etc.). The program,
stresses Ayers, is not a fly-by-night operation.
Once a community is accepted into
it, Kennedy Center works with them for
several years. “We’re not doing drive-by
arts consulting,” says Ayers. “We’re looking
to do a good assessment, devising
the plan and making sure things move
forward.” Sacramento, Calif., one of the
first communities accepted into the program,
is just beginning to implement a
plan based on the information gathered
through their survey process.
Ayers says he hopes that in five years,
Any Given Child will be working with
15 to 20 communities and that the
program will be able to use one area’s
success story as a case study for other
interested communities. “It’s important
to reinforce that arts education is good
for the students,” adds Ayers. “If we’re
not providing the arts education for
these students, where will we be in this
country 20 years from now?”
Iris Dorbian is the former editor-in-chief
of Stage Directions. She is the author
of Great Producers: Visionaries of the
American Theater (Allworth Press/
Random House).
www.stage-directions.com •October 2010 35

Special Section: Education
Membership
Has Its Privileges
Joe Aldridge and David Grindle, the new leadership team at USITT,
talks about recent changes and plans for the Institute’s next 50 years.
By Jacob Coakley
As USITT celebrated its 50 th anniversary this spring at its
annual Stage Expo, it was also making some moves
designed to shepherd it safely into the next half-century
of its existence. It was announced at the conference that longtime
member Joe Aldridge had been elected to a two-year
term as president of the volunteer-led Institute. Active in USITT
since ’85, Aldridge previously served as VP of Conferences and
also acts as the USITT Representative on ESTA’s Entertainment
Technician Certification Program.
Then, shortly after the Expo, it was announced that USITT
would be changing its organizational model, moving to more
of a governance structure. As part of that move David Grindle
was hired into the newly-created position of executive director.
Grindle has been a member of USITT for more than a decade,
participating in the Stage Management Mentoring Project for
USITT while teaching at the Indiana University Department of
Theatre and Drama in Bloomington, Ind.
Despite both of their busy schedules I was able to corral both
Aldridge and Grindle for an interview to find out what the new
structure means for both USITT members and the Institute itself.
Joe Aldridge (left), president of USITT, and David Grindle, executive director.
Stage Directions: USITT has a new president and added an
executive director—what other upgrades are you both
planning?
Joe Aldridge: Part of the reason we created the executive
director position is because we’re moving to what we’re calling
a “modified governance structure.” It’s not going to be the
full-blown governance structure, it’s going to be one that will
enhance the abilities of the members and of the volunteers.
Stage Directions: What exactly does that mean?
David Grindle: In a governance structure, the Board of
Directors sets the goals and the long-range plan, and the staff
of the organization works to accomplish the goals in daily
operations. Well, we only have seven people on the staff, but we
have probably in the neighborhood of almost 1,000 people in
volunteer positions that are incredibly time consuming—such
as president of the board and all of the vice presidents. It takes
all of those volunteers—all of those members—to make our vast
amount of programming and operations work. And so when
I was hired it gave the board someone full time to really look
over the day-to-day operations. The board itself is still deeply
involved in the leadership. My job is to work
with all of those on the board, who have always
been in charge, and coordinate and make sure
that if they need something taken care of, it’s
taken care of. And so a modified governance
structure still allows the Board to do that long
range planning and allows us to retain that
member close touch.
Joe Aldridge: This shouldn’t sound derogatory
at all, but David’s role is one of a facilitator.
David Grindle: Yep.
Joe Aldridge: We’re at a different juncture
in our life, and at 50 years of existence as a
membership organization this is a good time,
not to alter the course or alter the direction, but
to modify it, to make it easier for the volunteers
to volunteer. I think we are being very cautious
in the steps that we are taking, and I think that
we are being diligent in making certain that this
is what is best for USITT. Not best for David as
a member, not best for Joe as a member, but
36 October 2010 • www.stage-directions.com

“I think that
we are being
diligent in
making certain
that this is what is
best for USITT.”
—Joe Aldridge
Members of United Scenic Artsts, IATSE Local 829, gave a demonstration on backdrop painting at the
USITT Stage Expo in March of 2010.
best for the other 35,998 people out there who are members
of USITT.
David Grindle: One of the things Joe immediately did when
I came into office was give me a litmus test to judge any new
initiatives: “How does that benefit the average member?” We
have always done lots of things for the membership, and we’ll
continue to see a focus on that. What is the benefit of the average
member? How well are they going to get something out of
what we are doing?
Joe Aldridge: My concern has always been how USITT will
directly benefit the members. There are some things that are of
indirect benefit to members, as with any organization. For example,
the networking that takes place—the ability for students to
go out on the floor and meet leaders in our industry, both industrial
and educational. But in terms of direct benefits, David and I
have talked about things like insurance. And I was reminded that
at one time USITT did offer insurance for its members who didn’t
have that opportunity through their employment, but it never
www.stage-directions.com •October 2010 37

Special Section: Education
seemed to work very well. One of the things
that David did was go out and make a connection
for institute members with Fractured
Atlas. So members now have access to affordable
insurance—both personal and business
insurance.
Go to
www.stage-directions.com/
tophighschools
to nominate a school
Stage Directions is profiling the
top High School Theatre Programs
across the country. Submit a
worthy program for coverage in the
November issue of Stage Directions
and give it the star coverage it
deserves!
Stage Directions: What does “the average
member” of USITT look like?
David Grindle: One of the beauties of
USITT’s membership is the vast expanse of
experience that it covers. The person who is
just getting into theatre is there and learning
and the person who invented half the stuff
that we think has always been there is sitting
in the room with them. And that dialogue
across generations and experience levels is
what makes USITT unique. You can walk in
and you don’t have to be the expert. You get
the chance to meet the expert and ask them
a question and have access to these people.
Joe talks about us having a unique niche, I
think that’s one of the beauties of it.
We have a new campaign called “I am
USITT,” where we are featuring our members.
And I asked one of our members, “What’s
your greatest memory of USITT?” And he
said “I was in a breakout session about scenic
design with Ming Cho Lee in my group. And I
was young and brand new and I had no idea
who he was, but I got to sit and share ideas
with him.” That’s what makes us unique over
other organizations is that we really embrace
all levels of the experience to help pass information
among the generations.
Joe Aldridge: I sit on the ETCP council
as a representative for USITT; I sit on boards
for other arts organizations; I toured with
Siegfried and Roy for crying out loud. How
cool is that? You get to watch tigers scare the
bejeezus out of the audience. And it’s that
diversity of experience that all of the USITT
members bring to the table that really makes
it cool.
David Grindle: You walk in to USITT— any
gathering, anywhere—and you see people
whose interest falls in any kind of live entertainment
out there. And that’s the greatest
thing. Our Board President’s an IATSE member,
our secretary is a costumer, our treasurer
has a stage management background.
Just starting there is this beautiful diversity
because each of the three of them, their backgrounds
are in so many different areas. And
it’s promoting that diversity of our organization
that I think is a great opportunity.
Stage Directions: What are your plans to
promote and grow USITT?
Joe Aldridge: We are interested in sharing
the wealth of knowledge that our members
38 October 2010 • www.stage-directions.com

possess. In our industry, USITT has been a leader and supporter of ESTA’s Entertainment
Technician Certification Program. Why? Because our members are those individuals that
will benefit from the safe practices of riggers and electricians throughout the industry.
They are our members, you know, so it’s incumbent upon us to be proactive and be in the
forefront there, and in other areas as well.
David Grindle: One of the things that we are doing is making sure that other arts
service orgs are aware of us and the activities that we are doing—because for many of
them they have no programming for their production personnel. For example, a strategic
partnership that was actually started in 2009 but has really come nicely to fruition is
with the Educational Theatre Association, which is the organization for middle and high
school theatre teachers. One of the great voids out there is professional development
workshops in technical theatre for these types of teachers. And USITT and EDTA have
partnered together to develop a PDI, Professional Development Institute. We did the
first one in Cincinnati in 2009 and we will do another in Charlotte. We’ll be able to teach
design, technical theatre and theatre safety to high school teachers, many of whom don’t
have a large technical theatre background but suddenly find themselves being a theatre
department of one.
While not all of them are candidates for USITT membership, what we have to offer them
is good for their membership and helps ensure the future of the industry. It also ensures
safe practices in theatre are being taught from the beginning. To me that’s one of the great
partnerships that is developing.
The “Keys to Collaboration: Successful Teams and Building” panel at the 2010 USITT Stage Expo in Kansas City, presented by USITT’s
Architecture Commission. From left to right: Robert Shook, ASTC, IALD; Pete Ed Garrett, AIA; Gene Leitermann, ASTC; and Dawn R. Schuette,
AIA, LEED AP.
“One of the beauties of USITT’s membership is
the vast expanse of experience that it covers.”
—David Grindle
Justin Lang, iSquint.net
One of the benefits of USITT is the huge amount of knowledge and history available to all members—the 2010 Expo included an
exhibit on advances in incandescent luminaires.

School Spotlight
Teachers Make the School
Tony-nominated director Marcia Milgrom Dodge talks about why she
and other successful professionals teach at AMDA
All photography courtesy of AMDA
Marcia Milgrom Dodge started her career as a choreographer,
moving to New York City in 1977 to pursue
her dream. After numerous choreography credits in
regional theatre and Off-Broadway she added directing to
her résumé in the mid-‘90s. Her directing and choreography
work on several productions at the Bay Street Theatre in Sag
Harbor, New York, caught the attention of playwright Terrence
McNally, who suggested she direct and choreograph the 2009
Kennedy Center revival of Ragtime. When the show transferred
to Broadway Marcia made her Broadway debut and was nominated
for the Tony Award for Best Direction of a Musical.
In the late ‘90s she started teaching at the American Musical
and Dramatic Academy. We asked her why, with all her success,
she still makes it a top priority to teach at AMDA.
Q What is it about teaching that keeps you coming back?
A Marcia Milgrom Dodge: Well, I think it’s a necessity for
me on some level because it gets me back to basics in terms
of really paying attention to actors and what their process is.
Acting is a different kind of animal—I mean acting is a process,
and as I started out directing, I knew what I wanted from
actors, but I was never really sure how to get it from them. So
once I started studying methods and learning acting technique
myself, by teaching it, I became a much more patient
director and much more willing to take the journey with the
actor. I continue to teach because I love it. I’m able to have an
effect on new members of the theatrical community, young
performers who are going to take steps to become professionals,
and to be there at that inception is very exciting. As you
work with students and cultivate them, they become stronger
and more effective and they sort of surpass you in their ability
to make choices about roles. I try to inspire my students to
really understand who they are playing and why they do what
they are doing, and that comes with them being well-rounded
human beings as well. It’s a fascinating journey, and it’s about
people struggling to achieve their dream. So it’s a great place
to be; it’s a very positive place to be.
Q How does AMDA create that environment?
A Well, I think we have an amazing faculty, and what’s great is
that a majority of the faculty are all professionals. Sometimes in
universities you have faculty members that are academics, but
at AMDA you have faculty members that are professionals—and
the work ethic you need to succeed as a professional performer
is passed on to the students. I think the fact that you have
devoted professionals teaching really sets AMDA apart. Every
single faculty member that I work with is a professional. Really,
I think schools are their teachers, and I think that AMDA has the
best teachers in all areas of theatre.
Q And what can those teachers give students?
A
What AMDA does is create people with an appreciation for
the theatre, and what goes into making theatre. And they have
incredible facilities to do this. They’re in a space that used to be
the Alvin Ailey building in New York City and they’ve completely
Marcia Milgrom Dodge
“I think the fact that you have
devoted professionals teaching
really sets AMDA apart.”
—Marcia Milgrom Dodge
40 October 2010 • www.stage-directions.com

America's Premier
College of Performing Arts
The cast of AMDA’s 2009 production of Pippin at their Los Angeles campus.
As a choreographer, Marcia Milgrom Dodge describes
the dance program at AMDA as “intense.”
refurbished it for the students. Plus—and this is
huge—their musical theatre library is better than
the Lincoln Center library. If you need any musical,
any script, any song, the AMDA library is it
for musical theatre resources. It’s amazing. And
it’s all completely digitally archived so students
can go in there and look at anything. If they need
a song written by Irving Berlin that wasn’t even
published, they have it. They also have an intense
dance program; in fact, some recent dance graduates
were just cast in the revival of A Chorus Line.
It’s widely known that AMDA students come out
with an incredible number of tools as performers.
Rising to the top of the entertainment world is incredibly rewarding, but getting
there requires more than just natural talent. You need discipline, determination
and—most importantly—the right training. That’s where AMDA
comes in. Because for over 45 years, the American Musical and Dramatic
Academy has been transforming talented performers from across the country
and around the world into well-respected, working professionals.
To be the best, you need to train
with the best.
Recognized as one of America’s premier institutions for the performing arts,
AMDA is the only performing arts college to offer Bachelor of Fine Arts degrees
and Conservatory Studies programs with campuses in both New York and Los
Angeles. Additionally, by providing a wide variety of academic programs along
with seven distinct certificate and degree paths, AMDA delivers unparalleled
flexibility for tailoring an academic experience that will help you succeed.
A college and a conservatory all in one.
Whether you choose a conservatory or BFA program, you’ll receive intensive,
hands-on instruction from the best and brightest professionals in the industry.
Emphasizing creative maturity, stylistic depth and professional excellence,
every program the school offers is designed to help you reach your full artistic
potential through a deep-rooted foundation in the performing arts.
New York or LA? How about both?
One of the unique benefits of AMDA is the ability to attend classes in the
world’s two entertainment capitals. Begin your studies amidst the energy
and culture of AMDA New York, then transfer to the glamour and sunshine of
AMDA Los Angeles—or vice versa. Or complete all of your studies at a single
campus. The choice is yours.
Building careers out of dreams.
From 30 Rock to Wicked, countless AMDA graduates have made their mark in
Hollywood, on Broadway and beyond. Including such notable performers as
Jason Derülo, Gretchen Mol, Tyne Daly, Jesse Tyler Ferguson and many others.
In fact, you’re likely to find more AMDA alumni on Broadway stages than
graduates of any other performing arts college.
Put yourself in the equation for success. Learn more or apply online by visiting
their website at www.amda.edu.
AMDA’s curriculum is geared to give actors the
broad range of tools they’ll need to succeed.
Advertorial

Special Section: Education
Administration-Friendly
Theatre Programs
Seven ways to ensure your department stays in good terms with your school.
A moment from a production of subUrbia at Dean College
A
theatre department on a college campus can only
be as good as the support it receives from the
administration. Cutting-edge productions, enthusiastic
students, and imaginative professors are all for
naught if the people in the chancellor’s office are unappreciative—or
even worse, oblivious—to success and
achievements. Here is some advice to ensure your department
and the work you do is successful in the eyes of those
who hold the purse strings.
1. Know Thy Mission, Know Thy Self
“The first thing is the department has to have a clear
sense of itself and mission,” Ralph Zito says. “Then you
have to articulate that clearly to the university.” Zito is
the new chair of the College of Visual and Performing Arts
at Syracuse University. Previously he served as the chair
of the Julliard School Drama Division’s voice and speech
department.
2. Educate & Communicate
“For most administrators, I think it come down to two
things,” says Kelly Morgan, dean of the School of the Arts
at Dean College in Franklin, Mass. “Does it serve the curriculum
as a whole? What does it cost?” If you address
those points you have a good shot of at least getting
them to open their eyes. Also “talk to them about the
broader scope, all the designers, lighting designers, gaffers,
fight coordinators, etc., who the actor takes a bow
for.” Don’t stop at just getting them to a performance, but
take them backstage and show them all the skills needed
for a production.
Be mindful of their background and frame things
in ways they understand, advises John Michaelsen.
Michaelsen has been the overseer of the Department of
Theatre and Drama at Indiana University, Bloomington
since 2004. “It’s a great university and a great place to go
to school,” he says. The theatre department is full service
offering BAs, BFAs, MFAs, and PhDs in various theatre
disciplines.
When speaking to an administrator whose background
is in science or math, talk about the “lab” work your
department is doing. Also, go into the technical details
of how shows are put on in ways they can appreciate.
“Seek a vocabulary that people can understand.” Nutsand-bolts
is better than lofty speaking only in aesthetics.
When you’re hankering for that new light board, it’s
tempted to brag about the bells, whistles and channel
faders. But “don’t be verbose. My style is to make it clear
and to the point: This is the need, this is what solves it,
this is what it costs, and this is how it benefits students.
It is a terribly competitive world, and we must provide
every skill we can provide for the students.”
Also let them hear first hand from the students—have
them discuss the value of what they learn. “We have
great, articulate students and they are often better at
making the case in certain situations than probably we
are!”
3. Avoid the “It’s Only Theatre” Label.
The upper administration at Dean understands that the
theatre department is integral to the student becoming a
citizen of the world, Morgan says. “Whereas a number of
administrations might cut theatre program, and look at it
as the ‘black sheep’ of school, it’s not the case here.”
“Believe me, even at a place like this, we’re not immune
from people misunderstanding what goes on here, so it is
important that you clearly state what you do and produce
something for students and alumni they can partake in,”
adds Michaelsen.
4. Real World Applications
Morgan says that while having insight into the human
condition is a core philosophy of the school, they also
prepare students for the transition of being an artist as a
businessperson. He wants students to know such things
as how to do their taxes as an artist and how to transition
42 October 2010 • www.stage-directions.com

Special Section: Education
from there to entertainment mega-markets. Easing the
transition from school to life adds relevance.
Michaelsen says to take nothing for granted: For example,
if you’re a liberal arts college, don’t just talk about
those who get degrees in Theatre, but all of your students:
the acting class students who gain a sense of confidence in
their presentation skills to do well on a job interview; the
tech class that provides skills that are applicable to other
disciplines. “We teach AutoCAD, how to make costumes,
and build stage elevators—all things that some administrators
might not think of us doing.”
6. Always Have a Plan (Or Three)
“Have a sense of priorities, and constantly be educating
administrators to what you do and the importance of
the work,” Michaelsen says. “That way when you do ask
for something, there’s a basic understanding.”
Not everything at Dean is accepted, and the administration
does push back, “and that’s good,” Morgan says.
It leads to a vetting process for the argument. “Do the
research. Don’t just say I want this new technical toy; you
have to say why it’s important for the curriculum, how it
serves the college as a whole, and how it’s going to get
students work ahead of others in this
tough job market.”
“If it’s a good idea, and you’re
persuasive, they will always listen,”
Michaelsen adds. Think the idea
through, be clear, and keep it short
and to the point—as in “elevator
pitch.” “These are busy people, and
if you have an opportunity to present
an idea, have done your homework.”
The idea needs to be complete, too, so
they can think of funding.
Always have at least three plans for
projects ready to go—even if there
might be an item or two that “shoots
for the moon.” Administrators can
sometimes end a year with a surplus
and want to invest in something. So
have a list, and a varied one at that.
One of the biggest items is trying to
add personnel, because that requires
salary, benefits, and “everyone loathes
taking on that kind of expense.” Don’t
shy away from that being on your list,
just understand that challenge and
temper it with smaller, less expensive
requests too.
“Make sure that
campus-wide
everyone knows
you’re there
and what
you’re doing.”
—Ralph Zito
A scene in Syracuse University’s production of Samm-Art Williams’ Home
5. Real Campus Applications
Zito says using what else is on campus as a resource
is a way of reaching out and creating better understanding
for what a good theatre department means. The law
school, the architecture school, the school of government,
etc.—all offer a research element. Soliciting them for background
or information on those vocations for a production
offers an opportunity for others on campus to be exposed
to what’s involved in working toward a theatre degree.
Also reach out to everyone, from the administrators to
the students. Ask for ideas on what kind of plays to do.
Interact with other professors—is there a scene from something
that could be done for their philosophy class? Could
12 Angry Men inspire debate for law students? “There’s a lot
of ways to make bridges on campus, and that’s something
administrators really appreciate,” Morgan says.
7. Be a Great Public Relations Agent
“It’s a public relations issue,” Zito
says. “Make sure that campus-wide
everyone knows you’re there and
what you’re doing.” This can include
intriguing ads for the campus that catch the imagination
and spark conversation. But “work together with the
university to keep theatre very much in the forefront of
university life.”
“We try to make sure that the administrations understands
what we’re doing here and the impact we have,”
Michaelsen says. Invites to productions are obvious, but
go a step further when you’re doing something unusual,
and especially reach out then.
He adds that always be providing the administration
nuggets that allow them to tell others—including
donors—what is new and exciting in the department.
“Always be informing them, because they have to talk to
people all the time, and if they can say we have ‘x’ and ‘y’
going on in the theatre department, that’s to your and
their benefit.”
44 October 2010 • www.stage-directions.com

By Stephen Peithman Off the Shelf
|
Real-Life Scenarios
Books and plays on dealing with today’s world
SubHead
Times are tough—that’s the reality facing theatres
today. And so it’s no wonder that nonprofit organizations
are looking to the Internet as a low-cost method
for building audiences and developing a strong donor base.
But what works and what doesn’t? That’s the focus of
Internet Management for Nonprofits, by Ted Hart, Steve
MacLaughlin, James M. Greenfield and Philip H. Geier, Jr. They
provide an extensive overview of web-based tools for fundraising
and friend-raising, explain the components of a strong
website, and offer in-depth insight into using social networking
sites such as Facebook and Twitter. Social media in
particular, they explain, offer unparalleled opportunities for
nonprofit organizations. First, through the use of monitoring
and tracking tools, you identify conversations taking place
on the social web (much like a large focus group). You then
harvest insights developed through this “listening” process.
Finally, you use those insights to make changes appropriate
to your mission and strategic plan. This is a remarkable book,
providing solid guidance on dealing with the rapidly changing
and expanding world of the Internet. [$49.95, Wiley]
The focus narrows in The Networked Nonprofit, by Beth
Kanter and Allison H. Fine, who suggest a new way of
operating in an increasingly connected world: a networked
approach that’s enabled by social technologies, where person-to-person
connections are leveraged to increase an
organization’s impact in a number of ways. The first half
of the book focuses on how an organization can use social
media successfully and effectively. The second half presents
a series of principles to help leaders navigate the transition
from a top-down organization to a truly networked approach.
[$34.95, Wiley]
Kivi Leroux Miller’s The Nonprofit Marketing Guide
acknowledges the value of the Internet, but also emphasizes
that old-fashioned basics often work best—even online.
After an in-depth examination of the marketing process, she
explains how to write a quick-and-dirty marketing plan, create
a powerful message, and deliver that message effectively.
There also are excellent suggestions for building a community
of supporters around you, using a wide variety of tools,
including the web, direct mail, and the telephone. [$39.95,
Jossey-Bass]
In fact, most fundraising professionals still recommend
the good old-fashioned telephone call. Drawing on his
experience as cofounder of a direct mail/telephone fundraising
company, Stephen F. Schatz’s Effective Telephone
Fundraising explains the nature of the telephone medium
in fundraising, and how it differs from other forms such as
face-to-face, direct mail and e-mail. He then moves on to
scripting strategies, how to find the right prospects and
develop a relationship, making the ask, dealing with objections,
negotiating with counterproposals and articulating the
close. [$45, Wiley]
Developing relationships within a community has been
central in the life of the founder and CEO of Black Spectrum
Theatre, Carl Clay. In Poor-ducing Theatre & Film at the
Black Spectrum, he relates the 40-year history of the theatre,
located in southeast Queens, New York. Of particular interest
is his take on the politics of arts funding, especially the
funding of black theatre. Clay’s comments, recollections and
philosophy are worth reading, although badly-served by the
book’s layout and typography. Text is crammed onto pages,
with minimal white space and tiny photos, making it difficult
for the reader to take it all in. There is much to be learned
here—it’s too bad the book’s slipshod design sometimes gets
in the way. [$24.95, Blackcurrant Press]
In The Great Acting Teachers and Their Methods, Vol.
2, Richard Brestoff begins by exploring the teachings of the
late 19 th and early 20 th century French practitioners Andre
Antoine, Jacques Copeau and Michel Saint-Denis. Although
largely unknown today, their influence was significant, even
in the U.S. Brestoff then looks at the realist traditions of Elia
Kazan, Uta Hagen and David Mamet, and finishes with two
modern “out of the box” teachers, Anne Bogart and Keith
Johnstone. While the various approaches often conflict with
one another, on occasion they intersect in surprising ways.
There’s much food for thought here, and readers are free
to take from the plate whatever methods appeal to them.
[$16.95, Smith and Kraus]
What one takes from the work of playwright Neil LaBute is
always affected by his shockingly honest take on modern life.
He burst onto the American theatre scene in 1989 with his
controversial work, Filthy Talk for Troubled Times. And since he
has seldom allowed it to be staged since then, its inclusion in
a new LaBute anthology (also titled Filthy Talk for Troubled
Times) is certain to be of interest to many. Set in a bar room
in Anytown U.S.A., and populated by a series of Everymen
(and two beleaguered Everywomen), the play takes the form
of a series of frank exchanges that explores the many varieties
of American intolerance. Also included are several new
short works, including “Helter Skelter” (a kind of indoor Zoo
Story), “The New Testament” (a show business satire), and
“The Furies,” in which a woman helps her brother deal with
his closeted lover. As always, LaBute puts his characters in
an unusual situation, gives them something or someone to
overcome, and then lets them work their way through it—
successfully or not. [$13.95, Soft Skull Press]
46 October 2010 • www.stage-directions.com

Education
Alabama
Alabama State University
Theatre Arts Dept.
915 S. Jackson St.
Montgomery, AL 36104
Auburn University,
Auburn
Dept. Of Theatre
211 Telfair B. Peet
Theatre
Auburn, AL 36849-5422
Auburn University,
Montgomery
Communication And
Dramatic Arts
P.O. Box 244023
Montgomery, AL
36124-4023
Huntingdon College
- Theatre Studies
Program
1500 E. Fairview Ave.
Cloverdale/Box 367
Montgomery, AL 36106
University Of
Alabama
Dept. of Theatre and
Dance
Box 870239
Tuscaloosa, AL 35487
P: 205-348-5283
F: 205-348-9048
W: theatre.ua.edu
E-Mail: theatre.dance@
ua.edu
See their ad on this
page
University Of Montevallo
Div Of Theatre
6210 University Of
Montevallo
Montevallo, AL 35115
University Of North
Alabama
Department Of Music
And Theatre
Una Box 5168
1 Harrison Plaza
Florence, AL 35632
University Of South
Alabama
Dept. Of Dramatic Arts
Pac Rm.1052
Mobile, AL 36688
Alaska
University Of Alaska,
Anchorage
Dept. Of Theatre And
Dance
3211 Providence Dr.
Anchorage, AK 99508
University Of Alaska,
Fairbanks
Theatre UAF
302 Great Hall
Fairbanks, AK 99775
Arizona
Arizona State University
Herberger School Of
Theatre And Film
232 Dixie Gammage
Hall
P.O. Box 872102
Tempe, AZ 85287-2102
Northern Arizona
University
Dept. Of Theatre
Box 6040
Bldg. 37/rm. 120
Flagstaff, AZ 86011
University Of Arizona
School of Theatre, Film
& Television
P.O. Box 210003
Tucson, AZ 85721
P: 520-621-7008
F: 520-621-2412
W: www.tftv.arizona.
edu
E-Mail: tftv@email.
arizona.edu
See their ad on page 48
Arkansas
Accademia Dell ‘arte
P.O. Box 251505
Little Rock, AR 72225-
1505
Arkansas Repertory
Theatre
601 Main St.
P.O. Box 110
Little Rock, AR 72201
Lyon College
Theatre Dept.
P.O. Box 2317
2300 Highland Rd.
Batesville, AR 72503
Southern Arkansas
University, Magnolia
Dept. Of Theatre & Mass
Communication
100 E. University
Magnolia, AR 71754-
9203
University Of Arkansas
J. William Fulbright College
Of Arts & Sciences
619 Kimpel Hall
Fayetteville, AR 72701
University Of Arkansas
At Little Rock
Dept. Of Theatre &
Dance
2801 S. University Ave.
Cpa 130
Little Rock, AR 72204
University Of Central
Arkansas
Mass Communication
And Theatre Dept.
201 Donaghey Ave.
Harrin Hall 224
Conway, AR 72035
California
Allan Hancock College
800 S. College Dr.
Bldg. F
Santa Maria, CA 93454
American Academy Of
Dramatic Arts, CA
1336 N. La Brea Ave.
Los Angeles, CA 90028
American Conservatory
Theater (ACT)
415 Geary St.
San Francisco, CA
94102
American Musical &
Dramatic Academy,
CA
6305 Yucca St.
Los Angeles, CA 90028
P: 888-901-2632
W: www.amda.edu
E-Mail: info@amda.edu
See their spotlight on
page 40
Cal State University,
San Bernardino
Dept. Of Theatre Arts
5500 University Pkwy.
San Bernardino, CA
92407-2318
California Repertory
Theatre
Cal Rep Aboard The
Queen Mary
1126 Queen’s Highway
Long Beach, CA 90802
California School of
the Arts
School of Theater
24700 McBean Pkwy.
Valencia, CA 91355
Contact: Travis Preston,
Dean
P: 661-253-7834
F: 661-255-0462
W: www.calarts.edu
E-Mail: theater@
calarts.edu
See their ad on page 50
California State Polytechnic
University,
Pomona
Theatre Dept., Csu
Pomona
3801 W. Temple Ave.
Bldg. 25
Pomona, CA 91768
California State University,
Bakersfield
Music Bldg. 102
9001 Stockdale Hwy.
Bakersfield, CA 93311-
1022
California State University,
Dominguez
Hills
Dept. Of Theatre,
Dominguez Hills
1000 E. Victoria St.
Carson, CA 90747
California State University,
East Bay
Theatre And Dance
Dept.
25800 Carlos Bee Blvd.
220 Robinson Hall
Csueb
Hayward, CA 94542
California State University,
Fresno
Theatre Arts Dept.
5201 N. Maple Ave.
M/s Sa46
Fresno, CA 93740-8027
California State University,
Fullerton
Dept. Of Theatre And
Dance
800 N. State College
Blvd.
Fullerton, CA 92834
California State University,
Long Beach
Dept. Of Theatre Arts
1250 Bellflower Blvd.
Long Beach, CA 90840-
2701
California State University,
Northridge
Theater Dept.
18111 Nordhoff St.
Northridge, CA 91330
California State University,
Sacramento
Dept. Of Theatre And
Dance
6000 J St. - Shasta Hall
Sacramento, CA 95819-
6069
California State University,
Stanislaus
Dept. Of Theatre
One University Circle
Turlock, CA 95382
Columbia College
Hollywood
18618 Oxnard St.
Tarzana, CA 91356-1411
De Anza College
Creative Arts Division
21250 Stevens Creek
Blvd.
Cupertino, CA 95014
Dell’arte
131 H St.
P.O. Box 816
Blue Lake, CA 95525
Foothill College - Fine
Arts And Communication
Dept. Of Theatre
Technology
12345 El Monte Rd.
Los Altos Hills, CA 94022
Glendale Community
College - Theatre Art
Department
1500 N. Verdugo Rd.
Glendale, CA 91208
Humboldt State
University
Dept. Theatre, Film &
Dance
Theatre Arts Bldg. -
Rm.20
1 Harpst St.
Arcata, CA 95521-8299
Idyllwild Arts Academy
52500 Temecula Rd.
P.O. Box 38
Idyllwild, CA 92549
Institute For Readers
Theatre
P.O. Box 421262
San Diego, CA 92142
Los Angeles City College
Theatre Academy
855 N. Vermont Ave.
Los Angeles, CA 90029
Loyola Marymount
University
Dept. Of Theatre Arts
1 Lmu Dr.
Los Angeles, CA 90045
Monterey Peninsula
College
Drama Dept.
980 Fremont St.
Monterey, CA 93940
Occidental College
Dept. Of Theater
1600 Campus Rd
Los Angeles, CA 90041-
3314
Pcpa / Pacific Conservatory
Of Performing
Arts
Allan Hancock College
Pcpa Theaterfest
800 S. College Dr.
Santa Maria, CA 93454-
6399
Pomona College
Dept. Of Theatre &
Dance
300 E. Bonita Ave.
Claremont, CA 91711
Saddleback College -
Fine Arts Division
28000 Marguerite Pkwy.
Mission Viejo, CA 92692
Saint Mary’s College
Dept. Of English And
Drama
P.O. Box 4730
1928 Saint Mary’s Rd.
Moraga, CA 94575
San Diego State
University
Dept. Of Theatre
College Of Professional
Studie
5500 Campanile Dr.
San Diego, CA 92182-
7601
San Francisco State
University
Dept. Of Theatre Arts
1600 Holloway Ave.
San Francisco, CA
94132
www.stage-directions.com • October 2010 51

Education
San Jose State
University
Dept. Of Television,
Radio, Film And Theatre
Hugh Gillis Hall Rm. 100
San Jose State University
San Jose, CA 95192
Santa Ana College
Theatre Arts Dept.
1530 W. 17th St.
Santa Ana, CA 92706
Santa Clara University
Dept. Of Theatre &
Dance
500 El Camino Real
Santa Clara, CA 95053
Santa Monica College
1900 Pico Blvd.
Santa Monica, CA
90405
Sonoma State University
Performing Arts At Sonoma
State University
Theatre And Dance
Dept.
1801 E. Cotati Ave.
Rohnert Park, CA 94928
South Coast Repertory
655 Town Center Dr.
P.O. Box 2197
Costa Mesa, CA 92628-
2197
Southwestern College
900 Otay Lakes Rd.
Chula Vista, CA 91910
Stanford University
Dept. Of Drama, Mc:
5010
Memorial Hall, Rm.144
551 Serra Mall
Stanford, CA 94305
Theatre Arts Productions/
Spotlight
Theatre
1622 19th St.
Bakersfield, CA 93301
University Of California,
Berkeley
Dept. Of Theater, Dance
& Performance Studies
101 Dwinelle Annex
Berkeley, CA 94720
University Of California,
Davis
Dept. Of Theatre And
Dance
222 Wright Hall
One Shields Ave.
Davis, CA 95616
University Of California,
Irvine
Dept. Of Drama
Irvine, CA 92697-2775
University Of California,
Los Angeles
School Of Theater, Film
And Television
102 E. Melnitz Hall
Box 951622
Los Angeles, CA 90095
University Of California,
Riverside
900 University Ave.
Riverside, CA 92521-
0324
University Of California,
San Diego
Dept. Of Theatre And
Dance
9500 Gilman Dr.,
Mc0344
La Jolla, CA 92093
University Of California,
Santa Barbara
Theater & Dance
Mail Code 7060
552 University Rd.
Santa Barbara, CA
93106-7060
University Of California,
Santa Cruz
Theater Arts Dept.
J-106 Theater Arts
Center
Santa Cruz, CA 95064
University Of La Verne
Dept. Of Theatre Arts
1950 3rd St.
La Verne, CA 91750
University Of San
Diego
USD MFA Program
The Old Globe
P.O. Box 122171
San Diego, CA 92112-
2171
University Of Southern
California
School of Theatre
1029 Childs Way, DRC
104
Los Angeles, CA 90089-
0791
Contact: Academic and
Student Services Dept.
P: 213-740-1286
F: 213-740-8888
W: theatre.usc.edu
E-Mail: thtrinfo@usc.
edu
See their ad on page 53
University Of The
Pacific, Stockton
3601 Pacific Ave.
Drama Bldg.
Stockton, CA 95211
US Performing Arts
Camps
100 Meadowcreek Dr.,
Ste. 102
Corte Madera, CA
94925
Westmore Academy
Of Cosmetic Arts
3407 W. Olive Ave.
Burbank, CA 91506
Will Geer Theatricum
Botanicum
1419 N. Topanga Canyon
Blvd.
Topanga, CA 90290
Will Geer Theatricum
Botanicum
1419 N. Topanga Canyon
Blvd.
Topanga, CA 90290
Colorado
Metropolitan State
College Of Denver
The Dept. Of Communication
Arts & Sciences
Campus Box 34
P.O. Box 173362
Denver, CO 80217
Naropa University
Performing Arts Ctr.
2130 Arapahoe Ave.
Boulder, CO 80302
Perry Mansfield Performing
Arts School
& Camp
40755 Routt County
Rd. 36
Steamboat Springs, CO
80487
Pikes Peak Community
College
Dept. Of Performing
Arts
5675 S. Academy Blvd.
Colorado Springs, CO
80906
Rocky Mountain
Theatre For Kids
5311 Western Ave.
Ste. D
Boulder, CO 80301
University Of Colorado
Dept. Of Theatre &
Dance
261 Ucb
Boulder, CO 80309-
0261
University Of Colorado
At Denver
The College Of Arts &
Media
Campus Box 162
P.O. Box 173364
Denver, CO 80217-3364
University Of Denver
Dept. Of Theatre
2199 S. University Blvd.
Denver, CO 80208
University Of Northern
Colorado
School Of Theatre Arts
& Dance
Guggenheim Hall,
Rm. 204
Campus Box 30
Greeley, CO 80639
Connecticut
Central Connecticut
State University
CCSU Dept. Of Theatre
Maloney Hall
1615 Stanley St.
New Britain, CT 06053
Connecticut College
Dept. Of Theater
270 Mohegan Ave.
Box 5512
New London, CT 06320
Fairfield University
Dept. Of Visual &
Performing Arts
1073 N. Benson Rd.
Fairfield, CT 06824
Hartt School University
Of Hartford
200 Bloomfield Ave.
West Hartford, CT
06117-1599
O’Neill National
Theater Institute
Eugene O’theater
Center
305 Great Neck Rd.
Waterford, CT 06385
Southern Connecticut
State University
Theatre Dept.
501 Crescent St.
New Haven, CT 06515
St. Thomas More
School
45 Cottage Rd.
Oakdale, CT 06370
Trinity College
Dept. Of Theater &
Dance
300 Summit St.
Hartford, CT 06106
University Of Connecticut
Dept. Of Dramatic Arts
U-1127, 802 Bolton Rd.
Storrs, CT 06269-1127
Wesleyan University
Theater Dept.
275 Washington Terrace
Middletown, CT 06459
Western Connecticut
State University
Theatre Dept.
181 White St.
Danbury, CT 06810
Yale University
School Of Drama
P.O. Box 208325
New Haven, CT 06520
Delaware
University Of Delaware
Dept. Of Theatre
413 Academy St.
Newark, DE 19716
Florida
Asolo Repertory
Theatre
FSU/Asolo Conservatory
5555 N. Tamiami Trail
Sarasota, FL 34243
Eckerd College
4200 54th Ave. South
Theatre Dept.
St. Petersburg, FL 33711
Florida Atlantic University,
Boca Raton
College Of Arts And
Letters
Dept. Of Theatre
777 Glades Rd.
Boca Raton, FL 33431
Florida Gulf Coast
University
10501 FGCU Blvd. S.
Fort Meyers, FL 33965-
6565
Florida International
University
11200 SW 8th St., WPAC
131
Miami, FL 33199
Contact: Jesse Dreikosen
P: 305-348-2895
F: 305-348-1803
W: theatre.fiu.edu
E-Mail: jdreikos@fiu.
edu
See their ad on page 54
Florida School Of The
Arts
St. Johns River Community
College
5001 St. Johns Ave.
Palatka, FL 32177
Florida Southern
College
Dept. Of Theatre
111 Lake Hollingsworth
Dr.
Lakeland, FL 33801-
5698
Florida Stage University
School Of Theatre
600 W. College Avenue
Tallahassee, FL 32306-
1160
Florida Studio Theatre
1241 N. Palm Ave.
Sarasota, FL 34236
Full Sail
3300 University Blvd.
Winter Park, FL 32792
Jacksonville University
Dept. Of Theatre
2800 University Blvd.
North
Jacksonville, FL 32211
Lovewell Institute
1000 Corporate Dr.,
Ste. 340
Fort Lauderdale, FL
33334
Miami Dade College
300 N.e. 2nd Ave.
Miami, FL 33132-2204
New World School Of
The Arts
Theater Division
300 Ne 2nd Ave.
Miami, FL 33132-2297
Orlando Shakespeare
Theater
812 E. Rollins St.
Orlando, FL 32803
Palm Beach Atlantic
University
Theatre Arts Dept.
901 S. Flagler Dr.
West Palm Beach, FL
33401
Rollins College
Dept. Of Theatre &
Dance
1000 Holt Ave. - 2735
Winter Park, FL 32789-
4499
University Of Central
Florida
4000 Central Florida
Blvd.
P.O. Box 162372
Orlando, FL 32816
University Of Florida
College Of Fine Arts
School Of Theatre &
Dance
P.O. Box 115900
Gainesville, FL 32611-
5900
University Of Miami
Dept. Of Theatre Arts
P.O. Box 248273
Coral Gables, FL 33124-
4820
University Of South
Florida
School Of Theatre &
Dance
4202 E. Fowler Ave.
Tar 230
Tampa, FL 33620
University Of Tampa
401 W. Kennedy Blvd.
Tampa, FL. 33606
Contact: Megan Hall
P: 813-253-6211
F: 813-258-7398
W: www.ut.edu
E-Mail: admissions@
ut.edu
See their ad on page 55
University Of West
Florida
Dept. Of Theatre
11000 University Pkwy.
Bldg. 82
Pensacola, FL 32514
Georgia
Agnes Scott College
Dept. Of Theatre
141 E. College Ave.
Decatur, GA 30030
Armstrong Atlantic
State University
Dept. Of Art, Music &
Theatre
11935 Abercorn St.
Savanah, GA 31419-
1997
52 October 2010 • www.stage-directions.com

Education
Berry College
Theatre Dept.
2277 Martha Berry
Hwy. Nw
Mount Berry, GA 30149
Brenau University
Dept. Of Performing
Arts
500 Washington St. S.e.
Gainesville, GA 30501
Columbus State
University
Dept. Of Theatre
901 Front Ave.
Columbus, GA 31907
Emory University
Theater Studies
1602 Fishburne Dr.
Rich Memorial Bldg.
230
Atlanta, GA 30322
Gainesville Theatre
Alliance
P.O. Box 1358
Gainesville, GA 30503
Georgia Southern
University
Communication Arts
Dept.
P.O. Box 8144
Statesboro, GA 30460-
8144
Georgia Southwestern
State University
Fine Arts Dept.
800 Georgia Southwestern
State University
Drive
Americus, GA 31709
Kennesaw State
University
Dept. Of Theatre &
Performance
1000 Chastain Rd.
#3103
Kennesaw, GA 30144
Lagrange College
Dept. Of Theatre Arts
601 Broad St.
Lagrange, GA 30240
Piedmont College
165 Central Ave.
Demorest, GA 30535
SCAD
The University For
Creative Careers
P.O. Box 3146
Savannah, GA 31402
Shorter College
315 Shorter Ave.
Rome, GA 30165
University Of Georgia
Fine Arts Bldg.
Athens, GA 30602-3154
University Of West
Georgia
Theatre Arts
1601 Maple St.
Carrollton, GA 30118
Valdosta State University
Dept. Of Communications
College Of The
Arts
1500 N. Patterson St.
Valdosta, GA 31698-
0120
Hawaii
University Of Hawaii
At Manoa
Dept. Of Theatre And
Dance
1770 E-w Rd.
115 Kennedy Theatre
Honolulu, HI 96822
Idaho
Boise State University
Morrison Center For
The Performing Arts
Academic Wing
1910 University Dr.
Boise, ID 83725-1565
University Of Idaho
Dept. Of Theatre & Film
442008/1028 W. 6th St.
Shoup Hall, 2nd Fl.
Moscow, ID 83844-2008
Illinois
Act One Studios
Act One Studios Conservatory
640 N. Lasalle
Ste. 535
Chicago, IL 60610
Augustana College
In Il
Theatre Dept.
639 38th St.
Rock Island, IL 61201-
2296
Bradley University
Dept. Of Theatre Arts
1501 W. Bradley Ave.
Peoria, IL 61625
Chicago Academy For
The Arts
1010 W. Chicago Ave.
Chicago, IL 60622
Chicago State University
Theatre Dept., Breakey
Theatre
Douglas Hall Rm. 102
9501 S. King Dr.
Chicago, IL 60628
Columbia College
Theater Dept.
72 E. 11th Street
Chicago, IL 60605
DePaul University/
The Theatre School
2135 N. Kenmore Ave.
Chicago, IL 60614
Contact: Jason Beck,
Director of Admissions
P: 773-325-7999
F: 773-325-7744
W: http://theatre.
depaul.edu
E-Mail: theatreadmissions@depaul.edu
See their ad on the
back cover
Elmhurst College
190 Prospect Ave.
Elmhurst, IL 60126-
3296
Eureka College
Theatre Arts & Drama
300 E. College Ave.
Eureka, IL 61530
Illinois State University
College Of Fine Arts
School Of Theatre
Campus Box 5700
Normal, IL 61790-5700
Illinois Wesleyan
University
Box 2900
Bloomington, IL 61702-
2900
Contact: Bernadette
Brennan
P: 309-556-3944
F: 309-556-3558
W: www.iwu.edu/
theatre
E-Mail: bbrennan@
iwu.edu
See their ad on page 57
Independence Community
College
30 N. Lasalle St.
Ste. 2400
Chicago, IL 60602
Loyola University,
Chicago
Dept. Of Fine And
Performing Arts
6525 N. Sheridan Rd.
Mundelein Center, Ste.
1200
Chicago, IL 60626
Millikin University
Dept. Of Theatre And
Dance
1184 W. Main St.
Decatur, IL 62522

Monmouth College
Theatre Arts Dept.
700 East Broadway
Avenue
Monmouth, IL 61462
Moving Dock Theatre
Company
2970 N. Sheridan Rd.
Unit 1021
Chicago, IL 60657-5828
National High School
Institute At Northwestern
University
617 Noyes St.
Evanston, IL 60208
Northern Illinois Univ.
School of Theatre and
Dance
Stevens Building
Dekalb, IL 60115
Contact: Alex Gelman/
David Booth
P: 815-753-8253/815-
753-1337
F: 815-753-8415
W: www.niu.edu/
theatre
E-Mail: agelman@niu.
edu, dbooth1@niu.edu
See their ad on page 48
Northwestern University
Dept. Of Theatre
1949 Campus Drive
Evanston, IL 60208
Rockford College
Performing Arts Dept.
Clark Arts Center
5050 E. State St.
Rockford, IL 61108
Roosevelt Univ,
Chicago College Of
Performing Arts
The Theatre Conservatory
430 S. Michigan Ave.
Chicago, IL 60605
School Of The Art
Institute Of Chicago
Columbus Dr. Bldg.,
37 S. Wabash Ave.
Chicago, IL 60603
Second City Training
Centers
1616 N. Wells St.
Chicago, IL 60614
Southern Illinois University,
East St. Louis
Siue East St. Louis
Center For The Performing
Arts
601 James R. Thompson
Blvd.
East St. Louis, IL 62201
Southern Illinois University,
Carbondale
Dept. Of Theater
Carbondale, IL 62901-
6608
Steppenwolf Theatre
Company
1650 N. Halsted St.
Chicago, IL 60614
University Of Illinois
At Chicago
Dept. Of Performing
Arts
Epasw Bldg.
1040 W. Harrison St.
Mc-255
Chicago, IL 60607
University Of Illinois
At Springfield
Theatre Program
One University Plaza,
Ms Uhb 3010
Springfield, IL 62703
University Of Illinois
Urbana-Champaign
4-122 Krannert Center
For The Performing Arts
500 S. Goodwin Ave.
Urbana, IL 61801
Western Illinois
University
Dept. Of Theatre And
Dance
1 University Circle
Browne Hall 101
Macomb, IL 61455
Indiana
Ball State University
Dept. of Theatre and
Dance
2000 W. University Ave.
Muncie, IN 47306
Contact: William
Jenkins
P: 765-285-8740
F: 765-285-4030
W: www.bsu.edu/
theatre
See their ad on page 56
Butler University
Jordan College Of Fine
Arts
Theatre Dept.
4600 Sunset Ave.
Indianapolis, IN 46208
Franklin College
Theatre Dept.
101 Branigin Blvd.
Franklin, IN 46131
Hanover College
Dept. Of Theatre
P.O. Box 108
Hanover, IN 47243
Indiana State University
Theater Dept.
200 N. 7th. St.
Terre Haute, IN 47809-
9989
Indiana University
College Of Arts And
Sciences
Dept. Of Theatre &
Drama
275 N. Jordan
Bloomington, IN 47405-
1101
Purdue University
Patti And Rusty Rueff
Department Visual And
Performing Arts
Theatre Devision
552 W. Wood St.
West Lafayette, IN
47907-2002
University Of Evansville
Dept. Of Theatre
1800 Lincoln Ave.
Evansville, IN 47722
University Of Indianapolis
1400 E. Hanna Ave.
Indianapolis, IN 46227
University Of Notre
Dame
Film, Television, And
Theatre
Debartolo Cntr. For
Perf. Arts
Rm. 230
Notre Dame, IN 46556
University Of Southern
Indiana - Theatre
Dept.
8600 University Blvd.
Evansville, IN 47712-
3596
Valparaiso University
Department Of Theatre
Center For The Arts
1709 Chapel Dr
Valparaiso, IN 46383
Vincennes University
Performing Arts, Theatre
Dept.
1002 N. First St.
Vincennes, IN 47591
Wabash College
Theater Dept.
P.o.box 352
Crawfordsville, IN
47933
Iowa
Clarke College
Dept. Of Drama
www.stage-directions.com • October 2010 55

Education
1550 Clarke Dr.
Dubuque, IA 52001
Coe College
Theatre Arts Dept.
1220 1st Ave. Ne
Cedar Rapids, IA 52402
Cornell College
Dept. Of Theatre And
Communications
Studies
600 First St. West
Mt. Vernon, IA 52314
Donna Reed Foundation
For The Performing
Arts
1305 Broadway
Denison, IA 51442
Dordt College
Theatre Arts Dept.
498 4th Ave. Ne
Sioux Center, IA 51250
Drake University
Theatre Arts Dept.
2507 University Ave.
Des Moines, IA 50311-
4505
Graceland University
Fine Arts Division
1 University Place
Lamoni, IA 50140
Grinnell College
Theatre And Dance
Department
Bucksbaum Center For
The Arts
1108 Park Street
Grinnell, IA 50112-1690
Iowa State University
Isu Theatre
2226 Pearson
Ames, IA 50011-2204
Players Workshop
1431 Grove St.
52601, IA 52601
University Of Iowa
Dept. Of Theatre Arts
The University Of Iowa
107 Theatre Bldg.
Iowa City, IA 52242-
1795
University Of Northern
Iowa
Theatre Dept.
1227 W. 27th St.
Cedar Falls, IA 50614
Waldorf College
Theatre Dept.
106 S. 6th St.
Forest City, IA 50436
Kansas
Baker University
P.O. Box 65
Baldwin City, KS 66006
Bethany College
Theatre Dept.
335 E. Swensson St.
Lindsborg, KS 67456-
1895
Empoira State University
1200 Commercial St.
201 King Hall
Campus Box 4033
Emporia, KS 66801
Kansas State University
College Of Speech
Communication, Theatre,
And Danc
129 Nichols Hall
Manhattan, KS 66506-
2304
Kansas Wesleyan
University
100 E. Clafin Ave.
Salina, KS 67401-6196
University Of Kansas
Dept. Of Theatre & Film
1530 Naismith Dr.,
Rm. 356
Murphy Hall
Lawrence, KS 66045-
3102
Wichita Stat
University
School Of Performing
Arts
1845 Fairmount St.
Wichita, KS 67260
Kentucky
Bellarmine University
Arts Administration
Program
2001 Newburg Rd.
Louisville, KY 40205-
0671
Berea College
English, Theatre, And
Speech Comm. Dept.
Draper 201b
Cpo 1893
Berea, KY 40404
Centre College
600 W. Walnut St.
Danville, KY 40422
Eastern Kentucky
University
Theatre Dept.
521 Lancaster Ave.
306 Campbell
Richmond, KY 40475
Georgetown College
Dept. Of Theatre &
Performance Studies
400 E. College St.
Georgetown, KY 40324
Murray State
University
Dept. Of Theatre &
Dance
106 Fine Arts Bldg.
Murray, KY 42071
Northern Kentucky
University
Dept.of Theatre &
Dance
Fine Arts-205, Nunn Dr.
Highland Heights, KY
41099-1007
Spalding University
School Of Communication
851 S. 4th St.
Louisville, KY 40203
University Of Kentucky
Dept. Of Theatre
114 Fine Arts Bldg.
Lexington, KY 40506
University Of Louisville
Dept. Of Theatre Arts
501 S. Preston St.
Louisville, KY 40292
Western Kentucky
Univ-Theatre & Dance
1906 College Heights
Blvd., #71086
Bowling Green, KY
42101
Louisiana
Centenary College Of
Louisiana
Theatre Dept.
2911 Centenary Blvd.
Shreveport, LA 71104
Dillard University
2601 Gentilly Blvd.
New Orleans, LA 70122
Grambling State
University
Dept. Of Speech &
Theatre
403 Main St. Carver
Hall 114
Grambling, LA 71245
Louisiana State
University
105 Music & Dramatic
Arts Building
Baton Rouge, LA 70803
Louisiana Tech University
School Of Performing
Arts
P.O. Box 8608
Ruston, LA 71272
Loyola University,
New Orleans
Communications/Music
Complex
Rm. 109
6363 St. Charles Ave.

New Orleans, LA 70118
McNeese State University
Dept. Of Theatre Arts
4205 Ryan St.
Lake Charles, LA 70609-
0420
Tulane University
Dept. Of Theatre And
Dance
215 Mcwilliams Hall
New Orleans, LA 70118
Goucher College
Theatre Dept.
1021 Dulaney Valley Rd.
Baltimore, MD 21204-
2794
Round House Theatre
4545 East-west Hwy.
Bethesda, MD 20814
Rudolf Steiner
Institute
P.O. Box 5373
Baltimore, MD 21209
E-Mail: theatre@bu.edu,
design@bu.edu
See their ad on this page
Brandeis University
Spingold Theater
Center
415 South St.
Waltham, MA 02454
College Of The Holy
Cross
Theatre Dept.
University Of Louisiana
At Lafayette
Theatre And Dance
Dept.
P.O. Box 43690
Lafayette, LA 70504
University Of New
Orleans
Film, Theatre And Communication
Arts
2000 Lakeshore Dr.
Pac, Rm.307
New Orleans, LA 70148
Maine
Bates College
Theater Dept.
2 Andrews Rd.
Lewiston, ME 04240-
6028
Bowdoin College
Dept. Of Theater &
Dance
9100 College Station
Brunswick, ME 04011-
8491
International Film &
Video Workshops
Maine Media Workshops
70 Camden St.
P.O. Box 200
Rockport, ME 04856
University Of Maine
School Of Performing
Arts
5788 Class Of 1944 Hall
Orono, ME 04469-5788
University Of Southern
Maine
Dept. Of Theatre
P.O. Box 9300
Russell Hall
Gorham, ME 04104
Maryland
Community College
Baltimore County,
Catonsville
Theatre Dept.
800 S. Rolling Rd.
Baltimore, MD 21228-
5317
Community College
Of Baltimore County,
Essex
Cockpit In Court Summer
Theatre
320 York Rd.
Baltimore, MD 21204
Towson State University
- Theatre Arts
Dept
8000 York Rd.
Towson, MD 21252
University Of
Maryland, Baltimore
County
Dept. Of Theatre
1000 Hilltop Cir
Baltimore, MD 21250
University Of Maryland,
College Park
Dept. Of Theatre
College Park, MD
20742-1610
Massachusetts
American Repertory
Theatre
Loeb Drama Center,
Harvard University
64 Brattle St.
Cambridge, MA 02138
Amherst College
Dept. Of Theatre &
Dance
P.O. Box 5000
Amherst, MA 01002-
5000
Berkshire Theatre
Festival
P.O. Box 797
Stockbridge, MA 01262
Boston College
Theatre Dept.
140 Commonwealth
Ave.
Chestnut Hill, MA 02467
Boston College, Newton
Campus
Theatre Dept.
885 Centre St.
Newton Centre, MA
02459
Boston Conservatory
Theater Division
8 The Fenway
Boston, MA 02215
Boston University
School of Theatre
855 Commonwealth
Ave., Rm. 470
Contact: Performance/
Design & Production
P: 617-353-3390/617-
273-1668
W: www.bu.edu/cfa
www.stage-directions.com • October 2010 57

Education
1 College St.
Worcester, MA 01610-
2395
Dean College
99 Main St.
Franklin, MA 02038-
1994
Emerson College
Dept. Of Performing
Arts
120 Boylston St.
Boston, MA 02116-4624
Harvard
Summer School
51 Brattle St.
Cambridge, MA 02138-
3722
Mount Holyoke
College
Alice Withington Rooke
Theatre
50 College St.
South Hadley, MA
01075-6409
Northeastern University
Dept. Of Theatre
Rm. 180 Ryder Hall
360 Huntington Ave.
Boston, MA 02115
Salem State
University
352 Lafayette St.
Salem, MA 01970
Contact: William Cunningham
P: 978-542-6464
F: 978-542-6291
W: salemstate.edu
E-Mail: wcunningham@salemstate.edu
See their ad on this
page
Shakespeare &
Company
70 Kemble St.
Lenox, MA 01240
Smith College
Smith College
North Hampton, MA
01063
Springfield College
263 Alden St.
Visual & Performing
Arts Dept.
Springfield, MA 01109-
3797
Suffolk University
8 Ashburton Place
Boston, MA 02108-2770
Tufts University
Dept. Of Drama And
Dance
Aidekman Arts Center
40 Talbot Ave.
Medford, MA 02155
University Of Massachusetts
Amherst
Dept. Of Theater
151 Presidents Dr.
112 Fine Arts Ctr.
Amherst, MA 01003-
9331
Walnut Hill School
Theater Dept.
12 Highland St. Natick
Natick, MA 01760
Wellesley College
Theatre
Alumnae Hall, Wellesley
College
106 Central St.
Wellesley, MA 02481
Michigan
Alma College
Theatre & Dance
Program
614 W. Superior St.
Alma, MI 48801
Eastern Michigan
University
Dept. Of Comm. &
Theatre Arts
124 Quirk Bldg.
Ypsilanti, MI 48197
Henry Ford Community
College
Theatre Dept., Associate
In Arts
5101 Evergreen Rd.
Mackenzie Fine Arts
Center
Dearborn, MI 48128
Hope College
Hope College Dept. Of
Theatre
141 E. 12th St.
Holland, MI 49423
Interlochen Arts
Academy
4000 Hwy. M-137
P.O. Box 199
Interlochen, MI 49643
Contact: Office of
Admission and Financial
Aid
P: 800-681-5912
F: 231-276-7464
W: academy.interlochen.org
E-Mail: admission@
interlochen.org
See their ad on page
59
Kalamazoo College
Dept. Of Theatre Arts
1200 Academy St.
Kalamazoo, MI 49006-
3295
Lake Michigan College
Dept. Of Theatre
2755 E. Napier Ave.
Benton Harbor, MI
49022
Lansing Community
College
5100 - Humanities &
Performing Arts Dept.
P.O. Box 40010
Lansing, MI 48901-7210
Michigan State University
Dept. Of Theatre
149 Auditorium Rd.
East Lansing, MI 48824
Northern Michigan
University
Forest Roberts Theatre
1401 Presque Isle Ave.
Marquette, MI 49855
Oakland University
2200 N. Squirrel Rd.
Rochester, MI 48309-
4401
Olivet College
Dept. Of Performing
Arts
320 S. Main St.
Olivet, MI 49076
University Of Michigan
School Of Music, Theatre
& Dance
E.V. Moore Bldg.
1100 Baits Dr.
Ann Arbor, MI 48109-
2085
University Of Michigan,
Flint
Theatre Dept.
303 E. Kearsley St.
Flint, MI 48502-2186
Wayne State University
Dept. Of Theatre
4841 Cass Ave.
Ste. 3225
Detroit, MI 48202
Western Michigan
University
Dept. Of Theatre
1903 W. Michigan Ave.,
Kalamazoo, MI 49008-
5360
Minnesota
Bethel University
Dept. Of Theatre - Dept.
Chair
3900 Bethel Dr.
St. Paul, MN 55112-
6999
Central Lakes College
Theatre Dept.
501 W. College Dr.
Brainerd, MN 56401
Gustavus Adolphus
College
Dept. Of Theatre And
Dance
800 W. College Ave.
Saint Peter, MN 56082
58 October 2010 • www.stage-directions.com

Minnesota State
Mankato
Dept. Of Theatre &
Dance
201 Performing Arts Ctr.
Mankato, MN 56001
Minnesota State University,
Moorhead
Dept. Of Theatre Arts
1104 7th Ave. South
Moorhead, MN 56563
Southwest Minnesota
State University
Dept. Of Fine Arts
1501 State St., Fa 207
Marshall, MN 56258
St Mary’s UniversityOf
Minnesota
Dept. Of Theatre Arts
700 Terrace Heights
Winona, MN 55987-
1399
St. Cloud State University
Theatre, Film Studies
& Dance
720 4th Ave. S
212 Performing Arts
Ctr.
St. Cloud, MN 56301-
4498
St. Olaf College
Theatre Dept.
1520 St. Olaf Ave.
Theatre Bldg.
Northfield, MN 55057
University Of Minnesota,
Duluth
1049 University Dr.
Duluth, MN 55812
University Of Minnesota,
Minneapolis
580 Rarig Center
231 21st Ave., South
Minneapolis, MN
55455-0424
Winona State University
Theatre & Dance Dept.
P.O. Box 5838,
Winona, MN 55987
Mississippi
Bologna Performing
Arts Center
BPAC DSU Box 3213
1003 W. Sunflower Rd.
Cleveland, MS 38733
Delta State University
1003 W Sunflower Road
Cleveland, MS 38733
Mississippi University
For Women
Dept. Of Music And
Theatre
1100 College St.
Muw-70
Columbus, MS 39701
University Of Mississippi
Dept. Of Theatre Arts
P. O. Box 1848
University, MS 38677-
1848
University Of Southern
Mississippi
The College Of Arts And
Letters
118 College Dr., #5052
Hattiesburg, MS 39406-
0001
Missouri
Avila University
Theatre Dept.
11901 Wornall Rd.
Kansas City, MO 64145
Culver-Stockton
College
Division Of Fine Arts
Theatre Dept.
One College Hill
Canton, MO 63435
Lindenwood University
Theatre Dept.
209 S. Kings Hwy.
St. Charles, MO 63301
Missouri Southern
State University
Theatre Dept.
Taylor Performing Arts
Center
3950 E. Newman Rd.
Joplin, MO 64801-1595
Missouri State University
Theatre And Dance
Dept.
901 S. National Ave.
Springfield, MO 65897
Missouri Valley College
The Theatre Dept.
500 E. College
Marshall, MO 65340
Northwest Missouri
State University
Dept. Of Theatre
800 University Dr.
Maryville, MO 64468
Repertory Theatre Of
St. Louis
130 Edgar Rd.,
P.O. Box 191730
St. Louis, MO 63119
Saint Louis University
Dept. Of Fine And
Performing Arts
221 N. Grand Blvd.
St. Louis, MO 63103
Southeast Missouri
State University
Dept. Of Theatre And
Dance
College Of Liberal Arts
One University Plaza,
Ms 7850,
Cape Girardeau, MO
63701
St. Louis University
Dept. Of Fine And
Performing Arts
221 N. Grand Blvd.
www.stage-directions.com • October 2010 59

Education
St. Louis, MO 63103
Stages St. Louis
444 Chesterfield Center
Chesterfield, MO 63017
Stephens College
1200 E. Broadway
Columbia, MO 65215
University Of Central
Missouri
Dept. Of Theatre
P.O. Box 800
Warrensburg, MO
64093
University Of Missouri,
Columbia
Dept. Of Theatre
129 Fine Arts Center
Columbia, MO 65211
University Of Missouri,
Kansas City
(UMKC)
Dept. Of Theatre, Center
Of Performing Arts
Honorary Patricia
Mcllrath Street
4949 Cherry
Kansas City, MO 64110
Washington UniversityIn
St. Louis
Performing Arts Dept.
One Brookings Dr.
P.O. Box 1108
St. Louis, MO 63130
Webster University
470 E. Lockwood Ave.
St. Louis, MO 63119
Contact: Dorothy
Englis
P: 314-968-6966
W: www.webster.edu
E-Mail: marshado@
webster.edu
See their ad on page 59
William Woods University
Arts & Science Division
One University Ave.
Fulton, MO 65251
Montana
Carroll College
Performing Arts Dept.
1601 N. Benton Ave.
Helena, MT 59625
Montana State University
Dept. Of Media &
Theatre Arts
Msu - Bozeman
P.O. Box 173350
Bozeman, MT 59717
University Of Montana
Dept. Of Drama And
Dance
Performing Arts Ctr.
Rm.196
Missoula, MT 59812
Nebraska
Creighton University
Dept. Of Fine And
Performing Arts
Lied Education Center
For The
2500 California Plaza
Omaha, NE 68178-0303
Johnny Carson School
of Theatre and Film
University of Nebraska,
Lincoln
215 Temple Bldg. 12th
& R Streets
Lincoln, NB 68588-0201
Contact: Toddy Cuddy,
Admissions Coordinator
P: 402-472-2072
F: 402-472-9055
W: carsonschool.unl.
edu
E-Mail: theatrearts@
unl.edu
See their ad on page 47
Metropolitan Community
College
P.O. Box 3777
Omaha, NE 68103-0777
Nebraska Wesleyan
University
Communication &
Theatre Arts
5000 St. Paul Ave.
Lincoln, NE 68504
University Of Nebraska,
Kearney
Dept. Of Music And
Performing Arts
2506 12th Ave., Fine
Arts Building
Fab 213
Kearney, NE 68849
Nevada
University Of Nevada,
Las Vegas
4505 Maryland Pkwy.
Box 455036
Las Vegas, NV 89154
Contact: Brackley
Frayes
P: 702-895-3666
F: 702-895-0833
W: theatre.unlv.edu
E-Mail: theatre.unlv.
edu
See their ad on the
inside back cover
University Of Nevada,
Reno
University Of Nevada
Mail Stop 0228
Reno, NV 89557
New
Hampshire
Dartmouth College
Rooms 110 And 111
Hopkins Center
Hb 6204
Hanover, NH 03755
Keene State College
Theatre And Dance
Dept.
229 Main St.
Keene, NH 03435-2407
New England College
Theatre Dept.
98 Bridge St.
Henniker, NH 03242
Plymouth State
University
Dept. Of Music, Theatre
And Dance
Msc 37
17 High St.
Plymouth, NH 03264-
1595
University Of New
Hampshire
Dept. Of Theatre &
Dance
30 Academic Way
Paul Creative Arts Ctr.
Durham, NH 03824
New Jersey
College Of New Jersey
Theatre & Drama
P.O. Box 7718
2000 Pennington Rd.
Ewing, NJ 08628
Drew University
Theatre Dept.
36 Madison Ave.
Madison, NJ 07940
Fairleigh Dickinson
University
Dept. Of Visual And
Perf. Arts
285 Madison Ave.
Madison, NJ 07940-
1099
Kean University
1000 Morris Ave.
Union, NJ 07083
Contact: Holly Logue
P: 908-737-4378
F: 908-737-4425
W: www.kean.edu
E-Mail: hlogue@kean.
edu
See their ad on page 74
Montclair State
University
College Of The Arts
Dept. Of Theatre &
Dance
Life Hall, Ste. 126
Montclair, NJ 07043
Princeton University
185 Nassau St.
Princeton, NJ 08542
Rider University
2083 Lawrenceville Rd
Lawrenceville, NJ 08648
Rowan University
College Of Fine And
Performing Arts
Theatre Dept.
201 Mullica Hill Rd.
Glassboro, NJ 08027-
1701
Rutgers University Of
NJ, Camden
Dept. Of Fine Arts/
Theater Dept.
314 Linden St.
Camden, NJ 08102-1403
Rutgers, The State
University Of New
Jersey
Mason Gross School Of
The Arts
Dept. Of Theater Arts
2 Chapel Dr.
New Brunswick, NJ
08901
Seton Hall University
400 S. Orange Ave.
South Orange, NJ
07079
William Paterson
University Of New
Jersey
Communication Dept.
300 Pompton Rd.
Wayne, NJ 07470
New Mexico
College Of Santa
Fe - Performing Arts
Department
Greer Garson Theater
Center
1600 St. Michael’s Dr.
Santa Fe, NM 87505
Eastern New Mexico
University
1500 S. Ave. K
Portales, NM 88130
University Of New
Mexico
Dept. Of Theatre &
Dance
One University Of New
Mexico
Msc04 2570
Albuquerque, NM
87131-0001
New York
Actors Center
520 Eighth Ave.
Ste. 315
New York, NY 10018
Adelphi University
Dept. Of Performing
Arts
1 South Ave.
P.O. Box 701
Garden City, NY 11530-
0701
Alfred University
Division Of Performing
Arts
1 Saxon Dr.
Alfred, NY 14802
American Mime
Theatre
61 Fourth Ave.
New York, NY 10003-
5204
American Musical &
Dramatic Academy, NY
211 W. 61st St.
New York, NY 10023
P: 888-901-2632
W: www.amda.edu
E-Mail: info@amda.edu
See their spotlight on
page 40

Atlantic Acting School
76 Ninth Ave.
Ste. 537
New York, NY 10011
Bard College
Drama Dance Dept.
P.O. Box 5000
Annandale-on-hudsn,
NY 12504-5000
Barnard College
Dept. Of Theatre
5th Fl., Milbank Hall
3009 Broadway
New York, NY 10027
Brooklyn College
Dept. Of Theater
2900 Bedford Ave.
Brooklyn, NY 11210-
2889
Camp Broadway
336 W. 37th St.
Ste. 460
New York, NY 10018
Cazenovia College
22 Sullivan St.
Cazenovia, NY 13035
Chautauqua Institution
Chautauqua Schools Of
Fine & Performing Arts
1 Ames Ave.
P.O. Box 28
Chautauqua, NY 14722
Circle In The Square
Theatre School
1633 Broadway
New York, NY 10019
Contact: E. Colin
O’Leary
P: 212-307-0388
F: 212-307-0257
W: www.circlesquare.
org
E-Mail: ecoleary@
circlesquare.org
See their ad on page 62
City At Peace
104 W. 27th St.
12th Fl.
New York, NY 10001
City UniversityOf NY-
Graduate Center
Ph.d. Program In
Theatre
365 5th Ave.
New York, NY 10016
City University Of
New York
The City College Of
New York
Theatre Dept.
160 Convent Ave.
New York, NY 10031
Colgate University
Dana Arts Center,
Theater Dept.
13 Oak Dr.
Hamilton, NY 13346
Columbia University
Theatre Arts Division
601 Dodge Hall, Mail
Code 1808
2960 Broadway
New York, NY 10027
Cornell University
Dept. Of Theatre, Film
& Dance
430 College Ave.
Ithaca, NY 14850
EMPAC - The Curtis R.
Priem Experimental
Media And Performing
Arts Center
110 8th St.
Empac Bldg.
Troy, NY 12180
Five Towns College
305 N. Service Rd.
Dix Hills, NY 11747
Contact: Admissions
P: 631-656-2110
W: ftc.edu
E-Mail: admissions@
ftc.edu
See their ad this page
Fordham University
Theatre Program
College At Lincoln
Center
113 W. 60th St.
New York, NY 10023
Gateway Playhouse
215 South Country Rd.
Bellport, NY 11713
Genesee Community
College
1 College Rd.
Batavia, NY 14020
Contact: Donna Rae
Sutherland
P: 800-CALL-GCC
F: 585-345-6842
W: www.genesee.
edu
E-Mail: admissions@genesee.edu
See their ad on
page 60
Hamilton College
Dept. Of Theatre
198 College Hill Rd.
Clinton, NY 13323
Hangar Theatre
P.O. Box 205
Ithaca, NY 14851
Hartwick College
One Hartwick Dr.
Oneonta, NY 13820
HB Studio
120 Bank St.
New York, NY 10014
P: 212-675-2370
F: 212-675-2387
W: www.hbstudio.
org
E-Mail: info@hbstudio.org
See their ad on
page 20
Hofstra University
112 Hofstra University
102 Emily Lowe Hall
Hempstead, NY
11549
Contact: David M.
Henderson
P: 516-463-5444
F: 516-463-4001
W: www.hofstra.edu/
drama
E-Mail:
david.m.henderson@
hofstra.edu
See their ad on page 62
Hunter College
Dept. Of Theatre
695 Park Ave.
New York, NY 10065
International Symposium
For Directors, La
Mama
Lamama Etc
74a E. 4th St.
New York, NY 10003
Ithaca College
953 Danby Rd.
Ithaca, NY 14850
Contact: Susan
Monagan
P: 607-274-3915
W: www.ithaca.edu/
theatre
E-Mail: tam@ithaca.
edu
See their ad on page 63
Julliard School, Drama
Division
60 Lincoln Ctr. Plaza
New York, NY 10023
Kitchen Theatre
116 N. Cayuga St.
Ithaca, NY 14850
Lee Strasberg Theatre
Institute
115 Lee Strasberg
New York, NY 10003
Linklater Center For
Voice And Language,
Llc
P.O. Box 504
New York, NY 10025
Long Island University
School Of Visual &
Performing Arts
C.w. Post Campus
720 Northern Blvd.
Brookville, NY 11548-
1326
Make Up Designory
School/ Mudshop
375 W. Broadway Ste.
202
New York, NY 10012
Manhattanville
College
2900 Purchase St.
Purchase, NY 10577
Contact: Prof. Michael
Posnick
P: 914-323-5458
F: 914-323-7293
W: www.mvilledth.org
E-Mail: dancetheatre@
mville.edu
See their ad on page 64
Marymount Manhattan
College
221 E. 71st St.
New York, NY 10021
Contact: David Mold
P: 212-774-0767
F: 212-774-0770
W: www.mmm.edu
E-Mail: theatre@mmm.
edu
See their ad on page 65
Michael Chekhov Acting
Studio
138 W. 15th St., 1st Fl.
New York, NY 10011
Nazareth College
Dept. Of Theatre Arts
4245 East Ave.
Rochester, NY 14618
Neighborhood
Playhouse School Of
Theatre
340 East 54th Street
New York, NY 10022
New Actors Workshop
259 W. 30th St., 2nd Fl.
New York, NY 10001
New School For
Drama
66 West 12th Street
New York, NY 10011
New School University
The New School For
Drama
55 W. 13th
New York, NY 10014
New York City College
Of Technology/CUNY
Entertainment Technology
Dept.
300 Jay St.
Brooklyn, NY 11201
New York Conservatory
For Dramatic Arts
School Of Film + Television
39 W. 19th St.
New York, NY 10011
New York Conservatory
For The Arts
120 Schildknecht Rd.,
Hurley, NY 12443
New York Film Academy
100 E. 17th St.
New York, NY 10003
New York State Theatre
Institution
37 First St.
Troy, NY 12180
New York University
Steinhardt School Of
Culture, Education, And
Human
Development
www.stage-directions.com • October 2010 61

Education
Dept. Of Music And
Performing Arts Professions
35 W. 4th St., Ste. 777
New York, NY 10012
New York University
Tisch School of the Arts
Office of Student Affairs
721 Broadway, 8th Flr.
New York, NY 10003
Niagara University
Niagara University-
Theatre
P.O. Box 1913
Niagara University, NY
14109
NYS Theatre Institute
37 First St.
Troy, NY 12180
Pace University
Dept. Of Performing
Arts
1 Pace Plaza
New York, NY 10038
Purchase College
The Performing Arts Ctr.
735 Anderson Hill Rd.
Purchase, NY 10577
Queens College
Dept. Of Drama, Theatre
And Dance
Rathaus Hall 213
65-30 Kissena Blvd.
Flushing, NY 11367
Sarah Lawrence
College
Theatre Program
One Mead Way
Bronxville, NY 10708
Siena College
Theatre Program
515 Loudon Rd.
Siena Hall 321
Loudonville, NY 12211-
1462
SITI Company
520 8th Ave., Ste. 310
New York, NY 10018
Skidmore College
815 N. Broadway
Saratoga Springs, NY
12866
St. Bonadventure
University
3261 W. State Rd.
St. Bonaventure, NY
14778
Contact: Dr. Ed Simone
P: 800-462-5050
F: 716-375-7665
W: www.sbu.edu/
theater
E-Mail: esimone@
sbu.edu
See their ad on page 63
Stagedoor Manor
116 Karmel Rd.
Loch Sheldrake, NY
12759
Stella Adler Studio Of
Acting
31 W. 27th St.
3rd Fl.
New York, NY 10001
SUNY, Buffalo State
Theater Dept.
1300 Elmwood Ave.
203 Rockwell Hall
Buffalo, NY 14222
SUNY, College At
Brockport
Dept. Of Theatre
350 New Campus Dr.
Brockport, NY 14420
SUNY, Fredonia
Dept. Of Theatre And
Dance
Rockefeller Arts Ctr.,
#212
280 Central Ave.
Fredonia, NY 14063
SUNY, Genesee Community
College
Theatre Arts Dept.
One College Rd.
Batavia, NY 14020
SUNY, Oswego
Theatre Dept.

105 Tyler Hall
Oswego, NY 13126
SUNY, Stony Brook
State University Of New
York
Dept. Of Theatre Arts
Staller Ctr. For The Arts
Stony Brook, NY 11794
SUNY, University At
Albany
Theatre Dept.
1400 Washington Ave.
Albany, NY 12222
SUNY, University At
Binghamton
Dept. Of Theater
P.O. Box 6000
Binghamton, NY 13902-
6000
SUNY, University At
Buffalo
Theatre And Dance
810 Clemens Hall,
North Campus
Buffalo, NY 14260
SUNY, University At
New Paltz
School Of Fine & Performing
Arts
Dept. Of Theatre Arts
1 Hawk Dr.
New Paltz, NY 12561
SUNY, University At
Potsdam
Dept. Of Theatre &
Dance
44 Pierrepont Ave.
Potsdam, NY 13676
SUNY, University At
Purchase
Conservatory Of Theatre
Arts & Film
735 Anderson Hill Rd.
Purchase, NY 10577
Syracuse University
College of Visual and
Performing Arts
200 Crouse College
Syracuse, NY 13244
Contact: Harriett Conti
P: 315-443-2769
F: 315-443-2658
W: vpa.syr.edu
E-Mail: asmissu@syr.
edu
See their ad on page 65
TVI Actors Studio
165 W. 46th St.
Ste. 509
New York, NY 10036
U/RTA University/
Resident Theatre Association
1560 Broadway, Ste.
1103
New York, NY 10036
Contact: Jason Russell
P: 212-221-1130
F: 212-869-2752
W: www.urta.edu
E-Mail: info@urta.edu
See their ad on page
47-50
University Of Buffalo
Theatre & Dance
College Of Arts And
Sciences
810 Clemens Hall,
North Campus
Buffalo, NY 14260-5030
Vassar College - Theatre
Dept.
124 Raymond Ave.
Box 735
Poughkeepsie, NY
12604‚??0735
Wagner College
Theatre Dept.
One Campus Rd.
Staten Island, NY 10301
North
Carolina
Appalachian State
University
Dept. Of Theatre &
Dance
Chapell Wilson Hall
P.O. Box 32123
Boone, NC 28608
www.stage-directions.com • October 2010 63

Education
Campbell University
The Theatre Dept.
P.O. Box 567
Buies Creek, NC 27506
Catawba College
Theatre Arts Dept.
2300 W. Innes St.
Salisbury, NC 28144
Central Piedmont
Community College
Arts And Comm Dept.
P.O. Box 35009
Charlotte, NC 28235
Davidson College
Theatre Dept.
Box 7141
Davidson, NC 28035-
7141
Duke University
Dept. Of Theater
Studies
206 Bivins Bldg.
Box 90680
Durham, NC 27708-
0680
Elon University
Campus Box 2800
Elon, NC 27244
Greensboro College
124 Odell Memorial
Building
815 W. Market St.
Greensboro, NC 27401
Guilford College
Theatre Studies Dept.
5800 W. Friendly Ave.
Greensboro, NC 27410
High Point University
833 Montlieu Ave.
High Point, NC 27262
Lees-McRae College
191 Main St.
P.O. Box 128
Banner Elk, NC 28604
Livingstone College
Division Of Liberal Arts
Theatre Arts Dept.
701 W. Monroe St.
Salisbury, NC 28144
Mars Hill College
Theatre Arts Dept.
P.O. Box 370
100 Athletic St.
Mars Hill, NC 28754
North Carolina Central
University
Nccu Dept. Of Theater
115 Farrison-newton
Communications Bldg.
1801 Fayetteville St.
Durham, NC 27707
North Carolina School
Of The Arts
Drama Dept.
1533 S. Main St.
Winston-salem, NC
27127-2188
University Of North
Carolina At Asheville
Drama Dept.
1 University Heights
Asheville, NC 28806
University Of North
Carolina At Chapel Hill
Dept. Of Dramatic Art
Cb# 3230
Center For Dramatic Art
Chapel Hill, NC 27599-
3230
University Of North
Carolina At Greensboro
The Dept. Of Theatre
P.O. Box 26170
Greensboro, NC 27402-
6170
University Of North
Carolina At Wilmington
Dept. Of Theatre
601 S. College Rd.
Wilmington, NC 28403
University of North
Carolina School of
the Arts
1533 S. Main St.
Winston-Salem, NC
27127
Contact: Office of
Admissions
P: 336-770-3290
F: 336-770-3370
W: www.uncsa.edu
E-Mail: admission@
uncsa.edu
See their ad on page 66
Wake Forest University
Dept. Of Theatre &
Dance
P.O. Box 7264 Reynolda
Station
Winston-salem, NC
27109
North Dakota
North Dakota State
University
Division Of Fine Arts,
Theatre Dept.
P.O. Box 5691
Fargo, ND 58105-5691
University Of North
Dakota
Dept. Of Theatre Arts
Chandler Hall
P.O. Box 8136 University
Station
Grand Forks, ND 58202-
8136
Ohio
Baldwin-Wallace
College
Dept. Of Communication
And Theatre
Kleist Center For Art
And Dram
275 Eastland Rd.
Berea, OH 44017-2088
Bowling Green State
University
Dept. Of Theatre And
Film
338 South Hall
Bowling Green, OH
43403-0180
Case Western Reserve
University
Dept. Of Theater Arts
10900 Euclid Ave.
Cleveland, OH 44106
Clark State Community
College
Clark State Performing
Arts Center
300 S. Fountain Ave.
Springfield, OH 45506
Cleveland State
University
Theater Arts Bldg.
2121 Euclid Ave.
1833 E. 23rd St.
Cleveland, OH 44115
Denison University
Dept. Of Theater Arts
P.O. Box 740
Granville, OH 43023
Hiram College
Theatre Arts Dept.
P.O. Box 67
Hiram, OH 44234
Kent State University
School of Theatre and
Dance
P.O. Box 5190
Kent, OH 44240
Contact: Cynthia Stillings,
Director
P: 330-672-2082
F: 330-672-2889
W: www.theatre.kent.
edu
E-Mail: cstillin@kent.
edu
See their ad on page 67
Mandel Jewish Community
Center
26001 S. Woodland Rd.
Beachwood, OH 44122
Miami University
Dept. Of Theatre
501 E. High St.
Oxford, OH 45056
Oberlin College
Theater & Dance
Program
64 October 2010 • www.stage-directions.com

30 N. Professor St.
Oberlin, OH 44074
Ohio Northern University
525 S. Main St.
Pac 106
Ada, OH 45810
Ohio State University
Dept. Of Theatre
1089 Drake Center
1849 Cannon Dr.
Columbus, OH 43210-
1266
Ohio University
307 Kantner Hall
Athens, OH 45701
Contact: Barbara
Fiocchi
P: 740-593-4818
F: 740-593-4817
W: www.ohio.edu/
theater
E-Mail: theater@ohio.
edu
See their ad on page 49
Ohio Wesleyan University
Dept. Of Theatre &
Dance
61 S. Sandusky St.
Delaware, OH 43015
Otterbein College
One Otterbein College
Westerville, OH 43081
University Of Akron
School Of Theatre &
Arts
Guzzetta Hall, Rm. 394
The University Of Akron
Akron, OH 44325
University Of
Cincinnati
P.O. Box 210003
Cincinnati, OH
45221-0003
Contact: Paul
Hillner
P: 513-556-9479
F: 513-556-1028
W: ccm.uc.edu/
admis sions
E-Mail: paul.
hillner@uc.edu
See their ad on
page 49
University Of
Findlay
Theatre Program
100d N. Main St.
Findlay, OH 45840
University Of
Toledo
Dept. Of Theatre
And Film
2801 W. Bancroft St.
Ctr. For Performing Arts,
Rm.1002, Mail Stop 611
Toledo, OH 43606
Wilmington College
1870 Quaker Way, Box
1211
Wilmington, OH 45177
Wittenberg University
Dept. Of Theatre And
Dance
Post Office Box 720
Springfield, OH 45501
Wright State University
T148 Creative Arts Ctr.
3640 Colonel Glenn
Hwy.
Dayton, OH 45435-0001
Youngstown State
University
Dept. of Theatre and
Dance
1 University Plaza
Youngstown, OH 44555
Contact: Frank Castronovo,
Chairperson
P: 330-941-3810
F: 330-941-3812
W: web.ysu.edu/fpa/
theater
E-Mail: theater@cc.ysu.
edu
See their ad on page 67
Oklahoma
Northeastern State
University
Dept. Of Performing
Arts
600 N. Grand Ave.
Tahlequah, OK 74464
Oklahoma City University
Dept. Of Theatre
2501 N. Blackwelder
Oklahoma City, OK
73106
www.stage-directions.com • October 2010 65

Oklahoma State University,
Stillwater
Dept. Of Theatre
121 Seretean Center
Stillwater, OK 74078
Oral Roberts University
Communication &
Drama
7777 South Lewis
Tulsa, OK 74171
University Of Oklahoma
Weitzenhoffer School
Of Musical Theatre
Carpenter Hall
800 Asp Ave., Rm. 203
Norman, OK 73019
University Of Oklahoma
Weitzenhoffer Family
College Of Fine Arts
Carpenter Hall, Rm. 104
Norman, OK 73019-
3021
University Of Tulsa
Henry Kendall College
Of Arts & Sciences
800 S. Tucker Ave.
Chapman Hall 111
Tulsa, OK 74104-3189
Oregon
Oregon State University
Theatre Arts Program
University Theatres
141 Withycombe Hall
Corvallis, OR 97331
Portland Actors Conservatory
1436 Sw Montgomery
St.
Portland, OR 97201-
2557
Portland State University
P.O. Box 751-TA
Portland, OR 97207
P: 503-725-4612
W: www.pdx.edu/
theater
E-Mail: theaterarts@
pdx.edu
See their ad on page 68
Reed College
Theatre Dept.
3203 Se Woodstock
Blvd.
Portland, OR 97202-
8199
Southern Oregon
University
Dept. of Performing
Arts
Theatre Arts
1250 Siskiyou Blvd.
Ashland, OR 97520
Contact: Su Burns
P: 541-552-6346
F: 541-552-8811
W: sou.edu/theatre
E-Mail: theatre@sou.
edu
See their ad on page 68
University Of Oregon
Dept. Of Theatre Arts
216 Villiard Hall
1231 University Of
Oregon
Eugene, OR 97403
University Of Portland
Performing And Fine
Arts Dept.
Buckley Center 235
5000 N. Willamette
Blvd.
Portland, OR 97203-
5798
Willamette University
Dept. Of Theatre
900 State St.
Salem, OR 97301
Pennsylvania
Albright College
13th And Bern
Box 15234
Reading, PA 19612
Arcadia University
Theatre Arts Program
450 S. Easton Rd.
Glenside, PA 19038
Art Institute Of Pittsburgh
420 Boulevard Of The
Allies
Pittsburgh, PA 15219
Bloomsburg Theatre
Ensemble At Alvina
Krause Theatre
226 Center St.
Bloomsburg, PA 17815
Bucknell University
Dept. Of Theatre And
Dance
701 Moore Ave.
Lewisburg, PA 17837
California University
Of Pennsylvania
Dept. Of Theatre &
Dance
250 University Ave.
California, PA 15419
Carnegie Mellon
University
School Of Drama
Purnell Ctr. For The Arts
#218
5000 Forbes Ave.
Pittsburgh, PA 15213
Chatham University
Chatham University
Theatre
Eddy Theatre
Woodland Rd.
Pittsburgh, PA 15232
City Theatre
1300 Bingham St.
Pittsburgh, PA 15203
Clarion University Of
Pennsylvania
Theatre Dept.
840 Wood St.
Clarion, PA 16214
DeSales University
2755 Station Ave.
Center Valley, PA 18034
Contact: Wayne S.
Turney
P: 610-282-1100 x1507
F: 610-282-2240
W: www.desales.edu
E-Mail: theatre@
desales.edu
See their ad on page 69
Dickinson College
Dept. Of Theatre And
Dance
P.O. Box 1773
Carlisle, PA 17013
Drexel University -
College Of Media Arts
33rd And Market St.s
Philadelphia, PA 19104
Franklin & Marshall
College
Tdf Dept., Theatre Dept.
P.O. Box 3003
Lancaster, PA 17604-
3003
Grier School
The Grier School
P.O. Box 308
Tyrone, PA 16686-0308
Headlong Dance
Theater
1170 S. Broad St.
Philadelphia, PA 19146
Indiana University Of
Pennsylvania
Dept. Of Theater And
Dance
Waller Hall, Rm. 104
401 S. Eleventh St.
Indiana, PA 15705
King’s College
Theatre Work Shop
133 N. River St.
Wilkes-barre, PA 18711
Lafayette College
Lafayette College
17 Watson Hall
Easton, PA 18042
Lehigh University
Maginnes Hall
420 E. Packer Ave.
Bethlehem, PA 18015
Lycoming College
Theatre Dept., Box 73
700 College Place
Williamsport, PA 17701
Muhlenberg College
Dept. Of Theatre &
Dance
2400 Chew St.
Allentown, PA 18104-
5586
Penn State University
School of Theatre
116 Theatre Bldg.
University Park, PA
16802
P: 814-865-7586
F: 814-865-5754
W: www.theatre.psu.
edu
66 October 2010 • www.stage-directions.com

E-Mail: theatre@psu.
edu
See their ad on page 50
Point Park University
Dept. Of Theatre
201 Wood St.
Pittsburgh, PA 15222
Seton Hill University
Theatre Program
One Seton Hill Dr.
Greensburg, PA 15601
Swarthmore College
Dept. Of Theater
500 College Ave.
Swarthmore, PA 19081
Temple University
Tomlinson Theater
011-05
1301 W. Norris St.
Philadelphia, PA 19122
Touchstone Theatre
321 E. 4th St.
Bethlehem, PA 18015
University Of Pittsburgh
Dept. Of Theatre Arts
1617 Cathedral Of
Learning
Pittsburgh, PA 15260
University Of The Arts
320 S. Broad St.
Philadelphia, PA 19102
Contact: Barbara Elliott
P: 800-616-ARTS
W: www.uarts.edu
E-Mail: admissions@
uarts.edu
See their ad on page 70
Villanova University
Theatre Dept.
800 Lancaster Ave.
Villanova, PA 19085
Wilkes University
Visual & Performing
Arts Dept.
84 W. South St.
Wilkes-barre, PA 18766
York College Of Pennsylvania
The Theatre Dept.
441 Country Club Rd.
York, PA 17403-3651
Rhode Island
Brown University
Dept. Of Theatre,
Speech And Dance
Lyman Hall
Box 1897
Providence, RI 02912
Providence College
Theatre Dept.
549 River Ave.
Providence, RI 02918-
0001
Roger Williams University
Performing Arts Center
One Old Ferry Rd.
Bristol, RI 02809
University Of Rhode
Island
Fine Arts Center
105 Upper College Rd.
Kingston, RI 02881
South Carolina
Centre Stage-South
Carolina
501 River St.
Inside The Smith-
Barney Building
Greenville, SC 29601
College Of Charleston
Theatre Dept.
School Of The Arts
66 George St.
Charleston, SC 29424
Converse College
Dept. Of Theatre &
Dance
580 E. Main St.
Spartanburg, SC 29302
East Carolina Univ.
School Of Theatre &
Dance
1001 E. 5th St.
Greenville, SC 27858-
4353
Lander University
320 Stanley Ave.
Greenwood, SC 29649-
2099
Presbyterian College
Dept. Of Art, Theatre,
And Dance
503 S. Broad St.
Clinton, SC 29325
University Of South
Carolina, Aiken
471 University Pkwy.
Aiken, SC
University Of South
Carolina, Columbia
Longstreet Theatre
Main Office, Rm. 402
Columbia, SC 29208
Winthrop University
Dept. Of Theatre And
Dance
701 Oakland Ave.
Rock Hill, SC 29733
South Dakota
Augustana College
In SD
Dept. Of Theatre
2001 S. Summit Ave.
Sioux Falls, SD 57197
University Of South
Dakota
Dept. Of Theatre
414 E. Clark St.
Vermillion, SD 57069
Tennessee
Austin Peay State
University
Dept. Of Theatre &
Dance
P.O. Box 4475
Clarksville, TN 37044
Belmont University
Theatre Dept.
1900 Belmont Blvd.
Nashville, TN 37212-
3757
Chattanooga State
Technical Community
College
4501 Amnicola Hwy.
Office: Hum 236
Chattanooga, TN 37406-
1097
Cumberland University
Art, Dance And Theatre
Dept.
One Cumberland Square
Lebanon, TN 37087-
3408
Lambuth University
School Of Arts And
Communication
705 Lambuth Blvd.
Jackson, TN 38301
Milligan College
P.O. Box 500
Milligan College, TN
37682
Rhodes College
Dept. Of Theatre
2000 N. Parkway
Memphis, TN 38112-
1690
Sewanee: The University
Of The South
Theatre Arts Dept.
735 University Ave.
Sewanee, TN 37383
Tennessee Arts Academy/Popular
Pike
Playhouse
Germantown High
School
7653 Poplar Pike
Germantown, TN 38138
University Of Memphis
Dept. Of Theatre &
Dance
144 Theatre Communication
Bldg.
Memphis, TN 38152-
3150
www.stage-directions.com • October 2010 67

University Of Tennessee
At Chattanooga
Dept. Of Theatre &
Speech
615 Mccallie Ave.
Chattanooga, TN 37403
University Of Tennessee
At Knoxville
Dept. Of Theatre, Clarence
Brown Theatre
206 Mcclung Tower
Knoxville, TN 37996
University Of Tennessee
At Martin
Theatre Arts Dept.
102 Fine Arts Bldg.
Martin, TN 38238
Vanderbilt University
Dept. Of Theatre
Vu Station B #350001
2301 Vanderbilt Place
Nashville, TN 37235-
0001
Texas
Abilene Christian
University
Theatre Dept.
Acu Box 27843
Abilene, TX 79699-7843
Alamo Community
College, San Antonio
Theatre & Speech Communication
Dept.
1300 San Pedro Ave.
San Antonio, TX 78212-
4299
Alamo Community
College, St. Philip’s
College
1801 Martin Luther
King Dr.
Watson Fine Arts Center
Rm. 207
San Antonio, TX 78203-
2098
Amarillo College
Dept. Of Theatre Arts
& Dance
22nd & S. Jackson
P.O. Box 447 - Mb 305
Amarillo, TX 79178
Angelina College
Fine Arts Div - Theatre
Dept.
P.O. Box 1768 - Hwy. 59
South
Lufkin, TX 75902
Angelo State University
CDJ Dept., Drama Dept.
Asu Station # 10895
San Angelo, TX 76909
Austin College
Theatre Dept.
900 N. Grand Ave.
Sherman, TX 75090-
4440
Austin Community
College
Rio Grande Campus
Drama Dept.
5930 Middle Fiskville
Road
Austin, TX 78701
Baylor University
Baylor Theatre
One Bear Place #97262
Waco, TX 76798
Blinn College
Fine Arts Division
902 College Ave.
Brenham, TX 77833
Brazosport College
Dept. Of Drama
500 College Dr.
Lake Jackson, TX
77566
Brookhaven College
Dept. Of Theatre
3939 Valley View Lane
Farmers Branch, TX
75244-4997
Cisco Junior College
Dept. Of Drama
101 College Heights
Cisco, TX 76437
Clarendon College,
Claradon Campus
Performing/Visual/
Communications Arts
Theatre Arts Dept.
1122 College Dr., P.O.
Box 968
Clarendon, TX 79226
Coastal Bend College
Dept. Of Drama
3800 Charco Rd.
Beeville, TX 78102
College Of The
Mainland
Arena Theatre
1200 Amburn Rd.
Texas City, TX 77591
Collin County Community
College
The Theatre Dept.
2800 E. Spring Creek
Pkwy.
Plano, TX 75074
Del Mar Community
College
Del Mar Drama Dept.
101 Baldwin Blvd.
Corpus Christi, TX 78404
East Texas Baptist
University
Dept. Of Theatre
1209 N. Grove St.
Marshall, TX 75670
Eastfield College
Dept. Of Theatre
3737 Motley Dr.
Mesquite, TX 75150
El Paso Community
College
Valle Verde Campus,
Dept. Drama
919 Hunter
El Paso, TX 79925
Hardin-Simmons
University
Theatre Dept.
2200 Hickory, Box
14864
Abilene, TX 79698
Howard College
Dept. Of Theater/Drama
1001 Birdwell Lane
Big Spring, TX 79720
Howard Payne University
Dept. Of Communication
And Theatre
1000 Fisk St.
Brownwood, TX 76801
KD Studio: Actors
Conservatory
2600 Stemmons Frwy,
Ste. 117
Dallas, TX 75207
Kingwood College
Dept. Of Drama
20000 Kingwood Dr.
The Woodlands, TX
77339
Lamar State College -
Port Arthur
1500 Procter St..
Port Arthur, TX 77640
Lee College
Drama Dept.
P.O. Box 818
Baytown, TX 77522-
0818
Lon Morris College
800 College Ave.
Lon Morris College
Jacksonville, TX 75766
Lubbock Christian
University
Dept. Of Communications/Fine
Arts
5601 19th St.
Lubbock, TX 79407
McMurry University
Dept. Of Theatre
14th & Sayles Blvd.
Mcmurry Station Box
278
Abilene, TX 79697
Midwestern State
University
Dept. Of Theatre
3410 Taft Blvd.
Wichita Falls, TX 76308-
2099
68 October 2010 • www.stage-directions.com

Navarro College
Dept. Of Theatre/drama
3200 W. 7th Ave.
Corsicana, TX 75110
North Central Texas
College
Dept. Of Fine Arts
1525 W. California
Gainesville, TX 76240-
4699
North Lake College
Dept. Of Theatre
5001 N. Macarthur Blvd.
Irving, TX 75038-3899
Palo Alto College
Dept. Of Drama
1400 W. Villaret
San Antonio, TX 78224
Paris Junior College
Dept. Of Speech/
Theatre
2400 Clarksville St.
Paris, TX 75460
Prairie View A&M
University
College Of Arts And
Sciences
P.O. Box 519
Prairie View, TX 77446-
0519
Richland College
Theatre Dept.
12800 Abrams Rd.
Dallas, TX 75243-2199
Sam Houston State
University
Dept. Of Theatre &
Dance
Box 2297
Huntsville, TX 77341
Schreiner University
Dept. Of Theatre
2100 Memorial Blvd.
Kerrville, TX 78028
South Plains College
Dept. Of Fine Arts
Theatre Arts Program
1401 S. College Ave.
Levelland, TX 79336
South Texas Community
College
3201 West Pecan
Mcallen, TX 78501
Southern Methodist
University
Division Of Theatre
P.O. Box 750356
Dallas, TX 75275-0356
Southwestern Adventist
College
100 W. Hillcrest
P.O. Box 567
Keene, TX 76059
Southwestern University
Theatre Dept.
1001 E. University Ave.
Georgetown, TX 78626
St. Edward’s University
Mary Moody Northen
Theatre
3001 S. Congress Ave.
Austin, TX 78704
St. Mary’s University
Dept. Of Music/Drama/
Art
One Camion Santa
Maria
San Antonio, TX 78228-
8580
St. Stephen’s Episcopal
School
Theatre Focus
2900 Bunny Run Rd.
Austin, TX 78746
Stephen F. Austin
State University
College Of Fine Arts
P.O. Box 13022, Sfa
Station
Nacogdoches, TX 75962
Sul Ross State University
Theatre Program
P.O. Box C-114
Alpine, TX 79832
Tarleton State University
Dept. Of Fine Arts And
Communications
Box T-0320
Tarleton Station, TX
76402
Texarkana College
Humanities Division/
drama Dept.
2500 N. Robinson Rd.
Texarkana, TX 75501
Texas A&M University
The Dept. Of Performance
Studies
304 Academic Bldg.
4240 Tamu
College Station, TX
77843-4240
Texas Lutheran
University
Dept. Of Dramatic
Media
1000 W. Court St.
Seguin, TX 78155
Texas Southern
University - Fine Arts
Dept.
3100 Cleburne St.
Houston, TX 77004
Texas State University,
San Marcos
Dept. Of Theatre And
Dance
430 Moon St.
San Marcos, TX 78666
Texas Tech University
605 Indiana Ave.
Box 42191
Lubbock, TX 79409-
2191
Texas Woman’s
University
Dept. Of Drama
P.O. Box 425708
Denton, TX 76204-4254
Trinity University
Dept. Of Speech &
Drama
One Trinity Pl
San Antonio, TX 78212-
7200
University Of Dallas
Drama Dept.
1845 E. Northgate Dr.
Irving, TX 75062
University Of Houston
School Of Theatre &
Dance
4800 Calhoun Rd.
Houston, TX 77204
University Of North
Texas
Dept. Of Dance &
Theatre
P.O. Box 310607
Denton, TX 76203
University Of St.
Thomas
Drama Dept.
3800 Montrose Blvd.
Houston, TX 77006
University Of Texas At
Arlington
Dept. Of Theatre Arts
Box 19103
Arlington, TX 76019-
0103
University Of Texas At
Austin
Dept. of Theatre and
Dance
1 University Station
D3900
Austin, TX 78712-0362
P: 512-471-5793
F: 512-471-0824
W: www.finearts.
utexas.edu/tad
E-Mail: inquiry@uts.
cc.utexas.edu
See their ad on page 48
University Of Texas At
Dallas
School Of Arts & Humanities,
Jo31
800 West Campbell Rd.
Richardson, TX 75080-
3021
University Of Texas At
El Paso
Dept. Of Theatre, Dance
And Film
Fox Fine Arts Bldg. 371d
500 W. University Ave.
El Paso, TX 79968-0549
University Of Texas,
Pan American
UTPA Theatre-television-film
1201 W. University Dr.
Edinburg, TX 78539
University Of The
Incarnate Word
Theatre Arts Dept.
4301 Broadway
San Antonio, TX 78209
Victoria College
Humanities And Fine
Arts Dept.
2200 E. Red River
Victoria, TX 77901
Weatherford College
Fine Arts/speech Dept.
225 College Park Dr.
Weatherford, TX 76086
West Texas A&M
University
Dept. Of Art, Communication
And Theatre
2501 Fourth Ave.
Canyon, TX 79016
Western Texas College
Fine Arts Dept.
6200 College Ave.
Snyder, TX 79549
Utah
Brigham Young
University
Dept. Of Theatre &
Media Arts
D-581 Harris Fine Art
Center
Provo, UT 84602
College Of Eastern
Utah
Theatre Dept.
451 E. 400 North
Price, UT 84501
Dixie State College
Of Utah
Theatre Dept.
225 S. 700 E. St.
St. George, UT 84770
Southern Utah University
Theatre Arts & Dance
Dept.
351 W. University Blvd.
Cedar City, UT 84720
University Of Utah
Dept. Of Theatre
240 S. 1500 E
Rm.206
Salt Lake City, UT
84112-0170
Utah State University
Utah State Theatre
Dept.
4025 Old Main Hill
Logan, UT 84322-4025
www.stage-directions.com • October 2010 69

Vermont
Bennington College
Dept. Of Drama
One College Dr.
Bennington, VT 05201
Dialect Accent Specialists
P.O. Box 44
Lyndonville, VT 05851
Dorset Theatre
Festival
P.O. Box 510
Dorset, VT 05251
Green Mountain
College
Visual & Performing
Arts Dept.
One Brennan Circle
Poultney, VT 05764
Middlebury College
Dept. Of Theatre
Center For The Arts
Middlebury, VT 05753
Saint Michael’s College
Dept. Of Theatre
One Winooski Park
Colchester, VT 05439
University Of Vermont
Dept. Of Theatre
226 Waterman
Burlington, VT 05405
Virginia
College Of William
And Mary
Dept. Of Theatre,
Speech And Dance
P.O. Box 8795
Williamsburg, VA
23187-8795
Emory & Henry College
Dept. Of Theatre Arts
P.O. Box 947
Emory, VA 24327
Ferrum College
Theatre And Drama
Dept.
P.O. Box 1000
Ferrym, VA 24088
George Mason University
Dept. Of Theatre
4400 University Dr.
Fairfax, VA 22030
Hampton University
Dept. Of Fine And
Performing Arts
Theatre Dept.
Hampton, VA 23668
Hollins University
P. O. Box 9602
Roanoke, VA 24020
James Madison
University
School Of Theatre And
Dance
Theatre Ii, Msc 5601
Harrisonburg, VA 22807
Longwood University
Dept. Of Theatre
201 High St.
Farmville, VA 23909
Mary Baldwin College
Theatre Dept.
318 Prospect St.
Staunton, VA 24401
Old Dominion University
Theatre Dept.
Norfolk, VA 23529
Radford University
Dept. Of The Theatre
And Cinema
Martin Hall 209
Box 6903
Radford, VA 24142
Regent University
1000 Regent University
Dr.
Virginia Beach, VA
23464
Contact: Bryan Carraway
P: 888-777-7729
F: 757-352-4394
W: www.regent.edu/
communication
E-Mail: comadmissions@regent.edu
See their ad on page 71
Roanoke College
221 College Lane
Salem, VA 24153
Shenandoah University
Theatre Division
1460 University Dr.
Winchester, VA 22601
Sweet Briar College
Theatre Arts Dept.
115 Quad Swbr
Amherst, VA 24521
University Of Mary
Washington
Dept. Of Theatre And
Dance
1301 College Ave.
Fredericksburg, VA
22401
University Of Richmond
Dept. Of Theatre &
Dance
Modlin Ctr. For The Arts
28 Westhampton Way
Richmond, VA 23173
University Of Virginia
Dept. Of Drama
P. O. Box 400128
Charlottesville, VA
22904-4128
Virginia Commonwealth
University
W.E. Singleton Ctr. For
The Performing Arts
922 Park Ave.
P.O. Box 842524
Richmond, VA 23284-
2524
Virginia Tech
Dept. Of Theatre Arts
203 Performing Arts
Bldg.
Blacksburg, VA 24061
Washington
Central Washington
University
Theatre Arts Dept.
400 E. University Way
Ellenburg, WA 98926
Columbia Gorge
School Of Theatre
1381 Snowden Rd.
White Salmon, WA
98672-8233
Cornish College Of
The Arts
Theater Dept.
Main Campus Center
1000 Lenora St., 6th Fl.
Seattle, WA 98121
Eastern Washington
University
526 5th St.
Cheney, WA 99004
Lower Columbia
Community College,
Longview Campus
Columbia Theatre
1600 Maple Street
Po Box 3010
Longview, WA 98632
Seattle Children’s
Theatre
201 Thomas St.
Seattle, WA 98109
Seattle University
901 12th Ave., P.O. Box
222000
Seattle, WA 98122-1090
University Of Washington
School Of Drama
Box 353950
Seattle, WA 98195-3950
Washington State
University
Theatre Arts Program
Daggy Hall 320
P.O. Box 642432
Pullman, WA 99164-2432
Western Washington
University
Dept. Of Theatre Arts
516 High St.
Bellingham, WA 98225-
9108
70 October 2010 • www.stage-directions.com

Whitworth College
Theatre Dept.
300 W. Hawthorne Rd.,
Ms 0305
Spokane, WA 99251
Washington,
D.C.
American University
Dept. Of Performing
Arts
4400 Massachusetts
Ave.
Washington, D.C.
20016-8012
Catholic University
Of America - Dept Of
Drama
620 Michigan Ave. N.e.
Washington, D.C. 20064
Gallaudet University
Theatre Arts Dept.,
Elstad Annex
800 Florida Ave. Ne
Washington, D.C. 20002
George Washington
University
800 21st NW, Rm. 227
Washington, D.C. 20052
Contact: Carl Gudenius
P: 202-994-7402
F: 202-994-9403
W: http://theatredance.
gwu.edu
E-Mail: onstage@gwu.
edu
See their ad on page 72
Howard University
Dept. Of Theatre Arts
2455 6th St., Nw
Washington, D.C. 20059
John F. Kennedy Center
For The Performing
Arts
2700 F St., Nw
Washington, D.C. 20566
National Conservatory
Of Dramatic Arts
1556 Wisconsin Ave.
Nw
Washington, D.C. 20007
Shakespeare Theatre
Company
Sidney Harman Hall
610 F St. Nw
Washington, D.C. 20003
Studio Theatre
1501 14th St., Nw
Washington, D.C. 20005
West Virginia
Davis & Elkins College
100 Campus Dr.
Elkins, WV 26241
Fairmont State College
- School Of Fine
Arts
1201 Locust Ave.
Rm. 304 Wallman Hall
Fairmont, WV 26554
Marshall University
Dept. Of Theatre
One John Marshall Dr.
Huntington, WV 25755
West Virginia University
College Of Creative Arts
Division Of Theatre &
Dance
P.O. Box 6111
Morgantown, WV
26506-6111
West Virginia Wesleyan
College
Theatre Dept.
59 College Ave.
Buckhannon, WV 26201
Wisconsin
Carroll University
Theatre Arts Dept.
100 N. East Ave.
Waukesha, WI 53186
Lawrence University
Dept. Of Theatre Arts
P.O. Box 599
Appleton, WI 54912
Marquette University
Diederich College Of
Communication
Dept. Of Performing
Arts, Johnston Hall, 111
1131 W. Wisconsin Ave.
Milwaukee, WI 53233
University Of Wisconsin,
Eau Claire
Music And Theatre Arts
Dept.
156 Haas Fine Arts
121 Water St.
Eau Claire, WI 54702-
4004
University Of Wisconsin,
Green Bay
Dept. Of Theatre And
Dance
2420 Nicolet Dr., Th-331
Green Bay, WI 54311-
7001
University Of Wisconsin,
La Crosse
Dept. Of Theatre Arts
154 Center For The Arts
1725 State St.
La Crosse, WI 54601
University Of Wisconsin,
Madision
Dept. Of Theatre &
Drama
821 University Ave.
Madison, WI 53706-
1497
University Of Wisconsin,
Milwaukee
Peck School Of The Arts
Theatre Dept.
2200 E. Kenwood Blvd.,
P.O. Box 413
Milwaukee, WI 53201
University Of Wisconsin,
River Falls
Dept.of Speech Comm.
& Theatre Arts
410 S. 3rd St.
River Falls, WI 54022-
5001
University Of Wisconsin,
Stevens Point
Dept. Of Theatre &
Dance
161 Noel Fine Arts
Center
1800 Portage St.
Stevens Point, WI 54481
University Of Wisconsin,
Whitewater
Theatre & Dance Dept.
800 W. Main St.
Whitewater, WI 53190-
1790
Wyoming
Casper College
Theatre & Dance Dept.
125 College Dr.
Casper, WY 82601
University Of Wyoming
Theatre And Dance
Dept.
Dept. 3951
1000 E. University Ave.
Laramie, WY 82071-
3951
Western Wyoming
Community College
Theatre Program
2500 College Dr.
Rock Springs, WY 82901
Canada
Alberta
Banff Centre
Theatre Arts Dept.
Box 1020
Station 21
Banff, AB T1L 1H5
Theatre Alberta
3rd Fl. Percy Page Centre
11759 Groat Rd.
Edmonton, AB T5M 3K6
University Of Calgary
Dept. Of Drama
2500 University Dr. Nw
Ch D209
Calgary, AB T2N 1N4
British
Columbia
Canada’s National
Voice Intensive
The Dept. Of Theatre

6354 Crescent Rd.
Vancouver, BC V6T 1Z2
School For The Contemporary
Arts
Simon Fraser Univ.
8888 University Dr.
Burnaby, BC V5A 1S6
Theatre at UBC,
University of British
Columbia
6534 Crescent Rd.
Vancouver, BC
Canada
V6T 1Z2
Contact: Karen Tong,
Theatre Program and
Graduate Studies
Secretary
P: 604-822-3880
F: 604-822-5985
W: www.theatre.
ubc.ca
E-Mail: 604-822-3880
Ext. 0
See their ad on
page72
Ontario
Theatre Ontario
215 Spadina Ave.
Ste. 210
Toronto, ON M5T 2C7
University Of Ottawa
Dept. Of Theatre
135 Séraphin-marion
Rm. 207
Ottawa, ON K1N 6N5
York University
Dept. Of Theatre,
Faculty Of Fine Arts
4700 Keele St.
Toronto, ON M3J 1P3
Québec
Concordia University
Dept. Of Theatre
1455 De Maisonneuve
Blvd. West, Gm 500-01
Montreal, QC H3G 1M8
For more information about the companies advertising in Stage Directions®
and serving the theatre profession, go to the links listed below.
Advertiser Page Website
American Association of Community Theatre - AACT 30 http://info.hotims.com/29725-278
Amnon Kabatchnik 31 http://info.hotims.com/29725-435
Angstrom Lighting 75 http://info.hotims.com/29725-176
Apollo Design 35 http://info.hotims.com/29725-104
Arena Drapery Rental 74 http://info.hotims.com/29725-248
Atlanta Rigging 15 http://info.hotims.com/29725-177
AudioVend Wireless Systems 22 http://info.hotims.com/29725-102
Ball State University 56 http://info.hotims.com/29725-170
Ben Nye 8 http://info.hotims.com/29725-106
BMI Supply 20 http://info.hotims.com/29725-107
Boston University 57 http://info.hotims.com/29725-191
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Charles H. Stewart & Co. 2, 75 http://info.hotims.com/29725-113
Chauvet Lighting 5 http://info.hotims.com/29725-155
Checkers Industrial Products 22 http://info.hotims.com/29725-269
Chicago Canvas 74 http://info.hotims.com/29725-179
Christians in Theatre Arts 9 http://info.hotims.com/29725-436
Circle in the Square Theatre School 62 http://info.hotims.com/29725-238
CM Hoist 17 http://info.hotims.com/29725-116
Cobalt Studios 74 http://info.hotims.com/29725-339
David Maltz Co., Inc. 74 http://info.hotims.com/29725-437
De Sales University 69 http://info.hotims.com/29725-211
Demand Products 38 http://info.hotims.com/29725-156
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Eartec 23 http://info.hotims.com/29725-276
ETC 45 http://info.hotims.com/29725-122
Five Towns College 61 http://info.hotims.com/29725-379
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Flying by Foy 19 http://info.hotims.com/29725-244
Focal Press 9 http://info.hotims.com/29725-359
Genesee Community College 60 http://info.hotims.com/29725-438
George Washington University 72 http://info.hotims.com/29725-395
GoBo Man 74 http://info.hotims.com/29725-408
Graftobian 75 http://info.hotims.com/29725-208
Graham Swift & Co/ Theatre Guys 74 http://info.hotims.com/29725-168
HB Studio 20 http://info.hotims.com/29725-414
Hofstra University 62 http://info.hotims.com/29725-271
Illinois Wesleyan University 57 http://info.hotims.com/29725-361
In An Hour Books 43 http://info.hotims.com/29725-403
InLight Gobos 74 http://info.hotims.com/29725-439
Interlochen Center for the Arts 59 http://info.hotims.com/29725-363
Ithaca College 63 http://info.hotims.com/29725-440
Kean College 74 http://info.hotims.com/29725-441
Kent State University 67 http://info.hotims.com/29725-215
Light Source, The 1 http://info.hotims.com/29725-160
Look Solutions 31 http://info.hotims.com/29725-312
Manhattanville College 64 http://info.hotims.com/29725-362
Marymount Manhattan College 65 http://info.hotims.com/29725-286
Ocean Thin Films / SeaChanger 39 http://info.hotims.com/29725-404
Portland State University 68 http://info.hotims.com/29725-442
Production Advantage 26 http://info.hotims.com/29725-139
Regent University 71 http://info.hotims.com/29725-220
Rosco 16 http://info.hotims.com/29725-143
Saint Bonaventure University 63 http://info.hotims.com/29725-367
Salem State University 58 http://info.hotims.com/29725-443
Sculptural Arts Coating 25 http://info.hotims.com/29725-141
Selecon Performance Lighting 34 http://info.hotims.com/29725-283
Serapid 33 http://info.hotims.com/29725-142
Snowmasters 75 http://info.hotims.com/29725-412
Soundcraft 27 http://info.hotims.com/29725-398
Southern Oregon University 68 http://info.hotims.com/29725-222
Stagelights.com 74 http://info.hotims.com/29725-167
Syracuse University 65 http://info.hotims.com/29725-369
Theatre Wireless/ RC4 Wireless Dimming 75 http://info.hotims.com/29725-166
Times Square Stage Lighting 21 http://info.hotims.com/29725-444
Tobins Lake Studios 11 http://info.hotims.com/29725-257
Univeristy of the Arts 70 http://info.hotims.com/29725-194
University of Alabama 51 http://info.hotims.com/29725-445
University of British Columbia 72 http://info.hotims.com/29725-446
University of Nevada, Las Vegas - UNLV C3 http://info.hotims.com/29725-151
University of North Carolina School of the Arts 66 http://info.hotims.com/29725-373
University of Southern California - USC 53 http://info.hotims.com/29725-193
University of Tampa 55 http://info.hotims.com/29725-447
University/Resident Theatre Association - U/RTA 47-50 http://info.hotims.com/29725-149
USHIO 73 http://info.hotims.com/29725-282
Vortek Theatrical Lighting 37 http://info.hotims.com/29725-265
Webster University 59 http://info.hotims.com/29725-233
Wenger C2 http://info.hotims.com/29725-153
Youngstown State University 67 http://info.hotims.com/29725-448
ZFX Flying Effects 74 http://info.hotims.com/29725-154

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www.stage-directions.com • October 2010 75

Answer Box
|
By Nick Van Houten
Howl for the Moon
A design team moves the moon for
Bat Boy: The Musical.
While working as the lighting designer for the Spring production
of Bat Boy: The Musical at Cal State University,
Fullerton, Scenic Designer Brad Shelton approached
me with the idea of incorporating an automated, flying moon
as a key story-telling device throughout the show’s many settings.
It soon became obvious to the both of us that if we were
going to take the effort to include a light on the automated rig
to illuminate the moon, a digital projector would also do the job
just as well, in addition to providing more artistic options. It also
created an entirely new set of challenges.
With my new compound title (projection and lighting
designer) I began to design the video control system. I chose to
drive the video using Figure 53’s QLab software. The final show
file included several sub-cuelists and the software allowed the
operator to use a simple, primary interface, while the software
ran many complex fades and transitions between both still and
video content throughout the show. The signal was carried from
the control booth to the traveling projector via VGA-over-Cat5
extenders, piggybacking on the
house audio and lighting networking
infrastructure. Content came
from a variety of sources including
Corbis, Pond5, as well as some
that we created in-house, such as a
silhouette of the actor portraying
Edgar (Bat Boy).
In terms of the automation,
Technical Director Dan Geesing
devised a flying support system
based off a traditional performer
flying rig. Supported from a central
40-foot stick of box truss, the system
consisted of a primary “gantry”
which rode on two tracks on the
upstage and downstage sides of
the truss. The gantry rode on skateboard
wheels for near-silent operation
as it created the “X coordinate”
of the moon position. For lift (the
“Y coordinate”), two cables looped
down from the upstage and downstage
side of the gantry, supporting the large moon as well as
the projector cradle (nicknamed the cockpit for its shape). These
two lines went back to a central termination at a second winch.
To deal with cable management on the rig itself, a festoon system
was used for the travel that then terminated at two separate
retractors on the gantry (one for video, another for power) to
automatically page the cable for the moon. The moon’s winches
The moon hangs in the background during this moment from the Cal State, Fullerton production
of Bat Boy: The Musical.
A schematic of the gantry rig developed to support the moon and video projector.
were controlled via the show’s scenery automation system
(Creative Conners’ SpikeMark). Automation Programmer David
Corigliano was able to create moving sweeps, time of day
changes, as well as dramatic moon-phase moves with accompanying
video content.
While it took a lot of work, the final product was truly stunning
and created a phenomenal new design element that we
were all proud of.
Edwin Lockwood
76 October 2010 • www.stage-directions.com