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By LineThe Annual Education Issue!• Best Practices for Creating Educational Materials• What It Takes To Be a Theatre Teacher• Expanded and Updated Education Directorywww.stage-directions.comOCTOBER 2008SubHeadAn Interview withTony AwarD--WinningSound DesignerMic PoolHelping YourTheatre Go GreenMaintainingOlder Lights1 April 2008 • • April 2008 1

Table Of ContentsOctober 2008Features20 Homage to HitchcockMic Pool lays out the work that went into winning the firstTony for Best Sound Design of a Play. By Bryan Reesman24 Returning to RootsLighting Designer Sam Nance came back to his first love,theatre. By Kevin M. Mitchell26 Everyone Into the TheatreStagedoor Manor took an indoor pool and turned it intosomething their students really wanted — another theatre.By Michael S. Eddy30 Green SupportGideon Banner was working Blue when he gained a passionfor going green. By Mike Lawler34 Behind The SetDavid Korins lays out some frank talk about the finances andfuture of design on Broadway. By Bryan ReesmanSpecial Section: Training38 The Art of EducationBest practices for creating theatrical study guides that helpteachers teach. By Bret Love42 Escape VelocityThere are many criteria to judge which grad school to attend.Here is what some top schools do to help launch their studentsinto the professional world. By Breanne George45 What It Takes To Be aTheatre TeacherTheatre teachers share how their training and passion helpthem mold the next generation of artists in their classrooms.By Lisa Mulcahy54 Education DirectorySD’s annual directory of educational institutions is back, biggerand better than ever.26

24Departments7 LettersSuggestions for defending yourself against hearing loss.10 In the GreenroomCleveland Play House welcomes new playwrights andextends a contract with their AD, DePaul launches aBFA in Sound Design, the Public Theater names a newexecutive director.14 Tools of the TradeNotable gear in the run-up to trade show season.Columns6 Editor’s NoteThe middle will always be a little hinky.By Jacob Coakley48 TD TalkThinking about grad school? Should you be?By Dave McGinnis49 Show BizSome sage advice for small theatres looking to start aneducation program. By Tim Cusack50 Off the ShelfBooks that focus on theatre’s great creators and characters.By Stephen Peithman53 The Play’s the ThingPlays for everyone, no matter their age.By Stephen Peithman45ON OUR COVER: Cliff Saunders and Sam Robards in The 39 StepsPHOTOGRAPHY BY: Joan Marcus

Editor’s NoteClarifying GoalsI was recently given theopportunity to be a screenerfor the National Endowment forthe Arts New Play DevelopmentProgram hosted by the ArenaStage. They’ve had a terrificresponse to their initiative,and were blown away by theamount of interest in the program,especially in terms of justhow many more applicants applied this time aroundversus the last time the NEA did a program similar tothis. But from a reader’s standpoint, what was evenmore impressive was the high percentage of proposalsfrom writers whose work has appeared at largeregional theatres, received buzzworthy showingsOff-Broadway and been featured at prestigious newworks fests. The quality of the proposals, and the artists,were uniformly high, uniformly ambitious — anduniformly wacky.As anyone who has tried to do it will tell you,writing a grant app is an art form unto itself, andoften has nothing to do with the completed work.Not out of malicious or deceitful intent, but simplybecause it comes so early (generally) in the artisticprocess and is meant to support that exploration,it can sound a little strange. The creation of a newwork is not a linear progression, and artists trying tostretch themselves and advance their work will trysome fairly out-there ideas in order to find the pathsthat work. They have to. The best apps were onesthat could: clearly state the methodology and goalsof this learning process; give some sense of the artist’shistory and aesthetic; show how the relationshipbetween the artist and the theatre was a good fit andwould support this exploration to produce the bestshow possible.It’s a good exercise for starting any artisticendeavor — from applying to school, to startingrehearsals, to auditioning, to sending out scripts.If you know how you work, what you want to learn,what your aesthetic is and why you think you’ll workwell with a particular faculty or troupe — well, it’llsave you a lot of time from auditioning for the wrongparts, sending Buckets of Blood, The Revengining toUtah Shakes, or trying to study musicals in a programdevoted to Chekhov. The middle will be weird, nomatter what you’re doing, but if you go in witha clear head you’ll have a much better chance ofgetting what you want.Dan HernandezJacob CoakleyEditorStage Directionsjcoakley@stage-directions.com6 October 2008 •

LettersHey! What’s that Sound?While reading your recent audiopiece called "Listening vs.Hearing" in the September issue,I found myself A) hugely encouraged thata theatre publication would take on thisimportant subject and B) thinking thatyou can't train what you don't protect.High volume is no longer the bane ofonly the rock music world. Look at thetrend toward big, loud musicals. When I saw the touring versionof The Who's Tommy more than a decade ago, it was notas loud as the local version of High School Musical. I recentlywent to be fitted for a new pair of in-ear personal monitorsand had my hearing tested. Years of loud music has taken itstoll and my hearing falls off rapidly above about 10 kHz.Two points here. First: If you have been doing any kindof theatre audio for any amount of time you have very likelydamaged your hearing to some extent. Find out how much,at what frequencies and keep that in mind while mixing. Toomany sound pros mix for what they think sounds good, andif their high-end hearing is compromised then the audiencepays the price. (A friend of mine teaching an audio class inhigh school recently used a frequency generator to help withsome ear training in his class and thought it was broken whenit appeared to not output a certain frequency. Until, that is,his students started screaming in pain. It turns out he has anactual “hole” in his hearing at that particular frequency.)Second point is to do whatever you must to protect yourhearing. There is no shame in carrying and using earplugs if itextends your career by extending the life of your ears.Evan WilliamsTonopah, NVDespite advances in medical wizardry, hearing loss remainsirreversible — but eminently preventable. For some resourcesto learn how to protect your hearing, go online and check outthese institutes.H.E.A.R. (Hearing Education and Awareness for Rockers andRavers) is a non-profit dedicated to raising awareness of thedangers of repeated exposure to loud music — whether fromshows or repeated iPod abuse.The House Ear Institute (HEI) funds scientists researchinghearing loss as well as procedures meant to reverse it.Lastly, audio equipment manufacturers Shure andSensaphonics are also dedicated to preventing hearing loss, andhave valuable info on their Web sites about their initiatives andresources you can use to research your safety. — ed.CorrectionsIn the September article,“Social Work,” a picture of theartistic director of The Civilianswas mislabeled. Steven Cossonis the artistic director. We havecorrectly captioned the photohere to avoid any confusion.The Civilians Artistic Director Steven Cosson We regret the error.Peter Bellamy

Publisher Terry Lowetlowe@stage-directions.comEditor Jacob Coakleyjcoakley@stage-directions.comAudio Editor Jason Pritchardjpritchard@stage-directions.comLighting & Staging Editor Richard Cadenarcadena@plsn.comNew York Editor Bryan Reesmanbryan@stage-directions.comManaging Editor Breanne Georgebg@stage-directions.comContributing Writers Tim Cusack, Michael S. Eddy,Research Assistant Aida MuñozMike Lawler, Bret Love,Dave McGinnis, Kevin M. Mitchell,Lisa Mulcahy, Bryan ReesmanConsulting Editor Stephen PeithmanARTArt Director Garret PetrovGraphic Designers Crystal Franklin, David AlanProductionProduction Manager Linda Evanslevans@stage-directions.comWEBWeb Designer Josh HarrisADVERTISINGAdvertising Director Greg Gallardogregg@stage-directions.comNational Sales Manager James Leasingjleasing@stage-directions.comAudio Advertising Manager Dan Hernandezdh@stage-directions.comOPERATIONSGeneral Manager William Vanyowvanyo@stage-directions.comCIRCULATIONSubscription order OFFICEStark ServicesP.O. Box 16147North Hollywood, CA 916156000 South Eastern Ave.Suite 14-JLas Vegas, NV 89119TEL 702.932.5585FAX 702.932.5584Stage Directions (ISSN: 1047-1901) Volume 21, Number 10 Published monthly by Timeless CommunicationsCorp., 6000 South Eastern Ave., Suite 14J, Las Vegas, NV 89119. It is distributed freeto qualified individuals in the lighting and staging industries in the United States and Canada.Periodical Postage paid at Las Vegas, NV, office and additional offices. Postmaster please sendaddress changes to: Stage Directions, P.O. Box 16147 North Hollywood, CA 91615. Editorial submissionsare encouraged, but must include a self-addressed stamped envelope to be returned.Stage Directions is a Registered Trademark. All Rights Reserved. Duplication, transmission byany method of this publication is strictly prohibited without permission of Stage Directions.Advisory BoardJoshua AlemanyRoscoJulie AngeloAmerican Association ofCommunity TheatreRobert BarberBMI SupplyKen BillingtonLighting DesignerRoger clamanRose BrandPatrick Finelli, PhDUniversity ofSouth FloridaGene FlahartyMehron Inc.Cathy HutchisonAcoustic DimensionsKeith KankovskyApollo DesignBecky KaufmanPeriod CorsetsTodd KoepplChicago Spotlight Inc.Kimberly MesserLillenas Drama ResourcesJohn MeyerMeyer SoundJohn MuszynskiTheater DirectorMaine South High SchoolScott ParkerPace University/USITT-NYRon RansonTheatre ArtsVideo LibraryDavid RosenbergI. Weiss & Sons Inc.Karen RugerioDr. Phillips High SchoolAnn SachsSachs Morgan StudioBill SapsisSapsis RiggingRichard SilvestroFranklin Pierce College20ACELEBRATINGCELEBRATSDYEARSSINGOTHER TIMELESS COMMUNICATIONS PUBLICATIONSOF SERVICE TO THEATRE

Feature TitleIn the Greenroomtheatre buzzManagers, Director and PlaywrightsCommit to Cleveland Play HouseManaging Director KevinMoore has announced that theCleveland Play House has beenselected to participate in theNew Generations Program, anational grant initiative cooperativelydesigned by the DorisDuke Charitable Foundation, theAndrew W. Mellon Foundationand Theatre CommunicationsGroup (TCG).A part of this program is FutureLeaders, where early-career theatreprofessionals are mentoredby established leaders in thetheatre field. Moore will mentorAlison La Rosa as an associatemanaging director for twoyears, preparing her for a careerin regional theatre management.“Cultivating new leaders andnew audiences is a critical challengeand opportunity for theperforming arts today, particularlyas the field continues toevolve amid changing technologies,audience expectations andleaders,” said Joan E. Spero, presidentof the Doris Duke CharitableFoundation. “We are pleasedto support the theatre field asit addresses these challengesthrough the New GenerationsProgram.”In other news at the Playhouse,Artistic Director Michael Bloomrecently extended his contractwith the Playhouse. He will beat the helm through June 2011.Just before press time, AssociateArtistic Director Seth Gordonannounced the addition of DavidHansen, Deborah Magid andMichael Oatman to The ClevelandPlay House Playwrights’ Unit.They join current members EricCoble, Nina Domingue, MargaretLynch, Eric Schmiedl and FayeSholiton, replacing LindaEisenstein, Michael Sepesy andSandra Perlman.10 October 2008 •

theatre buzzKnow Theatre Receives Grant to Reduce Ticket PricesThanks to a partnership from theCarol Ann and Ralph V. Haile/U.S.Bank Foundation, Know Theatre ofCincinnati was able to implement aninexpensive, flat ticket price for everyone of their shows this season. Themoney from the ticketing sponsorshipwill be used to supplement the costof regular season prices, reducing thecost of a ticket to all 2008-09 mainstageperformances to $12 each.Know Theatre’s Artistic DirectorJason Bruffy and Managing DirectorEric Vosmeier decided to look intoa ticketing initiative and discoveredthat similar models launched by theSignature Theatre Company in NewYork City and The National Theatre inLondon resulted in a dramatic impacton the audience composition of boththeatres. Signature Theatre Company,who partnered with Time Warner tohelp subsidize 70 percent of their currentticket prices, saw their audiencegrow in diversity of both age andincome, specifically among audiencemembers under 35, which grew to anunprecedented 30 percent.The number of theatregoers withan annual household income of lessthan $50,000 also grew by 25 percentwith many of these audiences attendingfor the first time. This was a significantjump according to the Leagueof American Theatres and Producers,who reports that the average audiencemember is 46 years old and makesapproximately $106,000 annually.Vosmeier says audience accessibilityhas always remained a priority forKnow Theatre, and the ticketing initiativereinforces this belief.DePaul University Launches Undergrad Sound Design ProgramThe Theatre School at DePaul University has begun offeringa BFA in Sound Design. New faculty member Toy DeIoriohas been appointed head of sound design.“This new program is unique in many ways, says DeanJohn Culbert. “There are very few undergraduate sounddesign programs in the country, and now we are able to offeryoung artists from around the country the opportunity toreceive specialized sound design training.”The incoming students will enter the program in thefall. According to Buchanan, “the program has been underdiscussion for almost 10 years,” and the development ofthe curriculum “involved discussions among the design andtechnical faculty, in conjunction with several local professionaltheatre sound designers and technicians… and theMusic School sound recording faculty.”In addition to DeIorio, the school also announced theappointment of Coya Paz, cofounder and co-artistic directorof Teatro Luna, as the visiting multicultural faculty position.12 October 2008 •

Public Theater AnnouncesNew Executive DirectorThe Public Theater has announcedthat Andrew Hamingson has beenappointed the new executive director ofThe Public Theater. Hamingson replacesMara Manus who announced in Aprilthat she would be stepping down atthe end of the season after six years asexecutive director.Andrew HamingsonHamingson has been Atlantic TheaterCompany’s managing director sinceAugust 2004. He oversaw the negotiations, planning andconstruction of Atlantic’s new $6-million theater complexon West 16th St. and has been leading the team to renovateAtlantic’s 20th St. main stage theater.“This is an exciting time in the growth and developmentof The Public Theater,” said Chairman of the Board WarrenSpector. “Our new executive director will work alongsideArtistic Director Oskar Eustis to continue to make The PublicTheater one of the most important and diverse theaters inthe country. The search committee did an extensive searchfor Ms. Manus’ replacement, and we unanimously choseHamingson from a field of extraordinary candippdates forhis strong leadership abilities, successful fundraising experienceand deep commitment to the American theater.”Intiman Theatre NamesManaging DirectorBrian Colburn has been selectedas Intiman’s new managingdirector. He will assume his newposition later this year.Colburn comes to Intimanfrom the Pasadena Playhouse,where he has served as managingdirector since 2004. Hehas been affiliated with theBrian ColburnPlayhouse since 1997, advancingto the top management position through severalinternal promotions. During his tenure, Colburnhas helped to establish Pasadena Playhouse as aleader in the Los Angeles theater community, inpartnership with Artistic Director Sheldon Epps. Healso steered the company to greater visibility andincreased support from its audiences, donors andthe philanthropic community.“Brian brings a proven track record of excellentmanagement skills, strong leadership internally andwithin his community, strategic financial planningand successful fundraising,” says Intiman TheatreBoard President Susan J. Leavitt.changing roles

Tools of the TradeAccess Products Ecoglo Emergency BackupLightingAccess Products’ Ecoglo lineconsists of high visibility photo-luminescentand anti-slipstep edge and path markingproducts. They are designedto withstand continuous foottraffic and weathering. Themanufacturer states that thephoto-luminescent productcan be used to meet emergency lighting requirements. Theactive photoluminescent element is a naturally occurringrare-earth crystal that absorbs natural or artificial light andthen re-emits the light. The product line includes: exit stairwayproducts that feature photoluminescent and anti-slipproperties for step-edge contrast strips, stair nosings andthresholds; way-finding products that feature photoluminescentand anti-graffiti-coated emergency signage, handrailstrips, aisle markers and seat numbers. Ecoglo products arebuilt with a high-grade aluminum base that is corrosion- andimpact-resistant and the high-visibility photoluminescentstrip is bonded to the metal at 350° Fahrenheit. After chargingfor about 20 minutes, signs and strips will glow for hoursafterward. Legend 6500The Chauvet Legend 6500 is a 10 to14 channel intelligent LED movingyoke wash with full RGBW mixingcapability. Features include adjustablecolor temperatures (presetvalues range from 3,200°K to10,000°K), the capability to triggerinstant color changes, silent operationand a casing design focusedon stability and ruggedness. Theunit comes fitted with a total of90 high power LEDs (700mA red; 1,500mA blue, green andwhite) and 15° lenses. It is designed to produce a longthrowwash — 14,780 lux @ 2m — with a beam angle of 12°and a field angle of 23°. Optional 10° and 30° lenses can beswapped into the fixture for a tighter or wider beam configuration.Standard functions and features include variableelectronic strobe, electronic dimming, remote fixture reset,automatic pan and tilt correction, adjustable fan rate, anLCD display with password protection and Neutrik Powerconpower connectors. www.chauvetlighting.comElation Opti-Tri Par CanThe Elation Opti Tri Par is a highpoweredLED RGB theatrical parcan featuring Elation’s Tri ColorLED Technology. Each of theunit’s 18 3-Watt LED lenses isactually a three-in-one LED, comprisedof a 1W red, 1W greenand 1W blue LED. The Opti TriPar can be operated in two DMXmodes (3-channel or 7-channel)and includes a dimmer, variablestrobe and built-in color macros to match popular gel colors.It has a 25° beam angle. The Opti Tri Par includes 3-pinand 5-pin DMX connections, along with a versatile dual yokebracket that can be either floor-mounted or hung. The unit ishoused in a die cast case designed to withstand the rigors oftouring and rentals. It measures 11.5 inches long by 8.5 incheshigh by 8.5 inches wide and weighs 11 lbs. ETL approval ispending. www.elationlighting.comKobold DW/DE 200 Beam Ring AdapterKobold’s BeamRing adapterconverts theirDW 200 or DE200 HMI lampbases for use inthe ETC SourceFour series ofellipsoidals. TheDW 200 can be configured as a PAR, or open face fixture, andis powered by the EWB 200 AC or the BB 200 30V DC ballasts.The EBE 200-400-575-800 DMX AC ballast is also available.The Beam Ring adapts to the Source Four with one screw, andthe DW/DE 200 uses a one-click bayonet mount to secure itto the Beam Ring. There are no modifications required to theSource Four. www.bron-kobold-usa.comLEDtronics 3.3-Watt LED LampLEDtronics 3.3-Watt LED lampis part of its line of drop-inreplacement MR16-styled /GU10-based LED bulbs. It isdesigned to handle variationsin voltage from AC power supplies,eliminating potentialburnout from incoming voltagethat is higher than the lamp’scapacity. It features a bi-pinbase, just like standard incandescentMR16/GU10-based bulbs, and light outputs of 123 lumensusing only 3.3 watts with input voltage range of 80-260VAC. Thebulb features three High-Power LEDs and is offered in WarmWhite (3000 Kelvin) color temperature and in 20° spotlight beamangle. With factory approval, MR16/GU10 3.3W bulbs may beordered in other LED colors, voltages and beam angles. They carrya three-year limited warranty. www.ledtronics.comSennheiser MKE 1Sennheiser’s new clip-on microphone,the MKE 1, has a capsulethat’s not much bigger than thehead of a match, and is designed toachieve a natural, full sound with aclear and present treble. The MKE 1comes with a multi-purpose cap thatprotects the microphone from perspirationand also serves as a windshield (treble boost of 1.5dB). Also included is a small frequency response cap, whichadds a treble boost of 2.5 dB for applications where the micis hidden within the costume or when more brilliance is to beadded to a voice. www.sennheiser.com14 October 2008 •

Light on the Subject By Brent Stainer|Keeping Up AppearancesGet the Most out of Your DecrepitArchaic Old Fashioned ExperiencedLighting InstrumentsIn my world, all of my lighting instruments are less thanthree years old. They might be new Source Fours, orStrand SLs. Perhaps Altman Shakespeares. Unfortunately,this world exists only in my mind.I’m not alone. Approximately 98% of us face the realitythat new lighting instruments are still hoped-for goals.They are “in the planning phase,” or “awaiting funding,” orperhaps “as soon as we get the lobby remodeled.” Waitingfor these new lights may take years — or decades. In themeantime, lighting designers and master electricians haveto make their existing inventory work as best as possible.Looking back on my career, some of my best work has beenwith lighting instruments older than I am.My goal here is certainly to not dissuade you or yourtheatre administration from purchasing better quality lights— rather, I want you to recognize that the old lights we havehanging around our grids are often not as efficient as theycould be.With basic maintenance and a little TLC, these old lightscan perform very close to their original specs. We all canbenefit from a simple maintenance schedule and a littleeffort with stage lights.The first task would be to acquire manuals for the lights.Information and manuals can be found on the Internet for oldStrands, Altmans, Colortrans, Kliegels and a variety of others.Altman produces a shop manual for their entire line of lights.Although fairly expensive (in the $100 range) this manual haspaid for itself in my experience. At a minimum, get photometricdata. One excellent reference is Photometrics Handbook byRobert Mumm. It contains data on literally hundreds of oldlighting instruments that you may come across.Lenses / ReflectorsCertainly some of the most neglected parts of a stagelight, the lenses and reflectors are also the easiest tomaintain. It is a simple matter to use a little Windex and alint free cloth to keep them free from dust and debris. Themethod for removing the lenses depends on the brand ofinstrument.On Altman 360Qs, for example, you simply remove thefront retaining ring, and the first lens falls out. Removethe spacer, and the second lens (if there is one) can beremoved. Many brands are similar to the ubiquitousAltman 360Q. Opening the instrument grants access tothe reflector (an Altman 360 has a thumb screw that canbe loosened to allow the instrument to hinge in half).Remove the lamp assembly, spray a bit of Windex onto acloth, and clean the reflector. If the reflector is damaged,replacements can be purchased, or you can use a lessdamagedreflector from your scavenged parts. Usually, agood cleaning does wonders!Fresnels continue to be useful for a variety of soft-edged applications. These maintenance steps willensure they are running at peak efficiency.ShuttersSticky shutters are tiresome and frustrating. They arealso one of the most successful repairs you can do for yourself.First, open the light as you did to access the reflectorand observe how the shutters are held in place. Again,using an Altman 360 as an example, there are four sheetmetal screws from the outside of the housing into theshutter ring. Removing this ring (and subsequent rings)will open up each plane in which the shutters travel. If youneed to completely remove the shutters, drill out the rivetthat holds the fiber handle, save the fiber disks, and youcan pull the shutters out from the inside of the housing.Use OOO steel wool to polish all metal surfaces. Burnedshutters are candidates for replacement. Reassemble theshutters in the same order in which they were removed.Reattach the fiber disks, and give them a try. If they are stilltoo sticky, give a little squirt of liquid graphite into eachshutter’s plane. This will work wonders if the corrosion anddents have been removed.I am not going to pull any punches about this next point— adding WD40, 3-in-1 or any oil is a death sentence toyour shutters. Oil retains heat, warps metal and is a seriousfire hazard. Don’t do it. Invest the $1.98 for a can of spraygraphite and save your instruments! Look for spray graphitein a hardware or automotive store.Sockets/LampsAside from reflectors, sockets are the other part thatneeds semi-regular replacing. There are a few times intheatre where you can skimp by — this is not one ofthem. Sockets don’t have an indefinite lifespan. If you aregetting flickering lights — fix it. Remove the lamp andinspect the pins. Any arcing or burning is an indicatorof either a socket becoming bad, or the lamp not fullyseated. If you can rule out the lamp not fully seated,replace the socket (which usually entails replacing thetwo leads as well).All Photography By Brent Stainer16 October 2008 •

Light on the SubjectAltman 360Qs were a staple for countless theatres. They are simpleto maintain and are still very useful lights.Keep stray fingers off the glass bulb!This is the leading cause of prematurefailure. When you replace a lamp, it isa wise idea to make note of the instrumentthat went dead and the date. Bykeeping track of how often a giveninstrument needs a replacement lampyou can identify a bad socket. If asocket is making poor contact, it canwear through lamps incredibly fast.This rapid destruction of lamps maybe the only indication you have of abad socket. Keeping accurate recordscould potentially save you hundredsof dollars.To replace the socket, you typicallyremove the connector (plug), removethe base unit and then remove a coupleof screws to withdraw the socket.Of course, each brand is a little different,but they are all fairly straightforward.Again, refer to your productinformation.ConnectorsConnectors have a few commonproblems. Stage pin connectors thathave signs of arcing or are intermittentmay need the pins to be split.This entails pressing a knife, or a pinsplitter,in the split of a pin to widenthe pin and thereby increase the contactarea. If corrosion is present, thepinsplitter has a wire brush orificethat quickly cleans the pin. All connectionsneed to be firm. Poor strainrelief will loosen electrical connectionsand cause arcing or intermittentcontact. Keep your strain relief! Anddon’t remove connectors by yankingon the cords! For safety sake, alsoensure that the ground wires are presentand intact. The need of a groundwire is simple: If there is a short in thelight, the electrical current will find anew path. It can either be the groundwire, or one of your volunteers. If theshort can’t find a ground and choosesone of your volunteers, you may havesome explaining to do.PaintI have to tell you, the aesthetics of alighting instrument aren’t usually tooimportant to me. I’m a bit pragmatic.As long as it performs well, I don’t care18 October 2008 •

what it looks like. Anyone that hasseen my truck would agree. However,there are times when an instrument isvisible to the audience, and a clean,sharp instrument is needed.When you need to paint an instrumentthere are a few basic rules youmust follow. First, as with any qualitypaint job, do good prep work —remove the chips, the grease andthe gaff tape. Second, use high-temppaints such as those designed forwood stoves or gas grills. The cheappaint will look good until you actuallyturn the light on — then the blistering,flaking barrel and head just lookgoofy. Third, don’t paint over importantthings like inventory numbers orphotometric data.LastlyWhen an instrument is truly dead— meaning its repair costs more thanyou are willing to spend —recycle it.Break the light down for parts. Savethe lenses, reflectors, barrels, sockets,shutters, screws, knobs, connectors andanything else.If the lights are surplus and will notbe used any further, take the time andmake a few phone calls to the localcommunity theatres. Your old lightsheaded for the scrap bin could be agodsend to a smaller theatre group.Help them out. The lights you feel areobsolete and useless will be front linelights for some small group.One group I have worked withwas recently given 40-year-old, “burnbase-up” ellipses. Although outdatedby several decades, they put them touse in such a way that was very effective.Suddenly, they could illuminatethe show with sharp shadows, subtlemoods and graceful shades — previously,they simply turned the lightson or off. These antiquated lightschanged a non-lighting design intoone the community took pride in.Although old, obsolete lights arestill capable of performing. They mayneed a little more effort, but in manyinstances, they do well. When old lightsare all you have to work with — permitthem to do their best. You will be surprisedat what can be achieved.Older lights, with just a little bit of maintenance, can be restored tonearly new performance • October 2008 19

Sound Design|By Bryan ReesmanHomage To HitchcockJoan MarcusMic Pool discusses the work thatwent into winning the first Tony forBest Sound Design of a Play.Mic PoolSam Robards (right) with Cliff Saunders in pursuit, helped along with judicious sound effectsBritish sound designer Mic Pool has certainly workedon his share of serious theatre throughout his threedecadecareer. He’s tackled The Postman AlwaysRings Twice and late Shakespeare plays, not to mentionWagner’s Ring Cycle as a video designer, so he jumped atthe refreshing opportunity to help create an onstage parodyof Alfred Hitchcock’s classic black-and-white thrillerThe 39 Steps. Made to look like a low rent production witha cast of four and seriously minimal stage effects — thefamous plane chase sequence across the moors is donewith puppets and props in shadowplay — this version ofThe 39 Steps is self-referential and self-mocking. It gleefullyquotes other Hitchcock film titles in its dialogue andis driven by manic energy and over-the-top performancesfrom its talented cast, three of whom tackle multiple roles.Now the show has come to Broadway from London’s WestEnd, and the icing on the cake for Pool is that he won thefirst ever Tony Award for Sound Design of a Play thanksto his work on it. In reality, the show is far from strippeddown. Ironically, it requires highly sophisticated sound andvisual effects to create its low-budget aura.Stage Directions: What was it like to win the first Tonyfor Sound Design of a Play?Mic Pool: It was great. It was very different from the UKaward ceremonies. I was nominated for a Laurence OlivierAward the year before for the same show. The OlivierAwards are far more of an industry-only bash, whereas withthe Tonys, a good proportion of the 6,000 people that werethere are regular theatregoers that had bought tickets. I wasquite surprised at how genuinely pleased they were for thefew that won. At the after-party people were coming up andwere generally so thrilled about it, which is very differentto the people in England, who are very cool and reservedabout awards. When you get one you’re really pleased toget it, but you’re not meant to show it. [laughs] In America,jumping up and down seems to be par for the course.The sound effects for 39 Steps really play key roles invarious scenes.There’s a lot of music. There are a lot of sound effects,more than probably any other show I’ve done. The timingof the music and effects really contributes to the way thecomedy works or doesn’t work. If the timing is off on thesound then quite a few things can fall flat. The show ispretty well oiled now with eight productions around theworld. It’s quite a big franchise, although the Americanshow is quite different from a lot of the others. It’s slightlybigger and more tightly choreographed and polished.What was your approach in designing sound for theNew York production, and how did it vary from designingthe show in England?I think the sound is probably the thing that’s changedthe least and has been consistent in all of the productions.When I first got involved with the show in 2005, this was20 October 2008 •

Joan MarcusJoan MarcusJennifer Ferrin and Sam Robards in The 39 Stepsthe version of the show that the Broadway and Londonversions were based on. It was with a different director,but it was the first time that the set and the sound designon the current production were used. That was in Leeds,and the starting premise was that a lot of the story wouldbe told through the sound and there would be a requirementfor a lot of music. We basically set the rule that allthe music had to either be from Hitchcock’s films or had tosound like it could have been.When we started rehearsing the show, we had a hugearmory of all the sounds that might possibly work in thatcontext, all loaded into samplers in the rehearsal room. Iwas working alongside the first cast, and we created mostof it as we went along.The sound effects are crucial to the show becauseyou’re satirizing both low-budget theatre and vintagefilmmaking. There are many sequences that make theshow look and sound like it’s a black-and-white filmplaying from that same era. You utilize many train andplane sound effects.We also had simple things like the telephone ring,which is an iconic recording probably used in British filmsfrom the ‘30s and ‘40s, and the pitch fluctuates slightly.There’s something about the inconsistency and the speedthat immediately says we’re in a 1930s movie. We did thatwith the other effects as well, although a lot of them wererecorded considerably later than the period. They all hadto sound like they could have been in the film.Sam Robards, Arnie Burton, Cliff Saunders and Jennifer Ferrin in The 39 Stepsbecause it gets so hot in the summer, and they’re not asquiet as we might like, some discreet miking is used. I thinkyou can hear every word in The 39 Steps, but you’re not reallyaware that the actors are being miked, and that was theintention. You turn it up, and then as soon as you can hear ityou just start backing it off until it’s as invisible as it can be.What kind of console are you running and how manyinputs are you using?As far as live channels, there are five channels for the fivefoot mics, and everything else, like the effects, is automatedusing Stage Research’s SFX system, which has 16 outputs.That’s pretty much it. Dann Wojnar, who is the operator,is very skillfully balancing the floor mics, but pretty muchall the routing and levels for the sound effects are all automated.So, it’s a one button push deal for most of it, which isIt’s funny how the phone ring gets louder and louder forfake tension during one sequence, and at another point,it purposefully rings out of sync with the dialogue.It rings out of cue, which is probably the first key indicatorto the audience that everything is slightly tongue-in-cheekand is likely to get more so as the evening progresses.Which mics and transmitters are you using on the actors?There are no transmitters and no radios in the show atall. It’s very simple: five very high-quality mics, DPA 4021s,hidden among the footlights that are basically fed into theunderbalcony delays and a little bit down in front. Apartfrom New York, everywhere else it plays the actors are completelyunamplified. I think there’s an expectation amongNew York audiences that they don’t have to listen quiteso carefully as they might in a theatre in London. And alsobecause you need much larger air-conditioning systems

Sound Designgreat because it means that he can concentrate entirely ongetting the timing right and getting the really tight visualclues like the doors opening and the professor scene at theend of Act One and the slaps and things. There are a lot ofreally tight visual cues, and Dann works really hard at gettingthose spot on night after night.How many sound effects total do you have in the show?There are 160 numbered cues, but I think most ofthe cues are sequences that probably have anywherebetween 10 and 20 lines on them. So there are probablyabout 500 or 600 sound effects or music cues over thecourse of an hour-and-a-half. A lot of them just appearto the audience as scene sequences like the train stoppingwhen they pull the communication chord. To theaudience it just sounds like she pulls this communicationchord and the train stops. But we’ve actually left all of theelements of that sequence as individual sounds, so thaton cast changes and when we do the show elsewhere wecan adjust the timings of the whole of that sequence justby changing the wait times within the sequence. That waywe don’t have to go back and create the entire thing allover again. Each of the brake sounds, steam releases andthe final jolting of the thing are all on the computer asindividual sounds.Dann really enjoys doing the show and is quite keento do the tour in the fall of ‘09, and I think part of that isbecause even though it’s an automated show, the soundoperator’s contribution is really crucial because of howtightly cued the visual cues have to be and the fact that youcan do comic timing. How you execute the cues can have abig impact on the size of the laugh that a gag gets.What were the most fun sound effects to create forthe show?I quite like the train sequence and the chase acrossthe moors, which is the shadowplay sequence. That’s thesequence that we open up a bit because what the audienceis looking at is two-dimensional, and that’s probablythe only time we can go to into full surround sound andmove around the auditorium with the biplanes flyingaround. The musical scenes and the Palladium scenes arefun as well, with that audience applause sound that canbe switched off instantly.What were the biggest challenges for you on the show?Probably just the sheer quantity of sounds — it’s nota particularly long show, but there’s a lot of stuff in it— and doing effects that are integrally comic withoutsounding cartoonish. If you listened to the sound effectsout of context, you wouldn’t say, “That’s such an outrageouseffect. It would never be in a Hitchcock film.” Ithink all of them could have been, but it’s just the waythat they’re combined and exaggerated and executedthat makes them comic. It’s walking that tightropebetween creating stuff that’s ridiculous and cartoonish,which you don’t want to do, and creating things that aregenuinely funny but out of material that doesn’t soundout of place in the play that we’re doing.22 October 2008 •

Theatre Spotlight|By Kevin M. MitchellEvent Producer Returns to His Roots and His LoveSam NanceNance’s work on the ICT production of NineSam Nance hits his second act in stride.A moment from Irving Community Theater’s DraculaSo much for the oft-quoted Scott Fitzgerald line, “There areno second acts in America.” Lighting Designer Sam Nanceis living a second act — or maybe it’s his third.Nance is currently doing a lot of work at the Irving CommunityTheater (ICT) in Irving, Texas, a theatre rich in history. Whileincorporated in 1971, it actually has roots back to 1949. It hasgrown to one of the largest volunteer-based theatres in Texaswhere typically 150 people contribute to each season, with onlydirectors, designers and a part-time administrator receivingcompensation.ICT is a busy place: They produce a season of five mainstage shows a year, plus offer three additional programs at itsStudio on Rochelle. It includes Reader's Theatre, ICT ShowcaseProductions and ICT Theatre On The Edge (TOTE) productions.Then there’s the ICT Clubhouse for children and teens interestedin theatre production. Through this program kids workdirectly in productions in lighting, sound, set construction, frontof house, and as performers. ICT also hosts several local andstage theatre festivals as part of the American Association ofCommunity Theatre Festival.The theatre features an ETC Impression console, and recentlyreceived funds to replace the older Strand dimmers. “They havetons of ETC Source 4s, plus all the gear the theatre was bornwith,” he laughs. “I’ll go back in the closets and sometimes justfind things I didn’t know it had!”The award-winning theatre has increasingly turned to Nanceto light their shows. Last year, he lit four of the five main shows,and it looks like he’ll be doing at least four this season.Stage Directions: What’s your background?Sam Nance: In eighth grade, an English teacher tapped meon the shoulder and asked me to read for a part in a play, andI absolutely fell in love with theatre. Then in high school I dida little tech, back when the first dimmers were resistance dimmers!I went to Bethel College in Bethel, Kansas, then to TrinityUniversity in San Antonio where I received my MFA.After that, I would use my technical ability in the wonderfulworld of special events. I started a company doing that for 28years, but after 25 of it, I realized I wasn’t having any fun, so I gotout of it and back into theatre.Today, in addition to being a lighting designer, I teach productionclasses at the Episcopal School of Dallas.What have been some of your recent designs at ICT?It was Nine and it was a wonderful experience. It was a goodshow, we had a tremendous cast, and the director was a joy towork with. We’ve also done Shakespeare for the Modern Man,Proof and Dracula.What draws you to lighting design?I was initially attracted to theatre because of its ability to tell astory, and I still love that even though for me it’s more narrowlydefined as “how can I tell the story with light?” Even when I wasdoing corporate work, I was telling a story.What makes a badly lit show for you?The badly lit show is one where the lights draw attention tothemselves and distract from the story. They can be too bright ortoo dark, or jarring in some fashion… though having said that, inthis particular production of Nine, there were some occasions forthe lights to be more obvious, but I think that was appropriatebecause of the nature of the show, as opposed to somethinglike Proof.What part of the process do you like the most?I like it when the phone rings, and I like it when I cash thecheck! [Laughs] The real answer though is the rehearsal processwhen you’re in that first “stumble-through” stage. You’ve read itseveral times, but now you’re reacting to what is on stage. You’rescribbling notes, making arrows and squares on paper… that’sexciting. That’s the first rush.What do you tell people who want to break into the business?First, if there’s anything else you can do in your life and behappy doing it, do that. If not, go to school, but don’t depend ongoing to school alone getting you work. Julliard sends out thebest-trained people in the world who then become waiters!Get your master’s if you’re inclined, but you have to becommitted to the learning process more than the teacher iscommitted to the teaching process. It’s all about what you takein. That gives you a vocabulary, but you need to be workingin theatres doing whatever shows you possibly can to take inmore. You can work for 30 years like that and then suddenly bean overnight wonder.24 October 2008 •

Theatre Space|By Michael S. EddyEveryone Into the TheatreStagedoor Manor’s completed Oasis Theater. The sound and lighting booth is at the right.Konnie KittrellStagedoor Manor creates a new space with its Oasis Theater.Stagedoor Manor, a renowned performing arts camp inNew York State, has always been a place about “seeingthe potential.” In 1975, Carl and Elsie Samuelson saw thepotential of the Karmel Hotel, an old Catskill resort past itsstoried heyday, to become a first class performing arts campfor young people.Over the years, along with artistic director Jack Romano, theytrained and helped nurture the potential in a long list of kids,many who make up a who’s who of the entertainment industryincluding Natalie Portman, Zach Braff, Jon Cryer, MandyMoore, Robert Downey Jr. and Todd Graff, whose well-receivedfilm Camp was based on his memories of being at Stagedoor.So, it is no surprise that current owner Cindy Samuelson sawthe potential of the indoor pool, a remnant of the bygone daysof the Karmel Hotel, to become an intimate “in-the-round” performancespace. Eight months of construction later, Stagedoorbrought the curtain up on the Oasis Theater.The pool was seen as the ideal location because it wasunderused and yet a main focal point in the building. “A fullsizeindoor swimming pool took up a lot of room,” points outSamuelson. “We really don’t have swimmers. In fact, mostof our kids go down to the outdoor pool to study lines. Theindoor pool was centrally located; it was two stories of openspace with the upper studios looking into the area.” Thechoice to make the space in the round was so they could offerthe campers a different experience points out Samuelson.“This is our eighth theatre and we try to have a wide arrayof spaces because it is important for our kids to learn how towork within different stage arrangements. It needed to be atheatre that would be able to do musicals and drama; it wasvery important to us that we have that flexibility.”The space was designed by architect Aaron Dai, of DaiStudios and Helia Lee, principal at Helia Lee Design Studio, whoboth were excited by the challenge of converting the pool to aperformance space. Their solution involved creating a separatetheatre “building” within the already existing structure.“Once we saw the indoor pool area, it was so intriguing tous,” recalls Lee. “Choosing the pool area as the site did offer usa challenge. One thing that we grappled with was how to insertthis structure into a space that is meant to be wide open andviewed from 360° without completely closing it off. We tried toretain as much of that visibility across the space as we could.We put in two viewing windows looking down into the newspace. You can catch glimpses of people rehearsing or walkingby and it makes for an intriguing space. Also, in the design, wewanted the seating, aisles and exits to create all kinds of stagingpossibilities for the directors. Recently, Aaron and I saw aperformance at the Oasis, and we really felt encompassed bythe production just as we were hoping.”Dai felt that one of the challenges they met very wellwas the roof design of the theatre. “I think it’s both aestheticallyforward and appropriate for Stagedoor, and it addressedsome fairly complex physical requirements. It’s actually quiteunique in its construction.”Samuelson understood the problems that Dai and Lee faced.“I think the biggest challenge whenever you are reinventing aspace is that you are dealing with an existing space. The girlsdormitory was above the new theatre space, and there was agreat deal of plumbing so we had to make sure whatever webuilt would be insulted from the plumbing above it. The designdropped the ceiling down and put a second roof on, which usesexisting steel beams of the pool to support a drainage system. Ifthere are leaks above they are channeled down into the drainagesystem that was in there for the pool.”Samuelson particularly likes that they actually kept the poolitself, turning it into the engine area of the room. “The pool isstill there. There are actual concrete pillars that were put intothe base of the pool and on top of that is corrugated aluminum.But you can still go down into the pool — it’s like the Titanic.The bottom area is now used for the air conditioning and a lotof the electrical. We put in a suspended grid for the lighting andall the wiring goes along and then below into the pool.”Lighting and Audio In-the-RoundLighting in the Oasis Theater is supported from a 4-foot-by-4-foot pipe grid, which affords a wide range of hanging loca-26 October 2008 •

tions. The grid spans beyond the 20-foot-by-30-foot stage andis suspended from I-beams over the stage. They currently use aStrand CD80 96 dimmer rolling rack from which runs 1,000 feetof multicable up to the grid and along the I-beams to eitherend of the stage. All the lighting is controlled via a Leviton/NSIMelange Pro console. The Oasis sound system has four Electro-Voice System 200 speakers, one Mackie FRS 1700 amplifier andcontrol provided by a Mackie CFX 12 console.“The Oasis Theater is a diamond in the rough here atStagedoor,” says Jimmy Rodgers, head of tech. “We are experiencingand learning new things about the space every day.Never having worked in a theatre-in-the-round, I was lookingforward to the challenge and am really enjoying it. At first, youmight think that a space with minimal to no set, just a few furniturepieces here and there, would be easy; but once we gotinto the swing of things, it was quite the opposite.” Rodgerscontinues, “For the lighting designer, the Oasis offers a hugecreative entity to play and experiment with because thereare many options for different looks, placement and function.Angles play a big part since this is a space where while somefront light gives the look you want, you could be blinding theaudience members across the stage at the same time.”Tuning Up the SpaceBesides concerns about sightlines, Dai and Lee knew theywould need an acoustician to help with the complex acousticissues of building in the pool area, pointing out that it was anunusually live acoustical environment. This is where acousticianRich Riedel, principal of Brightwaters, N.Y.-based Riedel Audio &Acoustical Consulting came in. “We did the basic room acousticsas well as some of the finishes that are acoustical treatments andthe design of the sprung floor for the stage over the pool area.”Riedel discussed with us some of the challenges of turninga pool into a theatre. “For the most part we needed toThe pool still exists beneath the sprung-floor stage, and isshown here during an early stage of the construction process.isolate the area. I gave them some guidelines as far as actualwall construction to achieve the highest amount of isolationwithin the space and the budgetary restrictions. We had todesign a sprung floor for dance purposes over the pool, sothat was one of the most unique things from my standpoint.The acoustical treatments were chosen to look aestheticallypleasing and would achieve a good balance of acoustics fora multi-purpose use.”The dorms right above the Oasis Theater needed to bedealt with acoustically as well. “We used basic isolation techniques,”comments Riedel. “We increased the mass of thedemising walls and ceilings.”Riedel likes that “the space — in some respects — is veryunique because of the fact that you have on any given occasionany number of things happening in it. When I was up there lasttime, they had a dance class in the new Oasis Theater, they hada choir class in an adjoining space, they had a tap dancing classup above, and they had a dramatic presentation in the adjoiningtheatre. You have all of these things happening simultaneously;sometimes isolation can be an issue there.”The space is today what Samuelson saw when she lookedat the old pool two years ago. “Until you see something cometo life you don’t know how it is really going to be used, butwe tried to design it to have multiple purposes. It is wherewe present our Dramafest program; we have staged musicalsand dramas; plus because it has a sprung floor we hold masterdance classes there. It is wonderful to see how adaptivethe space is; it has become part of Stagedoor in an extraordinaryway. Because it functions so well it is never empty, itis constantly used from morning until night. The reception tothe space has been extraordinary.”Michael S. Eddy writes about design and technology. He can bereached at KittrellCourtesy of Aaron Dai and Helia LeeStagedoor’s new Oasis Theater started out as a pool.A 3D bird’s-eye-view rendering of the Oasis TheaterA rehearsal of The Imaginary Invalid in the new Oasis Theater.28 October 2008 •

Feature|By Mike LawlerGreenSupportGideon Banner and the Green Theatre InitiativeWhen talking to Gideon Banner, its easy to see howthis New York actor has entered the so-called greentheatre movement through sheer conviction. It’s alsoeasy to hear just how serious he is about his latest project, alabor of love called the Green Theatre Initiative (GTI). Whilegetting the organization and its informative Web site off theground is a new kind of challenge for Banner, it is one that heembraces with passion and clarity. In many ways, he is perfectlysuited for his newest role as the founder of GTI, an organizationthat aims to make it easier for performing arts companies torun their operations in a more sustainable manner.From Blue to GreenThe idea for GTI came to Banner while acting in the New Yorkproduction of the Blue Man Group — a gig he’s had on and off forthe past nine years. About two years ago, Banner sat down withthe stage manager and created an environmental committee thatenacted simple changes like switching to compact fluorescentlight bulbs, increasing recycling efforts and using green cleaningproducts. It seemed like such a simple — and important — ideathat they brought it to the founders of Blue Man, proposing theadoption of a similar plan companywide. To Banner’s delight, thefounders had similar leanings and were already in the process offormulating an environmental policy for the company.But what if the idea of implementing green policies hadn’toccurred to the thousands of performing companies acrossthe country — or worse — what if they simply didn’t knowhow to green their operations? As Banner moved about hisacting life, working for various companies, he began to thinkabout how to expand the idea of sustainable theatre production,and realized that the problem was large.“I saw the waste that was being generated, the energy thatwas being wasted, and felt that something could — and should— be done,” he says. His growing concern led him to the initialconclusion that nothing short of immediate and sweepingaction would do. But he soon discovered a common obstacle:“Generally, theatres don’t have money to throw at this,” he says.His belief in the move toward greener production held firm,though, and he soon came to the conclusion that the solutionsrequired could also be a boon to the organizations enactingthem. “This is something that I not only believe that theatresshould do, but I think it’s something that will benefit them,” hesays. “Making a commitment to reducing a theatre’s impact onthe environment can only benefit its relationship to the community,create new sources of funding, and — this I think isvery important — invigorate the theatre’s staff.”Getting ConnectedGTI is currently focused on helping to bring togetherpeople and organizations that are already moving in a greendirection through the recently introduced GTI e-newsletter.Banner admits that he is routinely amazed by the sheernumber of people across the country taking steps toward aneco-friendly theatre. “All of these people are working independently,”Banner told me recently from New York, “and theGreen Theatre Initiative aims to connect them. To say ‘here iswhat your colleagues are doing, if you want encouragementor advice on an issue, we will connect you.’”From a practical point of view, Banner sees the work ofGTI as twofold: First, GTI aims to convince theatres that theyshould do all they can to promote sustainability within theirorganizations. It does this by highlighting the work of theatresand theatre professionals that are already taking greenaction. Second, GTI acts as a bridge between the desire to gogreen and the resources necessary to do so, whether practicalinformation via its Web site or cultivating the technical andfunding sources necessary.It’s easy for people, and perhaps organizations, of all kindsto disassociate themselves from the environment or the longtermhealth and well-being of future generations. Things likeglobal climate change, biodiversity and even pollution arebig picture ideas that are often difficult to connect to the hereand now. But, according to Banner, there are two direct, pragmaticbenefits for theatres going green. The first is money.“This is going to be the next big funding source of the next20 years, if not more, as the level of urgency grows,” Bannersays of the sustainability movement in the arts. Just as theatresfound that developing educational programs increasedtheir ability to attract funding and improve community rela-30 October 2008 •

Featuretions, so too will green innovation andoutreach. Funding based on the adoptionof environmentally minded policiesis already on the rise, Banner notes, andGTI hopes to help keep that trend movingin an upward direction.Also, Banner asserts that many of thedecisions theatres make on this frontwill not only appeal to donors, but maysave them outgoing dollars as well.“Often times,” he says, “we’ll end upsaving theatres money” through energyand water conservation and efficiency.Of course, not all green initiatives willhave this effect, and Banner admits thatcan be a hard pill to swallow for manyorganizations already struggling to runin the black.Greening the Next GenerationCultivating the next generation oftheatergoers is also a key incentive fortheatres to embrace the idea of reducingtheir footprint on the planet. “Asyounger audiences become more concernedabout this, and theatres want toremain connected and vital, they needto take action on this front,” Bannersays. While younger generations are notthe only ones deeply concerned aboutecological issues, it seems clear thatthey tend to be more in tune with thecause and accepting of the core issues,including global climate change. Theyare also, as Banner indicates, the audienceof the future.This doesn’t mean that theatresneed to begin aggressively integratingenvironmental issues into theirwork. “Nobody wants shows that area rallying cry for the environment,”Banner says. “Nobody wants to hitaudiences over the head with it.” But,it is the inner workings of a theatre’soperations where real change can bemade — creating opportunities forthemselves and their communitiesin the process. “Theatres should bemaking a commitment in their operationsand their planning to reducingtheir impact on the environment, andtherefore, leading by example,” hesays.And for those of you who may thinkit’s too little too late, Banner has thisto say: “I’m a firm believer in optimismwhen it comes to this. If you present itas a creative challenge, as an opportunityto rethink, as an artistic challenge,then I think people will happily step upand come up with solutions.”

Feature|It shouldbe no surpriseto you by nowthat LEDs offermassive energysavings, and Chauvet’s mission statement,“exploring, finding and deliveringeco-friendlier alternatives to traditionallighting sources,” declares theirdedication to the technology and itsbenefits. But they don’t merely get thenod of being “green” simply becausethey sell one of the largest range of LEDproducts — they are also committedto incorporating green thinking intoevery aspect of their business. Chauvetis implementing paperless systems forinternal accounting and record-keeping,and has recently broken ground ona new headquarters and manufacturingfacility that will included such greentouches as the use of sustainable buildingmaterials and an extensive skylightsystem that will allow for minimal electriclight during daytime hours.ETCBy Jacob CoakleyManufacturing the GreenThese companies have dedicated themselves to thegreen philosophy, and are committed to making thetheatre world as environmentally friendly as possible.More are out there, and we’ll continue to spotlight greencompanies and initiatives in the coming months.ChauvetAnother companydedicated to beinggreen, both in productand philosophy, is ETC.Everyone is familiarwith the Source Four luminaire, and itspopularity also stems from the fact thatit’s a green fixture. Designers and techsoriginally liked the fixture because of itsoutput, but that highly efficient outputalso means that it takes less watts toproduce the lumens you need. Theircorporate culture also encourages greenthinking, with strong recycling guidelinesand initiatives for themselves andtheir business partners, with decisionsmade to harvest sunlight for their factoryheadquarters, using returnable shippingcontainers and reusable containers, aswell as following the EU’s Waste fromElectrical and Electronic Equipmentdirective, which regulates the processesfor safe disposal of electrical equipment.Clark Transfer GreenTouring ProgramBus and trucktours producethousands of tonsof carbon dioxide,a greenhouse gas.Clark Transfer, a “theatrical transportationand logistics service,” startedTouringGreen, a two-pronged programto combat this problem. Part of thatplan is an internal project to introducenew technologies and incentives tocurb their carbon emissions. The incentiveshelp their drivers — a fleet ofindependent contractors who actuallyown the trucks — make incrementalchanges to reduce the amount of dieselthey use for each haul. The secondhalf of their plan is a partnership withNativeEnergy, a provider of high-qualitycarbon offsets. Through NativeEnergy,participants in the TouringGreen programfund renewable energy projectsthat prevent at least the same amountof greenhouse gas emissions producedby shipping a show.Showman FabricatorsShowman Fabricators,incorporated sustainabilityinto their businesspractices by introducing“cradle-to-cradle” service— they will reclaim the set they builtfor you to recycle and reuse as much ofthe materials as possible, reducing landfills— and have created partnershipswith local schools and organizations tolet them utilize pre-worked materials.They are also committed to making surethose materials are gathered in the mostenvironmentally sensitive manner in thefirst place, getting wood that has beenForest Stewardship Council-certifiedand other goods that meet Green Sealstandards. They’ll even meet with clientsbefore a project has started and offertheir consulting services to find a way tomake it as green a show as possible.32 October 2008 •

for the art behind all those zeroes.Feature| By Bryan Reesman No, I think it’sBehind the SetIt may be all about the money, but David Korins still searchesCarol RoseggStew and his band rock out in front of Korins’ light wall in the recently closed Passing Strange.It’s not always easy to get insightful talk from Broadwayinsiders, but veteran Off-Broadway set designer DavidKorins, who has been making a smooth and steady transitionto the Great White Way, gave us the straight dope. A manwith a passion for creation and collaboration — check out thecolorful, multi-tiered light wall used to set the different moodsin the Amsterdam and Berlin sequences of Passing Strange —he has been active for eight years and worked on shows likethis summer’s Hamlet in Central Park and The Marriage ofBette and Boo at the Roundabout Theatre Company; delvedinto film and industrial design; and has been designing forthe new John Patrick Shanley play and helping bring Rentto Tokyo. Enthusiastic and engaging, Korins waxed eloquentabout the art of the stage designer, the state of the Broadwaymusical and the future of his chosen profession.Stage Directions: You keep quite busy, don’t you?David Korins: I’ve been pretty solidly doing three or fourshows a month. But you have to. You can’t afford to not doit. It’s not a financially ruminative situation. It’s just not. Youreally do have to keep many, many irons in the fire.I saw Passing Strange before it closed, which was great.Spike Lee filmed it, and someone suggested to me thatthe show was closing because many people anticipatedthe DVD release.because it waslimping alongfinancially. Thetruth is Off-Off-Broadway becameOff-Broadway, Off-Broadway becameBroadway, Broadwaybecame Vegas, andDavid KorinsVegas became circus. Something happened 10 years ago,and you’re not going to be a hit on Broadway unless youcan appeal to tourists — period. If you can’t bring your kidsto the show, and you don’t have a huge spectacle, you’regoing to have a hard time. Passing Strange is basically writtenfor people who read The New Yorker, and it’s a verydifficult sell. It’s a very literate play with references to JeanLuc Godard and Pier Paolo Pasolini, and it’s a really headything, even though at the root of it, it’s truly the Americanmusical. It’s a story about a boy and his mom, and a guygoing off to find his life and his dream through art. It hascommon themes that are couched in German performanceart pieces and Amsterdam drug trips. I feel like if you live inTopeka, Kan., and you’re coming here to see a show, you’regoing to see Phantom, Hairspray and Wicked.34 October 2008 •

FeatureCarol RoseggDaniel Breaker and the cast of Passing StrangeHollywood and Broadway are similarin that they’re all about the openingnumbers now. It’s harder for independentartists to get attention for theirwork these days. In Hollywood, rightnow, you have really huge hits orsurprise independent breakthroughslike Juno.When I moved to New York Cityand started doing work in theatreand film, there really was such a thingas a $500 show. You could really havea set built for very cheap and putthe thing up. The cost of materials,and for the larger shows the cost oflabor, have become so high that therisk is so high that there’s no longer asingle producer on a show. There arenow teams of producers. You read aPlaybill and see 30 names above thetitle. The risk is so high that I thinkthe product that they have to backalmost always winds up appealingto the lowest common denominatorbecause you have to be so broad withthe things that you’re presenting.Given the rising cost of shows thesedays, do you think that Broadwayproducers will start seeking younger,cheaper talent in scenic design?Our business is regulated by a union.Broadway shows are regulated by unionfee minimums, so there are very fewhigher-echelon designers who are ableto negotiate above and beyond whatthe union agreement is. It’s actually notsomething that happens on Broadway.Only in rare instances can people notcome to agreement for monetary reasons,for fee reasons. Then they’ll go tosomeone else, but more often than not,because of the labor agreements, it is aunionized standard.How about Off-Broadway?Off-Broadway it happens, althoughI feel like it’s much more driven by thematerials budget and the budgets forthe scenery for the show and not somuch what the fees are. The fees inthe theatre are honestly just so pooranyway that you’re saving $1,000 or$5,000 or something like that. It’s reallyabout how much money they’re lookingto spend on the show, and thenif someone takes on the project theyknow what they’re getting into. Anyonethat has experience working Broadwayor Off-Broadway in these kinds of situationswill ask what the budget is andknow what they’re getting into.Is it more challenging for youto design a Broadway or an Off-Broadway show?I think both have their challenges. AsI said before, the question is more whichtypes of plays get produced. I feel likewhile Broadway tends to have more traditionaltheatre arrangements, meaninga proscenium with a fly rail, there seemto be more physical challenges oftenwith an Off-Broadway production. Inother words, if you want something tofly in from the ceiling, but there is noway inherently in the physical structureof the building to do that, how do youmake something fly in? It’s more likesolving a puzzle. It’s really about whatthe play needs and how you need tosupport that visually. I think that bothhave extreme challenges.What advice would you give to aspiringor young scenic designers?I would tell a young scenic designerto see as much theatre as they possiblycan, and to try their best to support the

Carol RoseggStew confronts a younger version of himself (played by DanielBreaker) in Passing Strange.text as cleanly and purely as possibleand not try and do something that’sflashy. I feel like life is a marathon, not asprint, and the way that you do the bestwork is by supporting the text.Do you think that perhaps your job ischanging and that you’re required tointerface more with different departmentsin new ways, such as whenyou collaborated on the colorful lightwall for Passing Strange?I think that that has probably alwaysbeen the case. I think now there are ideasand methods that maybe toe the line orjump over the line in a different way. ButI think that it was always the case for setdesigners, costume designers and lightingdesigners to be great collaboratorsand cross-pollinate. What I’m finding isthat at different points in the process,I’m being asked to weigh in in differentcapacities. When I’m just draftingand building a model and conceivinga design, I’m just being a set designer,but I like to think of myself as a personthat is in deep collaboration with thelighting designer because I’m essentiallymaking sculpture and they’re basicallylighting it. I like to think of myself as aco-director because I’m making a sculpturethat people have to move throughand on and climb and be around. Howdoes that work, and how does that affectthe action and the dramaturgy and themental situation that these performersare in? If I make something that’s very,very slick, how does that affect the costumedesigners? I think that in the bestpossible worlds we’re all collaborating ineveryone’s • October 2008 37

Special Section: TrainingThe Art of EducationHow theatrical study guides can help teachers teach.Joe BorisAt the Young Audiences of Atlanta Share the World residency, Atlanta public school students use theperforming arts to explore and interpret themes of diversity and co-existence.By Bret LoveThere’s a snobbish theory that suggests that TV, videogames, the Internet and sensationalized tabloid mediahave dumbed down modern culture to the point thatour collective brains are incapable of understanding anythingthat requires our undivided attention.Regardless of where you stand on this pop culture debate,hardly anyone would argue that the job of those responsiblefor educating our kids has become increasingly difficult, requiringnovel approaches to reach minds accustomed to a multimediaonslaught of information. As a result, more and moreschools are turning to the theatre as a means of enhancingtheir curriculum, and more and more theatres are offering educationaloutreach programs to enhance both their relationshipwith the community and their bottom line.But how can theatres work with teachers to augment a traditionalclassroom education? We recently spoke with four educationspecialists to get their opinions: Alan Louis, the director ofmuseum and education programs at the Center for PuppetryArts in Atlanta; Myrna B. Lubin, associate director for YoungAudiences of Atlanta; Torrie McDonald, the literary and publicationsmanager at Seattle Children's Theatre; and John Stephens,artistic director for Atlanta’s Theatre Gael/WorldSong.Louis, whose theatre has mounted recent productionssuch as Duke Ellington’s Cat (which introduced students to thelegendary jazz composer/pianist/bandleader), suggests thattheatrical productions can enrich content students might otherwisefind boring. “Dramatizing history, science or literaturemakes the subject matter more real — and therefore morememorable — for kids,” he says.Reinforce ThemesIn order to academically reinforce the themes covered intheir productions, many theatres choose to provide studyStudents participate in Atlanta’s Center for Puppetry Arts Create-A-Puppet Workshopguides — packets of educational materials that may includeeverything from background information about the story toa detailed bibliography and/or Web sites related to the topicor author. But what separates a really great study guide froma mediocre one?“A good resource guide will first and foremost not causeany extra work for the teacher hoping to utilize it,” emphasizesMcDonald. “Ideally, education materials would supplyinformation to help prepare a class for coming to theshow and give some post-show exploration work as well. Ifyou've already given curriculum ties or your state's academicrequirements that will be met by seeing the show and workingon the guide, then supplying information on those topicsis key. Our guides always include informational bits as well asactivities and/or discussion questions.”Stephens, whose theatre’s recent productions includeGone For A Soldier (which tells the story of two friends whofind themselves on opposite sides in the American Civil War)and The Boy Who Would Be King (which follows the boyhoodhopes and dreams of Martin Luther King Jr.) emphasizes theneed for clear and creative curriculum connections, advocacyfor the arts as a tool for learning and, perhaps mostimportantly, a practical understanding of a busy classroomteacher’s needs and support through the discussion of specificeducational goals.“I see way too many study guides prepared by theatrecompanies that do little more than offer suggestions for38 October 2008 •

Special Section: Trainingclassroom activities,” concurs Louis. “Teachers don't havethe time to sit down and create a lesson plan based on yoursuggestions and then correlate the lesson to state-mandatedperformance standards. Do the work for them and they’remuch more likely to use your study guide in their classrooms.A study guide from your theatre can be a valuableresource for teachers if it is easy to use.”Follow Published GuidelinesLubin, associate director of one of 32 chapters of thenation’s largest arts-in-education company, lists the followingessential components for Young Audiences’ four-pagestudy guides: a brief program description, short bio of theartist/ensemble, background information about the art form,a list of pre-performance questions, post-performance questionsand discussion topics, suggestions for in-class follow-upactivities, a list of vocabulary words and a list of resources.She also references the Kennedy Center’s 1998 book,Giving Cues: Recommended Guidelines for Writing and DesigningPerformance Materials for Young People by John C. Carr andLynne B. Silverstein, which lists the following criteria for creatinggood study guides:• Performance materials should be written to be understoodby students and teachers who have little or no backgroundin the arts. Materials should not assume prior knowledgeof concepts, background information or specialized artsvocabulary.• Teachers operate within time constraints, and as a result,prefer materials that can be used in the classroom withminimal preparation… Since teachers select among items,materials should be written and organized in a modularway, rather than sequentially.• Teachers are accountable for teaching specific curriculum;they expect performance materials to have curriculumconnections.• Performance materials should be written from a problemfocusedperspective. In addition, materials should be student-centeredand activity-oriented. Materials should leadstudent to discover information, to explore processes, andto respond in critical and creative ways.• Performance materials should be written directly for studentsin grades 4 and above. Teachers report that students’preparation for performances is enhanced when materialsare written for and given to students... teachers report thatChris BennionMichael Place as Atreyu with Morla, the giant turtle, in Seattle Children’s Theatre’s production ofThe Neverending StoryJennifer Sue Johnson as Sophie and Charles Leggett as The BFG in The Big Friendly Giant at theSeattle Children’s Theatrestudents value receiving performance materials they canuse in class, keep and share with family members.• Performance materials should invite and hold readers’attention through their clarity and liveliness. Both teachersand students like materials that are lively and imaginative.Using different formats increases the number of ways contentcan be presented.• Teachers give greatest attention to performance materialsbefore students attend performances. Although teachersrecognize that follow-up is necessary, they report that thegreatest impact is achieved when students are preparedahead of time. While materials should include informationand activities for both before and after performances, morepreparation activities should be provided.• Teachers appreciate materials that demonstrate respect fortheir professionalism. Teachers reject materials that giveany hint of condescension.Why It WorksIn the end, all of our experts agreed that the combinationof well-done theatrical productions and well-made studyguides help to augment traditional classroom education andmake teachers’ jobs easier in the process.“A single performance, when supplemented by well-producedstudy guides, can enrich classroom content by making itmore interesting and relevant,” says Lubin. “A study guide canprovide a focus for a particular curriculum standard teachersmust teach, lead students to consider how art reflects society,and foster certain habits of mind such as applying past knowledge,thinking interdependently, creativity and innovation.Seeing a great play performed by talented actors is a multisensoryexperience that engages the audience member emotionallyas well as cognitively. A study guide can help studentsthink critically about why a play — or any other performanceor art exhibition — has touched them emotionally; understandthe playwright’s motivation and technical skills; and can inspirethem to explore their own creativity.”“Exposure to the arts is a valuable educational experiencein and of itself,” insists McDonald. “But resource material thatconnects basic curricula to whatever play teachers bringtheir students to deepens the understanding of both the artand the curriculum. The immediacy and relatability that livetheatre can bring to classroom work gives both teacher andstudents a vibrant avenue for critical thinking that is impossibleto find in traditional educational structures.”Chris Bennion40 October 2008 •

Special Section: TrainingScott GrollerEscape VelocityA few things to consider whenexamining grad schoolsBy Breanne GeorgeA scene from the 2008 CalArts production of PlateeIt behooves any artist making the leap to grad school toseriously consider what, exactly, they want to get out ofthe experience. They’ll need to judge between manydifferent programs to find the one that best suits theiraesthetic, style of learning and career goals. For some basicquestions that anyone considering grad school shouldexamine, check out Dave McGinnis’ article on page 48.(That goes for actors and directors, too.) Meanwhile, SDspoke with individuals at four prestigious grad programsin different areas of theatrical skills. They told us how theirprograms help students to launch into the real world, andwhat to look for when researching grad schools.Design and ProductionWhen choosing a graduate program in technical theatre,Seth Stewart, recruitment counselor at the Schoolof Theater at the California Institute of the Arts (CalArts),advises prospected students to consider how many productionsthe school puts on each year and if graduatestudents actually design the productions as opposed toassisting another designer or faculty member. “In our program,we only take in three designers in each discipline,”he says. “The School of Theater produces 20 to 30 showseach year, which gives students a lot of hands-on experience.”This hands-on experience gives students the ability tobuild their portfolios within the three-year program topresent their work at National Portfolio Day. The end-ofthe-yearevent is geared more toward the professionalcommunity and gives students the opportunity to exhibittheir work at the main gallery at CalArts in front of industryprofessionals. “We invite a host of industry professionalsin theatre, film, television and other arts arenas to lookat their work,” Stewart says. “This is the major organizedevent we have for students to network.”While company recruiters are commonplace at the event,heads of companies and higher ups also attend, usuallyfrom organizations with CalArts alumni or affiliations. Forexample, with the school’s strong affiliation with Disney(Walt Disney founded CalArts in 1961), Pixar Chief CreativeOfficer John Lasseter has come to past showcases.Students are required to attend the annual StudentTheatre Festival, where select productions have the opportunityto be mounted at the Edinburgh Fringe Festival. “It’sgreat because students work on the productions from theground up here at CalArts and have the opportunity toattend the Edinburgh Fringe Festival,” Stewart says. “Wetook 16 students in two different productions this year.”Internships, although not required, are highly encouragedwith the university’s strong ties to various artscompanies. CalArts has a partnership with the SundanceTheatre Lab, which many students take advantage of duringthe summer to work alongside stage managers, directorsand playwrights. The school also offers an internshipsponsored by the Academy of Motion Pictures, Arts andSciences, which will subsidize a student’s unpaid internshipwith a production company.“At CalArts, we really stress less of a structuredprogram and more of a professional environment. Weencourage students to be seeking work outside of theuniversity,” Stewart says.42 October 2008 •

DirectingAt the University of Washington’sSchool of Drama, faculty work withDirecting MFA students throughout thethree-year program to help them identifywhere they have maintained connectionsand tailor their professionalnetworks based on their desired locationand market.“We work with them to figure outwhether they need an introduction tosomeone high-profile in the area whomay find them a job in the next year,”says Valerie Curtis-Newton, head of thedirecting program at UW. “The goal isthat we help students make connectionsover their three years, and theydo their own work to develop thoserelationships. In the third year, we givethem the support to help those relationshipspay off.”If a student has a connection at a particulartheatre, faculty will work to bringin someone from that theatre to thestudent’s final thesis production heldat the School of Drama’s main stage.The productions can vary from avantgardeto classical text depending on thestudent’s artistic style, and is the majorevent to invite industry professionals.“Because we’re located so far away, wemake sure there are professional peopleboth locally and nationally who seetheir thesis shows,” Curtis-Newton says.Only two students are admitted eachyear; as a result, there is a lot of one-ononeinteraction with faculty, who arealso working professionals at local theatresas well as across the country. “Allthree of us work nationally, so wheneverwe work, our students have theopportunity to assist,” Curtis-Newtonnotes. “We try to introduce them to ourpersonal professional networks.”ActingThe Acting MFA program at RutgersUniversity’s Mason School of the Artsis an intensely structured three-yearprogram that focuses on prepping studentsfor the “real world.”After two years of solid training inacting, voice and movement, studentsbegin to focus on preparation for theiracting careers. A stream of agents andcasting directors come to the universityto hold practice auditions for students.As a result, students receive feedback ontheir performance from actually industryprofessionals to help improve theirauditioning and interviewing skills.Students spend their third yeardeveloping their showcase presentations,which are three to four minutescenes performed with their fellowstudents in front of a room fullof agents and casting directors. Theshowcases, called “agency nights,”are held both at the university andat a theatre in Manhattan’s LowerEast Side, which gives students aunique setting to perform.The agency nights require enormousprep work on behalf of students, andwith good reason. Deborah Headwall,acting instructor at Rutgers, reports thatas many as 150 agents can come tothe showcases, which take place duringseveral evenings in May.“We introduce them to all the agentsand casting people — that’s very successful,”she says. “They usually endup signing with agencies or gettinglots of meetings to become workingactors.” Check with acting programs • October 2008 43

Special Section: TrainingUT Austin students inthe 2007 production ofElephants’s Graveyardfind out how many of their grads haverepresentation shortly after graduating.Headwall reports that upwards of80 percent of graduate students haveagency representation by July followingtheir graduating year.Mark rutkowskiPlaywritingThe Playwriting MFA program atthe University of Texas at Austin isdesigned for those who want to “activelyexplore, study and deepen” the waythey make plays in the future, saysSteven Dietz, professor of Playwritingand Screenwriting. Prospective studentsshould know what their careergoals are upon graduation, he says,and what kind of theatrical aestheticthey want to be exposed to throughoutthe program. Playwriting MFA studentsare a “diverse and eclectic mix,”he says. “Many have run small theatrecompanies or worked as actors/directors/performersbefore deciding toget their MFA in playwriting.”Students create networks within theindustry through the playwriting faculty,who all work regularly in theatre.“Every opportunity is made to enablestudents to be in residence at professionaltheatres to watch their professorsat work,” Dietz says.To get their unpublished worknoticed, playwriting students have regularopportunities to present their playsto outside “professional respondents,”Dietz says, including directors, dramaturgesand playwrights who come tothe university to offer critiques andevaluations of students’ work. Studentscan also showcase their work at thebi-annual New Works Festival, which“brings national and professional artistsin contact with our grad playwrights,”Dietz reports.In addition, students have the abilityto see their work turned into UTstudent productions for the Mainstageseason, Lab Theatre season and a programcalled UT New Theater. LocalAustin theatres and annual festivals areother outlets in the region that solicitstudent work. “We expect students toplay a major role in the process of seeingtheir work presented on campus,and strongly encourage them to selfproduce— even on a small scale — ona regular basis,” Dietz says.44 October 2008 •

Special Section: TrainingWhat It Takes To Bea Theatre TeacherThree of the country’s most esteemed instructors share their approaches.By Lisa MulcahyIt goes without saying: To be a teacher, of any kind, is to be generous. An exceptional instructor imparts solidpractice, but the true greats are also eager to share their personal philosophies and life insights with theirstudents. Being a theatre teacher requires these attributes, plus another very important contribution — theirpersonal artistic experiences.What makes the following three teachers extraordinary isn't simply the fact that they each helm highly prestigioustraining programs, have forged lasting bonds with the graduates they mentor, or have honed cutting-edgeteaching methodology. It’s how each of them, as actors, directors and writers themselves, communicate and infusetheir love of live theatre in their students. Here, each of these great teachers talk about how they work.Dennis Krausnick, director of training atShakespeare and CompanySpeaking the SpeechDennis Krausnick's loveof Shakespeare has ledhim to become one of theBard's finest interpreters.A co-founder of the worldrenownedShakespeare& Company training programin Lenox, Mass.,Krausnick and his wife,the company's artisticdirector Tina Packer, andtheir master teachershave developed a uniquemethod that is focused on developing the actor's voice,as well as his/her intellect and imagination. Here he discusseshis training and technique.In NYU's MFA program, I was really blessed with brilliantteachers — Olympia Dukakis and Omar Shapley.I had enormous respect for these people and the factthat they were working actors and directors as well.Because of their example, I never had the idea that ifyou were teaching you were not doing.When I met Tina, she infused me with the excitementand vitality of actor training. In Shakespeare, there isno fourth wall — you must be attendant to the energyof the audience. Having the actor hold both realities —that of his craft and the audience's energy — gives him asense of intimacy with the audience. That's the sensibilitythat's truly developed itself in our program over thecourse of 30 years. In our laptop culture, we've diminishedthe power of our voices. A student in our programspends time working vocally and physically to unifybody, mind and soul. When you speak with the intelligenceof your body, you are speaking more fully andsharply than when you speak solely from the intellect,and the audience receives your spoken word differently,feeling the resonance of their own life experience.The greatest victories as a teacher are the onesyou don't know about. Really, I can't teach anybodyanything — it's not me who teaches a student, it's thestudent who learns, for whom a light bulb goes off ata future time and something they are doing correlateswith something I've told them. That's when learningtakes place.Never teach anything you haven't experienced inyour own body as an actor. Working with my students,I always have questions to ask as I watch them, and ifI think, “This question is too personal,” then that's thequestion I need to ask. This is another step in helpingan actor bring his individual voice to the text.Dennis Krausnick works with a student at Shakespeare & Company’s annual Month-Long • October 2008 45

Special Section: TrainingAvant-Garde Meets AcademicsAs director of Brown University’s graduate theatre programin Providence, R.I., Rebecca Schneider has demonstrateda commitment to fusing performance freedom withpractical study. Schneider's philosophy springs directlyfrom her time as an accomplished, highly innovative actor/dancer. Here she explains how she encourages her studentsto stay true to their individuality.I never was an anti-intellectual theatremaker. I'venever made the division between practice and theory.We don't do that in the Brown department — we focusinstead on the well-rounded education.I trained as an actress and as a dancer at NYU. I wascareful to find a college program that served as a crossfertilizationof art forms — one which would split evenlybetween physical training and theatre study. I realizedthat I could both think and do — in the moment, youcan, as an actor, perform as an artist, while at the sametime, use your intellectual skills within that performancework. I learned not to censor — to use anything, anythought or event, within my work. After college, I wasperforming in New York, and it was kind of amazingthat I was successful because some of my performanceart then became pretty out there. But to me, my experimentalexperiences were completely valuable. A failedexperiment is not a failed experience if you learn whatdoesn't work! I believe it's always important to push theboundary of what you know and what you can do.The step between the avant-garde and academia canbe an easy one to take. At Brown, we, as faculty, work hardso that there's no divide between theory and practice.Every single one of our faculty members makes work aswell as teaches, because we don't want our professors tobecome sedentary. It's a safe environment for risk-taking,and I am completely amazed by our great students —they are always eager to challenge themselves!Brown Theatre’s production of Hot ‘N’ Throbbing by Paula Vogel46 October 2008 •

Ellen Kaplan in rehearsal as Stump in A Larum forLondon, an anonymous play from the early 1600s.Teaching In the MomentEllen Kaplan hasalways reveled in hercreative talent — she’sbeen an acclaimedMethod actress as wellas a successful writer. Anoffer to teach then ledher to become the chairof Smith College's theatredepartment. Hereshe discusses the uniqueway she blends scholarlystructure with sheer exuberanceand passes onher enthusiasm to herstudents.As a teacher, obviously,my teachingphilosophy is built first on practical methodology.Spontaneity, though, is a very important element. Ilove to use those moments in class that come fromnowhere to teach — but if I say something or go in anunplanned direction, that spontaneity still grows outof my preparation, out of the fact that I've read everythingI can get my hands on and have planned out myteaching very carefully. It's like learning your lines ina play so well you can throw away the script and havefun improvising!To me, teaching is really allowing my students thespace to learn. I try not to get away from that philosophy,and started thinking I'm the expert — I teach withmy students, giving them all the tools they need, butthen they give back to me. Theatre is a way we canconnect to others. In a prison education program Irecently participated in, a prisoner I was working withsaid to me, “I am you and you are me.” I think that'sthe spark of life, and it's joyous — it's what theatrecan create.I recently acted in a Shakespearean piece in whichI played the clown, who arrives right before Cleopatrakills herself. I told a lot of jokes, but there was also thesurprise element that I was the messenger of deathas well. After this fact was revealed, I was walking offstageand heard someone in the audience gasp — itwas an audible response, showing that what I'd doneonstage was effective. When I teach, I look for thesame kind of visceral responses — a gasp, a laugh, awide-eyed look — and that shows me I have made animpact on my students. And in turn, teaching makesme a better artist! • October 2008 47

TD Talk By Dave McGinnis|Grad School GrindThinking about grad school? Should you be?Ifield a lot of questions from currentundergraduate theatre studentsregarding where they should go forgraduate school. In fact, right aroundthe October mark every year thesequestions seem to thicken around meuntil either I must address them or suffocateand be found under a blanketin my shop. The sad truth, however, isthat there is no easy “here’s-the-bestschool-to-go-to”answer, but there arequite a few questions potential graduatestudents need to ask themselves.1. Why do I want to go to grad schoolin the first place?If you can’t answer this question yet,then you probably shouldn’t go at thistime. Take it from someone who’s beenthere and done it. I started graduateschool at a place that didn’t work forme in a field that didn’t work for me —acting — at a time that I simply wasn’tready. In response, I did the responsiblething and left until the day camethat I was ready.It seems that students today struggleunder the weight of the urge tofinish early at all costs in all things, butgraduate school is not that kind of adecision. To this day, if I have a studentwhom I want to see in my ranks andwho wants to join them, but simplyis not ready, then I tell him/her, “Takesome time and work. We’ll still be herewhen the time comes.”Don’t forget that grad school’s notlike undergrad. Once you finish an MFAin Design, that’s it. You are now adesigner. You might direct, but you’rea designer who directs, not a directorwith an MFA in Design. Undergradhelps us learn our skills; grad schoolhelps us hone our craft.2. What do you want to get out ofyour graduate education?Potential graduate students in theatrecan be broken down into threebasic groups: those who need furthercredentials for work, those who don’tneed anything but want to improveand those who really shouldn’t bethere in the first place.We can obviously move forwardwithout too large of a nod to the lastgroup, as they have no idea what theywant and went to grad school because“it’s what you do.” The other two, however,merit a look.If you are a skilled, possibly evengifted, theatre artist already, thenwhat you may want to focus on islocation. Grad school can be an excellentway to place yourself close towhere the work you want to do is, atleast to start. It kills two birds, essentially— you get to further hone yourcraft and you get to skip that whole“moved to the city with nothing butfloss and a bus pass” phase.For those who know that they wantto hone their craft and do not carein the least about proximity to largemarkets, the task of choosing a gradprogram gets tricky. Without the giveawayof geography to protect one, thepotential student finds himself/herselfhaving to research grad programs oneby one. Some — but not all — of theelements to which I would pay closeattention are faculty backgrounds, seasons,facilities and current students.Check out the faculty. Do their interestsintersect with yours? Remember,undergrad is gone; you should be ableto make this kind of assessment now.I, for one, prefer to work on moreabstract projects, so I likely would notfocus on faculty who knew only classicsand considered all else a waste.They may be great, but we’ll neverlearn from one another.What kinds of seasons do they produce?Do their seasons lend themselvesto expansion of a student’s technicalrepertoire? My lighting designsalways focused on steep angles, harshshadows and bold movements. Thiswould cause a problem in a place thatfocused solely on modern realism. Goahead and feel around among currentstudents of a potential program.Ask them the unofficial questions. Findsome out on your own. Most importantly,trust your gut.All that said, grad school is a time tolearn, just like anything else. As you cantell, I always preferred more abstractprojects, but I should add a disclaimerto the statements above — be willing towork outside your comfort zone. I haveto admit that I learned more about howto execute abstract theatre after I finallymastered those good old classics.48 October 2008 •

Show Biz|By Tim CusackPerfect AttendanceBest practices for small theatres starting up an educational outreach programWhen I was in high school, I wasfortunate to have had a singularlygifted drama teacher whoinstilled in all of her students a love andappreciation for the great writers. Herinfluence on my life was so profound thatwhen I started my own company, it wasparamount that an educational componentbe included as part of its mission.Of course, this was also good businesssense — Theatre Askew’s youthprogram has attracted more financialsupport to date than our artistic endeavors.Ultimately, we do this work becausewe want to give today’s generation ofteens and young adults exposure to theunique combination of teamwork, imaginationand overcoming of emotionalobstacles that only theatre can provide.It’s a big responsibility working with kidswhile making your program also workfor your company.To get some, ahem, perspective froma person who’s had years of experienceworking in educational theatre, I satdown with Melody Brooks, the founderand artistic director of New PerspectivesTheatre in New York City, which started itseducation program before the companywas even incorporated. In 1991, Brookscreated what has remained the theatre’sintroductory series, Shakespeare’s Fools,Leading Ladies and Villains, three individualhour-long performances each focusing onone of those titular archetypal characters.Interspersed with the original textsis a prologue for each scene where theactors, using direct address, talk the audiencethrough what is about to happenbecause, Brooks says, “We don’t changethe language. Ninety percent of what kidsget in school is an updated, modernizedversion, and they don’t ever really get toexperience the language of Shakespeare.”For Brooks, the ideal presentationdoesn’t simplify the material for students,but it does provide lots of guidepostsalong the way and a lot of interaction. “It’sall about giving the kids a personal experience,so it’s not like the audience is outthere and we’re up here,” he says.Coming up with innovative, engagingtheatre programs for young audiencesis only part of the challenge,however. You also have to market, manageand effectively run them. Some ofBrook’s best practices include:Volunteering to go into a schoolyou’re interested in working at andoffering a free workshop for itsteachers. “If you can get the teachersengaged, then they become youradvocates within the school,” Brookssays. She also recommends seekingout PTA contacts and presentingthem with a proposal. They often haveaccess to discretionary funds and cansponsor performances.Diversifying your programming. Inaddition to performances, educators arehungry for other types of experientialarts events, such as acting, playwritingor design workshops. New Perspectiveseven offers a Shakespeare Bootcamp forteachers. Participants can earn credits forthe recertification process that all teachersare required to undergo every fewyears. Be sure to include as part of yourarts educational portfolio a range of programmingthat is suitable for differentage groups. The more options and areasof expertise you can offer administrators,the more likely youwill be to piquetheir interest.P a r t n e r i n gwith higher-profiletheatres. “Ifyou have somethingthat fitswithin the missionof one of the largercompanies, theymight incorporateyou under theirumbrella and sendyour work into thepublic schools,”counsels Brooks.Involving educationprofessionalswhen craftingyour proposals tomeet curriculumr e q u i r e m e n t s .Reach out to yourtheatre’s supportersand find peoplewho are willingto help you writeto the core competenciesyourprogram will needto address.Brooks strongly recommendsscouting out a school before performingand/or teaching at it.Familiarize yourself with its racial andethnic makeup. Make an effort toinclude actors in your program whoreflect the student population — “Wenever send artists into a school who arenot a diverse team because it makes ahuge difference,” she says.Learning when to say no. “If you gointo a school and the teacher is not in theclassroom with you, don’t do it. Insist thatthe school take that responsibility.”Having a financial backup. Brookscautions, “You need to have somewherewithal to survive until you getthe check because sometimes it’s takenus months and months to be paid.”Check with your local theatre servicesorganization, such as ART/NY, to see ifthey offer low-interest or interest-freeloans to cover any short fall, providedyou have a signed contract proving themoney’s on its way.

Off the Shelf|By Stephen PeithmanName DroppersNew books focus on theatre’s great creators — and charactersThis month’s roundup of newly published books focuseson well-known authors and playwrights.For its second edition, Arthur Miller, by Neil Carson, hasbeen revised, expanded and updated in the wake of the playwright’sdeath in 2005. Early plays, such as The Golden Years (1939)and The Man Who Had All the Luck (1944), are discussed, as well asthe more familiar All My Sons, Death of a Salesman, The Crucible, AView from the Bridge, After the Fall and The Price. Carson includesnon-theatrical writings and the later works, including Incident atVichy, The Creation of the World and Other Business and Playing forTime. He makes clear that the playwright spent most of his adult lifetrying to make sense of the events through which he and his friendsand family had passed. That struggle made for some of the greatplays of modern American theatre. [Palgrave Macmillan, $32.95]Edward Albee’s career began in 1958 with what was thena shocking play — The Zoo Story — and has continued to playa major role in American drama ever since. At the age of 80,Albee is still creating works for the theatre — most recentlya prequel to The Zoo Story — and his plays continue to drawaudiences in theatres across the country. In his new book,Edward Albee, Toby Zinman provides straightforward analysesof Who’s Afraid of Virginia Woolf, A Delicate Balance, ThreeTall Women and The Goat, as well as lesser known works. As aresult, the book is comprehensive, yet concise, shedding lighton the playwright’s recurring themes of sex, death, lonelinessand time. [$18.95, University of Michigan Press]OK, let’s face it — not every theatre person is fully conversantwith Shakespeare’s plays, even though most of us are well awareof their importance. To the rescue comes The Complete Idiot’sGuide to Shakespeare’s Plays by Cynthia Greenwood. Wellthought-out, informative and fun to read, it covers the essentialcomedies, histories, tragedies and romances in sufficient detail togive a basic understanding of their plots, characters and themes.In addition, Greenwood discusses Shakespeare’s England, hiswork in the theatre and how the plays came to be published.There’s also insight into Shakespearean performance, a rundownon the lesser-known plays and a glossary of ElizabethanEnglish. It’s an impressive package. [$18.95, Alpha Books]As with Shakespeare, most of us have only a scattering ofknowledge about opera, even though it continues to be a goingconcern on stages around the world. First published in 1961,the newly revised Opera Companion continues to be the mostuseful and enjoyable introduction for beginners and a usefulreference book for opera lovers, devoted or casual. AuthorGeorge Martin focuses first on the mechanics of the art form —overture, melody, aria and recitative; the operatic voice as bothan artistic and mechanical instrument; the orchestra and how itpartners with the singers; and the contributions of Verdi, Pucciniand other great composers. He then provides synopses of 47 keyoperas, a catalog of major works (including lists of composersand librettists) and a helpful glossary. [$19.95, Amadeus Press]Books on great playwrights, actors and directors aren’tunusual, but the role of the producer is often ignored — ortreated dismissively as merely financial rather than creative.However, as former SD Editor Iris Dorbian makes clear in GreatProducers: Visionaries of the American Theater, the truly greatproducers have wielded considerable power, and brought adistinctive style to their productions. She profiles such largerthan-lifepersonages as David Belasco, Florenz Ziegfeld, DavidMerrick, Joseph Papp, Fran Weissler and Cameron Mackintosh,among others — all of whom were (or are) actively involved inevery aspect of their shows. Expertly blending research and personalinterviews, Dorbian isn’t interested in dishing the dirt onthese people, but rather in how they “learned from their errorsand… leveraged their hard-won wisdom into bigger and bettershows.” It’s that ability, she explains, that holds the secret of theirgreatness. The author’s affection for these figures is obvious, asis her interest in the current and next generation of producers.Ignore the lackluster cover — this is an enjoyable and informativeread. [$24.95, Allworth Press]Weary of Webber? Satiated with Sondheim? Hung up onHerman? Perhaps it’s time for Neil Gould’s Victor Herbert: ATheatrical Life, the first comprehensive portrait of an importantbut misunderstood early genius of American musical theatre.Born in Dublin and educated in Austria, Herbert came to the a cellist and conductor. He wrote the music for his first operettain 1894, and by his death in 1924, was the acknowledged masterof the form, with such enduring classics as Naughty Mariettaand The Red Mill. In later years, the word “operetta” itself becamesuspect — even though such great Broadway musicals as ShowBoat and Carousel clearly reflect Herbert’s influence. Instead of achronological discussion of the composer’s life and work, Gouldprovides the biography first, then discusses Herbert’s musicaloutput. This has the advantage of first setting the context forthe composer’s accomplishments, but it also means that readersmay find themselves flipping back and forth to clarify certainpoints. That said, Gould’s book is both thorough and enjoyable,and we come away with an appreciation for Herbert’s talent,and his innovation of more closely integrating music and book.[$44.95, Fordham University Press]50 October 2008 •

The Play’s the Thing|By Stephen PeithmanAct Your AgePlays for kids and overgrown kidsThere’s a bit of child in all of us, no matter what our age. So,this month’s collection of recently released plays focuseson plays for and about young people, plus several aboutadult characters who have yet to grow up.Classroom theatre helps young people make importantconnections between acting and reading, writing, social studies,art, music and history as they explore ideas from differenttimes and different worlds. And if you want the best for yourkids, what better source than the master playwright himself?In Shakespeare with Children: Six Scripts for Young Players,Elizabeth Weinstein has adapted and abridged a half-dozenplays for actors aged 8-13. Each piece can be performed in about40 minutes and, despite major cuts, all retain the heart of theirstories as well as Shakespeare’s poetic language. Weinstein’sselection is surprisingly eclectic: A Midsummer Night’s Dream,Macbeth, Henry IV Part I, Twelfth Night, Romeo and Juliet andThe Tempest. She provides a critical overview for each play, aswell as suggestions for backdrops, costumes, props and music.Appendices include a brief biography of Shakespeare, a bibliographyand a sample letter for the students’ parents or guardians.[$19.95, Smith and Kraus]Music Theatre International now offers a young person editionof the musical A Year with Frog and Toad, adapted as asmall-cast, one-act version to be performed by adults for children.MTI has also begun licensing school editions of SweeneyTodd and Rent with lyric and key changes to facilitate highschool productions. (And for overgrown kids, MTI is now offeringMel Brooks’ The Producers.)Pat Jordan’s Every Teacher’s Friend: Classroom Plays, Vol.2, is a collection of 11 short plays based on Greek and Romanmythological characters, such as Pandora, Pegasus, Icarus,Hercules and King Midas. Jordan’s scripts are highly flexible andcan be configured for small or large casts, with a variety of rolesfor lead characters, ensemble or smaller parts, plus optionalcharacters that can be added or subtracted with no complicatedchanges. In addition, there is guidance concerning characters,time and place, props, sets and costumes — as well as a samplelesson plan and help with content area standards conformance.[Players Press]Christopher Durang’s Miss Witherspoon is a contemplativefarce about regaining the faith and optimism of childhood.Veronica, scarred by too many failed relationships andan increasingly frightening world, commits suicide. She findsherself in the netherworld of Tibetan Buddhism where forceskeep trying to make her reincarnate. Chief among these is astrong-willed Indian spirit guide named Maryamma, who dubsVeronica “Miss Witherspoon,” because her negativism is reminiscentof an Agatha Christie–style “bothersome Englishwoman.”Miss W resists returning to the scary world she left behind, butMaryamma calls in reinforcements — Gandalf and Jesus (whoappears in the form of an African American woman in a big“going to church” hat). As a result, Miss W returns to earth severaltimes — including reincarnation as a cranky baby and a ballfetchingdog. In the end, she finds her own way to make senseof life, and finally agrees to return to earth to save herself — andthe planet. It’s over the top, yet remarkably engaging and ultimatelymeaningful in its take on life and death. Cast requires fourwomen, one man, with doubling. [Broadway Play Publishing]Youngsters figure prominently in New Playwrights: The BestPlays of 2007, a collection of work by some of America’s mostpromising new playwrights. BFF, by Anna Ziegler, focuses ontwo teenaged girls — one who comes to a tragic end, and theother who keeps her memory alive by becoming her. The centralcharacter of Dark Play or Stories for Boys, by Carlos Murillo, is ateenaged computer whiz who invents an alter ego in order tolure another boy into his fantasy world. In No Child, by Nilaja Sun,a beleaguered substitute teacher is assigned to the inner cityhigh school from hell, where she must work with the school’smost incorrigible students in order to present a play. The titlecharacter of Kathryn Walat’s Victoria Martin: Math Team Queenbecomes the first girl ever on her high school’s math team —wreaking havoc with the team’s all-male dynamic. Other plays inthis diverse collection include Intellectuals, by Scott Sickles, ThePain and the Itch, by Bruce Norris, and Living Room in Africa, byBathsheba Doran. Performance rights information included foreach play. [Smith and Kraus]Qui Nguyen’s Men of Steel takes the comic book superherogenre and turns it on its head. Its five courageous crusaders areflawed, moody and ambivalent about their powers, and its villainis more interested in making threats than carrying them out.The story focuses on the friendship between Captain Justice anda wealthy playboy named Maelstrom, and their attempt to savetheir neighborhood from an escalating series of violent crimes.Captain Justice’s sidekicks include Bryant — a drag queen witha heart of gold and a body of lead — and Lady Liberty, whomay be another Wonder Woman or merely a public relationsgimmick. Daffy and delightful, Men of Steel requires a fight directorand a strong team of designers for sets, lights, sound andcostumes. Five males, two females, all doubling parts. [BroadwayPlay Publishing] • October 2008 53

AlabamaAlabama StateUniversityTheatre Arts Dept.915 S Jackson St.Montgomery, AL 36101P: 334-229-6929F: 334-229-6933W: www.alasu.eduAuburn University,AuburnDept. of Theatre211 Telfair Peet TheatreAuburn, AL 36849-5422P: 334-844-4748F: 334-844-4743W: University,MontgomeryCommunication andDramatic ArtsP.O. Box 244023Montgomery, AL36124-4023P: 334-244-3379F: 334-244-3740W: College- Theatre StudiesProgram1500 East Fairview Ave.Cloverdale/box 367Montgomery, AL 36106P: 334-833-4438W: www.huntingdon.eduUniversity of AlabamaTheatre/Dance Dept.Box 870239115 Rowand-JohnsonHallTuscaloosa, AL 35487-0239P: 205-348-5283W: ofMontevalloDiv of Theatre6210 Univ ofMontevalloMontevallo, AL 35115P: 205-665-6200W: of SouthAlabamaDept. of Dramatic ArtsPac Rm. 1052Mobile, AL 36688P: 251-460-6305W: of AlaskaAnchorageDept. of Theatre andDance3211 Providence Dr.Anchorage, AK 99508P: 907-786-1792F: 907-786-1799W: theatre.uaa.alaska.eduUniversity of AlaskaFairbanksTheatre UAF302 Great HallFairbanks, AK 99775P: 907-474-6590W: StateUniversityHerberger School ofTheatre and Film232 Dixie GammageHallP.O. Box 872102Tempe, AZ 85287-2102P: 480-965-5337F: 480-965-5351W: ArizonaUniversityDept. of TheatreBox 6040Bldg. 37/Rm. 120Flagstaff, AZ 86011P: 928-523-3781W: of ArizonaSchool of Theatre ArtsP.O. Box 2100031025 N Olive Rd.,Drama Bldg., Rm. 239Tuscon, AZ 85721-0003P: 520-621-7008W: Dell ‘ArteP.O. Box 251505Little Rock, AR 72225-1505P: +39 501-227-5063W: RepertoryTheatre601 Main St.P.O. Box 110Little Rock, AR 72201P: 501-378-0445W: www.therep.orgLyon CollegeTheatre Dept.P.O. Box 23172300 Highland Rd.Batesville, AR 72503P: 870-307-7000W: www.lyon.eduSouthern ArkansasUniversity, MagnoliaDept. of Theatre & MassCommunication100 E UniversityMagnolia, AR 71754-9203P: 870-235-4000W: of ArkansasJ. William FulbrightCollege of Arts &Sciences619 Kimpel HallFayetteville, AR 72701P: 479-575-2953F: 479-575-7602W: of Arkansasat Little RockDept. of Theatre & Dance2801 S University Ave.CPA 130Little Rock, AR 72204P: 501-569-3291W: of CentralArkansasMass Communicationand Theatre Dept.201 Donaghey Ave.Harrin Hall 224Conway, AR 72035P: 501-450-3162F: 501-450-5555W: Hancock College800 S College Dr.Bldg. FSanta Maria, CA 93454P: 805-922-6966W: www.hancockcollege.eduAmerican Academy ofDramatic Arts, CA1336 N La Brea Ave.Hollywood, CA 90028P: 323-464-2777F: 323-464-1250W: www.aada.orgAmericanConservatory Theater(ACT)30 Grant Ave. Sixth Fl.San Francisco, CA94108-5800P: 415-439-2228W: www.actactortraining.orgAmerican Musical &Dramatic Academy, CA6305 Yucca St.Los Angeles, CA 90028P: 866-374-5300F: 323-469-3350W: www.amda.eduBurning Wheel601 East Edgeware Rd.Los Angeles, CA 90026P: 213-250-5689W: www.burningwheel.netCal Poly PomonaTheatre Dept.3801 W Temple Ave.Bldg. 25Pomona, CA 91768P: 909-869-3900F: 909-869-3184W: CaliforniaInstitute of The Arts24700 Mcbean Pkwy.Valencia, CA 91355-2397P: 661-253-7808F: 661-255-0462W: Theater701 Heinz Ave.Berkeley, CA 94710P: 510-548-3422F: 510-843-9921W: www.calshakes.orgCalifornia StatePolytechnicUniversity, PomonaTheatre Dept., CSUPomona3801 W Temple Ave.Bldg. 25Pomona, CA 91768P: 909-869-3900F: 909-869-3184W: StateSummer School ForThe Arts1010 Hurley WaySte. 185Sacramento, CA 95825P: 916-445-8919F: 916-274-5814W: www.innerspark.usCalifornia StateUniversity, BakersfieldMusic Bldg. 1029001 Stockdale Hwy.Bakersfield, CA 93311-1099P: 661-654-2782W: www.csub.eduCalifornia StateUniversity,Dominguez HillsDept. of Theatre1000 E Victoria St.Carson, CA 90747P: 310-243-3696W: www.csudh.eduCalifornia StateUniversity, East BayTheatre and DanceDept.25800 Carlos Bee Blvd.Hayward, CA 94542P: 510-885-3118F: 510-885-4748W: StateUniversity, FresnoTheatre Arts Dept.5201 North Maple Ave.M/s Sa46Fresno, CA 93740-8027P: 559-278-3987W: StateUniversity, FullertonDept. of Theatre andDance

Feature Title| BylineP.O. Box 6850Fullerton, CA 92834-6850P: 714-278-3628F: 714-449-7041W: StateUniversity, LongBeachDept. of Theatre Arts1250 Bellflower Blvd.Long Beach, CA 90840P: 562-985-5357F: 562-985-2263W: StateUniversity, NorthridgeTheater Dept.18111 Nordhoff St.Northridge, CA 91330P: 818-677-3086W: StateUniversity,SacramentoDept. of Theatre andDance6000 J St. - Shasta HallSacramento, CA 95819-6069P: 916-278-6368F: 916-278-5681W: State University,San BernardinoDepartment of TheatreArts5500 UniversityParkwaySan Bernardino, CA92407P: 909-537-5876F: 909-537-7016W: theatre.csusb.eduCalifornia StateUniversity, StanislausOne University CircleTurlock, CA 95382P: 209-667-3451F: 209-664-3782W: MakeupSchool3780 Wilshire Blvd.3rd Fl.Los Angeles, CA 90010P: 213-368-1234F: 213-739-0819W: www.cinemamakeup.comColumbia CollegeHollywood18618 Oxnard St.Tarzana, CA 91356-1411P: 800-785-0585W: columbiacollege.eduCornerstone TheaterCompany708 Traction Ave.Los Angeles, CA 90013P: 213-613-1700F: 213-613-1714W: www.cornerstonetheater.orgDe Anza CollegeCreative Arts Division21250 Stevens CreekBlvd.Cupertino, CA 95014P: 408-864-5678W:’ArteP.O. Box 816Blue Lake, CA 95525P: 707-668-5663F: 707-668-5665Foothill College- Fine Arts andCommunicationDept. of TheatreTechnology12345 El Monte Rd.Los Altos Hills, CA94022P: 650-949-7777W: www.foothill.fhda.eduGlendale CommunityCollege - Theatre ArtDepartment1500 North Verdugo Rd.Glendale, CA 91208P: 818-240-1000F: 818-549-9436W: StateUniversityDept. Theatre, Film &DanceTheatre Arts Bldg. -Rm. 201 Harpst St.Arcata, CA 95521-8299P: 707-826-3566F: 707-826-5494W: ArtsAcademy52500 Temecula Dr.P.O. Box 38Idyllwild, CA 92549P: 951-659-2171W: www.idyllwildarts.orgInstitute For ReadersTheatreP.O. Box 421262San Diego, CA 92142P: 858-277-4274F: 858-277-4222W: www.readerstheatreinstitute.comJoe Blasco Cosmetics,West1670 Hillhurst Ave.Hollywood, CA 90027P: 323-467-4949F: 323-664-1834W: www.joeblasco.comLos Angeles CityCollege TheatreAcademy855 N Vermont Ave.Los Angeles, CA 90029P: 323-953-4000F: 323-953-4500W: theatreacademy.lacitycollege.eduLoyola MarymountUniversityDept. of Theatre Arts1 LMU Dr.Los Angeles, CA 90045P: 310-338-2700W: www.lmu.eduMonterey PeninsulaCollegeDrama Dept.980 Fremont St.Monterey, CA 93940P: 831-646-4000F: 831-646-4277W: www.mpc.eduOccidental CollegeDept. of Theater1600 Campus Rd.Los Angeles, CA 90041-3314P: 323-259-2500W: www.oxy.eduPCPA / PacificConservatory ofPerforming ArtsAllan Hancock CollegePCPA Theaterfest.800 S College Dr.Santa Maria, CA 93454-6399P: 805-928-7731F: 805-928-7506W: www.pcpa.orgPomona College300 E Bonita Ave.Dept. of Theatre &DanceClaremont, CA 91711P: 909-621-8186F: 909621870W: College -Fine Arts Division28000 MargueritePkwy.Mission Viejo, CA 92692P: 949-582-4500W: Mary’s CollegeDept. of English andDramaP.O. Box 47301928 Saint Mary’s Rd.Moraga, CA 94575P: 925-631-4000W: www.stmarys-ca.eduSan Diego StateUniversityDept. of TheatreCollege of ProfessionalStudies5500 Campanile Dr.San Diego, CA 92182-7601P: 619-594-5091F: 619-594-7431W: theatre.sdsu.eduSan Francisco StateUniversityDept. of Theatre Arts1600 Holloway Ave.San Francisco, CA94132P: 415-338-7758W: Jose StateUniversityDept. of Television,Radio, Film and TheatreHugh Gillis Hall Rm. 100San Jose, CA 95192P: 408-924-4530W: www.tvradiofilmtheatre.comSanta Ana CollegeTheatre Arts Dept.1530 W 17th St.Santa Ana, CA 92706P: 714-564-6000F: 714-564-5665W: www.sac.eduSanta Clara UniversityDept. of Theatre &Dance500 El Camino RealSanta Clara, CA 95053P: 408-554-4989W: Monica College1900 Pico Blvd.Santa Monica, CA90405P: 310-434-4319W: StateUniversityTheatre and DanceDept.1801 E Cotati Ave.Rohnert Park, CA 94928P: 707-664-2235W: CoastRepertory655 Town Center Dr.P.O. Box 2197Costa Mesa, CA 92628-2197P: 714-708-5500F: 714-545-0391W: www.scr.orgSouthwestern College900 Otay Lakes Rd.Chula Vista, CA 91910P: 619-421-6700W: www.swccd.eduStanford UniversityDept. of DramaMemorial Hall, Rm. 144551 Serra MallStanford, CA 94305P: • October 2008 55

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F: 650-723-0843W: MakeupAcademy1438 N Gower St. #14Hollywood, CA 90028P: 323-465-4002W: www.studiomakeupacademy.comThe Old Globe1363 Old Globe WaySan Diego, CA 92101-1696P: 619-231-1941F: 619-231-5879W: www.oldglobe.orgThe WestmoreAcademy of CosmeticArts916 W Burbank Blvd.Ste. RBurbank, CA 91506P: 877-978-6673W: www.westmoreacademy.comThe Will GeerTheatricumBotanicum1419 N TopangaCanyon Blvd.Topanga, CA 90290P: 310-455-2322W: www.theatricum.comTheatre ArtsProductions/Spotlight Theatre1622 19th St.Bakersfield, CA 93301P: 661-634-0692W: www.spotlighttheatreandcafe.comTheatre Arts VideoLibrary174 Andrew Ave.Leucadia, CA 92024P: 800-456-8285F: 760-632-6859W: www.theatreartsvideo.comUniversity ofCalifornia, DavisDept. of Theatre andDance222 Wright HallOne Shields Ave.Davis, CA 95616P: 530-752-0888F: 530-752-8818W: theatredance.ucdavis.eduUniversity ofCalifornia, BerkeleyDept. of Theater, Dance& Performance Studies101 Dwinelle AnnexBerkeley, CA 94720P: 510-642-1677W: theater.berkeley.eduUniversity ofCalifornia, IrvineDept. of DramaIrvine, CA 92697-2775P: 949-824-6614W: drama.arts.uci.eduUniversity ofCalifornia, LosAngelesSchool of Theater, Filmand Television102 E Melnitz HallBox 951622Los Angeles, CA 90095P: 310-825-5761W: www.tft.ucla.eduUniversity ofCalifornia, Riverside900 University Ave.Riverside, CA 92521-0324P: 951-827-1012W: ofCalifornia, San DiegoDept. of Theatre andDance9500 Gilman Dr.,Mc0344La Jolla, CA 92093P: 858-534-3791W: theatre.ucsd.eduUniversity ofCalifornia, SantaBarbaraTheater & DanceMail Code 7060552 University Rd.Santa Barbara, CA93106-7060P: 805-893-3241F: 805-893-7029W: www.dramadance.ucsb.eduUniversity ofCalifornia, Santa CruzTheater Arts Dept.J-106 Theater ArtsCenterSanta Cruz, CA 95064P: 831-459-4075W: theater.ucsc.eduUniversity of La VerneDept. of Theatre Arts1950 3rd St.La Verne, CA 91750P: 909-593-3511W: of SanDiegoUSD MFA ProgramP.O. Box 122171San Diego, CA 92112P: 619-260-4524W: www.globemfa.orgUniversity ofSouthern CaliforniaSchool of Theatre1029 Childs WayLos Angeles, CA 90089P: 213-740-1286F: 213-740-8888W: theatre.usc.eduUniversity of ThePacific, Stockton3601 Pacific Ave.Drama Bldg.Stockton, CA 95211P: 209-946-2011W: www.pacific.eduUS Performing ArtsCamps100 Meadowcreek Dr.,Ste. 102Corte Madera, CA94925P: 888-497-3553W: www.usperformingarts.comWestmore Academyof Cosmetic Arts916 W Burbank Blvd.Ste. RBurbank, CA 91506P: 877-978-6673F: 818-562-6617W: www.westmoreacademy.comWill Geer TheatricumBotanicum1419 N TopangaCanyon Blvd.Topanga, CA 90290P: 310-455-2322F: 310-455-3724W: www.theatricum.comColoradoMetropolitan StateCollege of DenverThe Dept. ofCommunication Arts &SciencesCampus Box 34P.O. Box 173362Denver, CO 80217P: 303-556-3033F: 303-556-3409W: www.mscd.eduNaropa UniversityPerforming Arts Ctr.2130 Arapahoe Ave.Boulder, CO 80302P: 303-444-0202F: 303-444-0410W: www.naropa.eduPerry MansfieldPerforming ArtsSchool & Camp40755 Routt CountyRd. 36Steamboat Springs, CO80487P: 970-879-7125F: 970-879-5823W: www.perrymansfield.orgPikes Peak

Community CollegeDept. of PerformingArts5675 S Academy Blvd.Colorado Springs, CO80906P: 800-456-6847W: www.ppcc.cccoes.eduRocky MountainTheatre For Kids5311 Western Ave.Ste. DBoulder, CO 80301P: 303-245-8150F: 303-245-0152W: www.theaterforkids.netThe Denver Center ForThe Performing ArtsNational TheatreConservatory (NTC)101 13th St.Denver, CO 80204P: 303-893-4000W: www.denvercenter.orgUniversity of ColoradoTheatre/Dance Dept.261 UCBBoulder, CO 80309P: 303-492-7355F: 303-492-7722W: of Coloradoat DenverThe College of Arts &MediaCampus Box 162P.O. Box 173364Denver, CO 80217-3364P: 303-556-2279F: 303-556-2335W: of DenverDept. of Theatre2199 S University Blvd.Denver, CO 80208P: 303-871-2518F: 303-871-2505W: ofNorthern ColoradoSchool of Theatre Arts& DanceCampus Box 49Greeley, CO 80639P: 970-351-2991F: 970-351-4897W: arts.unco.eduConnecticutCentral ConnecticutState UniversityCCSU Dept. of Theatre1615 St.anley St.New Britain, CT 06053P: 860-832-3150W: CollegeDept. of Theater270 Mohegan Ave.Box 5512New London, CT 06320P: 860-447-1911W: www.conncoll.eduFairfield UniversityDept. of Visual &Performing Arts1073 N Benson Rd.Fairfield, CT 06824P: 203-254-4000W: www.fairfield.eduO’Neill NationalTheater InstituteEugene O’Neill TheaterCenter305 Great Neck Rd.Waterford, CT 06385P: 860-443-7139F: 860-444-1212W: ConnecticutState UniversityTheatre Dept.501 Crescent St.New Haven, CT 06515P: 203-392-6100F: 203-392-6105W: Thomas MoreSchool85 Cottage Rd.Oakdale, CT 06370P: 203-859-1900W: www.stmct.orgTrinity CollegeDept. of Theater &Dance300 Summit St.Hartford, CT 06106P: 860-297-2000F: 860-297-5380W: ofConnecticutDept. of Dramatic Arts802 Bolton Rd.,Unit 1127Storrs, CT 06269P: 860-486-4025F: 860-486-3110W: www.drama.uconn.eduUniversity of HartfordThe Hartt School200 Bloomfield Ave.West Hartford, CT06117-1599P: 860-768-4454F: 860-768-4441W: harttweb.hartford.eduWesleyan UniversityTheater Dept.275 Washington TerraceMiddletown, CT 06459P: 860-685-2950W: ConnecticutState University181 White St.Danbury, CT 06810P: 203-837-8258W: UniversitySchool of DramaP.O. Box 208325New Haven, CT 06520P: 203-432-1507F: 203-432-9668W: Drama.yale.eduDelawareUniversity ofDelawareDept. of Theatre413 Academy St.Newark, DE 19716P: 302-831-2201F: 302-831-3673W: ofColumbiaAmerican UniversityDept. of PerformingArts4400 MassachusettsAve. NWWashington, DC 20016-8053P: 202-885-3429F: 202-885-1092W: University ofAmerica620 Michigan Ave. NEWashington, DC 20064P: 202-319-5358F: 202-319-5359W: Drama.cua.eduGallaudet UniversityTheatre Arts Dept.,Elstad Annex800 Florida Ave. NEWashington, DC 20002P: 202-651-5501F: 202-651-5272W: WashingtonUniversityThe Columbian Collegeof Arts & Sciences800 21st St. NWSte. #227Theatre Dept.Washington, DC 20052P: 202-994-8072F: 202-994-9403W: UniversityDept. of Theatre Arts2455 6th St., NWWashington, DC 20059P: 202-806-7050F: 202-806-9193W: John F. KennedyCenter For ThePerforming Arts2700 F St., NWWashington, DC 20566P: 800-444-1324W: www.kennedycenter.orgThe NationalConservatory ofDramatic ArtsDramatic Arts1556 Wisconsin Ave.NWWashington, DC 20007P: 202-333-2202F: 202-333-1753W: www.theconservatory.orgThe Studio Theatre1501 14th St., NWWashington, DC 20005P: 202-232-7267F: 202-588-5262W: www.studiotheatre.orgFloridaAsolo RepertoryTheatreFSU/AsoloConservatory5555 N Tamiami TrailSarasota, FL 34243P: 941-351-9010W: www.asolo.orgEckerd College4200 54th Ave. STheatre Dept.St. Petersburg, FL 33711P: 800-456-9009F: 727-864-7890W: AtlanticUniversity, BocaRatonCollege of Arts andLettersDept. of Theatre777 Glades Rd.Boca Raton, FL 33431P: 561-297-3000F: 561-297-2180W: www.fau.eduFlorida Gulf CoastUniversity10501 FGCU Blvd. S.Fort Meyers, FL 33965-6565P: 239-590-1000W: www.fgcu.eduFlorida InternationalUniversityHerbert and NicoleWertheim PerformingArts CenterUniversity Park Campus11200 SW 8th St.Miami, FL 33199P: 305-348-2895F: 305-348-1803W: School of TheArtsSt. Johns RiverCommunity College5001 St. Johns Ave.Palatka, FL 32177P: 386-312-4300F: 386-312-4306W: www.floarts.orgFlorida SouthernCollegeDept. of Theatre111 Lake HollingsworthDr.Lakeland, FL 33801-5698P: 863-680-4209W: www.flsouthern.eduFlorida StateUniversitySchool of Theatre239 Fine Arts Bldg.Tallahassee, FL 32306P: 850-644-7257F: 850-644-7408W: theatre.fsu.eduFlorida Studio Theatre1241 North Palm Ave.Sarasota, FL 34236P: 941-366-9000W: www.floridastudiotheatre.orgFull Sail3300 University Blvd.Winter Park, FL 32792P: 800-226-7625W: www.fullsail.comJacksonvilleUniversityDept. of Theatre2800 University Blvd. NJacksonville, FL 32211P: 904-256-8000W: www.ju.eduLovewell Institute2805 E Oakland ParkBlvd.Ste. 224Fort Lauderdale, FL33306P: 954-270-6452W: www.lovewell.orgMiami Dade College300 NE 2nd Ave.Miami, FL 33132-2204P: 305-237-8888W: www.mdc.eduNew World School ofThe ArtsTheater Division300 NE 2nd Ave.Miami, FL 33132-2297P: 305-237-3135F: 305-237-3794W: ShakespeareTheater812 E Rollins St.Orlando, FL 32803P: 407-447-1700W: www.orlandoshakes.orgPalm Beach AtlanticUniversityTheatre Arts Dept.901 S Flagler Dr.West Palm Beach, FL33401P: 561-803-2000W: CollegeDept. of Theatre &Dance1000 Holt Ave. - 2735Winter Park, FL 32789-4499P: 407-646-2145W: of CentralFlorida4000 Central FloridaBlvd.P.O. Box 162372Orlando, FL 32816P: 407-823-2000W: of FloridaCollege of Fine ArtsSchool of Theatre &DanceP.O. Box 115900Gainesville, FL 32611P: 352-273-0500F: 352-392-5114W: www.arts.ufl.eduUniversity of MiamiDept. of Theatre ArtsP.O. Box 248273Coral Gables, FL 33124-4820P: 305-284-4474F: 305-284-5702W: of SouthFloridaSchool of Theatre &Dance4202 E Fowler Ave.Tar 230Tampa, FL 33620P: 813-974-2701W: theatreanddance.arts.usf.eduUniversity of Tampa401 W Kennedy Blvd.Tampa, FL 33606P: 813-253-3333W: www.ut.eduUniversity of WestFloridaDept. of Theatre11000 University Pkwy.Bldg. 82Pensacola, FL 32514P: 850-474-2146F: 850-857-6176W: Scott CollegeDept. of Theatre141 E College Ave.Decatur, GA 30030P: 404-471-6000F: 404-638-5369W: AtlanticState UniversityDept. of Art, Music &Theatre11935 Abercorn St.62 October 2008 •

Savannah, GA 31419-1997P: 912-344-2503W: www.finearts.armstrong.eduBerry CollegeTheatre Dept.2277 Martha BerryHwy. NWMount Berry, GA 30149P: 706-236-2258W: UniversityDept. of PerformingArts500 Washington St. SEGainesville, GA 30501P: 770-534-6264W: StateUniversityDept. of Theatre4225 University Ave.Columbus, GA 31907P: 706-507-8400F: 706-571-4354W: UniversityTheater Studies1602 Fishburne Dr.Rich Bldg. 230Atlanta, GA 30322P: 404-727-6463W: TheatreAllianceP.O. Box 1358Gainesville, GA 30503P: 678-717-3624W: www.gainesvilletheatrealliance.orgGeorgia SouthernUniversityCommunication ArtsDept.P.O. Box 8144Statesboro, GA 30460-8144P: 912-478-4636F: 912-681-0822W: SouthwesternState UniversityFine Arts Dept.800 Wheatley St.Americus, GA 31709P: 229-931-2204W: StateUniversityDept. of Theatre &Performance1000 Chastain Rd.#3103Kennesaw, GA 30144P: 770-499-3123W: CollegeDept. of Theatre Arts601 Broad St.Lagrange, GA 30240P: 706-880-8000W: www.lagrange.eduNewcomb & BoydAtlanta, GA 30303P: 404-730-8400F: 404-730-8401W: www.newcombboyd.comPiedmont College165 Central Ave.Demorest, GA 30535P: 706-778-3000F: 706-776-6635W: www.piedmont.eduSavannah College ofArt & DesignP.O. Box 2072Savannah, GA 31402-2072P: 912-525-5100W: www.scad.eduShorter College315 Shorter Ave.Rome, GA 30165P: 800-868-6980W: www.shorter.eduUniversity of GeorgiaUniversity of GeorgiaFine Arts Bldg.Athens, GA 30602P: 706-542-2836F: 706-542-2080W: www.drama.uga.eduUniversity of WestGeorgiaTheatre Arts1601 Maple St.Carrollton, GA 30118P: 678-839-5000F: 678-839-4926W: StateUniversityDept. ofCommunicationsCollege of The Arts1500 N Patterson St.Valdosta, GA 31698-0120P: 229-333-5800W: www.valdosta.eduHawaiiUniversity of Hawaiiat ManoaDept. of Theatre andDance1770 E-W Rd.115 Kennedy TheatreHonolulu, HI 96822P: 808-956-7677F: 808-956-4234W: State UniversityDept. of Theatre Arts1910 University Dr.Boise, ID 83725P: 208-426-3957F: 208-426-1771W: theatre.boisestate.eduUniversity of IdahoDept. of Theatre & FilmP.O. Box 443074Moscow, ID 83844P: 208-885-6465F: 208-885-2558W: www.uitheatre.comIllinoisAct One Studios640 N Lasalle, Ste. 535Chicago, IL 60654P: 312-787-9384F: 312-787-3234W: CollegeIn IlTheatre Dept.639 38th St.Rock Island, IL 61201-2296P: 800-798-8100W: UniversityDept. of Theatre Arts1501 W Bradley Ave.Peoria, IL 61625P: 309-677-2660F: 209-677-3505W: theatre.bradley.eduChicago Academy ForThe Arts1010 West Chicago Ave.Chicago, IL 60622P: 312-421-0202F: 312-421-3816W: www.chicagoartsacademy.orgChicago StateUniversityTheatre Dept., BreakeyTheatreDouglas Hall Rm. 1029501 S King Dr.Chicago, IL 60628P: 773-995-2000F: 773-821-2413W: CollegeTheater Dept.72 E 11th St.Chicago, IL 60605P: 312-344-6100F: 312-408-1827W: University2135 N Kenmore Ave.Chicago, IL 60614P: 773-325-7999F: 773-325-7920W: College190 Prospect Ave.Elmhurst, IL 60126-3296P: 630-617-3500W: CollegeTheatre Arts & Drama300 E College Ave.Eureka, IL 61530P: 309-467-6350W: www.eureka.eduIllinois StateUniversityCollege of Fine ArtsSchool of TheatreCampus Box 5700Normal, IL 61790-5700P: 309-438-8783F: 309-438-5806W: WesleyanUniversitySchool of Theatre Arts1312 Park St.Bloomington, IL 61702P: 309-556-1000F: 309-556-3411W: University,ChicagoDept. of Fine andPerforming Arts6525 N Sheridan Rd.Mundelein Center, Ste.1200Chicago, IL 60626P: 773-508-7510F: 773-508-7515W: UniversityDept. of Theatre andDance1184 W Main St.Decatur, IL 62522P: 18003737733W: IllinoisUniversitySchool of Theatre &DanceNorther Illinois Univ.Dekalb, IL 60115P: 815-753-1334F: 815-753-8415W: of Theatre2240 Campus Dr.Evanston, IL 60208P: 847-491-7023W: CollegePerforming Arts Dept.Clark Arts Center5050 E State St.Rockford, IL 61108P: 815-226-4000F: 815-394-5167W: University,Chicago College ofPerforming ArtsThe TheatreConservatory430 S Michigan Ave.Chicago, IL 60605P: 312-341-3789W: ccpa.roosevelt.eduSchool of The ArtInstitute of ChicagoPerformance Dept.37 S Wabash Ave.Chicago, IL 60603P: 312-629-6100W: City TrainingCenters1616 N Wells St.Chicago, IL 60614P: 312-337-3992W: www.secondcity.comSouthern IllinoisUniversity, East St.LouisSiue East St. LouisCenter For ThePerforming Arts601 James R. ThompsonBlvd.East St. Louis, IL 62201P: 800447W: IllinoisUniversity,CarbondaleDept. of TheaterCarbondale, IL 62901-6608P: 618-453-2121W: TheatreCompany1650 N Halsted St.Chicago, IL 60614P: 312-335-1650W: www.steppenwolf.orgThe Chicago AcademyFor The Arts1010 W Chicago Ave.Chicago, IL 60622P: 312-421-0202F: 312-421-3816W: www.chicagoartsacademy.orgThe Moving DockTheatre Company410 S Michigan Ave.Chicago, IL 60605-1308P: 312-427-5490W: School of The ArtInstitute of ChicagoColumbus Dr. Bldg.,37 S Wabash Ave.Chicago, IL 60603P: 312-629-6100W: www.saic.eduUniversity of Illinois atChicagoDept. of PerformingArtsEpasw Bldg.1040 W Harrison St.Mc-255Chicago, IL 60607P: 312-996-2977F: 312-996-0954W: of Illinois atSpringfieldTheatre ProgramOne University Plaza,Ms Uhb 3010Springfield, IL 62703P: 217-206-6613W: of IllinoisUrbana-Champaign4-122 Krannert CenterFor The Performing Arts500 S Goodwin Ave.Urbana, IL 61801P: 217-333-2371W: IllinoisUniversityDept. of Theatre andDance1 University CircleBrowne Hall 101Macomb, IL 61455P: 309-298-1543F: 309-298-2695W: State UniversityDept. of Theatre andDanceBall State University2000 W University Ave.Muncie, IN 47306P: 765-285-8740F: 765-285-4030W: UniversityJordan College of FineArtsTheatre Dept.4600 Sunset Ave.Indianapolis, IN 46208P: 317-940-9341F: 317-940-9866W: CollegeTheatre Dept.101 Branigin Blvd.Franklin, IN 46131P: 800-852-0232W: • October 2008 63

Dept. of TheatreP.O. Box 108Hanover, IN 47243P: 812-866-7000W: StateUniversityTheater Dept.540 N 7th St.Terre Haute, IN 47809P: 812-237-3331F: 812-237-3954W: UniversityCollege of Arts andSciencesDept. of Theatre &Drama275 North JordanBloomington, IN 47405P: 812-855-4535W: UniversityPurdue Theatre552 W Wood St.West Lafayette, IN47907P: 765-494-3074F: 765-496-1766W: ofEvansvilleDept. of Theatre1800 Lincoln Ave.Evansville, IN 47722P: 800-423-8633F: 812-471-6995W: theatre.evansville.eduUniversity ofIndianapolis1400 E Hanna Ave.Indianapolis, IN 46227P: 800-232-8634W: theatre.uindy.eduUniversity of NotreDameFilm, Television andTheatre Dept.Debartolo Ctr. For ThePerforming ArtsRm. 230Notre Dame, IN 46556P: 574-631-7054W: ftt.nd.eduUniversity ofSouthern Indiana -Theatre Dept.8600 University Blvd.Evansville, IN 47712P: 812-464-8600W: www.usi.eduVincennes UniversityPerforming Arts Dept.1002 N First St.Vincennes, IN 47591P: 812-888-8888W: www.vinu.eduWabash CollegeTheater Dept.P.O. Box 352Crawfordsville, IN47933P: 765-361-6100W: CollegeDept. of Drama1550 Clarke Dr.Dubuque, IA 52001P: 888-825-2753W: www.clarke.eduCoe CollegeTheatre Arts Dept.1220 1st Ave. NECedar Rapids, IA 52402P: 319-399-8689F: 319-399-8557W: CollegeDept. of Theatre andCommunicationsStudies600 First St. WMt. Vernon, IA 52314P: 319-895-4334W: ReedFoundation For ThePerforming Arts1305 BroadwayDenison, IA 51442P: 712-263-3334F: 712-263-8026W: www.donnareed.orgDordt CollegeTheatre Arts Dept.498 4th Ave. NESioux Center, IA 51250P: 712-263-3334W: UniversityTheatre Arts Dept.2507 University Ave.Des Moines, IA 50311P: 180044W: www.drake.eduGraceland UniversityLamoni Campus1 University PlaceLamoni, IA 50140P: 641-784-5000W: College733 Broad St.Grinnell, IA 50112-1690P: 641-269-4000F: 641-269-4420W: State University2226 PearsonAmes, IA 50011-2204P: 515-294-2624F: 515-294-2652W: Workshop

1431 Grove St.52601, IA 52601P: 319-753-6623W: www.playersworkshop.orgUniversity of IowaDept. of Theatre ArtsThe University of Iowa107 Theatre Bldg.Iowa City, IA 52242P: 319-335-2700F: 319-335-3568W: ofNorthern IowaTheatre Dept.257 CACCedar Falls, IA 50614P: 319-273-6386F: 319-273-6390W: CollegeTheatre Dept.106 S 6th St.ForeSt. City, IA 50436P: 800-292-1903W: UniversityP.O. Box 65Baldwin City, KS 66006P: 785-594-6451F: 785-594-3570W: www.bakeru.eduBethany CollegeTheatre Dept.335 E Swensson St.Lindsborg, KS 67456-1895P: 785-227-3311F: 785-227-2004W: www.bethanylb.eduEmpoira StateUniversity1200 Commercial St.201 King HallCampus Box 4033Emporia, KS 66801P: 620-341-5256W: College1057 W College Ave.Independence, KS67301P: 620-331-4100W: StateUniversityCollege of SpeechCommunication, andDance129 Nichols HallManhattan, KS 66506-2304P: 785-532-6875F: 785-532-3714W: WesleyanUniversity100 E Clafin Ave.Salina, KS 67401P: 785-827-5541F: 785-827-0297W: of KansasDept. of Theatre & Film1530 Naismith Dr.,Rm. 356Murphy HallLawrence, KS 66045P: 785-864-3511W: StateUniversitySchool of PerformingArts1845 Fairmount St.Wichita, KS 67260P: 316-978-3456W: www.wichita.eduKentuckyActors Theatre ofLouisville316 W Main St.Louisville, KY 40202-4218P: 502-584-1265W: www.actorstheatre.orgBellarmine UniversityArts AdministrationProgram2001 Newburg Rd.Louisville, KY 40205-0671P: 502-452-8431W: CollegeEnglish, Speech andComm. Dept.Draper 201bCpo 1893Berea, KY 40404P: 859-985-3756F: 859-985-3906W: College600 W Walnut St.Danville, KY 40422P: 859-238-5200F: 859-887-4527W: www.centre.eduEastern KentuckyUniversityTheatre Dept.521 Lancaster Ave.306 CampbellRichmond, KY 40475P: 859-622-1000F: 859-622-5904W: CollegeDept. of Theatre &Performance Studies400 E College St.Georgetown, KY 40324P: 502-863-8000W: StateUniversityDept. of Theatre &Dance106 Fine Arts Bldg.Murray, KY 42071P: 270-809-4421F: 270-809-4422W: KentuckyUniversityDept. of Theatre &DanceFine Arts-205, Nunn Dr.Highland Heights, KY41099-1007P: 859-572-6362F: 859-572-6057W: University851 S Fourth St.Louisville, KY 40203P: 502-585-9911F: 502-585-7158W: ofKentuckyDept. of Theatre114 Fine Arts Bldg.Lexington, KY 40506P: 859-257-3297W: ofLouisvilleDept. of Theatre Arts501 S Preston St.Louisville, KY 40292P: 502-852-7682W: KentuckyUniversity-Theatre &Dance1906 College HeightsBlvd., #71086Bowling Green, KY42101P: 270-745-5845F: 270-745-5879W: www.wku.eduLouisianaCentenary College ofLouisianaTheatre Dept.2911 Centenary Blvd.Shreveport, LA 71104P: 800-234-4448W: University2601 Gentilly Blvd.New Orleans, LA 70122P: 504-283-8822W: StateUniversityDept. of Speech &Theatre403 Main St. CarverHall 114Grambling, LA 71245P: 800-569-4714W: StateUniversityLSU Dept. of Theatre217 Music & DramaticArts Bldg.Baton Rouge, LA 70803P: 225-578-4174F: 225-578-4135W: TechUniversitySchool of PerformingArtsP.O. Box 8608Ruston, LA 71272P: 318-257-2711F: 318-257-4571W: performingarts.latech.eduLoyola University,New OrleansCommunications/MusicComplexRm. 1656363 St. Charles Ave.New Orleans, LA 70118P: 504-865-3037W: StateUniversityDept. of Theatre ArtsBox 90420Lake Charles, LA 70609-0420P: 337-475-5042W: www.mcneese.eduTulane UniversityDept. of Theatre andDance215 McWilliams HallNew Orleans, LA 70118P: 504-314-7760F: 504-314-7761W: ofLouisiana at LafayetteTheatre and DanceDept.P.O. Box 43690Lafayette, LA 70504P: 337-482-6357W: of NewOrleansFilmatre andCommunication Arts2000 Lakeshore Dr.Pac, Rm. 307New Orleans, LA 70148P: 504-280-6317F: 504-280-6318W: • October 2008 65

MaineBates CollegeTheater Dept.305 College St.Lewiston, ME 04240P: 207-786-6187F: 207-786-6123W: CollegeDept. of Theater &Dance9100 College StationBrunswick, ME 04011P: 207-725-3663W: Film &Video WorkshopsThe WorkshopsP.O. Box 20070 Camden St.Rockport, ME 04856P: 207-236-8581F: 207-236-2558W: www.theworkshops.comUniversity of MaineSchool of PerformingArts5788 Class of 1944 HallOrono, ME 04469P: 207-581-4700W: ofSouthern MaineUSM Dept. of TheatreP.O. Box 9300Russell HallGorham, ME 04104P: 207-780-4141W: CollegeBaltimore County,CatonsvilleTheatre Dept.800 S Rolling Rd.Baltimore, MD 21228-5317P: 410-455-6991W: www.ccbcmd.eduCommunity Collegeof Baltimore County,EssexCockpit In CourtSummer Theatre320 York Rd.Baltimore, MD 21204P: 410-887-6100W: CollegeTheatre Dept.1021 Dulaney Valley Rd.Baltimore, MD 21204-2794P: 410-337-6000W: House Theatre4545 East WestBethesda, MD 20814P: 240-644-1099F: 240-644-1090W: www.round-house.orgRudolf SteinerInstituteP.O. Box 5373Baltimore, MD 21209P: 800-774-5191F: 410-358-0058W: www.steinerinstitute.orgTowson StateUniversity - TheatreArts Dept8000 York Rd.Towson, MD 21252P: 410-704-2792F: 410-830-3914W: ofMaryland, BaltimoreCountyDept. of Theatre1000 Hilltop CirBaltimore, MD 21250P: 410-455-2917W: ofMaryland, CollegeParkDept. of TheatreCollege Park, MD20742-1610P: 301-405-6676F: 301-314-9599W: RepertoryTheatre — A.R.T.Loeb Drama Center,Harvard University64 Brattle St.Cambridge, MAP: 617-495-2668W: CollegeDept. of Theater andDanceP.O. Box 5000Amherst, MA 01002P: 413-542-2000W: TheatreFestivalP.O. Box 797Stockbridge, MA 01262P: 413-298-5536W: www.berkshiretheatre.orgBoston CollegeTheatre Dept.140 CommonwealthAve.Chestnut Hill, MA 02467P: 617-552-0823F: 617-552-0798W: ConservatoryTheater Division8 The FenwayBoston, MA 02215P: 617-536-6340F: 617-536-3176W: www.bostonconservatory.eduBoston UniversityCollege of Fine ArtsTheatre Dept.855 CommonwealthAve.Boston, MA 02215P: 617-353-3390F: 617-353-6555W: University415 South St.Waltham, MA 02453-2728P: 781-736-3340F: 781-736-3408W: of The HolyCrossTheatre Dept.1 College St.Worcester, MA 01610P: 508-793-3490F: 508-793-3030W: October 2008 •

Deptartments/theatre/website/index.htmlEmerson CollegeDept. of PerformingArts120 Boylston St.Boston, MA 02116P: 617-824-8600W: www.emerson.eduHarvard UniversitySummer School51 Brattle St.Cambridge, MA 02138-3722P: 617-495-4024W: www.summer.harvard.eduMount HolyokeCollegeAlice Withington RookeTheatre50 College St.South Hadley, MA01075P: 413-538-2118F: 413-538-2838W: Shore MusicTheatreP.O. Box 62Beverly, MA 01915P: 978-232-7200W: www.nsmt.orgNortheasternUniversityDept. of TheatreRm. 180 Ryder Hall360 Huntington Ave.Boston, MA 02115P: 617-373-2244F: 617-373-4149W: State CollegeTheatre Dept.352 Lafayette St.Salem, MA 01970P: 978-542-6000W: www.salemstate.eduShakespeare &Company70 Kemble St.Lenox, MA 01240P: 413-637-1199F: 413-637-4274W: www.shakespeare.orgSmith CollegeSmith CollegeNorth Hampton, MA01063P: 413-585-3211W: College263 Alden St.Visual & PerformingArts Dept.Springfield, MA 01109P: 413-748-3000W: www.spfldcol.eduSuffolk University8 Ashburton PlaceBoston, MA 02108-2770P: 617-573-8000F: 617-573-8513W: UniversityDept. of Drama andDance40 Talbot Ave.Medford, MA 02155P: 617-627-3524W: ofMassachusettsAmherstDept. of Theater151 Presidents Dr.112 Fine Arts Ctr.Amherst, MA 01003P: 413-545-3490F: 413-577-0025W: Hill SchoolTheater Dept.12 Highland St. NatickNatick, MA 01760P: 508-653-4312F: 508-655-3726W: CollegeTheatreAlumnae Hall, WellesleyCollege106 Central St.Wellesley, MA 02481P: 781-283-2029F: 781-283-3625W: CollegeTheatre & DanceProgram614 W Superior St.Alma, MI 48801P: 989-463-7242W: MichiganUniversityDept. of Comm. &Theatre Arts124 Quirk Bldg.Ypsilanti, MI 48197P: 734-487-3130W: FordCommunity CollegeTheatre Dept.,Associate In Arts5101 Evergreen Rd.Mackenzie Fine ArtsCenterDearborn, MI 48128P: 313-845-9600W: CollegeDept. of Theatre141 E 12th St.Holland, MI 49423P: • October 2008 67

F: 616-395-7180W: ArtsAcademyInterlochen Center ForThe ArtsP.O. Box 199Interlochen, MI 49643-0199P: 231-276-7200F: 231-276-7444W: www.interlochen.orgKalamazoo CollegeDept. of Theatre Arts1200 Academy St.Kalamazoo, MI 49006P: 269-337-7126W: www.kzoo.eduLake MichiganCollegeDept. of Theatre2755 E Napier Ave.Benton Harbor, MI49022P: 269-927-8100W: www.lakemichigancollege.eduLansing CommunityCollege5100 - Humanities &Performing Arts Dept.P.O. Box 40010Lansing, MI 48901-7210P: 800-644-4522W: StateUniversityDept. of Theatre149 Auditorium Rd.East Lansing, MI 48824P: 517-355-6690W: MichiganUniversityForest Roberts Theatre1401 Presque Isle Ave.Marquette, MI 49855P: 906-227-2650W: University2200 N Squirrel Rd.Rochester, MI 48309-4401P: 248-370-2100F: 248-370-2041W: CollegeDept. of PerformingArts320 South MainOlivet, MI 49076P: 800-456-7189W: ofMichiganWalgreen Drama Center1226 Murfin Ave.Ann Arbor, MI 48109P: 734-764-5350W: ofMichigan, FlintTheatre Dept.303 E Kearsley St.Flint, MI 48502-2186P: 810-762-3300W: www.umflint.eduWayne StateUniversityDept. of Theatre4841 Cass Ave.Ste. 3225Detroit, MI 48202P: 313-577-3508F: 313-577-0935W: theatre.wayne.eduWestern MichiganUniversityDept. of Theatre1903 West MichiganAve.,Kalamazoo, MI 49008-5360P: 269-387-3220F: 269-387-3222W: UniversityDept. of Theatre - Dept.Chair3900 Bethel Dr.St. Paul, MN 55112-6999P: 651-638-6477W: Lakes CollegeTheatre Dept.501 W College Dr.Brainerd, MN 56401P: 218-855-8037F: 218-828-2710W: AdolphusCollegeDept. of Theatre andDance800 West College Ave.Saint Peter, MN 56082P: 507-933-8000W: StateMankatoDept. of Theatre &Dance201 Performing Arts Ctr.Mankato, MN 56001P: 507-389-2118F: 507-389-2922W: www.msutheatre.comMinnesota StateUniversity, Moorhead116 Roland Dille CenterFor The ArtsMoorhead, MN 56563P: 218-477-2126F: 218-477-4612W: MinnesotaState UniversityDept. of Fine Arts1501 State St., Fa 207Marshall, MN 56258P: 507-537-7103F: 507-537-7014W: Mary’s University ofMinnesotaDept. of Theatre Arts700 Terrace HeightsWinona, MN 55987-1399P: 800-635-5987W: Cloud StateUniversityTheatre, Film Studies& Dance720 4th Ave. S212 Performing Arts Ctr.St. Cloud, MN 56301P: 320-308-3229F: 320-308-2902W: CenterP.O. Box 3213Cleveland, MS 38733P: 662-846-4625F: 662-846-4627W: www.bolognapac.comDelta State University1003 W Sunflower Rd.Cleveland, MS 38733P: 662-846-3000W: www.deltaState.eduMississippi UniversityFor WomenMUW Dept. of Musicand Theatre1100 College St.MUW-70Columbus, MS 39701P: 662-329-7260F: 601-329-7348W: ofMississippiDept. of Theatre ArtsP. O. Box 1848University, MS 38677P: 662-915-7177W: ofSouthern MississippiThe College of Arts andLetters118 College Dr., #5052Hattiesburg, MS 39406P: 601-266-4994W: UniversityTheatre Dept.11901 Wornall Rd.Kansas City, MO 64145P: 816-501-2400W: www.avila.eduSt. Olaf CollegeTheatre Dept.1520 St. Olaf Ave.Theatre Bldg.Northfield, MN 55057P: 507-646-3240F: 507-646-3949W: ofMinnesota Twin Cities240 Williamson Hall231 Pillsbury Dr. S.e.Minneapolis, MN55455-0213P: 612-625-2008W: of Fine ArtsTheatre Dept.One College HillCanton, MO 63435P: 573-288-6000W: ofMinnesota-Duluth1049 University Dr.Duluth, MN 55812P: 218-726-8000F: 218-726-6798W: www.d.umn.eduWinona StateUniversityTheatre & Dance Dept.P.O. Box 5838,Winona, MN 55987P: 800-342-5978F: 507-457-5481W: www.winona.eduMississippiBologna PerformingLindenwoodUniversityTheatre Dept.209 S Kings Hwy.St. Charles, MO 63301P: 636-949-4949W: SouthernState UniversityTheatre Dept.Taylor Performing ArtsCenterMain Office - Rm. 243Joplin, MO 64801P: 417-625-9393W: October 2008 •

Missouri StateUniversityTheatre and DanceDept.901 S National Ave.Springfield, MO 65897P: 417-836-4400F: 417-836-4234W: www.theatreanddance.missouristate.eduMissouri ValleyCollegeThe Theatre Dept.500 E CollegeMarshall, MO 65340P: 660-831-4215W: MissouriState UniversityDept. of Theatre148 Wells HallMaryville, MO 64468P: 660-562-1279W: Louis UniversityDept. of Fine andPerforming Arts221 N Grand Blvd.St. Louis, MO 63103P: 314-977-2500W: MissouriState UniversityDept. of Theatre andDanceCollege of Liberal ArtsOne University Plaza,Ms 7850,Cape Girardeau, MO63701P: 573-651-2149W: Louis UniversityDept. of Fine andPerforming Arts221 N Grand Blvd.St. Louis, MO 63103P: 314-977-3030F: 314-977-2999W: St. Louis444 Chesterfield CenterChesterfield, MO 63017P: 314-821-2407W: www.stagesstlouis.orgStephens College1200 E BroadwayColumbia, MO 65215P: 573-876-7194F: 573-876-7216W: www.stephens.eduThe Repertory Theatreof St. Louis130 Edgar Rd.,P.O. Box 191730St. Louis, MO 63119P: 314-968-4925W: www.repstl.orgUniversity of CentralMissouriDept. of TheatreP.O. Box 800Warrensburg, MO64093P: 877-729-8266F: 660-543-8006W: of Missouri,ColumbiaDept. of Theatre129 Fine Arts CenterColumbia, MO 65211P: 573-882-2021F: 573-884-4034W: theatre.missouri.eduUniversity of Missouri,Kansas City (UMKC)Dept. of TheatreKansas City, MO 64110P: 816-235-6222W: In St. LouisPerforming Arts Dept.One Brookings Dr.P.O. Box 1108St. Louis, MO 63130P: 314-935-5858F: 314-935-4955W: padarts.wustl.eduWebster UniversityDept. of Theatre andDance470 E Lockwood Ave.St. Louis, MO 63119-3194P: 314-968-6991F: 314-963-6102W: WoodsUniversityArts & Science DivisionOne University Ave.Fulton, MO 65251P: 800-995-3159W: www.williamwoods.eduMontanaCarroll CollegePerforming Arts Dept.1601 North Benton Ave.Helena, MT 59625P: 406-447-4300F: 406-447-4533W: www.carroll.eduMontana StateUniversityDept. of Media &Theatre ArtsMsu - BozemanP.O. Box 173350Bozeman, MT 59717P: 406-994-2484F: 406-994-6214W: mta.montana.eduUniversity of MontanaDept. of Drama andDancePerforming Arts Ctr.Rm. 196Missoula, MT 59812P: 406-243-4481F: 406-243-5726W: UniversityDept. of Fine andPerforming Arts2500 California PlazaOmaha, NE 68178-0303P: 402-280-2509W: CollegeP.O. Box 3777Omaha, NE 68103-0777P: 402-457-2400W: WesleyanUniversityCommunication &Theatre Arts5000 St. Paul Ave.Lincoln, NE 68504P: 402-465-2395W: ofNebraska LincolnJohnny Carson Schoolof Theatre & Film215 Temple Bldg.12 Th & R St.Lincoln, NE 68588P: 402-472-2072W: ProductionInstitute (LPI)2400 N Tenaya WayLas Vegas, NV 89128P: 702-966-3905W: of Nevada,Las VegasDept. of Theatre4505 Maryland Pkwy.Box 455036Las Vegas, NV 89154P: 702-895-3666F: 702-895-0833W: theatre.unlv.eduUniversity of Nevada,RenoUniversity of NevadaMail Stop 228Reno, NV 89557P: 775-784-6839F: 775-784-1175W: HampshireDartmouth CollegeRooms 110 and 111Hopkins CenterHb 6204Hanover, NH 03755P: 603-646-3104F: 603-646-1757W: State CollegeTheatre and DanceDept.229 Main St.Keene, NH 03435-2407P: 603-358-2162W: England CollegeTheatre Dept.98 Bridge St.Henniker, NH 03242P: 603-428-2454W: StateUniversityDept. of Music, Theatre,and DanceMsc 3717 High St.Plymouth, NH 03264P: 603-535-2334W: of NewHampshireDept. of Theatre &Dance30 College Rd.Paul Creative Arts Ctr.Durham, NH 03824P: 603-862-2919F: 603-862-0298W: JerseyDoris Duke CharitableFoundation80 Route 206 SouthHillsborough, NJ 08844P: 908-722-3700F: 908-722-2872W: www.ddcf.orgDrew UniversityTheatre Dept.36 Madison Ave.Madison, NJ 07940P: 973-408-3059F: 973-408-3704W: DickinsonUniversityDept. of Visual andPerf. Arts285 Madison Ave.Madison, NJ 07940-1099P: 973-443-8636W: www.fduarts.orgKean UniversityDept. of Theatre1000 Morris Ave.Union, NJ 07083P: 908-737-5326W: www.kean.eduMontclair StateUniversityCollege of The ArtsDept. of Theatre &DanceLife Hall, Ste. 126Montclair, NJ 07043P: 973-655-4217F: 973-655-7717W: EnterprisesTheatrical SupplyCo., LLC1014 Route 173 EBloomsbury, NJ 08804P: 908-479-6902F: 908-479-6903W: University185 Nassau St.Princeton, NJ 08542P: 609-258-3733W: University2083 Lawrenceville Rd.Lawrenceville, NJ 08648P: 609-896-5000F: 609-896-8029W: UniversityCollege of Fine andPerforming ArtsTheatre Dept.201 Mullica Hill Rd.Glassboro, NJ 08027-1701P: 856-256-4000W: University ofNJ, CamdenDept. of Fine Arts/Theater Dept.314 Linden St.Camden, NJ 08102-1403P: 856-225-6176F: 856-225-6330W: Hall University400 South Orange Ave.South Orange, NJ07079P: 973-761-9474W: College of NewJerseyTheatre & DramaP.O. Box 77182000 Pennington Rd.Ewing, NJ 08628P: 609-771-2278W: PatersonUniversity of NewJerseyCommunication Dept.300 Pompton Rd.Wayne, NJ 07470P: 877-978-3923W: www.wpunj.eduNew MexicoCollege of Santa FePerforming Arts Dept.Greer Garson TheaterCenter1600 St. Michael’s Dr.Santa Fe, NM 87501P: 505-473-6439F: 505-473-6127W: www.csf.eduEastern New MexicoUniversity1500 S Ave. KPortales, NM 88130P: 575-562-1011W: www.enmu.eduUniversity of NewMexicoDept. of Theatre &DanceOne University of NewMexicoAlbuquerque, NM87131P: 505-277-4332F: 505-277-8921W: YorkActors Center520 Eighth Ave.Ste. 315New York, NY 10018P: 212-447-6309F: 212-447-9688W: www.theactorscenter.orgAdelphi UniversityPerforming Arts CenterSte. 250Garden City, NY 11530-0701P: 516-877-4930F: 516-877-4926W: www.adelphi.eduAlfred UniversityDivision of PerformingArts1 Saxon Dr.Alfred, NY 14802P: 607-871-2562F: 607-871-2339W: www.alfred.eduAmerican Academy ofDramatic Arts, NY120 Madison Ave.New York, NY 10016P: 800-463-8990F: 212-696-1284W: www.aada.orgAmerican MimeTheatre61 4th Ave.2nd FlNew York, NY 10003P: 212-777-1710W: www.americanmime.orgAmerican Musical &Dramatic Academy(AMDA)2109 BroadwayNew York, NY 10023P: 212-787-5300F: 212-247-0488W: www.amda.eduAtlantic Acting School76 Ninth Ave., Ste. 537New York, NY70 October 2008 •

P: 212-691-5919F: 212-691-6280W: www.atlantictheater.orgBard CollegeDrama Dance Dept.P.O. Box 5000Annandale-on-Hudson,NY 12504P: 845-758-7957W: CollegeDept. of Theatre5th Fl., Milbank Hall3009 BroadwayNew York, NY 10027P: 212-854-2080W: Collegeof NYDept. of Theatre2900 Bedford Ave.Brooklyn, NY 11210P: 718-951-5000W: www.brooklyn.cuny.eduCamp Broadway336 W 37th St., Ste. 460New York, NY 10018P: 212-575-2929F: 212-575-3125W: www.campbroadway.comCazenovia College22 Sullivan St.Cazenovia, NY 13035P: 315-655-7238W: www.cazenovia.eduChautauquaInstitutionChautauqua Schools ofFine & Performing Arts1 Ames Ave.P.O. Box 28Chautauqua, NY 14722P: 180-0836W: www.ciweb.orgCircle In The SquareTheatre School1633 BroadwayNew York, NY 10019P: 212-307-0388F: 212-307-0257W: www.circlesquare.orgCity at Peace104 W 27th St., 12th Fl.New York, NY 10001P: 212-924-2300F: 212-924-2167W: www.cpnational.orgCity University of NY-Graduate CenterPH.D. Program InTheatre365 5th Ave.New York, NY 10016P: 212-817-8870F: 212-817-1538W: StudiosP.O. Box 79, 134 RoyceRd.White Lake, NY 12786P: 845-583-7025W: www.cobaltSt.udios.netColgate UniversityDana Arts CenteraterDept.13 Oak Dr.Hamilton, NY 13346P: 315-228-1000F: 315-228-7002W: UniversityTheatre Arts Division601 Dodge Hall, MailCode 18082960 BroadwayNew York, NY 10027P: 212-854-3408W: UniversityDept. of Theatre, Film& Dance430 College Ave.Ithaca, NY 14850P: 607-254-2700W: Towns CollegeTheatre Arts Program305 N Service Rd.Dix Hills, NY 11746P: 631-424-7000W: www.ftc.eduFordham UniversityTheatre ProgramCollege at LincolnCenter113 W 60th St.New York, NY 10023P: 212-636-6710F: 212-636-6788W: Playhouse215 S Country Rd.Bellport, NY 11713P: 631-286-1133W: www.gatewayplayhouse.comHamilton CollegeDept. of Theatre198 College Hill Rd.Clinton, NY 13323P: 315-859-4057W: TheatreP.O. Box 205Ithaca, NY 14851P: 607-273-8588F: 607-273-4516W: www.hangartheatre.orgHartwick CollegeOne Hartwick Dr.Oneonta, NY 13820P: 607-431-4000F: 607-431-4207W: www.hartwick.eduHB Studio120 Bank St.New York, NY 10014P: 212-675-2370W: www.hbstudio.orgHofstra UniversityDept. of Drama andDance112 Hofstra Univ.102 Emily Lowe HallHempstead, NY 11549P: 516-463-5444W: www.hofSt.ra.eduHunter CollegeDept. of Theatre695 Park Ave.North Bldg. 522New York, NY 10021P: 212-772-5148F: 212-650-3584W: ForDirectors, La MamaLamama ETC74a E 4th St.New York, NY 10003P: 212-254-6468W: www.lamama.orgIthaca College201 Dillingham CenterIthaca, NY 14850P: 607-274-3345W: School DramaDivision60 Lincoln Ctr. PlazaNew York, NY 10023P: 2127995000251F: 212-875-8437W: www.juilliard.eduLinklater Center ForVoice and Language,LLCP.O. Box 504New York, NY 10025P: 212-340-4762W: www.thelinklatercenter.comLong Island UniversitySchool of Visual &Performing ArtsC.W. Post Campus720 Northern Blvd.Brookville, NY 11548P: 516-299-239572 October 2008 •

W: Up DesignorySchool/Mudshop375 W BroadwaySte. 202New York, NY 10012P: 212-925-9250W: www.mud.eduMarymountManhattan CollegeTheatre Arts Program221 E 71st St.New York, NY 10021P: 212-517-0400W: marymount.mmm.eduMichael ChekhovActing Studio138 W 15th St., 1st Fl.New York, NY 10011P: 646-385-2876W: www.michaelchekhovactingstudio.comNazareth CollegeDept. of Theatre Arts4245 E Ave.Rochester, NY 14618P: 585-389-2525W: School ofTheatreNew York, NY 10022P: 212-688-3770F: 212-906-9051W: www.the-neiplay.orgNew Actors Workshop259 W 30th St.2nd Fl.New York, NY 10001P: 800-947-1318F: 212-947-9729W: www.newactorsworkshop.comNew School ForDrama151 Bank St.New York, NY 10014P: 212-229-5859F: 212-242-5018W: www.newschool.eduNew York City Collegeof Technology/CUNYEntertainmentTechnology Dept.300 Jay St.Brooklyn, NY 11201P: 718-260-5000F: 718-260-5591W: www.citytech.cuny.eduNew YorkConservatory ForDramatic ArtsSchool of Film +Television39 W 19th St.New York, NY 10011P: 212-645-0030F: 212-645-0039W: www.sft.eduNew York FilmAcademy100 E 17th St.New York, NY 10003P: 212-674-4300F: 212-477-1414W: www.nyfa.comNew York StateTheatre Institution37 First St.Troy, NY 12180P: 518-274-3200W: York UniversityTisch School of the ArtsOffice of Student Affairs721 Broadway, 8th Fl.New York, NY 10003-6807P: 212-998-1900W: York UniversitySteinhardt School ofCulture, Education andHuman DevelopmentDept. of Music andPerforming ArtsProfessions74 October 2008 •

35 W 4th St., Ste. 777New York, NY 10012P: 212-998-5424W: UniversityNiagara Univ TheatreP.O. Box 1913Niagara University, NY14109P: 716-286-8482W: Theatre Institute37 First St.Troy, NY 12180P: 518-274-3200F: 518-274-3815W: www.nySt.i.orgPace UniversityDept. of PerformingArts1 Pace PlazaNew York, NY 10038P: 212-346-1200W: www.pace.eduPurchase CollegeThe Performing Arts Ctr.735 Anderson Hill Rd.Purchase, NY 10577P: 914-251-6000W: www.purchase.eduQueens CollegeDept. of Drama, Theatreand Dance65-30 Kissena Blvd.Flushing, NY 11367P: 718-997-3075W: InstituteEMPAC21 Union St.Troy, NY 12180P: 518-687-7100F: 518-687-7120W: www.empac.rpi.eduSarah LawrenceCollegeTheatre ProgramOne Mead WayBronxville, NY 10708P: 914-337-0700W: www.slc.eduSiena CollegeCreative Arts Dept.515 Loudon Rd.Loudonville, NY 12211P: 518-783-2384F: 518-783-2381W: Company520 8th Ave., Ste. 310New York, NY 10018P: 212-868-0860W: www.siti.orgSkidmore College815 North BroadwaySaratoga Springs, NY12866P: 518-580-5430W: Manor116 Karmel Rd.Loch Sheldrake, NY12759P: 188888W: www.stagedoormanor.comStella Adler Studio ofActing31 W 27th St.3rd FlNew York, NY 10001P: 800-112-1111W: www.stellaadler.comSUNY, Buffalo StateTheater Dept.1300 Elmwood Ave.203 Rockwell HallBuffalo, NY 14222P: 716-878-6416F: 716-878-6402W: www.buffalostate.eduSUNY, College atBrockportDept. of Theatre350 New Campus Dr.76 October 2008 •

Brockport, NY 14420P: 585-395-2796W:, FredoniaDept. of Theatre andDanceRockefeller Arts Ctr.,#212Fredonia, NY 14063P: 716-673-3596F: 716-673-3621W: www.fredonia.eduSUNY, GeneseeCommunity CollegeTheatre Arts Dept.One College Rd.Batavia, NY 14020P: 585-343-0055F: 585-343-4541W:, OswegoTheatre Dept.105 Tyler HallOswego, NY 13126P: 315-312-2140F: 315-312-3394W:, Stony BrookDept. of Theatre ArtsStaller Ctr. For The ArtsStony Brook, NY 11794P: 631-632-7300W:, University atAlbanyTheatre Dept.1400 Washington Ave.Albany, NY 12222P: 518-442-3300F: 518-442-4206W:, University atBinghamtonDept. of TheaterP.O. Box 6000Binghamton, NY 13901P: 607-777-2000W:, University atBuffaloTheatre & Dance285 Alumni ArenaBuffalo, NY 14260-5030P: 716-645-6898F: 716-645-6992W:, University atNew PaltzSchool of Fine &Performing ArtsDept. of Theatre Arts1 Hawk Dr.New Paltz, NY 12561P: 845-257-3200W:, University atPotsdamDept. of Theatre &Dance44 Pierrepont Ave.Potsdam, NY 13676P: 315-267-2000W:, University atPurchaseConservatory of TheatreArts & Film735 Anderson Hill Rd.Purchase, NY 10577P: 914-251-6000W: University700 University Ave.Syracuse, NY 13244-2530P: 315-443-3225W: summercollege.syr.eduThe American MimeTheatre61 Fourth Ave.New York, NY 10003P: 212-777-1710W: www.americanmime.orgThe City University ofNew YorkThe City College ofNew YorkTheatre Dept.160 Convent Ave.New York, NY 10031P: 212-650-7000W: Kitchen Theatre116 North Cayuga St.Ithaca, NY 14850P: 607-272-0403F: 607-273-4816W: www.kitchentheatre.orgThe Lee StrasbergTheatre Institute115 Lee StrasbergNew York, NY 10003P: 212-553-5500W: www.strasberg.comThe New ActorsWorkshop259 W 30th St., 2nd Fl.New York, NY 10001P: 212-947-1310F: 212-947-9729W: www.newactorsworkshop.comThe New SchoolUniversityThe New School ForDrama55 West 13thNew York, NY 10014P: 212-229-8923W: www.newschool.eduThe New YorkConservatory For TheArts120 Schildknecht Rd.Hurley, NY 12443P: 845-339-4340W: www.nyca.orgTheatre Museum723 7th Ave.7th FlNew York, NY 10019P: 212-764-4112F: 212-764-0458W: www.thetheatremuseum.orgTVI Actors Studio165 W 46th St.Ste. 509New York, NY 10036P: 212-302-1900F: 212-302-1926W: www.tvistudios.comUniversity of BuffaloTheatre & Dance285 Alumni ArenaBuffalo, NY 14260-5030P: 716-645-6898F: 716-645-6992W: www.cas.buffalo.eduUniversity/ResidentTheatre Association1560 Broadway, Ste.712New York, NY 10036P: 212-221-1130F: 212-869-2752W: www.urta.comUsdan Center ForThe Creative andPerforming Arts185 Colonial SpringsRd.Wheatley Heights, NY11798P: 631-643-7900W: www.usdan.comUsdan Center ForThe Creative andPerforming Arts420 E 79th St.New York, NY 10075P: 212-772-6060W: www.usdan.comVassar College -Theatre Dept.124 Raymond Ave.Poughkeepsie, NY12604P: 845-437-7000W: CollegeTheatre Dept.One Campus Rd.Staten Island, NY 10301P: 718-390-3223W: www.wagner.eduNorth CarolinaAppalachian StateUniversityASU Dept. of Theatre& DanceChapell Wilson HallP.O. Box 32123Boone, NC 28608P: 828-262-302878 October 2008 •

F: 828-265-8694W: UniversityThe Theatre Dept.450 Leslie CampbellAve.Buies Creek, NC 27506P: 800-334-4111W: www.campbell.eduCatawba CollegeTheatre Arts Dept.2300 W Innes St.Salisbury, NC 28144P: 704-637-4409F: 704-637-4222W: PiedmontCommunity CollegeArts and Comm Dept.P.O. Box 35009Charlotte, NC 28235P: 704-330-2722F: 704-330-6438W: CollegeTheatre Dept.Box 7141Davidson, NC 28035-7141P: 704-894-2361W: UniversityDuke Dept. of TheaterStudies206 Bivins Bldg.Box 90680Durham, NC 27708P: 919-660-3343F: 919-684-8906W: UniversityCampus Box 2800Elon, NC 27244P: 336-278-5600W: CollegeTheatre Dept.815 West Market St.Greensboro, NC 27401P: 800-346-8226F: 336-271-6634W: theatre.gborocollege.eduGuilford CollegeTheatre Studies Dept.5800 West Friendly Ave.Greensboro, NC 27410P: 336-316-2000W: Point University833 Montlieu Ave.High Point, NC 27262P: 800-345-6993W: theatre.highpoint.eduLees-McRae College191 Main St.P.O. Box 128Banner Elk, NC 28604P: 828-898-5241F: 828-898-8814W: CollegeDept. of Theatre7th Ave. & 8th St. NEHickory, NC 28601P: 828-328-1741F: 828-328-7163W: CollegeDivision of Liberal ArtsTheatre Arts Dept.701 West Monroe St.Salisbury, NC 28144P: 800-835-3435W: Hill CollegeTheatre Arts Dept.P.O. Box 370100 Athletic St.Mars Hill, NC 28754P: 866-642-4968F: 828-689-1473W: CarolinaAgricultural &Technical StateUniversity1601 E Market St.Greensboro, NC 27411P: 336-344-7852F: 336-334-4741W: www.ncat.eduNorth Carolina CentralUniversityNCCU Dept. of Theater1801 Fayetteville St.Durham, NC 27707P: 919-530-6100F: 919-530-5117W: Carolina Schoolof The ArtsDrama Dept.1533 South Main St.Winston-Salem, NC27127-2188P: 336-770-3290F: 336-770-3369W: www.ncarts.eduUniversity of NorthCarolina at AshevilleDrama Dept.1 University HeightsAsheville, NC 28806P: 828-251-6610F: 828-232-2416W: of NorthCarolina at Chapel HillDept. of Dramatic ArtCb# 3230Center For Dramatic ArtChapel Hill, NC 27599-3230P: 919-962-1132F: 919-962-5791W: ofNorth Carolina atGreensboroThe Dept. of TheatreP.O. Box 26170Greensboro, NC 27402-6170P: 336-334-4032W: ofNorth Carolina atWilmingtonDept. of Theatre601 S College Rd.Wilmington, NC 28403P: 910-962-3000W: ForestUniversityDept. of Theatre &DanceP.O. Box 7264 ReynoldaStationWinston-Salem, NC27109P: 336-758-5294F: 336-758-5668W: DakotaNorth Dakota StateUniversityDivision of Fine ArtsatreDept.P.O. Box 5691Fargo, ND 58105-5691P: 701-231-8011W: of NorthDakotaDept. of Theatre ArtsChandler HallP.O. Box 8136 UniversityStationGrand Forks, ND 58202-8136P: 701-777-3446F: 701-777-3522W: www.und.eduOhioAntioch CollegeDept. of Theatre795 Livermore St.Yellow Spings, OH45387P: 937-769-100080 October 2008 •

W: antioch-college.eduBaldwin-WallaceCollegeDept. ofCommunication andTheatreKleist Center For Artand Drama95 E Bagley Rd.Berea, OH 44017-2088P: 440-826-2900W: Green StateUniversityDept. of Theatre andFilm338 South HallBowling Green, OH43403P: 419-372-2222F: 419-372-7186W: Western ReserveUniversityDept. of Theater Arts10900 Euclid Ave.Cleveland, OH 44106P: 216-368-6142W: StateCommunity CollegeClark State PerformingArts Center300 South FountainAve.Springfield, OH 45501P: 937-328-3841F: 937-328-8084W: StateUniversity2121 Euclid Ave.Cleveland, OH 44115P: 216-687-2113W: UniversityDept. of Theater ArtsP.O. Box 740Granville, OH 43023P: 740-587-6276F: 740-587-5755W: CollegeTheatre Arts Dept.P.O. Box 67Hiram, OH 44234P: 330-569-3211W: www.hiram.eduKent State UniversitySchool of Theatre &DanceB141 Music & SpeechCtr.Kent, OH 44242P: 330-672-0108F: 330-672-2889W: JewishCommunity Center26001 S Woodland Rd.Beachwood, OH 44122P: 216-831-0700F: 216-831-7796W: UniversityDept. of Theatre501 E High St.Oxford, OH 45056P: 513-529-1809W: CollegeTheater & DanceProgram30 N Professor St.Oberlin, OH 44074P: 440-775-8152W: NorthernUniversity525 S Main St.Pac 106Ada, OH 45810P: 419-772-2049W: www.onu.eduOhio State UniversityDept. of Theatre1089 Drake Center1849 Cannon Dr.Columbus, OH 43210P: 614-292-5821W: theatre.osu.eduOhio UniversitySchool of TheaterKantner Hall 307Ohio UniversityAthens, OH 45701P: 740-593-4818W: WesleyanUniversityDept. of Theatre &Dance61 S Sandusky St.Delaware, OH 43015P: 740-368-2000F: 740-368-3858W: CollegeOne Otterbein CollegeWesterville, OH 43081P: 614-890-3000W: www.otterbein.eduUniversity of AkronSchool of Theatre & ArtsGuzzetta Hall, Rm. 394Akron, OH 44325P: 330-972-7890F: 330-972-7892W: ofCincinnatiMary Emery HalP.O. Box 210003Cincinnati, OH 45221-0003P: 513-556-6638W: www.ccm.uc.eduUniversity of FindlayTheatre Program1000 N Main St.Findlay, OH 45840P: 800-548-0932F: 419-434-4822W: of ToledoDept. of Theatre andFilm2801 W Bancroft St.Ctr. For Performing Arts,Rm. 1002, Mail Stop 611Toledo, OH 43606P: 419-530-2202F: 419-530-8439W: theatrefilm.utoledo.eduWilmington College1870 Quaker Way,Box 1211Wilmington, OH 45177P: 800-341-9318W: UniversityDept. of Theatre andDanceP.O. Box 720Springfield, OH 45501P: 800-677-7558F: 937-327-7029W: StateUniversityT148 Creative Arts Ctr.3640 Colonel GlennHwy.Dayton, OH 45435P: 937-775-3072F: 937-775-3787W: StateUniversityDept. of Theatre &DanceOne University PlazaYoungstown, OH 44555P: 330-941-3000W: • October 2008 81

Northeastern StateUniversityDept. of PerformingArts600 N Grand Ave.Tahlequah, OK 74464P: 918-456-5511W: www.nsuok.eduOklahoma CityUniversityDept. of Theatre2501 N BlackwelderOklahoma City, OK73106P: 405-208-5000F: 405-521-5447W: StateUniversity, StillwaterDept. of Theatre121 Seretean CenterStillwater, OK 74078P: 405-744-6094F: 405-744-6509W: theatre.okstate.eduOral RobertsUniversityCommunication &Drama7777 South LewisTulsa, OK 74171P: 918-495-6161W: ofOklahomaWeitzenhoffer FamilyCollege of Fine Arts540 Parrington Oval,Rm. 122Norman, OK 73019P: 405-325-7370F: 405-325-1667W: finearts.ou.eduUniversity of TulsaDept. of Theatre &Musical Theatre800 South Tucker Ave.Tulsa, OK 74104-3189P: 918-631-2000W: www.cas.utulsa.eduOregonOregon ShakespeareFestival15 S Pioneer St.Ashland, OR 97520P: 541-482-2111F: 541-482-0446W: www.osfashland.orgOregon StateUniversityTheatre Arts ProgramUniversity Theatres141 Withycombe HallCorvallis, OR 97331P: 541-737-2853F: 541-737-5399W: ActorsConservatory1436 SW MontgomerySt.Portland, OR 97201-2557P: 503-274-1717F: 503-274-0511W: actorsconservatory.comReed CollegeTheatre Dept.3203 SE WoodstockBlvd.Portland, OR 97202P: 503-777-7357W: OregonUniversityTheatre Arts Dept.1250 Siskiyou Blvd.Ashland, OR 97520P: 541-552-7672W: at SouthernOregon University1250 Siskiyou Blvd.Ashland, OR 97250P: 541-552-6346W: of OregonTheatre Dept.216 Villard Hall1231 University ofOregonEugene, OR 97403-1231P: 541-346-4171F: 503-346-3626W: of PortlandPerforming and FineArts Dept.Buckley Center 2355000 N Willamette Blvd.Portland, OR 97203P: 503-943-7228W: www.up.eduWillamette UniversityDept. of Theatre900 State St.Salem, OR 97301P: 503-370-6300W: www.willamette.eduPennsylvaniaAlbright College13th and BernBox 15234Reading, PA 19612P: 610-921-7660F: 610-921-7294W: www.alb.eduArcadia UniversityTheatre Arts Program450 S Easton Rd.Glenside, PA 19038P: 877-272-2342W: Institute ofPittsburgh420 Boulevard of TheAlliesPittsburgh, PA 15219P: 800-275-2470F: 412-263-666782 October 2008 •

W: www.aip.aii.eduBloomsburg TheatreEnsemble at AlvinaKrause Theatre226 Center St.Bloomsburg, PA 17815P: 800-282-0283W: www.bte.orgBob Steineck andAssociates, Inc.4220 Saline St.Pittsburgh, PA 15217P: 412-521-2245F: 412-521-4552W: UniversityDept. of Theatre andDance701 Moore Ave.Lewisburg, PA 17837P: 717-524-1235F: 717-524-3760W: Universityof PennsylvaniaDept. of Theatre &Dance250 University Ave.California, PA 15419P: 724-938-4000F: 724-938-1587W: MellonUniversitySchool of DramaPurnell Ctr. For The Arts#2185000 Forbes Ave.Pittsburgh, PA 15213P: 412-268-2392F: 412-621-0281W: UniversityChatham UniversityTheatreEddy TheatreWoodland Rd.Pittsburgh, PA 15232P: 412-365-1100W: Theatre1300 Bingham St.Pittsburgh, PA 15203P: 412-431-4400W: www.citytheatrecompany.orgClarion University ofPennsylvaniaTheatre Dept.149 Marwick-BoydClarion, PA 16214P: 814-393-2283F: 814-393-1623W: UniversityDeSales University2755 Station Ave.Center Valley, PA 18034P: 610-282-1100W: www.desales.eduDickinson CollegeDept. of Theatre andDanceP.O. Box 1773Carlisle, PA 17013P: 717-245-1239W: University -College of Media Arts33rd and Market Sts.Philadelphia, PA 19104P: 215-895-2451W: & MarshallCollegeTDF Theatre Dept.P.O. Box 3003Lancaster, PA 17604-3003P: 717-291-3911W: tdf.fandm.eduGrier SchoolP.O. Box 308Tyrone, PA 16686P: 814-684-3000F: 814-684-2177W: www.grier.orgHeadlong DanceTheater1170 S Broad St.Philadelphia, PA 19146P: 215-545-9195W: www.headlong.orgIndiana University ofPennsylvaniaDept. of Theater andDanceWaller Hall, Rm. 104Indiana, PA 15705P: 724-357-2965F: 724-357-7899W:’s CollegeTheatre Work Shop133 N River St.Wilkes-Barre, PA 18711P: 570-208-5900W: www.kings.eduKutztown Universityof PennsylvaniaDept. of SpeechCommunication • October 2008 83

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P.O. Box 730Kutztown, PA 19530P: 610-683-4000F: 484-646-4180W: www.kutztown.eduLafayette CollegeLafayette College301a Pardee HallEaston, PA 18042P: 610-330-5000F: 610-330-5606W: www.lafayette.eduLehigh UniversityMaginnes Hall420 East Packer Ave.Bethlehem, PA 18015P: 610-758-3640W: CollegeTheatre Dept., Box 73700 College PlaceWilliamsport, PA 17701P: 570-321-4132W: CollegeDept. of Theatre &Dance2400 Chew St.Allentown, PA 18104P: 484-664-3100F: 484-664-3623W: www.muhlenberg.eduPennsylvania StateUniversitySchool of Theatre103 Arts Bldg.University Park, PA16802P: 814-865-7586F: 814-865-5754W: Park UniversityDept. of Theatre201 Wood St.Pittsburgh, PA 15222P: 412-391-4100W: www.pointpark.eduSeton Hill UniversityTheatre ProgramOne Seton Hill Dr.Greensburg, PA 15601P: 724-830-0300F: 724-838-4203W: www.setonhill.eduSwarthmore CollegeDept. of Theater500 College Ave.Swarthmore, PA 19078P: 610-328-8149F: 610-957-6179W: UniversityTomlinson Theater011-051301 W Norris St.Philadelphia, PA 19122P: 215-204-8414F: 215-204-8566W: Grier SchoolThe Grier SchoolP.O. Box 308Tyrone, PA 16686P: 814-684-3000F: 814-684-2177W: Theatre321 E 4th St.Bethlehem, PA 18015P: 610-867-1689W: www.touchstone.orgUniversity ofPittsburghDept. of Theatre Arts1617 Cathedral ofLearningPittsburgh, PA 15260P: 412-624-6568F: 412-624-6338W: of The Arts320 South Broad St.Philadelphia, PA 19102P: 800-616-2787W: www.uarts.eduVillanova UniversityTheatre Dept.205 St. Augustine Ctr.Villanova, PA 19085P: 610-519-4760F: 610-519-6800W: UniversityVisual & PerformingArts Dept.84 W South St.Wilkes-Barre, PA 18766P: 570-408-4420F: 570-408-7842W: College ofPennsylvaniaThe Theatre Dept.441 Country Club Rd.York, PA 17403P: 717-846-7788W: IslandBrown University77 Waterman St.Box 1897Providence, RI 02912P: 401-863-3283F: 401-863-7529W: CollegeTheatre Dept.549 River Ave.Providence, RI 02918-0001P: 401-865-1000F: 401-865-2761W: WilliamsUniversityPerforming Arts CenterOne Old Ferry Rd.Bristol, RI 02809P: 401-254-3626F: 401-254-3634W: of RhodeIslandDept. of TheatreFine Arts Ctr. 105, Ste. 3Upper College Rd.Kingston, RI 02881P: 401-874-5922F: 401-874-5618W: CarolinaCentre Stage-SouthCarolinaP.O. Box 8451Greenville, SC 29604-8451P: 877-377-1339W: www.centrestage.orgCollege of CharlestonTheatre Dept.School of The Arts66 George St.Charleston, SC 29424P: 843-953-6306F: 843-953-8210W: CollegeTheatre at Converse580 E Main St.Spartanburg, SC 29302-0006P: 864-596-9000F: 864-596-9211W: www.converse.eduEast CarolinaUniversity - Dept. ofTheatreSchool of Theatre &Dance1001 E 5th St.Greenville, SC 27858-4353P: 252-328-6390F: 252-328-4890W: University320 Stanley Ave.Greenwood, SC 29649-2099P: 864-388-8000W: CollegeDept. of Art, Theatre,and Dance503 S Broad St.Clinton, SC 29325P: 864-833-2820F: 864-833-8600W: of SouthCarolinaLongst TheatreMain Office, Rm. 402Columbia, SC 29208P: 803-777-4288F: 803-777-6669W: of SouthCarolina Aiken471 University Pkwy.Aiken, SCP: 888W: www.usca.eduWinthrop UniversityDept. of Theatre andDance115 Johnson HallRock Hill, SC 29733P: 803-323-2287F: 803-323-2560W: www.winthrop.eduSouth DakotaAugustana CollegeIn SDDept. of Theatre2001 S Summit Ave.Sioux Falls, SD 57197P: 605-274-5213W: of SouthDakotaDept. of Theater414 E Clark St.Vermillion, SD 57069-2390P: 877W: Peay StateUniversityDept. of Theatre &DanceP.O. Box 4475Clarksville, TN 37044P: 931-221-6767W: UniversityTheatre Dept.1900 Belmont Blvd.Nashville, TN 37212-3757P: 615-460-6012W: StateTechnical CommunityCollege4501 Amnicola Hwy.Office: Hum 236Chattanooga, TN37406-1097P: 423-697-4404F: 423-697-3146W: BrownTheatre at TheUniversity ofTennessee206 McClung TowerKnoxville, TN 37996P: 865-974-6011F: 865-974-4867W: www.clarencebrowntheatre.comCumberlandUniversityArt, Dance and TheatreDept.One CumberlandSquareLebanon, TN 37087-3408P: 800-467-0562F: 615-444-2569W: UniversitySchool of Arts andCommunication705 Lambuth Blvd.Jackson, TN 38301P: 800W: www.lambuth.eduMemphis StateUniversityDept. of Theatre &Dance144 TheatreCommunication Bldg.Memphis, TN 38152P: 901-678-3184W: CollegeP.O. Box 500Milligan College, TN37682P: 423-461-8700W: CollegeDept. of Theatre2000 N Pkwy.Memphis, TN 38112-1690P: 901-843-3000W: TheUniversity of TheSouthTheatre Arts Dept.735 University Ave.Sewanee, TN 37383P: 931-598-1000W: www.sewanee.eduTennessee ArtsAcademy/PopularPike PlayhouseGermantown HighSchool7653 Poplar PikeGermantown, TN 38138P: 901-755-7775F: 901-755-6951W: www.tennesseeartsacademy.orgUniversity ofMemphisDept. of Theatre &Dance144 TheatreCommunication Bldg.Memphis, TN 38152-3150P: 901-678-5643W: ofTennessee atKnoxvilleDept. of Theatre206 McClung TowerKnoxville, TN 37996P: 865-974-1000F: 865-974-4867W: www.clarencebrowntheatre.comUniversity ofTennessee at MartinTheatre Arts Dept.102 Fine Arts Bldg.Martin, TN 38238P: 731-881-7400W: UniversityDept. of TheatreVu Station B #3500012301 Vanderbilt PlaceNashville, TN 37235-0001P: 615-322-2404W: ChristianUniversityTheatre Dept.ACU Box 27843Abilene, TX 79699-7843P: 325-674-2021W: CommunityCollege, San AntonioTheatre & SpeechCommunication Dept.1300 San Pedro Ave.San Antonio, TX 78212-4299P: 210-733-2715F: 210-785-6484W: www.accd.eduAlamo CommunityCollege, St. Philip’sCollege1801 Martin LutherKing Dr.Watson Fine Arts CenterRm. 207San Antonio, TX 78203-2098P: 210-531-3200F: 210-531-4768W: CollegeDept. of Theatre Arts &Dance22nd & S JacksonP.O. Box 447 - Mb 305Amarillo, TX 79178P: 806-371-5359F: 806-371-5370W: CollegeFine Arts Div. - • October 2008 85

Dept.P.O. Box 1768 - Hwy.59 SLufkin, TX 75902P: 936-633-5233F: 409-639-4299W: StateUniversityCDJ Dept., Drama Dept.ASU Station # 10895San Angelo, TX 76909P: 325-942-2031W: CollegeTheatre Dept.900 N Grand Ave.Sherman, TX 75090-4440P: 903-813-2000F: 903-813-2565W: www.austincollege.eduAustin CommunityCollegeRio Grande CampusDrama Dept.1212 Rio GrandeAustin, TX 78701P: 512-223-3000W: UniversityBaylor TheatreOne Bear Place #97262Waco, TX 76798P: 254-710-2407F: 254-710-1444W: CollegeFine Arts Division902 College Ave.Brenham, TX 77833P: 979-830-4000W: CollegeDept. of Drama500 College Dr.Lake Jackson, TX 77566P: 409-230-3327W: www.brazosport.eduBrookhaven CollegeDept. of Theatre3939 Valley View Ln.Farmers Branch, TX75244P: 972-860-4244W: Junior CollegeDept. of Drama101 College HeightsCisco, TX 76437P: 254-442-5019F: 254-442-5100W: www.cjctheatre.comClarendon College,Claradon CampusPerforming/visual/communications ArtsTheatre Arts Dept.1122 College Dr.,P.O. Box 968Clarendon, TX 79226P: 806-874-3571W: Bend CollegeDept. of Drama3800 Charco Rd.Beeville, TX 78102P: 361-354-2322W: of TheMainlandArena Theatre1200 Amburn Rd.Texas City, TX 77591P: 409-938-1211W: CountyCommunity CollegeThe Theatre Dept.2800 E Spring CreekPkwy.Plano, TX 75074P: 972-881-5100F: 972-881-5103W: Mar CommunityCollegeDel Mar Drama Dept.101 Baldwin Blvd.Corpus Christi, TX78404P: 361-698-1200F: 361-886-1511W: Texas BaptistUniversityDept. of Theatre1209 N Grove St.Marshall, TX 75670P: 800804F: 903-935-1705W: www.etbu.eduEastfield CollegeDept. of Theatre3737 Motley Dr.Mesquite, TX 75150P: 972-860-7002W: www.dcccd.eduEl Paso CommunityCollegeValle Verde Campus,Dept. Drama919 HunterEl Paso, TX 79925P: 915-831-3722W: www.epcc.eduHardin-SimmonsUniversityTheatre Dept.2200 Hickory, Box14864Abilene, TX 79698P: 325-670-1404W: CollegeDept. of Theater/Drama1001 Birdwell Ln.Big Spring, TX 79720P: 432-264-5000W: PayneUniversityDept. ofCommunication andTheatre1000 Fisk St.Brownwood, TX 76801P: 325-649-8020W: www.hputx.eduKD Studio: ActorsConservatory2600 Stemmons Frwy.,Ste. 117Dallas, TX 75207P: 214-638-0484W: www.kdstudio.comKingwood CollegeDept. of Drama5000 Research ForestDr.The Woodlands, TX77381-4356P: 832-813-6500W: www.nhmccd.eduLamar State College -Port ArthurP.O. Box 3101500 Procter St.Port Arthur, TX 77640P: 800-477-5872W: CollegeDrama Dept.P.O. Box 818Baytown, TX 77522-0818P: 281-427-5611F: 713-425-6520W: www.lee.eduLon Morris College800 College Ave.Lon Morris CollegeJacksonville, TX 75766P: 800-259-5753F: 903-589-4000W: Christian86 October 2008 •

UniversityDept. ofCommunications/FineArts5601 19th St.Lubbock, TX 79407P: 800-933-7601F: 806-720-7255W: www.lcu.eduMcMurry UniversityDept. of Theatre14th & Sayles Blvd.Mcmurry Station Box278Abilene, TX 79697P: 325-793-4700W: StateUniversityDept. of Theatre3410 Taft Blvd.Wichita Falls, TX 76308-2099P: 940-397-4395F: 940-397-4909W: CollegeDept. of Theatre/Drama3200 W 7th Ave.Corsicana, TX 75110P: 903-875-7632F: 903-874-4636W: Central TexasCollegeDept. of Fine Arts1525 W CaliforniaGainesville, TX 76240-4699P: 940-668-7731F: 940-668-3317W: HarrisMontgomery Comm.College, Montgomery5000 Research ForestDr.The Woodlands, TX77384P: 832-813-6500W: www.nhmccd.eduNorth Lake CollegeDept. of Theatre5001 N Macarthur Blvd.Irving, TX 75038-3899P: 972-273-3000W: Lady of The LakeUniversityDept. of English, Dramaand CommunicationArts411 SW 24th St.San Antonio, TX 78207P: 210-434-6711F: 210-431-4036W: www.ollusa.eduPalo Alto CollegeDept. of Drama1400 W VillaretSan Antonio, TX 78224P: 210-486-3000W: Junior CollegeDept. of Speech/Theatre2400 Clarksville St.Paris, TX 75460P: 903-785-7661W: www.parisjc.eduPrairie View A&MUniversityCollege of Arts andSciencesP.O. Box 519Prairie View, TX 77446-2800P: 936-261-3311F: 936-261-3188W: CollegeTheatre Dept.12800 Abrams Rd.Dallas, TX 75243-2199P: 972-238-6255W: Houston StateUniversityDept. of Theatre &DanceBox 2297Huntsville, TX 77341P: 936-294-1329F: 936-294-3898W: UniversityDept. of Theatre2100 Memorial Blvd.Kerrville, TX 78028P: 830-896-5411F: 830-896-3232W: www.schreiner.eduSouth Plains CollegeDept. of Fine ArtsTheatre Arts Program1401 S College Ave.Levelland, TX 79336P: 806-894-9611F: 806-894-5274W: TexasCommunity College3201 West PecanMcallen, TX 78501P: 800-742-7822W: MethodistUniversityMeadows School ofThe ArtsDivision of TheatreP.O. Box 750356Dallas, TX 75275P: 214-768-2558F: 214-768-1136W: College100 W HillcrestP.O. Box 567Keene, TX 76059P: 800-433-2240W: www.swau.eduSouthwesternUniversityTheatre Dept.1001 E University Ave.Georgetown, TX 78626P: 512-863-1379W: www.southwestern.eduSt. Edward’sUniversityMary Moody NorthenTheatre3001 S Congress Ave.Austin, TX 78704P: 512-448-8400W: www.stedwards.eduSt. Mary’s UniversityDept. of Music/Drama/artOne Camion SantaMariaSan Antonio, TX 78228-8580P: 210-436-3011W: Stephen’sEpiscopal SchoolTheatre Focus2900 Bunny Run Rd.Austin, TX 78746P: 512-327-1213W: F. AustinState UniversityCollege of Fine ArtsP.O. Box 13022, SfaStationNacogdoches, TX 75962P: 936-468-2801W: www.finearts.sfasu.eduSul Ross StateUniversityTheatre ProgramP.O. Box C-114Alpine, TX 79832P: 432-837-8011F: 432-837-8376W: StateUniversityDept. of Fine Arts andCommunicationsBox T-0320Tarleton Station, TX76402P: 254-968-9245W: CollegeHumanities Division/Drama Dept.2500 North RobinsonRd.Texarkana, TX 75599P: 903-838-4541W: www.texarkanacollege.eduTexas A&M UniversityThe Dept. ofPerformance Studies304 Academic Bldg.4240 TAMUCollege Station, TX77843P: 979-845-3355F: 979-862-2666W: Performancestudies.tamu.eduTexas ChristianUniversityP.O. Box 297510Fort Worth, TXP: 817-257-7625W: LutheranUniversityDept. of DramaticMedia1000 W Court St.Seguin, TX 78155P: 830-372-8000F: 830-372-8096W: www.tlu.eduTexas SouthernUniversity - Fine ArtsDept.3100 Cleburne St.Houston, TX 77004P: 713-313-7011W: State University,San MarcosDept. of Theatre andDance430 Moon St.San Marcos, TX 78666P: 512-245-2204F: 512-245-8440W: www.theatreanddance.txstate.eduTexas Tech University9th & Indiana Ave.,P.O. Box 41008Lubbock, TX 79409P: 800-692-6877W: Woman’sUniversityDept. of DramaP.O. Box 425708Denton, TX 76204P: 940-898-2086W: UniversityDept. of Speech &DramaOne Trinity Pl.San Antonio, TX 78212P: 210-999-8511F: 210-999-8512W: of DallasDrama Dept.1845 East Northgate Dr.Irving, TX 75062P: 972-721-5061F: 972-721-5302W: of HoustonSchool of Theatre &Dance133 CWM CenterHouston, TX 77204P: 713-743-3003F: 713-743-2648W: of NorthTexasDept. of Dance andTheatre1155 Union Cir.#311277Denton, TX 76203-5017P: 940-565-2000W: www.unt.eduUniversity of St.ThomasDrama Dept.3800 Montrose Blvd.Houston, TX 77006P: 713-525-3520W: of Texas atArlingtonDept. of Theatre ArtsBox 19103, Fine ArtsBldg.Rm. 144Arlington, TX 76019-0103P: 817-272-2650W: of Texas atAustinDept. of Theatre andDance1 University StationD3900Austin, TX 78712-0362P: 512-471-5793F: 512-471-0824W: of Texas atDallasSchool of Arts &Humanities, Jo31800 W Campbell Rd.Richardson, TX 75080-0688P: 972-883-2980W: of Texas atEl PasoDept. of Theatre, Danceand Film500 W Universily Ave.Rm. 371El Paso, TX 79968P: 915-747-5146F: 915-747-5438W: of Texas,Pan AmericanUTPA Theatre-Television-Film1201 W University Dr.Edinburg, TX 78539P: 866441W: of TheIncarnate WordTheatre Arts Dept.4301 BroadwaySan Antonio, TX 78209P: 210-829-6000W: CollegeHumanities and FineArts Dept.2200 E Red RiverVictoria, TX 77901P: 877-843-4369W: www.victoriacollege.eduWeatherford CollegeFine Arts/Speech Dept.225 College Park Dr.Weatherford, TX 76086P: 800-287-5471F: 817-594-0627W: Texas A&MUniversityDept. of Art,Communication andTheatre2501 Fourth Ave.Canyon, TX 79016P: 806-651-0000W: www.wtamu.eduWestern Texas CollegeFine Arts Dept.6200 College Ave.Snyder, TX 79549P: 325-573-8511W: YoungUniversityDept. of Theatre &Media ArtsD581 Harris Fine ArtCenterProvo, UT 84602P: 801-422-6645F: 801-422-0654W: tma.byu.eduCollege of EasternUtahTheatre Dept.451 East 400 NorthPrice, UT 84501P: 435-613-5000W: www.ceu.eduDixie State Collegeof UtahTheatre Dept.225 S 700 E St.St. George, UT 84770P: 435-652-7500W: • October 2008 87

Theatre Arts & DanceDept.351 W University Blvd.Cedar City, UT 84720P: 435-586-7746F: 435-865-8568W: of UtahDept. of Theatre240 S 1500 ERm. 206Salt Lake City, UT 84112P: 801-581-6448W: ShakespeareanFestival351 W Center St.Cedar City, UT 84720P: 435-586-7880F: 435-865-8003W: www.bard.orgUtah State UniversityUtah State TheatreDept.4025 Old Main HillLogan, UT 84322-4025P: 435-797-3046F: 435-797-0086W: CollegeDept. of DramaOne College Dr.Bennington, VT 05201P: 802-442-5401W: www.bennington.eduDialect AccentSpecialistsP.O. Box 44Lyndonville, VT 05851P: 800-753-1016F: 802-626-8676W: www.dialectaccentspecialists.comDorset TheatreFestival104 Cheney Rd.Dorset, VT 05251P: 802-867-5777W: www.dorsettheatrefestival.orgGreen MountainCollegeVisual & PerformingArts Dept.One Brennan CirclePoultney, VT 05764P: 800-776-6675F: 802-287-8099W: www.greenmtn.eduMiddlebury CollegeDept. of TheatreCenter For The ArtsMiddlebury, VT 05753P: 802-443-5601W: Michael’s CollegeFine Arts Dept.One Winooski ParkColchester, VT 05439P: 802-654-2268F: 802-654-2685W: www.smcvt.eduUniversity of Vermont- Dept. of Theatre226 WatermanBurlington, VT 05405P: 802-656-3131W:’ Center601 S Clark St.Arlington, VA 22202P: 703-413-3270W: www.actorscenter.orgCollege of William andMaryDept. of Theatre,Speech and DanceP.O. Box 8795Williamsburg, VA23187-8795P: 757-221-2660F: 757-221-2507W: & HenryCollegeDept. of Theatre ArtsP.O. Box 947Emory, VA 24327P: 276-944-6667F: 276-944-6259W: CollegeTheatre and Drama Dept.P.O. Box 1000Ferrym, VA 24088P: 540-365-2121W: www.ferrum.eduGeorge MasonUniversityDept. of Theatre4400 University Dr.Fairfax, VA 22030P: 703-993-1000W: www.gmu.eduHampton UniversityDept. of Fine andPerforming ArtsTheatre Dept.Hampton, VA 23668P: 757-727-5402F: 757-727-5047W: UniversityP. O. Box 9602Roanoke, VA 24020P: 540-362-6259W: MadisonUniversitySchool of Theatre andDanceTheatre Ii, Msc 5601Harrisonburg, VA 22807P: 540-568-6342W: UniversityDept. of Theatre201 High St.Farmville, VA 23909P: 434-395-2643W: Baldwin CollegeTheatre Dept.318 Prospect St.Staunton, VA 24401P: 540-887-7019F: 540-887-7139W: DominionUniversityTheatre Dept.Norfolk, VA 23529P: 757-683-3000F: 757-683-4700W: UniversityDept. of The Theatreand CinemaMartin Hall 209Box 6903Radford, VA 24142P: 800-890-4265F: 540-831-6313W: theatre.asp.radford.eduRegent UniversitySchool ofCommunication andThe ArtsDept. of Theatre Arts1000 Regent UniversityDr.Virginia Beach, VA23464P: 888-777-7729F: 757-226-4279W: College221 College Ln.Salem, VA 24153P: 540-375-2500W: Division1460 University Dr.Winchester, VA 22601P: 800-432-2266W:

Sweet Briar CollegeTheatre Arts Dept.115 Quad SwbrAmherst, VA 24521P: 434-381-6100W: of MaryWashingtonDept. of Theatre andDance1301 College Ave.Fredericksburg, VA22401P: 540-654-1243W: ofRichmondDept. of Theatre &DanceModlin Ctr. For The Arts28 Westhampton WayRichmond, VA 23173P: 804-289-8592F: 804-287-1841W: theatre.richmond.eduUniversity of VirginiaDept. of DramaP. O. Box 400128Charlottesville, VA22904-4128P: 434-924-3326F: 434-924-1447W: Singleton Ctr. ForThe Performing Arts922 Park Ave.P.O. Box 842524Richmond, VA 23284P: 804-828-1514W: TechDept. of Theatre Arts203 Performing ArtsBldg.Blacksburg, VA 24061P: 540-231-5335W: Trap FoundationFor The PerformingArts1645 Trap Rd.Vienna, VA 22182P: 703-255-1900W: www.wolf-trap.orgWashingtonCentral WashingtonUniversityTheatre Arts Dept.400 E University WayEllenburg, WA 98926P: 509-963-1760F: 509-963-2301W: GorgeSchool of Theatre1381 Snowden Rd.White Salmon, WA98672-8233P: 800-405-3450F: 509-493-1501W: www.cgst.comCornish College ofThe ArtsTheater Dept.Main Campus Center1000 Lenora St., 6th Fl.Seattle, WA 98121P: 800726F: 206-726-5050W: WashingtonUniversity526 5th St.Cheney, WA 99004P: 509-359-6200W: www.ewu.eduLower ColumbiaCommunity College,Longview CampusDrama/ TheatreDivision1600 Maple St.P.O. Box 3010Longview, WA 98632P: 866-900-2311W: Children’sTheatre201 Thomas St.Seattle, WA 98109P: 206-443-0807F: 206-443-0442W: www.sct.orgSeattle University901 12th Ave., P.O. Box222000Seattle, WA 98122-1090P: 206-296-6000W: Valley College,Mount VernonCampusTheatre Arts Dept.2405 E College WayMount Vernon, WA98273P: 360-416-7600W: www.skagit.eduUniversity ofWashingtonSchool of DramaBox 353950Seattle, WA 98195P: 206-543-5140F: 206-543-8512W: StateUniversityTheatre Arts ProgramDaggy Hall 320P.O. Box 642432Pullman, WA 99164P: 509-335-7447F: 509-335-4255W: WashingtonUniversityDept. of Theatre ArtsBellingham, WA 98225P: 360-650-3876W: CollegeTheatre Dept.300 W Hawthorne Rd.,Ms 0305Spokane, WA 99251P: 509-777-3707F: 509-777-4592W: www.whitworth.eduWest VirginiaDavis & Elkins College100 Campus Dr.Elkins, WV 26241P: 304-637-1360F: 304-637-1287W: www.davisandelkins.eduFairmont State College- School of Fine Arts1201 LocuSt. Ave.Rm. 304 Wallman HallFairmont, WV 26554P: 304-367-4219W: UniversityDept. of TheatreOne John Marshall Dr.Huntington, WV 25755P: 304-696-7184F: 304-696-6582W: VirginiaUniversityDivision of Theatre andDance305a Creative Arts Ctr.P.O. Box 6111Morgantown, WV26506P: 304-293-4841F: 304-293-2533W: VirginiaWesleyan CollegeTheatre Dept.59 College Ave.Buckhannon, WV 26201P: 304-473-8000W: www.wvwc.eduWisconsinCardinal StritchUniversityDept. of Theatre6801 N Yates Rd.Milwaukee, WI 53217P: 414-410-4000W: www.stritch.eduCarroll UniversityTheatre Arts Dept.100 N East Ave.Waukesha, WI 53186P: 262-547-1211W: UniversityDept. of Theatre ArtsP.O. Box 599Appleton, WI 54912P: 920-832-7000W: UniversityDept. of Performing ArtsP.O. Box 1881Milwaukee, WI 53201-1881P: 414-288-7302W: ofWisconsin, Eau ClaireMusic and Theatre ArtsDept.156 Haas Fine Arts121 Water St.Eau Claire, WI 54702-4004P: 715-836-2284F: 715-836-3952W: ofWisconsin, GadisonBolz Center For ArtsAdministration975 University Ave.Madison, WI 53706P: 608-263-4161F: 608-265-2739W: www.bolzcenter.orgUniversity ofWisconsin, Green BayDept. of Theatre andDance2420 Nicolet Dr., Th-331Green Bay, WI 54311P: 920-465-2944W: ofWisconsin, La CrosseDept. of Theatre Arts154 Center For The Arts1725 State St.La Crosse, WI 54601P: 608-785-6701W: ofWisconsin, MilwaukeePeck School of The ArtsTheatre Dept.P.O. Box 413Milwaukee, WI 53201P: 414-229-4947F: 414-229-2728W: ofWisconsin, River FallsDept.of Speech Comm.& Theatre Arts410 S 3rd St.River Falls, WI 54022-5001P: 715-425-3911W: www.uwrf.eduUniversity ofWisconsin, StevensPointDept. of Theatre & Dance161 Noel Fine Arts Center1800 Portage St.St.evens Point, WI 54481P: 715-346-4429F: 715-346-4794W: ofWisconsin, WhitewaterTheatre & Dance Dept.800 West Main St.Whitewater, WI 53190P: 262-472-1234W: UniversityFine Artsatre Dept.900 Viterbo Dr.La Crosse, WI 54601P: 608-796-3100W: CollegeTheatre & Dance Dept.125 College Dr.Casper, WY 82601P: 800-442-2963F: 307-268-3020W: www.caspercollege.eduUniversity ofWyomingTheatre and DanceDept.Dept. 39511000 E University Ave.Laramie, WY 82071P: 307-766-2198F: 307-766-2197W: WyomingCommunity CollegeTheatre Program2500 College Dr.Rock Springs, WY 82901P: 307-382-1729F: 307-382-1887W: MacEwanCollegeP.O. Box 1796Edmonton, AB T5J 2P2P: 780-497-4409W: Banff CentreTheatre Arts Dept.Box 1020Banff, AB T1L 1H5P: 403-762-6100F: 403-762-6444W: Alberta3rd Fl. Percy PageCentre11759 Groat Rd.Edmonton, AB T5M 3K6P: 18884228160F: 780-422-2663W: www.theatrealberta.comUniversity of CalgaryDept. of Drama2500 University Dr. NWCh D209Calgary, AB T2N 1N4P: 403-220-5421F: 403-284-0713W: ColumbiaCanada’s NationalVoice IntensiveThe Dept. of Theatre,Film and Creative W6354 Crescent Rd.Vancouver, BC V6T 1Z2P: 604-822-3880F: 604-822-5985W: FraserUniversitySchool For TheContemporary ArtsTheatre Program8888 University Dr.Burnaby, BC V5A 1S6P: 778-782-3111W: Ontario215 Spadina Ave.Ste. 210Toronto, ON M5T 2C7P: 416-408-4556F: 416-408-3402W: www.theatreontario.orgUniversity of OttawaDept. of Theatre135 Séraphin-MarionRm. 207Ottawa, ON K1N 6N5P: 613-562-5761W: of WindsorSchool of Dramatic Art401 Sunset Ave.Windsor, ON N9B 3P4P: 51925330002804F: 519-971-3629W: UniversityDept. of Theatre,Faculty of Fine Arts4700 Keele St.Toronto, ON M3J 1P3P: 416-736-5135F: 416-736-5447W: UniversityDept. of Theatre7141 Sherbrooke St. WMontreal, QB QC H4B1R6P: 514-848-2424F: 514-848-4525W: • October 2008 89

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Advertiser Page WebsiteA.C.T Lighting 17 52 Musical & Dramatic Academy/ AMDA 71 Lighting 91 Design 11 Drapery Rental 91 State University 54 Rigging 43 23 Wireless Systems 44 State University 64 Nye 47 Supply 6 25 University 66 31 Mellon University 82 H. Stewart & Co. 2, 91 Lighting 7 Industrial Products 48 Canvas 91 in the Square Theatre School 72 Theatrical Inc. 21, 91 Hoist 10 Sales University 82 Products 44 University C3 Backdrops 46 18 C4 College 66 77 15 Compass 41 36 91 Swift & Co/ Theatre Guys 91 Arts Academy 55 Clancy 29 State University 80 College 83 Source, The 9 Solutions 37 more information about the companies advertising in Stage Directions®and serving the theatre profession, go to the links listed below.Advertiser Page WebsiteMartin Professional 1 Manhattan College 74 York Conservatory for Dramatic Arts 73 York Film Academy 75 York University - Tish School of the Arts 76 University 76 Carolina School of the Arts 78 Northern University 81 Conservatory of Performing Arts 60 Advantage 32 Productions 27 University 88 Brand 5 Arts Coating 31 39 22 Oregon University 81 University 65 91 33 - Fredonia 72 19 Christian University 86 Scenic 13 Communications Group 37 Wireless/ RC4 Wireless Dimming 91 18 49 Lake Studios 51 at Buffalo 74 of Michigan 67 of the Arts 83 of Nevada, Las Vegas 69 of North Carolina at Greensboro 79 of Northern Iowa 64 of Southern California 61 Theatre Association - U/RTA 56-59 35 12 University 68 C2 Michigan University 67 October 2008 •

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