festival 46 program (2014) - kcactf region 2

FESTIVAL 46January 14-18, 2014

KCACTF HASGONE MOBILE!

WELCOME REMARKSWelcome from the Chair of Region II

Welcome to Festival 46 at West Chester University, PA. We gather to celebrate this magical thing that we love: the theatre! Immerse yourselves in the celebration - sit in on the Irene Ryan Scholarship Auditions. Partake of our newest event – the Musical Theatre Initiative. View your fellow students’ design and stage management work in the Design Expo. Challenge yourself and your friends with the Fringe Challenge. Join the Institute for Theatre Journalism and Advocacy and learn to write for and about theatre. Dare to try something new in a workshop or two. We’ve worked hard to make sure that there is something for everyone – so spread your wings, and celebrate theatre.

A special thanks to Department Chair Harvey Rovine for opening the doors of West Chester University’s Department of Theatre and Dance, in the College of Visual and Performing Arts, to Juliet Wunsch for serving as our Festival Host, and Andy Truscott for working tirelessly as our Festival Coordinator. If you see them, thank them, and celebrate the fruits of their labors.

Finally, on a personal note, it’s been a pleasure serving as your Regional Chair for these past three years. It’s been great for me to see so many students and faculty passionate about their craft in our region, both in home institutions when I’ve been responding on the road, and at the Regional Festivals. So, for this week, I’d like to celebrate you!

Elizabeth van den BergChair, KCACTF Region 2

Welcome from the President of West Chester University

Welcome to West Chester University! We are very pleased to host the Kennedy Center American College Theater Festival for Region 2.

Since its inception in 1969, the Kennedy Center American College Theater Festival has served as a catalyst for improving the quality of college theater throughout the United States. The Region 2 festival at WCU is one of eight regional events sponsored by the Kennedy Center this January and February.

During the next five days, I encourage you to attend as many theatrical productions as you can, and to take advantage of the full range of workshops, symposia, and exhibits. If you are participating in one of the many juried events taking place, I wish you the greatest success.

West Chester University has a long and proud history of cultivating and supporting the theatrical arts. Last year we celebrated the 50th anniversary of our theatre and dance program. We are committed to our role as a cultural leader, providing unrivaled theatrical opportunities to the residents of Chester County and beyond. In 2007 the University attracted some 70,000 people to a variety of visual and performing arts events. Last year that figure rose to more than 80,000 attendees.

During your stay here, be sure to take advantage of the many amenities that our campus and the Borough of West Chester have to offer. There are a wide variety of restaurants in West Chester, from fine dining to casual, as well as numerous retail establishments. You also will find dining options right on campus.

Since its inception, the Kennedy Center American College Theater Festival has given more than 400,000 college theater students the opportunity to have their work critiqued, improve their dramatic skills, and receive national recognition for excellence. By joining us here at West Chester University for the Region 2 festival, you are becoming part of a distinguished tradition. Enjoy the festival!

Greg R. Weisenstein, Ed.D.President West Chester University of Pennsylvania

KCACTF HASGONE MOBILE!

KCACTF 2014 West Chester University3

Welcome from the Department of Theatre and DanceAll of us in the Department of Theatre and Dance at West Chester University are excited and hon-ored to welcome you to the Kennedy Center American College Theatre Festival Region 2 Festival 46! We have been preparing for your arrival for some time and are delighted that you are here to share your talents, productions, designs, scenes, workshops, and conversations in our “home.”

The word festival is often defined as a period of celebration and, no doubt, we are here to celebrate many things. Certainly, we are looking forward to our region’s productions from the past year that were selected for presentation. So, too, we anticipate appreciating the wide array of creative and imaginative design work that will be on display as well as the student written plays, dramaturgy, and criticism that reflect both the creative and critical potential that our departments and programs overflow with. And, of course, we look forward to the many fine acting scenes, monologues, and performance pieces that will be part of the Irene Ryan competition.

But what we celebrate most of all is you--your presence at this festival, your passion for theatre, your commitment to the artistic, creative impulse and to those insights into our human condition which only art can provide.

So, as you make your way through the myriad of opportunities that await you here, remember that this festival is yours—it is for you, about you, and because of you. This week, let your motto be: “I am seeking. I am striving. I am in it with all my heart.” (Henri Matisse)

Enjoy!

Dr. Harvey Rovine, ChairDepartment of Theatre and Dance

WELCOME REMARKSWelcome from the Dean of the College of Visual and Performing Arts

To all of the participants of the Kennedy Center American College Theatre Festival in Region 2, welcome to West Chester University! We are so very pleased to have you here.

The performing and visual arts have a long and distinguished history at WCU, as evidenced by our Department of Theatre and Dance currently producing its 51st Season of musicals, plays and dance. With NAST accreditation and the opening of the recently renovated E.O. Bull Center for the Arts, we are positioning ourselves to continue writing this history for years to come.

We at WCU are immensely proud of the Department of Theatre and Dance as our students situate themselves in all aspects of theatre and dance administration, design, education, and performance upon graduation. Whether its touring in an Equity show, designing for Broadway and regional theatre, teaching the artists of tomorrow, or founding their own companies, our WCU graduates collaborate with some of the best and brightest in their fields. This

sense of collaboration is honed at WCU. And this week, we are honored to be able to collaborate with you!

Enjoy all that this festival has to offer from workshops to performances to the conversations in the hallways with fellow artists. All of these experiences can shape you as an artist and hopefully provide fond memories of your time at WCU after you depart.

Break a leg!

Dr. Timothy V. BalirDean, College of Visual and Performing ArtsWest Chester University


Charles WEldon, KEYNOTE SPEAKERThursday, January 16, 2014 at 1:00pmEmilie K. Asplundh Concert Hall

Charles Weldon is the Artistic Director of The Negro Ensemble Company, Inc. and is a veteran director and actor of stage, film and television. Directing credits include; the NEC productions Futurology, The Musical, Cabaret Émigré, and The Picture Box. He directed Colored People’s Time for the New York Public Schools, The Offering at Rip Rap Studio Theater in Los Angeles, Waiting to End Hell, at the Shadow Theatre in Denver. His career began as the lead singer with the group, The Pardons in 1968, writing and recording the number one smash hit, Diamonds and Pearls. He performed in the original San Francisco cast of Hair. Charles came to New York with the Broadway musical, Big Time Buck White, with Mohammed Ali and in 1970 he joined The Legendary Negro Ensemble Company, Inc. (NEC) as an actor. He was seen in NEC’s The Great MacDaddy, The Offering, The Brownsville Raid, A Sol-dier’s Play, and NEC’s Broadway production of The River Niger. Other productions include; Second Stage Theatre’s award-winning play, Birdie Blue, with S. Epatha Merkerson, Thunder Knocking at the Door, at the Guthrie Theatre,

Fences and King Lear, at the Asolo Theatre; It Ain’t Nothing But the Blues at Kennedy Center, Piano Les-son, at Centre Stage, Touch the Names: Letters to the Vietnam Veterans Memorial (original cast recording); Much Ado About Nothing, Taming of the Shrew, and Driving Miss Daisy, at the Alabama Shakespeare Festival; The Madwoman, A Selfish Sacrifice, A Streetcar Named Desire, King Hedley, II, Jitney, Com-ing of the Hurricane and Two Trains Running, at the Denver Performing Arts. Film credits include; Stir Crazy, Serpico, A Woman Called Moses, The River Niger, and more recently, Malcolm X and, Showtime’s, The Wishing Tree with Alfre Woodard and Blair Underwood. Television credits include; Roots: The Next Generation, and appearances on Law and Order/Trial by Jury, Police Story, New York Undercover and Law and Order. He has won several awards including; the “HENRY” (Excellence in Regional Theater) for best supporting actor in Gem of the Ocean, by August Wilson, and has been awarded Best Supporting Actor by Audelco for his role in Seven Guitars at Signature Theatre. In addition to his role as Artistic Director, Charles is proud to be the co-founder of The Negro Ensemble Company, Inc. Alumni Organization.

Learn more about the Negro Ensemble Company at http://www.necinc.org/

KCACTF 2014 West Chester University

KCACTF Region 2 @KCACTFR2#KCACTF2

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West Chester University’s Department of Theatre and Dance’s Mission Statement:The Department of Theatre and Dance at West Chester University prepares students for the professional and academic worlds of theatre and dance, while raising student aware-ness of civility, diversity, creativity, problem solving, and social responsibility. Students gain skills in communication, management, performance, design, technology, and research through classroom and production responsibilities. Through esteemed faculty and state of the art facilities, we promote a program that combines a challenging academic environ-ment with academic integrity and a production schedule of artistic freedom that supports and strengthens the cultural, moral, and social fabric of our university and the society it serves.

West Chester University Of PennsylvaniaWest Chester University Mission StatementWest Chester University, a member of the Pennsylvania State System of Higher Education, is a pub-lic, regional, comprehensive institution committed to providing access and offering high-quality undergraduate education, select post-baccalaureate and graduate programs, and a variety of edu-cational and cultural resources for its students, alumni, and citizens of southeastern Pennsylvania.

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The Kennedy Center American College Theatre FestivalStarted in 1969 by Roger L. Stevens, the Kennedy Center's founding chairman, the Kennedy Cen-ter American College Theater (KCACTF) is a national theater program involving 18,000 students from colleges and universities nationwide which has served as a catalyst in improving the quali-ty of college theater in the United States. The KCACTF has grown into a network of more than 600 academic institutions throughout the country, where theater departments and student artists showcase their work and receive outside assessment by KCACTF respondents. Since its incep-tion, KCACTF has given more than 400,000 college theater students the opportunity to have their work critiqued, improve their dramatic skills and receive national recognition for excellence. More than 16 million theatergoers have attended approximately 10,000 festival productions nationwide.

INVITED PRODUCTIONSWHO WILL CARRY THE WORD? by Charlotte DelboProduced by: Rowan UniversityDirector: Anthony HostetterWednesday, January 15, 9:30 a.m. and 2:30 p.m.Madeleine Wing Adler TheatreResponse 3:00 p.m., Thursday, January 16, - SOMPAC 303

Based upon the biography of Charlotte Delbo, Who Will Carry The Word? depicts the lives of 20 women sharing a bar-racks in the WWII Nazi death camp Auschwitz. Their goal: to keep the strongest alive so that someone can share their experiences with the world. A sobering and very moving celebration of the human spirit, Who Will Carry The Word? is a portrait of the resilience of ordinary people placed in extraordinary—and in this case, horrifying—circumstances.

AVENUE Q Music and Lyrics by Robert Lopez and Jeff Marx, Book by Jeff WhittyBased on an Original Concept by Robert Lopez and Jeff MarxProduced by: College at BrockportWednesday, January 15, 8:30 p.m.Emilie K. Asplundh Concert HallResponse 4:00 p.m., Thursday, January 16, - SOMPAC 303

The mix of puppets and people, along with the setting of urban brownstones, may remind people of Sesame Street, but the lessons learned on Avenue Q are very different than the ones we learned as toddlers. They are not only much more mature, but these puppets talk like sailors and have urges, as well. Yes, we’re talking about puppet sex. What else can one expect from Avenue Q, besides puppet pornographers, post-college malaise and a pair of “Bad Idea Bears?” Well, the musical tells the timeless story of a recent college grad named Princeton who moves into a shabby Brooklyn apartment all the way out on Avenue Q. There, he meets Kate Monster (the girl next door), Rod (the Republican), Trekkie Monster (an internet sexpert, and no relation to Kate), Lucy the Slut (need we say more?), and other colorful types who help Princeton finally discover his purpose in life.

DEAD MAN’S CELL PHONE by Sarah RuhlProduced by: Slippery Rock UniversityDirector: Laura SmileyThursday, January 16, 9:30 a.m. and 2:30 p.m.Madeleine Wing Adler TheatreResponse 3:00 p.m., Friday, January 17 – SOMPAC 303

“There are only one or two sacred places left in the world today. Where there is no ringing. The theater, the church, and the toilet…” A wildly imaginative comedy…a hallucinatory poetic fantasy that explores the mundane and the metaphysical, the patently bizarre and the bizarrely moving through the odyssey of a woman forced to confront her own assumptions about morality, redemption and the need to connect in a technologically obsessed world. Written by MacArthur Genius Grant recipient and Pultizer prize finalist, Sarah Ruhl.


OUR TOWN by Thornton WilderProduced by: Carroll Community CollegeDirector: John MoletressThursday, January 16, 8:30 p.m.Emilie K. Asplundh Concert HallResponse 3:00 p.m., Friday, January 17 – SOMPAC 303

Described by Edward Albee as “...the greatest American play ever written,” Our Town follows the small town of Grover’s Corners through three acts: “Daily Life,” “Love and Marriage,” and “Death and Eternity.” Narrated by a stage manager and performed with minimal props and sets, audiences follow the Webb and Gibbs families as their children love and live. Carroll Community College offers this lovingly well-worn play with youthful imagination, which aims to offer greater support for Wilder’s themes and intentions.

LYSISTRATA by Aristophanes, Adapted by Ellen McLaughlinProduced by: Bowie State UniversityDirector: Bob BartlettFriday, January 17, 9:30 a.m. and 2:30 p.m.Madeleine Wing Adler TheatreResponse 5:00 p.m., Saturday, January 18 – Asplundh Lower Conference Room

Although “MAKE LOVE, NOT WAR” became the quintessential slogan of the counterculture of the late 1960s, it has long been the sentiment of many across the ages and around the world who believed that war is not the answer. Al-though Aristophanes’ anti-war comedy was antithetical to the lives of Greek women, the play strikes a universal chord on the power women hold when it comes to certain aspects of the male-female connection. BSU Theatre is proud to present this very modern adaptation by Ellen McLaughlin, which shows clearly that the theme of this Greek classic transcends time and culture.

VORTEX by Jeffrey Lentz and Cocol BernalProduced by Albright CollegeDirector: Jeffrey LentzFriday, January 17, 8:30 p.m.Emilie K. Asplundh Concert HallResponse 9:30am, Saturday, January 18 -SOMPAC Room 304

“Her lips trembled so that for a long while she could say nothing.” Leo TolstoyThere are some experiences in life that transcend the use of words. The same can be said of our stories. Vortex is a human story of love betrayed and forgiveness tested told through the theatrical elements of movement, light, and music.

INVITED PRODUCTIONS


MUCH ADO ABOUT NOTHING by William ShakespeareProduced by: Alfred UniversityDirector: Becky ProphetSaturday, January 18, 9:30 a.m. and 4:00 p.m.Madeleine Wing Adler TheatreResponse 9:30am, Sunday, January 19, Wyndham Garden Hotel

What is masked and what is revealed? What is truth and what is lies? What is a game and what is cruelty? What is gullibility or foolishness when compared to blindness to the better parts of human nature? What is the threat of one against the other, to rend the fabric of a society? William Shakespeare’s Much Ado About Nothing is a bright comedy with a decidedly dark center. The vortex and the dark side of these questions whirls around two pairs of lovers and threatens to destroy innocence, whether in Messina or London of 1590 or Florida in the 1920s-30s. In the context of youth, passions, victory in battle, and deep love, few can avoid being caught up in the howling, grinding spiral that is the desire of one person to destroy another, no matter who is hurt in the process. It is, then much ado and only about nothing when the innocent are absolved and the guilty caught.

THE 25th ANNUAL PUTNAM COUNTY SPELLING BEE Music and Lyrics by William Finn, Book by Rachel Sheinkin, Conceived by Rebecca Feldman, Additional Material by Jay ReissProduced by: The Richard Stockton College of New JerseyDirector: Natalie Jones – Student Director!Saturday, January 18, 1:30 p.m.Emilie K. Asplundh Concert HallResponse 6:00 p.m., Saturday, January 17, Asplundh Lower Conference Room

Ever dreamed of competing in a spelling bee? How about performing in a musical? Then this audience participa-tion-based show is the one for you! The 25th Annual Putnam County Spelling Bee tells the tale of six adolescent outsiders vying for the spelling championship of a lifetime, overseen by grown-ups who barely managed to escape childhood themselves! This Tony Award-winning musical is sure to tickle your funny bone and warm your heart as the participants learn that winning isn’t everything and losing doesn’t necessarily make you a loser. Be sure to stop by our Speller Registration table before the show if you’d like to be on stage for this musical comedy adventure!

ALIVE “A Devised Puppet Piece” developed by the EnsembleProduced by: Arcadia UniversityDirectors: Alisa Kleckner and Scott CassidyThursday January 16, 2014 9pm-10:30pmMainstage Theatre

For a kooky circus family, living on the road is one delicious cake walk. But what happens when Pandora’s pickled predictions abruptly stop pointing the way? A tale of daring, divisive and diabolical dimensions threatens to derail a dubious shared destiny.

Grab your ticket, pop some circus peanuts and prepare yourself for three rings of the most wondrous puppet show on earth!

INVITED PRODUCTIONS

Showcase PRODUCTIOn


FESTIVAL INFORMATIONRegistration and Information DeskThe Registration Desk will be located in the Sykes Student Union on Tuesday from 12pm to 6pm. Registration will remain open in a limited capacity until 8pm in the lobby of the Emilie K. Asplundh Hall

The Information Desk will be located in the lobby of the bottom floor of the E.O. Bull Cen-ter next to the Theatre Box Office. The Information Desk will be open from 9am-Noon and 1pm-6pm. If you still need to register on Wednesday, please contact Scott Mackenzie at 724-714-8613,

HospitalityInformation regarding hospitality will be provided to individuals in their “Guest Folders”. If we have missed you, please visit the Information Desk in the E.O. Bull Center lobby.

DiningThe Rams Head Dining Area will be open from Tuesday-Saturday 11am-4pm in the Sykes Student Union. Purchases can be made with Cash or Credit Card. There are no other on-campus dining facilities during the Festival. You can find a list of other off-campus dining locations at the rear of this program. For safety purposes we urge you to utlize Rams Head dai-ly.Java City Coffee will be open from 7:30-3pm in Sykes Student Union.Starbucks Coffee will be open from 7:30am-4pm in the FHG Library. Badges and Admission to EventsFestival badges will be required for all events and participants are required to have badges in their possession at all times during Festival ac-tivities. If you lose your badge or it is damaged, please report to the Information Desk in the lobby of the E.O. Bull Center. A $5.00 replace-ment fee will be charged (cash only).

Event EntryEntry to all events is on a first-come first-served basis. All performance seating is general admission. It is highly encouraged to arrive 30 minutes prior to the scheduled start time, especially for Invited Productions.

Admission to Invited ProductionsShow programs will be distributed in the lobby of the Madeline Wing Adler Theatre or the Emilie K. Asplundh Theatre on a first-come, first-served basis starting one hour prior to the scheduled start time for all productions. Any seats not filled ten minutes prior to the scheduled start time are subject to reassignment to attendees waiting to enter. To receive a show program, or to be placed in an available seat, you must show your Festival badge.

SecurityIn case of extreme emergencies, medical or oth-erwise, ALWAYS dial 911 immediately. From a campus phone, dial 9-911. In case of urgent sit-uations please dial 610-436-3311 to reach the WCU Public Safety Department West Chester University has installed blue light emergency phones around the campus should the need arise to contact the police.

All Festival participants are asked to wear their Festival badge while on campus.

In the event of non-emergency medical situations Chester County Hospital is located at 701 East Marshall Street, West Chester, PA 19380.

Workshop CancellationsShould you need to cancel or change a workshop or it’s schedule, please contact Andy Truscott at 484-894-5925 or [email protected]


TransportationTransportation shuttle busses will be provided between hotels and the Bus Lane at the Made-line Wing Adler Theatre. Festival guests are expected to walk between events on campus, so please dress appripriately for the weather.

Shuttle ScheduleThe Shuttle Schedule for the Festival is listed below:

Tuesday (Registration Day) - Loop between all four Host Hotels and the Madeline Wing Adler Theatre Bus Lane from 1pm to midnight.

Wednesday-Saturday - Loop between all four Host Hotels and the Madeline Wing Adler Theatre Bus Lane from 7am to 12am. Loop between the Host Hotels from 12midnight through 1am.

Please Note: Shuttles will cease at 1am. No excuses. Please plan accordingly. Changes to the bus schedule will be posted in the Hotel Lobbies and posted onlineon Twitter and Facebook.

Time to campus: Depending on the time of day your are travelling, traffic could make the loop as long as 45 minutes. Please plan during rush hour to give yourself 60 minutes to get to cam-pus.

Hotel Shuttles: Some Host Hotels may have a shuttle that can be used for local trips. Please inquire with the Front Desk as to the availabil-ity of this option. Please, use this as a last re-sort and do not rely on it.

Taxi cabs are availabe from Rainbow Cab & Limo at 610-696-6060.

ParkingThere is free parking for Festival attendees located in the “M” lot and parking structure. This is located parallell to the Madeline Wing Adler Theatre and the E.O. Bull Center.All other parking on campus is prohibited and you will be ticketed. Any metered parking around campus is patrolled by the Borough, not the University. Please be sure to feed the meters as needed as you will be ticketed.

Computers and Internet AccessOn campus wireless access has been provided for all registered Festival attendees.

You may need to re-access the computer net-work daily in order to remain on the wireless internet. Festival attendees should be sure to check their wireless devices when they arrive on campus in the morning and throughout the day.

Attendees should access the wireless acount: RamNet-Guest. Username is [email protected] is 60361332

Wired computer access is limited but will be available in the Library until 4pm. The login information is the same as above.

PrintingCopiers are located in the lobby of the Library at the Corner of High Street and Rosedale Av-enue. These can be used for a cash fee. If you feel like your copy is pertinent to one of your programs, please find the program head to dis-cuss the need. Library HoursThe Francis Harvey Green Library at High and Rosedale is open from 8am-8pm Tues-Thurs and 8-4 on Friday and Saturday.

FESTIVAL INFORMATION


FESTIVAL INFORMATIONLost and Found All found items should be turned in to the In-formation Desk in the E.O. Bull Center lobby. Lost and Found claim forms will be available there as well. If you are missing anything, please check in with the Information Desk first. If the item is not there, please complete the appropri-ate lost item form so you can be contacted if found. The Festival or University is not respon-sible for any lost personal materials.

Host HotelsAll found items should be turned in to the In-formation Desk in the E.O. Bull Center lobby. Lost and Found claim forms will be available there as well. If you are missing anything, please check in with the Information Desk first. If the item is not there, please complete the appropri-ate lost item form so you can be contacted if found. The Festival or University is not respon-sible for any lost personal materials.

WCU Alcohol PolicyIn Pennsylvania, it is illegal for anyone under the age of 21 to purchase, possess or consume alcohol. It is also illegal for any one to use or possess controlled drugs. At West Chester Uni-versity, it is illegal for any student, regardless of age, to possess or consume alcohol on campus or to return to campus under the influence.

WCU Tobacco PolicySmoking is restricted to designated areas out-side of buildings only. You will find designat-ed smoking zones. Please respect this policy and only use tobacco products at any of these pre-designated locations around campus. All host hotels are smoke-free indoors with desig-nated outdoor smoking locations.

Festival LocationsEvents and Workshops around Festival will be held at the following four campus buildings. Below you’ll find their full names, abbrevia-tions that are used throughout the Program, and their street addresses.

Emilie K Asplundh Concert Hall (ASPLUNDH) 700 S. High Street West Chester, PASwope School of Music Building (SOMPAC) 17 S. High Street, West Chester, PA E.O. Bull Center for the Arts (EOB) 2 E. Rosedale Ave. West Chester, PA Sykes Student Union (SYK) 110 W. Rosedale Ave., West Chester, PA

Late Night EntertainmentThere are a myriad of options available to Festival attendees for late night entertainment following the final performance of the evening. Attendees are welcome and urged to visit both Host Hotels where events are taking place. However, please be sure to be on the last bus back to your hotel at 1am unless you plan on catching a cab or driving yourself back. Please do not walk between hotels. Use the shuttles.

Please note: Only REGISTERED Festival attendees are allowed into late night events.

Days Hotel: Wednesday-Friday NightsFringe Challenge - 11:00pm-2am Upstairs BallroomDJ Dance Social - 11:00pm - 2am Downstairs BallroomBoard Game Nights - 11pm-2am Adjacent Room to Restaurant

Wyndham Garden: Wednesday-Friday NightsMovie Night - 11:00pm - 2am Cinema/TheatreBoard Game Nights - 11pm-2am Longwood Ballroom


Guidebook/Digital ProgramA digital copy of this program may be downloaded from our webiste at www.kcactf2.org.

This program can also be accessed via a Smartphone app called Guidebook. It can be accessed via the iTunes Store of Google Play Store. Once you have downloaded the app, fol-low these steps to download the Guide:

1) Click on Download Guide in the bottom left-hand corner2) In the Search Bar, search for West Chester Our Guide will be the only guide that appears3) Click on our Guide It will automatically be downloaded3) When it has finished downloaded, click on the Guide and begin exploring!

Features of Guidebook

The Festival Schedule can be found under “Festival Schedule”. When you read through the various events or workshops you can ADD TO MY SCHEDULE to add it to your own personal schedule.

Each workshop session has the ability for you to provide feedback for the workshop. Please do so! It allows us to learn from you, the attendee!

You can also upload your favorite pictures from the Festival’s Workshops, Events, and Late Night Entertainment for every user to see via the KCACTF Photo Album.

You can access the ITJA Festival Reviews via the Festival Blog.

General Feedback Surveys will be pushed out to attendees nightly via the Feedback portion of the app.

FESTIVAL INFORMATION


SUPPER

FACULTY

Thursday, January 16, 20146:00-8:00pm

The Days Hotel943 S High St, West Chester, PA 19382

Regional faculty are invited to join colleagues for a light supper and

informative discussion about ways to strengthen support for our

students throughout KCACTF.Regional faculty are invited to

supper and informal discussion about ways to strengthen support of our students through KCACTF

SAMPLE TABLES:

2 Year Colleges & KCACTF

Boosting support of DTM students

Teaching Intro to Theatre

New Play Production on College Campuses

Coaching Ryan Nominees Successfully

Supporting Undergrad Student Directors

Developing the Student Dramaturg

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ACTING IN THE SPACE BETWEENpresented by Barbara Burgess-LefebvreThis workshop explores the idea that theatre happens in the “space between” actors; that the most dynamic acting is the art of reacting honestly to what onstage partners are doing while pursuing well-defined, ob-tainable wants using a variety of tactics. Participants are encouraged to bring scenes to work. Observers are welcome. (PERF) Friday 1/17 1-2pm, EOB 17ACTION IN SONG: MAKING SOMETHING HAPPENpresented by Mark HardyWe will explore bringing the song to life by find-ing urgent action in the lyric, music, and vocal line. Based on Stanislavski fundamentals - and with an ear to the marriage of word and melody - participants will workshop their own prepared songs as sing-ing actors. Please bring sheet music in the proper key. Observers are welcome. (PERF) Saturday 1/18 1-3pm, EOB 17ACTING SHAKESPEARE WORKSHOPpresented by Catherine Weidner Shakespeare’s plays present particular challenges to the contemporary actor. This workshop will help the actor meet those challenges and make his lan-guage come alive, and give actors the opportunity to explore and develop the tools needed to perform texts by Shakespeare and other playwrights of the classical repertory. No preparation or previous expe-rience with Shakespeare is necessary. We will focus on basic verse text work, covering fundamental skills which will “demystify” the language and give actors a practical, common-sense approach to the text. All participants should bring a pencil or pen. Teachers are welcome. Thursday 1/16 1-3pm, SOMPAC 307ACTIVE ANALYSIS FOR DIRECTORSpresented by Nathan ThomasFor Directors: A hands-on look at Active Analysis as used by Stanislavsky and Maria Knebel. (DIR) Wednesday 1/15 5-6pm, EOB 21ACTORS THEATRE OF LOUISVILLE APPRENTICESHIP INFO SESSIONpresented by Michael LeggThe Apprenticeship at Actors is a full-immersion training program focused on practical, experiential training and designed to help young artists transition from an academic degree to a real-world career. It’s one of the oldest continuing pre-professional train-ing companies and a practical alternative to graduate school. While learning the skills needed to create

and maintain a professional career, Apprentices per-form in their own 5-show season. Special emphasis is placed on cultivating audition skills and learn-ing methods for generating original work. (NEXT/PERF) Thursday 1/16 10-11am, EOB 40ADVANCED SHAKESPEARE MONOLOGUE WORKSHOPpresented by Catherine WeidnerGet a fresh perspective on your two-minute Shake-speare monologue. Participants must have a pre-pared piece to work on – and should bring a copy of it with them to the workshop (even if it’s handwritten on a piece of notebook paper), so we can look at the text. The focus of the work will be on physicalizing the work, clarifying beats and intentions, and getting specific. We will begin with a brief physical and vocal warm-up. Observers are welcome. Thursday 1/16 4-6pm, EOB 114AMERICAN COMEDY REVOLUTION: LONG-FORM IMPROV presented by Law TarelloLearn what lies beyond “Yes, And”; discover the prin-ciples of theatrical improvisation to create unique characters, initiate strong scenes, listen effectively, and heighten ideas as they happen. These advanced exercises will improve your awareness, build your confidence, and get you “out of your head” and into the moment. (PERF) Thursday 1/16 3-5pm, EOB 21ARMOR – PART Ipresented by Victoria DePewLeather armor: from research to stage. This presen-tation will show you the process of building multi-ple sets of leather armor. (DTM) Thursday 1/16 10-11am, EOB 132ARMOR – PART II presented by Victoria DePew and Debra OtteCreate armor prototypes in this hands-on workshop. (DTM) Friday 1/17 1-3pm, EOB 132BEATING “LOW BID” SYNDROMEpresented by Patrick McCrearyThe lowest bid, as we are too often reminded, is rare-ly the best value for the money. This workshop will explore two perfectly legal alternative methods to prevent getting less than we need or want, while still assuring a fair and equitable process for both vendor and buyer. (DTM) Saturday 1/18 2-3pm, EOB 40BLOCKING FOR THE ACTORpresented by Lars TatomDirectors block, right? But what about the actor who has to prepare a scene? This short session will look at

WORKSHOPS


easy tools for the actor to use to self-block. (PERF) Friday 1/17 2:30-3:30pm, EOB 21A BLOODY GOOD TIMEpresented by Alexis GurstThis workshop focuses upon stage blood-- how to make edible versions and washable versions, differ-ent viscosities and various techniques to load/use blood on stage. (DTM) Saturday 1/18 1-2pm, EOB 168BROADWAY BOOTCAMP: DANCEpresented by Geoffrey GoldbergWork with Broadway professional Geoffrey Gold-berg (Mary Poppins, 42nd Street, Chitty Chitty Bang Bang) in this Dance Master Class. Learn the choreography from a Broadway musical and learn the tips and techniques to booking the gig on Broad-way. (PERF) Wednesday 1/15 2-4pm, Thursday 1/16 9-10am and 5-6pm, EOB 17A CAREER IN THEATRE: THE ROLE OF AC-TORS’ EQUITY AND A PRACTICAL GUIDE TO THE BUSINESS presented by Tom MillerEquity’s mission is to support and protect the rights of Actors and Stage Managers. The workshop ex-plains how and when to join, outlines benefits of membership, provides tips for negotiating, record keeping and networking. It is designed to ease the transition from an academic environment to a pro-fessional career. (NEXT/DTM/PERF) Thursday 1/16 9-11am, SOMPAC 307CONFIDENT AUDITIONSpresented by Biliana Stoytcheva-HorissionaThe participants in this highly participatory work-shop will explore a variety of textual, physical, and psychological approaches to their work on audition monologues. The exercises will help performers build confidence in their acting choices and assist them in creating compelling, relaxed, and energized performances in audition situations. (PERF) Satur-day 1/18 10-11am, EOB 114CREATING DYNAMIC PERFORMANCE SPAC-ESpresented by David A. MillerHow do you create a dynamic, effective performance space? Specifically for directors and designers, this workshop is a hands-on workshop applicable to any theatrical project, whether a scene, one act or full-length play. Participants will learn what a dynam-ic performance space is and how to collaboratively create such a space. (DITR/DTM) Thursday 1/16 10am-1pm, EOB 22

CREATURES, CRITTERS AND KIDS: CREAT-ING CHILDREN’S THEATRE!presented by Tiffany TownsParticipants will collaborate to discover what it means to create children’s theatre. Based on a se-lection of children’s literature, actors will improvise human/non-human characters through physical and vocal exploration. Designers will use this work as inspiration for costume and scenic designs for the selected piece(s). Actors, wear movement clothes. Designers, bring sketchbooks and pencils. (DTM/PERF) Wednesday 1/15 4-6pm, EOB 17DEATH AND DYING ON STAGEpresented by John BellomoA stage combat class utilizing the stages of death as described by Elisabeth Kubler-Ross, the descrip-tions of death that are found in The Tibetan Book of Living and Dying, and the physiological process the body goes through during death; students will ex-plore how to die believably on stage. (PERF) Thurs-day 1/16 1-3pm, EOB 114DECONSTRUCTING CLASSICSpresented by Michael DurkinThe Renegade Company will guide the students through a workshop dealing with deconstructing iconic works of art to create original pieces. Incor-poration of other art forms as well as sensory ob-jects will heighten this experience. (DEV) Saturday 1/18 1-3pm, EOB 22DESIGN BEYOND THEATERpresented by Kurt WunschThere are many professional designing opportuni-ty’s beyond traditional theater. One of these is co-operate and industrial theater, also known as Trade show and Conferences. This 17 billion dollar a year business hosts plenty of opportunity for designers, creative directors and production on all levels. This workshop is a conversational overview of the busi-ness which examines: What are cooperate events and trade shows? Concepts of designing and pro-gramming in the cooperate environment, Where to begin, and How to thrive in the business. Friday 1/17 1-2pm, EOB 111DEVISING ORIGINAL THEATREpresented by Elizabeth MozerTogether we will explore and practice the bold art of theatre making! As soloists and ensemblists we will devise stage-worthy compositions and co-create a short original work. Our process will be informed by the current practices of well regarded theatre

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companies while simultaneously cultivating our in-dividual creative approaches. We will articulate our group’s aesthetics and theatrical values and culmi-nate with a sharing - the performance of our original piece! (please plan on attending each of the workshop sessions). (DEV/PERF) Wed/Thur/Fri 1/15-1/17 9-11a, EOB 114 DEVISING THEATRE THROUGH MOVEMENTpresented by Justin Poole and Heidi Winters VogelUsing their bodies, found objects, and empty space, participants craft an original, ensemble performance. The goal of this workshop is to challenge students to use their bodies in expressive ways in the service of their art and to expose them to a physical and collab-orative method of creating live theatre. Students with little to no movement training are encouraged to par-ticipate! (DTM/PERF) Thursday 1/16 10-11am, EOB 17DOING NOT STEWINGpresented by Rick StoppleworthThis workshop presents a series of exercises using improvised text and dialogue to help the actor find ease and release through choices of objective and tac-tic, moving away from general emotional display to acting that is vibrant and connected to both the actor and the play. (Perf) Thursday 1/16 2-3pm EOB 22DRAMATURGY AS CURATIONpresented by Walter Bilderback, Guest DramaturgCome share current thinking on the practice of dra-maturgy with Guest Dramaturg Walter Bilderback, Resident Dramaturg at the Wilma Theater in Phil-adelphia. We’ll consider the paradigm of dramatur-gy as it shifts from an authoritative presence in the theater and rehearsal hall ( “resident scholar”; “In-stitutional egghead”) to a collaborative member who shepherds, shares and shapes the process of back-ground research, aesthetic choices, and audience interactions. Walter Bilderback will share his own experiences from the current season at the Wilma. (DRAM) Friday 1/17 4-6pm, SOMPAC 304DRAMATURGY PORTFOLIO REVIEWwith Walter BilderbackRequired for all dramaturgy applicants. (DRAM) Saturday 1/18 9-11am, EOB 132EFFECTIVE FACE CHARTING FOR MAKEUP DESIGNpresented by Debra OtteLearn to create effective makeup designs on charts specific to your actor’s face. (DTM) Thursday 1/16 5-6pm, EOB 132

FOLIO, FOLIO, WHEREFORE ART THOU, FO-LIO? presented by Len KellyA hands-on workshop that invites participants to learn about the difference between Folios and Quar-tos by building your own! Experience the history be-hind the early publication of some of Shakespeare’s great plays. (PERF) Wednesday 1/15 10-11am, EOB 132FOR THE LOVE OF LANGUAGE—MEANING AND FORMpresented by Becky ProphetThis Directing Institute workshop, open to all festival attendees, explores methods of handling language for the stage in terms of sound, rhythm, pitch, volume, and, of course, meaning. From good sense to non-sense to inflamed passionate speech to discovery of content, melded with mode of presentation moves audiences. (DIR/PERF) Wednesday 1/15 9-11am, EOB 21GETTING MORE OUT OF YOUR ACTORS: RE-HEARSAL TECHNIQUES FOR DIRECTORSpresented by Grechen Lynne WingerterTired of the same old routine in rehearsals? Are your actors tired of it, too? Want to try something new to shake things up a bit? Or, do you have some sure-fire techniques of your own to share? If you an-swered “yes” to any of these questions, then this is the workshop for you. Come to this hands-on work-shop where you will be able to test out some different methods to help you get more out of your actors and your rehearsal process. Friday 1/17 9-11am, EOB 22GETTING TENUREpresented by Thomas HaugheyA frank discussion about tenure and promotion for faculty. Methods and means of support that can be found in your institutions and through a supporting network of faculty. (FAC) Wednesday 1/15 1-2pm, EOB 22GRADUATE SCHOOL AUDITION WORKSHOP Presented by Scott L. SteeleHow can you show ‘em what you got in just two minutes? Faculty from URTA institutions will work hands on with actors; and discuss tips and techniques to provide a new perspective on preparation. Stu-dents are encouraged to bring memorized material. Teachers are invited to attend as well. (PERF) Thurs-day 1/16 1-3pm, EOB 21

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GUESS WHO’S COMING TO DINNER? HOW TO GET MORE FROM A KCACTF RESPONSEpresented by Barb Blackledge & Maggie LallyIf you want to really use the opportunity offered by KCACTF respondents, this workshop will explore options towards enlarging this experience for both a department’s faculty & students. if your depart-ment is new (or relatively new) to responses, this participatory workshop is for you! (FAC) Wednes-day 1/15 1-2pm, SOMPAC 303HEY DESIGN/TECHS! SHOULD GRADUATE SCHOOL BE IN YOUR FUTURE?Presented by Scott L. SteeleFaculty from URTA institutions discuss the Do´s and Don´ts and Whys of Grad school including preparing portfolios, working with advisers, inter-views, and even what to consider beyond Graduate School. Undergraduates considering the next step, as well as teachers, are encouraged to attend this ses-sion filled with lots of opinions and hopefully lots of answers. (DTM) Thursday 1/16 5-6pm, EOB 40HANDS ON EXPLORTION OF SCENIC PAINT-ING: MARBLEpresented by Jathan InnerarityA hands demonstration and exploration into the world of painting marble with insight into the flu-id state found in marble and how to recreate it on stage. Demonstrations and experimentation with the common and uncommon tools used to create layers. Attendees will craft their own sheet of mar-ble. (DTM) Thursday 1/16 9-11am, EOB 168HEADSHOTS BY JATI PHOTOGRAPHpresented by Jati PhotographyGet your headshots done for only $50 during our Next Steps day! Dress up with that one perfect look. Please bring cash or check with you. Thursday 1/16 11am-4pm, EOB 168HIDE AND SEEK: LEATHER MASK WORKpresented by Alisa Sickora KlecknerThis workshop takes the mystery out of working with vegetable tanned leathers. Learn techniques in belt and strap making, dying leather, leather hard-ware and leather masks. It’s more economical than you think! These techniques also translate well when repurposing found leather items. (DTM) Sat-urday 1/18 3-5pm, EOB 132HOSTING A REGIONAL KCACTF FESTIVALpresented by Elizabeth van den Berg, Scott Macken-zie, Juliet Wunsch, and Andy TruscottWant to throw the best theater festival Region 2 has

ever seen? This meeting is for faculty, administra-tors, and staff who are interested in serving as a fu-ture festival host. Find out how, now! Friday 1/17 10-11am, SOMPAC 304HOW TO STYLE GIBSON GIRL HAIRpresented by Constance CaseThe first half (50 minutes) of the presentation will be a demonstration on how to execute a 1900s hair-style. The second half (50 min.) will be a hands-on experience for up to 10 students, five stylists and five models. Pre- registration for the ten individuals will be necessary but all are encouraged to stay. (DTM) Friday 1/17 9-11am, EOB 15I WANT TO BE A DIRECTOR...NOW WHAT? presented by John MoletressAn informal Q&A with director and choreogra-pher John Moletress, moderated by Becky Prophet, Alfred University. I want to be a director, so now what? Where are the resources? Where do I find the “right” play? How do I “devise” theatre? How do I self-produce? Where do I find actors and de-signers? Are there classes in directing? Students will have the opportunity to ask questions and engage in a discussion for the budding, aspiring and curious director. (DIR) Saturday 1/18 9-10am, EOB 22INTERDISCIPLINARY PERFORMANCE STRATEGIESpresented by Carrie ColeThis workshop is designed to explore the pedagogi-cal and performance benefits of working across dis-ciplines on your campus. Wednesday 1/15 2-3pm, EOB 22AN INTRODUCTION TO COMMEDIA DELL’ARTEpresented by John BellomoAn introduction of commedia dell’arte through the Zanni or servants. Students will learn the physi-cality and psychology that motivates these charac-ters. Explorations of scenarios and improvisations will also be utilized to demonstrate how commedia plays where and are devised. A brief historical con-text will begin our adventure. (PERF) Wednesday 1/15 1-3pm, EOB 114AN INTRODUCTION TO FITZMAURICE VOICE WORKpresented by Len KellyAn introduction to basic Fitzmaurice Voicework Destructuring techniques. Learn how to rid your body of habitual tension that can interfere with good vocal production. Bring a short piece of text, mem-

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orized. Dress to move - and come out and Tremor! (PERF) Thursday 1/16 9-11am, SOMPAC 320IPAD DESIGN: DESIGNING DIGITALLY FOR THE THEATREpresented by Terry Dana Jachimiak IIAs technology moves forward, so does its applica-tion in theatre design. During this workshop you will learn the tools, tips and tricks of designing on the iPad, or any tablet computer, and how it might improve your workflow and enhance your creativity. (DTM) Thursday 1/16 7-8pm, EOB 40IS THERE A STUDENT DRAMATURG IN THE ROOMpresented by Lisa WildeHaving a dramaturg for an Ibsen or Shakespeare seems obvious -- although it doesn’t always happen-- but dramaturgy can be helpful in every process. We’ll look at how to involve students in dramaturgy in five easy steps -- for students who want to bring drama-turgy into productions and faculty who are willing but no sure where to start. (DRAM) Thursday 1/16 10-11am, EOB 111LEATHER MASK MAKING FOR THE THEATREpresented by Fiona MulliganThis workshop will provide a brief history of leath-er mask making with an emphasis on how it relates to the theatre, as well as a demonstration of leather mask construction. Participants will be able to try out the demonstrated techniques on a small leather ac-cessory to keep. (DTM) Thursday 1/16 3-5pm, EOB 12LIVING OUTSIDE THE BOXpresented by Mauricio SalgadoCome meet a New York based Artist who is finding the balance between the pursuit of his artistic career and his desire to change the world. There is a move-ment happening, come meet one of its ambassadors! (NEXT) Friday 1/17 9-11am, SOMPAC 225LONG FORM IMPROVISATIONpresented by Michael SchwartzIntroduction to improv scene-building, trusting in-stincts, using the concept of “yes-and,” big emotional responses, partner support, and generally shedding inhibitions. By the end of the workshop, we’ll try to, in late improv master Del Close’s words, build an airplane while we’re flying it. (PERF) Saturday 1/18 9-10am, EOB 17MAKING A SIMPLE SCENIC MODEL HOUSE, presented by Sean Joseph UrbantkeKeeping in mind the tools necessary for design for

the theatre, participants will be shown how to build a simple scale model house of a theatrical space out of black foamcore. Intended for the uninitiated but enthusiastic model builder in all of us. Participants must be comfortable with sharp knives. (DTM) Wednesday 1/15 4:30-6:30pm EOB 132MONOLOGUE FEEDBACKpresented by Gordon McConnellMonologue feedback workshop offered by director, teacher and long-time regional journeyman actor Gordon McConnell. 3 to 5 students will be selected for honest responses and coaching on auditions. Stu-dents should come prepared as if for a professional regional theatre audition, with 2 memorized, con-trasting contemporary pieces (total audition max-imum of three minutes) along with a picture and resume. Auditors welcome. Saturday 1/18 1-5pm. SOMPAC 320NAIL THE JOBpresented by Janice L. Goldberg Cold Reading Workshop. Need to make choices quickly? Need to feel at ease? Need to get the role? Get tips for all auditions, then put ‘em to use. A jam packed interactive hour that will give you a leg up on your next audition. (PERF) Tuesday 1/14 4-5pm/5-6pm, SOMPAC 141THE NATIONAL NEW PLAY NETWORK AND HIGHER EDUCATIONpresented by Gregg HenryA conversation about NNPN, its far-reaching pro-grams, and its impact on twenty-three local com-munities across the country. Now celebrating its fifteenth anniversary, the Network is the country’s al-liance of nonprofit theatres that champions the devel-opment, production and continued life of new plays. Programs include the “Rolling World Premieres”, playwright residencies, commissioning programs, the producers-in-residence program, and a new as-sociate membership program for institutions of high-er education. (ALL) Friday 1/17 4-6pm, EOB 114NETWORKING IN YOUR PROFESSIONAL CAREERpresented by Michael LeggThere are fewer and fewer acting jobs available in this economy. And most of those are offered out to ac-tors that the director, playwright, and/or theatre have worked with before. So how do you become one of those actors? In this seminar, we’ll talk about ways to organize and mine a database of contacts, how to format your resume in ways that get you into an audi-

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tion, and how to make first contact with people who will one day hire you. (NEXT/PERF) Thursday 1/16 2-4pm, EOB 40NEW PLAY DRAMATURGYpresented by Lisa Wilde and Ally CurrinNPP Chair Ally Currin and Dramaturgy Chair Lisa Wilde will demonstrate best practices of collabora-tion between playwrights and dramaturgs and how dramaturgs can enhance and support new work. (NPP/DRAM) Wed. 1/15 10-11:30am, EOB 40ON-SITE AUDIENCE ENGAGEMENTpresented by Andy TruscottTheatre is no longer about simply entertaining our patrons, it is more about engaging them. Theatres now must learn to engage our patrons from the minute they walk into the building through their exit. Examples from regional theatres will be high-lighted throughout the presentation. (DTM) Friday 1/17 4-5pm, EOB 21PHOTOSHOP FOR SET DESIGNERSpresented by Yoshi TanokuraThis workshop examines how Photoshop can help busy set designers speed up design process.Partici-pants (students or faculty) are encouraged to share their methods. (DTM) Thursday 1/16 1-3pm, EOB 132PLAYING THE LONG GAME: HOW TO BE SUCCESSFUL AS A PROFESSIONAL ACTOR, presented by Michael LeggSo you’ve decided to try to make a living as an actor. What are the next steps? How do you define success in this industry? How competitive is the business, actually? Learn strategies for surviving the years it takes to establish yourself as a professional actor and ways to maintain your focus and mental health along the way. (NEXT/PERF) Friday 1/17 9-11am, EOB 111THE POWERFUL PRESENCEpresented by Joe KrienkeRooted in the principles of the Dell’Arte Interna-tional School of Physical Theater this highly phys-ical workshop deals with the actor’s presence and availability. Come prepared to move and be moved. (PERF) Thursday 1/16 3-5pm, EOB 17PUTTING IT TOGETHERpresented by Peggy YatesYou want that great musical theatre role? A beautiful voice isn’t enough. There is a story to tell. Come work on “acting a song.” Bring sheet music - ac-companist available. Work to bring your song to life

in a way that will help you get the job! Friday 1/16 10am-12pm, SYK 005QUICK CHANGE TRAUMApresented by Alisa Sickora KlecknerInterested in FX makeup? It’s not just for the movies anymore! Learn how to create trauma appliances that go on in 45 seconds and stay on underwater. Stage the ultimate fight and reduce the time in the makeup chair. This process can be used for wounds, old age and character makeups. (DTM) Wednesday 1/15 3-5pm, EOB 132RIGGING INTENSIVEpresented by Bill SapsisDesigned to provide training in current entertain-ment rigging industry practices and equipment and the proper use, inspection and maintenance of that equipment. Pre-registration required due to limited seating (DTM) Friday 1/17 9am-12, EOB 40RYAN AUDITIONS ARE OVER – NOW WHAT? presented by Tom MillerIs your experience as a Ryan nominee or partner applicable to future theatre auditions? The answer is an unqualified YES! As a working actor you will do hundreds of auditions throughout your career. Use your Ryan experience - learn how to get the most out of auditions. (NEXT/PERF) Friday 1/17 9-11am, SOMPAC 307SHAKESPEARE’S FIRST FOLIO: AN ACTOR’S RESOURCEpresented by Rob BullingtonIn this part lecture, part hands-on presentation, you will learn how to use Shakespeare’s First Folio to un-lock the “secret” acting hints that have been waiting 400 years for you to discover them. No prepared material necessary! (PERF) Thursday 1/16 4-6pm, EOB 22SHAKESPEARE’S RHETORIC: AN ACTOR’S TOOLpresented by John BellomoA two part workshop designed to help the young actor identify the rhetorical patterns found in Shakespeare’s language and how they can be used to enhance performance. The first half is a lecture about the different rhetoric patterns; the second half students will work on a monologue from their rep. (PERF) Friday 1/17, 4-6pm, EOB 17THE SMARTS OF INTELLECUAL PROPERTY (COPYRIGHTS) presented by Victor Capecce“What is a ‘copyright’?” “Who owns my set de-sign?” ”How do I publish a recording of my mu-

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sic?” ….These answers and more will be explored while navigating the labyrinth of “Intellectual Prop-erty Rights.” (A non-attorney’s view of who owns what, and how to protect it. (NEXT) Wednesday 1/15 5-6pm, SOMPAC 303SO YOU’VE GRADUATED...WELL NOW WHAT? presented by Andy TruscottOften times graduates are left in the cold once they graduate with a Theatre Degree. Learn what you should be doing during your final semester of college to prepare yourself for the “real world”. Real life situations will be discussed in this class, as Andy shares how he moved from Corporate America to unpaid internships, part time employement and finally full time employment at a LORT Regional Theatre. (NEXT) Thursday 1/16 5-6pm SOMPAC 304SPEAKING WITH YOUNG ARTISTS: RE-SPONDING IN REGION IIpresented by Barb Blackledge and Maggie LallyThis response training session is open to all: from those new to the process to respondents who have been out on the road for many years. Learn new tips or share some of your favorite tricks of the trade. Join Maggie Lally and Barb Blackledge, for this daily workshop full of engaging conversation about what makes a response more useful for all involved. Re-sponses are thoughtful dialogues regarding process, NOT adjudications. Along with the nuts and bolts of the response process in Region II, we will discuss the idea of teachable moments in productions, how to re-spond to all areas of production, and how to navigate wariness on the part of a director or student. A good response is neither tearing a production apart nor generally singing its praises, but rather an effective dialogue about process as well as what was more and less successful in a production and why. Workshop participants will attend festival productions and re-sponses, discuss their perceptions of both, and even practice a response or two within the group. Don’t let the four day schedule scare you. If you can only make one or two sessions, you are more than wel-come. (FAC) Wed/Thur/Fri/Sat 1/15-1/18 9-11am, SOMPAC 303STORYTELLING THROUGH STAGE VIOLENCEpresented by Carrie ColeWhen words fail your character and you must resort to violence, be confident that you can safely smack (or get smacked) while remaining true to the story.

This workshop is designed to teach basic unarmed techniques within the context of theatrical story-telling. Be prepared to move. (PERF) Thursday 1/16 1-3pm, EOB 17STRUCTURAL CONSIDERATIONS IN PLAY-WRITINGpresented by David ZarkoExamining the elements of structure in writing a play, a helpful checklist and way of looking at your story, how you’re telling it, and what elements are most (or least) important in the telling. 1 hour, mostly dis-cussion. Useful for both playwrights and directors. (NPP) Wednesday 1/15 3-4pm, EOB 22SUBTEXT AND THE PHYSICAL BODYpresented by Heather BentonThis workshop explores the physical body as a ve-hicle to connect with subtext. Utilizes multiple psy-chophysical tools for unlocking subtext and explor-ing a character’s inner life. Intensely physical. Come dressed to move with intimate knowledge of a partic-ular role, the character’s super objective and memo-rized text. PERF) Wednesday 1/15 9-11am, EOB 17TAKE IT PERSONALLY: EMOTION IN IMPROVpresented by Heather BentonThis workshop investigates what it means to have a strong emotional point of view, and how to take what happens in a scene personally (at least for your char-acter)- rather than endlessly trying to create, take ad-vantage and deal with what is already right in front of you on stage. (PERF) Wednesday 1/15 1-3pm, EOB 21TECHNICAL DIRECTION 101presented by John Paul DevlinThis workshop will explore some strategies for tech-nical directors who are starting out--prioritizing the construction schedule, estimating time, guiding prin-ciples and the magic of having three options for every situation. (DTM) Wednesday 1/15 1-3pm, EOB 168TECHNICAL MISCELLANYpresented by Patrick McCreary A series of odd discoveries and tricks learned by me over the past forty years as a T.D. - a couple of exam-ples - Does a cable end have a gender before it has a connector? Can you put threads on the end of a con-duit or tube with just a hammer? (DTM) Wednesday 1/15 1-2pm, EOB 132THEATRICAL MAKEUP IN HAUNTED AT-TRACTIONSpresented by Shawn Sieger and Robert SiegerThis workshop will go over the practical applica-

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tion of theatrical makeups not for the stage but for other actor driven entertainment venues. Specifi-cally, Haunted Attractions. In this workshop we will demonstrate the use of cream makeup, aqua colors, airbrush, latex, and silicone build ups to create char-acters from evil clowns to zombies and old age make-ups. (DTM) Saturday 1/18 9-11am, EOB 168TIME TO MAKE A CHANGEpresented by Mauricio SalgadoAre you frustrated by the challenges facing your community? So are we! Take the first steps with Art-ists Striving To End Poverty to create change in your community. We will introduce you to the resources and support you will need to lead. (NEXT) Thursday 1/16 4-6pm, SOMPAC 207WHAT’s NEXT?presented by Tammy O’DonnellWondering what to do once you graduate? Are you transferring to another Institution? Looking for a job? Still confused about what to do with a theatre degree? NEXT STEPS is an initiative spearheaded by KACTF to help you make those decisions...or at lease explore your options. (NEXT) Thursday 1/16 9-10am, EOB 40WHAT’S NEXT… IN THE CLASSROOMpresented by Tammy O’DonnellWhat’s Next...in the classroom? How are faculty us-ing technology to teach theatre? What challenges are you finding in General Education requirements? How are you exposing students to live theatre that is not cost prohibitive to students? This is a round-table discussion on best practices, problem solving and idea gathering. Join us! (NEXT) Thursday 1/16 11am-12pm, EOB 40WHY DO COSTUMES AND SETS LOOK DIF-FERENT UNDER LIGHTING?Presented by Juliet WunschColor in light is one of many magical elements in theatre. It can enhance or alter how things appear. Come in for a brief workshop which explores the impact of primary colors, how they blend to form a more brilliant stage picture, and learn about what people mean when discussing warm and cool tones. (Won’t you feel smart when you can intelligently dis-cuss the impact of additive and subtractive mixing?)(DTM) Thursday 1/16 11am-12pm EOB 25WHY DOES ARKADINA PLAY CROQUET?: CHEKHOV’S WORLDpresented by Nathan ThomasFor Dramaturgs. A look at the world and culture of

Anton Chekhov. (DRAM) Wednesday 1/15 3-4pm, SOMPAC 307WOMEN’S PLAYWRITING INITIATIVEpresented by Michael Hood and Brian JonesThe National Theatre Conference is extending its Women Playwrights Initiative which is designed to support contemporary American women play-wrights. NTC member Michael Hood and IUP The-atre Department Chair Brian Jones will introduce the initiative and will speak to their experiences at IUP. (NPP) Thursday 1/16 9-10am, EOB 22WORKING WITH NEW PLAYS: COLLABORATION BETWEEN DIRECTORS AND PLAYWRIGHTSpresented by Richard HermanThis workshop is designed for both student play-wrights and directors who are interested in develop-ing approaches to collaboration when working on a new play. (NPP/DIR) Thursday 1/16 3-4pm, EOB 22YOU MAJORED IN THEATRE, REALLY? RECA-REERING YOUR THEATRE CAREERpresented by Bob LevyHave you ever received that look, you know the look in that interview when you tell your potential em-ployer that you are majoring in Theatre? Learn to package the skills that you have learned in the theatre for work outside the theatre. (NEXT) Wednesday 1/15 10-11am, SOMPAC 307YOUR VOICE AND VOICE-OVERS presented by Davida Bloom and Ruth ChildsInterested in the field of voice-over? Not sure where to begin? In this workshop participants will learn vocal warm-ups designed to complement voice-over work, as well as techniques for developing a wider vocal range. Students will then perform (or observe) several different types of voice-over copy. (PERF) Wednesday 1/15 9-11am, SOMPAC 141YOU’VE NEVER SEEN A FIRST FOLIO?!presented by Dick Swain and Len KellyYou’ve spent years of your educational career hearing about Shakespeare’s First Folios. Have you ever seen one? No? Well West Chester University owns one of them. Join us as we venture into the Restricted Access area of our Library to view an ACTUAL First Folio. Meet in the lobby of the Campus Library. (PERF/FAC) Friday 1/17 1-2:30pm FHG Library

WORKSHOPS


DRAMATURGYKCACTF supports the development of dramaturgical skills for all students. This year’s festival will include workshops in research and script analysis that will be of interest to a wide variety of student actors, tech-nicians, designers, directors, and playwrights. We also hope to inspire some students to pursue production dramaturgy as a way to exercise their artistic and intellectual talents. Students can gain firsthand drama-turgical experience at the festival by becoming “guerilla dramaturgs” on scripts that will be read as part of the region’s new playwrights’ program or participating as part of the brand new “Design Storm” initiative with designers and directors. They can also learn more about the art of production dramaturgy from our guest dramaturg, Walter Bilderback of the Wilma Theater, who will hold a public review session of the entries in the Student Dramaturgy Initiative.

The Student Dramaturgy InitiativeIn recognition of the important role dramaturgy can play in college productions, The Literary Managers and Dramaturgs of America, the Association for Theater in Higher Education, and the KCACTF have cre-ated a partnership to support dramaturgy by students. Together, these groups sponsor an award presented in each KCACTF region to recognize the work of student dramaturgs. The winner of the award in each region receives a year’s membership in both LMDA and ATHE. In addition, the student is invited to the Kennedy Center for the opportunity of working with professional dramaturgs at the national festival. In addition to competing for the award, student dramaturgs have the opportunity to meet with a professional dramaturg and have their work critiqued. This gives the student dramaturgs the opportunity to learn more about their craft and to leave the festival with insights they can apply to future dramaturgical projects.

Design StormThis project running through the festival, invites young and/or developing directors to apply to be a part of a production team which will meet and deliberate during the festival and then present pre-production plans. The aim is to provide a collaborative experience for a range of students planning to enter any one of the theatre arts. Teams will be created from applicants to each of the areas of Directors, Dramaturgs, Scene Designers, Cos-tume Designers, Lighting Designers, and Sound Designers. Through text analysis, hearty discus-sion, and production planning, each group will have the opportunity to create a virtual production and present it to the other groups as if in a pre-au-dition/pre-rehearsal state.

Guerrilla DramaturgyInitiated at the 2005 Festival, in cooperation with the National Playwriting Program, Guerrilla Dramaturgy creates an active collaboration among budding student dramaturgs, a student playwright, and a faculty director for a stage reading of a new play. Dramaturgs conduct research relating to a new work for Festival, and then share their find-ings with the playwright, director and cast during

the rehearsal period. The selected playwrights and directors have found that the research added con-siderably to the development of both the new play and the play reading. Past student dramaturgs have learned much about how they can contribute to a play’s production. Guerrilla dramaturgs will also be able to learn about the play development process through a series of workshops they can take with the rest of each play’s production team.Guerrilla Dramaturgs do not need to bring any-thing to the festival, other than an interest to research and present information related to the play (if available, a laptop is always handy). No preparation is necessary. Students can sign up to be Guerrilla Dramaturgs when they arrive at the Re-gional Festival, where they will be placed in teams to work on particular assigned plays. The research will be done at the host school, using the resources of the library. Guerilla dramaturgs will also have ample time to participate in other workshops and festival activities.

The plays that Guerrilla Dramaturgs will work on will be determined shortly before the Festival with the approval of the playwrights and the directors.


KCACTF, in partnership with the Eugene O’Neill Institute, sponsors the Institute for Theatre Journalism and Advocacy (ITJA). ITJA provides students with the opportunity to learn and practice different types of theatre journalism. While theatre criticism will still be central to the experience, students may also have the opportunity to create feature pieces, theater blogs, as well as other types of theatre journalism. We will be led by our Guest Critic who conducts a three-day seminar on different types of theatre journalism. The student critics will write on the plays and the festival, write reviews of some of the productions at the fes-tival, discuss their writing with the guest critic and the other student critics, and by the end of the festival submit a piece that demonstrates what they see as their best work. One student critic from each region is selected to attend ITJA workshops at the Kennedy Center.

Throughout the festival, students meet with the guest critic in a seminar format, where they talk about theater in general and the plays they see at the festival and where they share their writing with each other. Although the experience is intense and time-consuming, with five or six scheduled sessions, the atmo-sphere is open and collegial, and students generally leave the festival recognizing they have learned a lot and grown as student critics and writers. Indeed, the selection of a person to go to the Kennedy Center experience is usually viewed as far less important than the experience itself.

We have been very fortunate to have had some excellent professional critics serve as Guest Critics for ITJA. And we are very pleased to announce that Wendy Rosenfield will again be leading us this year. Wendy Rosenfield is a theater journalist/reviewer with a wide range of experiences in all facets of theatre journal-ism.

ITJA Schedule(These times may changes after we all meet together.)

Jan. 14--Preliminary Meeting after the Opening CeremoniesJan. 15—Session 1—3:00-5:30 PM - SOMPAC 311

Jan. 16—Session 2—9:30-12:00 AM - SOMPAC 311Jan. 16—Session 3—1:00-2:30 PM - SOMPAC 311

Jan. 17—Session 4—9:30-12:00 AM - SOMPAC 311Jan. 17—Session 5—1:00-2:30 PM - SOMPAC 311

Jan. 18—Session 6—9:30-12:00 AM - SOMPAC 311

The Institute for Theatre Journalism and Advocacy

View Their reviews in the Festival Blog On Guidebookand on Twitter @kcactf2!


STUDENT DIRECTING INSTITUTE

The Directing Institute, the flagship of directing programs for students in KCACTF Region 2, is designed to give students experience in directing at the festival. There are a total of four programs under this aegis. The first and the largest is the Institute which is for all students with an interest in directing, but designed to accommodate those who may not have directing classes or opportunities on their home campuses. In addition, it is for students of any age or experience who wish to re-engage in the process of directing. The series of auditions, workshops, rehearsals, and presentations of the Directing Institute should be challeng-ing and invigorating. Students who are accepted in the Directing Institute will, before the festival, choose a scene, do a good deal of script work, and prepare for auditions. At the Festival, students attend four workshops, hear auditions, cast their scenes, and continue the process of directing though rehearsals. The experience concludes with a staged reading of their work. With guidance from an experienced director as a mentor, the scenes are, at the end of the festival, presented for the public and for a response from direc-tors in the region.

DESIGN STORM AKA “Play Development Project” and in an earlier form as Collaboration Tank. Students at the festi-val who are interested in directing join a team of student designers to develop a production concept for Romeo and Juliet. Public presentations of the results will be in the afternoon of the last day of the festival. Students may sign up for the program at the beginning of the festival at registration.

DIRECTOR SHADOW PROGRAMwith the National Playwriting Program: Students sign up to follow a director of one of the new plays for National Playwriting Program. Shadows sit in on auditions, rehearsals, and listen to discussions for an introduction to directing. Sign up for this program at registration.

COLLABORATION in New Work! This new venture is to bring new plays and playwrights togeth-er with new directors. Directors accepted for the Directing Institute will have the opportunity to choose from four or five new plays, chosen by the National Playwriting Project (NPP) readers in Region 2. The object will be to bring playwright and director together at the festival to work on bringing the script to a staged reading. These readings will be presented along with other scenes from the Directing Institute. If you, as a director, are interested in this program, please apply to the Directing Institute and include a statement of your level of interest in new plays! This is an exciting project that has students collaborating in new work!


Share Photos via Guidebook’sKCACTF Photo Album!

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PROJECT FOR DEVISED THEATRE

The Project for Devised Theatre is in its third year as an initiative in Region 2. We will again be offering a festival-long (Wed - Fri) workshop. This year’s workshop will be led by theatre artist and devisor, Elizabeth Mozer. It will culminate in a performance on Friday. If you are interested in taking this workshop, please come to the PFDT table during registration to sign up.

There will also be numerous shorter workshops that focus on different techniques in collaborative playmaking, another term for devising. Workshops related to devising will be identified as such in the program. In addition, we will have a showing of pieces devised by schools in our region using the “Devised Prompt” created by the KC/ACTF National Leadership Team. There are lots of ways to get involved in this fascinating method of creating theatre. If you have any questions, stop by our table during registration.

Performance of Devised Pieces Created Specifically for Festival Using a Prompt Created by Our National Leadership Team:All festival participants are eligible to participate and create a devised performance to be produced at the festival. We invite participants to create their own 20 minute devised performance utilizing a specific prompt.

TITLE: I’m Like You; I’m Not Like You- Ensemble will select their sources of inspiration as their creative container (examples: a photo-graph, a poem, a fictional or non-fictional short story, a memory, interviews, a question, etc.). Ensemble will be asked to clearly articulate how their sources informed process and product, form and content.

- Each ensemble will create a unique performance vocabulary informed by their source materials. This vocabulary should include movement, voice, visual image, sonic landscape, text and scenic en-vironment and communicate the piece’s style and aesthetic.

- Ensemble should consider time restraints and travel considerations. These parameters are de-signed to form a creative container to spark your imaginations and deepen your exploration.

Logistics/parameters:Approximately 16’X16’ playing space, ensemble determines audience placement & interactionWork lights up/down provided, any additional lighting will be ensemble-generatedRegions provide electrical power, ensemble must provide all technical sources (boom box, extension cords, projector, clip lights, etc)20 minute time limit which must include set-up, performance and strike•Set up and strike can be part of the performanceContributions of the ensemble are to be balanced and evenly distributedNot every member of the ensemble must perform, but the majority shouldFaculty advisors may provide outside-eye feedback, but students should drive the workNo live flameNo smokingNo functional weaponsAdditional Information:• Each showing will be given a short response from regional faculty and/or devising guest artists. Each deviser will be expected to speak articulately about their work, displaying rigor of process and respon-sibility for form and content.• Devising isn’t an aesthetic; it’s a process. This approach to creating new work includes multiple aesthetics, production value spectrums, and per-formance styles.• Regions will only provide the space; ensembles must bring everything else. Be careful about making assumptions (availability of chairs, acting blocks, etc)


STAGE DIRECTORS AND CHOREOGRAPHERS SOCIETY SCHOLARSHIP AWARD

The Stage Directors and Choreographers Society/Kennedy Center American College Theater Festival Fel-lowship is an exciting opportunity for more advanced students of directing to further their skills Partici-pants will interact with professional directors and educators from within and without Region II, as well as their peers from other institutions within the region.

The SDC/KCACTF Region 2 experience includes workshops and roundtables designed specifically for par-ticipants in the fellowship. Workshops include the actor/director relationship, collaborating with design-ers, staging and use of space, new play development, and others. If you accept an invitation into the SDC Fellowship program, be prepared to be busy throughout the Festival. Our intent is to give you as much to feed your passion for directing as the schedule allows.

All participating students will receive constructive critique of their work intended to enhance their educa-tion from a carefully chosen panel of professionals. Students advancing beyond the preliminary round will be expected to actively integrate feedback and then present their scene a second time for addition feed-back.


SDC Festival Schedule – 2014

Tuesday 1/14 Informational Meeting 9:30 PM Green Room Wednesday 1/15 Workshop #1: 9:00 – 11:00 AM EOB 21 For the Love of Language SDC Meeting 11:00 AM EOB 25 Scene Rehearsals 11:30 AM – 11:00 PM EOB 25

Thursday 1/16 SDC Meeting 9:30 AM EOB 25 Workshop #2: 10:00 AM – 1:00 PM EOB 22 Creating Dynamic Performance Spaces First Round Presentations/Responses 2:00 PM - 5:00 PM EOB 25 Friday 1/17 Workshop #3: 9:00 – 11:00 AM EOB 22 Getting More Out of Your Actors SDC Meeting 11:00 AM EOB 25 Scene Rehearsals 11:30 AM – 11:00 PM EOB 25 Director Interviews 1:00 PM – 4:00 PM EOB Offices Saturday 1/18 Workshop #4: 9:00 – 10:00 AM EOB 22 I Want to Be a Director, Now What? SDC Meeting 12:00 PM EOB 25 Final Presentations/Responses 1:00 – 4:00 PM EOB 25

SDC Respondents:Alan CookDavid Lee-Painter Joy PaceCharles Weldon

SDC Coordinator:Grechen Lynne Wingerter, BGSU Firelands

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IRENE RYAN ACTING SCHOLARSHIP AUDITION

The Irene Ryan Acting Scholarships provide recognition, honor, and financial assistance to outstanding student performers wishing to pursue further education. The Irene Ryan Foundation awards sixteen re-gional and two national scholarships annually. Sixteen of the awards consist of a $500 scholarship for each regional representative. The Irene Ryan Scholarships are, indeed, scholarships; so the Foundation disburs-es the award through a school designated by the winner, to pay tuition and fees for further education, not necessarily limited to theatre arts.


CoordinatorsMatthew Mazuroski, Lead Coordinator Youngstown State UniversityNaomi Baker, Respondent Coordinator Wilkes UniversityTammy O’Donnell, Selector Coordinator Prince George’s Community College

AccompanistsTom FosnochtGina Giachero

Irene Ryan Student AssistantsJustine Cerruto Jennifer Goodwin

Overall Schedule of Auditions

Preliminary Round:Wednesday, January 15, 9am – 8pmSompac 208, 210, 220, 225, 320:Respondents check-in at Sompac 204

Semifinal Round:Friday, January 17, 8:30am – 12:30pm, Mainstage Theatre, E O Bull Center for the Arts

Final Round:Saturday, January 18, 10am – 12pm, Mainstage Theatre, E O Bull Center for the Arts

Preliminary Round Respondents:

Matt Ames, Nazareth CollegeMichael Aulick, West Liberty CollegeMargaret Ball, East Stroudsbrg UniversityBryce Britton, PSU AltoonaTony Elliot, Millersville UniversityBen Fisler, Harford Community CollegeBill Gillett, Carroll Community College Gregg Henry, Kennedy CenterVictor Jones, Ohio University LancasterMaggie Lally, Adelphi UniversityBarbara Lefebvre, Robert Morris UniversityJeff Lentz, Albright UniversityNathan Magee, Mt. Aloysius CollegeChristopher Matsos, University of FindlayNicole Mattis, Frostburg State UniversityBecky Prophet, Alfred UniversityTrish Ralph, SUNY BrockportRick Stoppleworth, University of the ArtsMark Wenderlich, Keuka CollegePeggy Yates, Prince George’s Community College

Preliminary Round Selectors:David Lee PainterMichael LeggTom MillerMauricio Salgado

Semifinal Round Selectors:Sarah MitchellMaggie SurovelCharles Weldon

Final Round Selectors:Eliza BeckwithJoy PaceKathryn D. RobinsonBrad Watkins

The Master Schedule for the Irene Ryan Scholarship Audition is located on the next page.

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Irene Ryan Scholarship Audition


IRENE RYAN MASTER SCHEDULE

Tuesday, January 14, 2014Who: All Ryan Prelim Round Singers & PartnersWhat: Rehearsal w/accompanist for performers singing during preliminary round. Sign-up for a time at the Ryan Registration table (if you plan to sing the semis or finals, you will have a separate rehearsal)When: 3pm – 6pmWhere: SOMPAC 307 & 310

Who: All Ryan Prelim Nominees and PartnersWhat: Ryan OrientationWhen: Immediately Following Opening CeremoniesWhere: Asplundh Concert Hall

Wednesday, January 15, 2014Who: All Ryan Prelim Nominees and PartnersWhat: Preliminary Round and ResponsesWhen: 8am-8pm Where: SOMPAC 320 : Check-in

Thursday, January 16, 2014Who: Any/AllWhat: Announcement of SemifinalistsWhen: Immediately Following Keynote AddressWhere: Asplundh Concert Hall

Who: Semi-finalists and PartnersWhat: Semifinal OrientationWhen: 1:00 — 3:00pm Where: Mainstage Theatre : Check-in

Who: Semi-finalists and PartnersWhat: Rehearsal for Semifinal & Final Round SingersWhen: 3:00 — 5:00pmWhere: Mainstage Theatre

Friday, January 17, 2014Who: Any/AllWhat: Semifinal Round PerformanceWhen: 8:30am — 12:30pmWhere: Mainstage Theatre

What: Semifinalist Response w/SelectorsWhen: 3:00 — 6:00pmWhere: SOMPAC 320

What: Announcement of FinalistsWhen: 6:15pmWhere: SOMPAC 141

What: Finals Orientation and RehearsalWhen: 7 — 9pmWhere: Mainstage Theatre

Saturday, January 18, 2014What: Final Round PerformanceWhen: 10am — 12pmWhere: Mainstage Theatre

What: Finalist Response w/SelectorsWhen: 2:30 — 4:30pmWhere: Mainstage Theatre

What: Closing Ceremony - Recipient AnnouncedWhen: 8pmWhere: Asplundh Concert Hall

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DESIGN, TECHNOLOGIES, AND MANAGEMENTThe purpose of the KCACTF response and presentation of awards is to provide student designers and technicians with feedback from professionals working in the field, to give outstanding student designers and technicians national recognition, and to provide the opportunity for outstanding student designers to exhibit their work at the Kennedy Center and/or USITT. Designs and other allied crafts will be appraised on the basis of quality, effectiveness, originality, and visual presena-tion techniques. Students who have designed any aspect -- scenery, costumes, lighting, sound, and allied crafts -- of a production from a school who has entered that production as an Associate or Participating entry are elibile to participate in the awards process.

At the time of registration with the Kennedy Center and Regional Chair, entering schools will in-form the Regional Chair of any student designers in one or more of the categories. Please be sure to provide contact information, including email, for all student designers. At the Regional Festi-val, guest designers from outside of the Region will respond to the projects of Regional nominees who are present. They will select one winner in each area (scenery, costumes, lighting, sound, and allied crafts) from the Regional design entries. Such Regional winners are therefore National Finalists.

Designs of National Finalists (scenery, costumes, lighting, and sound) will be on display during the KCACTF National Festival in Washington, D.C., and will be returned to the designers im-mediately following it. A single National Winner in scenery, costumes, lighting, and sound will be selected from the National Finalists by the National Design Respondents during the National Festival. Designs of the National Finalist for Allied Crafts will be exhibited at the annual USITT Conference, and will be returned to the designers immediately following the conference.

Tuesday, January 14, 20144pm-6pm - EOB 132 - Design Portfolio Reviews

Wednesday, January 15, 20149am-12noon - EOB 170 - SM Port. Interviews1pm-4pm -EOB Art Gallery - Costume Res.1pm-4pm - EOB Art Gallery - Scenic Design Res.4pm-6pm - SOMPAC Art Gallery - SM Response

Thursday, January 16, 20149am-12noon - SOMPAC Art Gallery-Lighting Res.1-4pm - SOMPAC Art Gallery - Allied Response1-2pm - EOB Art Gallery - Sound Response4-6pm - EOB 168 - Design Bash

Friday, January 17, 20144:30pm-6:30pm - EOB40 - Costume Parade7:30pm-10:30pm - EOB168 - Tech Olympics

Saturday, January 18, 20149am-10am - EOB40 - Design Storm

DTM Open Expo Schedule:

Wednesday, January 15, 20148:30pm-10pm - EOB Art Gallery - Expo Opening

Thursday, January 16, 2014EOB Art Gallery - 2pm-6pm, 7:30pm-9pmSOMPAC Art Gallery - 4pm-6pm, 7:30pm-9pm

Friday, January 17, 2014Both Galleries - 8am-11am, 1pm-6pm, 7:30-9pm

Saturday, January 18, 2014Both Galleries - 8am-10am

DTM REGIONAL AWARDSSaturday, January 18th at 10am

E.O. Bull Art Gallery


FRINGE@FestivalFringe@Festival is the home for the bits and pieces that might get lost in the larger sweep of the Festival. We celebrate the fabulous but flawed, the unapologetically skewed, and the just plain weird. This may take the form of invited scenes – chips of brilliance from larger productions; promising student work which needs a showcase; the amazing show that somehow missed the deadline; the quirky piece that is still seeking its cult following. Along the way we create too – there is the ever popular NoyReadyForPrimetime Fringe Challenge and new this year Flash-Fringe! Listen for details during the opening celebration.

Fringe@Festival is always a work in progress with a schedule that is often in flux. Here is what we we’ve got – so far:

Tuesday, January 1412 noon-6:00pm, Sykes Student UnionStop by our registration table for information!

Thursday, January 169:00pm-10:30pm, EOB Mainstage TheatreCheck out ALIVE, our Sponsored Showcase Production!

11:30pm - Days Hotel, Brandywine Room The Fringe Challenge begins! Bring your fa-vorite team of crazy people to join us as Fringe takes over the Days Hotel!

Friday, January 173:00pm - SOMPAC 141The Fringe Invited Scenes Showcase

9:00pm-10:30pm -EOB 25 (Studio Theatre)The Beckett Shorts (and maybe more...)

11:30pm - Days Hotel, Brandywine Room The Fringe Challenge (part 2!)

FlashFringe - Anywhere! Anytime!Hold on to your hats as Fringe invades the rest of KCACTF! No one is safe from Fringe - wherever there are large groups of people, Fringe just may pop up! It’s almost like your favorite cupcake truck - no one knows where it is, but when it arrives it changes your day completely!

ALIVE “A Devised Puppet Piece” developed by the EnsembleProduced by: Arcadia UniversityDirectors: Alisa Kleckner and Scott CassidyThursday January 16, 2014 9pm-10:30pmMainstage Theatre

For a kooky circus family, living on the road is one delicious cake walk. But what happens when Pandora’s pickled predictions abruptly stop pointing the way? A tale of daring, divisive and diabolical dimensions threatens to derail a dubious shared destiny. Grab your ticket, pop some circus peanuts and prepare yourself for three rings of the most wondrous puppet show on earth!

Fringe Showcase PRODUCTIOn

Find Fringe by following us!

@FringeAtFestival#Fringe2


This new program offers musical theatre students an opportunity to develop their material, re-ceive a small scholarship, and showcase their talents at the closing ceremonies. The initial audi-tion, consisting of 32 bars of a musical theatre song, will be conducted by the coordinator, Peggy Yates, and accompanist Gina Giachero. 16 finalists will have the opportunity to work on their material on Thursday, and audition for a panel of selectors on Friday. Two finalists will be chosen, one man and one woman, who will receive a $250 scholarship, and will perform their song at the closing ceremony on Saturday evening.

Musical Theatre Initiative

Tuesday, January 1412 noon-5:30pm, Sykes Student UnionStop by our registration table for information!

Wednesday, January 159:00 am – 12:30 pm, EOB Info DeskSign up for one of only 35 audition slots at the MTI desk in E.O. Bull.

Thursday, January 168:00 – 11:00 am, EOB Mainstage Theatre32 bars of a musical theatre song, bring sheet music, cut to the correct length in the correct key. Accompanist will be provided.

1:30pm - Emilie K. Asplundh Concert Hall 16 finalists announced at the end of the Key-note speech. Finalists meet with Peggy Yates for workshop time assignment.

2:00pm-4:30pm, SOMPAC 320Workshop your song with the accompanist and MTI Coordinator Peggy Yates

Friday, January 171:00pm-5:00pm, Sykes Student Union 005Finalist Auditions

6:00 pm, SOMPAC 141 Scholarship Recipients Announcement

Saturday, January 18

A mutually agreed upon time to rehearse the songs of the Scholarship Recipients will be made prior to closing ceremonies.

8:00pm, Emilie K. Asplundh Concert HallPerformance at closing ceremonies

Selectors:Tom Miller, Actor’s Equity AssociationMichael Legg, Actor’s Theatre of LouisvilleBrad Watkins, Theatre WashingtonGeoffrey Goldberg, Open Jar Institute

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during Festival using Guidebook’s Feedback App!


National Playwrighting ProgramNPP’s central mission is to develop young playwrights and their work at Festival 46. Our goals are these:

1) For the student playwright to see the potential in his/her own work, presented before an informed and supportive audience;2) For the student to develop his/her creative vision with the guidance of talented professionals in the field, and receive sensitive and thought-provoking feedback that will help the writer further sculpt the work; 3) For the student to learn and practice the process and etiquette of new play development.

NPP exists primarily for the playwright’s development as a dramatist. However, other theatre artists should take advantage of the many opportunities NPP offers at Festival this week. We offer concert readings of ten new plays, following Actors’ Equity Staged Reading Guidelines. Actors: Casting is done of the second day of Festival, when the writers and directors see about 150 of you in cold reading auditions. Stage Managers: Each play needs a talented and focused stage manager. Dramaturgs: Some of the plays will need the assis-tance of a Guerilla Dramaturg. NPP is about new plays, where the real excitement happens! Come play with us! This week NPP offers awards in playwriting, auditioning, acting, and stage management.

Wednesday, January 15, 20141pm-6:30pm - Auditions - SOMPAC Gates Hall11pm-12mid - Cast Meeting - SOMPAC Gates Hall

Thursday, January 16, 20148am-Midnight - Open Rehearsals in SOMPAC 204, 208, 210, 220, 225, Gates Hall

Friday, January 17, 20148am-Midnight - Open Rehearsals in SOMPAC 204, 208, 210, 220, 225, 2:30pm-5:30pm - 10 Minute Performances and Responses - SOMPAC Gates Hall

Saturday, January 18, 20149am-12noon - One Act Performances - SOMPAC Gates Hall1pm-4pm - One Act Performances - SOMPAC Gates Hall


10-Minute PlaysPerformed Friday 1/17 from 2:30-5:30pmSOMPAC Gates Recital Hall

A'NAT DITTNI by Tearrance A. Chisholm, directed by Julia MatthewsART UNFINISHED by Ryan J. Haddad, directed by John MoletressANGEL HAIR by Bill Rebeck, directed by David ZarkoSUPERNOVA by Bianca Sams, directed by Moses GoldbergLOOKS LIKE RAIN by Laci Corridor, directed by Michael SwansonYARD SALE by Morgan Patton, directed by John Gresh

One Act PlaysPerformed Saturday 1/18 from 9am-12noonSOMPAC Gates Recital Hall

TARRANT COUNTY by Neal Adelman, directed by Mark WadeTHAT GOOD NIGHT by Paul Goraczko, directed by T. Scott Frank

One Act PlaysPerformed Saturday 1/18 from 1pm-4pmSOMPAC Gates Recital Hall

THE COST OF LIVING by Jay Koepke, directed by David MillerTHE RIDICULOUSLY SWEET DREAM APART-MENT by Gregory Aldrich, directed by Janice Goldberg

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MASTER SCHEDULE

Tuesday, January 14, 201412:00pm-6:00pm – Registration – Sykes Student Union12:00pm-6:00pm – Load In DTM Exhibits – EOB Art Gallery12:00pm-6:00pm – Load In DTM Exhibits – SOMPAC Art Gallery4:00pm-5:00pm – Nail The Job Workshop – SOMPAC 1415:00pm-6:00pm – Nail The Job Workshop – SOMPAC 1416:00pm-10:00pm – Late Registration – Emilie K. Asplundh Concert Hall Lobby8:00pm-9:00pm – Festival Kickoff and Orientation – Emilie K. Asplundh Concert Hall9:00pm-11:00pm – Irene Ryan Breakout - Emilie K. Asplundh Concert Hall9:00pm-11:00pm – NPP Breakout – Basement Green Room9:00pm-11:00pm – Dramaturgy Breakout – Basement Green Room9:00pm-11:00pm – SDC/DI Breakout – Basement Green Room9:00pm-11:00pm – ITJA Breakout – Upstairs Board Room9:00pm-11:00pm – Fringe Breakout - Emilie K. Asplundh Concert Hall Lobby9:00pm-11:00pm – DTM Breakout – Downstairs Conference Room

Wednesday, January 15, 20148:00am-12:00pm – Costumes, SM, Allied Design Respondent Only Time – EOB Art Gallery8:00am-12:00pm – Costumes, SM, Allied Design Respondent Only Time – SOMPAC Art Gallery9:00am-8:00pm – Ryans Preliminary Auditions #1 – SOMPAC 2209:00am-8:00pm – Ryans Preliminary Auditions #2 - SOMPAC 2259:00am-8:00pm – Ryans Preliminary Response #1 - SOMPAC 2089:00am-8:00pm – Ryans Preliminary Response #2 - SOMPAC 2109:00am-11:00am – For the Love of Language

Workshop – EOB 219:00am-11:00am – Your Voice and Voice Overs Workshop – SOMPAC 1419:00am-11:00am – Subtext and the Physical Body Workshop – EOB 179:00am-11:00am – Speaking with Young Artists: Responding in Region II – SOMPAC 303 9:00am-11:00am - Devising Original Theatre Workshop - EOB 1149:00am-12:00pm - SM Portfolio Interviews - EOB 1709:00am-12:30pm – Musical Theatre Initiative Sign Up – EOB Lobby Info Desk9:30am-11:00am – Invited Production – Who Will Carry the Word – Madeline Wing Adler Theatre10:00am-11:00am – Folio, Folio, Wherefore Art Thou Folio? Workshop – EOB 13210:00am-11:00am – You Majored in Theatre, Really? Workshop – SOMPAC 30710:00am-11:30am – New Play Dramaturgy Workshop – EOB 4011:30am-11:00pm - SDC Scene Rehearsals - EOB 25 (Studio Theatre)12:00pm-6:00pm – NPP Auditions – SOMPAC Gates Recital Hall1:00pm-2:00pm – Technical Miscellany Workshop – EOB 1321:00pm-2:00pm – Getting Tenure Workshop – EOB 221:00pm-2:00pm – Guess Who’s Coming to Dinner Workshop - SOMPAC 3031:00pm-3:00pm – An Intro to Commedia Dell’Arte Workshop – EOB 1141:00pm-3:00pm – Take It Personally: Emotion in Improv Workshop – EOB 211:00pm-3:00pm - Tech Direction 101 Workshop- EOB 1681:00pm-3:00pm – Directing Roundtable – SOMPAC 3041:00pm-4:00pm – Costume Responses – SOMPAC Art Gallery1:00pm-4:00pm – Scenic Design Responses – EOB Art Gallery2:00pm-3:00pm – Interdisciplinary


MASTER SCHEDULE

Performance Strategies Workshop – EOB 222:00pm-4:00pm - Broadway Bootcamp: Dance, EOB 172:30pm-4:00pm – Invited Production – Who Will Carry the Word – Madeline Wing Adler Theatre2:30pm-4:30pm – Quick Change Trauma Workshop – EOB 1323:00pm-4:00pm – Chekhov’s World Worshop – SOMPAC 3073:00pm-4:00pm - Structural Considerations in Playwriting Workshop - EOB 223:00pm-5:30pm - ITJA Session #1 - SOMPAC 3114:00pm-6:00pm – Creatures, Critters, and Kids Workshop – EOB 174:00pm-6:00pm – Stage Manager Response – SOMPAC Art Gallery4:30pm-6:30pm – Making a Simple Scenic Model House Workshop – EOB 1325:00pm-6:00pm – Active Analysis for Directors Workshop – EOB 215:00pm-6:00pm – The Smarts of Intellectual Property Workshop – SOMPAC 3037:30pm-11:00pm – Fringe Invited Scenes – SOMPAC 1418:30pm-10:00pm – DTM Expo Grand Opening – EOB Art Gallery8:30pm-11:00pm – Invited Production – Avenue Q – Emilie K. Asplundh Concert Hall11:00pm-12:00am – NPP Cast Meeting – SOMPAC Gates Recital Hall11:00pm-12:00am – Directing Institute Cast Meeting – EOB Mainstage Theatre11:00pm-1:00am - Fringe Challenge - Days Hotel Upstairs Ballroom11:00pm-2:00am - DJ Dance Party - Days Hotel Lower Ballroom 11:00pm-2:00am - Movie Night - Wyndham Hotel Movie Theatre

Thursday, January 16, 20148:00am-10:00pm – Directing Institute Rehearsals – EOB 1058:00am-11:00am – Musical Theatre Initiative Auditions Round 1 – EOB Mainstage

Theatre8:00am-12:00am – NPP Rehearsals - Various Rooms in SOMPAC9:00am-10:00am – What’s Next Workshop – EOB 409:00am-10:00am - Broadway Bootcamp: Dance, EOB 179:00am-10:00am – Women’s Playwriting Initiative – EOB 1329:00am-10:00am – Broadway Bootcamp: Dance Workshop – EOB 179:00am-11:00am – Irene Ryans Roundtable – SOMPAC 3049:00am-11:00am – Speaking with Young Artists: Responding in Region II – SOMPAC 303 9:00am-11:00am – A Career in Theatre Workshop (Equity) – SOMPAC 3079:00am-11:00am – An Intro to Fitzmaurice Voice Work Workshop – SOMPAC 3209:00am-11:00am – Hands On Exploration of Marble Scenic Painting – EOB 1689:00am-11:00am - Devising Original Theatre Workshop - EOB 1149:00am-12:00pm – Lighting Responses – EOB Art Gallery9:30am-12:00pm – Invited Production – Dead Man’s Cell Phone – Madeline Wing Adler Theatre3:00pm-5:30pm - ITJA Session #2 - SOMPAC 3119:30am-11:30am – Rehearsal Tech Workshop – EOB 2110:00am-11:00am – Actor’s Theatre of Louisville Info Session – EOB 4010:00am-11:00am – Armor Part 1 Workshop – EOB 13210:00am-11:00am – Is There a Student Dramaturg in the Room? Workshop - EOB 11110:00am-11:00am – Devising Theatre Through Movement Workshop – EOB 1710:00am-1:00pm - Creating Dynamic Performance Spaces - EOB 2210:30pm-12:30pm – Fringe Invited Scenes – SOMPAC 14111:00am-12:00pm - Why Do Costumes and Sets Look Different Under Lighting?


MASTER SCHEDULE

Workshop - EOB 25 (Studio Theatre)1:00pm-2:00pm – Keynote Address - Charles Weldon – Emilie K. Asplundh Concert Hall1:00pm-2:00pm – Sound Responses – EOB Art Gallery1:00pm-2:00pm – What’s Next Classroom Workshop – EOB 401:00pm-2:30pm- ITJA Session #3 - SOMPAC 3111:00pm-3:00pm – Photoshop for Set Designers Workshop – EOB 1321:00pm-3:00pm – Death and Dying On Stage Workshop– EOB 1141:00pm-3:00pm – Storytelling through Stage Violence Workshop – EOB 171:00pm-3:00pm - Graduate School Audition Workshop - EOB 211:00pm-3:00pm - Acting Shakespeare Workshop SOMPAC 3071:00pm-4:00pm – Allied Design Responses – SOMPAC Art Gallery1:00pm-4:00pm – NPP Rehearsals - Various Rooms in SOMPAC2:00pm – Musical Theatre Initiative Announcement following Keynote2:00pm-3:00pm – Doing Not Stewing Workshop – EOB 222:00pm-4:00pm – Networking in Your Professional Career Workshop – EOB 402:00pm-4:30pm – Musical Theatre Initiative Workshop – SOMPAC 3202:00pm-5:00pm – SDC Preliminary Round – EOB 25 (Studio Theatre)2:00pm-6:00pm – Tech Exhibits Open Expo – EOB Art Gallery2:30pm-5:00pm – Invited Production – Dead Man’s Cell Phone – Madeline Wing Adler Theatre3:00pm-4:00pm – Working with New Plays Workshop – EOB 223:00pm-5:00pm – Fringe Invited Production - SOMPAC 1413:00pm-5:00pm – The Powerful Presence Workshop – EOB 173:00pm-5:00pm – Leather Mask Making for Theatre Workshop – EOB 123:00pm-5:00pm – American Comedy

Revolution Workshop – EOB 214:00pm-6:00pm – Shakespeare’s First Folio Workshop – EOB 224:00pm-6:00pm – Design Bash - EOB 1684:00pm-6:00pm – Time to Make a Change Workshop – SOMPAC 3074:00pm-6:00pm – Advanced Shakespeare Monologue Workshop - EOB 114 4:00pm-6:00pm – Tech Exhibits Open Expo – SOMPAC Art Gallery5:00pm-6:00pm – Effective Face Charting for Makeup Design – EOB 1325:00pm-6:00pm - Broadway Bootcamp: Dance, EOB 175:00pm-6:00pm - So You’ve Graduated...Well Now What? Workshop - SOMPAC 3045:00pm-6:00pm - Design/Techs - Grad School in your Future Workshop - EOB 406:00pm-8:00pm - Faculty Round Table - Days Hotel7:00pm-8:00pm – iPad Design: Designing Digitally Workshop – EOB 407:30pm-9:00pm – Tech Exhibits Open Expo – SOMPAC Art Gallery7:30pm-9:00pm – Tech Exhibits Open Expo – EOB Art Gallery8:30pm-10:30pm – Invited Production – Our Town – Emilie K. Asplundh Concert Hall9:00pm-10:30pm – Showcase Production – Alive – EOB Mainstage Theatre11:00pm-1:00am - Fringe Challenge - Days Hotel Upstairs Ballroom11:00pm-2:00am - DJ Dance Party - Days Hotel Lower Ballroom11:00pm-2:00am - Movie Night - Wyndham Hotel Movie Theatre

Friday, January 17, 20148:00am-11:00am – Tech Exhibits Open Expo SOMPAC Art Gallery8:00am-11:00am – Tech Exhibits Open Expo EOB Art Gallery8:00am-12:00am – NPP Rehearsals - Various Rooms in SOMPAC8:30am-12:30pm – Irene Ryans Semifinals – EOB Mainstage


MASTER SCHEDULE

9:00am-11:00am - Devising Original Theatre Workshop - EOB 1149:00am-11:00am - Getting More Out of Your Actors Workshop - EOB 229:00am-11:00am – Run Sheets, Reports, and Resumes Workshop – EOB 1329:00am-11:00am – Speaking with Young Artists: Responding in Region II – SOMPAC 303 9:00am-11:00am – Living Ouside the Box Workshop – SOMPAC 2259:00am-11:00am – How to Style Gibson Girl Hair Workshop – EOB 159:00am-11:00am – Getting the Most Out of Your Actors Workshop - EOB 229:00am-11:00am – Open Jar Institute Dance Callback – EOB 179:00am-11:00am – Playing the Long Game: Successful Actor Workshop – EOB 1119:00am-11:00am – Ryans Auditions are Over, Now What? Workshop – SOMPAC 3079:00am-11:00am – Musical Theatre Initiative Workshop – SYK 0059:00am-12:00pm - Rigging Intensive Workshop Part 1 - EOB 409:30am-10:30am – Invited Production – Lysistrata – Madeline Wing Adler Theatre9:30am-12:00pm-ITJA Session #4 -SOMPAC 31110:00am-11:00am – Hosting KCACTF Workshop – SOMPAC 30410:00am-12:00pm - Putting it Together Workshop - SYK00511:30am-1:30pm – Fringe Invited Production SOMPAC 14111:30am-11:00pm - SDC Scene Rehearsals - EOB 25 (Studio Theatre)1:00pm-2:00pm - Design Beyond Theatre Workshop - EOB 1111:00pm-2:00pm – Devised Workshop Performance – EOB 1141:00pm-2:00pm – Directing Institute Performance – EOB 25 (Studio Theatre)1:00pm-2:00pm – Acting in the Space Between Workshop – EOB 171:00pm-2:30pm-ITJA Session #5 -SOMPAC 311 1:00pm-2:30pm - You’ve Never Seen a First

Folio?! Workshop - FHG Library1:00pm-3:00pm – Armor Part 2 Workshop – EOB 1321:00pm-3:00pm – DTM Roundtable – SOMPAC 3041:00pm-3:00pm - Monolague Feedback Workshop - EOB 171:00pm-4:00pm – SDC Interviews – EOB Theatre and Dance Conference Room1:00pm-4:00pm – NPP Rehearsals - Various Rooms in SOMPAC1:00pm-5:00pm – Musical Theatre Initiative Finals – SYK 0051:00pm-6:00pm – Tech Exhibits Open Expo – SOMPAC Art Gallery1:00pm-6:00pm – Tech Exhibits Open Expo – EOB Art Gallery2:30pm-3:30pm – Invited Production – Lysistrata – Madeline Wing Adler Theatre2:30pm-3:30pm – Blocking for the Actor Workshop – EOB 212:30pm-4:30pm – Devised Performance – EOB Mainstage2:30pm-5:30pm – NPP 10-Minute Performances – SOMPAC Gates Hall3:00pm-5:00pm – Fringe Invited Scenes – SOMPAC 1413:00pm-5:00pm – SM: Expect the Unexpected Workshop – EOB 1323:00pm-6:00pm – Irene Ryans Semifinals Response – SOMPAC 3204:00pm-5:00pm – On Site Audience Engagement Workshop – EOB 214:00pm-5:00pm - NNPN Workshop - EOB 1144:00pm-6:00pm – Dramaturgy as Curation Workshop – SOMPAC 3044:00pm-6:00pm – Shakespeare’s Rhetoric Workshop – EOB 174:00pm-6:00pm – The National New Play Network and Higher Education Workshop, EOB 1144:30pm-6:30pm – Costume Parade – EOB 406:00pm-7:00pm – Irene Ryan Finals Announcement/Musical Theatre Initiative Announcement – SOMPAC 141


7:30pm-9:00pm – Tech Exhibits Open Expo – SOMPAC Art Gallery7:30pm-9:00pm – Tech Exhibits Open Expo – EOB Art Gallery7:30pm-10:00pm – Irene Ryans Finals Orientation and Rehearsal – EOB Mainstage Theatre7:30pm-10:30pm – Tech Olympics – EOB 1687:30pm-11:00pm – Fringe Beckett Shorts – EOB 25 (Studio Theatre)8:30pm-10:30pm – Invited Production – Vortex – Emilie K. Asplundh Concert Hall11:00pm-1:00am - Fringe Challenge - Days Hotel Upstairs Ballroom11:00pm-2:00am - DJ Dance Party - Days Hotel Lower Ballroom 11:00pm-2:00am - Movie Night - Wyndham Hotel Movie Theatre Saturday, January 18, 20148:00am-10:00am – Tech Exhibits Open Expo SOMPAC Art Gallery8:00am-10:00am – Tech Exhibits Open Expo EOB Art Gallery9:00am-10:00am – Design Storm – EOB 409:00am-10:00am – Long Form Improvisation Workshop – EOB 179:00am-10:00am – I Want to be a Director… Now What? Workshop – EOB 229:00am-11:00am – Speaking with Young Artists: Responding in Region II – SOMPAC 303 9:00am-11:00am – Dramaturgy Portfolio Review - EOB 1329:00am-11:00am – Theatrical Makeup in Haunted Attractions – EOB 1689:00am-12:00pm – NPP One Act Performances – SOMPAC Gates Hall9:30am-12:00pm – Invited Production – Much Ado About Nothing – Madeline Wing Adler Theatre9:30am-12:00pm–ITJA Session #6-SOMPAC 31110:00am-11:00am – Confident Auditions Workshop – EOB 11410:00am-12:00pm – DTM Regional Awards – EOB Art Gallery

10:00am-12:30pm – Irene Ryans Finals – EOB Mainstage Theatre1:00pm-2:00pm – A Bloody Good Time Workshop – EOB 1681:00pm-3:00pm – Deconstructing Classics Workshop – EOB 221:00pm-3:00pm – Action in Song, Making Something Happen Workshop – EOB 171:00pm-4:00pm – NPP One Act Performances – SOMPAC Gates Hall1:00pm-4:00pm - SDC Final Scene Presentation - EOB 25 (Studio Theatre)1:00pm-6:00pm – Open Jar Dance Callbacks – EOB 1141:30pm-4:00pm – Invited Production – The 25th Annual Putnam County Spelling Bee – Emilie K. Asplundh Concert Hall2:00pm-3:00pm – Beating “Low Bid” Syndrome Workshop – EOB 402:00pm-5:00pm – Irene Ryans Finals Responses – SOMPAC 3203:00pm-5:00pm – Hide and Seek: Leather Mask Work Workshop – EOB 1324:00pm-6:30pm – Invited Production – Much Ado About Nothing -– Madeline Wing Adler Theatre8:30pm – Closing Ceremonies – Emilie K. Asplundh Concert Hall

MASTER SCHEDULE


Festival Leadership, Staff, and VolunteersRegion 2 Leadership

Elizabeth van den Berg, Chair Scott Mackenzie, Vice ChairJuliet Wunch, Immediate Past Chair Allyson Currin, Chair, National Playwrighting Program John Gresh & Laura Smiley, Vice Chairs, National Playwrighting ProgramKeith Hight, Chair, Design, Technology, Management Greg Griffin, Vice Chair, Design, Technology, Management Becky Prophet, Directing Institute (DI) Grechen Lynne Wingerter, Stage Directors and Choreographers (SDC) Ralph Leary, Chair, Institute for Theatre Journalism and AdvocacyLisa Wilde, DramaturgyLen Kelly, Fringe Co-coordinator Lars Tatom, Fringe Co-coordinator & Workshop Coordinator Matthew Mazuroski, Irene Ryan Coordinator Tammy O’Donnell, Next Steps Program Naomi Baker, Project for Devised TheatrePeggy Yates, Musical Theatre Initiative CoordinatorDaniel Valentin Morales, Emily Wendler, Sarah Sackett, Assistants to the Regional Chair

Regional Associate Response Circuit CoordinatorsJoseph Fahey, Ohio and West VirginiaTrish Ralph, Western/Central Pennsylvania and Western New YorkScott Mackenzie, New Jersey, Delaware, Eastern PA, Maryland, D.C., and Northern Virginia2013-2014 Region Two RespondentsAllyson Currin, Barb Blackledge, Barbara Burgess-Lefebvre, Becky Misenheimer, Becky Prophet, Ben Fisler, Bet-sy Craig, Bev Redman, Bill Gillett, Brian Jones, Bryce Brit-ton, Caleen Jennings, David Zarko, Debra Otte, Dustin Shaffer, Elizabeth van den Berg, Eve Muson, Gary Sloan, Grechen Lynne Wingerter, Gregg Henry, Gregory Griffin, Holly Holsinger, Howard Kurtz, Janice Goldberg, Jeff Lentz, Jen Whiting, Jennifer Toohey, Jessica Culligan, Joe Fahey, John Gresh, John Moletress, Jon Klein, Joseph Fahey, Judith McCabe, Julie Wunsch, Keith Hight, Larry Loebell, Lars Tatom, Laura Smiley, Leonard Kelly, Lindsay Reading Korth, Lisa Wilde, Mag-gie Lally, Margaret Ball, Marilouise Michel, Mark Wender-lich, Michael Allen, Michael Aulick, Michael Mauldin, Michael Schwartz, Michael Swanson, Moses Goldberg, Naomi Baker, Nathan Magee, P . Gibson Ralph, Patrick Reynolds, Paul Bernstein, Peggy Yates, Peter Rydberg, Ralph Leary, Rebecca Baker, Rick Stoppleworth, Robert Bartlett, Ruth Childs, Scott A. Mackenzie, Scott Frank, Seth Bauer, Shawn Clerkin, Shirley Huston-Findley, Tammy O’Donnell, Teresa Durbin-Ames. Terra Vandergaw, Thomas Burch, Tiffany Towns, Valerie Smith, Victor Capecce, Wayne Vettleson, William Gillett, Wolf Sherrill

Festival Host Staff - West Chester University of Pennsylvania

Dr. Greg Weisenstein, PresidentDr. Linda Lamwers, ProvostDr. Timothy V. Blair, Dean, College of Visual and Performing ArtsDr. John Villella, Associate Dean, College of Visual and Performing ArtsDr. Harvey Rovine, Chair, Department of Theatre and DanceJuliet Wunsch, Festival Host/Department of Theatre and Dance ProfessorAndrew Truscott, Festival ManagerMary Beth Kurimay, Director of Conference ServicesMary Ellen Josephs, Executive Director, Student Services, Inc.Thomas Haughey, Department of Theatre and Dance Technical DirectorJohn Rhein, Director, Department of Cultural and Community AffairsScott Davis, Director, Office of Venue ManagementTodd Williams, Technical Director, Office of Venue ManagementCarolyn Chalmers, Staff, Department of Theatre and Dance

Special Thanks

West Chester University 399 Class, West Chester University Department of Theatre and Dance, West Chester University Department of Music, West Chester University Department of Art, Kelly’s Sports, Mary Beth Kurimay, Ms. Mell Josephs, Madeline Wing Adler The-atre Staff, Emilie K. Asplundh Theatre Staff, The Francis Harvey Green Library Staff, Dick Swain, Patricia New-land, ARAMARK, Diane Miller, Klein Transportation, Connie Salaneck, Jon Beretsky, Jessica Gehman, Shirley Coleman, Scott Goldberg, Guidebook, Evan Rodriquez,

Program Designed by Andrew Truscott


National AcknowledgementKCACTF Festival 46

The Kennedy CenterDavid M. Rubenstein, ChairmanMichael M. Kaiser, PresidentDarrell M. Ayers, Vice President, EducationSusan Shaffer, Producing Director, KCACTFGregg Henry, Artistic Director, KCACTF

KCACTF National OfficersRebecca Hilliker, National Chair - University of WyomingDavid Lee Painter, National Vice Chair - University of IdahoGeorgia McGill, National Chair, National Playwriting Program - CUNY QueensboroughGweneth West, National Chair, Design, Technology & Management - University of VirginiaLeigh Selting, Member at Large - University of WyomingDavid Shawger Jr., Member at Large - Ball State UniversityRichard Herman, Member at Large - University of Central MissouriHarry Parker, Immediate Past National Chair - Texas Christian UniversityRafael Jaen, National Vice - Chair, Design, Technology & Management- Emerson CollegeJeanette Farr, National Vice-Chair, National Playwriting Program – Glendale Community CollegeMartha Marking, USITT Representative – Appalachian State UniversityJere Wade. National Partners of American Theatre Representative

KCACTF Regional ChairsRaina Ames, Region I Co-Chair - University of New HampshireCatherine Hurst, Region I Co-Chair - St. Michael’s CollegeElizabeth van den Berg, Region II - McDaniel CollegeMichelle Bombe, Region III- Hope CollegeJeffrey Green, Region IV- Georgia Southwestern State UniversityRick Anderson, Region V - Kirkwood Community CollegeJoy Pace, Region VI- Itinerant TheatreKelly Eviston Quinnett, Region VII - University of IdahoJim Taulli, Region VIII- Co-Chair - California State UniversityMatthew Neves, Region VIII- Co-Chair -

Festival Leadership, Staff, and VolunteersKCACTF Design, Technology & Management ChairsCharlie Wittreich, Region I-Co-Chair - SUNY SuffolkLuke J. Sutherland, Region I-Co-Chair - Community College of Rhode IslandKeith Hight, Region II - College of Southern MarylandKathleen Donnelly, Region III - University of Wisconsin, OshkoshJesse Dreikosen, Region IV - Florida International UniversitySheila Tabaka, Region V - Southwest Minnesota State UniversityJason Foreman, Region VI Co-Chair - Oklahoma City UniversityJon Young, Region VI Co-Chair - University of OklahomaRae Robison, Region VII - Humboldt State UniversityAndre Harrington, Region VIII - California State University, San Bernardino

KCACTF National Playwriting Program (NPP)The Michael Kanin Playwriting Awards CommitteeBrandt Reiter, Region I Chair-University of New HavenAllyson Currin, Region II Chair- George Washington UniversityAnsley Valentine, Region III Chair- Northern Michigan UniversityDavid Moberg, Region IV Chair- Indian River State CollegePatrick Carriere, Region V Chair- Minnesota State University, MoorheadJim Anderson, Region VI Chair- Texas A&M University-CommerceNancy Lee-Painter, Region VII Chair- Lewis-Clark State CollegeWade Hollinghaus, Region VIII Chair- Brigham Young University


Volunteers

Adelphi UniversityJade Coles, Curtis Dunn, Jonathan Kilom, Katherine Lazarus, Morgan MoffittBGSU FirelandsRick Amezquita, Bryanna Bauman, Lynze Daugherty, Jarod Mariani, Branden Fox, Paul Maier, Rachel Mc-Laughlin, Lacey MillerCollege of Southern MarylandAimee Bonnet, Simone Hannah, Jeremy Hunter, Dan-ielle LeDoux, Russell Russell, Kheni WellsEast Stroudsburg UniversityBri’ana Schell, Destiny WashingtonGeorge Washington UniversityHilary KellyIndiana University of PennsylvaniaZachary Bord, Morgan Chase, Sarah Fabiani, Kaitlyn McGilvray, Allison WaitMarywood UniversityCatherine Carter, Nick GreveraMcDaniel CollegeNajee Banks, Elizabeth Maxman, Sarah Sackett, Chesney JamiesonShippensburgBrittany Torrez-AlvarezWest Chester UniversityMegan Alburger, Chelsea Barnett, David Baumann, Patricia Beam, Elana Benitez, Lindsay Brahl, Sam Briefer, Becca Calabrese, Justine Cerruto, Justina Clag-gett, Becca Clair, Grace Cowley, Olivia Damore, Brian Danner, Benjamin Deane, Sarah Evans, McKenna Farquharson, Collin Fioriglio, Megan Fitzwater, Erika Flanick, Chelsey Gaskins, Valerie Glerum, Jennifer Goodwin, Juliet Hartman, Sapphire Johnson, Darius Johnson, Benjamin Lasner, Ryan Lauer, Erica Ma-holmes, Michaela Martz, Marita Massaquoi, William Morris, Killian Nelson, Valerie Ortiz, Staci Quinlan, Janice Rabian, Terence Rafferty, Ryan McLaughlin, Vasken Sarkahian, Edward Segal, Krysta Stefanosky, Christin Thomas, Chris Trombetta, Katie Uleau, John Williams, Chelsea’ Wyllie, Courtney YoungWestminster CollegeMaggie Hess

Festival Leadership, Staff, and Volunteers


NATIONAL PARTNERS OF THE AMERICAN THEATRE

AN ORGANIZATION OF THEATRE EDUCATORS AND OTHERS DEDICATED TO

SUPPORTING THE NEXT GENERATION OF THEATRE ARTISTS. MANY PARTNERS ARE CURRENT OR FORMER MEMBERS OF THE KCACTF NATIONAL

COMMITTEE

NAPAT PRESENTS A CLASSICAL ACTING AWARD

AT EACH KCACTF REGIONAL FESTIVAL

A NATIONAL CLASSICAL ACTING AWARD CO-SPONSORED BY CANADA’S

SHAW FESTVIAL INCLUDING A SUMMER INTERNSHIP AT THE FESTIVAL

A NATIONAL DESIGN EXCELLENCE AWARD

CO-SPONSORED BY KOREAN NATIONAL UNIVERSITY OF THE ARTS A WEEK LONG VISIT TO KNUA IN SEOUL, KOREA

PLAYWRITING EXCELLENCE AWARD

CO-SPONSORED BY UNIVERSITY OF NEVADA, LAS VEGAS INCLUSING A WEEK-LONG PLAYWRITING WORKSHOP AT UNLV

ALL AWARDS FUNDED BY TAX-DEDUCTABLE MEMBER DUES AND CONTRIBUTIONS

AND THE GENEROSITY OF OUR CO-SPONSORS

JOIN US: CONTACT MEMBERSHIP CHAIR JOYCE CAVAROZZI [email protected]

Albright College

Albright College and Alvernia UniversityAlfred UniversityAlvernia UniversityArcadia UniversityBGSU FirelandsBloomsburg University

Bowie State UniversityCarroll Community College

Clarion University of PennsylvaniaCollege at Brockport

Community College of Baltimore CountyCoppin State UniversityEleanor H. FeeleyIndiana University of Pennsylvania

Marywood UniversityMessiah CollegeMillersville UniversityOhio University Lancaster CampusPenn State AltoonaPenn State BerksRowan University

Slippery Rock University

State University of New York at OswegoThe College at BrockportThe Richard Stockton College of New Jersey

Towson UniversityUniversity at BuffaloUniversity of Pittsburgh at JohnstownWest Chester University

West Virginia State University

Short & SweetGod of CarnageVortexKing LearMuch Ado About NothingUnknownA Midsummer NIghts DreamThe Glass MenagerieThe UnderpantsAvenue QLysistrataWonder of the WorldOur TownThe Women of LockerbieFestival of Ten - Ten New Ten- Minute PlaysFox on the FairwayAlmost, MaineAvenue QDead Man’s Cell PhonebobrauschenbergamericaA Doll’s HouseTRUTH STANDSA Midsummer Night’s DreamThe OptimistThe Brothers KaramazovCrimes of the HeartJ.B. Despite These MarksTo Kill A MockingbirdSpring AwakeningTreasure IslandWho Will Carry the Word?GintGood Night Desdemona, Good Morning JulietDead Man’s Cell PhoneRichard IIIWait Until DarkCalifornia SuiteThe ProfessionThe 25th Annual Putnam County Spelling BeeSpring AwakeningThe Collection & The LoverThe Dream PlayA Year with Frog and ToadA Midsummer Night’s DreamEvening of One ActsEndgame & Come and GoGodspellDog Sees God Clybourne Park

Participating Productions 2013


Associate Productions 2013Adelphi University

Albright CollegeAmerican UniversityAnne Arundel Community CollegeArcadia University

Ashland University

BGSU FirelandsBridgewater CollegeCarnegie Mellon University

Carroll Community CollegeCatholic University of America

Cedarville University

Clarion University of Pennsylvania

Cleveland State University

College of Southern Maryland

East Stroudsburg University

Eastern Mennonite University

Elizabethtown College

Elmira CollegeFairmont State UniversityFranklin & Marshall College

Frostburg State UniversityGettysburg College

Grove City College

Harford Community College

Living NewspaperThese Shining LivesNoises OffOrdinary DaysCabaretThe UnderpantsProofThe House of Bernarda AlbaAlive “a devised puppet piece”Rabbit HoleA Life in the TheatreLittle Shop of HorrorsNight Train to BolinaThe Servant of Two MastersLittle Women: The Broadway MusicalA Winter’s TaleSpring 2013 New Works SeriesStick FiguresSpring AwakeningSpooky Action at a DistanceA Dream Play (new adaptation)TartuffeThe Taming of the ShrewJosephs and the Amazing Technicolor DreamcoatBloody Bloody Andrew JacksonSeascapeLittle WomenIn the Red and Brown WaterMiss JulieCabaretFarndale Avenue Housing Estate Townswomen’s Guild Dramatic Society Murder MWorkingTop Girls by Caryl ChurchillThe Unforscene--Stage II One-Act PloaysLord of the FliesArms and the ManOn the VergeDistractedThe 25th Annual Putnam County Spelling BeeA Comedy of TerrorsNoises OffPoof! Plus: An Evening of One-Act PlaysA Lie of the MindOrlandoBarefoot in the ParkGetting OutA Chorus LineMeasure for MeasureLes MiserablesThe PillowmanMuch ado about NothingThe Princess Bride Live, an Homage


Indiana University of Pennsylvania

Keuka College

Lafayette College

Lycoming College

McDaniel College

Mercyhurst UniversityMillersville University

Montclair State University

Mount Aloysius College

Muhlenberg College

National Technical Institue for the Deaf/ Rocheseter Institute of TechnologyNazareth College

Penn State AltoonaPrince George’s Community CollegeQueensborough Community College

Ramapo College of New Jersey

Rider University

Robert Morris University

Rowan UniversityRutgers University, Camden

Shippensburg University

Anton in Show BusinessThese Shining LivesYou’re a Good Man, Charlie BrownLysistrataA Christmas CarolAlmost, MaineOscar and FelixThe 25th Annual Putname County Spelling BeeThe PenelopiadThe Vagina MonologuesArsenic and Old LaceAn Absurd Pair: Fire in the Basement & Out at SeaThe Importance of Being EarnestIntimate Portraits: An Original Ensemble Devised PlayPygmalionEurydiceLegally Blonde: the MusicalProofThe Venetian Twins, Translated by Ranjit BoltElton John and Tim Rice’s AIDA Wild PartyTake FlightA Streetcar Named DesireFalsettosFalsettosYou’re a Good Man, Charlie BrownThe Odd Couple (Female Version)Bartholomew FairNew Visions The Marriage of FigaroTaming of the Shrew

Plaza SuiteThe Threepenny OperaUrinetownAn Evening of David IvesDog Sees GodCircle Mirror TransformationSpring AwakeningColumbinusTempestShape of ThingsPullman, WA/ChurchThe MisanthropeCrumble (Lay Me Down, Justin Timberlake)Seven Brides for Seven BrothersThe Grapes of WrathPicasso at the Lapin AgileGuys and DollsThe Glass MenagerieThe Actor’s Nightmare and Other ComediesYou Can’t Take It With YouAct A Lady

Associate Productions 2013


St. Bonaventure UniversityThe College at BrockportThe Richard Stockton College of New JerseyThe University of Findlay

Thiel CollegeTowson University

University at Buffalo

University of AkronUniversity of Maryland Baltimore CountyUniversity of PittsburghUniversity of Virginia

Villanova UniversityWashington and Jefferson College

West Liberty University Westminster College

Wilkes University

The WallsThe 25th Annual Putnam County Spelling BeeHello HermanThe Mystery of Edwin DroodAlmost MaineLeveling UpKing LearThe Beaux’ StratagemTwelfth NightMachinalForgiving John LennonThe Rocky Horror ShowBlood weddingA Flea In Her EarTwo Gentlemen of VeronaZanna, Don’tGod’s EarYou Can’t Take It With YouCrazy for YouEnemy of the PeopleEverymanTrifles and Woman’s HonorThe Spring HarvestSpring AwakeningBook of DaysItalian American ReconciliationThe Curious SavageSeussical The MusicalNew Voices

Associate Productions 2013

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SCRIPT A Practical Workshop

June 9 – 13, 2014

Announcing a week-long intensive creative environment in which writers meet to generate original work as plays, screenplays, and any other dramatic media. We work on ideas or scripts in any stage of development from "pitching" a germinal idea to helping execute the final rewrite on a polished draft. We specialize in helping writers adapt their work from one medium to another (stage to screen; fiction to stage; etc...). The three key instructors, Sean Clark, Randy Feldman, and Julie Jensen, are working, professional writers with strong experience in creative writing for performance, including theatre, motion pictures, and television. Participants in SCRIPT get a thorough workshop of whatever work they want to explore. In the 2013 session alone, we gave full workshops to six scripts and developed eight pitches into viable full length screenplays or stage plays. Upon completion of the week, participants are conversant in the differences between one dramatic medium and another at a different level. For some writers, it is a great environment in which to embrace a new medium and for others it is a chance to hone the art and craft with which they are familiar.

It is a high-energy week of creative interaction and hard work that takes place on the campus of the University of Nevada, Las Vegas. We meet two sessions every day, from Monday, June 9 to Friday, June 13, leaving the nights to work or play.

The conference costs $850 for the workshops, on-campus accommodation, and two meals a day (breakfast and lunch). For the conference only, the price is $500.

For questions about content of the workshop, contact Sean Clark at [email protected] or at 702-895-2442. For reservations and additional information contact Lori Slinn at [email protected] or at 702-895-2455.

SCRIPT is sponsored by the College of Fine Arts at the University of Nevada Las Vegas and the

National Partners of American Theatre.

Festival Presenters and GuestsNAOMI HATSFELT BAKER is an Associate Professor of Theatre at Wilkes University. She teaches voice, acting, movement, audition techniques, make-up, and devising classes as well as directs. Naomi travels a lot during the semester as a respondent to productions in the region. She is a member of Actors’ Equity Association, the Voice and Speech Trainers Association, and is a Certified Les-sac Voice Trainer. She is the coordinator of the Project for Devised Theatre for Region 2, as well as a co-coordinator of the Irene Ryan Acting Scholarship Auditions. In addi-tion, she was the winner of the 2011 KC/ACTF Region 2 Road Warrior Award for Extraordinary Respondent work. NAN BARNETT (NPP Respondent) is a new play advo-cate, a developer of theatre artists, and a producer of the work they create. She is currently the Executive Director of National New Play Network, an alliance of more than 50 theatres that support the development, production and continued life of new plays. During her previous tenures on NNPN’s Executive Committee and as its Pres-ident she helped create several of the organization’s revo-lutionary programs, including its Continued Life of New Plays Fund, which supports Rolling World Premieres, and Playwright and Producer Residencies. She was a found-ing company member and the long-time Managing Di-rector of Florida Stage, which produced exclusively new and developing work. During her twenty-four seasons there she oversaw the creation of plays and musicals that have subsequently been seen around the world including works by Nilo Cruz, Tammy Ryan, William Mastrosim-one, Israel Horovitz, Lee Blessing, Deborah Zoe Laufer, and many, many more. She has served as a consultant on the creation of new works, organizational growth, strate-gic and succession planning and board development for theatres across the country, and is especially pleased to be considered a mentor of theatre-makers, including actors, directors, playwrights, administrators, producers, tech-nicians and volunteers. A graduate of North Carolina School of the Arts Professional Actor Training Program, Nan is the winner of the Theatre League of South Flori-da’s Remy Award for service to the theatrical community, the 2012 Fallon Award for excellence in the professional theatre, and a two-time winner of South Florida’s Car-bonell Award as an actress.ELIZA BECKWITH is a New York City based director. She is a member of The Ensemble Studio Theatre, and has directed four plays in their Annual Marathon of One-Act Plays (The Once Attractive Woman by Christine Farrell, Little Airplanes of the Heart by Steve Feffer, Ukimwi by Tom Coash, The Moon Bath Girl by Graeme Gillis) and was E.S.T.’s Managing Director from 1999 to 2001. Most recently, Eliza directed the world premiere of Tiny Bub-bles by Richard Willett for New Directions Theater, and

Dance Me to the End of Love, Evangelia Kingsley’s cab-aret at The Metropolitan Room. She is a proud member of S.D.C. JOHN BELLOMO is the former Artistic Director of The Maryland Shakespeare Festival and Co-Artistic Director of Ombelico Mask Ensemble. He is a 6 time Barrymore nominee for his fight choreography and received a Bar-rymore Award for Outstanding Movement/Chorography for his work on The Elaborate Entrance of Chad Deity at Interact Theatre Co. John received an M.F.A. in Direct-ing from Temple University, a B.F.A. in Acting from the University of the Arts, and is also a graduate of The In-ternational School for the Comic Actor in Reggio Emilia, Italy. He has performed commedia dell’arte in Poland, Switzerland, Italy and the U.S.HEATHER BENTON is Acting Coordinator of the BFA Program at Montclair State University where she teach-es acting, movement and directs. She served five years at the American Academy of Dramatic Arts in New York on core faculty, as head of the movement department, act-ing/ movement instructor and director. Professor Benton has extensive performance credits in regional theatre, is a company member of the international theatre company East River Commedia. MFA in acting from the Institute for Advanced Theatre Training at the American Reperto-ry Theatre/ Moscow Art Theatre at Harvard. She special-izes in a psychophysical approach to actor training.WALTER BILDERBACK has been working in the pro-fessional theater for more than 30 years. He began his ca-reer with the American Ibsen Theater in Pittsburgh. His work has since included La Jolla Playhouse, Baltimore CENTERSTAGE, Broadway, the Alliance (Atlanta), the Center for Puppetry Arts, Dallas Theatre Center, and the Wilma Theater in Philadelphia, where he is currently in his 10th season. He has worked on world premieres by Lee Blessing, Dael Orlandersmith, Lisa d’Amour, and Paula Vogel (among other), and new translations of Schiller, Wedekind, and Ibsen. He has also studied phys-ical theater for many years and continues to work on in-corporating this into his dramaturgical practice.DAVIDA BLOOM is an Associate Professor Department of Theatre and Music Studies. Davida worked as a voice-over casting director in Los Angeles for many years prior to completing her PhD and joining the faculty at Brock-port. She continues to do voice-over work and perform on stage regularly in the Rochester NY area.ROBERT BULLINGTON teaches acting and voice at Clarion University. He earned his M.F.A. in acting at The University of Alabama and a B.F.A. in acting at Ohio University. He has also studied voice and acting at Shakespeare & Company in Lenox, MA, and is a junior member of their teaching faculty. His production of The Cripple of Inishmaan has been seen at festival.


Festival Presenters and GuestsBARBARA BURGESS-LEFEBVRE is an associate pro-fessor of Communication and Theatre at Robert Morris University where she teaches acting, directing, theatre literature, and stage combat. Barbara earned her MFA in Directing from Illinois State University, her BA in En-glish Writing and Drama from SUNY Potsdam and has worked professionally as a director, a costume designer, and a fight director. She serves as the faculty advisor for RMU’s chapter of Alpha Psi Omega and the newly formed Freedom Players.RONN CAMPBELL is currently an Associate Professor of Theatre at Columbia Basin College. He holds a M.F.A. in scenic and lighting design from Humboldt State Uni-versity. Ronn has designed scenery, lighting and sound for many companies in the Northwest including Wash-ington East Opera, CBC Summer Theatre, Columbia Basin Jazz Orchestra, Mid-Columbia Regional Ballet and Idaho Repertory Theatre. Ronn has served as the Chair of DTM for KCACTF Region VII and the past Chair of the Northwest Section of USITT. He has received several awards for his design work and was awarded the Kenne-dy Center Medallion in 2012. Ronn was recently elected KCACTF national executive board Member-at-Large.VICTOR CAPECCE is currently an Assistant Professor, teaching stage design and technical courses, and theatre management at Millersville University after many years of working as a scenic artist, designer in NYC in theatre, television and in films (USA, LU #829). He obtained MFA in Design from the Yale School of Drama. His cred-its range from designing scenery and costumes for NYC Opera to painting the graffiti and toasted marshmallow for “Ghostbusters.” Among his range of positions was Producing Director of American Music Theatre in Lan-caster, Pa., creating original musical revues and present-ing star attractions. He is also an exhibiting artistCONSTANCE CASE is an Assistant Professor in the De-partment of Theatre and Dance at West Chester Universi-ty. She has designed costumes and makeup for more than 50 theatrical productions and over 100 dance pieces. Her designs have been seen at the Kennedy Center for the Performing Arts, the National Archives, the Washington Opera, the Woolly Mammoth Theatre, the Harmonie Park Playhouse, Muhlenberg College, East Stroudsburg University, the Hilberry Theatre, the Michigan Opera, and Wolf Trap.RUTH CHILDS is an Associate Professor of Theatre at The College at Brockport. She teaches acting, voice, im-prov, politics of theatre, and movement, and is certified in Fitzmaurice Voicework. Ruth has directed and acted in multiple productions at Brockport and beyond. She works in voiceover and industrial film, as well as a voice and dialect coach. Ruth served as regional chair of the National Playwriting Program for KCACTF, and contin-

ues to be a respondent and reader for national and re-gional playwriting awards. In 2011 she was awarded the Kennedy Center American College Theatre Festival Gold Medallion.CARRIE J. COLE returns to KCACTF Region 2 after a seven year exile to the desert southwest, where she direct-ed, fight directed, and dramaturged at Invisible Theatre, Rogue Theatre, and Arizona Theatre Company. Her as-sistants for this workshop are IUP students and founding members of the IUP Stage Combat Club.ALAN COOK recently retired as Head of the MFA di-recting program at the University of North Carolina, Greensboro. His directing experience of 117 plays in-cludes directing at Actors Theatre of Louisville, Long Wharf Theatre, Magic Theatre (San Francisco), Madi-son Repertory Theatre, the Western Stage (Salinas, CA), Montana Rep Company, Jos Repertory Theatre (Nigeria), He has taught directing at the Universities of California (Santa Cruz), Montana, Jos and North Carolina (Greens-boro). ALLYSON CURRIN (Chair, NPP, Region 2) Play-wright: THE REDNECK HOLY GRAIL (March-April, 2014, The Welders), CAESAR AND DADA (WSC Avant Bard), HERCULES IN RUSSIA (Doorway Arts Ensem-ble), TREADWELL (American Century Theatre), UN-LEASHED (The Kennedy Center), THE DANCING PRINCESSES (Imagination Stage), BENCHED (Pinky Swear) LOVE AND WHISKEY, CHURCH OF THE OPEN MIND* and THE SUBJECT (Charter Theatre), LEARNING CURVES (WSC), AMSTEL IN TEL AVIV* and DANCING WITH OURSELVES (Source). *She has twice been nominated for the Helen Hayes’ MacAr-thur Award for Outstanding New Play. She is currently working on a new musical (with Matt Conner) for Tony Award-winning Signature Theatre and a new commis-sion for Cincinnati Playhouse. She is a proud member of SAG/AFTRA and Actors Equity, and a founding member of the playwrights’ collective, The Welders. She teaches at George Washington University.VICTORIA DEPEW is a Visiting Specialist in Costume Technology at Montclair State University and a free-lance costume designer. Recent design credits include Love’s Labour’s Lost and Cymbeline (American Shakespeare Company); Once on this Island (New Jersey Institute of Technology); The Magic Flute (Rutgers Opera); In God’s Hat (Apothecary Theatre Company, Shrewsbury, NJ); Christmas My Way (Sierra Repertory Theatre, Sonora, CA); Why Torture is Wrong and The Ruby Sunrise (The Theatre Project, Baltimore, MD); Romeo and Juliet (Vir-ginia Stage Company) ; The Merry Wives of Windsor (Rutgers Theatre Company), and Around the World in 80 Days and Hercules (Berkshire Theatre Festival). She received her MFA in Costume and Set Design from Rut-


Festival Presenters and Guestsgers University.JOHN PAUL DEVLIN is the Co-Vice-Chair for KCACTF Regtion One, and former DTM co-chair. He is the res-ident designer and technical director at Saint Michael’s College and resident designer and production manager for the Saint Michael’s Playhouse. He is a freelance scenic and lighting designer with over 30 years in the business.MICHEAL DURKIN and the Renegade Company ex-plores the familiar in unfamiliar ways by distilling iconic works. To enhance these works, The Renegade Company infuses Unconventional Community Collaborations that foster deeper, resonating productions in the greater Phil-adelphia area and beyond. Previous works include Bath-tub Moby-Dick, Glass: Shattered, The Amish Project, and Hamletmachine/Medeaplays.MATT FOTIS is the author of the forthcoming book “Long Form Improv & American Comedy: The Harold.” He teaches improv, writing for performance, and acting at Albright College. He studied at iO Chicago and The Brave New Workshop, and has been performing and teaching improvisation for over fifteen years.SCOTT FRANK is a playwright and storyteller. His play “Butter’s Goat” has been performed in New York, London, and Pittsburgh, and he has also directed for the stage in those cities as well. The fourth in his cycle of McKinley College Plays, The Spring Harvest, premiered at Washington & Jefferson College this fall. His other plays in the cycle, The Pledge, The Book, and The Lamp and the Beam are available for production. T. Scott is the past regional chair of NPP and an inveterate collector of…fill in the blank.GREG GRIFFIN is an Assistant Professor of Theatre at The University of Findlay. He enjoys teaching and im-plementing designs in the areas of Lighting, Sound, Pro-jections, and Scenery. He is very active as a free-lance professional designer across the Midwest and is also ac-tive with KCACTF both as a respondent for Regions 2 and 3, and as the Vice Chair of Design, Technology, & Management. He is a current member of USITT, MATC, and TCG. GEOFFREY GOLDBERG is a NYC-based actor, dancer, singer, director, choreographer, writer and teaching art-ist. He has performed on Broadway (MARY POPPINS), on National Tours across the country and internationally (MARY POPPINS, CHITTY….BANG, 42ND STREET), and regionally around the nation. As a director and cho-reographer, he has worked in NYC (BRADLEY COLE, NYFringe), Washington DC (A YEAR ON THE ROAD), and as an Associate on Broadway (MARY POPPINS, As-sociate Kids Director), internationally (MARY POPPINS in Spanish – Asst Director), and with numerous other workshops and readings in NYC. As a composer/lyri-cist, Geoffrey has had his music performed in cabarets

and performances across the country including: Kenne-dy Center Millenium Stage (A YEAR ON THE ROAD) and on the Broadway New Amsterdam Stage (GYPSY OF THE YEAR). He is also a current member of the BMI Lehman Engel Musical Theater writing workshop here in NYC. Geoffrey has taught master classes around the country and here in NYC, and has been teaching since High School. Education: BFA with Honors from NYU/Tisch. AEA, AFTRA SDC Associate. www.Geof-frey-Goldberg.comJANICE L. GOLDBERG. Over 50 new plays directed, many genres, uptown and down in NYC, and regionally from Alaska to Florida. Recent: These Shining Lives – AdelphiUniversity. 10 Minute Play Slam- – Last Fron-tier Theatre Conference. After Anne Frank – FringeNYC, Fringe Encores, Soho Playhouse, United Solo. Autumn Run – (co-author with Susan Bigelow), SUNY Suffolk. The Rubber Room by Gary Garrison and Roland Tec, as part of Artistic New Directions “Without A Net” se-ries. 25 performances. 25 actors. Never the same cast twice. Carl & Shelly, Best Friends Forever -Theatre 3 at the Mint. Jeffrey Sweet’s Flyovers, co-director, (w/Rich-ard Kind and Tony Award Winner Michele Pawk). That Dorothy Parker – SohoPlayhouse. Off Broadway: Rose Colored Glass (co-author with Susan Bigelow), published by Samuel French. Artistic Co-Director of Artistic New Directions in NYC. Member: SDC, Dramatists Guild. Janice leads audition workshops for students all over the country, is a licensed New York City Tour Guide, can be seen as Barb, the wardrobe lady in Ghost Light, the Web-series. www.JaniceLGoldberg.com www.artisticnewdi-rections.orgMOSES GOLDBERG spent twenty-five years as Pro-ducing Director of Stage One: The Louisville Children’s Theatre. He now works as a freelance director, teacher, and playwright. He has directed professionally at theatres from Washington to Florida, including - in 1988 - one of the first US/Soviet exchanges at Moscow’s famed Tagan-ka Theatre. Sixteen of his plays for young audiences have been published, as well as his most recent book TYA: Es-says on Theatre for Young Audiences. He has taught at Florida State University and Southwest Texas State Uni-versity and now serves as an adjunct faculty member at McDaniel College.LEX GURST is a 2003 alumna of Moore College of Art and Design in Philadelphia. Her costume credits in-clude Big Love, The Possibilities, Polaroid Stories, On the Town, Stop Kiss, and Dance Emerge (2012, 2013) for Muhlenberg College, Psycho Beach Party and Belle Re-prieve for The Theatre Outlet, and Muhlenberg Summer Music Theatre productions of The 25th Annual Putnam County Spelling Bee, Nunsense, Seussical, Schoolhouse Rock and A Year with Frog and Toad. Previously, she has


worked at the Creede Repertory Theatre in Creede, Colo.THOMAS HAUGHEY is the assistant professor of tech-nical direction and sound design at West Chester Uni-versity of PA. He has worked as a designer, technical director and mentor to students at West Chester. Some of the shows that have been part of his career at WCU in-clude: Dark at the Top of the Stairs, Mousetrap, Godspell, Assassins, and Noises Off. He would like to thank Amy, Maura and Claire for all their loving support.MARK HARDY is an Associate Professor in the Musical Theatre BFA program at Montclair State University in NJ. A proud member of Actors’ Equity for many years, Mark has appeared on and off Broadway, in national tours and leading regional theatres, and on symphony stages across the US and Canada. His award-winning directing credits include a varied mix of plays and musicals, including the recent university premiere of the unpublished Maltby/Shire/Weidman musical Take Flight.GREGG HENRY (Artistic Director – KCACTF) Recent productions: Theatre Alliance (2012) and Hub Theatre (2011) Helen Pafumi and Jason Lott’s Wonderful Life, Round House Theatre- Melanie Marnich’s A Sleeping Country, WSC Avant Bard- Julie Jensen’s Two-Head-ed and Barbara Field’s adaptation of Scaramouche. He directed the US Premieres of Girl in the Goldfish Bowl by Morris Panych for Metro Stage and You Are Here by Daniel MacIvor for Theatre Alliance. For Catho-lic University: Swimming with Whales by Bob Bartlett, Morning, Miranda by Stephen Spotswood. For the Ken-nedy Center- Tom Isbell’s The Mostly True Adventures of Homer P. Figg (from the Newbery Honor book by Rodman Philbrick, Helen Hayes Award nomination for Outstanding Production Theatre for Young Audiences), Teddy Roosevelt and the Treasure of Ursa Major, Teddy Roosevelt and the Ghostly Mistletoe (with songs by Mark Russell), Six Stories Tall by Marco Ramirez, Dreams in the Golden Country by Barbara Field, The Light of Ex-calibur by Norman Allen. He is artistic associate for New Works and Commissions for Kennedy Center Theatre for Young Audiences and is director of the Kennedy Center/Kenan Trust Performing Arts Fellowship Program. For twelve years, he has curated and co-produced the Kenne-dy Center Page-to-Stage New Play Festival. He produces the annual MFA Playwrights’ Workshop at the Kennedy Center in association with NNPN and the National Cen-ter for New Plays at Stanford University. Gregg has act-ed, directed, and/or staged the fights with the Colorado, Iowa, Michigan, Oklahoma and Wisconsin Shakespeare Festivals. He received his MFA in Acting from the Uni-versity of Michigan and is formerly the director of the-atre and an associate professor at Iowa State University. He is proud to serve on the National New Play Network Ambassador Council, on the Board of Taffety Punk The-

atre Company, on the Welders’ Advisory Council, on the National Advisory Board of the Literary Managers and Dramaturgs of the Americas [LMDA], and is a member of the Dramatists Guild of America.DR. RICHARD “BUZZ” HERMAN is Chair and Pro-fessor of Theatre and Dance at the University of Central Missouri. At UCM, Buzz teaches courses in directing, acting, playwriting, and theatre history and has served as director and actor for over 100 academic and profession-al productions. Buzz currently serves on the KCACTF National Executive Team as National Playwriting Pro-gram Member at Large. He is Past KCACTF Region V Chair of NPP, has served as a director for the 10-Min-ute Playwriting Program, served as Assistant Irene Ryan Acting Coordinator, and been a member of the Region V Selection Team. He has received three KCACTF Merito-rious Achievement Awards for Directing and served as director for Blue Window which was a Region V Invited Festival Production in 2013.KEITH HIGHT, Coordinator of Theatre and Dance, Keith is also a professional Jack of all trades. Keith brings with his love of theatre arts, a dedication to quality per-formances. Keith is the DMT Region 2 Chair and the Program Coordinator for the American College Theatre Festival. He is also a member of the Stage Directors and Choreographers Society.MICHAEL HOOD is Dean of Fine Arts at IUP and is sec-retary and member of the National Theatre Conference. Dean Hood was a faculty member and chair of Theatre and Dance at the University of Alaska Anchorage where his productions, colleagues, and students were active-ly involved with the KC/ACTF. His stage direction has received KC/ACTF regional and national honors. Dean Hood has served as President of the Northwest Drama Conference, Trustee for the International Council of Fine Arts Deans, and as Vice-Chair to KC/ACTF Region 6.JATHAN INNERARITY is a theater designer, artist, and educator, best known as “Jay” to his colleagues and stu-dents. Jay has designed and worked for Lycoming Col-lege, the Hattiloo Theatre, the University of Memphis, Stephen F. Austin State University, as well as the Pacif-ic Conservatory of the Performing Arts in California. Favorite designs include Batboy: The Musical, The Gas Heart, Threepenny Opera and serving as the Charge Art-ist and Charge Sculptor for the University of Memphis’s centennial production of The Phantom of the Opera. Jay is a member of the United States Institute for Theatre Technology. Visit his website at jathaninnerarity.comTERRY DANA JACHIMIAK II graduated with a BFA in Technical Theatre from Longwood College in Farmville, VA and an MFA in Scene Design from Wayne State Uni-versity in Detroit, MI. He has designed at Westminster College (New Wilmington, PA), The Academy of Fine

Festival Presenters and Guests


Arts (Lynchburg, VA), Lynchburg College, Saint Mary’s College (South Bend, IN), Brevard College (Brevard, NC), Wayne State University, Omaha Children’s Theatre (Omaha, NE) and assistant designed at Illinois Shake-speare Festival (Normal, IL). Terry has also worked in various roles at the Blue Ridge Summer Theatre Festival (Amherst, VA), Illinois Shakespeare Festival (Normal, IL), Notre Dame ShakespeareLEONARD KELLY (Fringe Coordinator) – is a member of the faculty of the Department of Theatre and Dance at West Chester University teaching voice and speech, acting at all levels, and dialects. Len also regularly di-rects departmental productions, most recently Samuel Beckett’s Endgame and Come and Go, Shakespeare’s A Midsummer Night’s Dream and Agatha Christie’s The Mousetrap. Len has long been active with KCACTF, serv-ing as coordinator for The Fringe at Festival program for the past nine years. Additionally Len continues to work professionally in the Philadelphia area most recently ap-pearing in the Commonwealth Classic Theatre Co.’s pro-duction of Macbeth. He is also a Certified Instructor of Fitzmaurice Voicework.JOE KRIENKE is the Associate School Director at the Dell’Arte International School of Physical Theatre in Blue Lake, CA where he teaches Alexander Technique, Acrobatics, Movement Analysis, Daily Practice, Archery, and Clown. From 2001-2006 he was a Visiting Assistant Professor of Mask Acting and Clown in the MFA acting program at the University of Missouri, Kansas City. He trained at Dell’Arte International, San Francisco School of Circus Arts, and is a certified teacher of the Alexander Technique. RALPH LEARY (Chair of ITJA) is a professor in the En-glish Department of Clarion University, where he teaches modern and contemporary dramatic literature as well as Shakespeare. He is currently on sabbatical examining different ways in which Shakespeare is taught in English programs, Theatre programs and in secondary schools. On occasion, he is allowed to take small roles in campus productions, especially when they need an old guy. He responds to regional productions, and in 2009 he was invited to the Kennedy Center as the Faculty Fellow in Criticism.DAVID LEE-PAINTER is honored to have had the op-portunity to wear many hats in KCACTF over the years – and now serves as incoming National Chair. David has been a professor of Theatre at the University of Ida-ho since 1995. His absolute favorite role is sharing life with his darlin’ wife and very best friend Nancy, four fur-ry critters, two very brave, compassionate and inspiring daughters, and their amazing fellas, and teaching pas-sionate and curious students. What a wonderful life!NANCY LEE-PAINTER is the KCACTF NPP chair in

region VII. She teaches and directs at Lewis-Clark State College in Lewiston, Idaho where she is a devoted ad-vocate of new plays and student playwrights. As a pro-fessional actor she has worked with the Idaho Repertory Theatre, the Oregon Shakespeare Festival, and the Idaho Shakespeare Festival. Nancy makes her home in Moscow, Idaho with her really great husband David, animal me-nagerie and inspiring athletic offspring.MICHAEL LEGG is the Director of the Apprentice/In-tern Company at Actors Theatre of Louisville, where he’s directed world-premieres of plays by A. Rey Pamatmat, Laura Jacqmin, Dan Dietz, Kyle John Schmidt, Mar-co Ramirez, Alison Moore, and many others. He also works as an educator and guest artist at several univer-sities around the country. Before coming to Actors, he spent three years as a theatrical agent in New York and his former clients can still be seen on Broadway, in televi-sion/film, and in regional theatres across the country. He holds an M.F.A. in acting from the University of North Carolina at Greensboro and is a proud member of Actors Equity.BOB LEVY is a designer, writer and director who has taught for the last twenty-seven years at Clarion Uni-versity where he is currently chair of the Department of Theatre. Many of his former students are working in the business, in allied businesses, or areas totally outside of the theatre where their theatrical training comes into play every day.LARRY LOEBELL’s plays include WHAM BAM, The Shanghai Kaddish, Pride of the Lion (published by Play-scripts,) The Ballad of John Wesley Reed, House Divided, Memorial Day, and La Tempestad and Girl Science (both published by IndieTheaterNow.) Short plays/monologues published by Applause Books, Playscripts, or Smith & Krause include Angie and Arnie Sanguine, But Who’s Counting, Just Before the War Between the Plates, and Emma Goldman Imagines the Millennium. His feature film, Dostoyevsky Man, premiered at the 2012 Philly Fringe. Larry teaches film and creative writing at Univer-sity of the Arts and playwriting and theater at Arcadia University. More at www.loebell.com.SCOTT A. MACKENZIE: An Associate Professor of Theatre and chair of the department of Communication Studies Theatre and Art at Pennsylvania’s Westminster College, Dr. Mackenzie earned his MFA in Acting at Michigan State University and Ph.D. from Wayne State University in Detroit. He is an Associate Teacher of Fitzmaurice Voicework. His acting credits include film, television, and theatre. Directing credits include All My Sons, The Subject Was Roses, The Importance of Being Earnest, The Laramie Project, The Baker From Madrigal and Kiss Me, Kate. While on active duty with the U.S. Army Reserve, Scott directed Bigfoot Stole My Wife, the



first play produced by personnel working in Baghdad’s International Zone.JULIA MATTHEWS is associate professor and chair of the Department of Theatre at Albright College in Read-ing, PA. A director and performer as well as a scholar and dramaturg, she has taught on the theatre faculties of Wesleyan College and Kennesaw State University, GA, and worked as a dramaturg, director, and teacher with several Atlanta theatre companies. Julia has served on the executive board of the Association for Theatre in Higher Education. She is delighted to direct again for the NPP and meet the new generation of theatre artists.MATTHEW MAZUROSKI is an assistant profes-sor of theatre in the Department of Theater and Dance Youngstown State University and teaches Acting, Direct-ing, Improvisation, Theatre for Young Audiences, Stage Combat and Mask. For YSU he has directed A Streetcar Named Desire, Early One Evening at the Rainbow Bar & Grille, and The Cherry Orchard and Broke-ology. He holds a B.A. in Theatre from Emporia State University and an M.F.A. in Directing from Northwestern Univer-sity. Over the past twenty years, Matthew has worked across the country as an actor, director, fight-choreogra-pher and theatre educator. His professional acting credits include: Nick in Whose Afraid of Virginia Woolfe with Phoenix Theatre, Bob Cratchit in A Christmas Carol with Actors Theatre of Phoenix, Hysterium in Forum with Whitehall Theatre, Malvolio in Twelfth Night with The National Players, and the title role in Hamlet with the UK/AZ Festival. He served as the founding artistic and marketing director of The Actors Group, located in Phoenix Arizona, from 1993 until 1997. During his ca-reer, Matthew has directed award-winning productions of Bent, The Grapes of Wrath, Buried Child, Before it Hits Home, David’s Mother, The Crucible, Buried Child and The Laramie Project. He is a member of the Stage Directors and Choreographers Society, the Actors’ Equi-ty Association, the Screen Actor’s Guild, the Society of American Fight Directors, and the Association for The-atre in Higher Education.GORDON McCONNELL’s work as an actor, teacher, director and producer has taken him from Los Angeles to London to Amsterdam, to New York, where he was a member of Geraldine Page’s famed Mirror Rep, and into regional theatres across the county. Recent appearanc-es include work at Caldwell Theatre Company, Florida Stage, Mosaic Theatre, Actor’s Playhouse, Florida Rep-ertory Theatre, Palm Beach Dramaworks, Maltz Jupiter Theater, Gable Stage and Riverside Theatre in Florida, and Blowing Rock and Flat Rock Playhouses in NC, Curious Theatre (Denver), Greenbrier Valley Theatre (WV) and Alpine Theatre Project (MT). Called “one of the region’s finest actors” by Variety and the Miami Herald, Gordon

is a three-time nominee (The Guys at Gable Stage, Who’s Afraid of Virginia Wolf at Palm Beach DramaWorks, and the world premiere of Dirty Business at Florida Stage) and Carbonell winner (Frozen at Gables Stage), and the recipient of the New Times Best Actor nod for his work in Wrecks at Mosaic. Gordon was recently named Palm Beach County’s Outstanding Performing Artist, and awarded the 2012 Frank Prize for his nearly thirty years of work in the area.PATRICK MCCREARY was lucky enough to be one of the first half-dozen Design/Tech MFA candidates at Mason Gross School of The Arts at Rutgers University. Meaning that he and his classmates got away with lots of things they probably wouldn’t get away with today, but that they had the chance to do a lot of experimenting with artistic concepts, scenic techniques, and a general disregard for tradition. Patrick has (hopefully successful-ly) carried on with that experimentation in his 42 years as a Technical Director, the last 30 of which have been at Indiana University of Pennsylvania. He has recently de-cided to start sharing the results of those experiments, for better or worse, to an audience that extends beyond his students.DAVID A. MILLER, Director, Bloomsburg University, Bloomsburg, PA (and Sean Urbantke, Scenic Designer, Anne Arundel Community College. Arnold, MD) last collaborated on the award winning professional produc-tion of “Wittenberg” by David Davalos for Amphibian Stage Productions in Fort Worth, TX. The production featured an alley style staging in a play during which the audience witnessed a tennis match-like competition be-tween Doctor Faustus and Martin Luther to win Hamlet, a senior in college, to their way of thinking. They will collaborate again this summer on “Nosemaker’s Appren-tice”, again for Amphibian Stage Productions. www.mr-davidamiller.comTOM MILLER: Prior to joining the staff of Actors’ Eq-uity, Tom was an Actor for over 25 years, performing in National Tours, Regional Theatre, Off Broadway, with the Atlanta Ballet, Ballet Florida, Carl Radcliff Dance The-atre, at Opryland USA, and in Europe. He can be seen in the documentary “Show Business – The Road To Broad-way” hosting a Broadway Gypsy Robe presentation. For over a decade Tom served as a voter for the annual Tony Awards. Equity Member since 1983JOHN MOLETRESS is an interdisciplinary performance artist and director. He is the Founding Director of force/collision (force-collision.org). Directing highlights: Trust me at Arena Stage, Shape by Erik Ehn at La MaMa ETC (NYC), The Nautical Yards (site-specific), What A Stranger May Know (Kennedy Center), Mistakes Were Made (Stages Repertory Theatre, Houston), Pippin (Steel River Playhouse), The Crucible (SRP),Separate Rooms



(Kennedy Center), 4.48 Psychosis (Warehouse Theatre), Magnificent Waste (Flashpoint), Shakespeare’s r+j (Asst Director at Signature Theatre), The Saint Plays (Church Street Theatre). John is George Washington University’s 2014 Guest Choreographer and in development for Jar-man (all this maddening beauty) inspired by Derek Jar-man. JohnMoletress.comELIZABETH MOZER is the Artistic Director and Founder of Theatre in the Flesh - a collaborative compa-ny making visceral image-driven theatre. Original works include The Crow - a girl’s moonless dream, A Place at The Table, The August 9th Project and Blood & Honey. Elizabeth is an Assistant Professor in the Theatre Depart-ment at Binghamton University where she recently di-rected Dead Man’s Cell Phone and Preemptive Strike - an adaptation. This spring she will be theatricalizing and di-recting two Twilight Zone teleplays for BU. As an actress she has been a member of three original Broadway casts. Recent performances include roles in Doubt, Ashes to Ashes and Afterplay. Elizabeth teaches at The Stella Adler Studio of Acting and at The Ted Bardy Studio in NYC.FIONA MULLIGAN is the costume shop supervisor at West Chester University, and specializes in costume crafts and mask making. For the past four years she has main-tained ToTheMask’s Masks for the Discerning Wearer, an online store selling handcrafted leather masks which ship globally. She has recently worked with Whole Hog Theatre Company in London as a puppetry construction assistant for the world premiere of Princess Mononoke, and the Illinois Shakespeare Festival as a costume crafts-person.TAMMY O’DONNELL is the Chair of the Communica-tion and Theatre Department at Prince George’s Commu-nity College. She has a BA in English Secondary Educa-tion with emphasis on Theatre from the State University of New York at Fredonia. She has an MS in Student Per-sonnel Administration from the State University of New York at Buffalo. She currently serves as the Coordinator for the KCACTF initiative, Next Steps. In another life, she was a publicist on Long Island and worked with Neil Simon, Marsha Mason, Mary Tyler Moore, President Carter, President Clinton, and Shirley MacLaine to name a few. She is a writer, director, producer and most impor-tantly, a teacher of theatre to the next generation.DEBRA BERGSMA OTTE is a professor of design and Coordinator for the Production and Design Program at Montclair State University. Her credits include design for regional, Off-Broadway and university productions, tele-vision, dance, puppet design for Henson Associates and industrial work. She has served as Regional Chair and Design Chair for KCACTF Region II, as the Member-at-large for Design on the KCACTF National Committee and on the National Selection Team. She is the recipient

of two Kennedy Center Gold Medallions for her work in arts education. Her MFA is in Design for Stage and Screen from Tisch School of the Arts (NYU).JUSTIN POOLE is Assistant Professor of Theatre at Eastern Mennonite University. He holds a Ph.D. in Theatre and Performance Studies from the University of Maryland and an MA in Theatre from Villanova Uni-versity. Poole spent time studying experimental/devised performance in Europe thanks to the Ernst Mach Grant through the Austrian Academic Exchange Program.BECKY PROPHET heads the Directing Institute, di-rected Alfred’s MUCH ADO ABOUT NOTHING, and teaches at Alfred University. She has acted, directed, and taught in numerous places in the U.S. She has of-ten worked, exuberantly, with new plays and/or devel-oping directors. Becky enjoys working in a wide range of genres and styles, with edgy or politically motivated theater her preference. Nine years ago, she created the Student Directing Institute, offering directing to students at the festival. She also serves Region 2 as a regular work-shop instructor, a frequent production respondent, and occasional director for NPP. Becky also creates quirky festivals for her local community of Alfred, NY., includ-ing a Traffic Light Festival and a beach party for a long-drained glacial lake.P. GIBSON (TRISH) RALPH is Associate Professor and Chair, Department of Theatre and Music Studies at The College at Brockport, State University of New York where she serves as producer and scenic designer. As former regional section chair, she is on the executive commit-tee of the Upstate New York Regional Section of USITT. The former Focus Group Representative of Design and Technology, she now serves on the Governing Council of ATHE as Member at Large for Finance. She is the New York and Western Pennsylvania Curcuit Coordinator for Region II.WENDY ROSENFIELD (Guest Critic) has been a free-lance theatre critic for the Philadelphia Inquirer since 2006. For several years, she wrote the “Drama Queen” blog for ArtsJournal.com, and was chief theatre critic for Philadelphia Weekly from 1995 until 2001. She was the 2009 and 2010 KCACTF Region II Guest Critic, re-ceived her M.L.A. from the University of Pennsylvania in 2012, and is a member of the Executive Committee of the American Theatre Critics Association. She was a 2008 NEA Fellow in Theatre and Musical Theatre, a partici-pant in the Bennington Writer’s Workshop, and a 1991 graduate of Bennington College. She is also the mother of two passionate young theatregoers, is a wife, fiction writer, was proofreader to a swami, publications editor for the Women’s International League for Peace and Free-dom, and still can’t believe she gets paid to see plays and talk about them.



ANTHONY ROSAS is the full time Technical Director and an Adjunct Faculty member for Towson University’s Department of Theatre Arts. He holds a Bachelor’s degree in Communication with a minor in Theatre Arts from McDaniel College and completed his M.F.A. in Techni-cal Theatre at the University of North Carolina, Chapel Hill. He completed his M.B.A. at The University of Balti-more/Towson University. He has worked at PlayMaker’s Repertory Company, American Dance Festival at Duke University, Baltimore Shakespeare Festival, Mobtown Theatre, and Theatre on the Hill.MAURICIO SALGADO is the Director of Programs at Artists Striving to End Poverty (ASTEP), a nonprofit that provides arts education and empowerment programs for underserved youth. At ASTEP, Mauricio recruits and trains volunteers who will serve with the organization and manages and evaluates current partnerships while researching and developing new programs. Mauricio has taught through the US, the Dominican Republic, Peru, South Africa, Germany, India, and Mexico. He is a grad-uate from the Juilliard School and has performed profes-sionally in NYC, Washington DC, Belgium, Germany, a warehouse in Red Hook, and Dylan’s backyard.MICHAEL SCHWARTZ is an assistant professor in the department of theater and dance at Indiana University of Pennsylvania. He teaches history, dramaturgy, playwrit-ing, and, from time to time, improv workshops. Mike studied and taught at Philly Improv Theatre (PHIT) in Philadelphia, and his workshop at IUP inspired the for-mation of the long-form campus group “The Factors.”ALISA SICKORA KLECKNER is an adjunct prof and resident designer at Arcadia University where she teaches a range of courses in addition to running the universi-ty’s costume shop. She designs costumes, puppets, masks and makeup regionally and is an alum of the O’Neill Na-tional Puppetry Conference and Puppets in Prague. She has been honored with the KC/ACTF Faculty Design Fellowship, a nomination for the F. Otto Haas Emerging Artist award and the most amazing costume sweatshop ever. No really, the MOST amazing.BILL “UNCLE BILL” SAPSIS: welder, rigger, company president, author and one of the founding members of the Long Reach Long Riders, has been involved in the entertainment industry for 40 years. In 1981 he started Sapsis Rigging, Inc. and developed the company into an internationally recognized leader in the design and in-stallation of stage equipment. Bill’s seminar program has also garnered worldwide recognition. Bill is a USITT Fel-low and a past member of the USITT Board of Directors. He is a current member of the ETCP Council and Chair of the Rigging Working Group for PLASA NA. He is the recipient of the 2102 EVA Swan Award, ESTA’s highest honor. He is a board member of The ESTA Foundation

and he’s on the advisory board of the New York City Technical College. Bill also co-produces the highly ac-claimed North American Theatre and Engineering Con-ference in New York City. In his civilian life he has 3 kids, one cat and a rabbit.SHAWN SIEGER is the Art Director at The Bates Motel And Haunted Hayride. My brother, Robert Sieger, and I co-manage the makeup department at the Bates. We also work as artists for the Pennhurst Asylum Haunted At-traction and Arasapha Farm’s Holiday Hayride. We have also worked on a handful of low budget movies doing various makeups and effects.LAURA SMILEY is an Associate Professor of Theatre at Slippery Rock University Laura’s teaching focuses on acting and directing. She is the Artistic and Executive Di-rector, as well as a founding member of Unseam’d Shake-speare Company which just completed its 20th year of productions. In addition to many roles with Unseam’d Shakespeare, Laura has performed for PPT, Starlight Pro-ductions, City Theatre, and her one-woman show, Build-ing. She has guest directed for Bloomsburg University and Indiana University of PA, as well as collaborations with the City Theatre, and the Pittsburgh Chamber Mu-sic Society, Living Images Arts in NYC and others…She has been involved as a respondent with KCACTF since 1999 and has enjoyed every minute of it! She received an MFA in Acting from the University of Pittsburgh and a BFA in Acting from the Catholic University of America.SCOTT L. STEELE: since 1994, Executive Director, University/Resident Theatre Association (URTA). Pri-or to 1994: General Manager, The Williamstown Theatre Festival and The Acting Company. Deputy Director, The Lincoln Center Theatre Company. General Manager, American National Theatre and Academy (ANTA), for original Off-Broadway productions, including THE EL-EPHANT MAN and TINTYPES. Producer: MEDUSA, POOR LITTLE LAMBS and Stephen King’s GHOST STORIES. Associate Producer/Production Manager, various television projects. He has served as a consultant to numerous organizations and is a member of the Na-tional Theatre Conference.RICK STOPPLEWORTH is an Assistant Professor of Acting and Musical Theater at The University of the Arts in Philadlephia where he is also the interim Head of Acting and Head of the Musical Theater Minor program offered through the College of Performing Arts’ Theater, Music and Dance departments. Rick has directed for both the Theater and Music departments. His produc-tions of Brecht on Brecht, The Seven Deadly Sins and The Bald Soprano were awarded honors in the Kennedy Cen-ter’s A.C.T.F. competition. Rick’s long list of productions for the Brind School includes 9 Parts Of Desire, Anton In Show Business, Bat Boy; The Musical, Winterset, Chica-go and most recently Spring Awakening.



BILIANA STOYTCHEVA-HORISSIAN, MFA, Ph.D. was an Associate Professor of Theatre at Emory & Henry College in VA where she served as the chair of the The-atre department. She recently moved to PA and joined Lycoming College where she teaches various acting class-es and directs productions. An accomplished profes-sional actor who has performed and conducted master classes nationally and internationally, she has presented numerous acting workshops at regional and national venues. Her research and artistic interests include Come-dy, Molière, Acting Pedagogy, and Eastern European Ab-surdism. She is currently working on a book on Comic Acting.MICHAEL SWANSON is director of theatre and dance and associate professor of theatre at Elizabethtown. Fa-vorite productions as a director at the College include Urinetown, Gint, Cabaret, The Memorandum, Lysis-trata, and A Dream Play. Michael has been involved in KCACTF for more than twenty years. He was regional chair and festival host of KCACTF Region III -- the Great Lakes states -- where was awarded the KCACTF Gold Medallion for his longtime service. He has also been a regional officer in Region VIII and in Region II, where he has co-coordinated the Irene Ryan Acting Scholarship Auditions. Michael has directed new plays for the NPP at KCACTF festivals in regions II, III, and VIII. Michael earned a Ph. D. at The Ohio State University, an MFA in directing at Wayne State University, and a BA from Ham-line University. He is an associate member of the Society of Stage Directors and Choreographers.YOSHI TANOKURA is a Scenic & Costume Designer, East Stroudsburg University of PA. His recent credits include Joe DiPietro’s new play “Clever Little Lies” at George Street Playhouse starring Marlo, “Exonerated” at Delaware Theatre Company, “Pride and Prejudice” at People’s Light & Theatre, and “Lucia de Lammermoor” at Anchorage Opera. He is a member of U.S.A. Local 829.LAW TARELLO is an Adjunct Lecturer of Improvisa-tional Theater at State University of New York, College at Brockport. His improv training includes advanced work with The Upright Citizens Brigade and Second City, NY. Law made his Broadway debut fall 2005 as William Barfeé in the TONY Award winning musical The 25th Annual Putnam County Spelling Bee. A principal per-former in over 30 national television promos and com-mercials and TV pilots for Comedy Central, Food TV and NBC/Warner Bros. he credits his improv work for much of his success. Law is the founder of the Search Engine Improv Comedy Training Center. For more visit FallBackComedy.com.LARS TATOM is in his fifth year as the head of Theatre at Anne Arundel Community College, located just outside of Annapolis MD; he teaches all levels of Acting there as

an Associate Professor. He holds an MFA degree in Di-recting from UNC-Greensboro, and a PhD from the Uni-versity of Colorado. This is his fourth year serving Region 2 as Workshop Coordinator/Master Scheduler.NATHAN THOMAS serves as Director of Theatre at Al-vernia University. A specialty area is Russian theatre. He studied in Moscow with the Vakhtangov Theatre. He has translated “The Seagull” and “The Inspector General.” Thomas is also a company member of the Chesapeake Shakespeare Company.TIFFANY TOWNS is an Assistant Professor of Theatre at Lycoming College in Williamsport, PA. In spring 2013, Tiffany was the playwright/director for the touring chil-dren’s theatre production of A World of Many Tales in Lycoming County (PA). Tiffany received her M.F.A. from the University of Alabama and has experience designing costumes, makeup, and hair for theatre,dance, and opera. Previous design credits include Hair, Candide, Equus, and The Threepenny Opera. Tiffany has worked with companies such as The Center for Puppetry Arts, Glim-merglass Opera, and the Texas Shakespeare Festival.ANDY TRUSCOTT is this year’s Festival Manager, a role he also undertook in 2009 at the KCACTF at The Univer-sity of the Arts. Andy is the Marketing and Development Manager at Delaware Theatre Company, Delaware’s only LORT Equity House. A 2009 West Chester University Theatre Arts graduate, Andy has worked for other Phila-delphia based theatre companies such as Pig Iron Theatre Company, Act II Playhouse, and The Renegade Compa-ny. Andy has a BA in Theatre Arts from West Chester University, an A.A. in Business Administration, and an A.A.S. in Marketing. Andy is the 2009 co-recipient of the J.P. Adler Prize for Excellence in Theatre, awarded by the Department Faculty to a graduating senior.SEAN JOSEPH URBANTKE is the Instructor of Theatre Design and Technology at Anne Arundel Community College and a freelance scenic designer. Recent design work includes iStrategy Lab’s limited-run online interac-tive Redd’s Apple Ale marketing campaign set based in Washington, D.C., Every Tongue Confess at the August Wilson Center for African American Studies in Pitts-burgh, PA and Mr. and Mrs. Fitch with Amphibian Stage Productions in Fort Worth, TX. He has also worked with Woolly Mammoth Theatre, Co., the African Continuum Theatre Company, the Trinity Shakespeare Festival, Texas Christian University, 1st Stage, No Rules Theatre Compa-ny, and the Capital Fringe Festival.MARK WADE Artistic Director, Assistant Professor and Head of the Theater Arts Program at Arcadia University. Mark is a graduate of The Yale School of Drama in Act-ing, and The Neighborhood Playhouse (where he stud-ied with Sanford Meisner). Acting and directing credits include work for The Westport Country Playhouse, The



Long Wharf Theater, and Trinity Repertory Theater. He spent five years as a creative consultant for Joanne Wood-ward, and produced with her two television movies for the “Hallmark Hall of Fame.” Mark assisted director Lloyd Richards on the Hallmark Hall of Fame’s television adaptation of The Piano Lesson by August Wilson. He directed the New York premiere of The Sirens by Dar-rah Cloud. At Arcadia, Mark has directed The Laramie Project, Keely and Du, Hearsay (a world premiere written by Kathryn Petersen), The Love of the Nightingale, The Wind in the Willows, Home (a regional finalist and re-cipient of multiple awards including Outstanding Direc-tion and Outstanding Ensemble Acting by the Kennedy Center/American College Theatre Festival), an all-female version of Shakespeare’s Julius Caesar, The Swing of the Sea (a world premiere written by Molly Hagan, an invited production to the KCACTF’s regional festival and winner of the Harold and Mimi Steinberg National Playwriting Award soon to be published by Samuel French). BRAD WATKINS is Director of Theatre Services for TheatreWashington. He began as Associate Producer for Harlequin Dinner Theatre. His original Dear Mr. Zieg-field toured the U.S. Brad partnered creating Troika En-tertainment. He freelanced as a marketing/production consultant and helped launch Phoenix Entertainment. Brad was Producing Director for Olney Theatre Center for nine years, expanding the campus and creating an extensive intern program. He has directed many produc-tions including Caris’ Peace, a collaboration exploring an actress’ journey following brain injury, the subject of a current documentary. Brad is a University of Maryland graduate, a former National Player, and a member of SDC.CATHERINE WEIDNER is a teacher, professional di-rector and actor. She is the Chair of the Department of Theatre Arts at Ithaca College. She recently directed an adaptation of Jane Austen’s Emma for Nebraska Reper-tory Theatre; Taming of the Shrew, Titus Andronicus, and Merry Wives of Windsor for the Illinois Shakespeare Festival; Two Gentlemen of Verona for Theatre at Mon-mouth in Maine; Or, at Caffeine Theatre in Chicago, and a one-man version of Henry V in Austin, Texas for Rude Mechanicals/Red Then Productions. She holds a BFA in Acting from Ithaca College and an MFA in Directing from the University of Minnesota, and has also trained at Complicite in London, The Second City in Chicago and The Neighborhood Playhouse in New York. LISA A. WILDE, Chair of Dramaturgy for KCACTF Re-gion 2, is the Resident Dramaturg at Rep Stage in Co-lumbia, Maryland and the Director of Theatre at Howard Community College. She is a member of Literary Man-agers and Dramaturgs of The Americas and she holds a doctorate in Dramaturgy and Dramatic Criticism from

the Yale School of Drama where she wrote her disserta-tion on female characters in Euripides. She has worked at Center Stage in Baltimore and Young Playwrights Inc in New York; taught at Towson University, Goucher Col-lege, and in the Johns Hopkins Odyssey program and been published in Ibsen News and Comment; Theater, and Shaw.GRECHEN LYNNE WINGERTER is Instructor of The-atre at Bowling Green State University Firelands College in Huron, OH. Prior to arriving at BGSU Firelands, she was an adjunct instructor/guest director at Lycoming College in Williamsport, PA. Grechen has directed and stage managed for such theatres as Moscow Art Theatre (Too), Idaho Repertory Theatre, Idaho Shakespeare Fes-tival, Idaho Theatre for Youth, Illinois Shakespeare Festi-val, First Stage Milwaukee, Lifeline Theatre, Circle X The-atre Company, and Critical Mass Performance Group. Grechen was a recipient of the 2009 Kennedy Center American College Theatre Festival National Teaching Artist Grant, a 2008 KCACTF National Faculty Director Mentor, and a 2007 SDC Student Director Fellowship. Grechen received her MFA in Directing from the Uni-versity of Idaho.JULIET WUNSCH (Immediate Past Chair of Region 2) is the Associate Professor of Set Design, Lighting De-sign and Stage Management at West Chester Universi-ty, Pennsylvania. She has stayed an active supporter of the KCACTF Mission since 2000, acting as DTM Chair, Vice Chair and Region 2 Chair. Her own design work has received national recognition, and has been seen at The Walnut Street Theatre, Freedom Theatre, The Phil-adelphia Arts Bank, Society Hill Playhouse, Irongate Theatre, the Merriam Theatre, Mount Gretna Playhouse, Bryn Athen Playhouse and Drexel’s Mandell Theatre. In the academic arena, Julie has designed for the University of Delaware Professional Theatre Training Program, The University of the Arts, Widener University and Evansville University. She has also worked extravaganzas in Atlan-tic City and designed in New York, Pittsburgh and DC. Julie holds an MFA from Carnegie Mellon University.KURT WUNSCH is a lighting designer living in the Philadelphia area.Working in lighting industry for nearly 30 years, he began his career as a designer, electrician and programmer for special events, small theaters and con-cert tours. He served as the in house lighting designer for the Electric Factory Concert Club in Philly for several years. This path led him into cooperate design which he has been doing for the last 17-18 years. He has creat-ed event lighting for many companies including Google, IBM, SAS, and Exxon. He has designed trade shows like CES, CTIA, and NCTA. One of several favorite designs include the Boy Scouts’ 100th anniversary Jamboree, a 3 day event for 75,000 attendees. Kurt is currently a staff



lighting designer working for Alford Media Services, one of the premier cooperate staging companies in the coun-try.ELIZABETH VAN DEN BERG, Chair, Region 2 - As an actor she has toured the US with Oliver!, and been seen on many Washington DC stages, including Signa-ture Theatre, Studio Theatre, the Kennedy Center, and Synetic Theater. She works as a freelance dialect coach in the DC metro area, where she has coached over 50 productions. KCACTF named her a top teaching Artist in 2005, and she received a Gold Medallion for her ser-vice to KCACTF in 2006. She is an Associate Professor and Chair of the Theatre Arts Department at McDaniel College in Westminster, MD. A proud member of Actors’ Equity Association, AFTRA and SAG, as well as VASTA (Voice and Speech Trainers Association) she is a graduate of NYU’s Tisch School of the Arts Grad Acting program.HEIDI WINTERS VOGEL teaches acting, directing & social justice theater at EMU. She received her MFA from Penn State and has worked with such devised and applied practitioners as Theatre de la Jeune Lune, Lisa Jo Epstein, Mshai Mwangola, and Armand Volkas. Heidi co-founded CrashHouse Theater Project bringing high

school students, devising techniques and Shakespeare together.PEGGY YATES is a Performer, Director and an Associ-ate Professor of Speech and Theatre. She most recently appeared in Signature Theatre’s world premiere musical, Crossing. She is a two time Helen Hayes nominated ac-tor and has performed on television and stage interna-tionally and at regional theatres such as Ford’s Theatre, The Kennedy Center, Arena Stage, Olney Theatre Center, among others. She is a member of Screen Actors Guild and Actor’s Equity Association and holds a Master of Fine Arts from Catholic University.DAVID ZARKO was founding artistic director of The Metropolitan Playhouse of New York, 1991 through 2000 and producing artistic director of Scranton, Pennsylva-nia’s Electric Theatre Company until 2011. He has over 90 professional directing credits plus more than 50 in ac-ademic theatre. He has taught (and directed) at C.W. Post L.I.U., American Academy of Dramatic Arts, Marywood University, and others. He is also a produced playwright and sometimes actor. He is a member of The Dramatists Guild and Society of Stage Directors and Choreogra-phers.



The National Theater Conference invites all KCACTF participating programs to join in our ongoing Women Playwrights Initiative.

We at the NTC believe there are currently an extraordinary number of playwrights working in America. We recognize however, that production opportunities are becoming difficult to find for all playwrights, and that Women Writers especially face even greater challenges in getting produced. Accordingly, for the past three years we have mounted an initiative to increase the number of plays by women that receive full productions and we urge KCACTF participating schools to join together and pledge the following

For the next three years, we will dedicate at least one production slot per year to a Contemporary Female American Playwright.

1. This will be a full production, in line with what you normally do. Not a reading. Not a workshop.

2. Even though current financial conditions are daunting, we encourage all schools to make a residency available to their writer during the production.

3. This need not be a World Premiere. It can be, if you so choose, but most writers will tell you that what they really need is that critical second or third production that allows them to finish their play

4. This need not be a “New Emerging Writer.” Again, it can be, if you so choose, but it can also be the work of a mid-career dramatist, or a mature artist. There are lots of writers out there who were once (and ever so briefly) the “new” writer. They haven’t gone away. They’ve just gotten better. They need productions, too.

5. The only other stipulation is that it cannot be a play that has had a Broadway production in the last five years. Those plays are already being done. Let’s spread the wealth around! We ask that those of you who are participating insert the following statement in your playbill for each play produced as part of this initiative. This production is being produced as part of the NTC National Initiative to Celebrate American Women Playwrights. The National Theatre Conference (NTC) founded in 1925, encourages and supports the American Theatre through its initiatives, awards, and colloquy. For more information go to www.nationaltheatreconference.org

The Kennedy Center American College Theater Festival, part of the Rubenstein Arts Access Program, is generously funded by

David and Alice Rubenstein.

Additional support is provided by The Honorable Stuart Bernstein and Wilma E. Bernstein; the Dr. Gerald and Paula McNichols Foundation; The Harold and Mimi Steinberg Charitable Trust; and Beatrice and Anthony Welters and the AnBryce Foundation.

Education and related artistic programs are made possible through the generosity of theNational Committee for the Performing Arts and the President’s Advisory Committee on the Arts.

Gifts and grants to education at the Kennedy Center are provided by Adobe Foundation; Sandra K. & Clement C. Alpert; AnBryce Foundation; Bank of America; Bernstein Family Foundation; The Honorable Stuart Bernstein and Wilma E. Bernstein; Capital One Bank; Carter and Melissa Cafritz Charitable Trust; Centene Charitable Foundation; Citibank; The Charles Engelhard Foun-dation; Clark Charitable Foundation; Community Advisory Board; Mike and Julie Connors; CVS Caremark; DC Commission on the Arts and Humanities; Dr. Gerald and Paula McNichols Foun-dation; Fight for Children, Inc.; David Gregory and Beth Wilkinson; Harman Family Foundation; The Harold and Mimi Steinberg Charitable Trust; Harris Corporation; Hilton Worldwide; The J. Willard and Alice S. Marriott Foundation; The Jacob and Charlotte Lehrman Foundation; Mr. James V. Kimsey; The Kiplinger Foundation; The Kirstein Family Foundation; Natalie and Herb Kohler and Kohler Co.; Kenneth and Lucy Lehman; The Macy*s Foundation; Margaret A. Cargill Foundation; The Max and Victoria Dreyfus Foundation, Inc.; Jaylee M. Mead†; Linda and Tobia Mercuro; The Meredith Foundation; The Morningstar Foundation; The Morris and Gwendolyn Cafritz Foundation; The National Committee for the Performing Arts; National Endowment for the Arts; National Trustees of the National Symphony Orchestra; Newman’s Own Foundation; Paul M. Angell Family Foundation; Park Foundation, Inc.; Mrs. Irene Pollin; President’s Adviso-ry Committee on the Arts; Prince Charitable Trusts; Rose Mary Kennedy Education Fund; Dr. Deborah Rose and Dr. Jan A. J. Stolwijk; Ryna and Melvin Cohen Family Foundation; Share Fund; Mr. and Mrs. Albert H. Small; Target; Thomas W. Haas Foundation; U.S. Department of Educa-tion; Volkswagen Group of America, Inc.; Sherry and Eddie Wachs; Washington Gas; Wells Fargo; Beatrice and Anthony Welters; William R. Kenan, Jr. Charitable Trust; generous contributors to the Abe Fortas Memorial Fund, and by a major gift to the fund from the late Carolyn E. Agger, widow of Abe Fortas.

Support for KCACTF


recommended restaurants


Barnaby’s West Chester15 S. High St., West Chester, PA 19382 (610) 696-1400

Capriotti’s Sandwich Shop607 E. Market St., West Chester, PA 19382 (610) 719-0270

Carrabba’s Italian Grill102 Painters Crossing, West Chester, PA 19382(610) 358-0156

Chris’s Pizza633 S Walnut St, West Chester, PA 19382(610) 696-2734

Doc Magrogan’s Oyster House117 East Gay Street, West Chester, PA 19380 (610) 429-4046

High Street Caffe322 S. High St., West Chester, PA 19382 (610) 696-7435 Hog Island Hoagies230 W. Market St., West Chester, PA 19382 (484) 947-5135

Iron Hill Brewery & Restaurant3 W. Gay Street, West Chester, PA 19380(610) 738-9600

Judy’s Healthy Kitchen237 E. Gay St., West Chester, PA 19380(610) 696-4814

Kildare’s18-22 W. Gay Street, West Chester, PA 19380(610) 431-0770

King’s Garden Chinese Food308 South High Street, West Chester, PA 19382(610) 918-9000

Kooma Asian and Sushi123 N Church St, West Chester, PA 19380(610) 430-8980

Landmark Americana158 W. Gay St., West Chester, PA 19380(610) 701-9900

Limoncello Ristorante9 N. Walnut Street, West Chester, PA 19380(610) 436-6230

Market Street Grill6 W. Market Street, West Chester, PA 19382 (610) 429-5328

New Haven Style Pizza18 N. Church St., West Chester, PA 19382(610) 696-9893

Nonna’s116 E. Gay Street, West Chester, PA 19380 (610) 430-0203

Penn’s Table Restaurant100 W. Gay Street, West Chester, PA 19380 (610) 696-0677

Pietro’s Prime125 W. Market Street, West Chester, PA 19382(484) 760-6100

The Pita Pit139 W. Gay Street, West Chester, PA 19380(610) 918-7482

Riggtown Pizza Oven551 S Matlack St, West Chester, PA 19382(610) 431-3900

Ryan’s Pub124 W. Gay Street, West Chester, PA 19380(610) 344-3934

SaladWorks106 W. Gay Street, West Chester, PA 19380(610) 918-8500

Side Bar & Restaurant10 E. Gay Street, West Chester, PA 19380 (610) 429-8297

Teca Restaurant38 E. Gay Street, West Chester, PA 19380(610) 738-8244

Timothy’s West Chester929 S. High Street, West Chester, PA 19382 (484) 887-8771

60

KEYPARKING

Student*

Faculty/Sta�*

Faculty/Sta�/Student*

Borough of West Chester Garage, Meter, or Permit

Visitor

ADA Accessible Only

* University decal required. Lot restrictions designated by posted signs, which take precedence over published materials.

Parking decals and enforcement subject to change as posted.

A separate, detailed map for people with disabilities is available at Public Safety in the Peoples Building, the Information Desk in Philips Memorial, and Sykes Student Union.

Shuttle Bus Stop�

1

1

2

3

4

5

6

Free Parking for Festival Attendees

Swope School Of Music Building (SOMPAC)

E.O. Bull Center for the Arts (EOB)

Sykes Student Union (SYKES) - Cafeteria

Emilie K. Asplundh Concert Hall (ASPLUNDH)

Francis Harvey Green Library (FHG Library)

4

2

3

5

6

202 South to all Host Hotels

CAMPUS MAPS


CAMPUS MAPS


EOB Mainstage

Theatre

EOB21

EOB 22

STUDIO THEATRE

EOB 12

EOB 17

EOB15

EOB 40

EOB 25

Main Entrance from Parking Lot and Buss Loop

Info Desk

E.O. Bull Center (EOB)Lower Level Room Map

62

CAMPUS MAPS


EOB 114

EOB 111FESTIVALADMIN OFFICE

EOB 168

EOB ART GALLERYDTM EXHIBITS

EOB 154DRAMATURGY

EOB 132

EOB 170 EOB 105

Main Entrance fromHIGH STREET

Main Entrance fromROSEDALE AVENUE

E.O. Bull Center (EOB)Upper Level Room Map63

CAMPUS MAPS


FESTIVAL REGISTRATION

RAMS HEAD

CAFESitting

Area

Sitting Area

Sitting Area

Sykes Student UnionMain Floor Room Plan

Main Entrance fromRosedale Avenue

64

CAMPUS MAPS


SOMPAC 141

SOMPACMadeline

Wing Adler

Theatre

SOMPACGates Hall

Main Entrance FromParking Lot and Bus Loop

BU

S L

OO

P D

RO

P O

FF

Side Entrance fromRosedale Avenue

Swope School of Music (SOMPAC)Second Floor Room Plan

To E.O. Bull Centerand Asplundh

To Parking Lot andBus Loop

SOMPAC ART GALLERYDTM Exhibits

Swope School of Music (SOMPAC)Ground Floor Room Plan

65


CAMPUS MAPS

SOMPAC 204

SOMPAC 208

SOMPAC 210

SOMPAC 220

SOMPAC 225





66


CAMPUS MAPS

SOMPAC 303

SOMPAC 304

SOMPAC 307

SOMPAC 310

SOMPAC 311

SOMPAC 320



Swope School of Music (SOMPAC)Third Floor Room Plan

67

VillanoVa UniVersityMaster of arts in theatre

For more information, visit theatre.villanova.edu or call 610.519.4760.

Villanova theatre: 6 Barrymore awards and 52 nominations for excellence in theatre

then consider Villanova’s Master of arts in theatre. Villanova’s program places equal emphasis on scholarly and creative work. Students undergo a rigorous course of study that is a combination of scholarly, artistic and practical approaches to theatre.

• Learn from award-winning faculty who work in the theatre industry

• Deepen your understanding of the scope and content of theatre and drama, from classic to contemporary and from East to West

• Study on a full- or part-time basis

• Competitive tuition rates, with assistantships available

• Now offering a Certificate in Nonprofit Management to help prepare you for a career in the nonprofit sector of arts

are you an aspiring actor, director, scholar or playwright?

festival 46 program (2014) - kcactf region 2

Documents