Kennedy Center American College Theatre Festival 43 ReportRegion 1: Connecticut, Maine, Massachusetts, New Hampshire, Northeast New York, Rhode Island, and Vermont

Chair, Kelly Morgan

Festival 43 was held at Fitchburg State University from January 25 –29, 2010. Kelly Morgan served as Site Coordinator and Dean College and FSU were the host schools.

We brought five regional productions to the Festival and one international production: The Site Project: Athens – Athenian students of the Hellenic American University and American Students from Franklin Pierce College and Keene State College presented Everyone Knows Who Bombed the Bank.

Invited Productions:

Pippin by Roger O. HirsonDirected by Bill WilsonRhode Island College

Fallujah by Evan SandersonDirected by Jason King JonesBoston University

Boom by Peter Sinn NachtriebDirected by Angel MoralesHostos Community College

Cow Play by Matthew GeorgeDirected by Charlie PolingerYale University

Transit of Mercury Across the Face of the Sun by Sally Bomer and Robert LawsonDirected by Robert LawsonFranklin Pierce College

Alternate Productions:

Dear Harvey by Patricia LoughreyDirected by Jeff MousseauUniversity of Albany

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A Flea in Her Ear by FeydeauDirected by Sal TrapaniWestern Connecticut State University

Hamlet in 7 Years by David Kaye and CastDirected by David KayeUniversity of New Hampshire

Total Festival Registrations: 1356 attended33 VIP's57 student volunteers55 institutions represented.

Total number of productions: 160        Fall 2010: 91        Spring 2011: 70        TOTAL Associate: 104        TOTAL Participating: 56

New Initiatives: This year we launched The Musical Theatre Initiative with great success thanks to the leadership by Ryan McKinney of Kingsborough Community College in New York. His area report is listed below. We also offered a College Fair for community college students who were looking for transfer opportunities to four-year institutions. In addition, there was an opportunity for students to audition for internships at Florida Studio Theatre, an Equity Company.

Workshops Total: 114 Actors: 43Designers: 37Playwrights: 11Dramaturgy: 5Directing: 10Musical Theatre: 2 Administrative: 7

Special EventsOpening Night: Welcome to the FestivalCostume ParadeDesign BashCollege Fair and Internship AuditionMusical Theatre ShowcaseMusical Theatre Late Night Cabaret

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Second Scene Showcase

Special Awards: Bruce Robinson –Outstanding Service in Playwriting for KCACTF Region lCraig Pospisil- Excellence In Playwriting, KCACTF Region l 

NPP REPORT REGION ONE JANUARY 25 – 30, 2011

Fitchburg, MARobert Boles, NPP Chair

This year’s festival was once again hosted by Fitchburg State University in Fitchburg, MA. NPP played host to readings of four John Cauble One Act regional semi-finalists, and six semi-finalists for the Ten Minute Play Award. This year we had an increase in submissions from all categories. Three of the five invited productions to the festival were new plays: two by students and one by a faculty member. We had a number of new play readings and workshops from professional playwrights. It was a very productive and richly satisfying festival from an NPP point of view.

I had already instituted a process of having only faculty/playwright/professional directors for the student readings, and continued that this year. There was some debate about this within the region, and I believe within the national organization as well. The question being should students be directing student NPP play readings at the festival, or should more experienced people be performing that duty. I fall on the side of the latter. I believe it gives the playwright a unique experience which in miniature reflects a real world developmental process. This isn’t to say students shouldn’t be directing student work, but I don’t think the playwrights at the festival are well served by assigning student directors to their plays. The overwhelmingly positive response of this practice by the playwrights themselves has confirmed this for me.

With the great help of Theresa Lang, region one Dramaturgy chair, this year, as last, we had the help of Charles Haugland (literary associate – Huntington Playhouse in Boston), and Daniel Burson (literary manager, Portland Stage Company Portland Maine). Prior to and during the festival, they gave written and oral dramaturgical responses to each of the invited ten playwrights. This became a valuable part of the process for each of the playwrights as they cast and rehearsed their readings during festival week. The following is a list of the Cauble and Ten Minute semi-finalists along with their directors:

JOHN CAUBLE(*National Finalist)

WICKER CHAIR by Mary Conroy (Lesley University)

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Directed by Barbara Waldinger

*THE RWANDANS’ VISIT by Daniel Sauermilch (Middlebury College)Directed by Kimberley Bouchard

*GIFT OF AN ORANGE by Charlene Donaghy (Lesley University)Directed by Bruce Robinson

THE END OF THE ARGUMENT by Deirdre Girard (Boston University)Directed by Brandt Reiter

TEN MINUTE PLAYS(*National Finalist)

BONES OF HOME by Charlene Donaghy (Lesley University)Directed by Matthew Gregory

TEN HOURS OF SLEEP by John Zakrosky Jr. (Boston University)Directed by Tim Gleason

6-LANE by Elena Zucker (New York University)Directed by Theresa Lang

*THE MOUSE by Colleen Hughes (Boston University)Directed by Kathleen Sills

DELIVERY by Deirdre Girard (Boston University)Directed by Linda Sutherland

*MR. CROSSOVER by Mohammad Yousuf (New York University)Directed by Georgia McGill

The following plays were invited productions at the festival:*Student Written**Faculty Written

*FALLUJAH by Evan Sanderson (Boston University)

*COW PLAY by Matthew George (Yale University)

TRANSIT OF MERCURY ACROSS THE FACE OF THE SUN by Sally Bomer & Robert Lawson

Both FALLUJAH and COW PLAY were the regional David Mark Cohen nominees. As of this writing, FALLUJAH was named the winner of the national David Mark Cohen

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award.

We were extremely fortunate in having three exceptionally fine NPP respondents for our readings:

Steve Feffer – NPP Regional Chair for Region 3Cassandra Medley – playwrightCraig Pospisil – playwright

These three gave great, and insightful feedback to each of the playwrights. It was an honor to be in their company. I was also fortunate to have been the regional exchange chair to Region 3 where I experienced the delightful hospitality of my host, Steve Feffer. All of you attending the national meeting in DC stick with Steve. He knows the best watering holes in town.

In addition, we had a guest respondent for two of our one act play readings – Chris Columbus, artistic director of the Trinity Rep. The playwrights were extremely well served by this group of distinguished respondents.

The combination of the respondents and dramaturges and experienced directors gave the playwrights as much individual attention as possible. The emphasis was, as it should be, completely on the text.

This year we not only had writers out of some of the best playwriting schools in New England (BU, Lesley, Middlebury), but for the first since the addition of New York into the region we had playwrights from New York University. Also, for the first time in many years, Yale University participated in the festival.

Two of our respondents, Craig Pospisil and Cassandra Medley, gave workshops and presented readings of their new work. THE DUNES (Craig Pospisil) and SON (Cassandra Medley) Also, Bruce Robinson, one of our directors, had a reading of his new play, MIA as well as leading his own workshop for playwrights. Other workshop leaders were Gregg Henry, Melinda Lopez, and Christine Toy. The collaboration with Theresa Lang (Dramaturgy) was invaluable and should continue and develop in future festivals.

This is my third and final year as chair of playwriting for Region One. It has been a uniquely satisfying experience working not only with talented playwrights of all ages and stripes, but with my colleagues from across the country who have taught me so much just by being in their company. I really can’t express enough how much I’ve enjoyed doing this job for the festival. I strongly believe in the value and worth of this organization, and am so very proud to be a part of it. I leave this post knowing that my successors, Brandt Reiter and Kim Bouchard are two of the finest people working in this region. NPP is in excellent hands.

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KCACTF REGION 1 DESIGN, TECHNOLOGIES AND MANAGEMENT

REPORT2010-2011

Chairs and Co-Chairs 2011

Regional Design, Technology & Management Co-Chair(s): Rafael Jaen, Emerson College, Boston, MAChase Rozelle, Eastern Connecticut University, Willimantic, Connecticut (Exiting Co-Chair)

Regional D, T & M Vice Co-Chair(s): Luke Sutherland, Community College of Rhode Island, Providence, Rhode Island (In-coming Co-Chair)Charles Wittreich, Suffolk County Community College, Selden, NY

Regional D, T & M 2nd-Vice Co-Chair(s): Jeff Modereger, University of Vermont, Burlington, Vermont Daniel Kozar, Dean College, Franklin, MA

DTM Leadership 2011

Design Expo Coordinator:Rafael Jaen, Emerson College, Boston, MA

Design Expo Registration Coordinator:Daniel Kozar, Dean College Franklin, MA

Educational Tech Expo Coordinator:Charles Wittreich, Suffolk County Community College, Selden, NY

Stage Manager Fellowship Coordinator:Luke Sutherland, Community College of Rhode Island, Providence, Rhode Island

Tech Intern Coordinator:Chase Rozelle, Eastern Connecticut University, Willimantic, Connecticut

Workshop Venue and Equipment CoordinatorJeff Modereger, University of Vermont, Burlington, Vermont 

Dress Parade Coordinator:Charles Wittreich, Suffolk County Community College, Selden, NY

Assistant Dress Parade Coordinator:Andrew Wittkamper, Suffolk County Community College, Selden, NY

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Poster Exhibit Host: Susan Sanders, Northern Essex Community College, MA

DTM Report CompilationDaniel Kozar, Dean College Franklin, MA

TD’s for Various Venues Off-SiteCap Corduan, Fitchburg State UniversityJim Dougherty, Middlebury CollegeJo Nazro,Jesse Hoyer,

Design, Technology and Management EntriesBy Rafael Jaen

This year’s total entries increased in numbers to 135 (14% Increase from 2010). Respondents and participants observed the high quality of work in the exhibit.

Total Number of Entries (National + Regional):

Barbizon Scenery: 12 Barbizon Costume: 10 Barbizon Lighting: 13 Alcone Makeup: 4 KCACTF Sound: 6 Regional Scenery: 0 Regional Costume: 5 Regional Lighting: 0 Regional Sound: 0 Regional Tech/Crafts/Props: 1 Stage Management: 32 Other (i.e. Graphics, etc.):

o Dramaturgy 6o Poster Design 33 Studentso Poster Design 13 Professional

DTM Entries Reflections Rafael Jaen and Daniel Kozar will look into ways to streamline the process by

relying on Quickbase to create archives and comprehensive charts; cut back on paper work, etc.

We would like to see the area of Props and Allied Fields develop further It was great to have the School Names covered at the Expo; students were able to

select their favorite works not knowing what school the project came from. This created a very receptive atmosphere once the awards were announced.

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2011 DTM Educational Expo . By Charles Wittreich

Exhibitors:ALPSApolloBarbizonThe Stagecraft Institute of Las Vegas

2011 DTM Educational Expo Reflections

This was the first year this was handled by Charles Wittreich and there was much to learn. A total of 11 vendors/organizations were invited The largest presence was ALPS which offered a great number of workshops in moving lights as well as allowing for a lot of hands on opportunities in lighting technology.Apollo Design also participated in giving workshops as well as a table set up. Barbizon had a table presence, and they have indicated a desire for a greater presence and involvement next year. Focal Press came for a day and offered some swag to students. Since the Childs were here with us, The Stagecraft Institute was represented at a table as well.

Vision for next year:Seek out more Vendors/Orgs to represent more of the sub disciplines, (make-up, costume, arts management, audio, etc.) to fulfill Chase's original vision to have a "mini-USITT" style event. Rose Brand has shown an interest in becoming involved so I will reach out to more national companies as well. Will develop the "ask letter" (also in attachment) in consultation with other chairs to avoid any conflicts and to better develop the "benefits to your company for becoming involved" pitch. There are of course challenges to budget (housing, transportation, food) so hopefully by reaching out to larger organizations they may be able to absorb some or all of those costs. Additionally I plan to let everyone attending know in advance who will be attending the Expo and encourage Students and faculty to interface(especially those faculty who make purchasing choices at their institutions

Tech Olympics

Hosted by the students of Southern Connecticut State University and ably mentored by Victor Catano, the Tech Olympics was well attended this year. The design this year was 4 events- three individual and one team event. There were events in knot tying, prop table setting , hang and focus and a stage shift event for teams Suffolk County Community College won overall and will design and host next year.

Tech Olympics Reflections

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A discussion about starting the tech Olympics with a special "event" (i.e. lighting the torch) occurred and may be placed in the hands of design students or someone other than the hosting institution. Next year the event will be developed in consultation with USITT and Barbizon to continue to make it better, more organized and more clear to students in advance. Its continues to be lots of fun!

Grand Costume Parade 2011Compiled by Charles Wittreich, Daniel Kozar and Rafael Jaen

1) Institution: Suffolk County Community CollegeA variety of costumes designed by Andrew Wittkamper

2) Institution: Worcester State UniversityFive Costumes from a variety of productions designed by Susan Johnson-Hood

3) Workshop: Grand Costume Parade Design Challenge Five costumes created in Jule Emerson’s workshop, The Grand Costume Parade Design Challenge. Unlike Project Runway, these designers had no access to mannequins or sewing machines. Limited to glue, tape, an assortment of items from the dollar store and only a few hours, each design team was asked to create a Valentine-inspired costume worthy of our reigning queen of artifice--Lady Gaga!

4) Institution: Franklin Pierce University Contact: Anna ThomfordSix costumes Designer and Execution by Joelle Braun (student)Three Costumes from The Rocky Horror Show

5) Institution: Salem State CollegeSix Costumes from a variety of shows designed and constructed by Amanda Carreiro and by Jane Hillier-Walkowiak

6) Institution: Northern Essex Community College 4 Costumes Designed by Jannaruth Jenner

Grand Costume Parade 2011 Reflections

This was the second year for the parade and it grew exponentially pointing the way to several needed changes for next year.  There were a total of 6 schools participating this year with one no-show. Additionally there was a multi-day workshop (Grand Costume Parade Design Challenge) wherein teams of students created found object garments andincluded them in the parade.  There was a pretty severe communication error regarding the workshop involvement, but in the end it all worked out and lessons learned will be applied for next year.  Attached you will find the list of participating schools and a draft of the script assembled.

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New Directions-All are in agreement that the Parade be kept to a 1/2 hour-  That beingsaid ,the limitations of how many garments can be in the parade perinstitution will based on how many participate, so that decision willhave to wait until all applications have been received.-There is a need for a rehearsal in the space to be built into theschedule.-There are technical needs that need to be ironed out at said rehearsalincluding, cuing, playback, microphones and a need for a monitorbackstage.

DTM 2011 Festival, Stage Management ReportBy Luke Sutherland

We had a significant increase in Stage Management applications and a major increase in demand outpacing the supply. Last year we had upper twenties, this year we saw 37 applicants, with 32 participating completely in interviews and festival assignments. 2 withdrew just prior to festival, the first due to serious illness in his family, the second due to irreconcilable schedule conflict. 1 came to festival to SM her assignment, but she did not register to interview. When called she stated she declined the interview portion of festival stating she was unprepared. We had 1 applicant who did not show up for either the interviews or her festival assignment, and another who did not show up for his assignment and interview, but did fill a gap on a 6x10 one act.

There were 7 student SMs who made called backs. 5 attended the Friday afternoon call back session. Despite being told to come by mid Friday afternoon to see the call back list, 2 missed the Friday afternoon call backs session. We had some gaps in festival SM coverage. Luckily, 2 applicants volunteered beyond their original assignment. Some of the gaps were in the Ryan Prelims due to hotel confusion. Also there were requests for SM on response session, a request I never had before.

SM Applicants by State of Institution

NY 9MA 8VT 7CT 5RI 5NH 3ME 0 Total 37

Festival SM Assignment Coverage One Act Plays:

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6x10 & 1 Acts 10 (1 withdrawal, 1 did not interview, & 1 from the 4 MIA on the Ryans covering the withdrawal slot)

Irene Ryans:

Prelim rounds 14 (1 no show – 4 MIA on assignment but made interviews)

Semi & Finals 4 (1 withdrawal)

SDC: 4

MTC/MTIP 2 (need more?)

Pro Play Readings 1 (a no show - as far as I know)

DT&M Timers/ Awards 2

Thank you for the opportunity to serve the region, from all of us involved.

Respectfully Submitted,

Design, Technologies and Management Co-Chairs: Rafael Jaen & F. Chase Rozelle III Design, Technologies and Management Co-Vice Chairs: Luke J. Sutherland & Charlie Wittreich Design, Technologies and Management 2nd Co-Vice Chairs: Daniel Kozar & Jeff Modereger

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Region I Respondent Chair’s Report by Paul Ricciardi  This past 2010-2012 season was a pilot season of sorts for KCACTF Region 1’s Respondent Chair position.  This position has been central to the smooth operation of the region, specifically in that by giving the respondent responsibilities to a specific chair, it has freed up the regional chair and vice chairs to focus on festival issues, logistics and long term planning.

Number of respondents:        Fall 2010: 48        Spring 2011: 38  Key successes for the respondent chair:-all shows were covered with no issue.-the region implemented a more efficient protocol for communicating logistics via quickbase with respondents and schools.-the region recruited and trained 10 new respondents.-a respondent chair process and protocol has been developed.-implemented a “respondent chair’s assistant” workstudy position; this will remain in residence at Siena College (Siena has dedicated one workstudy line to supporting the region.  This workstudy will continue to report to Paul Ricciardi)  

Irene Ryan ReportSubmitted by Harry McInerny, Irene Ryan Coordinator

There were a total of 346 Candidates nominated from 2010 Productions.110 were removed prior to the festival by the schools for various reasons.5 were no-shows at the Festival.

A total of 231 Candidates presented preliminary scenes at the Festival.

A total of 6 productions did not nominate any Irene Ryan candidates.

49 Region 1 schools participated in the Irene Ryan Scholarship Auditions.

National Irene Ryan rules now state candidates will be stopped at the specified total time for each round, but will not be disqualified from the competition. Preliminary Round Candidates will be stopped at 3 minutes, Semifinal Candidates at 5 minutes and Final Candidates at 6 minutes.

Preliminary Round

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Following the new time rules, 22 Candidates out of 231 (9.5%) were stopped but not disqualified during their audition at the Preliminary Rounds. Of those 22, six were moved on to the Semifinal Round. Eight students sang for their Preliminary audition, and none of those moved on to the Semifinal Round.

The growth and expansion of Region 1 has proved to be the catalyst for adjustment to the Irene Ryan Scholarship. The 2010 Festival (Festival 42) at New Hampshire saw the inclusion of several schools from New York. Faculty from the region provided feedback on that festival to the effect that travel is often time intensive, and some schools had difficulty arriving at the festival with ample time to prepare for the Irene Ryan preliminary rounds. In an attempt to ease the travel issue for schools that must come from large distances to participate, the Irene Ryan Preliminary rounds at Festival 43 were held in two separate locations (The Sheraton Four Points and Courtyard by Marriott), consisted of two rounds at each venue, and started later in the day.

One venue (Courtyard) was problematic. The three rooms designated for auditions were located down a short hallway from a public gathering area. The associated noise level was prohibitive. It was impossible and undesirable to ask the public not associated with the festival to be silent in a public area, and therefore the noise level inside the audition rooms was high. Participants were asked to be silent in the hallway, but the entrance was too close to the public area for it to have much effect.

Response sessions were held immediately after auditions. Response rooms were located directly across from audition rooms. At the Courtyard, the hallway was narrow, so crowd and noise control proved to be a challenge.

More Stage Managers are required at the Preliminary level if we are to continue the two-location format. Seven Stage Managers were assigned to each venue for the Preliminary Rounds, but three additional were required to run the feedback sessions. The total required Stage Managers for each venue is ten in this scenario.

One effect of the two-round format is a reduced audience in audition rooms. Students acting in the first round had to choose between watching round 2 and attending their feedback session. Almost all candidates chose to attend feedback. Most candidates auditioning in Round 2 chose to focus on their audition rather than attend Round 1. Feedback from students suggests that they would prefer to see some of their peers audition.

Semifinal Round

3 Candidates out of 36 (8%) were stopped but not disqualified during their audition at the Semifinal Rounds. All 3 were moved on to the Final Round. One student sang during her Semifinal audition, and she was not moved on to the Final Round. The 36 Semifinalists represented 22 different Region 1 schools.

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The Semifinal round seemed to run smoothly. The format of two rounds of 18 Candidates with a break in between works fine. Separate orientation for both rounds is necessary and helpful. A slight concern with the two-round format is that it could be perceived as giving a competitive edge to one group or another as Auditors have the opportunity to discuss at some length the first 18 Candidates during the break. If it is a concern, we could simply ask Auditors not to discuss Candidates until they have seen all auditions.

Semifinal Auditors preferred to respond as a team to Candidates rather than have Candidates rotate between the two Auditors. They felt more comfortable with this method as they could feed off each other’s comments. This method seemed to work fine, although as a result each Candidate’s feedback session was shorter.

Final Round

Two Candidates out of 16 (17%) were stopped but not disqualified during their audition at the Final Round. Two Candidates sang during their Final audition as their monologue selection. One Candidate both sang and was stopped. He was chosen to represent the Region at the National Festival. The 16 Finalists represented 13 Region 1 schools.

The Final Round seemed to run smoothly. The post round deliberations were probably somewhat rushed. The Finals occurred in the early evening on Saturday. Immediately following the Finals was the Costume Parade and Awards Ceremony. Finals Auditors were taken to a nearby restaurant and asked to deliberate as quickly as possible so that names of winners could be entered on award certificates. With the compressed time, Auditors did not have an opportunity to go too far in depth. Having said that, no Auditor expressed to me the feeling they required more time to deliberate.

If Finalist feedback sessions occur on the same day as the Finals, all Candidates tend to attend. This Festival, because feedback was the morning following the Finals, only a little more than half attended for various reasons. I believe it is important for Candidates to get as much feedback on their work as possible, and therefore would strongly recommend the Final round be presented earlier in the day with associated feedback sessions occurring on the same day, and prior to the Award ceremony.

Other Reflections

The Irene Ryans requires candidates to secure rights to their material prior to auditioning at the Festival. Many students do not understand what it means or takes to do this. Any training or assistance from school faculty or administrators on this issue would be helpful.

Candidates continued to make changes to audition material at the Festival, even up to the hour prior to performing their Finals monologue selection. Those changes are only somewhat of a hassle for Irene Ryan administration, but seem to be bad practice on the part of the Candidates.

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Dramaturgy Report 2010-2011

Student Participation:

Six entries from six different schools entered for response and consideration for the National Award, all six of which displayed their materials in the Expo.Recipient: Jacqueline Lawler Eurydice by Sarah Ruhl, Salve Regina University.

Six entries for the Regional Program Note award.Winner: Gabriel Graetz The Actor/The Actor’s Nightmare, Emerson College.

Six students participated in new play dramaturgy, each assigned to a ten-minute play at festival. Student dramaturgs worked with playwright and director through the week and facilitated audience talkbacks at the public readings.

Workshops Offered:

Will It Play? Reading New Works - Dan Burson

Collaboration Panel – Dan Burson in roundtable with designer, playwright, director.

Getting the First Word: Writing a Program Note – Dan Burson & Charles Haugland

Engaging Your Audience: Conducting a Talkback – Linda Sutherland & Charles Haugland

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Reflections:

We had student dramaturgs working on new plays for the first time, and it went well for the most part. Playwrights and directors were receptive and the dramaturgs seemed to contribute to the process in varying degrees. The talkbacks were definitely useful and largely well received. Next year I will have more official meetings with the dramaturgs to help with process and keep track of their progress. Also, would like to build numbers and have dramaturgs working with one-acts as well. We had professionals give a written dramaturgical response to the playwrights before festival, and would like to incorporate that somehow into the student training – the kind of questions and response that will serve new play development.

The main areas of development are continuing to expand the program, working on new initiatives with other regions, bringing more people into leadership in the region, and

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developing some training or support for faculty in the region regarding how to incorporate dramaturgy into their productions.

Respectfully submitted by Theresa Lang, Dramaturgy Chair

Critics InstituteAnnual Report KCACTF 2011: Critics InstituteChair: Daniel Patterson, Keene State College, NHVice-Chair: Scott Gagnon, Emmanuel College, Boston

Critics Institute 2011 RosterMysti A Keller Southern Connecticut state University

mysti.keller@gmail.comWyatt A Grondin University of Southern Maine

wyatt.grondin@gmail.comJacquelin DiGerio Salem State University jdigerio@gmail.comAlex Delgreco Dean College adelgreco@student.dean.eduMarissa Colon University of New Haven

maacolon@gmail.comDerek Laurendeau Chester College of New England

dlaurendeau@chestercollege.edu*Stephen Mrowiec Middlebury College smrociec@middlegury.eduCait McKay Franklin Pierce University

caitmckay@gmail.comNatalie Budnyk St. Michael’s College nbudnyk@smcvt.eduStephanie Armagno Eastern Connecticut State University armagno8@my.easternct.edu

*Winner Workshop Schedule, Critics Institute, Spring 2011

I Wednesday January 26th, Split into two groups (The web & print review, 500 words )

A. Workshop: 2:30pm – 4:30pm. Introduction of materials and scheduleIntroduction to the genres, Print, Radio, Web, TV

B. Show #1, Pippin, Dukakis Center, 7PM (All participants review this one)-All Reviews due by 3am

II Thursday, January 27th. (The capsule review. 100 words)A Workshop: 1:00pm -3:00pm. Go over first reviewB. Show #2, Fallujah. McKay. 3:30PM (Group 1 reviews)B. Show #3: Boom. Weston. 8pm (Group 2 reviews)

-Rewrites due by midnight-All Reviews due by 3am

III Friday, January 28th (The radio review. 2 minutes)A Workshop 1:00- 3:00 Go over rewrites, and Show 2 & 3 reviewsB. Show #4: 3:30pm Cowplay. McKay (Group 1 reviews)

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C. Show #5: 8:00pm. Transit of Mercury. Dukakis. (Group 2 reviews)-Rewrites due by midnight-All Reviews due by 3am

IV Saturday, January 29A. Workshop 1:00-3:00 Go over rewrites, Return Reviews #4 & #5

NOTE: All reviews WILL be posted publicly in three groups:a. First raw copyb. Copy with editors marksc. Rewrites

This workshop at this festival is a process and we want everyone to be able to see how the work changes and improves. In the real world there wouldn’t be time to rewrite and edited copy would be printed without reviewers input, permission, or knowledge. In addition, reviews will have reviewers names on them, everyone else at the festival takes ownership of their work and so we do too.

New Information: As a result of Prof Patterson’s fellowship to the National festival last Spring, the Critics Institute made the following changes:

A. First review for both print and Web held to 500 words in its second draft.B. Web information introduced for the first time.C. Radio reviews introduced for the first time, these were recorded as well as

printed. D. A 100 word capsule review was introduced for the first time.

KCACTF – Region 1Directing Report

2010-2011

ChairAdam Zahler, Worcester State University, Worcester, MA

CommitteePeter Sampieri, Salem State University, Salem, MAKathleen Sills, Merrimack College, North Andover, MAAnita Gonzalez, SUNY New Paltz, New Paltz, NY

ProgramsSDC Directing Fellowship ProgramNew Play Observership Program

ParticipantsThere were 14 directing students accepted to attend festival, each applying to one of

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the programs. 3 students were accepted in each of the two preceding years. The growth was attributable to:a) Removal of requirement that a student directed a fully realized production at their

home schoolb) The addition of the Observership program

• SDC 11o Note: 12 entrants; 1 withdrawal• Observership 2

Directing Reflections1. Space: we should consider holding the SDC Fellowship program in a black box or

small theater; the directors should have space that is conducive to the work. If that is not possible, sending the directors dimensions of the playing area before Festival is essential.

2. The first round of the SDC Fellowship Program was closed; the final round was open and very well attended. (The Irene Ryan Finalists were scheduled to be announced afterward, which undoubtedly helped attendance.) However, the terrible sightlines of the ballroom made for poor visibility for most of the audience, underscoring the need for a theatre for the program.

3. Director’s Analyses: This year we allowed the respondents to choose to receive the books either electronically or in hard-copy. Getting the hard-copies to the one respondent who requested it was difficult to coordinate. It is recommended that respondents only receive electronic copies beforehand, and that the directors only bring one hard copy for reference by all the respondents.

4. The selected scenes provided a range of challenges with the exception of Proof. None of the directors who chose the Proof scene were selected to go on to the final round. By and large their work was more pedestrian. While choosing a play in the Realist vein is understandable, it might be profitable to find one that asks more of the directors.

5. Seek to increase applicants for both programs by better outreach to directing faculty.6. The response after the first round took longer than anticipated: 2.5 hours rather than

the 1 hour allocated. We should plan on 15 minutes per student.7. The respondents felt they could not limit the final round to the three scenes stipulated

and chose a fourth. After consideration, it seems advisable to allow for a range of three to five scenes for the final round. Time would have to be allocated for both the presentations and the response.

8. A separate response time for the final round directors might alleviate some time pressures. Perhaps the next morning.

9. For the second year in a row, the student directors had the opportunity to sit with a prominent director. This year, Curt Columbus, Artistic Director of Trinity Repertory Company in Providence, RI attended the final round of SDC. He gave a separate response after dinner that day. This was a valuable additional event for all the directors. We would recommend continuing this practice.

10. The Observerships were new this year. The students who participated both reported that it was a great experience. We should endeavor to make it a higher profile

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program.11. Collaboration Slam: at the suggestion of Peter Sampieri, the Directing Committee is

considering a Festival project for which teams will be set up consisting of director, playwright, dramaturg, and designer(s) to create plays for late-night performance. Teams will have no budget and will have to find their own times and places for working. Space will be needed for performance, but this can be after most other events are over.

SDC Respondents: Gregg Henry, Gia Forakis and Leigh Selting (KCACTF Chair of Region 7)

(Note: Because of scheduling issues, Gregg Henry had to step out as a respondent after the first round of SDC.)

Awards Reflections1. The Directing Committee should consider adding an award or two. By increasing the

presentation during the Awards Ceremony, Directing as a discipline and the overall program will gain visibility.

2. We would recommend a clearly stated award attached to the final recipient at the National level. Besides being an attraction for students to apply to the SDC Fellowship Program, that could be mentioned when the Regional Finalist is announced at the Awards Ceremony. This, too, would enhance the visibility of the program

KCACTF Region 1 Directing Workshops

Wednesday, January 26, 20119:00-10:30 a.m. Directing with Michael Chekhov Lisa

Dalton1:00-2:30 p.m. Dynamic Staging for Directors Peter Sampieri3:00-4:30 p.m. Collaboration Panel Adam Zahler,

Moderator

Thursday, January 27, 20119:00-10:30 a.m. Serving the Play: A Workshop for Directors and Playwrights

Gregg Henry10:45-11:45 a.m. Kissing, Sex, and Violent Acts: Directing Physical Moments Onstage Anita Gonzalez1:00-2:30 p.m. One-Thought-One-Action (OTOA): An Acting Technique for Actors & Directors Gia Forakis1:00-2:30 p.m. Director’s Dialectic: Effective Director/Actor Communication

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Adam ZahlerFriday, January 28, 20119 –10:30am Trust and Authority in the Rehearsal Room Andrea Grapko10:45 a.m.-12:15 p.m. Director’s Dialectic: Effective Director/Actor Communication

Adam Zahler10:45 a.m.-12:15 p.m. Directing: Turning Your Vision into Voice Sheila Siragusa

1:00-2:30 p.m. One-Thought-One-Action (OTOA): An Acting Technique for Actors & Directors Gia Forakis3:00-4:30 p.m. Costuming for Directors Daniel Kozar

Reflections on Directing Workshops• The Directing Committee has discussed organizing the workshops into at least two

levels: one introductory and one more advanced.• One consideration is to designate some workshops, non-exclusively, for SDC

Fellowship Program. Those students would participate in the SDC events and have scheduled specific advanced workshops to attend.

• An effort will be made to increase the number and variety of workshops by reaching out to faculty and professionals.

Budget

Name Position Arrival Hotel@$79/nightAdam Zahler Directing Chair Mon. 1/25/11 $474.00Gia Forakis SDC Respondent Mon. 1/25/11 $474.00Gregg Henry SDC Respondent Mon. 1/25/11 $474.00Leigh Selting SDC Respondent Mon. 1/25/11 $474 .00 Total $1896 .00

MUSICAL THEATRE INITIATIVE REPORT

2010-2011

Compiled by Ryan McKinney

Chair, Musical Theatre Initiative

Leadership & StaffingRegional Chair: Ryan McKinney

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City University of New York/Kingsborough Community College, Brooklyn, NY

Accompanists: Robert Goldman, Dean College, Frankling, MAStephen Purdy, NYC Vocal Coach & Musical Director

Stage Managers: Chelsea Tuffy, Keene State UniversityMolly McDonald, Johnson State University

Program Assistants: Joelle Carscadden, Dean CollegeLexxie Lawlor, Dean College

Respondents: Curt Columbus, Russell Garrett, Melissa Hurtand Christine Toy Johnson

Number of Participantsc) Musical Theatre Cabaret 42

d) Second Scene Showcase 18

e) Musical Theatre Initiative Performance Event 22

Musical Theatre Respondents: Curt Columbus (Artistic Director of Trinity Repertory Theatre), Rusell Garrett, Christine Toy Johnson, Melissa Hurt

KCACTF Region 1 – Musical Theatre Workshops

Wednesday, 1/26/11• Musical Theatre Initiative Cabaret Ryan McKinney Salon, A, B & CThursday, 1/27/1112. Preparing a Musical Theatre Audition Stephanie Dean Hammerstein13. Secrets to Musical Theatre Auditioning Ryan McKinney,

Russell Garrett &Christine Toy Johnson

Hammerstein3. Second Scene Showcase Ryan McKinney Salons & Ballroom

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Friday, 1/28/11• Musical Theatre Orientation Ryan McKinney Kent & Weston• Musical Theatre Initiative – Session 1 Ryan McKinney Kent & Weston• Musical Theatre Initiative – Session 2 Ryan McKinney Kent & Weston• Musical Theatre Initiative Performance Kent & Weston• Tap for Beginners Krista Russo Shubert/StraussSaturday, 1/29/11• Musical Theatre Response Hammerstein

NOTES & REFLECTIONS

• Musical Theatre Cabaret

o There was a lot of initial interest on Tuesday & during the day on Wednesday.

o It was difficult to have this event follow the Ryans Semi-Finals announcement. Disappointed students did not stay and semi-finalists and partners immediately left to rehearse their scenes for Thursday.

o That being said, we had over 80 singers sign-up to sing, 42 of which actually sang on Wednesday night. We finished exactly at midnight with the last singer.

o Having two accompanists was integral to keeping things moving quickly and smoothly.

o Would be interested to hear thoughts on how we can better publicize this event so students can arrive at festival with sheet music. Also interested in other ways to handle the sign-up process in a more orderly manner.

• Workshops

o Feedback on the musical theatre workshops was very strong but there were just so few of them!

o Would like to get at least one musical theatre workshop for each day of next year’s festival.

o Would also like to collaborate with the Directing Area on a “Directing for Musical Theatre” workshop/roundtable.

• Second Scene Showcase

o Somehow MTI became the entity in charge of running this event, which did turn out to be enjoyable. However, I think there needs to be a designated coordinator of this event other than MTI, as we did not arrive at festival

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prepared to have this fall under our umbrella. We are certainly happy to help with it in the future, provided there is appropriate planning and communication.

• Musical Theatre Initiative

o Being that this was the first year, things went fairly smoothly and the students that participated seemed to thoroughly enjoy the events.

o Having everything on Friday proved to be a little much for some of the students. If there was a way to split it over two days, that might be preferable. Wednesday & Friday?

o There was some expressed interest in adding a group number to the performance event, which was in fact part of the original proposal but removed from this year’s festival in the interest of time and feasibility. Something to considering adding back in for next year.

o There were also some comments about the need for dance in the initiative and the subsequent performance event, which again, was part of the original proposal but omitted in the interest of actually getting something on its feet at the 2011 festival. Am very open to suggestions on how to make this happen.

• Performance Event

o We will change the name of the performance event to something along the lines of “Musical Theatre Showcase”, so festival attendees are aware of the fact that this is an open performance intended for an audience.

o Was very pleased at the audience turn-out. I’m estimating there were around 150-200 people at the performance in Weston.

o The event lasted about two hours and went very smoothly.

• Awards

o Question for the region and the national team as to whether or not the scholarship to the Signature Musical Theatre Intensive will be an annual award?

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