IN THIS ISSUE:

A User’s Guide...Page 1

•President’s Update

Page 2•

Minutes from AugustVASTA Board Meeting

Page 6•

Conference ReportPage 7

•Voice & Speech Review

Page 8•

“Burning Issues”Page 9

•Evangeline Machlin:

A RemembrancePage 12

•Member News

page 14•

VASTA MembershipDirectory:

Pullout center section

VASTA -- a non-profit organization and focus group of ATHE (Association for Theatre in Higher Education)

Voice and Speech Trainers Association, Inc.

FALL 2003 VOLUME 17, NUMBER 2

A User’s Guide to the Voice Foundation Symposiumby Kate DeVore

For the first time ever, in 2004 the annual VASTA conference willnot follow the ATHE conference, but will follow instead the VoiceFoundation Symposium in Philadelphia in early June. Many VASTAmembers may choose to attend all or part of the Voice FoundationSymposium, perhaps for the first time. Those who have attended inthe past can attest to the culture shock that awaits those of us unfamil-iar with interdisciplinary conferences of this ilk. As a theatre voiceand speech trainer and a voice/speech pathologist, it has been sug-gested to me that someone with a foot on the soil of both SLPs andtheatre coaches may be in a position to provide a pre-conference lay-of-the-land, so to speak. So what follows is a completely unofficialdescription of the Symposium intended to provide information thatmay be of use to those considering attending. It can be thrilling to be in a huge room full of people, many ofwhom are exceptionally left-brained, who devote their energies to theexploration of human voice. The extent of research and interests isvast, ranging from ring in belt singers to neurological voice disordersto surgical techniques to the effects of hormones on voice. The cross-pollination of VASTA with other voice groups is bringing about excit-ing developments in research and pedagogy, and the information pre-sented by scientists can be of tremendous practical use to voice andspeech trainers. The Symposium has many attendees, and the conference takes placeprimarily in two large, adjacent hotel ballrooms. Most of the

(continued on page 4)

Page 24 VASTA Volume 17, No. 2

VASTA Workshop with Jo Estill inPhoenix, Arizona: January 4-8, 2004.

“Jo Estill is an internationally recognized teacher with a uniqueapproach to vocal quality. Her system, broken down into simplesteps, leads to mastery of an amazing array of qualities—all pro-duced with ease and comfort. You can even belt without any

strain.”

REGISTER by October 31 -for special rates.For more information, see the www.VASTA.org site or contactBarbara Acker at Dept. of Theatre, ASU, Tempe, AZ 85287-2002,

Barbara.Acker@asu.edu,(480) 965-2696.

Non-Profit

Organization

U.S. POSTAGE

PAID

Permit #766

Columbia, SC

Department of Theatre and Dance

Longstreet Theatre

Columbia, SC 29208

USA

Board of Directors

Dorothy Runk Mennen

Founding President

Purdue - Professor Emerita

Eric Armstrong

York University, Toronto

Kate Burke, Past President

University of Virgina

Rocco Dal Vera

U. of Cinncinnati College

Conservatory of Music

Kate DeVore

Total Voice - Chicago

Ginny Kopf

University of Central Florida

Marya Lowry

Brandeis University

Phillip Thompson

U. of California - Irvine

Kate Ufema, President

University of Minnesota Duluth

Lisa Wilson, President Elect

University of Tulsa

OfficersKate Ufema

President

Eric Armstrong

Dir., Technology/Internet Services

Eva Breneman

ATHE Conference Planner

Rena Cook

Secretary

University of Oklahoma

Craig Ferre

Treasurer

Brigham Young University Hawaii

Christine Morris

Newsletter Editor

Duke University

Mandy Rees

Journal Editor-in-Chief

Caliornia State University

Chuck Richie

Membership Chair

Kent State University

Philip Thompson

Secretary

Erica Tobolski

Newsletter Associate Editor

University of South Carolina

Judylee Vivier

VASTA Conference Planner

Brooklyn College

Page 2 VASTA Volume 17, No.2

PRESIDENT’S LETTERDear VASTA Members,

As VASTA’s President, it is an honor to address you, yet again,and to bring you up to date.

First, let it be known (for those of you who did not attend),that our New York Conference was strong, vital, and stimulating. Youshall read more about it in this issue. Thank you Judylee Vivier andBarbara Adrian for making NYC affordable, convenient, and welcom-ing for us all.

New members and old members who did not attend the con-ference, we missed you. Our conferences are the ‘personal’ lifebloodof our organization. There is simply no substitute for coming togetherwith your national and global colleagues, playing, sharing ideas, prob-lems, wishes and dreams, getting answers to some of those problem-atic questions, and looking into the eyes of those who love and dowhat you do every day. It’s wonderful to meet your vocal allies. Soplease consider joining us in the future.

In my last Newsletter address, I mentioned several works-in-progress and visions for the future. And now, after our August Boardmeeting, I have much to relate regarding all of the above.

With respect to conferences, it is official. Our 2004 VASTAconference will piggyback with the Voice Foundation Symposium inPhiladelphia in early June. For those of you who will be attending theAugust ATHE conference in Toronto as well, VASTA presentationswill remain part of that conference as always. There will also be VASTAmember presentations at both the Voice Symposium and at the VASTAconference itself. For these, you should have already received thedetails and applications forms in your snail mail. If not, check thewebsites: www.vasta.org and www.voicefoundation.org.

Beyond 2004, we are now certain that our 2005 conferencewill be in Scotland in mid August. Lise Olson will be our ConferencePlanner. So save your pennies and write your travel grants. We’ll belinking with the Edinburgh Festival!

Additionally, I am thrilled to announce that our VASTA Bibli-ography will soon be on line for all to use. Thanks to a grant fromATHE, Jeff Morrison has been able to put all this together for us. Forthose who are unfamiliar with this resource, it is invaluable. So checkthe VASTA website <www.vasta.org> frequently in mid-to-late No-vember for the link to the Bibliography. Thank you Jeff Morrison!

Again, those of you not at the conference, the third edition ofVASTA’s Voice and Speech Review is out. If you haven’t already,you should be receiving yours in the mail soon. Rocco Dal Vera, thejournal’s Father and Editor and Chief, we HAIL! your magnificentachievement. Thank You. Mandy Rees, our new Editor and Chief,

(continued next page)

Page 23 VASTA Volume 17, No.2

MEMBERSHIPINFORMATION

Categories:Full Member:Has voting privileges, receives the VASTA Newslet-ter, Membership Directory and VASTA Guidelines.Eligible for reduced VASTA conference fees. AnnualDues: US$71 ($65+$6 materials shipping and han-dling fee)

Student Member:Currently enrolled in a training program. Receivessame benefits as Voice/Speech Professional. AnnualDues: US$41 ($35+$6 materials shipping and han-dling fee)

To join VASTA, log on towww.VASTA.org; print out the applica-tion, fill out, and mail with dues (US cur-rency only) to:

Craig Ferre - VASTA Treasurer,P. O. Box 524Laie, HI 96762W: 808-293-3903Fax: 808-293-3900

Off-shore members may remit on-line bycredit card directly from the website.

VASTA membership year is dated fromthe date of receipt of dues to the same dateof the following year.

NOTE: The Voice and Speech Review,VASTA’s Journal is supplied free to allmembers in good standing on August15 of odd numbered years, e.g. 2003,2005, 2007, etc.

The Department of Theatre and Dance at

The University of New Mexico

invites you to a five-day workshop in

FITZMAURICE VOICEWORKin sunny Albuquerque - January 4-8, 2004

“Destructuring/Restructuring” taughtby Catherine Fitzmaurice and Master &

Associate Teachers -with a focus on Destructuring

• Catherine Fitzmaurice’s voice training techniques were

developed from her classical training in England

(Bunch, Berry, Turner) together with somatic training

systems and energy work (yoga, bioenergetics, shiatsu),

into a holistic method which utilizes aspects of all of

the above in the service of an actor’s freedom and fo-

cus. She has taught/coached at the Central School of

Speech and Drama, the Juilliard School, Harvard Uni-

versity, New York Shakespeare Festival, Lincoln Cen-

ter, the Shakespeare Theatre, Guthrie Theatre,

Stratford (Canada) Shakespearean Festival, and many

others.

We will help you BREATHE life, your life,into words.

This workshop is specifically designed to introduce

Destructuring/Restructuring VoiceWork,

focusing Destructuring and on how it links into text.

We will honor both the form of the verse and the inten-

tion of ourselves and our characters, as we explore the

complex rhythms of breath and thought, mining sound

and sense in the quest for meaning.

<Fitzmauricevoice.com>

For information contact:Kristen LoreeTel: 505-710-7724

Email: realsticks@aol.com

Page 3 VASTA Volume 17, No.2

(continued page 5)

BREATHE! We are all with you, and so gratefulfor your willingness to take on this enormous task.Onward . . .

My next announcement is HUGE! Duringour August Board meeting, we discovered that wehave successfully addressed/accomplished all themajor tasks set forth in our VASTA Vision Goals2005.

Back in November 1998, after a two-dayintensive retreat led by a professional facilitator,the retreat participants summed up VASTA’s fu-ture seven-year charge in the following catchphrase — IF we ACT!

I = international, development and expansion of international relationships.•This prompted our 2000 InternationalConference held at George WashingtonUniv. outside DC, and our Scotland con-ference for 2005.F = finance, finding the means toaccomplish our dreams throughfndraising and endowment.•Two years ago we hired a professional

fund-raiser who continues to work withus.•Last year we received two separate grantsfrom ATHE, one to help fund our journal,and one to facilitate our on-line Bibliogra-phy.•And last October we initiated the invest-ment stage in the establishment of our newVASTA Endowment Fund.A = advocacy, active outreach to new pro-fessional communities; persistent near-reach to directors and department chairs;nurturing in-reach to membersregarding quality of their professionallives.•Thanks to Barry Kur and his persistentleadership of the Advocacy Committee, wenow have an on-line document entitled“How to Use a Vocal Coach”. This docu-ment was written by Nancy Houfek, withLynn Watson and Linda de Vries, to helpeducate directors and other interested par-

ties about what we do and what we have tooffer.•Our new VASTA bookmarks are out, ad-vertising our organization, quoting Williehimself!•Karen Ryker has recently revised VASTA’s“Guidelines for Promotion and Tenure”which now appear on our website.•Any Department Chair who advertises avoice and speech position in the trades re-ceives a formal letter from VASTA’s im-mediate Past President outlining our ser-vices and reference publications for theiruse in both hiring and promoting.•Our 2004 conference will link with theVoice Foundation and seek to form an on-going relationship between our two orga-nizations. And we are in early communi-cations with both ASHA and NAST withsimilar goals in mind.•Last year Yolanda Heman-Ackah M.D. be-came VASTA’s on-line medical advisor. Afree service!•And VASTAVOX continues to be a chan-nel of professional well-being and healthfor our members through the active on-lineexplanations, advice, and discussions.C = communication, inaugurating TheVoice and Speech Review, andmobilizing technology through vasta.org,VASTAVOX, and a dialects-on- line.•In 2000, Rocco Dal Vera did, indeed, birthour journal.•Thanks to our ever-efficient, wonderfulwebmaster — Eric Armstrong — VASTA’swebsite has become a resource to behold;and a special thanks to Amy Stoller for herwonderful “internet resource” page thatappears on the site. Check it out! It’s awealth.•Again, Dudley Knight’s VASTAVOXcontinues to facilitate our collegiality, ourteaching needs, and our profession.

Page 22 VASTA Volume 17, No.2

wrote in tandem about American politics). She alsoperformed an in-house reading of her poetry there, titled“A Weaving of Words and Sounds.” She came back toher post as resident voice and speech coach at The OldGlobe Theatre and coached Pentecost. Since then, atThe Old Globe, Jan has coached Time Flies, Julius Cae-sar, Blue/Orange and Rough Crossing. She was alsoguest dialect coach for La Jolla Playhouse’ productionof The Country by Martin Crimp. She was interviewedabout accents, on KPBS Radio’s A Way With Wordsprogram, and she is the voice-over for the San DiegoArt Museum’s video for their Degas collection.JOEL GOLDES (Los Angeles, CA) recently dialectcoached Romeo and Juliet, the premiere production atPasadena’s new Theatre at Boston Court. Directed byCo-Artistic Director Michael Michetti, the play hasbeen reset in New Orleans in 1836, and includes French,Cajun, Jamaican and Trinidadian accents. He recentlycoached Toys in the Attic directed by Jessica Kubzanskyat the Colony Theatre, of which BackStage wrote, “JoelGoldes ensured that pure New Orleans is spoken here.”He also coached The Drawer Boy at South Coast Rep-ertory, of which the Orange County Register wrote,“The work of dialect coach Joel Goldes, I’m happy toreport, is superb,” (the reviewer grew up in SouthernOntario, Canada, where the play is set.) Joel alsocoached Pera Palas for Antaeus and is currently coach-ing Dickens and Crime there as well. He coached AStreetcar Named Desire starring Linda Purl at theRubicon and Siswei Banzi is Dead for Theatre 150.He is currently coaching Philosophy of the World, thenew musical about aboriginal 1970’s New Hampshirerock group The Shaggs, which will premiere Insidethe Ford Theatre in Los Angeles before transferring toChicago’s Lookinglass Theatre. Joel was representedat the Edinburgh Fringe Festival with Margarita’sBirthday Wish, and at the New York Fringe Festivalwith Berserkers, in which he coached actor Paul Out-look to sound like Jeffrey Dahmer and Nat Turner. Joelis currently working with supermodel Josie Maran (ondialects for Scorcese’s Aviator and the upcoming LittleBlack Book) and Kylie Bax, originally from NewZealand.JOAN MELTON (California State University, Fuller-ton) presented workshops at the Voice Foundation Sym-posium, in June and at ATHE in August. In July, shespent time in Stockholm studying kulning, continuedher work as Coordinator of the Wales Exchange Pro-gram, in Carmarthen, Wales, attended the VASTA con-ference, and taught for a week in the Catherine

Fitzmaurice certification program, in New York. Joanhas just written a new book, with speech language pa-thologist, Kenneth Tom, ONE VOICE: IntegratingSinging Technique and Theatre Voice Training(Heinemann, 2003), <www.onevoicebook.com>. InJune, she presented a four and a half-day workshop atCal State Fullerton, also with Kenneth Tom. In Au-gust, she taught a weekend workshop for singers in theLA area, and in January the Melton/Tom duo willpresent a seven-day, two-part workshop at Cal StateFullerton.MANDY REES (California State University, Bakers-field) learned in June she had received early tenure andpromotion. She directed Comedy of Errors at her cam-pus this spring, attended three conferences in a row inAugust (ATHE, ATME and VASTA), and is currentlypreparing to fill the very large shoes left by Rocco DalVera as editor of the Voice and Speech Review.LISSA TYLER RENAUD (San Francisco Bay Area)continues her recitals from Gertrude Stein’s writings.She taught a summer course, Shakespeare and SpokenWord, An Intersection, at her Actors’ Training Project.Recent workshop topics have included: vocal warm-ups (Kaiser Permanente’s Educational Theatre Troupe),auditioning (Theatre Bay Area), vocal and script prepa-ration for broadcasters (National Radio Project). Shewas Director of a pilot program to develop speaking/presentation skills in young people. This spring/sum-mer she published “Facial Warm-Up Sequence” inCallboard Magazine, “Warming Up the Face” in Dra-matics Magazine, “Things My Father Taught Me” and“Sitting Down to Warm Up” in Teaching TheatreMagazine. She was a featured speaker at the WestCoast memorial service for Andre Bernard, popularWNYC-FM broadcaster, NYU teacher and creator ofthe body alignment work Ideokinesis.

“Speak thespeech, I pray you,

as I pronouced it to you,trippingly, on the tongue.”

H A M L E TAct III, Scene 2

Page 4 VASTA Volume 17, No.2

(User’s Guide, cont’d. from page 1)

deeper), providing a helpful framework for theupcoming talks. There are also special lectures,panels and poster sessions scattered throughout theSymposium as well as a gala dinner with enter-tainment. Everyone who sings at the gala mustpresent a scientific paper at the Symposium. In terms of planning, the schedule is availablein advance, so it might be useful to study it before-hand to choose the talks that you want to attend.You may even choose to attend only the last twodays (usually the pedagogy and workshop days)and skip the heavy science if you’re not interestedin that aspect of voice. There is time set aside forquestions during the conference, so if there are top-ics that you already have questions about you canprepare them in advance so you are ready to askthem when the time arises. Also, it is usuallyheavily air-conditioned in the hotel, so if you aresensitive to cold you might want to bring a sweaterfor the sitting-still days. The Voice Foundation Symposium can be aneye-opening experience yielding useful and inter-esting information for voice practitioners. And tobe honest, even with a science background I stilloccasionally feel the desire to lay down with a wetcloth on my forehead due to information overload.And knowing that I am not the target audience forsome of the talks allows me to plan accordinglyand not be surprised when the content sails overmy head. Next year seems like a good opportu-nity to check it out for those so inclined. Hope tosee you there!

conference has concurrent sessions scheduled,meaning that there are two different talks goingon simultaneously in the ballrooms, and you mustchoose which one you attend based on the title ofthe paper. Each day has an umbrella topic, such asBasic Science, one or days that are of special in-terest to them. This may be a good time to mention the factthat the presentation of the material can be a littledaunting to the non-scientist. The presentationsare mostly summaries of research studies gearedtoward other scientists. Most days you are seatedfor every presentation. They are 15-30 minuteseach. They all use slides. Most of the presentersare researchers and scientists, and they are not nec-essarily trained speakers. There are slides and vid-eos of bloody surgeries. There are graphs and sta-tistics and numbers. Some of the talks have titleslike “Experimental Verification of the Quasi-Steady Assumption for Flow Through the Larynx.”Do not be afraid. If I don’t know what most of thewords in the title mean, I just go to the talk in theother room. Then, there are the workshops. The workshopsare a much-beloved respite of hands-on, practical,experiential training, right smack-dab in the middleof the comfort zone of most VASTA members. Infact, many of the workshops are led by VASTAmembers. Workshops are 45 minutes each, andthere are usually five time slots for workshops withabout seven to choose from at each time. Of noteis the fact that most of the Voice Foundation at-tendees are less familiar with the actual trainingaspect of voice than are most VASTA members, sosome of the workshops are taught at a slightly lessadvanced level than the typical level of presenta-tion at VASTA conferences. Regardless, they arealways my favorite part of the Symposium. On the first day and evening of the symposiumthere are usually introductory overview sessionsabout anatomy and physiology of voice. Theselectures can be exceptionally helpful to non-sci-entists. They remind you of what you know aboutanatomy and physiology (and perhaps go even

IN THIS ISSUE:

2003-2004

VASTA DIRECTORY

CENTER SECTION

Page 21 VASTA Volume 17, No.2

SUSAN MURRAY MILLER (Chicago, Illinois)served as British/Cockney dialect coach for Journey’sEnd in June, directed by David Cromer and producedby Seanachi Productions in Chicago. It is the eighthshow Susan has coached for that group.PHIL TIMBERLAKE recently joined the faculty atNorthern Illinois University as an assistant professor.He received his MFA in Voice and Speech Pedagogy --from Virginia Commonwealth University in May,moved to DeKalb in June, set up his office in July andhad a blast at the VASTA conference in August (wherehe took on duties as VASTA’s Grant Officer). Phil’swife, Amy, recently had her first children’s picturebook published by Farrar, Straus, and Giroux: TheDirty Cowboy.JILL WALMLSEY ZAGER served as dialect coachfor World Set Free at Steppenwolf, Sign of the Four atApple Tree Theatre, The Cosmonaut’s Last Message,for Collaboraction and Selkie, Our Country’s Good andA Flea in Her Ear all for Northwestern University.Jill served as the choral speech coach for The Oddyseyat University of Illinois- Urbana/Champaign and is cur-rently coaching the vocal production/singing for Intothe Woods at U of I. She served as the pre-productiondialect coach for Gerard Butler, Jay Rodin and WesBentley on the film The Game of Their Lives.

WEST CENTRALPAUL MEIER (University of Kansas) spent the monthof May on sabbatical leave in Stratford-upon-Avon,interviewing voice staff at the RSC and observing theproductions. He plans several articles on Shakespeareperformance and voice. He collected further dialectsamples for IDEA <www.ukans.edu/~idea) whilethere, and on a three-week dialect gathering tourthrough Europe. He is busy revising Accent andDialects for Stage and Screen, which will be availablein a new edition from Paul Meier Dialect Services, at<www.paulmeier.com>, spring 2004, with severaladditional dialects. He and Eric Armstrong arecollaborating on a project to create an onlinedemonstration of the IPA, available soon on theirrespective websites.ELISA LLOYD CARLSON is in her second seasonas Resident Voice and Speech Coach at the GuthrieTheater, and as Voice/Speech Instructor in the GuthrieBFA Acting Program at the University of Minnesota.Fall projects include Night of the Iguana at the Guthrie.This past summer she returned to her home state of

Georgia to coach three plays for the GeorgiaShakespeare Festival and act in a staged reading of anew play at the Alliance.STEVE SIMS has moved to the Chicago area as theDirector of the Chicago Institute for Voice Care at theUniversity of Illinois in Chicago. He has joined BonnieSmith and Katie DeVore and is exuberant about pro-viding care in Chicago.DR. PAMELA D. CHABORA recently served as

dialect coach in the Stephen Foster Company in

Bardstown, KY where she also played two principal

roles in the Stephen Foster Story and The Music Man.

She is currently completing her certification in the

Lessac Voice/Movement System and is teaching Lessac

voice/movement in the BFA program at North Dakota

State University.

WESTLINDA DE VRIES (Los Angeles area) coached TheReal Thing at International City Theatre in Long Beachand Marked Tree at the Road Theatre in North Holly-wood. She has been appointed Resident Vocal Coachfor the Road Theatre.KATHLEEN DUNN (Los Angeles, CA) has been busydeveloping her dialect skills by coaching University ofSouthern California’s main stage productions: Prideand Prejudice, Major Barbara, and Bloody Poetry. Thispast summer, she received an honorable mention inBackStage West for her Irish dialect work in The Hos-tage, produced by The Alliance Theatre Company, anddirected by Stephanie Shroyer. Kathleen also co-taught,along with full-time faculty member Lora Zane, an in-tensive four-week acting program for UCI’s SummerPrograms. The program culminated in performancesof Beth Henly’s The L Play, Leonard Melfi’s Taxi Tales,and Moises Kaufman’s The Laramie Project. Currently,Kathleen is teaching voice, speech and acting at USCand serving as Loyola Marymount University’s dialectcoach for Dancing at Lughnasa. She continues to teachprivate workshops in Los Angeles, using her founda-tion of The Lessac Training Method, in which she wascertified October of 1989. She has also been added toUCLA’s teaching faculty in the area of voice and speechfor the film actor. You can see her film work in theleading role of Kathy in Frank Peretti’s Tilly, being airedon local television stations across the United States.JAN GIST (The Old Globe Theatre, San Diego) wasguest voice and text director at Oregon ShakespeareFestival, Dec. 25-Feb. 28, on Coward’s Present Laugh-ter and Edgar’s Mothers Against (1 of 2 new plays he (continues)

Page 5 VASTA Volume 17, No.2

•And Paul Meier’s IDEA has brought suchaccessibility and ease to our dialect lives.T = training, creating graduate degreeprograms, continuing education for the

membership, and educational resourcesfor voice users.•To date there are three US graduate de-gree programs established specifically forthe theatrical voice and speech trainer,when in 1998 there were none — North-western University in Chicago, HarvardUniversity at Cambridge, and VirginiaCommonwealth University in Richmond.They offer MA, MFA, and an MFA in Peda-gogy degrees respectively. Thank youLinda Gates, Nancy Houfek, and JanetRodgers for making these programs avail-able. Your degree programs have helpedto legitimize our profession in the academicworld.And many of our VASTA memberscontinue to offer workshops and intensivesall over the country for our extendedknowledge and skill.•Our on-line Bibliography will soon be amajor, ever-expanding resource.•And thanks to Mandy Rees, VASTA hasan active Mentoring Program, now man-aged by Ginny Kopf.

And all this has come to pass in onlythe last five years! Which means that, though many of theseprojects are on-going, VASTA has completed itscharge almost two years ahead of schedule! As aresult, we are ready for our next (second) formalRetreat Planning Session. This, quite frankly, is amazing to me; and hasall occurred through the hard and persistent workof many, many dedicated VASTA members. Soplease forgive that I have not mention everyone’sname above. You know who you are, and howimportant your work is to this organization. Sim-ply know that, thanks to the addition of your pieceof the puzzle, VASTA is ready to move forward,yet again, into a new and exciting planning stage,as it schedules its next retreat for the Fall of 2004.

Members — I could go on and on with addi-tional accomplishments and works-in- progress.What are mentioned above are but isolated high-lights. Instead, I’ll save some for. . . next time! As a long-time servant of VASTA, I am bothgrateful and excited. THANK YOU ALL. Stayed tuned . . ! Your President,

Kate Ufema

(continued from page 3)

Call for ATHE 2004

workshop proposals:

Before ATHE 2003 was history we were

making plans for ATHE 2004 to be held in

Toronto, July 29-August 1, 2004, at the

Sheraton Centre Toronto Hotel. The con-

ference theme is “Inspiring Theatre: Net-

working Our Global-Local Resources”. The

VASTA Board wants to encourage an

“Emerging Scholars and Practitioners”

panel/workshop highlighting the work of

newer members of our profession and first

time ATHE presenters. Lisa Wilson has

consented to chair this debut panel so if you

would like to present, contact her at

<lisawilson@utulsa.edu>. Both junior and

senior VASTA members are encouraged to

submit workshop proposals. Application

forms are available online through

ATHE.org. If you have any questions or an

idea you would like to propose, contact the

new ATHE conference planner for VASTA:

Eva Breneman at

bodyvoice@sbcglobal.net.

JANET B. RODGERS (Virginia Commonwealth Uni-versity) Her review of Patsy Rodenburg’s The ActorSpeaks and Speaking Shakespeare appears in the Sept.‘03 American Theatre. She is currently dialect coach-ing, along with Amanda Durst who is a first year stu-dent in the graduate Voice and Speech pedagogy pro-gram at Virginia Commonwealth University, a TheatreVCU production of Our Town. In the spring she willbe directing Caryl Churchill’s Mad Forest that willfeature Romanian students from Lucia Blaga Univer-sity, along with theatre students from Virginia Com-monwealth University. In May and June she will betaking 20 students on the third European Voice Trip,traveling to Belgrade in the former Yugoslavia to workfor a week with the DAH Theatre, then to Sibiu, Ro-mania to attend the Sibiu International Theatre Festi-val and then to Kinnersley Castle in England wherethey will work on “Archetypes and the Voice” withFrankie Armstrong.ERICA TOBOLSKI (University of South Carolina)taught a three-week workshop in Voice, Movement andActing at the University of Florida along with YanciBukovec, and fellow VASTA members Diane Gaaryand Carol Pendergrast in April/May. At ATHE she pre-sented “Finding Dionysus,” a workshop on perform-ing Greek speeches, with colleagues Sarah Barker andDavid Wiles, and was a panelist on “Making the Blue-prints Real,” on auditioning for U/RTA. Last springshe co-presented two workshops at SETC: “CharacterVoice” with Joy Pace and “Crash Course in Voice-Over’s” with Paul Scheirhorn. For Theatre USC, shecoached Tartuffe, Rhinoceros and The Crucible. Shevoiced numerous employment and real estate programsfor cable TV, recorded radio and TV commercials andappeared on-camera in a training film for the SouthCarolina Bar Association. Her article, “Coaching theTelevision Journalist,” is found in the Film, Broadcast& e-Media Coaching edition of The Voice and SpeechReview. Erica is pleased to serve as the new AssociateNewsletter Editor for VASTA.ELIZABETH WILEY (College of William and Mary)performed in the Virginia premier of Michael Frayn’sCopenhagen in July/August 2003; latest project for Liz:she and her husband, actor/musician David Doersch,have formed Wiley Coyote Productions, a companydedicated to mounting works of “classic stature.” Theirpremier production, Les Liaisons Dangereuses, willplay in Williamsburg in September 2003.

SOUTHERNSCOTT BURRELL was recently promoted to the rankof Associate Professor of Theatre at Northwestern StateUniversity in Natchitoches, La. He also now assumesthe title of Associate Artistic and Managing Directorof Northwestern Theatre.PATRICIA HELSEL is currently directing a produc-tion of One Flew Over the Cuckoo’s Nest for the Loui-siana School for Math, Science, and the Arts. Recentlyshe began working with Northwestern State Univer-sity, in Nachitoches, LA, teaching Public Speaking.ALLISON HETZEL completed her MFA in TheatrePedagogy at Virginia Commonwealth University thispast May and spent a small portion of her summerteaching Creative Drama at the First Stage Children’sTheatre Academy in Milwaukee, WI. Recently, Allisonjoined the University of Louisiana at Lafayette as As-sistant Professor of Theatre, where she is currently co-directing (with Neil Vanderpool) and vocal coachingBirds Meets Godot. Allison is very grateful to havethe opportunity to put her pedagogy training into prac-tice.JIM JOHNSON played Polixenes in The Winter’s Taleand Don Pedro in Much Ado About Nothing for thissummer’s Houston Shakespeare Festival. In addition,he coached Stones in His Pockets at the Alley Theatre,where he also consulted for The Foreigner and Mouse-trap. This fall he is coaching Sherlock Holmes for theAlley. For Unity Theatre in Brenham, Jim coachedOliver this summer. (His wife, Carolyn, played Nancy.)At Unity, he is currently coaching Molly Sweeney andDancing at Lughnasa, in which he is also performingas Gerry, with Carolyn playing Maggie.KEVIN OTOS is directing Cherry Orchard this se-mester at Oklahoma State University where he wasrecently promoted to Head of Acting.

EAST CENTRALCLAUDIA ANDERSON (Associate Professor in theTheatre School at DePaul University) received tenureat DePaul in Spring 2003. Directed Book of Days byLanford Wilson for DePaul. Coached dialects for Race,produced by Lookingglass Theatre, written by JoyGregory from Studs Terkel’s work, directed by DavidSchwimmer. Fall 2003, coached dialects for TimelineTheatre’s Lion in Winter and Raven Theatre’s SocialSecurity. Performed at Davenport’s cabaret venue inJune. (continues next page)

Page 20 VASTA Volume 17, No.2

Page 6 VASTA Volume 17, No. 2

VASTABOARD� MEETING� MINUTES

Marymount ManhattanAugust 3rd,� 4th� and� 7th ,� 2003

Present� at� the� meeting� were� Eric� Armstrong�(EA),� JudyLee Vivier (JLV), Rocco� Dal� Vera�(RDV), Kate� Ufema� (KU), Lisa� Wilson� (LW),Kate� DeVore� (KD), Phil� Thompson� (PT), Ginny�Kopf� (GK),� Dorothy� Runk� Mennen� (DRM),Craig� Ferre� (CF), Kate� Burke� (KB),� Marlene�Johnson� (MJ),� Lise Olsen (LO), Christine Mor-ris (CM) and Rena Cook (RC)

EA MOVED THE APPROVAL OF THE MIN-UTES OF THE OCTOBER 18, 2002 MEETING.LW SECONDED. THE MOTION PASSEDUNANIMOUSLY

LW reported on ATHE� focus group meetingsGK reported on VASTA’s mentorship program. Wecurrently have more potential mentors than re-quests for mentorship.KB reported on VASTA’s new undertaking to con-tact chairs of committees searching for voice teach-ers. Since the plan’s inception she has sent 19 suchletters.JLV reported on the conference currently under-way and on initial plans for our “diversity” con-ference in Philadelphia in June of 2004.LO reported on plans for a UK conference in ’05.�She is exploring the possibility of� holding the con-ference in Scotland, making it possible to com-bine the conference with a visit to the EdinburghFringe Festival.MJ gave a report on the development of a surveyof VASTA membership.We discussed suggestions made by Lucille Rubinfor improving the way information is organized inthe Professional Index. The changes are now re-flected on the� Professional Index application format Vasta.orgRC reported on VASTA sponsored� workshops atATHE.�

CM reported on the Newsletter. Erica Tobolski hasagreed to take over as Associate Editor of the News-letter.RDV reported on the Voice and Speech Review.He has renegotiated our distribution contract withApplause. Mandy Rees will be the new Editor ofthe journal and Julia Guichard will continue asProduction Editor.We discussed waiving conference fees for assis-tant conference planners.

EA MOVED THAT� VASTA WAIVE CONFER-ENCE FEES FOR THE CONFERENCE PLAN-NER, ASSISTANT CONFERENCE PLANNERAND ON SITE CONFERENCE ASSISTANT,AND THAT THIS BE APPLIED RETROAC-TIVELY TO THE 2003 CONFERENCE.DRM SECONDEDTHE MOTION PASSED UNANIMOUSLY

CF gave an interim budget report.�KU reported on discussions with Mary Irwin re-garding the Clyde Vinson Memorial ScholarshipFund. The plan is to absorb this fund into a largerVASTA Scholarship fund which is currently indevelopment.KU reported that Phil Timberlake and MichaEspinosa have been appointed as Grants Officers.KU reminded us that our last organizational re-treat in 1999 laid out a five year plan. Havinglargely accomplished those goals, it’s time to startorganizing the next retreat. After considerable dis-cussion

EA MOVED THAT OUR NEXT VASTA VI-SIONS PLANNING SESSION TAKE PLACE INTHE FALL OF 2004.KD SECONDEDTHE MOTION PASSED WITH 6 IN FAVORAND 1 OPPOSEDThe Fall Board meeting will take place in IrvineCalifornia on November 7,8 and 9EA MOVED ADJOURNMENTLW SECONDEDTHE MOTION PASSED UNANIMOUSLY

for Seven Brothers earlier in the season. Jack has justcompleted an article for publication on the topic ofperformance anxiety entitled: “Free Your Voice andSpeak Up: Say Goodbye to Stage Fright.” His Louis-ville studio, Presenter’s Studio, has just been movedto a new location (4113 B & D Oechsli Ave.) wherethere will now be waiting room and study space forstudents. The mission of the business is to teach Pro-fessional-Cultural Voice/Presentation Development forArts, Business, Clergy, Education, and the Media. Jackwrites, “I hope that VASTA will play an important roleand be a positive influence by taking a real ongoingproactive interest in all membership frontline voiceoperations. VASTA in yet another venue (non-institu-tional) could become a home base for much new cre-ativity and innovation out beyond the ivy walls.”MARY IRWIN (North Carolina School of the Arts)was awarded her Linklater Designation, along with 15wonderful colleagues, at the end of an exhilarating andchallenging final five-week workshop in June. She isbeginning her third year as Head of Voice and Speechat the NCSA School of Drama, and she coached TheMerchant of Venice for the NC Shakespeare Festivalthis summer.MARLENE JOHNSON (Georgia College) recentlydirected Taming of the Shrew and An Evening of Pinterat Georgia College and will direct The Illusion in Feb-ruary. She spent 5 weeks at the Canadian Voice Inten-sive in Vancouver this summer and a week in Torontoin March working with David Smukler. Recent vocalcoaching credits include Keith Reddin’s new play,Frame 312 and A Christmas Carol for the AllianceTheatre in Atlanta and Angels In America and The Ri-vals for Florida State University. She taught a work-shop at SETC in Arlington, VA in March “Archetypesand the Voice” with Janet Rodgers, Mia Self, andMichelle Cuomo and participated in a panel discus-sion “Voice Across the Curriculum” at the SouthernSpeech Association’s conference in Birmingham, ALin April.ADAM MCLEAN is a new grad student at VirginiaCommonwealth University studying with JanetRodgers. He has done lots of fight work with the So-ciety of American Fight Directors and is now lookingforward to all that VASTA has to offer.CHRISTINE MORRIS (Duke University) coachedLove’s Labor’s Lost at Duke, and is preparing to gointo rehearsal for Silver River, a new one-woman playby Romulus Linney, which will be produced by

Manbites Dog Theater in Durham, NC in February andby Profile Theatre Project in Portland, OR next spring.ANTONIO OCAMPO-GUZMAN (Florida StateUniversity) has joined the faculty at Florida StateUniversity’s School of Theatre in Tallahassee aftercompleting an MFA in Directing and Graduate Diplomain Voice Teaching at York University, Toronto. A des-ignated Linklater teacher, Antonio is joining forces withcolleague Debra Hale and restructuring the voice cur-riculum at FSU. He continues to explore the connec-tions between voice and spirituality, and the experi-ence of bilingual artists creating in their second/thirdlanguage. Most recently, Antonio taught at Shakespeare& Company’s June Intensive Workshop.CAROL PENDERGRAST (Univ. of North Carolinaat Wilmington) was one of a four-person faculty (whichincluded VASTA members Diane Gaary and EricaTobolski) that taught a 3-week voice and movementworkshop in May for graduate students at the Univer-sity of Florida in Gainesville. The university hopes tooffer a similar workshop again next May, hopefullywith the same faculty, and to open it to qualified stu-dents from any university. Carol also attended theVASTA conference in New York, on her way homefrom visiting VASTA’S first conference presenter, Ci-cely Berry, in England (be sure to get Cicely’s latestbook, The Text In Action) and from attending the Uni-versity of Oslo in Norway, where she took an inten-sive course in Norwegian and visited dozens of hermother’s relatives there. She is now giving presenta-tions on her summer experiences in Norway and thebeginnings of a one-person show on Norwegian womento various Scandinavian clubs. Any VASTA memberswho may be in southwest Florida in December arewelcome to attend her presentation to the Sons of Nor-way meeting in Port Charlotte, Florida, Dec. 21. (Hercorrect address is PO Box 20006, UNCW Station,Wilmington, NC 28407 and e-mail is<pendergrastc@yahoo.com>BONNIE RAPHAEL (University of North Carolina-Chapel Hill) is now back at UNC-Chapel Hill after hervery first and very wonderful sabbatical leave last se-mester, during which she was able to both travel inNew Zealand (spectacular!) and work at the GuthrieTheater in Minneapolis for three months, coaching JoeDowling’s production of Three Sisters and CaseyStangl’s production of Top Girls. She is currently pre-paring to voice coach A Prayer for Owen Meany,Hobson’s Choice and King Lear for PlayMakers Rep-ertory Theater. (contineus on next page)

Page 19 VASTA Volume 17, No.2

Page 7 VASTA Volume 17, No. 2

Not listed in the Professional

Index? Entry out of date? You

may be making yourself hard to

find -- missing valuable profes-

sional opportunities!

Go to:

http://www.vasta.org/dir/

updateframe.html

VASTA Conference 2003 New York, NY

by Phil TimberlakeOver 100 participants slogged through rain

and thunderstorms to attend the 2003 VASTA con-ference, “Voice and Ritual: Beyond the SpokenWord,” at Manhattan Marymount College. In ad-dition to the workshop sessions, the big city set-ting and scheduled time off allowed for theatre-going, visiting Central Park, and people-watching(there was one confirmed sighting of Kofi Annanbuying running shoes on 3rd Avenue).

Each of the three conference presentersoffered workshops that went “beyond” spoken text.Richard Armstrong’s work explored the height anddepth of embodied voice (plus a unique use of or-anges). Wendy DeLeo LeBorgne brought her workas a voice pathologist and musical theater per-former to a presentation of the crossover betweensinging-voice training and actor-voice training. InMarya Lowry’s workshops, participants exploredthe physical and vocal impulses that can lead toritual lamentation – grief, protest, exhortation.

Optional sessions included a “Burning Is-sues” breakout discussion session, a Research andPublication panel that offered mentoring and feed-back for articles for The Voice and Speech Review,and a participatory taste of Ubuntu singing withMarth Munro and Judylee Vivier. Other highlights?VASTA’s latest serialized monograph “Film,Broadcast & e-Media Coaching” was unveiled.Conference attendees contributed $350 to theClyde Vinson Memorial Scholarship fund in theannual IDEA dialect CD raffle (thank you PaulMeier). We saw a preview of a new video featur-ing Cicely Berry. And two important announce-ments: the 2004 conference will piggyback theVoice Foundation’s June conference in Philadel-phia, and in 2005 we will be hitting the Royal Scot-tish Academy in Glasgow.

Many thanks to Director of ConferencesJudylee Vivier and her Assistant Directors MarkEnright, Carol Greski, and our host, Barbara

Adrian of Marymount Manhattan College. Phila-delphia, here we come.

VASTAVOXVASTAVOX is a web-based email

discussion list administered under the aus-

pices of VASTA by Dudley Knight at

UCIrvine to promote discussion of voice,

speech, dialect, and text issues.

VASTAVOX currently serves more than

three hundred subscribers around the

world. Anyone may subscribe to this list,

but only subscribers may post messages.

VASTA members are encouraged to sub-

scribe.

How to Subscribe: On your web

browser, go to https://maillists.uci.edu/

mailman/listinfo/vastavox/ and follow the

instructions. If you have difficulty sub-

scribing, email Dudley Knight at

dknight@uci.edu.

Page 18 VASTA Volume 17, No.2

treasures of Florence made vacation time all the moreenjoyable.KRISTA SCOTT will be co-conducting a mid-Octo-ber Fitzmaurice Voicework two-day intensive withRuth Childs in Ithaca, NY where she is in her thirdyear as an assistant professor and Head of Voice &Speech for the BFA Acting and Musical Theatre Pro-grams at Ithaca College. She is currently directing theIC production of The Waiting Room by Lisa Loomer.In the past year she directed The Laramie Project andcoached dialects for The Importance of Being Earnestat Ithaca College. She also performed in The ChalkCircle at the Hangar Theatre and Swimming in the Shal-lows at the Kitchen Theatre. She served as the voiceand dialogue coach for Hamlet at Cornell Universitylast spring, and dialect coach for Hangar Theatre’s MyFair Lady last summer. Her next project will be coach-ing text and dialects for the Ithaca College Novemberproduction of Pericles.CHRISTINA KEEFE this past summer assistant di-rected and vocal coached Love’s Labour’s Lost for thePennsylvania Shakespeare Festival, and was also vo-cal coach at PSF for their production of The Impor-tance of Being Earnest. This fall she will teach actingfor DeSales and Lehigh universities, and will alsocoach actors to teach acting and voice workshops tomiddle and high school students for PennsylvaniaShakespeare’s WillPower tour of A Midsummer Night’sDream.JUDYLEE VIVIER (Brooklyn College, NYC) con-tinues to direct the MFA acting program at BrooklynCollege where she teaches voice and acting to the MFAand BFA actors. She spent the spring vocal coachingThe Laramie Project, Blood Wedding, Philoctetes, andTwo Rooms; directing the graduating actors profes-sional showcase for industry; auditioning/interview-ing MFA actors for her program; and finalizing theorganization and planning of the New York VASTAConference, which ran smoothly and was well received.She expresses thanks to assistants Barbara Adrian,Mark Enright, and Carol Greski, and to the very gen-erous presenters. The Fall promises to be exception-ally busy as she prepares for the VASTA 2004 Confer-ence in Philadelphia, vocal coaches She Stoops ToConquer, rehearses the role of Delia in Bedroom Farcebeginning in October, and does final editing of her soloperformance script for workshop performances at the78th St Theatre Lab in NYC in the spring.

SOUTHEASTMICHAEL J. BARNES (University of Miami) spentthe summer at the Utah Shakespearean Festival. Whilethere, he coached Born Yesterday, 1776, and Servantof Two Masters. He also recorded voices for his sec-ond SpongeBob Squarepants CD-ROM.CYNTHIA BARRETT (University of North Carolina-Greensboro) is on a leave of absence from her positionat UNCG to focus on freelance acting and coachingprojects. She is setting up shop in Atlanta, auditioningall over the place and will be coaching Translations atKennesaw State. Since the last newsletter she coachedShakespeare’s R & J at Atlanta’s Alliance Theatre,Company and Marisol at UNCG, taught in theFitzmaurice Certification program in NYC and wasmarried to actor Allan Edwards on July 4, 2003.KATE BURKE (University of Virginia) has begun astudy of coaching practices with a trip to the OregonShakespeare Festival; coached The House of BernardaAlba and The Way of the World (directed by SabinEpstein); gave voice workshops for the Univ. of VirginiaFaculty Development Center and the Virginia Associa-tion of Independent Schools. During the Fall semester,she is hosting visiting scholar Sook Hee Kim of SungKyun Kwan University in Seoul. Prof. Kim is a voiceteacher, director, President of the Korea Children’s Cul-ture and Arts Center, and a board member of the KoreanAssociation for Education and Theatre.BRIDGET CONNORS (Florida Atlantic University)is beginning her 6th year at Florida Atlantic Univer-sity. She recently received her Certification as a Des-ignated Linklater Voice Teacher.RICHARD GANG (Elon University) played Roosterin Annie at the Carolina Theatre in Greensboro, is cur-rently shooting an independent film Lost as the princi-pal bad guy, and is directing Jekyll and Hyde the musi-cal for Livestock Musical Theatre in Greensboro.DAYDRIE HAGUE (Auburn University) playedHecuba last spring, and is currently directing The Mem-ber of the Wedding. This summer she taught an on-camera studio class for SEC football players and hasrecently launched a pilot project that brings actors intothe public schools to perform heightened poetic textsand help students create and perform their own work.JACK HORTON (Presenter’s Studio) recentlycoached a Bronx accent for a Derby Dinner Theatre ofSouthern Indiana production of Singing In The Rain.His student received outstanding reviews for that pro-duction as well as for her leading role in Seven Brides

(continued next page)

Page 8 VASTA Volume 17, No.2

News from The Voice andSpeech Reviewby Mandy Rees

Attendees at the New York ATHE andVASTA conferences were treated to the un-veiling of the latest volume of the Voice andSpeech Review. Editor Rocco Dal Vera de-livered boxes filled with impressive copies ofFilm, Broadcast & e-Media Coaching, thethird issue of the journal. If you were notpresent in New York and your membershipwas active as of August 14th of this year, youshould have received your issue in the mail.If not, please contact Julia Guichard at <guichajm@muohio.edu > to collect your copy. Work has already begun on the fourth is-sue scheduled to be published in August of2005 and we are currently looking for inter-ested writers. Articles are due a year from now(September 30, 2004). The featured topic willbe “Shakespeare around the Globe” and willinclude a careful look at how text and vocalchallenges of Shakespeare are handled in avariety of locations. As always, the issue willalso include many articles on areas of voiceand speech other than that of the cover topic.The theme of the fifth issue, due in 2007, willfocus on “Voice and Gender.” If you are considering submitting an ar-ticle to the journal, identify which departmentyou would like to write for and contact theappropriate Associate Editor, or if in doubt,contact the Editor-in-Chief. Several importantstaff changes have been made which are im-portant to note. After serving as founder ofthe journal and producing the first three is-sues, Rocco Dal Vera has stepped down asEditor-in-Chief and has handed the baton overto me. Speaking for all the journal staff, wewould like to thank Rocco for his leadershipand the significant contributions he has madeto VASTA and to the advancement of the voiceand speech profession. We are excited to an-nounce three new Associate Editors as well.

Karen Ryker is handling Reviews and Sources nowthat I have left that position; Phil Thompson willoversee Pronunciation, Phonetics, Dialect/AccentStudies; and Wendy LeBorgne will be heading upthe Singing Department. Many thanks are due toLouis Colaianni and Dorothy Mennen for their yearsof service with the journal. Over the next few months, we hope to post jour-nal submission guidelines that will be accessiblethrough the VASTA web page. Included will beMarth Munro’s lecture on developing a researcharticle which she presented at the VASTA confer-ence this summer. We hope you will find these newfeatures useful.

VASTAVOX ARCHIVESBy Eric Armstrong

Director, Technology andInternet Services

To access the Vastavox Archives: go to:http://listserv.cwis.uci.edu/archives/vastavox/past_archives/ and systemati-cally choose dates for archives (they’reroughly monthly). Once in an archive,you use the “Find . . .” command inyour browser (command F on a mac),and search by title or person.

VASTA Workshopwith Jo Estill inPhoenix, ArizonaJanuary 4-8, 2004

Page 17 VASTA Volume 17, No.2

Visit www.vasta.org, the VASTAWebsite. The site is laid out in thefollowing areas: News, Membership,Professional Index, Resources, Publi-cations, Voice & Speech Review,Newsletter, VASTAVOX and Store.

Recent additions to the site include:

• information on the VASTAConference to be held in Phila-delphia in �June 2004

• an application for the Jo Estillworkshop to be held in Arizonain January 2004

• updated information for reachingVASTA’s Medical Advisor,Yolanda Heman-Ackah, M.D.

• links to VASTA’s Promotion,Tenure and Hiring Guidelines

and much more...

All links are accessible from http://www.vasta.org/

Submitted by Eric Armstrong,VASTA Director of Technology/Internet Services

SUSAN WILDER will be guest teaching and voice and textcoaching Much Ado About Nothing at Academy RepertoryTheatre, Gloucester County Institute of Technology in NewJersey this fall. She has been nominated for a BarrymoreAward for Best Supporting Actress in The Magic Firelast season at the Wilma Theater in Philadelphia.KATE WILSON (Juilliard) recently voice coached ThePersians for the National Actors Theatre, Rain Dancefor the Signature Theater, and Henry V for The PublicTheater/Shakespeare in the Park. This summer shetaught voice, speech and text at the Public Theater’sShakespeare Lab and attended the VASTA conference.She is currently coaching The Last Days of Don Juan atJuilliard.PAMELA PRATHER (Yale School of Drama) taughta workshop with Catherine Fitzmaurice, Dudley Knight,Phil Thompson and Beth McGuire in New York City—“Fitzmaurice Voicework, Dudley Knight Speechworkand Kinesphonetics.” She dialect coached FightingWords directed by Liz Diamond and Psychic Lives ofSavages directed by James Bundy at the Yale Rep. Hersolo performance piece, MultiMedea, was seen at theWomen of Color Festival, HERE American LivingRoom, and Six Figures Theatre Company Artists ofTomorrow Festival in New York City.LUCILLE SCHUTMAAT RUBIN, Ph.D. Coachingclients in her private practice, Professionally Speaking,continues to be exciting. Her diverse list of clients in-cludes: a 9-year-old girl, a ballroom dance instructor, alecturer and judge, a singer with a new album, a PBSemployee, a colleague, a CEO, a financier, students, astage actor, a UN staffer, and a “Mrs. International”contestant. She also enjoyed conducting a June work-shop for the Care of the Professional Voice Symposium,attending the gala honoring Tony Randall, contributingto the Voice Foundation website, and seeing friends atthe August VASTA conference. Film appearances byclients include The Secret Lives of Dentists, AmericanSplendor and Washington Heights. Her clients wereseen on TV on BET, CNN and PBS; off and on Broad-way they appeared in Gypsy, Golda’s Balcony andDublin Carol. In September she returns to Circle in theSquare Theater School teaching stage voice to both theactors and the musical theater students.SUSAN BLUMERT continues teaching Voice andSpeech Improvement for the Speech Communicationsmajors at Montclair State University. She also doesvoice and dialect coaching for MSU’s theatre depart-ment. This summer included a yearly return to Londonto catch up with UK PGVS pals and all the wonderfultheatre and accents. A side excursion to delight in the (continues)

Page 9 VASTA Volume 17, No. 2

Burning Issues

As in years past, the New York conference includ-ing time devoted to discussion groups focused on“Burning Issues” shared by members of our pro-fession. The following are summaries of three ofthose discussions.

Integration of Voice & MovementSeveral practical suggestions were made to facili-tate the integration of voice/movement/acting forstudents:

Master Class - regular group workshops through-out the semester involving teachers from all disci-plines. These could be used to work on differentelements of production, or on scenes.Classroom situation - sharing of exercises betweenthe disciplines.Monologue work - same monologue with each ofthe three teachers.Greek Chorus - a regular timetabled class on (forexample) Greek Chorus which would be led by ateacher from a different discipline each week.

Team teaching is rarely a practical solution, be-cause of the restrictions of university structures.However, it is possible where the instructors havestrong experience in all areas.

There was a strongly perceived need to encouragemovement teachers to develop a higher understand-ing of the voice. It was considered that voice teach-ers are more likely to undertake movement train-ing than the other way around.

It was suggested that a healthy approach would beto reinforce throughout all the teaching staff in adepartment:•that all are actually working on the same thing.•that the source of all three disciplines is Breath.•that a shared vocabulary is possible and desirable.

The possibility was raised that the underlyingBurning Issue for this, and potentially all the vari-

ous focus groups, was the need to raise the Profileof Voice, not just within university departments andcolleges, but throughout society. When the soundsthat we make are considered worthy of the samerespect as the words we use, the interpretation wegive them and the image we create while doing so,the case for making time to integrate voice withmovement and acting skills may receive a decenthearing.

Heightened TextCan Heightened Text be Trained and HonestyMaintained?

The concern is that voice training is sometimesviewed as detrimental to talent and spontaneity.There is perhaps some validity to this claim as manytrained actors do the work they are trained to do,but are not acting. Can we train and still maintainauthenticity? How do you encourage actors tomake interesting compelling choices? This problem takes several forms: being heardwhen intimate, being truthful in heightened mo-ments. In addition there is a perceived split be-tween film acting and stage acting, one is real, oneis not. Directors often like to work intimately andthe move from rehearsal to performance space canbe harrowing. Possible strategies were offered based on thefollowing philosophic points:•Physical and vocal training, as the foundation, ex-pand the option for expressing the truth. We astrainers must foster a trust in the full arch of growth.•There is a huge spectrum of styles beyond real-ism. Heightened moments require energized,grounded stillness; both actors and directors oftenfail to trust this. We should rather celebrate thepower of language as it can help us solve the prob-lem. Rhetoric and text work empowers the actor. Part of this problem is systemic. We (speakinghere of actors, though true for all) work too hardto find the “right answer.” True impulses areblocked or suppressed. In addition, the love oftext is not introduced early enough in our educa-tional sequence.

(continued next page)

Page 16 VASTA Volume 17, No.2

ADVERTISINGSEE: www.vasta.org/newsletter.html#ads

The VASTA newsletter is pub-lished twice a year, with submission dead-lines of September 15 and February 15.

Ads are $75 for 1/4 page; $125for 1/2 page; and $250 for a full page.The upper half of the back page is pricedat $150. Please remit in US dollars.

The printable area of the pagemeasures 9.5 inches tall and 6.75 incheswide and articles are printed in a two-col-umn format. The inside pages, where adsare printed, are black and white. As longas your ad is consistent with this layoutyou may choose your own orientation andrequest where on the page you would likeit placed. Camera-ready copy or a digitalfile in one of the commonly used formatsshould be sent with your check to:Christine Morris

Duke University

Department of Theater Studies

Box 90680

Durham, NC 27708

email: cmorris@duke.edu

fax: 1+ (919)684-8906

phone: 1+ (919)660-3348

Offshore advertisers may remit online by

credit card at the newsletter section of the

VASTA website.

PETER JACK TKATCH (University of Vermont) whocontinues to teach acting, voice, and Shakespeare scene studyrecently directed and dialect coached Dancing at Lughnasaand vocal coached The Crucible. This fall he will be direct-ing and vocal coaching Metamorphoses at UVM’s RoyallTyler Theatre.

MID-ATLANTICNANCY KREBS served as Associate Director of the 2003Lessac Summer Intensive, held at Mercersburg Academy inMercersburg, PA in June and July. In August she presenteda workshop with Laurie Mufson at the ATHE conference inNYC: “The Development and Protection of the AdolescentVoice Using the Lessac Approach.” She will be serving asdialect coach for the Olney Theatre Center’s production ofCharlie’s Aunt and Everyman Theatre’s production of RedHerring through the end of October. Still teaching at theBaltimore School for the Arts, she will also be the vocalcoach for the fall production of Fog People, a collection ofscenes from the works of Eugene O’Neill, as well as teach-ing privately in her studio, the Voiceworks.BARBARA ADRIAN was promoted to Associate Profes-sor and tenured at Marymount Manhattan College this pastspring. Her book chapter “An Introduction to Laban Move-ment Analysis for Actors: A Historical, Theoretical, and Prac-tical Perspective” was published in Movement for Actors,edited by Nicole Potter, Allworth Press, 2002. The book isavailable at Barnes and Noble. This summer she was thevoice/speech coach for the New York Classical Theatre onMuch Ado about Nothing, and Marivaux’s Triumph of Love.ELIZABETH VAN DEN BERG (Assistant Professor, The-atre Arts, McDaniel College) finished up a run of Follies play-ing Solange at Signature Theatre in Arlington, VA back in June.Summer was spent researching dialects of Voice and Acting inthe Department of Theatre at the University of Maryland, Col-lege Park. She was voice and text coach for Much Ado AboutNothing at Shakespeare & Company in Lenox, MA this sum-mer and worked with People’s Light & Theatre company mem-bers involved with the world premiere of Midon’s.JANET MADELLE FEINDEL (Associate Professor,Carnegie Mellon University, School of Drama) has com-pleted her Alexander Teacher Training through the AlexanderAlliance and has been approved for membership intoAlexander Technique International. She presented a work-shop entitled “Moving Text” at the Care of the ProfessionalVoice Symposium held in June in Philadelphia. She wasvoice/text and Alexander coach for Macbeth at Starlight The-atre in Pittsburgh and is currently coaching Measure forMeasure, directed by Martha Henry, at the CMU.DAVID MCDONALD voice and dialect coached twoshows, Pirates of Penzance and Cabaret, at Wagner Col-lege during the fall semester. He also directed The IndianWants the Bronx by Israel Horovitz.

(continued next page, col. 2)

VASTA Reinstatement Fee If membership dues are delinquent less than 6

months, you will be renewed from your mem-

bership anniversary date and your member-

ship will not be cancelled. If you are more

than 6 months late you will be charged a

reinstatement fee of $20, and the receipt of the

dues and latefee will mark a new membership

anniversary.

Page 10 VASTA Volume 17, No. 2

VASTA

STATEMENT OF PRINCIPLES

The Voice And Speech Trainers Associa-

tion, Inc.

Expects the following of its members:

1. Offer instruction, advice, and guidance

based on their ongoing pursuit of the best

information, thought, and practices avail-

able in their respective specialization.

2. Acknowledge teachers and colleagues

who have contributed to their work.

3. Present accurately the nature and dura

tion of their training and experience.

4. Respect the right of colleagues to advo-

cate approaches with which they may not

agree and allow students freedom to

choose practices which may best meet

their needs.

5. Take responsibility for the emotional cli-

mate in their classrooms, fostering an at-

mosphere conducive to their students’ op-

timal growth.

6. Refer a student to a specialist (physician,

psychologist, speech pathologist, singing

teacher, voice and/or speech teacher, body

alignment expert, etc.) whenever the need

arises.

7. Maintain confidentiality regarding their

students, except in cases where doing so

could be detrimental.

8. Give students ongoing, objective assess-

ments, as well as informed opinions of

their abilities and progress.

9. Acknowledge the primacy of the director

in matters of interpretation and address-

ing any questions or differences with the

director in private.

10. Dedicate their teaching and practice to

enhancing the art of communication, nur-

turing individual creativity in all its dif-

ferences, developing empathetic abilities

as an essential component of voice teach-

ing and going beyond facile standards of

right and wrong, correct and incorrect in

assessing the human voice.

We need to think of ourselves as encouragers;when actors don’t feel judged, truth is released.We need to give them permission to explore,even fail, in both training and rehearsing. Oftenwe act as mediators, soothing and reassuringdirectors. Techniques for working with actors to find abalance between heightened work and truth:• Encourage actors to go way over the top, onecoach calls this the “Bad Acting Exercise.”Through the release of going too far, they find anugget of truth.• “Showings.” Each student is given five min-utes to explore, in their own words, any subjectthat they are impassioned about. Then they arechallenged to find a piece of classic text thatdeals with the same issue.• Monologue performed three completelydifferent ways.• Rehearsed improvisation from the character’spoint of view. The improv must include somesong, dance, chant, extended physicality. Fromthe improv they move onto the text.• Lamenting or wailing, then on to text.• In preparation for Greek drama, students makehalf-masks of their own design out of halvedpaper plates. They are put in groups of 4 andasked to create a Greek chorus using choreogra-phy, repetition, levels, sounds etc. They go outon the lawn to perform, encouraged to explore“how big and how far.”• Physical speed through.• “Clap & freeze.” Actors begin the scene, on aclap from the coach they freeze, hold and enrichthe moment until they hear another clap whichreleases them to go on.• “Exchanging Valentines.” To encourage actorsto share their thoughts, feelings, and observationsabout the work, they are asked to write feedbackabout a scene on a sheet of paper. Each actor re-ceives all the written feedback on his/her perfor-mance.

Fee StructuresPRIVATE PRACTICE AND FEES

(continued next page)

(Burning Issues, continued)

Page 15 VASTA Volume 17, No. 2

teaching Movement and Directing at Wheaton College,Norton, MA. And in December she is having a baby.ROBERT DAVIS was recently promoted to full pro-fessor with tenure at the Hartt School Theatre Divisionat the University of Hartford where he is now in histhird year of teaching. He is also on the faculty of theNational Theater Institute at the Eugene O’Neill The-ater Center and continues to teach regularly forShakespeare & Company in Lenox, MA. This past sum-mer he was co-director of the Shakespeare and the RosePlayhouse Institute for the National Endowment for theHumanities held at Smith College. In the fall he wasvoice and dialect coach at Yale Rep for the Americanpremiere of The Black Dahlia, an adaptation by MikeAlfreds of the James Ellroy novel.PATRICIA HAWKRIDGE, MFA, is Chair of the The-atre Arts Department at Salve Regina University inNewport, RI. She recently starred in a Columbia Uni-versity film entitled Tone Clusters due to be screenedin New York City this fall. Pat will direct Playing ForTime by Arthur Miller this semester at the university.NANCY HOUFEK coached Pericles (dir. by AndreiSerban), Highway Ulysses (dir. by Robert Woodruff)and Uncle Vanya (dir. by Janos Szasz), Lady with theLap Dog (dir. by Kama Ginkas), Snow in June (dir. byChen Shi-Zheng), and Midsummer Night’s Dream (dir.by Martha Clarke) for the American Repertory The-atre at Harvard University. She also worked on severalshows for the Institute for Advanced Theatre Training.She is most proud to announce that recent graduates ofthe MFA program specializing in vocal training havefound positions for the 2003 academic year: PatriciaDelorey at Florida State University/Asolo Theatre andKaren Kopryanski at Indiana University, Bloomington.Nancy continues her presentations and consulting withthe Kennedy School of Government, the Derek BokCenter for Teaching and Learning, and other clients inthe private sector. She also presented a Shakespearetext workshop with Catherine Fitzmaurice hosted byLynn Watson at the University of Maryland.MARYA LOWRY (Brandeis University), in the sum-mer of 2003, taught at the Roy Hart International ArtsCentre in Malerargue, France, an intensive six-dayworkshop entitled, “Body, Voice and Shakespeare”. Itincluded singing/voice lessons with Carol Mendelsohnand Rossignol and Marya’s unique exploratory bodyvoice work withShakespearean text. Her high point was presenting atthe VASTA conference in NYC— what a gift to sharelamentation with the membership! She is preparing to

vocal coach The Winter’s Tale at Brandeis with TinaPacker directing, and will return to the Teachers AsScholars program with her two day workshop,“Shakespeare Alive!: Body, Breath and Text” designedfor high school teachers of Shakespeare and acting.RUTH ROOTBERG graduated from the AlexanderTechnique School of New England and is now certi-fied to teach by the American Society for theAlexander Technique (AmSAT). She presented “TheAlexander Technique: Discovering the Moving Voice”at The Voice Foundation Annual Symposium: Careof the Professional Voice last June in Philadelphia. InAugust she co-led “Towards Teaching an Integrationof Voice in the Classroom” at ATHE. Co-presenterswere Marth Munro and Lesley-Ann Timlick. Ruthcontinues to mentor fellow VASTAN,April Sotura, asteacher/advisor of April’s independent study: “Voice/Body Integration,” through Lesley University. Theyare about to start their third semester. Ruth’s mono-graph, “Teaching Breathing, Results of a Survey,” anin-depth commentary from thirteen voice teachers,continues to receive favorable response. Excerpts andan order form can be found at www.movingvoices.us.KAREN RYKER (University of Connecticut-Storrs)begins her fourth semester at Conn and is currentlycoaching The Crucible for guest director CalvinMcLean and teaching Greek Acting, Greek Voice, andActing Realism. During the past year, along withcoaching UConn productions of Violet and Red Nosesand directing Under Milk Wood, she did a weeklongresidency at University of Alabama in voice andShakespeare and taught voice/acting workshops forSalem State University, Manhattan Class Company,and Worcester Craft Center. Over the summer sheenjoyed a second season at Illinois Shakespeare Fes-tival coaching at King Lear, As You Like It, and Knightof the Burning Pestle (along with Wendy Mortimer).For those of you who haven’t recently checkedwww.vasta.org, the finishing touches have been puton VASTA’s Promotion And Tenure Guidelines packet,and the guidelines are now posted. Check them out—they contain useful material for our members who arebeginning or moving along the tenure path and mate-rials focused for those who hire and evaluate voiceand speech professionals. Use them. Pass them on.Enjoy them! One personal note: her partner,Sarah Jo Burke, is FINALLY getting her book, Don’tThink It Hasn’t Been Fun, published by LimelightEditions. Hooray! Look for it in your local book-store. (Continues on page 16)

Page 11 VASTA Volume 17, No.2

After brainstorming about the areas for discus-sion, the following ideas emerged:

• Fees?• How canVASTA be more support-

ive of non-academic coaches?• Clientele? Marketing?• How to approach producers/actors

of film and TV about dialect, text,line interpretation?

• Voice and Speech Trainersvs Speech Pathologists?

• Credentials vs. experiences?• Focus on actors?• How do we get into the rehearsal

structure?An informal discussion about fees yielded the

following results:One person charges $75 an hour, $60 an hour

for two hours paid in advance, $50 an hour forthree or more hours paid in advance. For pro-duction coaching, $1000 for the production and$750 for four weeks off-off-Broadway. Thistrainer asks for parity with the highest paid de-signer with no limit on her time. She recommendsstaying in touch with the Stage Manager, Produc-tion Manager and Director to see what their needsare.

In LA, one coach charges $350 an hour for pri-vate coaching. Another coach in LA charges $75an hour, but is working towards $100 an hour.

The general consensus was that fees will differwith the area of the county in which you are work-ing and the situations. You need to determine whatthe market will bear.ATHE – ACCREDITATION

• There are guidelines that listed onthe web. ASHA and NETS hascome up with a joint statement thatalso lists training.

• It is the clients job to do thereseach to find a qualified coach

• One other idea was to give the cli-ent an informed consent formwhat says; this is what I do, this iswhat you can expect. It should belike a contract which also has a

cancellation policy. Good to use the word“assessment”.

MARKETING: Recommended: reading private practice sections ofthe first two issues of the VASTA Journal.Some ideas that were shared:

• Make a WEB page, this will become yourbrochure

• Get listed on the VASTA index• Find a Center of Teaching Excellence and

organize a workshop for teaching profes-sional teachers

• Hand out your business cards• Write articles and get them into the paper• Hire a publicist – should run around $500

depending on the area.One final question this group addressed was: How do you get people to value what you doand what value do you put on what you do?This issue came up because one coach had had anactor who felt he didn’t need the coaching, but thedirector felt he did. The coach came up with a won-derful solution for the actor. She said, “You don’thave to believe in this method or process- just actAS IF you do for the duration of our time togetherand see what happens”.

(Rena Cook, Flloyd Kennedy, and Judi Lehrhaupt con-tributed to this report.)

ARTICLES NEEDED

Your new editor, Christine Morris,

needs your articles and ads.

Call or write her at

(919)660-3338

cmorris@duke.edu

Page 14 VASTA Volume 17, No.2

(continued next page)

MEMBER NEWSCANADAERIC ARMSTRONG (York University, Toronto) ispleased to announce his new position at York Univer-sity where he is teaching voice, speech & text to theundergraduate acting students. It’s great to be back inCanada, and at his alma mater York U, from whence hegot his MFA in the Voice Teacher training program. Hespent Spring 2003 directing his adaptation of SeamusHeaney’s Beowulf at Roosevelt University. His article“This is Normal? A Theatre Coach Works in Film” ap-peared in the Film, Broadcast & e-Media Coachingedition of The Voice and Speech Review.JULIA LENARDON (National Theatre School,Montreal) has just returned home to Canada after a two-year assistant professorship of voice/acting at Michi-gan State University. She has now moved to Montreal,Quebec as Voice/Speech Instructor at The National The-atre School of Canada where she will teach voice/speech/dialects to all three levels of conservatory stu-dents and also coach the productions. Special thanks toNancy Houfek’s mentorship during Julia’s three sessionsat Harvard and ART, to Gary Logan at DCTC and toDavid Smukler. Julia spent the entire summer as on-setvoice/acting coach for the TV youth drama seriesStrange Days at Blake Holesy High (Discovery Kids/Fireworks Productions) and will return to the series nextsummer.DAWN McCAUGHERTY (University of Calgary)spent springtime in beautiful Vancouver as faculty atthe Voice Intensive. During the winter term she coacheddialects for Marabou Stork Nightmare (Mob Hit Pro-ductions), directed She Ventures and He Wins at schooland received a grant to purchase equipment and begincollecting dialect samples in both audio and video for-mat. During the summer she moved offices—out of thebasement and into the light!BETTY MOULTON (University of Alberta,Edmonton) continued her investigations into the con-nection between voice and speech training and thesinger’s art with Opera NUOVA’s 2003 summer inten-sive program in Edmonton. She will continue this workwith singers through the year while on sabbatical. Travelalso includes outdoor Shakespeare Festivals (i.e. Or-egon Shakespeare Festival, London’s Globe) to com-pare the playing styles and the vigorous use of language.

She will be creating a new MFA in Voice studies atthe University of Alberta within two years and is vis-iting current programs and speaking to program headsfor inspiration.

INTERNATIONALLINDA CARTWRIGHT (Auckland, New Zealand)has just returned from a stint working as a dialect coachon the final pick-up shoot of The Lord of the Rings.She is now plunged into assisting the second-year stu-dents at of Performing & Screen Arts with their pro-duction, adaptations of six of Edgar Allen Poe’s Talesof Mystery and Imagination.GILLYANNE KAYES (London, England) recentlypresented a workshop on “Belting, Range and Regis-ter” for the Pan-European Voice Conference in Graz,Austria. Gillyanne acts as vocal consultant to a newMasters program in Musical Theatre at the Royal Scot-tish Academy of Music and Drama this coming year,and is course leader on Integrated Voice, a trainingprogram for voice professionals, beginning in Febru-ary 2004. The innovative program focuses on vocalfunction in spoken and sung voice and can equip train-ers for a multi-genre environment. View a prospec-tus on-line from the beginning of October 2003 at<www.vocalprocess.net>FLLOYD KENNEDY (Queensland, Australia) is co-facilitating a weekend intensive course, “THEATREIS ACTION . . . body meets voice,” with IraSeidenstein, creator-director of Quantum Theatre:Slapstick to Shakespeare. She also works with youngactors, giving them a thoroughly engaging physicaland vocal warm-up and introducing them to the Ar-chetypes as a means of discovering ownership of thetext. Her work on her dissertation Archetypes in Prac-tice: An Actor Training Device continues.SOOK HEE KIM, (Sungkyunkwan University, Ko-rea) is at the University of Virginia at the momentundertaking some research with Kate Burke and at-tending all of Kate’s classes for some “battery re-charge”.

NEW ENGLANDCANDICE BROWN is directing an adaptation ofTwilight in Los Angeles by Anna Devere Smith atBrandeis, which opens in September, and is currently

Page 12 VASTA

Evangeline Machlin:

A Remembrance by Judi Lehrhaupt

It is strange to think that all this started40 years ago this September. Memories: Iremember walking into a bright room thatstretched from the door to the windows andseeing an elegant, tall woman standing atthe front wall. We sat in our oak chairs withdesk arms and she introduced herself asEvangeline Machlin. Days later we werelaying on the floor, breathing, marchingaround the room and breathing, readingpoetry and breathing, reading soliloquiesand BREATHING. I still have the notesfrom that first year and have used some ofthe exercises in my own classes. I remem-ber I struggled to lose my New Jersey ac-cent, support my words to the end of sen-tences, make the best SOUNDS I could andfree my body to do all this. What now seemseveryday seemed strange and uncomfort-able, but not to Dr. Machlin. She took usthrough our paces three days a week withenthusiasm and energy. She was an incred-ible teacher. Dr. Machlin left an indeliblemark inside me where the heart meets themind. I will always be indebted to her forher inspiration, her kindness, her “putukuh”and much more. I remained at Boston University Schoolof Fine and Applied Arts for three years andfinished my theatre degree at New York Uni-versity. I know that my decision to get aMaster’s Degree in Speech Pathology waspartially motivated by the time I spent withDr. Machlin.

Volume 17, No.2

There were many years of experiencesand much water under the bridge when Ibegan to hear about VASTA. Although I amnot sure of the year, I finally decided to at-tend the conference that was held at PaceCollege in New York City. To my surprise,there was Dr. Machlin sitting in the top rowof the tier. When I finally had the opportu-nity to speak with her we revisited the “olddays”, talked about her life in New Hamp-shire, and I had the chance to thank her forher guidance those many years ago. I havenot seen Dr. Machlin since that conference,but she is in my thoughts especially when Iam doing voice and speech work. As I allowed thought to wander aroundthe stage along with sound on the final dayof the conference in New York this year, Ibecame aware that I was close to the ageDr. Machlin was when I first met her. I knewthat I had to share this and I felt proud that Iam continuing the work that she had inspiredin me so many years ago. We pay a greattribute to those who inspire us through ourwork and by encouraging those who are newto the work. One final thought: we learn and developnew ways to teach the techniques of ourcraft, building on the strong base of ourmentors. Lest we forget.

Evangeline Machlin, author of SPEECH FOR THESTAGE and DIALECTS FOR THE STAGE, taughtat The Neighborhood Playhouse School of The-atre, Columbia University, and spent many yearsat Boston University before her retirement. Dr.Machlin was a founding member of VASTA. Shedied in February 2003 at the age of ninety-five.

Page 13 VASTA

Newsletter Regional

EditorsYour regional editor should contact you at appropri-

ate times to invite you to submit your professional

news for publication. Feel free to contact him or her

at any time.Our two deadlines for news submissions

are Sept. 10 and February 10. Please help your

regional editor by submitting your news formatted as

you see it below (note use of CAPS, bold, underline,

and italics.)

New England (ME, VT, NH, CT, MA, RI)Peter Jack Tkatch

University of Vermont

Department of Theatre

Royall Tyler Theatre

116 University Place

Burlington, VT 05405-0102

Phone: (802)656-0086 or

(802) 864-0370

peter-jack.tkatch@uvm.edu

Mid-Atlantic (NY, PA, NJ, DE, MD, DC)Lynn WatsonUniversity of Md., Baltimore CountyDepartment of Theatre1000 Hilltop CircleBaltimore, MD 21250Phone: (410) 455-2892Fax: (410) 455-2946jwatson@umbc.edu

East Central (OH, MI, IN, WI, IL)Claudia AndersonThe Theatre School,DePaul University

2135 N. Kenmore Ave.Chicago, IL 60614Phone:(773) 325-4661cander11@depaul.edu

Southeast (WV,VA, NC, SC, GA, AL, FL, TN, KY)Cynthia BarrettDepartment of TheatreUNC - GreensboroGreensboro, NC 27402Phone: (404) 840-1975crbarrett@aol.com

Southern (AR, LA, MS, OK, TX)Allison HetzelUniversity of Louisiana at Lafayette140 Boucher StreetDepartment of Performing ArtsLafayette LA 70504Phone: (337) 482-1187ahetzel25@aol.com

West Central (MN, IA,ND, SD, NE, KS)Shawn Muller14002 SlaterOverland Park, KS 66221Phone: (913) 266-5490shawnmuller@earthlink.net

Western (MT, ID, UT, CO, NV, AZ, NM, WA, OR,CA, AK)

Joan MeltonDepartment of Theatre and DanceCalifornia State University, FullertonP.O. Box 6850Fullerton, CA 92834-6850Phone: (714) 278-2164(7l4) 278-3628)jmelton@exchange.fullerton.edu

CANADADawn McCaughertyUniversity of CalgaryDepartment of DramaCraigie Hall D209Calgary, AlbertaCanada T2N 1N4Phone: (403) 220-6027Fax: (403) 284-0713d.m.mccaugherty@ucalgary.ca

INTERNATIONALLinda Cartwright7 Raines AvenueForrest Hill, AucklandNew ZealandHome: (649) 410-8243Work: (649) 815-04321 x 7106Fax: (649) 815-4347lcartwright@unitec.ac.nz

Volume 17, No. 2