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 eFollowspot
August, 2011 |
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From the ITA President
Dear Friends of the Illinois Theatre Association,
As the ITA's 38th consecutive season draws to a close this month, I'd like to take this opportunity to share some of my observations from this past fiscal year.
I am thrilled that our membership numbers have grown to a record 455 individuals and organizations -- this is an increase of 25% since I started my tenure as President.
The ITA's finances are secure for numerous reasons. The Finance Committee and the Board have worked diligently to put into place sound fiscal practices. The ITA has realized a significant increase in grant support (an additional $21,000). Not only has the ITA increased the number of programs/events and members served, but attendance has remained strong and feedback has been consistently positive.
From the programs I attended this year, I observed:
- The Illinois High School Theatre Festival was a huge success. This year's event filled the University of Illinois, Urbana campus with more than 4,000 students and teachers, over 25 Full-Length and Showcase Productions, about 150 workshops, approximately 50 Exhibitors, and 5 performances of the All-State production, Into the Woods.
- The ITA's 32nd Annual Non-Equity Professional Statewide Auditions showcased more than 350 actors in front of a theatre full of casting directors and agents from throughout the midwest.
- The ITA and AATE (American Alliance for Theatre in Education) once again joined forces to host the Annual Theatre In Our Schools (TIOS) Conference. Northwestern University hosted this day of learning and discussion about issues pertaining to theatre education in Illinois schools. At the conference, I had the honor to present Congresswoman Jan Schakowsky with the ITA's 2010 Award of Honor.
Because three national theatre organizations had their annual convention in Chicago this summer/fall (AATE, ATHE, EdTA), the ITA changed its own annual convention to that of a "Collaboration Convention," where ITA members were provided discounts and networking opportunities at each of these national conventions. I personally attended the AATE Conference where I discovered new and useful ideas for my classes and productions, participated in discussions about issues/solutions that face theatre professionals in a wide variety of interest areas, and viewed some memorable performances.
The passion of participants and the professionalism of the ITA leadership that I witnessed at each and every event was both heartening to see and encouraging for the future of the ITA and Illinois theatre. Some of these programs have served as stellar examples for other states and organizations across the country.
The Board reluctantly accepted the resignation of Advocacy Director Jim DeYoung. His were big shoes to fill, but the Board was confident that Dan Haughey, ITA's new Director of Advocacy, was up for the task. Look for Dan's articles and e-mails to keep up-to-date on issues and advocacy opportunities.
The ITA's Nominating Committee announced its slate of candidates to serve on the 2011-2013 Board of Directors. This slate is indicative of the leadership our Association possesses.
It is with great pride and humility that I represent the membership of the Illinois Theatre Association. I continue to be inspired by your enthusiasm and pursuit of excellence, and look forward to our work together as we strive to keep the ITA the vital organization it is.
Sincerely,
Norm Engstrom
ITA President
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A Quick Note from ITA's Executive Director
 Dear Members,
I hope to see you at our "Celebration" on October 1st at the Metropolis Performing Arts Centre. In the meantime, please remain involved with the ITA by contributing to future eFollowspot publications, or sharing exciting news or performance information via ITA's ListServe Announcements. Send all information to announcements@illinoistheatre.org.
You may also participate in discussions, list performances, and announce job and/or audition opportunities by visiting ITA's on-line Discussion Boards and Performance Calendar.
And finally, please note that the ITA has a new Facebook Page! For those of you who have joined ITA on our old Groups page, please know that Facebook will be archiving that page soon. As a result, a new Fan page has been created, but you will not be automatically signed up on that page... Please be sure to click here to visit the new Fan page. Also, click "Like" once you're on that page so that you continue receiving important information from the ITA.
If you haven't yet joined the ITA on Facebook, what are you waiting for?
Thank you for all you do for theatre in Illinois!
Regards.
Aimee-Lynn Newlan
Executive Director
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ITA's Annual Convention
Beyond the Borders: A Celebration of National Collaborations
Many of you are aware that Chicago is fortunate to play host to numerous national conferences during the summer/fall season -- in fact, some of you took advantage of the ITA collaborations with the AATE's Lakeside Reflections in July, and the ATHE's National Conference in August! We hope to see you for our final collaboration in September, and at our Annual Meeting on October 1st! September 22 - September 25 Educational Theatre Association The Imperative of Theatre: Teaching the Discipline; Learning the Art (ITA Members receive the EdTA Member rate - simply ask for this discount when registering. Also, look out for the ITA Networking Session taking place at this event -- the date and time are TBA!) For those of you wishing to have an official ITA gathering, your wish is granted. We are thrilled to conclude the fall season with a CELEBRATION, which includes ITA's Annual Meeting and Awards Ceremony on October 1st. Do you want to know who the award winners are? You'll have to come to the CELEBRATION to find out, or wait to read all about it in the October eFollowspot. ITA's Celebration Saturday, October 1 2:15 pm - Reception/Meet & Greet (appetizers and cash bar) 2:45 pm - Awards Ceremony/Performances 3:45 pm - Annual Meeting 4:45 pm - Adjourn 5:00 pm - Optional Dinner* (on your own - various locations offered)
Metropolis Performing Arts Centre
111 W. Campbell St.
Arlington Heights, IL
www.metropolisarts.com
Cost will be $5 for ITA Members and $7 for Non-Members. *There will be an optional dinner (on your own - cost varies) and/or performance of The Andrews Brothers for $34.50. Registration will be available on line at www.illinoistheatre.org starting the week of September 3rd. In the meantime, please SAVE THE DATE! For any questions, call the ITA office at 312-265-5922.
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COMMUNITY THEATRE
Support for Community Theatre
by Penny Choice, ITA Community Theatre Board Representative
Many of us have been involved in the arts the majority of our lives. For me it began in community theatre as a child, progressing through high school music and drama, proceeding to a degree in speech and drama, and an involvement in theatre and drama-in-education during my adult life. But it is when I became Arts Coordinator for a regional office of education in Northern Illinois that I became aware of an alarming trend. When I began as Coordinator, many districts requested opportunities for staff development for their school personnel involved in the arts. So we had several meetings a year with around thirty people who were interested in staying current in their fields (music, art, drama, and dance). It was an exciting time - until a few years later when the numbers began to dwindle. Why? Because arts specialists were being sent back to the regular classrooms, or worse, leaving the district. As funding became more difficult to obtain, the arts were the first to go. Not long after, our regional committee for the arts disbanded. When we began, almost every district had some drama opportunities - at the very least in middle and high school. By the time the committee folded, only a few high schools were represented. I was reminded of this experience, recently, in reading my June, 2011 issue of Stage Directions Magazine*. In an article titled, "...and scene? Reduction of Arts Funding Delivers a Blow to Theatres" (page 4), a recent study discussed a survey they conducted about funding loss for the arts and arts education. A survey of nearly 1000 organizations found that more than half will be affected by funding cuts to the NEA and 77% say they will be affected by state cuts. The results will include layoffs, reduction in productions, and postponing replacement of deteriorating theatrical products, producing less-expensive shows, and even the closing of some organizations. During difficult economic times, politicians consider the arts as a luxury, despite a growing body of research to the contrary. The arts keep kids in school, and contributes to the development of higher- order critical and creative thinking as well as increasing opportunities for collaboration and growth in self-esteem. "On the community and professional level, theatres contribute to a region's economic health." (page 4) Organizations such as Americans for the Arts, the Arts Education Network, Illinois Alliance for Arts Education, and Arts Alliance Illinois (and, of course, the Illinois Theatre Association) are constantly on the lookout for funding so that the arts can continue in schools and the community. We need to support them. What does this mean for the community theatre? As funding dwindles, it becomes more and more important for the community theatre to provide both awareness and commitment to the arts - and specifically the theatre. Sometimes community theatre provides the only exposure to the arts for both children and adults. Check your mission statement - is that part of your theatre's commitment? If not, it is probably time to revisit your mission and goals. Education needs community theatre support, too. Resources Arts in Education articles: http://avvanta.com/~building/strategies/arts/front_arts.htm *Mitchell, K.M. "...and scene? Reduction of Arts Funding Delivers a Blow to Theatres", Stage Directions. June 2011. 24:6; 4-5. Wolk, R.A. Wasting Minds. (2011). www.ascd.org *Did you know a subscription is free? Check it out: www.stage-directions.com Reduction in arts funding only hurts the students. Time and again studies show the positive effect the arts have on students and their education. Cathy Tweeddale-Tate Instructor of Theatre, Crystal River High School, Crystal River, Fla. The arts are what define us as a people, as a species; and that the arts are one of the most important barometers and change agents in any society. More immediately important, in today's economy and climate, is that the arts mean money. Study after study show that for every dollar invested in the arts, $3 or more is brought into and spent in the community. Ted Larsen, Technical Director, Strongsville Community Theatre, Strongsville, Ohio.
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PROFESSIONAL THEATRE
Just What the Heck is Actor's Equity?
by Colin Douglas, ITA Professional Theatre Board Representative
 One of the goals most professional actors strive toward, whether in Chicago, New York, Los Angeles or anywhere else in the United States, is to become one of the 49,000 proud members of the American theatre's powerful union of creative artists, the Actor's Equity Association (AEA).
The union was formed more than 90 years ago by a small group of New York actors who were tired of being exploited by theatrical producers. By 1919 this group had grown in membership and strength enabling a strike that forced producers to negotiate the first AEA contract, which became the model for the 40+ contracts that the Union executes today.
Presently Equity has three offices and 24 liaison cities in the United States keeping all of its theatrical community members well-connected. In addition to negotiating an actor's hard-earned wages, benefits and safety regulations in his contract, the AEA also offers connection to resources for tax preparation, loans, discounts, workshops and seminars and social services designed especially for performers. Contact information with special service industry organizations, like the Actor's Federal Credit Union and The Actor's Fund, is also available at the Equity website.
An actor may apply for membership in one of three ways:
- If an actor becomes employed under an AEA contract he is eligible to become a member. Some special stipulations, such as length-of-employment requirements within a contract, may affect when the membership becomes valid, but the Membership Department will advise the actor in such matters.
- An actor who is already a member for a year in good standing with one of the AFL-CIO's other sister unions (SAG - the Screen Actors Guild, AFTRA - the American Federation of Television and Radio Artists, or AGMA - the American Guild of Musical Artists) and has worked as a principal performer or on an "under-five" contract or for at least three days of extra work, may also join Actor's Equity. The application to AEA must also include a statement from the parent union stating that all requirements have been met, along with $400 toward Equity's initiation fee.
- The third way to become a union actor is to join the Equity Membership Candidate Program (EMC). Through it, actors-in-training receive credit for each week of employment toward their AEA membership. After paying a $100 registration fee (credited toward their future AEA initiation fee) and working an accumulated 50 weeks at participating AEA theatres, an actor may apply for full Equity membership.
Besides establishing a professional organization that maintains the highest standards for its members, helping to preserve our country's historic theatres as part of our cultural heritage and advancing new technologies for better communication between the union and its members, the AEA strives toward one main goal: "to advance, promote, foster and benefit all those connected with the art of the theatre." This quote from Equity's 85-year-old constitution is the essence of what the professional stage actor's union is all about today.
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SECONDARY EDUCATION THEATRE
Announcing the IHSTF's New Website
Hello Secondary Education People!
 As you find yourself getting ready for a new school year - it's time to get ready for the 2012 Illinois High School Theatre Festival as well. If you are anxiously running to your mailbox ready to rip open your August mailing to find out all of the information about this year's Festival - save those calories and put down that letter opener - since you will need to use a few clicks of your mouse instead.
One of the NEW features of the IHSTF is that we have "GONE GREEN"! And have eliminated all paper mailings. Instead - you can go to our BRAND NEW WEBSITE to learn about this year's Festival - THEATRE: THE ART OF CONNECTION. The web address is still the same www.illinoistheatrefest.org.
This new user-friendly site is evolving - so we would love your feedback.
Here are some highlights:
FOR TEACHERS/SPONSORS
Be sure to click on the New for 2012 tab to find out what has changed for this year's Festival, especially with deadlines for schools submitting full-length and showcase productions AND for the audition registration process. The Student Film Festival is coming back this year - so check out that information as well.
FOR STUDENTS:
You have your own section now - with lots of information you will need for the Festival - that will continue to be updated as we approach the Festival.
FOR VENDORS & COLLEGE EXHIBITORS:
You have your own section that will highlight all of the information you will need to participate in the Festival.
IHSTF Executive Director, Nathan King, is excited for this year's Festival and encourages each one of you to get involved! Be sure to sign-up to lead a workshop or to respond to a play. We always need Play Respondents! Nathan also points out his goal for full-state participation - especially schools from the southern part of the state. So now is the time to get involved.
Even though the IHSTF 2012 has not yet occurred, volunteers from across the state are already needed to fill various positions on the 2013 Festival Committee. Prospective committee members should be creative, dedicated, motivated, collaborative, and have a healthy sense of humor. Those on the committee will have an opportunity to create a phenomenal experience that our students will hold dear for a lifetime. Those interested in being considered should contact Greg Chew, 2013 Executive Director, 217-378-7718.
So as your summer winds down and your school year starts to take off - best wishes in all of your endeavors and we look forward to your participation in the 2012 IHSTF.
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SECONDARY EDUCATION THEATRE
IHSTF 2012 Has Gone Green
As previously announced, this year's Festival has "GONE GREEN." As a result, Festival information will NOT be mailed as it has been in the past. All details will ONLY be available online. Please visit the Festival website to learn more. You may also access this year's Festival on Facebook and Twitter!
There are four ways to receive important Festival updates and announcements:
1) Opt-in to receive e-mails from the Festival website
2) Visit the Festival website often.
3) "Like" us on Facebook
4) Join us on Twitter.
School registration information is now available on the website!
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| CHILDREN'S THEATRE & CREATIVE DRAMATICS
Powerful Performances -- Powerful Experiences; a Performer's Perspective
by Merissa Shunk, ITA Children's Theatre Board Representative
The last week of July the American Alliance for Theater and Education had its annual conference in Chicago. Hundreds of theatre practitioners and educators came to our fair city to meet, network, and learn from each other. It's always a great opportunity to reconnect and recharge. Many of the sessions are engaging and informative, the biggest problem is deciding which ones to attend! Of all the sessions I attended, one moved me and inspired me the most; it was a session that presented readings of Susan Zeder's plays "Mother Hicks" and "Taste of Sunrise." Between scenes Susan would comment on what inspired her as she wrote, what she was hoping to express, and what she learned over the last 30 years of creating the Ware Trilogy. I was moved to tears by the powerful performances, presented by Adventure Stage Chicago (ASC), and thrilled to hear Susan reflect on her own work. One of the actors involved in the reading was kind enough to share her thoughts on the experience. Enjoy her words and know that this is just one example of the amazing four days of performances, lectures and workshops presented at the conference this year! - Merissa
 | | Sarah Rose Graber is an actress, teaching artist, and director in Chicago. |
I was first introduced to Suzan Zeder's plays in college with Wiley and Hairy Man by the fantastic professor Rives Collins. We had to read the play and perform scenes from it in class. I remember thinking that this playwright was a complete genius and then immediately purchased her anthology of plays. It was a fantastic decision, because in that anthology I read Mother Hicks and was so moved by the story, characters, and themes, that it's one of those few plays that seems to follow you around. So when Tom Arvetis asked me to read the role of "Girl" for the Adventure Stage Chicago reading at the AATE conference, I was beyond thrilled! We rehearsed selected scenes from both Mother Hicks and The Taste of Sunrise to be part of a program sharing the background, creation, and evolution of these plays. All of this was in conjunction with the world premiere of Zeder's final play in the trilogy, The Edge of Peace, which was performed at Northwestern University. We explored the universal themes of identity, learning to belong, the difficulties of being deaf in a hearing world, and working through the added challenge of integrating American Sign Language to the presentation. The use of ASL is a major component of the pieces because several of the characters are deaf. We had some incredible performers who were fluent in sign language that were able to give so much power and meaning to the text. It was really magically to watch them communicate the words through their gestures and facial expressions.
When it came time for us to perform, there was an intimate gathering of folk, many of which had either been part of a production of one of the two plays in the past or had read them. In between our scenes, Tom and Suzan gave additional information about why certain artistic choices were made to the script and what Susan was hoping the audience would garner from each moment. She shared stories with us about her time actually visiting the real town of Ware (which is where the plays take place) and the inspiration for some of the characters (the character named Clovis got his name from an ancestor of a real person still living in the town.) Our program was a great segway to better understanding the world of Ware and Mother Hicks, but also for the first production of The Edge of Peace. Suzan Zeder couldn't have been more charming, humble, and complimentary of our interpretation of her plays. So add that to the list of incredible qualities that make Suzan Zeder one of the best playwrights for Theatre for Young Audiences. I think ASC and Suzan make a great team so hopefully we'll get to work together again in the future!
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CHILDREN'S THEATRE & CREATIVE DRAMATICS
PLAYground for Playwrights
by Anne Negri
The essence of a playground is the process of learning how to play: experimenting, failing, trying again, and having fun through it all. As a new playwright who writes stories for young audiences, I liken myself to a child bringing my play to the playground, ready to leap joyfully into the process with others, ready to develop my play for the stage.
During my graduate studies in Theatre for Youth at Arizona State University, I wrote a play for children called With Two Wings. After many drafts, a staged reading, and a workshop production, my good fortune followed me to Illinois. This past spring my play was selected for a writing development opportunity in my own backyard, the PLAYground Festival.
The PLAYground Festival, produced by Northwestern University's Purple Crayon Players, spotlights three unpublished plays for young audiences. Each playwright is paired with a team of Northwestern students: a director, a stage manager, a full cast of actors, and designers. The students rehearse for about three weeks and then the playwrights converge on Evanston for a weekend of development experiences, staged readings, and audience feedback.
While most of the PLAYground playwrights are only able to join the workshop process in the final weekend due to distance, I live in Evanston, so I delightedly engaged in the entire process from the beginning. I initially sat down with my student director, Rebecca Dumain, at a local coffee shop and we had a spirited conversation about my play, analyzing each character in depth, setting goals and objectives for the workshop, and connecting on an artistic/aesthetic level.
I attended the very first rehearsal with the Northwestern actors. It was thrilling to hear new voices speaking my words aloud during the first read-through. Afterwards, Rebecca gracefully led a discussion with the actors. With a grand sense of curiosity, the students identified moments of strength, moments of confusion, and they offered a flurry of intelligent, astute, and profound questions. I joined the team for a few more rehearsals, but I also felt it was important to let them experiment with the script without my constant presence.
The big development weekend arrived and I met with Rebecca and the cast on a green space in the center of Northwestern's campus. In this final rehearsal, the actors spontaneously created the world of the play outdoors. They were faithful to my words, with their scripts in hand, but when they were offstage, they improvised actions and dialogue, using their curiosity and imagination to act out conversations and events that don't occur in the script. With carefree wonder, I ran along and followed the actors around the space. The communal energy was palpable, and at the end, everyone agreed that this exploration had truly discovered the raw heart and emotion of my play.
 | | Anne Negri (top row, 4th from left) and the Purple Crayon Players. |
The next day was the staged reading for the public. The tiny space was packed with family, friends, colleagues, and Northwestern students. During the reading, the actors were able to tap into the power and impulses they had discovered in our outdoor rehearsal. For the first time, I was able to sit back in my seat, and enjoy my play as I hope young audiences will do in the future. The generous audience had some kind praise for my play and some vital questions that illuminated areas that still need work.
My PLAYground Festival experience allowed me to observe my story anew. The entire team approached my play with respect, dignity, and creativity. But most of all I think we found a collective inner child, ready to play at the playground... experimenting, failing, trying again, and having fun through it all!
Anne Negri just completed her first year as a Drama Specialist to 4th-8th grade students in Evanston/Skokie District 65.
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COLLEGE/UNIVERSITY THEATRE
Technology Bridges Time Zones to Assist in Artistic Collaboration and Student Engagement
by Janeve West, ITA College/University Board Representative
 This article is not intended to be a business plug for Wikispaces. In fact, there are many free web-based collaboration tools to suit a wide variety of needs. My intent is to discuss the positive impacts of the use of such a tool on student and faculty engagement in the creation of theatre.
A few years ago, I was searching for a free web-based collaboration tool that would allow for group discussion of productions in those summer months when students and faculty seem to scatter. Essentially, what I needed was a place for an e-production meeting. At that time I was preparing for a production of The Tempest and exchanging e-mails with our sound designer/composer from Singapore. We were having trouble sending and receiving sound files and images via e-mail. He suggested that I take a look at Wikispaces as a tool that may solve our issue. What I found was a site that allowed for some great artistic discussion, potential for high-impact student engagement, and opportunity for cross-departmental collaboration.
Briefly, a Wikispace is a free, on-line web page that an individual or groups can edit together. If you choose, you can link videos/sound files, upload pictures, and create discussion threads and the like. The administrator of the page can determine who can view and edit the page (which is pass-word protected). I'm not terribly tech-savvy, and often skip reading directions and "tips," and still found it generally easy to manage. Since then, I've used this space as a "discussion board" to prepare actors and designers for table-rehearsals and production meetings. I've added show specific links to pronunciation guides, images and video and required student actors and designers to post and comment on each other's visual and text based research. Returning to The Tempest, the composer's sound files mentioned before were easily downloaded and used in our rehearsals. The video of the rehearsals were easily sent to the composer to inspire further composition. In short, this space has allowed for international, regional and campus collaborations resulting in great theater-making.
At this point you may be asking why I don't use Facebook for such projects. I believe the answer may come down to a generational difference in how students would like to use social media. Three years ago I tried to use Facebook as a forum for collaborative discussions and felt student-backlash. The students felt that an academic project should not infringe on social space and felt the projects "hijacked" their social time. No matter my response to this argument, I haven't had any negative responses since finding a different web space.
Though I've found benefit in making final production decisions in the traditional face-to-face meetings, these preliminary conversations have been fruitful for many reasons. Most obviously, students and faculty have found inspiration in each other's views, conversations, images, videos and drawings. The discussions have been fruitful and have allowed us to begin rehearsals and meetings with a wealth of information on which to build a production. Secondly, I believe I've seen an increase in student engagement in the process of theatre-making. This may be due to a sense of comfort, or from a bit of public peer-pressure. If only a few are allowed to view and edit the pages, then the process allows for a level of privacy that may be appropriate for the growth of a young artist or specific production. However, allowing a larger group to view and edit each page allows each member in the group to hold each other accountable for their work or lack thereof. Students who are natural pace-setters find a forum for their voice and more novice students have an example of student engagement constantly available to them.
Because of this, I believe I've seen an increase in student ownership and sense of personal responsibility for aesthetic outcome of production. In a department that stresses clear communication, professionalism and collaboration as essential elements of theater-making, providing constant access to a space that can be very public, urges the young artist to be thoughtful in his postings and responses; knowing that his peers will see and (hopefully) challenge his perspectives.
Finally, I see great potential for this tool to support cross-departmental and/or multi-organizational collaboration around a specific production. For example, Abigail Davis, a Theatre/History major who is working on The Laramie Project: 10 Years Later as her senior project, has developed her own Wikispace and plans to use it for preliminary discussions with actors and designers. She will also use it as a "bulletin board" of sorts; allowing for GSA's, interested departments and/or community members to post questions or comments throughout the rehearsal and run of the production. Any faculty interested in incorporating the production into their course discussions can find Ms. Davis' research, resources, images and questions in an instant.
As you can imagine, there are drawbacks to the use of such a tool. It is wise to make an early decision regarding who can view and edit pages. Young artists should also carefully consider which pieces of information they can share and still allow themselves the privacy required of the artistic process. Faculty supervisors should keep some oversight of postings; urging professionalism and civil discourse. Though, in my opinion, nothing is more effective (or more exciting) than the discussion generated when artists sit down together, a web based collaborative tool may go far in engaging, inspiring and preparing young theatre makers to bring something with them to the table.
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COLLEGE/UNIVERSITY THEATRE
Taking Action
by Annie Sisson Rezac
 This month, I had the pleasure of attending the ATHE (Association of Theatre for Higher Education) Conference in Chicago as part of the ITA's "Collaboration Series." There were so many sessions, panels, lectures, demonstrations, discussions, etc. that anyone in attendance during the five day event had the opportunity to create a personal professional development plan with enormous scope and academic depth.
Among this sea of voices and choices, one very small, very informal session in one of the narrow, out of the way, sectioned-off hotel venues, raised a clamor of inspirational ideas that still has my mind in a motivated frenzy.
The Illinois Theatre Association hosted this session as a means to inform current and potential constituents of their recent partnerships, events, endeavors and the like. What started as a modest informational session with a few spirited theatre educators turned into an ignited brain-storming session about bridging the various theatre communities that lie within our state borders.
It became immediately clear that ITA is the perfect hub for this kind of "bridging". Our vast theatre community can become much more powerful by banding together and articulating common goals, vocabulary, advocacy and collaborations within our various sectors; academic, professional, community, improvisational and youth theatre. Since ITA has representatives and advocates in each of these areas, they are positioned perfectly to host training sessions that will aim to elevate theatre's value and worth by developing a transparent and common language among us.
One of best examples of collaboration that came out of the meeting was the idea of partnering various institutions for assessment and evaluation practices. In this current climate of under-funding, there is a growing need to provide proper assessments for all arts educational programming. Since internal assessments are less objective than third-party assessment, why don't we "exchange" evaluation services. This would also provide us with professional development strategies, collegiate dialogue and a common vocabulary for evaluation practices. ITA could potentially assist with partnering organizations that are looking for this service, but this is just one example among the multitude that are sure to be discovered.
The world around us is evolving quickly. In order to ensure our future, theatre industrialists need to jump on the ever quickening trajectory of exponential learning and band together by embracing the swell of life-long learning that is seeping into ripened vines of forward thinkers and progressive activists within our community. Together we can do more than just discuss what we want the future to be. We can act on it.
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TECHNICAL THEATRE
Intelligent Lighting Creations Presents Seminar
How Energy Efficiency is Making
Intelligent Lights even more Intelligent
Thursday, August 25, 2011
Seminar starts at 1:00 pm
Hosted by Philips / Vari*Lite
Click here to RSVP. There is no cost, but space is limited so sign up now!
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TECHNICAL THEATRE
Chicago Spotlight, Inc. Theatrical Skills Workshops Fall "Kick-off" Event
Chicago Spotlight, Inc. invites you to its Theatrical Skills Workshops Fall "Kick-off" Event to its Fourth season!
- A time to learn, explore and try techniques, tools and technology
- Bring yourself, your staff and/or your students
- Our goal is to educate you, the end user of products and materials
When: Saturday, September 10, 2011
Where: Chicago Spotlight, Inc. (1658 W. Carroll St., Chicago - near the United Center).
There is plenty of free parking available
Time: 10:30 am - 3:30 pm
Click here for more details.
RSVP: Please let us know you are coming as soon as you can, but by September 2nd. RSVP by sending an email or calling Hope at 312-455-1171.
- Light refreshments available all day
- Participants will be eligible for several drawings for "give-aways" during the day
Topics: Mini-sessions we expect to offer that day; a sample of our in-depth workshop offerings:
- Why doesn't it work? Maintaining your conventional lighting fixtures and accessories.
- Wow, cool lighting effects! Simple projection techniques, from patterns to slides.
- What is your rigging knowledge? Are you flying scenery safely and correctly?
- How does my make-up look? Ideas on correctly applying stage make-up.
- Scene painting: How do you make it look so real?
- "Look what your lighting console can do" - Programming: simple to complex.
A final list of topics will be available in August. All participants in our workshops will receive certificates of completion.
And...
- A scene painting workshop for teachers/staff covering basic skills, techniques and materials will be held on Friday, September 16th, from 12 - 5 at Lemont High School.
- Space is very limited. Contact Steve@chicagospotlight.com with questions.
- Brochures for our whole season will be mailed in early August.
- Click here for updated workshop information
Questions: Contact Steve Jacobs, Director of Training Workshops
Teachers: Chicago Spotlight, Inc. is a registered provider of workshops with the Illinois State Board of Education. Participants of our workshops will receive "Evidence of Completion" forms for continuing education credit.
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AATE National Standards Update Session Report
Submitted by Dan Haughey, Director of Advocacy
I attended the National Standards and Update discussion on July 28 at the Annual Conference of the American Alliance for Theatre and Education (AATE), in Chicago. Also representing ITA at the session were President Norm Engstrom, and newly nominated University/College Representative, Professor Janice Pohl. (Please forgive me if I missed any other ITA members present.) I cannot speak for Norm nor for Janice, but having served as both a high school theatre instructor and a college theatre instructor for more than a collective 24 years, I was reassured by the groundwork that was established by the AATE Standards/Advocacy Committee at this conclave of over forty educators, directors, and teaching-artists. A reflective, collaborative, and informative tone was set for a standards revision process in our schools.
In 2011, arts educators, government officials, and a variety of arts-stakeholders from around the United States will begin a process of revising National Standards for Arts Education. Visual Arts, Performing Arts, and some Language Arts will be influenced at grade levels K-12 by the outcomes of this national initiative. The meeting at the AATE Conference was orchestrated to include the voices of diverse theatre advocates. It was the first of what will be several AATE National Standards/Advocacy Committee sessions to learn about, discuss and plan AATE'S involvement in the Standards Revision process and national arts advocacy activities. AATE is an official member of The National Coalition for Core Arts Standards (NCCAS), a partnership of organizations that leads the revision processes. The standards will describe what students should know and be able to do as a result of a quality curricular arts education program.
This topics and critical questions that were posed during the meeting impressed me the most. First, AATE intends to be a conduit of ideas and information for its members and for others over the multi-year process. AATE advocates intend to take a pro-active role as leaders and evaluators. It was good to know that college administrators and educators will be involved in the process, that colleges will have input as the ultimate beneficiaries of such standards. It was exciting to hear that teaching-artists may apply the eventual standards as much as a school's full-time or part-time drama instructor(s). In 1994 Standards were revised, but it was generally recognized that now we have a "much bigger world" and that the new standards will not just represent a revision, but "a vision for our time." A strong point was also made that Arts Standards should increasingly motivate interdisciplinary concepts that in turn allow arts to teach other subjects. New advances in technology since 1994-on the stage and in the classroom-should be addressed in the reshaping of the Arts Standards.
The best part of the Conference session was the way general, initial questions about the revision process were encouraged and collated. I would reassure you that the Standards revision process has a good foundation and AATE will be using all its publication modes-both through traditional and technology means-to keep K-12 members informed. I advise you to visit the following website sponsored by the Pennsylvania state school system to see the initial standards model that will be applied by NCCAS and AATE: www.pdesas.org. Do not hesitate to send your questions to me at 309-236-2772, Verizon mobile, www.danact3.com (or danhaughey@sbcglobal.net) or Lynne Kingsley, AATE Executive Director, at 301-951-7977, lynne@aate.com.
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ITA's Nominating Committee's Slate
Board of Directors for the 2011-2013 Term
Dear ITA Members,
Meet the Candidates
President Elect -- Mark Begovich
Mark Begovich is the ITA's current First Vice-President, served as Second Vice-President, Secondary School Theatre Representative, and received the ITA's 2009 Award of Excellence in Secondary School Theatre. In addition, he has served nine years on the IHSTF planning committee, including one year as Executive Director. Currently, he is on the IHSA Speech and Drama Advisory Board and is the lead Drama Teacher at Community High School District 94. He is excited to be a nominee for President-Elect and hopes to bring greater focus to ITA Members' needs by affirming how the ITA is a valued resource for everyone in the theatre community.
President Elect -- Kristen Mackie
Kristen has served on the Board of Directors of the Illinois Theatre Association in the positions of Secretary, Vice-President, and Secondary School Theatre Division Chair. She was also the Chair of the ITA's 2005 Annual Convention. Additionally, Kristen has been active on the IHSTF Planning Committee serving as the Associate Director of Workshops (1990-91), Exhibits (1992), Executive Director (1993), Director Emeritus (1994), ITA Board Liaison (1995-97), and Auditions (2003). Kristen directed the All-State production of Ragtime (2005), was Technical Director for the All-State Productions of Big River (2000) and A Chorus Line (2006), and was the All-State Producer for The Wiz (1990). Her students have been chosen to perform at the Festival in 1996, 1998, 1999, 2001, and 2002.
Kristen has been the Director of Theatre at Guerin Prep High School in River Grove for the last 25 years. She is the Director & Technical Director of the Fall Play, Spring Musical, the Children's Show, and she coordinates the student directed one-act plays. She currently teaches Introduction to Theatre, Acting, Advanced Acting/Directing, Dramatic Literature & Criticism, and Speech. She also works with upper class theatre students teaching a grade school drama class one afternoon a week for fourth through eighth graders. Kristen also worked as the Technical Director at Niles North High School (2007-2010).
Kristen's students were chosen to perform at the American High School Theatre Festival in conjunction with the Edinburgh Festival Fringe in Edinburgh, Scotland in 1997 and 2003. Guerin Prep was the first high school in Illinois to be chosen to perform at this Festival.
Kristen holds a B.S. in Speech and Theatre from Bradley University (1975) and a Master of Arts in Directing from Roosevelt University (2009). She received the 2008 Award of Honor from the Illinois Theatre Association.
First Vice-President -- Betsy Driver Williams Betsy Driver Williams is honored by the opportunity to run for First Vice-President for the ITA. She currently teaches drama to grades 1-8 at Oak Grove School in Green Oaks, Illinois. Betsy has served terms as the Children's Theatre Board Representative for the ITA and as the Illinois State Representative for the American Alliance for Theatre and Education (AATE). While holding both positions, she initiated the Theatre In Our Schools Month Conference model and successfully co-chaired the first and second TIOS conferences in Illinois. Betsy has presented her work at state and national conferences including AATE's Annual Conferences, the Illinois High School Theatre Festival, the Arizona State University Language and Literacy Conference, and the Arizona Thespian Festival. Betsy holds a BS in Theatre from Northwestern University and an MFA in Theatre for Youth from Arizona State University. She is currently the Director of Regional Programming for AATE, and she is excited by the possibility of once again serving the ITA community. Treasurer -- Kurt Steinhauser A recipient of both the ITA's 2001 Award of Honor and 1994 Award of Excellence in Secondary School Theatre, Kurt has been an active member of the ITA and the IHSTF. During his 27 consecutive year membership on the IHSTF Planning Committee, Kurt has served as a Regional Coordinator for Play Selection, Associate Director for Workshops, Executive Director, Historian and Swap Desk/Box Office Manager. He has also served a term on the ITA Board as a Secondary School Theatre Representative. Kurt first gained non-profit Treasurer experience during the four years he served as Treasurer of the AATE, and then continued in the role with the ITA for the last six years. A proud recipient of AATE's 2005 F. Loren Winship Secondary School Theatre Award, Kurt has the time to devote to the position of treasurer as he retired in 2006 after a 33 year career (twelve years as Fine Arts Chair) at Maine Township High Schools. Children's Theatre Division Representative -- Annie Sisson Rezac Annie Sisson Rezac is currently on the faculty of both McHenry County College and Harper College teaching Speech and Theatre. She is also a professional director at colleges and theatre companies in the Chicago area. Formerly the Director of Education at the Metropolis Performing Arts Centre in Arlington Heights, IL, Annie has over ten years experience directing, teaching and acting, including serving as a teaching artist at Flynn Centre for the Performing Arts in Burlington, Vermont and Metropolis School of the Performing Arts. Annie was also a director, teacher and actor for the Missoula Children's Theater and served as the General Manager for the Vermont Stage Company. In addition, she has toured the country as a drama instructor for in-school drama curriculums and residencies and has acted professionally in theatre, film, and commercials, as well as trained in the Second City Conservatory. Annie received her B.A. in Broadcast Communications from East Stroudsburg University and her M.F.A. in Acting from Western Illinois University. College/University Theatre Division Representative -- Janice Pohl Professor Janice Pohl is a director and theatre generalist whose production work includes a focus on costume design and technology. Her research interests include theatre as a liberal art and interdisciplinary work in the humanities. She has also served as director and instructor for young people's drama programs in Maine and in the Midwest. Courses taught include World Drama, Creative Dramatics, Acting, and Directing. She currently serves on the faculty of Elmhurst College. She holds an MFA in Theatre/Directing from the University of Illinois, Urbana. Community Theatre Division Representative -- David Soria David Soria is a founder and Artistic Director of GreenMan Theatre Troupe in Elmhurst, Illinois. He has directed or worked behind the scenes on all of GreenMan's shows. Productions he has directed there include The Rimers of Eldritch, Shakespeare in Hollywood, Pride and Prejudice, The Importance of Being Earnest, The Fantasticks, and Dracula. He is currently directing The Guys, the first showcase production of GreenMan's eighth season and will direct The Matchmaker there next spring. Other productions he has directed include Modigliani at Citadel Theatre, South Pacific, A Midsummer Night's Dream, and As You Like It at Moraine Valley Community College, and Anything Goes, Fifth of July, and The Conduct of Life at Illinois Wesleyan University. David has also directed for Elmhurst Children's Theatre, Heartland Theatre, and the Naples Theatre Ensemble. In addition to directing and design, David has worked as a stage manager for the Illinois Shakespeare Festival, and as assistant technical director for Oakton Community College. David holds an MFA in directing from Illinois State University, and has taught at Illinois Wesleyan, Moraine Valley, and the Children's Theatre of Western Springs. He is currently serving ITA as Community Theatre Division representative, and previously served the ITA as a Play Responder for the IHSTF. Creative Dramatics Division Representative -- Ioana Ligdas Ioana is excited to join this fantastic team as a Creative Dramatics Representative. She has her Bachelor of Education Degree in Arts Education with a Major in Music and a Minor in Drama from the University of Regina, Canada. She enjoyed many adventures pursuing her diploma in Music-Theatre Performance from Sheridan College in Toronto, Canada. National-Louis University served as the place to be in 2010 to complete her Masters of Education Degree with a focus in Curriculum Instruction. In 2010, Ioana was co-facilitator for a Fine Arts Day Event at Daniel Wright Junior High School in Lincolnshire, IL where she is currently going into her fifth year of teaching middle school drama and dance. Ioana has directed many musicals most recently including Beauty and the Beast Jr., Twinderella, Dear Edwina, Jr., The Music Man, Jr. and Annie Jr. Ioana is blessed to teach what she loves with passion and whole-heartedly believes in the power of the arts. Professional Theatre Division Representative -- Ernie Nolan Ernie Nolan, a proud graduate of both the University of Michigan Musical Theatre Program (BFA Musical Theatre) and The Theatre School at DePaul University (MFA Directing), is a director and playwright dedicated to new works and re-imagining classic stories for young audiences. He currently serves as the Vice-President of Theatre for Young Audiences USA, the national service organization promoting the power of professional theatre for young audiences through excellence, collaboration, and innovation across cultural and international boundaries. He was recently selected to be an official delegate representing the United States at the 17th ASSITEJ World Congress in Copenhagen, Denmark and Malmoe, Sweden this May. This past month he delivered the keynote address at the Illinois Theatre in Our Schools Conference at Northwestern University.
His work as a TYA playwright has been featured both nationally and internationally. Ernie's plays A FAIRY TALE LIFE, SNOW WHITE AS PERFORMED BY TJ BARKER AND HIS TROUPE OF THEATRICALS, and BEASTS are about to be published and licensed by Dramatic Publishing. As the Associate Artistic Director of Emerald City Theatre he has created The PlayGround, a process for the development of new works for children up to the age of ten. A resident artist of The Coterie Theatre in Kansas City, Missouri, named by TIME magazine as one of the top theatres for young audiences in the country, he has also directed and choreographed world premieres by such Tony nominated artists as Willy and Rob Reale, Stephen Schwartz, Stephen Flaherty and Lynn Ahrens, and Bill Russell and Henry Krieger. For Chicago Playworks he has directed THE BFG, THE GIVER, and THE WITCHES. He is honored to have been awarded an Anne Shaw Fellowship. This year Ernie held a visiting faculty member position in the Theatre Studies Department at The Theatre School at DePaul University.
Secondary School Theatre Division Representative -- Mark Kaetzer Since 1994, Mark has served as the Speech Arts Department Chairperson at Glenbard East High School. Prior to that, he was a Speech, Theatre & English teacher at Glenbard West High School. Having received a BA in Theatre Education from Illinois State University, and an MA in Theatre/Directing from Roosevelt University, Mark's involvement with the ITA includes: ITA Lifetime Member, Secondary School Theatre Representative (2009-2011, and 1990-1992), IHSTF Executive Director (2004), IHSTF College/University Auditions Coordinator (2003), IHSTF All-State Producer (1999), IHSTF Exhibits Coordinator (1994), IHSTF All-State Technical Director, IHSTF Workshop Presenter (numerous years), and presenter/performer of three Full-Length and five Showcases at the IHSTF. "Former ITA Executive Director Wallace Smith often said, 'One joins and actively participates in his/her professional organizations because that is what true professionals do.' It has been an honor to serve the ITA in a variety of capacities throughout my career, and I hope to continue to do so."
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Note: According to the ITA's Bylaws (Section 3: Nominations): Additional nominations may be offered by an Association member in writing and must be received by the Secretary one month prior to the annual general membership meeting. Association member nominations must be signed by at least six bona fide Association members affiliated with the particular Division or Interest Area for which the nomination is being made, including the nominee.
If you have any questions, please send an email to aimeelynn@illinoistheatre.org. Otherwise, we hope to see you at the 10/1 Annual Meeting.
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ITA Member Spotlight: Andrea Dotoli
Submitted by Judy Klingner, ITA Second Vice-President
We are pleased to shine a spotlight one of ITA's newest members, Andrea Dotoli!
Please tell us about your background in theatre. I grew up in Wausau, Wisconsin, where I began taking dance classes at the age of three. It wasn't until I was a junior in high school that I actually auditioned for a show. When the cast list for Guys and Dolls went up, it said "Adelaide" next to my name. Since I didn't know the show, I had to ask someone who Adelaide was. I found out I was cast in a lead role, and I couldn't believe it! That's when I knew what I wanted to do with my life. I went to the University of Wisconsin - Green Bay and got my B.A. in Musical Theatre Performance.
Please tell us about your career path as a creative drama educator/artist. After college, I moved to Chicago and started my career. I sang on Rush Street, did some improv, and participated in an intensive program at Act One Studios. To pay the bills, I worked as a receptionist at a law firm. Next, I moved to New York City where I continued to study acting. I also taught private voice and piano. I waited tables and worked at Starbuck's, too. Eventually I was hired by the Hoboken Children's Theatre in New Jersey. I directed musicals there, and I did everything on my own: directing, choreography, sets, lights - everything! We did performances in New York City.
That's when I realized how much I love sharing the arts with children and helping them develop their talents. I love seeing the changes I can make in their lives. I was hooked [on teaching]!
Then I moved back to Chicago and began working at the School of the Performing Arts at Metropolis Performing Arts Centre in Arlington Heights. I taught in its year-long programs and summer theatre camps, directing and choreographing shows, and teaching acting. I spent some time working at The Music Room in Palatine and worked for three years as a teaching assistant in Palatine at Quest Academy, a private preschool through eighth grade school for gifted children. This year, I am excited to begin my new job as the middle school drama teacher at Quest.
Please share the details about a theatre project/production with which you are currently involved.
Since I am the new drama teacher at Quest Academy, my next project will be the spring musical. I have yet to announce the show. I'd like to get to know my students' strengths a little better first...
What is the biggest challenge you face related to your work in the theatre?
I have two answers for this question. As a performer, my biggest challenge is leaving the emotions of a show at the theatre. I performed in a long run of the play A Piece of My Heart, a play about women who served in the Vietnam War. It was very serious and much of the material was disturbing. It was hard to go home and go to sleep happy.
I feel that my biggest challenge in teaching is yet to come. I want to make everybody happy - students, parents, administrators - but still stay honest with the work I am doing. I want to find a way to make all children feel comfortable in the world of theatre. I want to always be ready to differentiate my instruction so that I can reach all children. I want to teach them what it means to be part of an ensemble.
Of what theatrical accomplishment are you most proud?
I am most proud of being able to open my own business, the Peacock Performing Arts Center in Palatine. I offer private voice, acting, and piano lessons and facilitate a summer arts camp.
Who was/is your mentor?
My parents are my mentors. My dad plays the drums, and my mom sings and plays the piano. They instilled a love of the arts in me. And they never held me back. Instead, they encouraged me by saying, "Do what you want and we will always support you."
What advice would you give to young theatre artists?
I would tell them the same thing I was told, "Follow your heart, but don't forget who you are or where you came from because that will keep you grounded. And never give up because you can always get better. Have determination. Stick with it!"
As one of our newest ITA members, what do you hope to gain from your ITA membership? Through conferences, workshops, and networking, I hope to meet other artists/educators, make connections, and support one another. I recently attended the AATE's national conference and was very excited to make so many connections with fellow ITA members.
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WELCOME TO ITA'S NEWEST MEMBERS
We are pleased to welcome 173 new members
into the ITA since September 1st, 2010!
Our newest member:
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DISCUSSION BOARD HIGHLIGHTS
Did you know that the ITA has Discussion Boards on its website where you can share stories, post job openings, and announce auditions? Click on the following links to access specific areas of the Discussion Boards:
DISCUSSIONS
AUDITION ANNOUNCEMENTS
PERFORMANCE CALENDAR
Did you know that you can also list your performances on the ITA Performance Calendar? Click here to view current performances, or to list your show today!
 FEATURED PERFORMANCE
Independent Players Presents: How the Other Half LovesSeptember 30 - October 15
8:00 pm (Fridays and Saturdays) $10-$15
164 Division St.
Elgin, IL 60120
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Upcoming ITA Events
Save the Dates:
October 1, 2011
ITA's Annual Convention
Beyond the Borders: A Celebration of National Collaborations
at Metropolis Performing Arts Centre
in Arlington Heights
2:15 pm - 4:45 pm
January 5-7, 2012
Theatre: The Art of Connection
at Illinois State University
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OTHER EVENTS OF INTEREST
August 25, 3022
Intelligent Lighting Creations
How Energy Efficiency is Making
Intelligent Lights even more Intelligent
in Arlington Heights
September 10, 2011
All information can be found by visiting
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The ITA is a network of dedicated theatre artists and educators
advocating quality theatre throughout Illinois. Please join us!
123 Mill Pond Dr.
Glendale Heights, IL 60139
312-265-5922 (office)
800-898-6897 (toll free)
312-265-6101 (fax)
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