• The 37th Annual Illinois High School Theatre Festival, Theatre:  The Art of Connection (1/5-1/7) at Illinois State University
• ITA's 2nd Annual Middle School Conference (1/20) at Wright College
• ITA's 33rd Annual Professional Statewide Auditions (1/28-1/29) at the University of Illinois at Chicago

Happy New Year!

 

What's your New Year's resolution? A little less than half of us make some type of resolution during the holiday season. There are several common resolutions, mostly about changing bad habits and starting better ones. And although breaking resolutions is as common as making resolutions, it seems those that make a resolution have a better chance of keeping it than people who don't make any type of resolution.

What about our theatre organizations? Does your theatre make any resolutions to change bad habits and start better ones? Here is Time Magazine's list of commonly broken resolutions [adapted for the theatre]: 

Lose weight and get fit. A lot of theatres are 'lighter' these days out of necessity; ticket revenues are down as the wider economy affects organizational revenue. So what's a theatre budget to do except lose weight! How do we cope? Theatres are "doing more with less," and thinking creatively about how to use existing resources, simplify design, and try fresh marketing ideas to bring in new audiences.  

Quit smoking. What is the environment like in our theatre buildings? How safe and healthy are we being? Still storing a lot of old paint and other toxic chemicals in the scene shop? Time to replace that old unstable ladder the lighting crew keeps complaining about? Does your theatre need to do more recycling?

Learn something new. This is one of the joys of working in the theatre; every play is a new adventure. But when was the last time the play selection committee read a new play? When was the last time your theatre produced something truly unusual, a new genre or tried a new author? How about going out to see what other groups are trying? What about encouraging people to try out a new "role" backstage?

Eat healthier and diet. Theatre people love to have snacks during break. Cookies? Or fruit? And what about those snacks in the lobby we sell at intermission?

Get out of debt and save money. As budgets get tighter, theatre boards and personnel need to look at each expense closely. Is that item really necessary? Is there someone who would donate that item? Is there a "rainy day" fund in case the next show doesn't do as well as budgeted?

Spend more time with family. At least this resolution should be fun to keep, by getting more people involved. Instead of the same small crew painting flats, isn't it time for a painting party? Bring the kids; put on some music; have some snacks [healthy, of course]! We all know that "many hands make light work."

Travel to new places. When did you last take a theatre "road trip"? Sure, you could travel to see plays at Stratford or the Guthrie, but what about a little closer to home? How about driving out to Community Players of Streator, a new ITA member organization, or Kirk Players, whose own Sheila Bourque was recognized this year by ITA for excellence in community theatre, or one of the other ITA member theatres?

Be less stressed. If all that worrying about budgets has got you down, remember why you love doing theatre. Is your organization still fully committed to its mission? Is there enough joy and delight to make all the hard work worth doing?

Volunteer. This one should be an easy resolution to keep, because we already are volunteers at our theatres. And we can help lots of other people keep their resolutions when we invite them to lend a hand backstage, building and painting sets, organizing the costume inventory, selling tickets, ushering, hanging lights, editing the program, answering the phone, and doing one of the hundreds of little jobs that need doing for each production.

Drink less. Now that your organization has the mastered resolutions above, when that opening night party rolls around, it will be something to celebrate, rather than an occasion on which to drown your sorrows!

"Take a cup of kindness yet, for auld lang syne."

Pardon me while I put a twist on an old cliché:  "Behind every successful theatre artist is an amazing significant other."  I would like to simply say thank you to all the spouses, friends, parents, and siblings who never intended to work in the theatre and yet support us and our art.

For some they get pulled in directly:  building, painting, sewing or doing hundreds of other tasks.  For others, they keep the home fire burning and make sure we are eating and sleeping when we should. They all endure our wacky schedules of long hours and odd times.

As we celebrate the holiday season, I hope every member of the ITA gives these significant others the gift they really want and deserve: our undivided time and attention.

by Ioana Ligdas, ITA Creative Dramatics Board Representative 

A Midsummer Night's Dream has many weaving sub-plots that culminate into one of Shakespeare's most loved comedies.

What makes this play so intriguing? In my opinion, the character relationships are what sets this comedy apart from the rest. The character relationships can also be difficult to understand.

Students in the middle school classroom work well in pairs. I have come up with a fun, specific character activity that will help your students understand the character relationships in this play in a deeper way as a partner within the whole group activity.

This character activity is called "Clay and Maker." All you need for this activity are index cards, a marker, and lines from the play.

Pre-organization for the teacher is to put the name of the character on one side of the card and one line the character speaks on the other side. For example, on one side "Titania" and on the other side "Who wakes me from my slumber?" I laminate mine for future use. I create at least 4 cards per character in the play.

The students then take turns being the clay and maker. The clay is the moldable character and the maker is the one who directs the clay. This is also a great way to incorporate leading and following and to give the students a chance to direct. The students should stand together in pairs in a huge circle.

I model how the maker can direct the clay into a moldable character for the students - modeling what they want their partner to do is the best approach. Make sure to mention facial expressions.

I give the students a few minutes to review the line, and then I guide them through questioning: Who is the character speaking to? How can you make that clear in your clay character? What actions would the character use with this line? Then, the students have 2-3 minutes to work together.

Once the class is ready, the makers travel through the "gallery of clay characters" who are in tableau of their opening position. In order for a character to start, you must gently press the button on their shoulder. After the makers "tour" the gallery, they come back to their partners and switch roles. Give each pairing a NEW card for their character. I tour along with the students and question the "clay" as I go.

This activity is fun with some music in the background, and the middle school students feel comfortable performing at the same time as their peers. This is a useful way to judge who really understands the play and who doesn't after going through the plot in class while the students also have fun learning Shakespeare! You can adapt this activity for literally any play.

The numbers are in:  more than 250 users have joined the Exchange community!

Teachers, have you visited the Arts & Education Exchange yet?  In the last edition of the eFollowspot the ITA sent out a message announcing the launch of the Arts & Education Exchange. So far, more than 250 arts providers have signed up and want to connect with you.  Register today at www.artseducationexchange.org to join this growing online community and bring more theatre to your students.  It takes just five minutes to set up your free profile.  Contact info@artseducationexchange.org with questions.

Join the Arts & Education Exchange today!

The Exchange is a free, easy-to-use online service that connects arts providers with educators to give students an opportunity for expression and self-discovery through creative outlets such as ballet, theatre, or pottery.

How does the Exchange work?  Arts providers post details, pictures, video, and audio about their programs -- whether it's learning about a President through song or exploring a social issue through dance.  Educators then tap into the Exchange and search for arts programming that helps them encourage their students' success.

Educators also post specific arts requests for their classrooms in the Exchange, which artists search and respond to in order to craft the ideal program for that educator's students.  

The Illinois Theatre Association is proud to support the Arts & Education Exchange. Go to www.artseducationexchange.org  to learn more about and join the Exchange today.

TYA's Role in Narrowing the "Creativity Gap"

COLLEGE/UNIVERSITY THEATRE

ITA-Arts Advocacy News Feeds - December, 2011

Americans for the Arts

Headline:  National Endowment gets Cuts this Month!

Today, the U.S. House of Representatives passed the final budget agreement for FY 2012, which includes $146.255 million in funding for the National Endowment for the Arts (NEA). This is identical to President Obama's proposed budget, a cut of nearly $9 million less than FY 2011, and is a compromise between the House of Representatives number of $135 million and the Senate number of $155 million as previously considered by their respective subcommittees. Also included in this bill is $24.596 million in funding for the Arts in Education programs at the U.S. Department of Education, which had been zeroed-out in a previous proposal in the House. 

A short term continuing resolution was also passed today so that the Senate can complete work on the budget agreement over the weekend. Once passed, it will be ready for the president to sign into law. This concludes the prolonged Congressional negotiations for the FY 2012 budget and prevents a government shutdown. After the New Year, Congress will begin considering the FY 2013 budget. Join us in Washington, DC for National Arts Advocacy Day on April 7, 2012, to let your members of Congress know the arts are important to you and your communities!

I do. I believe the arts strengthen communities. They support a strong democracy and bring us closer to one another. I believe the arts transform us every day.

Yet, in the first and only audit of arts education in Illinois schools, Arts Alliance Illinois found that one in five schools offers no instruction in visual art, music, theater, or dance. We have a lot to do to ensure every student in Illinois experiences the arts as part of a well-rounded education.

Help us advocate for the arts in schools and communities across the state. Donate to Arts Alliance Illinois.

We know arts learning helps young people prepare for success in school, work, and life. Students with high arts involvement are more likely to stay in school, earn higher grades, and perform better on standardized tests.

To help make sure all students in Illinois, no matter where they live, have the opportunity to discover and express themselves through the arts, we launched the Arts & Education Exchange this fall.

The Exchange is a free online tool that connects teachers and school leaders with arts providers who want to bring their programming to students who don't currently have access to the arts. Already, more than 250 museums, dance companies, orchestras, and theaters across the state have joined the Exchange.

Will you help us make sure the Exchange reaches students in every school in Illinois? Will you help inspire children and teens through the arts? Will you help their creative spirits take flight?

Please make a tax-deductible year-end contribution to Arts Alliance Illinois at www.artsalliance.org/support/donate. Any amount will help us advocate for the arts in Illinois.

Ra Joy, Executive Director (Arts Alliance Illinois)

American Alliance for Theatre and Education

Headline:  Funding 2012 $$$$$$

Betsy Quinn Scholarship Initiative: 
AATE proudly introduces the Betsy Quinn Scholarship Initiative, developed to support participation at the AATE annual conference by college/university or K-12 student members of well-deserving and high-quality youth programs, particularly those involving under-served populations. The student members will present some aspect of their programming as a part of their conference attendance. A youth program may be nominated by an AATE member. Upon selection, a solicitation campaign will be conducted on behalf of the designees to support their conference fees and associated expenses.

This award was created in 2011 in celebration of Betsy Quinn's leadership and dedication to the American Alliance for Theatre and Education. Betsy's tenure as President and indeed her ongoing, dynamic career has been marked by her devotion to young people in the arts, with a particular ability to celebrate diversity and inclusion in everything she does. Whether directing a cast of over 200 young performers herself, whether crafting policy or standards for our national organizations, or whether directing a production of college students and children at the university level - multiculturalism, artistry and inclusion have always been hallmarks of her groundbreaking work. The recipient of the successful 2011 Scholarship Initiative was Crawling with Monsters from the University of Texas-Pan American. More information about last year's award can be found here. For nomination guidelines and form, click here. To download a printable PDF, click here. Deadline: January 13.

Lin Wright Professional Teaching Grant: 

AATE continues to support the work of exemplary teachers.  The Lin Wright Professional Teaching Grant supports the work and professional development of an exemplary secondary school teacher through the introduction of AATE's national professional network. The $3,000 grant funds registration and travel expenses to attend AATE conferences in 2012 and 2013, and a project aimed to grow or enrich the theatre program in their school or to make the program more visible in their community. The project is expected to be carried out during the year in between the conferences. The goal is that the recipient of the grant will present the project at the 2013 conference along with two runners up who will receive scholarships to attend both conferences.

Candidates may be nominated by an AATE member or self-nominated. If the selected candidate is nominated, the nominator, who will also receive a stipend to attend the conference, will serve as a mentor at both conferences and chair the session at the 2013 conference. If the selected candidate is self-nominated, s/he will be appointed an AATE mentor. The successful candidate will be responsible for AATE member dues for both years. For nomination guidelines and form, click here. 

Contact Information:

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ITA Member Spotlight:  Fr. Dominic Garramone

Submitted by Judy Klingner, ITA Second Vice-President

Fr. Dominic Garramone (rhymes with minestrone).

I was 4 or 5 when I was in my first show---I have no idea what the title was, and I had only one line, but I got hooked. I was active in my high school theatre program and then spent two years in the theatre program at Illinois Wesleyan University. I then transferred to the seminary attached to Saint Mary's University in Winona, MN and got a BA in Theatre with a minor in philosophy.

After college I entered Saint Bede Abbey in Peru, IL. After my period of monastic formation I became the drama director and stage manager of our monastery's high school, Saint Bede Academy for two or three years. I had a four year hiatus when I studied for the priesthood, but I returned to those same positions and have held them since 1992, as well as serving as the head of the religion department, teaching scripture, church history, and Christian doctrine. For three seasons I also hosted a PBS cooking show called "Breaking Bread with Father Dominic" (1999 - 2001) for which my students designed the program's kitchen set. I've published six cookbooks and a children's book titled Brother Jerome and the Angels in the Bakery, which in 2011 won the Christopher Award and the Catholic Press Award for children's literature (it started out its life as a play in our summer theatre program!).

We just started the design process for our spring production of The Music Man. I've done the show before, and I'm concerned because technically there isn't much of a challenge for me or my students, compared to previous productions like Into the Woods or Joseph. We'll have to think outside the box to make it fresh.

Although I direct two shows a year, I'm really more of a tech guy, and what I worry about the most is finding a place for each of my "Stage Rats" to really grow artistically, socially, mentally, etc.. Some of them struggle with trying to fit in or to overcome their fears or find their niche. A lot of my energy goes into that task of helping them reach their potential through tech theatre.

We have produced two plays that have been published by Dramatic Publishing: a children's play called The Monsters Under the Bed and a series of vignettes titled What I Wanted to Say. Both of them are popular and have had productions all over the country, and we took both of them to the Illinois High School Theatre Festival as showcases, too. Recently a teacher in Texas contacted me and said that her students have never been more excited about a show than What I Wanted to Say. That really made me proud, to think that our show was inspiring a new generation of actors at their school.

Theatre Fest is our favorite event of the year, bar none. My students enjoy being in such a wildly creative environment and I enjoy being able to share with and learn from my colleagues. We all enjoy being to see such a wide variety of shows from schools of every size, and I appreciate that there are so many workshops that can teach my students things that I can't. The "Stage Rats" have made a commitment that every year we'll either bring a show, teach a workshop, or make a donation to the program (and your school should, too!). I remember going to Fest in 1996 with a fairly radical idea for a set design that my director for the spring musical was resisting. I shared my concept in a Fest design workshop and everyone there told me it was right for the show and that I should march home and fight for my design! I've never forgotten how great it was to have the support of my colleagues in theatre and I try to do the same when I'm at Fest.

I love problem solving, which is 90% of a designer's job. By necessity, being in a school of only 300 students with a small budget and a gymnatorium to work in, I enjoy the challenge of working with fairly narrow parameters to produce good theatre. For example, we produced a low-tech Les Mis without a revolve or any flying scenery, and it was probably one of the best musicals we've ever done.

One summer at IWU, Carole Brandt hired me as the house manager and publicity director for summer rep. At the same time I was working in the university food service, so it was an exhausting summer but some of the most fun I've ever had.

Our Fr. Placid was my theatre mentor, and he gave a great piece of advice: go see every show you can. There is something to be learned from every theatre experience, and even a bad play may have one moment of truth that will stay with you forever, or a set design that makes you re-think everything you thought you knew, or a costume that will inspire your next great project.

The best thing about ITA is the networking. I resisted joining ITA for years because I thought it was a Chicago thing, and that no-one would be interested in a little Catholic school in the middle of a cornfield (literally!). But I discovered that other people thought we really were doing interesting things at our school, that not every member of ITA came from a huge suburban school with a 1000-seat theatre, and that even the ones that do are just interested in theatre, period, no matter where it's from. For example, at the first ITA event I attended I met Jonathan Meier from Mundelein HS and we became fast friends and occasional collaborators. I've swapped sets and costumes through ITA, gotten inspired by conversations over coffee in the Fest hospitality room that continued via e-mail for weeks, and when I need to bounce an idea off someone, Aimee-Lynn is always there for me! 

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