Illinois Theatre Association
In This Edition...
ITA EVENTS

September 17, 2016
ITA's Annual Awards Gala and Membership Meeting
Location TBA 

November 4-6, 2016
ITA's 2nd Bi-Annual Statewide Community Theatre Festival
Illinois AACTFest
commUNITY Theatre: One Heart, One Vision, One Voice
Engle Lane Theatre
Streator 

January 5-7, 2017
"Find Your Truth: Discover, Uncover, Reveal"
University of Illinois, Urbana Champaign

February, 2017
37th Annual Statewide Non-Equity Professional Theatre Auditions
Location TBA 

EVENTS OF INTEREST FROM ITA MEMBERS

League of Chicago Theatres, Network of Ensemble Theatres, and Columbia College Chicago
May 20-22, 2016
Intersection: Ensemble + Universities
(This national symposium explores the connections between professional arts ensembles and colleges/universities, and will bring artists, practitioners, and educators from around the country to Chicago.)

USITT Midwest Section
May 21, 2016
9:00a-10:15a
Maintaining Your Lighting System Fixtures
10:30a-1p
Flame Retardant Workshop
at Grand Stage/Chicago Spotlight
midwest.usitt.org

July 8-10, 2016
Door County, WI Theatre Tour
midwest.usitt.org

JOB POSTINGS 
 
Skyline Studios is seeking a Musical Theatre Teaching Artist.

Glenbard West High School is accepting applications for the Technical Director.

Imagination Theater is seeking a part-time Manager of Sales and Marketing.

Glenbard East High School is seeking a full-time Speech/Theatre teacher

Lake Zurich High School is seeking a part-time Performing Arts Center Assistant and Technical Director.

Click here to visit the ITA's Job Board for details and more postings!

AUDITION ANNOUNCEMENTS
Galesburg Theatre Kids Announces Auditions for Alice's Adventure in Wonderland on 4/30 and 5/1.

Click here to visit the ITA's Audition Announcements for more details.

FEATURED PERFORMANCES
 
The Drama Group
Mary Poppins
April 29-May 1, 2016
Fri at 7p
Sat at 2p and 7:30p
Sun at 2p
Region 3: Chicago Heights

The Addams Family, a New Musical
May 5-7 at 7:00p
Region 2: Aurora

May 13-28, 2016
Fri and Sat at 7:30p
Region 2: Elgin
 
North Shore Dance and Theater
Disney's Jungle Book Kids
June 3-5, 2016
Fri and Sat at 7p
Sat and Sun at 2p
Region 3: Glenview
  
Need more information on the above shows? Want your performance to be featured here? Visit the ITA Performance Calendar for details.

Illinois Theatre Association


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)
312-265-6101 (fax)

iac

The Illinois Theatre 
Association is partially 
supported by a grant from 
the Illinois Arts Council, 
a state agency.  
ITA ANNOUNCEMENTS
 
Each week the ITA sends out "Friday Announcements" to its Listserve (currently comprised of more than 3,000 theatre artists and educators from throughout the state). If you'd like to submit an item for inclusion in the weekly announcements, please click here[Suggestions for inclusion include: audition announcements, job postings, interesting theatre stories/experiences, lesson plans, community/life events, etc., theatre opportunities, etc.). 
 
Also, please remember to submit your upcoming performances and/or events to the ITA's on-line performance calendar!!! Click here.
 
 
eFOLLOWSPOT  top   April, 2016
TYA: Now Playing! 
by Jeremy Schaefer,
Theatre for Young Audiences Division Representative
 

There are tons of opportunities right now to share great theatre with young audiences!  Here's a solid starting point for April's theatrical adventures!
 
 
 
Imagination Theater puts its audience on stage and invites audience members to choose the shape and direction of each scene's resolution.  This can be a deeply meaningful experience.  Here's how one audience responded to an interactive, social issues theater performance.
 

Including Theatre in the STEAM Mix
by Susan Antman
Creative Drama Division Representative
 
It's a truism everywhere that technology can be a wonderful, creative tool.  It's particularly true for the technical aspects of theatre.  If you didn't see the INTEL AND THE GRAMMY'S LADY GAGA EXPERIENCE - check it out on Youtube.  It was AMAZING.  Naturally, technology is impacting the arts in exciting and innovative ways, just as it's revolutionizing our communications and consumer cultures.
 
The same mostly holds true in education, as teachers scramble to incorporate the cloud into best practice.  As a theatre educator, I have been challenged to integrate technology as seamlessly as possible into the management of my classroom and curriculum.  Recently, I've been tasked to further integrate technology into the arts process.  I see this as a challenge that offers opportunities, even as it raises difficulties.
 
The primary issue is always time.  Time used to incorporate tech takes away from the time available to actively explore foundational theatre concepts with the students.  As practicing creative collaboration is among the primary learning goals of the theatre classroom, any time taken from building ensemble, exploring self, or working together in process is thoughtfully considered.  Still, while we can make the argument that creativity and working together are marketable 21st century skills, districts that have traditionally supported arts programs are hard pressed to maintain arts curricula in the face of the desire to prepare our students for our endlessly advancing technological landscape.
 
Currently, our arts team at The Skokie School in Winnetka is taking an integrated approach.  We are just beginning to brainstorm and explore resources, thoughtfully discuss our processes and goals, and write curriculum that meets our student's needs.  We already have been incorporating computer processing individually into each of the arts curricula: fine arts, music, and drama. Moreover, we are fortunate to be acquiring new tools to work with -- from a production and editing suite, to a wonderful maker-space.  Still, bringing in the new, while maintaining the integrity of an arts program is a challenging endeavor.  We want to be STEAM players without losing our artistic focus.  After all, while the design process aligns with the creative artistic process, we do our students a disservice if we sacrifice human expressiveness for technological proficiency. As in all things, finding a successful balance will be a glorious and consequential struggle.

 

As part of my research, I've asked Karen L. Erickson, of Creative Directions, an Illinois Theatre Association Lifetime Member, to offer some advice for incorporating technology into my theatre program.  Karen, who after a successful career traveling and teaching drama and selling over 50,000 copies of her highly acclaimed books, has made her books, lesson plans, activities, and stories available online at www.onestopdramashop.com.  She offers resources for classroom teachers, drama educators, teaching artists, and parents at all levels of experience from teaching a first drama lesson to a 100th.  I've been fortunate to train with her in the past, and I use many of her concepts and ideas in my curriculum, so I was excited to see what she thought about STEAM integration with theatre.  
 
Karen's perspective on STEAM was thoughtful indeed. She reminded me first that there is a difference between using technology as a tool, and integrating technology into curriculum. Furthermore, she said that for integration to be successful, we really need to deeply understand the standards and scope and sequence developmentally of all of the integrated subjects.  This assertion led to more questions than answers:  
  1. What are the goals and developmental standards of "technology" as a learned subject?
  2. Does the use of filmmaking in drama require us to consider the media arts standards as well?  
  3. Where do the goals of technology and each of the arts disciplines intersect most advantageously for both?
  4. Can we have summer hours to sort through these questions? :)
These are huge questions with complex answers, but they set the stage for best practice.  How can we craft experiences that will train our students in foundational artistic understandings as well as prepare them for their technological future?  As a progressive educator, I am excited by and committed to the idea of integration as the best way to help students construct meaning and learn deeply.  I don't have any answers yet, but I welcome the insights of our everyone in our Professional Learning Community here at the ITA.  Let's start a dialogue. Anyone with suggestions that will help me and all educators explore this compelling challenge, email me at susanantman@winnetka36.org.  Stay tuned! I will share my findings, resources, and failures with everyone who partners with me. 

Streator Welcomes the ITA's 2nd Bi-Annual Community Theatre Festival
by Kathy Missel
Community Theatre Division Representative

Streator looks forward to hosting the ITA's 2nd Bi-Annual CommunityTheatre Festival in November.  You might say that Streator's legacy of hospitality dates back to World 
War II.  During the war, the Santa Fe train depot was a busy way-station for millions of soldiers and sailors who passed through the town on the way to or from training for the war.  Beginning in 1943, the Streator Parents Service Club, a group of parents of veterans of the war, created the Streator Free Canteen.  The volunteers handed out sandwiches and coffee and presented a friendly face to the servicemen during their stopover in Streator.  During the 2 years that the canteen operated, volunteers hosted over 1.5 million servicemen and women.  Thirty other service groups from Streator joined to assist the Parents Service Club as well as 43 other organizations throughout the central-Illinois region. On Veterans Day, November 10, 2006 a bronze statue commemorating the "Coffee Pot Ladies" of Streator was dedicated at the Santa Fe Railroad Station.
 
Festival goers can expect that same type of hospitality when visiting Streator this fall.  Community Players of Streator, Inc. has, over their 59 year history, lovingly transformed a former asparagus warehouse into a beautifully equipped performing arts center that is the envy of many theatres in Illinois.  David Reed, a local history enthusiastic and current president of the theatre's board of directors, says that the entire organization is excited to welcome Illinois' community theatres to Streator. "We look forward to celebrating the important contributions that community theatres make to our local communities," Reed stated.  A full weekend of main stage performances, workshops and other networking opportunities is being planned.  Watch for registration information coming soon.

Tips for a Successful Audition
by Kevin Long
College/University Division Representative
 
As many of my students are preparing for summer theatre auditions, I thought I might share with you some of the guidance and suggestions I offer with the hope that their audition may be as successful as possible. 


I highly recommend two books.  The first is I Got In! by Mary Anna Dennard, found here

The book is only 110 pages; however, this is one of the best books I've read providing practical professional advice about preparing for auditions.  It is required reading for my students and I highly recommend it. 
 
The second is Actions: The Actors' Thesaurus by Marina Caldarone and Maggie Lloyd-Williams, found here.

In my teaching and directing I stress the dire need to affect change in the other characters on stage at all times.  I constantly ask actors, "Why must you use these words now in order to get what you want?"  I remind them that we are not "feelers," we are actors.  It's all about action - rather than playing general attitudes, moods, and feelings.  This little thesaurus of actions is also required reading for my students. Cheers to your upcoming auditions and break a leg!
 
Before the Audition:
Your Headshot and Resume
  1. Make sure the contact information listed on your resume is correct and current (cell phone, home phone and e-mail address).
  2. Bring multiple copies of your headshot and resume.
  3. Make sure that you list all special skills that you can perform - and perform well.  You may be asked to demonstrate these skills at your audition.  "Making fart noises with my armpit" is not a special skill, nor funny, nor professional. 
  4. List your training and your instructors.  Use this as an opportunity to network.
  5. Make sure your credits are listed in chronological order.  If you played Tony in West Side Story 10 years ago and have that credit listed first, think about what that says about you....yes, it's a leading role, but you did it 10 years ago.
  6. Never lie on your resume.  Be proud of what you've done.  Remember, quality is so much more important than quantity. If you are coming right out of high school or college, no one is expecting you to have a long list of professional credits.  Also, do not state that you have played a role when indeed you simply performed a scene from that play in class.  Do not misrepresent or falsify your work in any way.
  7. Make sure your picture looks like you now.  A headshot should show some personality.
Monologues
  1. Make sure the monologue truly represents you and a role that you could actually play. 
  2. Choose an audition piece that you enjoy-something that you will look forward to working on.  Read the play that it comes from!
  3. Make sure you have a strong and specific reason for speaking.  Many actors miss this step.  What does the imaginary character you are talking to say or do which causes in you the need to speak?  Let us actually see this step (keep your subtext strong, specific, and alive).
  4. Make sure your piece is ACTIVE.  Your character must be trying to affect change in the other (imaginary) character throughout the entire piece.  This is KEY.
Just take a look at the difference between the first few lines of an ACTIVE piece and a non-active piece. 
 
Theda Blau from IT HAD TO BE YOU by Renee Taylor & Joseph Bologna
 
Wait a minute!  Wait a minute!  Don't wrap it up yet, I'm here.  That wasn't the last girl.  I'm here and I've been waiting and I need the money.  I thought this was like a preliminary and the audition would be in another room.  I'm sorry.  I'm all mixed up.  I just came from a play audition.  And yesterday I was up for a movie.  And this is a commercial, isn't it.  That's where I am.  I've got my media all mixed up.
 
Jane from GREENSBORO by Emily Mann
 
When I was about eight, I remember my mother told me she wanted to show me something.  I can see the picture in my mind of her taking me to this hall closet in our house and pulling out...
 
Can you see the difference?  You want to be active - not passive.  If you are presenting an "I remember when..." monologue, the energy isn't forward and engaging.  Those types of pieces work when you are performing the entire play, but do not work when you are presenting a 3-5 minute audition piece.  Why? You aren't active.  You are not trying to affect change in the other character.  We don't see you pursuing anything.  You are just "recalling." 
  1. Choose a piece that you can fully understand and interpret. 
  2. Choose what you are good at doing-show off your versatility.
  3. t is fine to piece together an audition piece from shorter speeches, but keep in mind the through line of the piece.
  4. The audition piece should have a beginning, middle, and end.  It should be a complete unit with a connecting through line.  Like a mini-play.
  5. Know your time limit and pay strict attention to it.  If no time limit is stated, keep each piece to around 2 - 3 minutes.
  6. Cut the piece if it is too long.
  7. Avoid material that requires a dialect.
  8. Make mature judgments regarding the necessity for the use of profanity in all selected pieces.
  9. Never write your own monologue.  We want to see and hear you audition with a published piece written by a playwright.  You immediately send the wrong message (amateur) to those who are auditioning you with a self-written monologue or a piece from a novel, poem, etc.  Get to know the field you wish to be a part of.  Read plays.  See plays.  Read plays.  Did I tell you, you should read plays!
  10. Avoid presenting a piece from a play that is currently running or has just been produced at the theatre you are auditioning for. 
  11. If you know the show you are auditioning for, do not audition with a piece from one of the characters you wish to play.  Select a character that is very similar to the character you wish to play.  One young man auditioned for me for the role Cinderella's Prince from Into the Woods.  Instead of singing something from Into the Woods, he sang "Ten Minutes Ago" from Rodgers and Hammerstein's Cinderella.  I loved this choice.  It was a song by Cinderella's Prince from another musical.  Clever. 
  12. Always have more material ready in case you are asked, "Do you have another piece?"  If you say, "No," think about what message that sends to those who are auditioning you.  Make sure you have something that contrasts with what you just presented. 
  13. The confidence, poise and polish characteristic of an outstanding audition presentation is the result of dedicated, and concentrated rehearsal.  Adequate rehearsal is vital.  For example, a five minute presentation should be rehearsed a minimum of six hours, excluding time spent memorizing the piece.
  14. NEVER let the audition day be the first public performance of your audition piece.
The Audition

 

Obtain as much information about the audition BEFORE YOU GO.

    • When is the production?
    • When is the first rehearsal?
    • Who will be at the auditions?
    • Location and floor?
    • What type of contract/does it pay?
    • What space will I be auditioning in?
    • The more information you know, the less you will be thrown when you arrive.
  1. List all perceived conflicts at your audition.  If you are not willing to let go of a major conflict, then please do not go through with the audition. 
  2. Make sure to call within 24 hours if you are not able to attend an audition. 
  3. Do not audition if you are ill.  You will give your illness to others. There will be other chances. 
  4. Remember, this is a job interview.  So make sure that what you wear reflects you as a professional interviewing for a job. 
  5. Do not wear a costume. 
  6. Never bring major props (a letter, a ring, handkerchief are fine).  Never bring fake weapons, knives, etc.
  7. Arrive at least 15 minutes before your audition to complete paperwork and give yourself time to focus for the audition.
  8. Always be professional and polite to everyone you meet.  Your audition begins when you enter the building.
  9. Introduce yourself and the piece(s) you are presenting.  However, be fully present in the room.  If you just introduced yourself on the way into the room or have been introduced by the audition moderator, there is no need to repeat your name again.  Simply state the character name, the play and the playwright.
  10. Please do not shake the hands of the auditors unless they offer it to you.  Remember, they have seen many nervous actors all day.  Shaking sweaty hands is never pleasant.
  11. Make sure you have a reason to speak.  See #3 under Monologue above.
  12. Do not address your monologue to those you are auditioning for.  The director, auditor, etc., are not in your play with you. 
  13. Make sure to play the monologue as if the scene partner (your specific imaginary character) is on stage with you down center.  We need to see as much of you, your face, etc. as possible.  Please do not deliver the piece in profile.
  14. Have additional pieces ready in case you are asked to present something more.
  15. Know that those auditioning you are hoping that you are the answer to their casting puzzle.  They want you to succeed.  They are rooting for you.  And hey, they are a captive audience for the next 3-5 minutes.  This is your chance to play Hamlet!  Relish in the joy of that.
After the Audition
  1. Say, "Thank you!"
  2. Do not ask for feedback. 
  3. Leave graciously.  Do not air any frustrations that you experienced performing your piece or if you felt things were not as organized as they should have been, or if you felt you weren't given any attention by those auditioning you, etc.  You never know who will overhear you. 
  4. Send a follow up note thanking the company for the chance to audition.  Something simple that also has your headshot included.  Bob Mason at Chicago Shakespeare suggests scanning your headshot and making your own letterhead. Excellent idea.  They do not need another picture/resume.
  5. Treat yourself for successfully completing the audition process.  Have a cup of coffee at Starbucks, purchase a new book, go for a relaxing walk, etc.  This is not an easy process for an actor - so reward yourself in a simple, but profound way.
I'm not sure where I obtained this last bit of information, as I've had it for so long.  It's not something that I put together, but I really liked the advice and share it with my students as well.

For more tips on how to successfully land the role, click the link below to read about the top 10 reasons you did not get cast:
 

Play on! "Sound Ideas" from Professional Theatre Designer Kallie Rollin
by Joan McGrath
Professional Division Representative
 
David Bowie and Lana Del Rey's serial, spacey sounds underscore an otherworldly take on star-crossed lovers Romeo and Juliet in Ruckus' Theatre's From These Fatal Loins.  Madonna punctuates the gutsy and liberated vengeance of Pride Film and Play's Angry Fags.
 
These unexpectedly apt soundscapes are the hallmark of Kallie Rolison, the prolific sound designer who is a current artist and company member of Pride Films and Plays, 20% Theatre Company and Corn Productions.
 
Rolison didn't go to school for sound design - in fact, she earned her BFA in Theatre Arts from University of Mississippi as an acting major.   She is "self-taught" in sound design, amalgamating youthful lessons in piano, guitar and singing with a fearless sense of originality and an uncanny ability to connect nostalgia with theatrical emotion.
 
She laughs about her first venture as sound artist.  "It started out of desperate need.  Corn Productions was debuting a kids' show, The Fantasists, and the sound guy went out of town suddenly and the director looked at me and said, 'Help!'  So I went home and Googled 'sound design' and 'editing' and..." 
 
She went online without prejudices and discovered a delicious puzzle with innumerable solutions - and her own appetite to orchestrate them.  She tapped into software programs for editing, particularly Audacity and Q-Lab, which are available free, and Spotify, which for $10 a month enables the user to create his/her own playlist and research different styles.
 
Rolison has established her own protocol for approaching a new production: What emerges is a sound concept that is inventive yet seamlessly integrated into the production at hand.
 
Kallie, who in 2015 was nominated for Best Sound Designer/Non-Equity Broadway World.com Award for her work on Angry Fags, is eager to share her experiences with new designers.
 
Do you have a "philosophy" of sound design?
Yes: let the sound enhance, never distract, from the story.

How do you approach a new project?
After reading the script, I ask the director what is his/her vision for the play.  Then I wait to hear what the other designers (lights, set, costumes) have in mind.  Only then do I move forward with my personal design.  Knowing their visions allows me to craft the sound to complement and enhance the other theatrical elements.  Then, I play around, experiment and listen to hours and hours of music.  Songs that fit thematically.  Songs that affected me emotionally.  Or sound cool.  Or invoke a visceral response.  My next step is to create a working playlist of inspiration music.  I send that out ASAP to the cast and crew so they can listen to it during the rehearsal process.

You have the most imaginative way of mixing up period pieces with contemporary sound.  How do you get that to work so well?
What I love about sound design is the ability to manipulate a piece of music or audio or sound and test the possibilities of where it can go.  I hear sound, but also I literally see it on my computer, and I can distort, pull, push, tweak, amplify, manipulate it an innumerable amount of ways so it becomes something new.  I can take elements of a song and layer them on top of others to create a chaotic underscore for an epic fight scene, or I can take the final chords of a song and stretch them out over five minutes to create the sound of the ocean moaning at night.
 
In some ways, I love that originality is mostly 'dead' because it means that everything else is inspired!  I can listen to contemporary music and see the veins under the song and draw the connections between modern and period for myself.  There's so much inspiration behind one song or one sound that connecting the dots between past and present is a puzzle with limitless outcomes.

What three pieces of advice would you give a young sound designer?
The first one is easy - Get a dropbox or cloud-based account to save all of your sound design to!  Trust me - saving it to your personal computer eats up too much space.  This allows you to sort through old files whenever you want.  I regularly pull sound elements from designs I created years ago.
 
Two - a good lighting designer can be your best friend.  If you want a transition to pop or a musical moment to have a strong effect, it's a design team effort.  Lights especially can help sell your sound.
 
Three - don't be afraid to cut things.  I always over-design a show and when I see run-throughs, end up cutting a fourth of what I originally designed.  You don't need transition music for every scene change or a soundscape for every new location or an underscore for every monologue.  Don't get married to your design, because it will probably change a lot during tech.  Art is temporary.  There will always be another show.

ITA Member Spotlight: Janine Delmonico, ITA Member
Submitted by Judy Klingner, ITA Second Vice-President
 
What is your name?
Janine Delmonico
 
Please describe your first experience with the theatre.
When I was in middle school, another student and I would do all of our final projects on stage.  We created parodies of songs, staged interviews, acted out scenes.  We did whatever we could to perform.  My first experience with a published work was during my sophomore year in high school when I was cast in Godspell.
 
How did you decide to become a high school theatre teacher/director?
I knew I wanted to teach and I loved what theatre 
offered me, and my friends, in high school, so I combined the two, and voila.
 
Who is/was your mentor?
I have two mentors who really guided and helped me when I was starting out: Tom Rusnak (Morton East High School, retired) and Tom Witting (Reavis High School).
 
What is the biggest challenge of being a high school theatre director?
TIME!!!
 
What is the best thing about your job?
I really love the rehearsal process.  I like to see the students create moments on stage.  I love the fact that we take a script on paper and make it into a living art form.  That, I think, is truly amazing!
 
Please share details about a theatre project/production with which you are currently involved.
We just finished up The Diary of Anne Frank, and to prepare the students, we took a field trip to the Holocaust Museum.  We were fortunate enough to have our docent from the museum bring some friends to see the show.  He, as well as other members of the audience, told me our production was incredibly moving and beautiful.  It makes me proud that our students have done justice to the script and the story.
 
Of what theatrical accomplishment are you most proud?
The Diary of Anne Frank
 
In what ways have you been involved with the Illinois High School Theatre Festival?
Before I had children, I was on committee for many years, and thoroughly enjoyed my time with that endeavor.  Now, I am a participant and love every moment of that, too!
 
What inspired you to become a Lifetime Member of the ITA?
The ITA is a wonderful organization, and I felt supporting the art of theatre was important enough for me to become a lifetime member.


ITA UPDATES

Teachers, check your mailboxes for the IHSTF Spring Postcard. In case you miss it:
 
Find Your Truth: Discover, Uncover, Reveal
January 5-7, 2017
University of Illinois at Urbana-Champaign

All-State Production
Sweeney Todd: The Demon Barber of Fleet Street
Audition applications are now available online!

Save the Dates:
May 13, 2016
IHSTF 2017 Website Updates Available: Lead a Workshop, Bring a Play, Respond to a Production, Submit a Nomination for the IHSTF's Administrator Support Award

May 20, 2016
Sweeney Todd Actor, Musician, and Technican Crew Applications Due

June 11-12, 2016
Sweeney Todd Auditions/Tech Interviews

June 18, 2016
Sweeney Todd Callbacks

To receive email updates about the IHSTF, register your email address on the Festival website. Any questions may be directed to info@ihstf.org or call 217-244-8174.

Never been to the Festival? Associate Director Judy Swiger would love to help your students join the fun. Call her at 217-840-7255 or email judyannswiger@gmail.com.

Community Theatre News
The Illinois Theatre Association is thrilled to announce its 2nd Bi-Annual Statewide Community Theatre Festival
commUNITY theatre: One Heart, One Vision, One Voice
Illinois AACTFest
Engle Lane Theatre (Streator)
November 4-6, 2016

In addition to dynamic workshops, engaging roundtable discussions, a compelling keynote presentation, fun afterglow parties, and an awards brunch, the Festival will feature up to eight community theatre presentations on its Mainstage. Two of these companies will be chosen to represent Illinois in the American Association for Community Theatre's 2017 Regional Festival (AACTFest 2017), which will take place in April, 2017. This cycle's regional takes place in Illinois! A special occasion for this great state.
 
Registration for companies seeking a Mainstage slot is now available. Applications for presenting companies are due by 5/22/16. We will select the first eight companies that respond. 

Only 2 Mainstage Presenter Slots Remaining!

Click Here for Mainstage Registration.

Not ready to register yet? Have some questions? Please view this AACT Handbook for some basic information about eligibility requirements. Any additional questions may be directed to Aimee-Lynn at 312-265-5922 x1.

General registration for the Festival will be available in the coming months. Please spread the word and save the date!

Nominations Accepted for ITA's 2016 Awards of Excellence
Each year the Illinois Theatre Association recognizes both individuals and organizations for their significant contributions of promoting quality theatre throughout the state of Illinois. Award categories include:

Awards of Excellence
  • College/University Theatre
  • Community Theatre
  • Creative Drama
  • Professional Theatre
  • Secondary School Theatre
  • Theatre for Young Audiences
Anne Thurman Mentorship Award

Award of Honor to a Non-ITA Member

Award of Honor to an ITA Member

For details, awards criteria, or to submit your nomination, click here. The deadline for nominations is May 16th!

Nominations Accepted for ITA's 2016-17 Board of Directors
The ITA is now accepting nominations for individuals interested in serving on ITA's Board of Directors for the 2016-18 term. For complete details, and to fill out a Board Interest Form, click here. The deadline for nominations is June 17th.