NETCNewsinside

this issue

A MedievalCraft in a

Machine Agepage10

Area Newspage 3

Ovationspage 5

REPA ’05Registration Form

page 8

Opportunitiespage 12

Improv-O-Rama!!Registration Form

page 13

NETC AuditionsRegistration Form

center insert

volume 14 number 1 winter 2005

A QuarterlyPublication of the

New England TheaterConference, Inc.

Theater is alive and well in Maine. This comes as nosurprise to those who’ve been living and working herefor some time, but it did to me, recently retired to thislovely state. This year, instead of using Maine as aretreat—from a busy life, which included theater mostcertainly—I began opening my eyes to what is here,and I found a lot. Many high schools have active pro-grams and their state drama festival is attended bydozens of enthusiastic students, parents, and friends.The University system—particularly in Orono,

Machias, and Gorham—have vibrant and sophisticat-ed programs of courses and productions. Of course thereare the celebrated summer stock companies whichhave been running on the mainland and the islands fordecades. And community theater seems to pop upeverywhere. I love it that in Ellsworth, my closest city(also known as “The crossroads of Downeast Maine”),productions at the Grand have casts that include peo-ple I know by their other occupation—veterinarian,hardware salesman, teacher, seamstress, city clerk, highschool student, surgeon, carpenter, auto mechanic,insurance saleswoman, realtor, minister. What fun!The whole area turns out for these events—as partici-pant, behind the scenes volunteer, or audience. AndI’m now involved directing a script of my own in

Reflections on Theater inMaine and Our Recent NETCPortland Conventionby Carol Korty

New England Theatre Conference, StageSource, UnitedStates Institute for TheaterTechnology New England, andThe Dance Alliance announce the RegionalEntertainment Production and Administratiation JobExpo, REPA Job Expo 05. The event is scheduled forFebruary 5th, 2005, from noon to 4 PM at 88 TremontStreet, 6th Floor, Boston.

REPA 05 provides employers in Entertainment, Theatre,Film, Television, Dance, Industrial Suppliers, and relatedindustries an opportunity to find employees to fill jobopenings in design, technical production, consulting,management, marketing and administration.

REPA ‘05 Job Expo in the Works

continues on page 2

The cast of Nightingale perform for NETC audience.

NETC Theatre Auditions 2005

continues on page 8

The NETC Annual Auditions will be held Saturday,March 19–Monday, March 21, 2005 in Natick,Massachusetts.

The Auditions provide a service whereby producersand directors of New England and other theatres fromthroughout the country meet in a group to audition andinterview can didates for po sitions in summer and year-round professional theatres as performers, designers,technicians, and theatre/production staff.

The Auditions are open to non-Equity members andEquity Membership Candidates. Equity members arenot eligible to apply. Applicants must be college stu-dents or adults, 18 & older. High school students orindividuals under 18 are not eligible. In addition toyoung performers, producers are interested in seeingmature, adult talent with professional experienceand/or experience in commu ni ty or summer theatres,for both seasonal and job-in employment. Producerswill also be interviewing musical directors, designers,and applicants for technical and staff positions.

For more information on how to apply for the NETCAuditions, please see the center insert inside thisnewsletter. Applications must be postmarked no laterthan February 1, 2005, so don’t delay!

NETC News2

Reflections on Theater in Mainecontinued from page 1Cover

StoryWinter Harbor with a group of 19 actors and musi-cians, ages 6–56, including the same typical diversity:lobsterman, music teacher, counselor, junior high stu-dent, sales manager, organic farmer, etc. etc.

As a Mainer, I volunteered to help plan this year’sconvention in Portland. It was a grand event. Let mehere thank all those terrific people who came andcontributed their ideas, experiences, and energy;shared their skills in workshops; grappled with issuesin meetings; and celebrated together at the AwardsBanquet. We all gained some insights from the ses-sions which covered a remarkably wide range of the-ater topics, but I’d like to reflect here on the three per-formances featured at the convention.

The first was The Emperor’s Nightingale, a gentle, partic-ipatory play by John Urquhart for very young audi-ences. Children came from a nearby day care center tosit on the floor around the playing area, while highschool students and adults sat in chairs behind toobserve this charming experience. The familiar tale waspresented with low tech, casual performance style, anddirect interaction between performers of Portland’sChildren’s Theatre of Maine and their audience.

In contrast Portland Stage’s production of Almost,Maine by John Cariani, was an Equity production per-formed in a proscenium house for adult audiences.Although formal in its presentation, this delightfulcommentary on life and love in the cold reaches ofnorthern Maine was written and performed in a tight-ly rehearsed manner that nonetheless felt intimate. Itmade the human issue of needing and fearing close-ness feel personal and universal.

Fortunately I was able to see Almost, Maine onThursday evening, to avoid the scheduling dilemmaFriday evening when The Wabanaki Transformers’

Theatre troupe, alsofrom northern Maine,presented a piececalled PassamaquoddyCreation Myths by VeraFrancis. This event feltmore like a sharing of areligious ritual than atheatrical production.Four players with greatseriousness of focusembodied several char-acters from traditionalP a s s a m a q u o d d ymythology. Theinvolvement of theperformers with the material was personal and heart-felt. The timing and rhythms of the piece were exten-uated, noticeably different from that of the Almost,Maine production. The audience here seemed to havebeen invited to witness what unfolded in its own timeand place. There was no attempt to involve the audi-ence, as in the The Emperor’s Nightingale production.Another contrast was visible in costuming. Each treat-ment was effective but very different. The splendidcostumes worn by the Wabanaki players were highlystylized and hand-made with obvious loving care. Thecostumes of Nightingale were standard children’s the-ater fare and the Almost, Maine characters were clad inL. L. Bean outfits, donated by that company, machinemade, every day wear.

These three performances were in stark contrast toeach other, intended for different audiences and fordifferent audience responses. The vehicle of one was afamiliar children’s story, one was drawn from everydaylife of people in Maine, and one was drawn from tra-ditional mythology of Maine’s First Nation people.But through the difference of style and content, I felta great commonality in the three as each dealt withthe issue of human desire to connect—human tohuman and human to elements of the earth. I wasmoved by the experience.

Yes, theater is alive and well in Maine!

The cast of Nightingale enrapture their young audience.

A high school designer of thefuture tests his skills at the

Olympiad.

Wabanaki Transformers’Theatre troupe of Maine in

Passamaquoddy CreationMyths by Vera Francis

volume 14, number 1 3

“Act One Plus 99”: A Moss Hart CentennialCelebration was sponsored by the New YorkMetropolitan Museum of Art (where Kitty CarlisleHart is now an honorary Board Member) onWednesday, November 3, 2004. The evening washosted by Harold Holzer, Vice President forCommunications and Marketing at the MMA.

Moss Hart (1904–1961) is remembered as the wittyplaywright of You Can’t Take It With You, The ManWho Came To Dinner (both co-authored with GeorgeS. Kaufman), and Light Up The Sky. He also directedMy Fair Lady and Camelot. The evening noted his onehundredth birthday and celebrated the U.S. PostalService’s Commemorative stamp honoring him.

Moss Hart’s widow, Kitty Carlisle Hart, the “grandedame” of American Theatre, has been a professionalsinger and film and stage actress for more than 70years. She is former chairman of the New York StateCouncil of the Arts (1976–1996). To fan her interestin the role of women in society, she chaired aStateside Conference of Women, served as a SpecialConsultant to Governor Rockefeller on Women’sOpportunities and moderated “Women On theMove,” a television series.

Mrs. Hart entered onto the stage to applause. Seatedon stage left, Mr. Holzer prompted her to share manyanecdotal comments and warm remembrances abouther husband’s and her own careers. These wereenhanced by film clips and songs.

According to Kitty, the first time she met Moss, she

literally “fell” for him. She was on the set of the filmA Night At the Opera when George Kauffman told herthat two of his friends, Moss Hart and Cole Porter,from New York wanted to meet her because they werelooking for a leading lady for their new musical Jubilee.She was so excited that she began running towardthem but tripped over one of the coils of wire on thefloor and fell flat at Moss’s feet! Even though she sangfor them later, she did not get a part in Jubilee. She saysshe wishes she had been cast in Jubilee because shemight have had 10 more years with Moss.

The evening was interspersed with film clips fromGentleman’s Agreement, The Man Who Came to Dinner,To Tell the Truth and A Night At the Opera. Kitty,accompanied by pianist and musical director, DavidLewis (who has been touring and collaborating withher for the past 8 years) sang “Smoke Gets In YourEyes,” “Always,” “My Ship,” “I Could Have DancedAll Night” and “Here’s to Life.” Mr. Holzer’s invitationto her to return to celebrate her own centennial wasgreeted with enthusiastic applause. She left the stageto a standing ovation after which she was feted with adinner party hosted by the trustees of the MMA.

Thursday noon, November 4, is my fondest memory.She graciously met me in her apartment to autographAct One, Moss Hart’s autobiography (which is beingreprinted by Random House) and several copies of herown biography, Kitty. She is very proud of her daugh-ter Cathy, who is an internist in New York City. andher son, Chris, who is a director in Los Angeles. WhenI told her I wanted to be at her centennial, she smiledand said she wanted to be there, too, because “I don’twant to be out flanked by my beau who is 101”!

The November 3rd interview with Kitty Carlisle Hartwill be printed in the February issue of AmericanHeritage Magazine.

AreaNews

“Act One Plus 99”: A Moss HartCentennial Celebrationby Bevie Lord

At their recent board meeting the membership of NewHampshire Community Theatre Association elected anew board for the 2004–2005 season. The outgoingboard had a very successful year. Increased membershipand successful festival have helped to give NHCTA aneven stronger economic footing. The highlight of theNHCTA year is the annual community theatre festi-val. This year it was held at the Concord CityAuditorium in March. The main feature of the festivalis a performance competition for one-acts. Groupsfrom around the state were entered. In addition toindividual awards for excellence, Merrimack

NHCTA Elects New Board of Directorsby Chuck Emmons

Community Theatre won for best performance with acutting of Neil Simon’s The Good Doctor. This produc-tion then went on to compete very well at the NETCNew England Regional Community Theater Festivalheld in Manchester, NH, July of this year. In additionto the competition, several theater workshops werepresented at the festival.

The incoming board is filled with experienced, tal-ented people who all clearly share an enthusiasm fortheater.

continues on page 4

NETC News4

Paul Barstow, Early NETC President, Dies at 79

AreaNews

Paul R. Barstow, the fourth NETC president, suc-cumbed to pneumonia on November18 at the age of 79.

Born in 1925, he grew up in Hartford, and, with aninterruption for Army service in Europe, graduatedmagna cum laude in English from Williams College in1948, with election to Phi Beta Kappa. He went on toearn an M.F.A. degree in directing from the YaleSchool of Drama in 1955, with a thesis on Sophocles.

He at once joined the Wellesley College faculty asspeech instructor, where over the next 15 years he grad-ually built up a full theatre concentration. He directedmore than 100 student productions until his retirementin 1994.

He joined the NETC soon after his arrival and prompt-ly became chairman of the College Division. In 1957 hewas elected NETC president, and served in that officeuntil 1960. He then was a member of the AdvisoryCouncil for some years, including a stint as its chairman.

Throughout his career he believed in practicing what hepreached, and kept up steady activity as an actor withboth professional and community troupes such as theNew Repertory Theatre in Newton, the HarvardSummer Players, and the Williamstown Theatre. Hemaintained an association with the Vokes Theatre in

Wayland for more than 40 years, and directed severalshows for the Concord Players. In the 1960s and 1970she acted and directed with his own local company, theRoundabout Repertory. In recent years he acted with theMasque Theatre of Milford and the Pickwick Players ofUxbridge, where he lived during his official retirement.

An enthusiastic traveler, in 1977 he was especially takenwith his first sojourn in Japan, and as a result he stagedproductions of kabuki, noh, and kyogen at Wellesley inaddition to creating a Japanese garden on campus.

Although he married in 1953 and had three children,he proudly proclaimed in the 1970s that he was gay,and he donated materials for the Barstow Collection ongay selfhood at the Williams College Library.

In his final hospital days he declined to watch his tele-vision set, preferring instead to run through lines fromhundreds of plays in his head. “It’s been a great run,” hesaid.

A memorial gathering was scheduled for December 12at 1:00 p.m.—held appropriately on the Barstow Stagein Wellesley’s Alumnae Hall. Memorial donations willbe welcomed by the Wellesley College Theatre Fund,c/o Middlesex Savings Bank, Edgell Road, FraminghamMA 01701.

The new president is Sally Nutt-Morger. Sally has beenactive in community theater throughout the world fora couple of decades and most recently in southern NHfor the past 6 years. Since her arrival in NH, she hasparticipated with various groups both in front andbehind the curtain. Among these are Milford AreaPlayers, New Thalian Players (Manchester), andActorsingers (Nashua). She proudly serves our nationin the AF Reserve as a Public Affairs officer. Sally iscurrently a member of the Milford Area Players’ Board.

Michael Wilkes was elected 1st Vice President. Hehas been active in community theatre throughoutcentral NH for over 20 years, as an accomplished per-former. Most recently he has been a major force in theVillage Players (Wolfeboro) as they purchased andrenovated an old Masonic hall into their own theater.

Rebecca Bean was elected as 2nd Vice President.Rebecca has been active in theatre, both in schooland out in the community, for the past seven years.Among the groups with which she has participatedare Franklin Footlight Theatre, Gilford Players,Community Players of Concord and Streetcar

Company of Laconia. A well respected stage talent,Rebecca also has had a major impact on these theatergroups by being an active fund raiser. At present she isthe historian for Franklin Footlight Theater.

After a year’s absence, Sally Kelly was returned as theNHCTA Board secretary. Sally Kelly is a long timemember of the Community Players of Concord as wellas NHCTA. In addition to her important position inFlooring America, she is active in many other com-munity organizations in the Concord area.

David Murdo is returning as the NHCTA treasurer.A member of the Community Players of ConcordDavid has also been the president of the Friends of theConcord City Auditorium for the past several years.He has ably served as producer for the annualNHCTA Community Theater festival.

As the departing president, Chuck Emmons willremain on the board as the Ex Officio. He said “Thenew Board is filled with very able and enthusiasticpeople and I’m glad that the future of the organizationis in such capable hands. Although the outgoingBoard accomplished much, there is no doubt thatNHCTA can grow and be much more. I fully expectthe 2004–2005 Board to continue NHCTA’s develop-ment in the future.”

NHCTA Elects New Board of Directorscontinued from page 3

volume 14, number 1 5

Ovations

College and university students from throughout theNew England area will celebrate the thirty-seventhKennedy Center American College Theatre Festival,Region I, January 26–30 at Rhode Island College inProvidence, RI. Co-chairs Myron Schmidt and JimBeauregard, both of Dean College in Franklin, MA,promise a full program of workshops, competitions,and performances. As this issue of NETC News isgoing to press, the festival selection team is ponderingthe performance schedule from among over a dozenparticipating entries of exceptional quality producedduring the year 2004 on area campuses.

Acting students nominated from their campus produc-tions as Irene Ryan Acting Scholarship competitorswill audition under new guidelines, which shorten thepreliminary round time and require two partneredscenes for the semi-final round, an innovation fromthe national headquarters. For the third year NETCwill be honoring excellence in comic acting and clas-sical acting based on offerings at the semi-final roundof competition.

Dan Patterson of Keene State College will be con-ducting the critics’ workshop. The regional winner of

KCACTF to Celebrate CollegeTheatre in January

the critic’s prize will be eligible to compete nationallyto a scholarship to attend the Eugene O’Neill TheatreCenter during its national playwriting conference(July 2005), working with leading professional news-paper and magazine critics from across the UnitedStates. All expenses will be paid. In addition, eachregion’s Critic Institute Finalist will become eligible fora matching grant from the National Critics Institute toattend the summer institute program. It is expectedthat the sponsoring school meet the match.

In addition, student designers will exhibit their designsfor critique from professionals and will compete forhonors.

A feature which has been gaining in energy and popu-larity over the past few years is the ten-minute playevent, “Five by Ten’s,” wherein original student-writ-ten ten-minute plays are staged (script-in-hand) witha mere two and a half days production schedule.Patricia Riggin of Boston College is managing thisevent.

Kelly Morgan of Fitchburg State College is designing afull schedule of varied workshops, ranging from per-formance to technical tips. Workshops are open to allfestival attendees. For further information on the festi-val and special hotel arrangements at Crowne Plaza,Warwick, go to www.kcactf1.org.

It would be easy to lavish numerous awards toLighting Designer Don Holder, the 2004 NETCMajor Award recipient, based on his body of workalone. His talents shine onstage from Movin’ Out andThe Lion King on Broadway to this fall’s Gem of theOcean at The Huntington Theatre Company inBoston, and beyond. However, the artistry of Mr.Holder not only illuminates actors, costumes, and sets,but also reveals his brilliance as a designer with a keeneye sensitive both to what can be seen with the eye andwhat abides in the souls of the characters on stage.

Aside from my knowledge of his stagework, my onlypersonal experience with Mr. Holder was at theSaturday morning lighting workshop and that nightat the NETC Convention Awards Banquet. Arrivingslightly late to the workshop due to flight delay, hearrived in a calm manner, unflustered by the whirl-wind pace of airport-to-airport-to workshop morning.Promptly proceeding with the lighting workshop, hewas most informative with design and technical

information useful to those who attended. The work-shop covered topics from lighting angles, color use,and the application of new technologies in lightingthat save time, space and money.

Nevertheless, what struck me most about Mr. Holderwas his demeanor, a quiet composure that exposed thetrue nature of this man of the Theatre. When hespoke, it was with kindness and with the assurance ofa man who knows what he is doing. It is easy to seehow his soft-spoken ways, his natural ability, and self-confidence free him from the stress of feeling threat-ened as an artist serving the work of the play and thevision of the director. He is a true collaborator. Fromall he spoke of, both at the morning workshop and atthat night’s banquet, what seemed most noteworthyabout Mr. Holder was his calm steadfastness as a man.A true artist who knows not only the nature of hismedium, but the nature of the Theatre, the world welive in; and most humbly, his place in it.

Reflections on a Lighting Designer—Don Holderby Luke Sutherland, Community College of Rhode Island

NETC News6

After ten seasons as Trinity Repertory Company’s artis-tic director, Oskar Eustis will leave the company in thespring. Eustis has been named artistic director of NewYork’s Public Theater. Managing director Edgar Dobie(the Tony Award-winning producer) and associate artis-tic director Amanda Dehnert continue their leadershipof the 41-year-old company during the transition. In hersixth year as associate artistic director, Dehnert becomesacting artistic director.

“We’re delighted for Oskar, and very proud of what thissays about Trinity Rep,” said Arnold B. Chace, Jr., chairof Trinity Rep’s board of trustees. “His selection is testa-ment to Trinity Rep’s diverse strengths: producing world

premieres and innovative classics, running a nationallyrecognized graduate theater training program withBrown University, and providing educational program-ming for more than a million schoolchildren. With hispartners Edgar Dobie and Amanda Dehnert, Oskar builta strong organization, artistically and financially.Thanks to this work, Edgar’s expertise, and Amanda’sartistic vision, we’re in a great position to select our nextartistic director.”

“When I moved here from New York in 2001,” saidmanaging director Edgar Dobie, “I was amazed at thedepth and breadth of Trinity’s talent. Despite years inthe theater, I didn’t know just how special this companyis. Trinity is a regional theater with true national talentthroughout, from the acting company to our adminis-trators, Amanda and Tony Award-winning designerEugene Lee.”

Oskar Eustis to LeaveProvidence for New YorkPublic Theatre

OvationsAs far as banquets go, this year’s NETC Awards Banquethosted by yours truly was an enjoyable evening for allwho attended. For those of you who didn’t get to go thisyear, get your tickets for next year early as it is certainlyexpected to be a very hot ticket event and you won’twant to miss a moment of the fun. After a sumptuousmeal and some great dessert, the awards were presentedto all the winners. And I must say, I looked pretty snazzydecked out in my black tuxedo for the evening.

NETC President Tom Mikotowicz welcomed everyonein attendance and then the presentations began.

The evening went pretty much without a hitch andthere were some very fun moments during the eveningkeeping the crowds entertained. To start off the evening,we have a great presentation of the Marie PhillipsService Award to Joe Juliano by Barbara Horrigan. I wellsay this, Barbara, you made my night—dancing acrossthe stage to the podium was one of the highlights of theevening for me.

Another special moment in the evening took place afterthe presentation of the Moss Hart Award to theCompany Theatre for their production of Big River. Asthis was his last year as the Chairman for the Moss HartAward, NETC’s own Dick Rousseau was presented witha copy of Kitty Carlisle Hart’s autobiography by BevieLord, who recently met Kitty and had the book person-ally autographed to Dick. It was wonderful tribute toDick for all his hard work. Bravo!

Accepting Leonides A. Nickole Theatre Educator ofthe Year award was Robert Colby of Emerson College.His former student, Linda Potter, presented.

We were very fortunate to have some great recipients onhand that evening from the eloquence of mild man-nered fight choreographer David Leong to the humor ofplaywright Connie Congdon. And of course, our majoraward winner, Don Holder, the Tony Award winninglighting designer for The Lion King, Movin’ Out, andThoroughly Modern Millie, was on hand to accept hisaward for his contributions to theatre.

We did have one small misfortune that evening in thatWilliam S Yellow Robe was unable to attend at the lastminute as one of his actors was unable to perform thatevening and, as we all know, the show must go on.Indeed it did with Mr. Yellow Robe stepping in at thelast minute. Kudos to you Mr. Yellow Robe, and knowthat you were greatly admired by one and all. Here’s apersonal “Bravo” to you. On hand to accept their specialawards were Davis Robinson, the artistic director andfounder of Beau Jest of Portland, ME, John Farrell ofFigures of Speech Theatre of Maine, an obviouslymoved JulieAnn Govang, the editor of New EnglandEntertainment Digest, Burlington, MA, ChristopherSchiaro of The Public Theatre of Lewiston, ME, andVermont Stage Young Playwrights of Burlington, VT.

NETC also inducted two new members into theCollege of Fellows. This year’s inductees on hand toreceive their medals were Russell Swift and Jim Quinn.

My personal thanks to all the NETC Board memberswho helped out with the awards ceremony, with specialthanks to Hank Zappala for his assistance that night.

Awards Banquet TakesCenter Stageby Tim Fitzgerald

continues on next page

volume 14, number 1 7

OvationsThe winner of the thirty-seventh John GassnerMemorial Playwrighting Award is Leah Napolin for herastonishing script, The Dogs of Pripyat.

The play is concerned with true events that occurredafter the 1986 explosion of the Chernobyl nuclear sta-tion in Russia. After the horrific explosion, nearly all theresidents were evacuated. Their dogs, of course, were leftbehind. Several months later, when decontaminationworkers returned to the area, they were surprised to findthe dogs still alive—in fact, doing quite well. They hadsurvived by joining together in packs and hunting downlivestock. They had, in short, gone feral.

And so the character list Ms. Napolin’s play consistsmostly of talking dogs—a terrier, a dachshund, and aGreat Dane, among others. There’s also a very clevercat, and a giant mutant catfish. We meet, as well, alovely old peasant couple—indeed, a few inhabitants ofChernobyl did refuse to leave the region, in spite ofgovernment orders.

With extraordinary skill and taste, Leah has takenthese events and crafted them into a funny, touching,and very human allegory. The play is a unique fusion offact and fable, a wonderful and unique addition toNETC’s list of award-winning works.

Leah Napolin made her Broadway playwriting debut in1975 with Yentl. Produced by Cheryl Crawford and theChelsea Theater Center, Yentl played for ten months atthe Eugene O’Neill Theater. Ms. Napolin’s other playsinclude Lost Island, about monks and nuns in theeleventh century, Aristophanes’ Retreat and Trash andTreasures, a one-act commissioned by the Actor’sTheater of Louisville. Her recently completed novelSplit at the Root is set in 1950s Mississippi and Louisiana.Leah has taught Comparative Literature at Ohio State

University and music at a private school in Venezuela,as well as a program in creative writing for the inmatesof the Ohio Reformatory for Women. She has alsoacted in summer stock, and raised two daughters. She isa member of P.E.N. and the Dramatists’ Guild, and isrepresented by agent Barbara Hogenson.

John Gassner was one of the leaders in the Americantheatre. He was a critic for the New York Herald Tribuneand New York Magazine, an editor for Simon andSchuster, and chairman of the script department of theTheatre Guild. He wrote and lectured extensively onthe theatre, and served on the faculty of Yale. When hedied in 1967, his wife Mollie established the JohnGassner Memorial Playwrighting Award in his memory,under the auspices of NETC. Its mission is to supportAmerican drama by identifying genius in playwrighting.

The Dogs of Pripyat was chosen from a field of 65 sub-missions. These scripts showed—as the Gassner sub-missions show each year—that American playwrightswork in an astonishing range of styles, tones and fla-vors. They concerned family, war, art, class and a scoreof other issues. Their tones ranged from the indignantoutrage to a sweet, poignant nostalgia.

This year, NETC was delighted to have playwrightConstance Congdon on the Gassner committee; it wasshe who made the final choice for the winning script.Connie, who has written over 25 plays, is best knownfor her script the Tales of the Lost Formicans. Her playshave been produced, among other places, in London,Manchester, Moscow, Helsinki, Tokyo and HongKong. A recipient of a number of prestigious awardsincluding a Guggenheim, Rockefeller and NationalEndowment for the Arts grant, she received a SpecialAward at the November NETC annual convention.She was also featured speaker at the Sunday brunch.Connie is on the faculty of Amherst College.

Gassner Winner Announced

During Eustis’ ten years as artistic director, Trinity Rephas:

• continued its mission of developing new plays forthe national stage, including Paula Vogel’s The LongChristmas Ride Home, 2003; Rinne Groff’s The RubySunrise, 2004; Craig Lucas’ God’s Heart, 1995

• launched major new graduate programs in actingand directing with Brown University

• revitalized its resident acting company, one of thefew remaining in regional theater

• tripled its estimated attendance and annual operat-ing budget

• expanded educational programs for grades K–12, atthe theater and in the community

• built a third theater, The Pell Chafee PerformanceCenter, a home for Trinity’s educational programswith a flexible theater space for up to 200

• launched the Trinity Summer Shakespeare Project,bringing outdoor Shakespeare to over 20,000 peoplethroughout southern New England every summer,free of charge

Eustis joined Trinity Rep in 1994 after five years as theMark Taper Forum’s associate artistic director. He wasresident director and dramaturg at San Francisco’sEureka Theatre Company from 1981 through 1986, andartistic director until 1989. In 1996 Eustis received aSpecial Award from NETC.

Oskar Eustis, continued from previous page

NETC News8

Job seekers are admitted free to the Job Expo. Applicantsare provided with a list of attending employers and jobopenings. Applicants visit the employer at their assignedtable. Employers may conduct interviews and reviewportfolios on the spot or take resumes and business cardsfor follow up. (Resumes of applicants unable to attendwill also be distributed to registered employers).

Information provided about job openings will be given toall job seekers who attend. Employers will be provided atable and chairs to conduct interviews and given allresumes that were sent by applicants in advance. If youare an employer who cannot attend but would like toreceive a copy of resumes collected, register as a non-attending employer and resumes will be mailed to youimmediately following the event.

Set up begins at 11 AM. Participants are invited for com-plimentary coffee and treat at 11 AM for a meet andgreet with other producers/employers.

OpportunitiesREPA ’05 Job Expo in the Workscontinued from page 1

88 Tremont Street is accessible only through the frontdoors. Volunteers will be at the door to assist with unload-ing if needed. (There is no loading dock; there is loadingzone parking around the corner on Bosworth Street).

Closest parking is at Boston Common Garage and OneBeacon Street Garage (approximately $10 for Saturdayparking). Directions can be found at www.stagesource.org.

88 Tremont Street is accessible by subway at T-stops atPark Street (Green/Red), Downtown Crossing(Orange/Red), Government Center (Green/Blue) andTemple Place (Silver).

To Register: Fill out the form below, or register online atwww.stagesource.org (in either the PDF or Word format)and return by January 21, 2005 with registration fee to:StageSource, attn:Job Expo, 88 Tremont Street, Suite714, Boston, MA 02108 (Make check payable toStageSource) or Fax 617-720-4275.

For more information call StageSource at: (617) 720-6066.

REGIONAL ENTERTAINMENT PRODUCTION & ADMINISTRATION JOB EXPO ’05February 5, 2005, noon to 4:00pm at 88 Tremont Street (6th floor), Boston, MA

Return this form with registration fee by January 21, 2005 to: StageSource, 88 Tremont St., Suite 714, Boston, MA02108 or fax: 617.720.4275. For questions, call StageSource at 617-720-6066. Make checks payable to StageSource.

PRODUCER/EMPLOYER REGISTRATION SHEETA) Contact Info (for internal use only):

Contact Name:

Company Name:

Address:

City: State: Zip:

Phone: Email:

B) Registration (Check one)

❐ Yes, we will attend. Our attending representatives will be:

❐ No, we will not be able to attend. Please send us a copy of applicant resumes collected for us to theaddress above. A check is enclosed.

C) Fee (Check one)

❐ Members: $60 (check one or all that apply)

❐ Member with: ___ StageSource ___ NETC ___ USITT New England ___ The Dance Alliance

❐ Non-Member: $70

There are a limited number of half tables for $40 available for smaller organizations.Please call StageSource at 617-720-6066 to find out if you are eligible and to confirm availability.

*Electrical outlets are very limited in this space. Do you need an outlet by your table?_________________*Do you need to be next to wall to display posters? ____________________________________________

volume 14, number 1 9

The information you provide below will be available for applicants upon arrival to the job expo.Please fill out all that applies to your business.

Type of Employer:❐ TV/Film ❐ Dance ❐ Industry/Supplier❐ Theater ❐ Consultant ❐ Other __________________

Fill out this section if you want this contact information distributed to all applicants:Name:

Address:

Phone: Fax:

Email:

Unions & Affiliations:❐ AEA ❐ USA local 829 ❐ LORT type: ____________ ❐ Other ________________

Production Season: Start date:_________ End date: _________ # of shows in season _________

Upcoming Productions:

Ideal application time (month): _______________________

Housing Availability and costs:

Transportation availability:

Industry:Name general product type: __________________________________________

We are looking to hire: (Check all that apply)Position Paid (check box, list salary/fee) Internship (check box, list fee) Volunteer

Design❐ Set Design ❐ Salary/fee: _______________ ❐ fee_______________ ❐

❐ Lighting Design ❐ Salary/fee: _______________ ❐ fee_______________ ❐

❐ Costume Design ❐ Salary/fee: _______________ ❐ fee_______________ ❐

❐ Sound Design ❐ Salary/fee: _______________ ❐ fee_______________ ❐ Production

❐ Technical Director ❐ Salary/fee: _______________ ❐ fee_______________ ❐

❐ Carpentry ❐ Salary/fee: _______________ ❐ fee_______________ ❐

❐ Electrics ❐ Salary/fee: _______________ ❐ fee_______________ ❐

❐ Wardrobe/stitchers ❐ Salary/fee: _______________ ❐ fee_______________ ❐

❐ Properties ❐ Salary/fee: _______________ ❐ fee_______________ ❐Running Crew

❐ Sound board op ❐ Salary/fee: _______________ ❐ fee_______________ ❐

❐ Light Board op ❐ Salary/fee: _______________ ❐ fee_______________ ❐

❐ Stage hands ❐ Salary/fee: _______________ ❐ fee_______________ ❐ Administration/Management

❐ Production Manager ❐ Salary/fee: _______________ ❐ fee_______________ ❐

❐ House Manager ❐ Salary/fee: _______________ ❐ fee_______________ ❐

❐ Stage Manager ❐ Salary/fee: _______________ ❐ fee_______________ ❐

❐ Box Office ❐ Salary/fee: _______________ ❐ fee_______________ ❐

❐ Marketing ❐ Salary/fee: _______________ ❐ fee_______________ ❐

❐ Fundraising/Development ❐ Salary/fee: _______________ ❐ fee_______________ ❐

❐ Sales/Consulting ❐ Salary/fee: _______________ ❐ fee_______________ ❐

❐ Outreach/Education ❐ Salary/fee: _______________ ❐ fee_______________ ❐

❐ Other ______________ ❐ Salary/fee: _______________ ❐ fee_______________ ❐

NETC News10

Special Feature The year is 2004 and cell phones are ringing, e-mails

are being sent, laptops are being plugged in and whileall that’s happening at North Shore Music Theatre,we also have a crew of artists banging nails, sewingcloth, and painting the circular stage. Yes, it’s the 21stcentury, but the effort it takes to produce a musical isextremely time intensive and reliant upon the cre-ative skill and expertise of hundreds of people. It’s ahigh-touch skill that fights to survive in an increas-ingly high-tech world.

Non-Profit: What does it really mean?Although North Shore Music Theatre is officially anot-for-profit organization, we are still a business—trying to keep costs down, quality up and customershappy. As a non-profit, we operate with a Board ofTrustees, not stock holders, so every cent that comesinto the theater is put back into making our productthe best that it can be. Whatever surplus we have goesdirectly back to the programs and the musicals for ouraudiences to enjoy. In essence, our patrons becomeour ‘investors’ as the recipients of our expanding andevolving programs and services. The Music Theatrealso relies on contributions from individual, businessand government sources in order to supplement tick-et sales and to make our programs affordable to thecommunity.

Theater Really Is AMedieval Craft Theater is not automated.For every set piece theaudience sees, for everycostume that is made, forevery note that is sung andfor every light cue that iscompleted (and those arejust a few examples), thereare experienced individuals

behind the scenes and on stage making that happen.More than half our expenses go toward employing thehundreds of industry professionals needed to createthe unique experience of live theater.

It’s a well-known fact that no one makes money in thetheater, most people who have a career in the theaterlove what they’re doing and want to hone their craftin the best environment—it’s considered part of theircompensation. To attract these outstanding peoplewho will maintain and exceed the level of profession-alism that our patrons expect and enjoy here at thetheater, we have to remain competitive in a very com-petitive theater industry. And we do.

Building OurReputationOver the years, TheMusic Theatre hasgained a national repu-tation for our profes-sionalism, our high-quality musicals, ourdedication to cultivat-ing new musicals andartists, and our educa-tion programs. This rep-utation stems from word-of-mouth from people whohave worked here, and also from our involvement inthe local and national theatrical landscape. Throughour memberships in National Alliance of MusicalTheatre (NAMT) and Theater CommunicationsGroup (TCG), a national organization of non-profitprofessional theaters, we partner with a growing net-work of theaters dedicated to fostering the growth ofnew works and the artists who create them. TheMusic Theatre is also a founding member of “arts-north”—a consortium of arts organizations on theNorth Shore dedicated to supporting each other intheir commitment to excellence in the arts. Being inthe national and local spotlight is crucial to our abili-ty to attract the talented people needed to create eachindividual production—from the ground up.

Where Are The Trucks?Not here. It’s a myth we are constantly trying to dispel.Just to reiterate—we do not present tours. What peo-ple see here, they won’t see at other theaters…any-where. We do not unload sets and props off a truck thathas traveled from another city. Instead, we purchaseevery piece of wood, metal, plastic, bolt of cloth, etc.,and transform it—right here in Beverly, MA.Moreover, packaged tours just won’t fit into our uniquearena-style theater—so we don’t even have thatoption. The cost of designing the elements for a musi-cal—whether it’s a familiar classic or a bold new show,is tremendous. We understand that, but we wouldn’thave it any other way, because we don’t believe ourpatrons would have it any other way. We want to bethe first choice when going to the theater. Just asthere’s competition to hire the best employees, com-petition for audience share is even more intense. Weknow the public can spend entertainment dollarswherever they want because there are so many choic-es. It’s our responsibility to assure them that the dollars

A Medieval Craft in a Machine AgeOperating a non-profit theater in the 21st centuryby Julie Arvedon, North Shore Music Theatre

continues on next page

volume 14, number 1 11

Special Feature

and time spent here at The Music Theatre are wellworth it. Our audiences are the reason we continue tostrive to produce award-winning musicals and offeraward-winning education programs.

Producing In The 21st CenturyMany people may remember when non-profit organi-zations could approach the government to help filltheir economic gaps. Unfortunately those days are allbut gone. While The Music Theatre remains a fortu-nate recipient of certain state and federal grants, thepool of funds has greatly diminished. And while wehave increased ticket prices to help cover our expens-es, we don’t believe that raising them to meet BostonTheater District prices is the answer. Instead, we lookto our audience, our ‘investors’ to continue to investin our work. An investment could be an individualdonation, corporate sponsorship, a dinner at our on-site restaurant Overtures or the Garden Bistro, a sodaduring intermission, or even a parking spot closest tothe theater. We know this is all optional, but ifpatrons decide to invest, we can guarantee a return ontheir investment. It just may be a risk worth taking.

Medieval Craft in the Machine Agecontinued from previous page

It’s a very challenging time to producelive, professional theater.

A recently published study of majornon-profit theaters in North Americademonstrates that:

• Over half—58%—of the theaters in thestudy ended 2003 with a deficit. In 2003there were 30% more theatres running adeficit than in 2002.

• Severe state funding cuts took effect in2003, including a 58% cut to theMassachusetts Cultural Council budget.

• Theaters contributed over $1.4 billionto the U.S. Economy in the form ofsalaries, benefits and payments for goodsand services.

Source: Theatre Facts 2003—Theatre Communications Group www.tcg.org

Message from the Presidentby Tom Mikotowicz

President, NETC Board of Directors

As we near the end of 2004, NETC members can lookback at a very productive year! This year was markedby three major projects that were a tremendous successby any standard. First, there was the March Auditionin Natick, MA, followed in July by the New EnglandRegional Festival in Bedford, NH, and finally ourNovember conference in South Portland, ME.

It was wonderful to see the number of major guests,awardees, and presenters with all of their workshopsand performances, together with our membership andmany new attendees come together at the Portlandconvention. From the Friday Olympiad, through theSaturday Awards banquet, to the Sunday brunch, ourmembers were treated to a plethora of theatrical train-ing and performance. Given the feedback that our co-planners, and I received, the Portland convention wasa success, and it created a significant surplus that willgo a long way to helping NETC in the coming yearfund new initiatives in theatre!

Currently, we are in the early stages of publicizing theMarch NETC Audition, as well as planning for nextyear’s convention, which will be in the outer Bostonarea. Our conference committee is made up ofMaryann Swift, Conference Chair, Celia Couture, co-planner, Tim Fitzgerald, co-planner, and Jim Ferguson,co-planner. They are busily meeting and working outthe hotel contracts, schedule, and program planningfor it. Already it promises to be an exciting event!

As one could imagine, all of this work takes peoplepower. So, on the board, we are still engaged inDivision building! This means that we are looking forboard members to populate our five divisions ofNETC. The divisions are: Children’s and Youth,Secondary, College and University, Community, andProfessional theatre. NETC, as a non-profit arts asso-ciation, depends upon its volunteers to accomplish itsmission to encourage and nurture theatre and per-formance in New England. So, if you have an interestin joining us, please contact our office, a board mem-ber, or myself, and we will be happy to find a positionfor you!

NETC News12

Opportunities

Improv-O-Rama is the first improvisation workshop forNew England high school students and drama teachers.It’s designed to introduce participants to the ground rulesof the art form and get everyone involved in the games.The all-day workshop, conceived and created especiallyfor this audience by NETC board members Linda Potterand Ron Jones, will take place at Acton-BoxboroughRegional High School in Acton, Massachusetts onSaturday, March 19, from 9:30–5:00. Registration dead-line is February 18.

Improv has been popular in comedy clubs and small the-aters like Second City in Chicago for over 25 years, andhas recently gained a larger audience through TV’s“Whose Line Is It Anyway?” Improv troupes perform andcompete on college campuses all over the country. If suc-cessful, this workshop could lead to the formation of a newleague of improvisation groups in New England highschools, offering students another venue to compete andperform.

Topics for Beginning and Advanced StudentsThe workshop will be divided into four sessions for begin-ners and two longer sessions for advanced students.Beginning topics include: Scene Initiation, Character andStatus, Storytelling, and Short Form Improv. Advancedworkshops are designed for those who have had someexperience performing improv. Topics include: LongForm and Musical Improvisation. All participants will tryexercises, play games and learn techniques used by thepros to create and sustain improvised characters andscenes. Ron Jones, an award-winning actor and teacherwho has been doing improv over 20 years, will direct the

workshop. Working with Ron will be professional actorsexperienced in teaching and performing improv.

Improv ShowcaseAn Improv Showcase featuring live performances bytroupes from a few high schools will complete the work-shop. High schools that have improv troupes who wouldlike to perform are invited to submit a short videotape(10–15 min) showing a sample their work. From thetapes, a few groups will be selected to perform at the work-shop. Students must be participants in the workshop inorder to be considered for this showcase. Tapes should bemailed by Friday, February 18 to: Ron Jones, 26 Abbot St.,#2, Dorchester, MA 02124.

Students who attended the Theatre Olympiad at theNETC convention in Portland recently had an opportu-nity to work with Ron in his Improv Challenge work-shops. Ron taught the students a few basic games and thengave small groups a variety of scenes to improvise. Theworkshops were heavily attended and the students had aterrific time learning through the exercises he did withthem. Ron has performed with and directed over a dozenimprov troupes and was the American team captain of theWorld Cup of Improvisation (Comedy Channel,2000–01). He is also one of the founding members ofUrban Improv, a program designed for young people todeal with issues through improvisation. In 2002, UrbanImprov won the Emmy Award for best children’s televi-sion program for its show Re:action. Ron’s experience andenthusiasm make him an engaging teacher for all ages.

Registration InformationThe workshop fee is $25 per person. A teacher or a chap-erone must accompany all students. Participants shouldbring a brown bag lunch. Snacks and drinks will be avail-able to purchase. The registration form is included on thenext page of this newsletter, and also available to down-load at www.netconline.org. Space is limited. Registrationdeadline is February 18. Don’t miss this opportunity toparticipate in this exciting workshop with your students!

Learn the Rules & Play the GamesThe Secondary Division PresentsImprov-O-Rama!by Susan Williams

spend six months within a two-year period developingtheir creative skills and expanding their knowledge of thefield, An independent, national selection panel composedof theatre professionals choose the recipients. Programactivities may include assistantships, observation, researchand travel. Recipients may also direct or design projectsunder the guidance of one or more designated mentors.Each recipients program is hand-tailored to match theirgoals to appropriate and challenging assignments.

The postmark deadline for applying to the DirectorsProgram is February 7, 2005. The 2005 Designers Programpostmark deadline is February 14, 2005.

For further information contact TheatreCommunications Group, 520 8th Ave., 24th Floor,New York, NY 10018-4156, or e-mail to tcg@tcg.org.The web page is www.tcg.org.

The National Endowment for the Arts and TheatreCommunications Group announce increases in supportfor early-career designers and directors. Starting in 2005the Career Development Program will award $22,599each to seven early-career directors and seven early-careerdesigners. The program award amounts have increased by$5000, and the number of recipients for 2005 hasincreased form past years.

The NEA-TCG program provides support to early-stagedirectors and designers who are exceptionally talentedand seek a career in America’s not-for profit professionaltheatre. Early-career directors, as well as costume, lighting,scenic and sound designers, benefit for the opportunity to

NEA/TCG Career DevelopmentProgram Grant Increase

volume 14, number 1 13

OpportunitiesImprov-O-Rama!!REGISTRATION FORMSponsored by the Secondary Division of theNew England Theatre Conference.

Acton-Boxborough Regoinal High SchoolMarch 19, 2005 9:30 to 5:00Registration Deadline: February 18, 2005

Teacher Name

School School Phone

Teacher Email Address

Address

City State ZIP

Does you school have an improv club? ❐ Yes No

Number of people attending: ___________________ @ $25 per person

Amount enclosed: $ ______________________

Purchase Order Number: _______________________

PAYMENT:Please make checks payable to NETC (New England Theatre Conference).Mail your check and applications to: Linda Potter, NETC Secondary Chair, 45 Jackson Drive, Acton, MA 01720

All students must be accompanied by a teacher or chaperone. If more than eight students are attending,please photocopy this form or attach an additional piece of paper with their information.

STUDENT NAMES YEAR IMPROV IMPROVBEGINNER ADVANCED

1

2

3

4

5

6

7

8

Please note: If you register for the workshop and findthat your school is also a semi-finalist in the MassDrama Guild Competition, held on the same day, youmay receive a refund for the workshop if you contactus by Monday, March 7 (The preliminary competi-tion is on Saturday, March 5.)

For more information contact Linda Potter,Secondary Division Chair, at (978) 263-0173 orlpotter@mail.ab.mec.edu.

NETCPMB 502198 Tremont StreetBoston,MA 02116-4750

Return service requested

NON-PROFITU.S. POSTAGE

PAIDBOSTON, MAPERMIT NO.

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EXECUTIVE COMMITTEETom Mikotowicz, President, University of Maine, OronoRussell Swift, Executive Vice President, The Groton SchoolJim Quinn, Vice President for Administration and

Finance and Clerk of the Corporation, BridgewaterState College

David Frieze, Vice President for Communicationand Development, freelance writer, director, critic

Suzanne Ramczyk, Executive Secretary,Bridgewater State College

Hank Zappala, NETC Management, Emerson CollegeLinda Murphy Sutherland, Immediate Past President,

Huntington Theatre Company

DIVISION DIRECTORSCollege/University Theatre DivisionDorisa Boggs, Roger Williams UniversityAnn Marie Shea, Chair, Worcester State CollegeLuke Sutherland, Community College of Rhode Island

Secondary School Theatre DivisionMaureen Doucette, Hopkinton Middle High School, NHLinda Potter, Chair, Acton-Boxborough Regional Jr. & Sr.

High SchoolsJeffrey Watts, Lawrence High School

Youth Theatre DivisionJeanie Furlan, Acton-Boxborough Regional Jr. & Sr. High

SchoolsRon Jones, freelance actor/directorCarol Korty, playwright

Who’s Who at NETC Professional Theatre DivisionRobert Libbey, The Grand, Ellsworth, MAKevin Russell, Arts Boston

Community Theatre DivisionCharles Emmons, New Hampshire Community

Theatre AssociationJennifer Howard, Chair, Burlington Players, Inc.Sharon A. Wilcox, Thomaston Opera House, CT

Directors-At-LargeTim Fitzgerald, Newton Country PlayersDonna O’Bryant, Actorsingers of Nashua, NH

COMMITTEE CHAIRSSummer Theatre AuditionsJoseph Juliano, Jr., Hamden Public Schools

2005 Convention PlannersMaryann Swift, Chair, Arlington Friends of the

DramaCelia Couture, Arlington Friends of the DramaJim FergusonTim Fitzgerald, Newton Country Players

NETC/New England Theatre JournalStuart Hecht, Boston College

Long Range Strategic PlanKevin Russell, Arts, Boston, Boston Theatre Works

College of Fellows, DeanSigurd Jensen, Southern CT State University,

retired

Annual Excellence in Theatre AwardsTim Fitzgerald, Newton County Players

Moss Hart AwardsMaureen Doucette, Hopkinton Middle High

School, NH

John Gassner Memorial Playwriting AwardSteven Capra

Aurand Harris Memorial Playwriting AwardJay DiPrima

Marie Phillips Service to NETC AwardBevie Lord

Leonidas A. Nickole Theatre Educatorof the Year AwardAnn Marie Shea, Worcester State College

Constitution and By-LawsSigurd Jensen, Southern CT State University,

retired

Nominating ChairRussell Swift, The Groton School

NETC NewsletterAnn Marie Shea, Worcester State College

AACT LiaisonPatricia White

KCACTF Region 1 LiaisonWil Kilroy, University of Southern Maine