HomeMy WebLinkAbout2014-321 Arts - The Arts Center for Spring 2014 Arts Grant Agreement $1,500 w
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ORANGE COUNTY ARTS COMMISSION
u n a r t�it l"$ SPRING,2014 GRANT AGREEMENT `L�
Cah mtWON
THIS AGREEMENT, entered into this 16th day of June, 2014, by and between Orange Count%,
("County"), by and through the Orange County Arts Commission ("Arts Commission") and 'I lie
ArtsCenter("Grant Recipient").
WHEREAS, the Arts Commission is a countywide arts agency that ensures the growth of
local arts experiences by providing funding and support for diverse high quality programs :and
projects.
WHEREAS, the Arts Commission administers the Spring and Fall Arts Grants Progr i na
to provide economic opportunities to Orange County artists and non-profit organizaticros
coordinating arts projects benefiting the citizens of Orange County.
WHEREAS, the Spring Arts Grants Program is supported by Arts Commission ,a ith
funds from the Grassroots Program of the North Carolina Arts Council, an agency of the
Department of Cultural Resources and the National Endowment for the Arts.
WHEREAS, the Grant Recipient was selected by the Arts Commission to receive itie
Spring Arts Grant through the procedures duly adopted by the Arts Commission; and
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WHEREAS, both parties wish to promote and maintain the integrity and clarity of the
Grant Recipient's ideas and statements and delineate the Grant Recipient's obligations to t}ie
County;
NOW, THEREFORE, the County and the Grant Recipient, for the consideration ,arid
under the conditions hereinafter set forth, agree as follows:
I. Approved Grant Project. Grant funds are provided under this Agreement for the project
("Project") described in the Grant Recipient's Grant Application, attached hereto anti
incorporated herein as Exhibit A.
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2. Grant Award. Grant funds in an amount not to exceed one thousand five hundred dol
($1,500) have been awarded by the Arts Commission to the Grant Recipient for the
approved Project. These funds must be matched at least dollar-for-dollar with cash from
the Grant Recipient's funds not derived from either Orange County appropriations or the
North Carolina Arts Council.
3. Contingency. This grant is contingent on North Carolina Arts Council Grassroots
Program funding to the Arts Commission. Final decisions on Grassroots Program funds
to the North Carolina Arts Council are subject to approval by the North Carolina General
Assembly.
4. Responsibilities of the Grant Recipient
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Revised May 2012
A. Implementation. The Project implementation shall take place between Jul} 1,
2014 and June 30, 2015. The Project shall be implemented in the mariner
described in Exhibit A. Time is of the essence in the implementation of the
Project.
B. Modifications to project. Grant Recipient shall present major changes to the
original proposal, including but not limited to changes in design, implementatBm
schedule and increase in Project budget by more than 10%, in writing to the Arts
Commission for approval. Arts Commission shall approve or disapprove Grant
Recipient's request for modifications within seven (7) days of receipt them,l'.
Consent to project modifications shall not be unreasonably withheld. /�ri s
Commission's decisions shall be in writing. In the event the Arts Commission
fails to approve or disapprove the requested modifications within the time stated
herein,the modifications shall be deemed approved.
C. Non—assi nment. The grant cannot be assigned or transferred to a different proj ect
or artist without prior written approval of the Arts Commission.
D. Records. Grant Recipient must maintain records and other evidence pertain i rl g
to costs incurred and revenues acquired during the Project implementation. Grant
Recipient shall maintain financial records pertaining to the Project for three (3)
years from the date of this Agreement, in case of audit.
E. Use of Funds. Grant Recipient shall not use the grant funds to repay outstanding
taxes or other debts of any nature. The grants shall be utilized solely for the
purpose of implementing the Project and Project related expenses.
F. Final Report. Grant Recipient shall submit to the Arts Commission a Final Report
on July 6, 2015 . The Final Report shall be in the format required by 1.1-►r
North Carolina Arts Council. Failure to submit the Final Report or lair
submission of the Final Report, for any reason, shall be grounds for denial and/or
cancellation of grant funds for the Project and future grant proposals.
5. Responsibilities of the Arts Commission
A. Payment. The Arts Commission shall release the grant funds in the amount of
$1,500 to the Grant Recipient.
6. Publicity
A. Acknowledgement. Credit must be given to the Orange County Arts
Commission using the Arts Commission logo and if State funds are received
to the North Carolina Grassroots Program in brochures, news releases.
programs, and all other printed and online publications. Copies of such printed
materials must accompany the evaluation report. When no printed information is
used, verbal credit shall be given. In addition, all print and promotional material
must include the following credit line (check all that apply):
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Revised May 2012
i. County Funds Only. "This program is supported by the Orange
County Arts Commission. "
ii. x North Carolina Arts Council Funding. "This program is supported by the
Orange County Arts Commission with funds from the Grassroots Program of
the North Carolina Arts Council, a state agency. "
B. The Grant Recipient must enter all events, exhibits and performances open to the
public and related to this grant award on the ExploreChapelHillARTS.com
website and display ExploreChape1Hi114,RTS.com publicity materials
(postcards, brochures, etc.) prominently and consistently at their venue or
performance space. In addition, the Grant Recipient must add a link to the
ExploreChapelHillARTS.com (ExploreChapelHillARTS.com logo preferreci)
to their main webpage. The Grant Recipient shall contact the Orange County Arts
Commission for replacement ExploreChapelHillARTS.com publicity materials.
7. Indemnity. The Grant Recipient agrees to indemnify and hold harmless the County, the
Arts Commission and the North Carolina Arts Council and their officers and employees
from any and all claims or actual injury, damage or loss to a person, or real or personal
property that results from or is in any way connected to the use of the grant funds.
8. Independent Contractor. The Grant Recipient is an independent contractor and not X111
employee, agent or other representative of the County and/or the Arts Commission.
Nothing contained in this Agreement shall be construed to create the relationship o t
principal and agent, or employer and employee, between Grant Recipient and .arts
Commission or Orange County Government. Grant Recipient understands and agrees
that he/she is not authorized to incur any expenses or any liability whatsoever on behalf
of the County or the Arts Commission and has no authority, expressed or implied, to
obligate or make representations on behalf of the County or the Arts Commission. hi
addition, Grant Recipient agrees to maintain his or her own worker's compensat i rnl
insurance for himself/herself and his or her employees for the duration of the art work's
installation.
9. Termination
A. In the event of any of the circumstances set forth below(hereinafter referred to as
"default"),the Arts Commission may immediately terminate this Agreement:
(i) Any fraudulent representation in any verification required to obtain
payment under this Agreement or other dishonesty on a material matter
relating to the performance of services under this Agreement.
(ii) Nonperformance, incomplete service or performance, or failure to
satisfactorily perform any part of the Project or to comply with ant
provision of this Agreement, as determined by the Arts Commission in its
sole discretion.
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Revised May 2012
(iii) Failure to adhere to the terms of applicable county, state or federal la'�N s.
regulations, or stated public policy.
B. In the event of default by the Grant Recipient, the Arts Commission has the
discretion to elect to terminate this Agreement, in whole or in part and/or requ ire
the Grant Recipient to repay the grant funds within seven (7) from written notice
of default or allow the grant recipient the opportunity to cure the default. T h i s
clause shall not be interpreted to limit the County's or the Arts Commission'
remedies in law or in equity.
10. Miscellaneous.
A. Entire Agreement. This Agreement and the attachments contain the final oin(]
entire understanding of the parties with respect to the subject matter of this
Agreement. All modifications and amendments to this Agreement shall be '111
writing. This Agreement shall be binding upon the parties, their heirs, successors
and assigns.
B. Governing Law. This Agreement shall be interpreted in accordance with the la"s
of the State of North Carolina and the Orange County.
IN WITNESS WHEREOF, the Orange County and the Grant Recipient have signed this Grant
Agreement, effective on the last date this Agreement is signed by both parties as indicated by true
dates set forth under signatures below.
For and on behalf of the Grant Recipient
he ArtsCenter ate
For and on behalf of Orange County Government
, County Manbir Date
Tonne e- 44-vLmmer51e1
For and on behalf of Orange C unty Arts Commission/approved as to technical content
Steve Brantley,Economic Deve ent Director Date
Approve aFs to f and legal sufficiency
Annette M. Moor , Staff Attorney Date
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Revised May 2012
This instrument has been pre-audited in the manner required by the Local Government BudA't.,t
and Fiscal Control Act
Clarence G. Grier,Administrative and Financial Services Date
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Revised May 2012
f/ Arts Program Grant - Spring
UP
2014- 15 Application Form
ORANGE COUNTY ARTSS Orange County Arts Commission
COMMISSION
Promoting the artistic and cultural development of Orange County, North Carolina
Evaluation Criteria
• Artistic merit of program.
• Populations served—impact for geographic&traditionally under-served populations.
• Feasibility of proposed activity & effectiveness in fulfilling applicant's mission.
• Cooperation between organizations and artists.
• Evidence of feasibility of program, community support, and responsiveness to community needs.
• Emerging organizations are encouraged to apply.
1 Applicant Information /'
Applicant Name —r—geri-Eyfl�-Setfiafk t � Ckjv e c
Mailing Address 300-G East Main Street Carrboro NC 27510
Daytime Phone 919-929-2787 ext 221 Fax Number 919-969-8574
Email Address artscenterstage(c)-artscenterlive.org Web Site www.artscenterlive.org
Project Director Jeri Lynn SchuNe Title Artistic Director, ArtsCenrter Stage
DUNS Number 029686396
2 Project Director Information
Project Director Home Address 736 Williams Circle Chapel Hill NC 27516
Daytime Phone 919-929-2787 ext 221 Evening Phone 919-93-9855
Email Address 0 erilynn67(cDgmail.com
3 Grant Request Summary
Arts Program Grant Request $1,500
Total Cash Match $31,350
Total Organizational Budget 2012-2013 1,426,770 Past Year
2013-2014 1,587,972 Current Year
2014-2015 1,525,000 Projected for Next Year
Summary Statement for Proposed Uses of Arts Program Grant Free acting workshops will be offered to
high school students involved with One Song Productions and cast members of ArtsCenter Stage's 2C 14_-
15 productions. These workshops will provide both established and emerging actors in our area the
opportunities to further their craft. Three workshops will be offered during the course of the season
including Shakespeare, dialect and vaudeville acting techniques. A grant of$1,500 from the Orange
County Arts Commission would help defray the cost of these workshops.
Questions? Call us at(919) 968-2011 • Deliver Application to: 501 West Franklin Street, Chapel Hill. NC
The ArtsCenter: ArtsCenter Stage Free Acting Workshops
Arts Program Grant- Spring 2014
Orange County Arts Commission
Application Narrative
Organizational Profile— History and Mission
The ArtsCenter began as one painting class in a walk up studio on East Main Street in Carrboro in 1974. From
that modest first step and the extraordinary creative vitality of Carrboro, an amazing community educational
organization using the arts began. During 2013 The ArtsCenter served 93,000 people, one third under the age
of 18. Our work created a local economic impact estimated at $3,488,830, generating I I I full time jobs and
$328,000 in state and local tax revenue.
Our core services are The ArtSchool (serving 15 year olds through retirees) and our youth programs (serving
pre-K through 15 year olds though Afterschool Arts Immersion, Arts-In Education, ArtsCamp, School Shows,
and Youth Art Blocks). Additionally we serve audiences via theater performances, live concerts, and gallery
exhibits. Many of these activities are implemented together with other community organizations, area
businesses, area schools, and local governmental agencies and departments
Mission: The ArtsCenter exists in order to inspire creativity and to enrich the lives of people of all ages.
Current Programs and Services
The ArtsCenter is organized into five programs:
ArtSchool. ArtSchool at The ArtsCenter is Orange County's most comprehensive non-profit resource for
continuing education in the arts on a non-degree, community basis. The ArtSchool now offers more than 500
classes in all artistic disciplines for all experience levels and ages, awards more than 50 scholarships annually, and
offers work-study opportunities.
Youth Programs. The ArtsCenter has provided artistically excellent, age-appropriate and accessible arts
experiences to Triangle families for more than 30 years. Currently, The ArtsCenter offers the 90-event School
Show Series, the SuperFun Series for family audiences, ArtsComp in the summer,A fterSchool Arts Immersion and Arts In
Education during the school day to area youth and families. Youth Arts Blocks (YAB) includes fine art classes for
youth and workshops and camps year round in acting, drawing, painting, writing, photography, ceramics, dance,
acting for the camera, improvisation and more
Gallery. The Nicholson Gallery features the work of local and regional artists on a rotating basis. The Gallery
exhibitions highlight the work of more than 100 local and regional artists in 12 exhibitions a year.
Theatre. International theatre at its most local, ArtsCenter Stage showcases the work of emerging and
established artists hailing from next door to around the world. ArtsCenter Stage features new works with an
historical perspective, while its second-stage series includes improvisation and storytelling, musicals, stand-up
comedy, new works in development and theatre for younger and older audiences. ArtsCenter Stage is
community-oriented theatre with a commitment to developing new artists and audiences.
Concerts. The ArtsCenter presents approximately 60 concerts for adults each year, representing the spectrum
of musical genres by touring artists including folk, blues, Celtic, rock, singer-songwriter, old-time, and bluegrass.
t The ArtsCenter: ArtsCenter Stage Free Acting Wc—KShops
Proposed Uses Of Grant Funds
ArtsCenter Stage's 2014-15 will include three productions which commemorate the I00th anniversary of
the beginning of World War One. The three productions include Into the Breach by local playwright lar
Bowater in October 2014; All is Calm, The Christmas Truce of 1914 by Peter Rothstein in December
2014; and Oh, What a Lovely War by Joan Littlewood and the Theater Workshop in May 2015. Ruru,ing
concurrently with these three productions ArtsCenter Stage will offer a series of free workshops for
actors and actresses involved with these productions. In addition, each workshop will offer up to 10
additional spaces, free of charge, to actors involved with One Song Productions, an Orange County-based,
youth-run theatre organization. The ArtsCenter respectfully asks the Orange County Arts Commis,, on for
a grant of$1,500 to help support the fees for these free workshops.
Shakespeare Workshops / Into the Breach
The actors from Into the Breach and One Song Productions will be provided a five-week long workshop,
meeting once a week, in Shakespeare technique. During these workshops, participants will take ownership
of Shakespeare's language through activities that involve physical, intellectual, and vocal engagement with
Shakespeare's text on an individual and ensemble level. These workshops will introduce the actors to a
text approach which is an open, personal commitment to thought, word and gesture. Actors will explore
the uniquely Shakespearian actor/audience relationship: a theatrical reality without a fourth wall in which
the immediate energy of the audience fuels the actor and engages the audience. The workshops will
continue by focusing on text analysis and detailed scene work. Text work will focus on scansion, verse and
prose, image analysis and phrasing.
This Shakespeare workshop will run concurrently with rehearsals for Into the Breach. This series of
workshops will enhance the actors' performances in Into the Breach, a play set in the early years of World
War I in which scenes from Shakespeare's Henry V are included. In addition, this series of worksho_),, will
provide One Song Production actors the opportunity to work on Shakespeare scenes and sonnets. These
scenes and sonnets will to be performed for the community for free at the end of the workshop.
Dialect Workshop /All is Calm: The Christmas Truce of 1914
The actors/singers from All is Calm: The Christmas Truce of 1914 and One Song Productions will be
provided a five-week long workshop, meeting once a week, in dialect work focusing primarily on Br-ir.ish
dialects. During this workshop, actors will study and apply dialect techniques to material found in the play
All is Calm: The Christmas Truce of 1914. Actors will work on Standard British (RP), German and French
dialects which will enhance their performances in All is Calm. Actors from One Song Productions \v ll
study and apply dialect techniques to poetry from the World War One time period including classic poems
of the war by Wilfred Owen, Siegfried Sassoon, Rupert Brooke, Rudyard Kipling, and others.
The dialect workshop will run concurrently with rehearsals for All is Calm: The Christmas Truce of 1914.
The actors/singers cast in All is Calm are members of Cantari, a Chapel Hill-based vocal ensemble
specializing in a cappella music. In the play, actors speak in different dialects including British, German and
French. In addition, this series of workshops will provide One Song Production actors the opportunity to
The ArtsCenter: ArtsCenter Stage Free Acting Workshops
work on poetry from the World War One time period. These poems will to be performed for our
community for free at the end of the workshop.
Vaudeville Techniques / Oh What a Lovely War
The actors from Oh What a Lovely War and actors from One Song Production will be provided a five-
week long workshop, meeting once a week, in theatrical vaudeville techniques. During this workshop
actors from the cast and actors from One Song Productions will create, develop and explore vaudeville
acts. Actors will study clowning techniques and create distinct characters through physicality. The
workshop will also focus on skit writing and acting. In addition, actors and high school students will bring in
a special vaudeville skill to perform from tap dancing to juggling, opera singing to ukulele playing to add to
the ensemble.
This workshop will run concurrently with rehearsals for Oh What a Lovely War. This series of workshops
will enhance the actors' performances in Oh What a Lovely War, a satirical anti-war play that utilizes
vaudevillian techniques. In addition, this series of workshops will provide actors from One Song
Productions the opportunity to create, develop and perform a vaudeville-style revue. This revue will to be
performed for our community for free at the end of the workshop.
All three workshops will be taught by Hope Alexander, an award-winning actor and director. As a
director, Hope has directed world premieres, new plays and classics. She was the Artistic Director of The
Company Rep in Los Angeles and the Producing Director of OmniArt Productions in San Francisco. As an
actor, Hope was a leading company member of The American Conservatory Theatre, Berkeley Repertory
Theatre, Playmakers Repertory Company and South Coast Repertory. Hope has starred in two television
series and has had roles in numerous films, including The Princess Diaries, Georgia Rule and The Pack. As
an educator, Hope has been a faculty member of The American Academy of Dramatic Arts, Cal Arts, The
American Conservatory Theatre and The University of North Carolina, Chapel Hill as well as the
Conservatory Director of The San Francisco Actor's Lab. She was awarded the Lucy Stern Professorship at
Mills College in Oakland, CA.
One Song Productions is a local youth-run theatre organization founded in 2002 as a supplement to school
dramatic programs. One Song's goals are to engage youth in every step of the creative process and offer
new opportunities for learning and growth in the performing arts. One Song is run by a board of high-
school directors, all of whom attend schools in the Chapel Hill-Durham area. Their aim is to provide
students in the area with a fun, creative, and educational experience working on extra-curricular
productions. Additionally, all One Song events are produced, directed, and staged entirely by students from
Chapel Hill-Durham area high schools. One Song Productions has produced shows at The ArtsCenter
since 2005.
ArtsCenter Stage is committed to providing opportunities for local theater artists, both established and
emerging, to continue their development as performers. A grant from the Orange County Arts
Commission would be invaluable in securing The ArtsCenter as a source of this opportunity for artists in
Orange County, as well as laying the groundwork for continuing this important cultural opportunity in
years to come.
G
ORANGE COUNTY ARTS
COMMISSION
Financial Information
Please provide a projected budget for your proposed project utilizing the format below.
Project Expenses Cash = Grant Amount + Applicant
Expenses Requested Cash Match
A Personnel
Administrative staff
Artistic staff $10,500 $1,500 $9,000
Technical/Production staff $9,150 $9,150 _
B Outside Fees and Services
Artistic contracts ___
Other contracts:
C Royalties $3,000 $3,000
D Travel ___
E Marketing $6,000 $6,000
F Remaining Project Expenses $4,200 $4,200
G Total Cash Expenses $32,850 = $1,500 + $31,350
Project Income Cash Income
A Admissions $30,350
B Contracted Services Revenue
C Other Revenue(specify)
D Private Support
Corporate support
Foundation support $1,000
Other private support
E Government Support
Federal
State/regional (not including this request)
Local (not including this request)
F Applicant Cash
G Grant Amount Requested $1,500
in this application
H Total Cash Income $32,850
(must equal Total Cash Expenses,
Item G above)
isoolf
ORANGE COUNTY ARTS 2014-15 Arts Program Application — Page Four
COMMISSION
Signatures
Si atu e of Ppdi t�Director t
Jeri L nn Schulke
Type ''or Printed Name – Project Director
Sigrfalture of Authorizing Official Date/ fl
Art Menius
Typed or Printed Name –Authorizing Official
INCOMPLETE APPLICATIONS WILL NOT BE FUNDED
l
HOPE ALEXANDER
Phone: 919.908.9988—E-mail: bauboo5l@gmail.com
Member:AEA-SAG/AFTRA
Selected Achievements:
■ Multi Winner:Critic Circle&Dramalogue Awards.
■ Youngest apprentice in theatre's history: San Francisco Actor's Workshop
■ Series Star:The New WKRP in Cincinnati
■ Series Star:The Mystery Of Black Rose Castle
■ Lucy Stem Professor—Mills College,Oakland,CA
■ Professional Jazz Singer
■ Who's Who in America and Who's Who in American Women
■ 50 years professional actor
■ 30 years professional director
• 35 years acting teacher and coach
DIRECTOR (Representative)
LOS ANGELES THEATRE
THE IMMIGRANT(Musical) West Coast Premiere Harelik/Knapp/Alper The Colony Theatre
PLAYSTRINDBERG * Durremnatt South Coast Repertory The
TRUE WEST* Sam Shepard South Coast Repertory Th,.t
THE NINA VARIATIONS Steven Dietz The Company Rep
ROSENSTRASSE(World Premiere Musical) Lawrence/Kinberg The Company Rep
PLAYSTRINDBERG* Durrrenmatt The Company Rep
A CHRISTMAS CAROL*(World Premiere Musical Alexander/Kinberg The Company Rep
FUSCHIA (World Premiere) Mary Fengar Gail The Hudson Theatre
THE FANTASTICKS * Jones/Schmidt The Company Rep
THE COMEDY OF ERRORS* Wm.Shakespeare The Company Rep
CAMINO REAL* T.Williams The Company Rep
SYLVIA* A.R.Gurney Summer Repertory Theatre
CRIMINAL MINDS Robin Swicord The Company Rep
PICASSO AT THE LAPIN AGILE* Steve Martin The Company Rep
THE LAST NIGHT OF BALLYHOO* Alfred Uhrey The El Portal—Circle The; i
NIGHT SKY* Wcst Coast Premiere Susan Yankowitz Odyssey Theatre
LAST LIST OF MY MAD MOTHER* West Coast Premiere Julie Jensen Hudson Theatre
THE TWO CHARACTER PLAY* T.Williams Le Petit Herbertot,Paris
A ROSEN BYANY OTHER NAME* Israel Horovitz Fountain Theatre
THE CHOPIN PLAYOFFS* Israel Horovitz Fountain Theatre
TODAYI AMA FOUNTAINPEN* Israel Horovitz Fountain Theatre
UNEXPECTED TENDERNESS* Israel Horovitz Marilyn Monroe Theatre
SHAME ON THE MOON*World Premiere Alicia Madrid Los Angeles Theatre Cent?
JACK AND JILL* ** West Coast Premiere Jane Martin International City Theatre
FIGHTING OVER BEVERLY* ** Israel Horovitz Fountain Theatre
DOWN THE ROAD Lee Blessing Theatre Geo
I CAN'T IMAGINE TOMORROW Tennessee Williams Fountain Theatre
PERFECTANALYSIS Tennessee Williams Fountain Theatre
PARK YOUR CAR INHARVARD YARD* ** Israel Horovitz Fountain Theatre
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MUSEUM OF CONTEMPORARYART * Stephen Rappaport Cafe Luna
TROJAN WOMEN World Premiere-Ritual Adaptation Steven Wolfson The Mad Clark
RITUAL MACBETH* Wm.Shakespeare Cal Arts
REGIONAL THEATRE
NUNSENSE* Dan Groggins Summer Repertory Theatre
SLEUTH* Anthony Shaffer Summer Repertory Theatre
THE ART OF DINING* Tina Howe Marin Theatre Company
THE GLENCARIN CYCLE SEA PLAYS*** Eugene O'Neill Aboard The C.A.Thayer
THE TAMING OF THE SHREW*** Wm.Shakespeare Knowland Park
THE PHYSICIAN IN SPITE OF HIMSELF Moliere Knowland Park
IN THE SWEET BYAND BY Frank Higgins Berkeley RepertoryTheatre
CAMINO REAL* Tennessee Williams Lisser Theatre
TINYALICE Edward Albee Playmaker's Repertory
INTERNATIONAL
In The Museum Of Contemporary Art;US,Australia,Canada,Edinburgh Festival,Netherlands,Germany,Sweden
The Two-Character Play-Le Petit Herbertot Theatre,Paris
* CRITIC'S CHOICE ** DRAMALOGUE AWARD *** CRITIC CIRCLE AWARD
ACTOR
NATIONAL TOUR SHAKESPEARE'S PEOPLE-STARRING OPPOSITE SIR MICHAEL REDGRAVE
SOUTH COAST REPERTORY THEATRE(Representative roles)
Diana Ring Round the Moon Gerry Dugan,Dir.
Mrs. Cheverly An Ideal Husband David Emmes
Mac Three Viewings David Emmes
Edna A Delicate Balance Martin Benson
Mme.Pernell Tartuffe David Chambers
THE AMERICAN CONSERVATORY THEATRE(Representative roles)
Dorothy Moore Jumpers* William Ball
Mme Arkadina The Seagull Jerome Kilty
Lucy Brown The Threepenny Opera Andre Serban
Miss Alice Tiny Alice William Ball
Lady Anne Richard The Third William Ball
Angel Eyes Faustus In Hell * Michael Sumin
Hester Equus William Ball
Nanny(Tennessee Williams,World Premiere) This Is (an Entertainment) Alan Fletcher
Ingrid,Anita,Woman in Green Peer Gynt Alan Fletcher
BERKELEY REPERTORY THEATRE(Representative roles)
Rosalind As You Like It Gregory Boyd
Dorine Tartuffe Albert Takazakaus
Hesione Hushabye Heartbreak House Albert Takazakaus
Medea Kabuki Medea* ** Shozo Sato
Ellen The Art Of Dining* Robert Moss
Lena Misalliance Robert Moss
Belinda Season's Greetings Doug Johnson,
Widow Quinn Playboy of the Western World Sharon Ott
Maxine Night of the Iguana Tony Amendola
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(Actor-Cont)
ACTOR'S THEATRE OF LOUISVILLE,Louisville,KY
Elmire Tartuffe Jon Jory
PLAYMAKER'S REPERTORY THEATRE,Chapel Hill,NC
Josie A Moon For The Misbegotten* Gregory Boyd
Rosalind As You Like It* Gregory Boyd
A CONTEMPORARY THEATRE,Seattle,WA
Gaby Stonewall Jackson's House Jeff Stizer
FEATURED OR STARRING TELEVISION & FILM APPEARANCES INCLUDE:
Mystery of Black Rose Castle (Series Star) The New WKRP In Cincinnati (Series Sl.i r i
Georgia Rule(Featured)Garry Marshall The Pack(Star opposite Joe Don Baker)
Frankie and Johnny(Featured) The Other Sister(Featured)G. Marshall
Eight is Enough (Guest Star) Tucker(Featured)Francis Ford Coppola
Sisters(Guest Star) The Bob Newhart Show(Guest Star)
The Princess Diaries I (Featured) G.Marshall Princess Diaries II(Featured) Garry Marshall
Special Skills: Blues and Jazz Singer,Dialects (British,Irish, Russian,Polish,French)
* Drama Critic's Circle Award **Drama-Logue Award
EDUCATION,TRAINING,BACKGROUND
Cal Arts,Los Angeles,CA - Actor's Workshop, San Francisco,CA -San Francisco State College, San Francisco.
San Francisco Actor's Lab
Mentors.Teachers & Respected Colleagues:
Mara Alexander Edward Hastings Ruben Sierra
Jules Aaron Alan Mandell Tom Stoppard
William Ball Garry Marshall Robert Symonds
Martin Benson Sir Michael Redgrave David Emmes
Gregory Boyd Erica Yohn Tennessee Williams
Alan Fletcher Shozo Sato
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TEACHER: 1972-Present
Selected Achievements
Conservatory Director,The Actor's Lab
Lucy Stern Professorship,Mills College
Professional Classes Taught:
Acting(All levels) Directing Style Acting Shakespeare
Ritual Movement Improvisation Diction Acting For the Camera
Taking Direction Comedy Song Styling Business of the Business
Marketing your Product
Schools:
University of North Carolina California Institute of the Arts
The American Conservatory Theatre Drama Studio of London at Berkeley
Bradley University,Peoria The Actor's Lab
The American Academy of Dramatic Arts Chattanooga Theatre Centre
Complete Teaching C.V. sent upon request
PRODUCING ARTISTIC DIRECTOR—THE COMPANY REP: 2001-2006
The Company Rep is a non-profit organization whose main mission is to create and maintain a company of multi-
cultural artists to generate a body of work that encompasses both classical and contemporary plays,as well as
generating outreach and children's theatre projects which reach out into our community at large.
Advisory Board
Martin Benson,Artistic Director/South Coast Repertory—David Emmes,Producing Director/South Coast
Repertory,Jules Aaron, Director—Bill Bushnell, Director—Dana Bashor,Businessman
Selected Duties and Achievements:
• Founded company and produced 22 plays, 5 world premiere staged readings and 9 late night show
in 3 '/2 years, five of them World Premieres
• Formed and collaborated with Board of Directors and Advisory Board
• Generated and sustained sources of private fund raising
• Responsible for over seeing all aspects of production: choosing of the season, hiring and supervising
staff, fundraising,publicity and marketing, audience development
• Set up and ran Box Office during first two seasons
• Developed and maintain an ethnically diverse company of 50 plus members
• Developed Children's Theatre Project and Outreach Programs
• Created Marketing to broaden audience base
• Created and ran subscription campaign
• Resident Costume Designer
"All this talk about a `new energy'coming out of the El Portal Center for the Arts can only be the harbinger
of good things on Lankershim Boulevard. The prime spark plug appears to be Hope Alexander, Artistic
Director of the Company Rep"The Los Angeles Daily News
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ARTISTIC/CONSERVATORY DIRECTOR—OMNIART PRODUCTIONS - San Francisc(i
Bay Area: 1977-1981
OmniArt Productions,Inc: a non-profit theatre company serving Oakland,CA&the Bay Area;produc i i
free classical theatre in the city parks.
Actor's Lab Theatre School: subsidiary of OmniArt;brought broad-based professional theatre school ti) tiu
East Bay.
Advisory Board Members:
Tom Stoppard Sir Michael Redgrave John Astin
Tennessee Williams Francis Ford Coppola William Ball
Selected Duties&Achievements:
Worked closely with Board of Directors,Advisory Board,and Managing Director.
Responsible for choosing season;casting and directing plays
• Developed and maintained racially&economically diverse audiences
Responsible for marketing&development
Generated and sustained sources of private fund raising
° Responsible for hiring&supervising designers&craftspeople
• Acting&directing instructor;with focus on training in Shakespeare&Style Movement
Responsible for hiring&supervising teaching staff of seven
Consistently recruited minority&economically diverse students for scholarship
Responsible for curriculum design and designing performance brochures
• Recruited,established&maintained privately funded scholarship program
PRODUCER (Representative List)
*Critic's choice and/or pick of the week ***World Premiere
Rosenstrasse*** *(Book and Lyric Terry Lawrence/Music Max Kinberg The Company Rep
The Nina flariations (Steven Dietz) The Company Rep
Rosencrantz and Guildenstern Are Dead(Tom Stoppard) The Company Rep
Six Degrees of Separation*(John Guare) The Company Rep
Scapino!(Jim Dale—Frank Dunlop) The Company Rep
Twelfth Night(William Shakespeare) The Company Rep
The Fantasticks (Smidt/Jones) The Company Rep
Criminal Minds(Robin Swicord) The Company Rep
Season's Greetings* (Alan Ayckbourn) The Company Rep
° The Painful Death of Sue Ellen Fitch*** (Thorin Alexander) The Company Rep/Edge I c,l
Split*** (Mayo Simon) The Company Rep
A Christmas Carol* ***(Thorin Alexander/Max Kinberg) The Company Rep
Camino Real* (Tennessee Williams) The Company Rep
The Comedy of Errors* (William Shakespeare) The Company Rep
The Two Character I'lay*(Tennessee Williams) Le Petite Herbertot,Pa
Play Strindherg* (Fredrich Durrenmatt) The Company Rep
Picasso At The Lapin Agile* (Steve Martin) The Company Rep
John b-vings The Pension Grillparzer* *** The Company Rep
The Taming of The Shrew-(William Shakespeare)OmniArt Productions at Knowland Park,Oakland,Ca
A Physician In Spite ofHimself(Moliere)—OmniArt Productions at Knowland Park,Oakland,Ca. —
6
NEW PLAY DEVELOPMENT (Representative List)
1980-Present *Critic's Choice
Dramaturge and Director on the Following World Premieres
• *Rosenstrasse—Book and Lyrics-Terry Lawrence-Composer-Max Kinberg—The Company Rep
• *The Painful Death Of Sue Ellen Fitch—Thorin Alexander—The Company Rep
• Fuchsia—Mary Fengar Gail—The Hudson Theatre
• *A Christmas Carol-Book and Lyrics by Thorin Alexander—Music by Max Kinberg—The Company Rep
• *Shame On The Moon-Alicia Madrid-Los Angeles Theatre Center
• Ritual Macbeth-Hope Alexander-California School of The Arts
• Ritual Trojan Women-Stephen Wolfson-Mad Clark Studio Theatre
• *In The Museum of Contemporary Art-Stephen Rappaport-Luna Park World Tour
• In The Sweet By and By-Frank Higgins-Berkeley Repertory Theatre
■ *Well Then-Hope Alexander-Quonset Theatre
• Stout Fella-Mark Van Wye-South Coast Repertory Theatre
• Drink Me -Mary Fengar Gail -South Coast Repertory Theatre
• Surprise, Surprise—Travis Michael Holder—Victory Theatre
• The Weed Blossom—Gene Alexander—The Company Rep
• Decaying Orbits—Soren Oliver—The Company Rep
Reader for Nicholl Fellowship Screenwriting competition,Henderson Productions(Garry Marshall)
and Skirlball Foundation.
DESIGNER
Blues For Mister Charlie Set and Costumes Chattanooga Theatre Centre
Kookamonga Falls Costumes Sacred Fools/EdgeFest
Rosenstrasse Set and Costumes The Company Rep
The Nina Variations Set and Costumes The Company Rep
Scapino! Costumes The Company Rep
Rosencrantz and Guildenstern Are Dead Costumes The Company Rep
A Musical Christmas Carol Set and Costumes The Company Rep
The Fantastiks Costumes The Company Rep
Twelfth Night Costumes The Company Rep
Fushia Costumes The Hudson Theatre
Play Strindberg Costumes The Company Rep
John Irving's The Pension Grillparzer Costumes The Company Rep
The Comedy of Errors Costumes The Company Rep
Split Costumes The Company Rep
Camino Real Costumes The Company Rep
Season's Greetings Costumes The Company Rep
Criminal Minds Costumes The Company Rep
The Taming of the Shrew Set and Costumes OmniArt Productions
7
SOME PRESS...
THE IMMIGRANT—A New American Musical
Harelik/Knapp/Alper
"There's much to recommend the Colony production, including Hope Alexander's sprightly direction"
Los Angeles Times
"Hope Alexander's direction gets the most from her actors,and her staging of numbers such as"The Sun Comes I'll'
adds notably to the show"Variety
".Director-Hope Alexander has a knack for finding the emotional truth in the characters,emphasizing the dramatic
values in this chamber musical which is more a play with music"Curtain Up
PLAY STRINDBERG
Durrenmatt
"Hope Alexander's sleek new production of Friedrich Diirrenmatt's play is a knockout."
CRITIC'S CHOICE–Los Angeles Times
"If you can imagine a marital bout with the trappings and ceremony of a boxing match,you've got a fair idea of th
concept behind Friedrich Diurenmatt's rarely performed gem.Hope Alexander directs masterfully"
L.A.Weekly–Theatre Pick of the Week
"The director,Hope Alexander,has an eye for comedy and her brisk pacing moves the absurdist drama nimbly for e•.��d
She also fills in as costume designer`Esther Blodgett',and her bio in the program is worth the price of the ticket."
BackStage West–Critic's Choice
"Hope Alexander directs a triumvirate of seasoned pros through a series of thespian hoops that reveals them at thei
most uninhibited and zany best." Critic's Choice–Entertainment Today
"Under the sure hand of Company Rep artistic director Hope Alexander,a talented and energetic three-member
ensemble drive this adaptation of August Strindberg's"Dance of Death" for all it's worth"L.A.Daily News
"Multi-award winning director,Hope Alexander,inspires a trio of flawless performances from this
exceptional cast."The Toulcan
THE COMEDY OF ERRORS
Wm.Shakespeare
Shakespeare's goofiest play benefits not only from a lively cast but also from Hope Alexander's consistently
creative direction,which applies a tweaking of pop culture onto the play—a device well utilized simply to make
more of the jokes clearer to a modern audience.Alexander cleverly turns a dense bit of opening exposition into
a very funny video and similarly transforms a thorny chunk of badinage into a TV quiz show finale.L.A.Weekly
What director-Hope Alexander set out to do with her imaginative new mounting of The Comedy of Errors
was to make Shakespeare's formidable language accessible to a young audience raised on Nickelodeon,
sitcom families and Sponge Bob Square Pants.The Company Rep's Comedy of Errors is simply irresistible.
ENTERTAINMENT TODAY
"A comic romp!"–Los Angeles Times
8
CAMINO REAL
Tennessee Williams
"The 24-member ensemble is guided by an energetic,let-it-all-hang-out staging by Artistic Director Hope Alexander."
Julio Martinez,Daily News
"The fainthearted would not go where The Company Rep's artistic director Hope Alexander has gone by choosing
to present this piece as her fragile young troupe desperately tries to gain a foothold in our fickle theatrical community.
Still,one can only hope(no pun intended)that Hope Alexander and her fresh new company continue to grow—and
with her imagination and courage,this is almost inevitable. If her Camino Real does not win awards,it should certainly
win the support of all of us who wish to see LA theatre emerge from the shadow of the film industry and stand up for
the artistic ideals of people like Ms.Alexander.I for one can't wait to see what she chooses to do next. "
Travis Michael Holder,Entertainment Today
The production flexes impressive artistic muscle with intensely committed performances from its 25-member cast.
Rather than soft-peddling the play's excesses,a wildly eclectic staging by Hope Alexander--a veteran of several
previous"Camino Real"productions who knew Williams and shared his passion for the play--fearlessly updates it with
contemporary elements ranging from video displays to Tina Turner songs.Philip Brandes, The Los Angeles Times
PICASSO AT THE LAPIN AGILE
Steve Martin
"Hope Alexander has reconceived(Picasso)as a flat-out vaudevillian romp,high-decibel and unflaggingly energetic.
Breathless,overwrought and fittingly passionate,Alexander's runaway staging]ends new robustness to Martin's
desultory but durable musings."Kathleen Foley,Los Angeles Times
"Director Hope Alexander wisely offers her ensemble wide latitude while never allowing the scripter's meandering
thematic through line to go too far astray."Julio Martinez,Daily Variety
"All this talk about a"new energy"coming out of the El Portal Center for the Arts can only be the harbinger
of good things on Lankershim Boulevard.The prime spark plug appears to be Hope Alexander,artistic director
of the Company Rep,the new resident company of El Portal Center for the Arts'Circle Theater."
The Daily News,Evan Henderson
THE LAST NIGHT OF BALLYHOO
Alfred Uhry
"Helmed at a leisurely,understated pace by Hope Alexander,a talented ensemble accomplishes the playwrights
dual agendas....Highlighted beautifully by Alexander..."Julio Martinez,Daily Variety
NIGHT SKY
Susan Yankowitz
"Director Hope Alexander sensitively draws on the script's strengths.""...Engrossingly painful...
this production is illuminating"Los Angeles Times–Critic's Pick****
"Director Hope Alexander tugs on our heart strings with uncomfortable scenes...""Engrossing"
LA Weekly–Recommended
"Director Hope Alexander elicits moving,multi-layered performances from an excellent six-member ensemble"
Variety–Critic's Choice****
LAST LISTS OF MY MAD MOTHER
Julie Jensen
"Director Hope Alexander helms the proceedings with a light and unobtrusive hand"
"...as absurd and fraught with meaning as any Beckett play"Los Angeles Times-Critic's Choice****
"Director Hope Alexander's gentle, intimate staging subtly blends melancholy and affection with emotional nuance"
L.A.Weekly–Recommended
9
JACK AND JILL
Jane Martin
"Credit director Hope Alexander for recognizing where the play punches and where it pulls back."
"Quick witted,edgy and blessed with an unsentimental take on a potentially drippy subject"
Orange County Weekly-Pick Of The Week****
SHAME ON THE MOON
Alicia Madrid
"Hope Alexander directs with a sense of whimsy and utter respect for the tale being told." "A celebration!"
Dramalogue-Critic's Choice****
THE ART OF DINING
Tina Howe
"Directed by Hope Alexander this is a perfectly timed production which at times is as inspired as the dishes that r.
out of the Golden Carousel." San Francisco Chronicle****
SLEUTH
Anthony Shaffer
"Powering"Sleuth"is a vivid sense of showmanship that I can only attribute to director Alexander.""Juicy fun"
Press Democrat-Critic's Choice****
FOUR PLAYS OF THE SEA
Eugene O'Neill
"Under Hope Alexander's spirited direction The Glencarin Cycle Sea Plays are a triumph of creative directing.
Plays that might otherwise be of interest only to scholars,as the earnest,broadly written exercises of a beginning
are at once respected and articulated in a new way that engages and communicates authentically to audience."
"O'Neill's moody tributes to lonely life of the sailor come buoyantly alive." San Francisco Chronicle-Critic's
Choice****
TRUE WEST
Sam Shepard
"All the performances,directed by Hope Alexander,hit the right note..."
"...it would be a shame for any contemporary Westerner to miss this production"Los Angeles Times ***
"Taut,thoughtful staging""Director Hope Alexander has added impressive detail to Shepard's script"
"This is a visceral production,and it's emotions come straight from the heart"The Orange County Register
PLAY STRINDBERG (South Coast Rep)
Durrenmatt
"Thanks to Hope Alexander's sharp direction...(Play Strindberg)is one of the best shows in Southern California"
"This production's success comes primarily from a commitment to levity,for which helmer Alexander should be �L
full credit." Daily Variety**
"Hope Alexander's staging at South Coast Repertory....swashbuckling...
intense physicality...a riotous primer in extracting laughter from a mundane activity..."Los Angeles Times-CritiL
Choice
"Hope Alexander expertly creates a cartoon quality to keep audiences laughing with recognition of troubled
relationships rather than depressed at the reality of such human foibles."L.A.Weekly—Recommended ****
"Hope Alexander directs with a swift,stylized pace that fittingly gives the play the brutal hilarity of a Punch and 1 u i
show."
" ...tightly timed and terribly funny production.."Backstage West/Dramalogue-Critic's Pick
10
FIGHTING OVER BEVERLY
Israel Horovitz
"Horovitz's entertaining and thought provoking piece soars under the meticulous direction of Hope Alexander."
Los Angeles Times-Critic's Choice****
"Director Hope Alexander never allows the tension and inherent humour of this situation to lag...under Alexander's
guidance every nuance of Horovitz's multileveled interplay between characters is realized."
Daily Variety-Critic's Choice****
PARK YOUR CAR IN HARVARD YARD
Israel Horovitz
"Director Hope Alexander sustains a delicate tonal balance that lets the considerable humour in the piece to shine
through without overpowering the poignancy."Los Angeles Times-Critic's Choice****
"The seamless direction by Hope Alexander is exactly what it should be for a character driven piece like this:
invisible."
Backstage-West/Dramalogue-Critic's Choice****
UNEXPECTED TENDERNESS
Israel Horovitz
"Director Hope Alexander brings a sense of purpose and humanity to every pulse of Horovitz's funny,painstakingly
detailed drama." Los Angeles Times-Critic's Choice****
"Hope Alexander handles Horovitz's language and situations with a deft hand,guiding her players out of potential
melodramatic pitfalls." DramaLogue-Critic's Choice****
GROWING UP JEWISH FESTIVAL
A ROSEN BY ANY OTHER NAME—THE CHOPIN PLAYOFFS—TODAY I AM A FOUNTAIN PEN
Israel Horovitz
"Simultaneously mounting three plays must have been daunting...Alexander's staging is exuberant and likable."
"Hilarious" "Gut wrenching""Flat out,no-bones slapstick"Los Angeles Times ****
The ArtsCenter: ArtsCenter Stage Free Acting Workshops
Arts Program Grant- Spring 2014
Orange County Arts Commission
One Song Productions
2013-14 Board of Directors Bios
Rob Byerly is a senior at Chapel Hill High School and is in his second year on the One Song Board w
Directors. He has always had a love for the technical side of theater and now has almost four years of
experience in it. He was a co-sound designer in Look Homeward Angel, sound designer for Hairspray,
and was the set designer for Who's Afraid of Virginia Woolf? Theater is one of his favorite hobbies :>ui
he also enjoys running cross country, driving around town, and chilling in his basement.
Eliza Filene is a senior at Carrboro High School and is very excited to be returning to the One Song
team! She recently played Big Mama in Cat on a Hot Tin Roof and Rosalind in As You Like It. Eliza sees
art not only as a fun way to self-express, but also as a tool that can appeal to human emotion and insp rr_
people to make change. She is passionate about health equality and is a co-founder of the Carrborc) High
gh
School Global Health Club, which been successful in raising money for NGOs working in Mali and
Rwanda. Eliza also enjoys youth radio, playing piano, and exploring.
Nell Ovitt is a senior at Chapel Hill High School and is serving her second year on the One Song Board
of Directors. Her performance experience includes roles in Who's Afraid of Virginia Woolf?, The
Pillowman, Sweeney Todd: The Demon Barber of Fleet Street, Doubt, Dancing at Lughnasa, and A
Midsummer Night's Dream. She directed One Song's 2013 spring show, Language of Angels. In addition
to theatre, Nell enjoys reading, music, coffee, working on Chapel Hill High School's newspaper, studying;
Japanese, returning to Brooklyn, and visiting Fairhaven, MA.
Victoria Brancazio is a senior at East Chapel Hill High and is serving her first year on One Song's Bo i 'I
of Directors! Her performance experience includes Universal Robots, Language of Angels, Last Tram, r,;
Nibroc, Macbeth, Sweeney Todd: The Demon Barber of Fleet Street, Chicago, and The Music Man. Sne
also has had stage management and run crew experience in Fiddler on the Roof and A Flea In Her
She directed One Song's 2013-2014 fall production of Leaves and will be co-directing the spring shove.
"A Most Rare Vision": A Spring Shakespeare Showcase. In addition to theatre, Victoria enjoys coffee=.
books, Sylvia Plath, scooping frozen yogurt and all things related to Harry Potter. She is also the Arts
and Culture editor for The East Chapel Hill Observer and is excited to be joining the 2013-2014 One
Song team!
Rosie Kerwin is a junior at Chapel Hill High School and is serving her first year on the One Song Board
of Directors. She is fairly new to the world of theater, and her recent performance experience includes
roles in Lucky Stiff and Hairspray. Outside of theater, Rosie enjoys running cross country, reading, and
singing in Lucky 13, Chapel Hill High School's all female a cappella group. She is very excited to be
joining the One Song team!
The ArtsCenter: ArtsCenter Stage Free Acting Workshops
Aaron Josephs is a senior at Chapel Hill High School and is excited for his first year on the One Song
Board of Directors. Examples of his former theatre experience include roles in Richard III, Dr.
Horrible's Sing-Along Blog, Measure for Measure, and Romeo and Juliet. Aaron's non-theatre interests
include his Jewish youth group, traveling to visit friends in New England or the Midwest, and
Taekwondo.
Nathaniel Wells is a junior at Chapel Hill High School who is excited to be starting his first year at One
Song. Nathaniel has almost three years of experience in the technical aspect of theater. He was sound
designer for Alice and Wonderland as well as sound designer for One Song's Last Train to Nibroc and
Richard III. He intends on majoring in theater but also enjoys Magic: the Gathering and playing guitar.
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n�r,pa1 fiaa: The ArtsCenter
Profit&Loss Budget Overview
July 2012 through June 2013
The ArtsCenter 112013 Budget r
ArtSchool Schools Ed. A-Camp AAI YAC Concerts Theatre Rentals Development Operations TOTAL
Jul'12-Jun 13 Jul'12-Jun 13 Jul'12-Jun 13 in!'12-Jun 13 Jul'12-Jun 13 Jul Y2-Jun 13 Jul'12-J-13 71'12-Jun13 Jul'12-Jun 13 Jul'12-Jun 13 1ul'12-Jun 13
Ortlinary lncomelExpense
ncome
Individual contributions
Individual giving 315.00 75.000.00 ]6,315.00
Schol—thn,Donations 2,600.00 2,000.00 1,570.00 2,000.00 2,200.00 12.370.00
Board Give&Get 29,000.110 29,000.00
Total individual contributions 2.600.00 2.000.00 3,570.00 2,000.00 2,200.00 315.00 104,000.00 116.666.00
Corporate&loundation support
Corp.&business grants 3,000.00 9,500.00 12,500.00
Foundation&trust grans 64.4]1.00 2,583.33 ],583.33 2.583.33 1,000.00 10,000.00 37,500.00 125,]20.99
Sponsorships 12,500.00 2,509.00 15,000.00
Total Corporate&foundation support 6],4]1.00 1,593.33 7,581.33 2,581.33 13,500.00 12,500.00 47,000.00 153.220.99
Government grants
NCAC grants 49.99].00 49.997.00
Town of C111-1 Grant 16.000.00 16,000.00
Orange CO.Grant pavmanl 3.000.00 3,000.00
Town of Chapel Hill grant 10.000.00 10,000.00
OCAC grant 4,500.00 1,500.00 3,000.00 9,000.00
T-1 Government grants 4,500.00 4500.00 3,000.00 ]4.99].00 86,997.00
NO--Revenue
Pertgno——p Revenue 300.00 300.00
Youth Performance Revenue 2.014.00 2,014,00
Theatre Revenue 13].69].00 137.697.00
Concert Revenue 155,750.00 156.750.00
Superfun Show Revenue 11.740.00 11,]40.00
Sc M1OOI Show Revenue ]1,980.00 ]1.in"o.
Refreshment sales 26,950.00 13,700.00 16,700.00 875.00 420.00 58.645.00
Merchandise Commission 200.00 3,875.00 1,575.00 5,650.00
Total Performance Revenue 84.220.00 2,014.00 186,575.00 1fi1.39].00 18,276.09 875.00 420.00 413,]]6.00
Program Revenue
AnSchool Tuition 194.147.25 194.147.25
AAI Tuition 4].]]].00 4],]]].00
MiniCamp Tuition 9.300.00 9.390.00
Art—.p Tuition 158.218.00 158.218.00
A —ro Registration Fees 7.090.00 7.090.00
YAC Tuition 81.048.00 814048.00
PIE Revenue 3.300.00 3.300.00
Transportation 15.650.00 15,650.00
Kids load Sales 4,532.01 4,532.00
Total Pmnram Revenue 194,14].25 3,300.00 169,840.00 72,727.00 81.049.00 521.062.25
Gallery revenue
Gallery Registration Fee 240.00 249.00
Center Gallery sales ],020.00 ],020.00
Total Gallery revenue 7,260.00 7,260.00
Investment Revenue
Interest Revenue BAO 8.40
Total Investment Revenue B.dO 0.40
Rental&Royalty Revenue
Bac011ne Rental 275.00 2]5.00
Space Rental 400.00 3,000.00 60,904.84 64,304.94
Total Rental&RoVa11V Revenue 400.00 3.000.00 61.179.94 64,579.84
Special events
Event ticket sales 22,600.00 22,600.00
Auction revenue 7.500.00 7,500.00
Other event income 3,400.00 3,400.00
Total Special events 33.500.00 33.500.00
Other:ale:
Credit—d Ch-ges 2,860.00 590.00 1,]]5.00 11300.00 396.00 7,050.00 11,299.00 740.00 26,010.00
Total Other,sa les 2.860,00 590.00 1.]]5.00 1,300.00 396.00 7.050.00 11,299.00 740.00 26.010.00
Advertising revenue
Ad Revenue
3,120.00 3,120.00
Total Advertising revenue 3,2000 3,120.00
Total Income 200,007.25 162,081.00 177,]68.33 88,110.33 88,241.33 207,410.00 181,196.00 80,194.84 260,172.00 10,808.40 1,456,219A8
Cost of Go—Sold
Gallery Pieces Sold
Center Gallery pieces sold 4,563.00 4,563.00
Total Gallery Pieces Sold 4.663.00 4,56100
Bar Supplies
Non Alcoholic Beverage 2,810.91 2,810.91
settle Beer
Wine 3,]09.61 3.]09.61
16.00 2,016.00
Ken Beer 2,0
5.031.00 5.031.0
Bar Supplies-Other 2,391.06 2,391.06 6
Total Bar Supplies 15,958.68 15,958.58
Total COGS
20,521.58 29,521.68
Gross Proht 200,007.25 162,081.00 177,768.33 88,110.33 88,241.33 207,440.00 181,196.00 80,194.84 260,372.00 -9,713.18 1,635.697.90
Nccrual Basis
The ArtsCenter
Profit&Loss Budget Overview
July 2012 through June 2013
AdSchool Schools Ed. AdsCamp AAI YAC Concerts Theatre Rentals Development Operations TOTAL
Jul'12-Jun 13 Jul'12-Jan 13 Jul'12-Jun 13 Jul'12-Jun 13 Jul'12-Jun 13 Jul'12-Jun 13 Jul'12 w Jun 13 Jul'11-Jun 13 Jul'12-Jun 13 Ju1'12-Jun 13 Jul'12-Jun 13
Expense
Performance Expenses
Workshop Excense 108.00 109.00
Performer Fees 61,401.00 89,150.00 57,212.60 2,500.00 210,263.50
Tech Fees 1,210.00 4.4]5.00 100.00 4,355.00 160.00 240.00 11,120.00
EquipmengBacklice Services 1,135.00 200.00 1,335.40
Royalties 895.00 3,000.00 3,695.00
F-WHospitalitY 2,225.00 ]90.00 3,015.00
Total Performance Expenses 64,964.00 96."5.00 60,912.50 45555.00 2,660.00 260.00 229,736.50
Program Expenses
Travel 1.551.00 400.00 40.00 1,497.50 3.488.50
Instructgr Fees 102,350.00 9,550.00 51.486.20 15.552.00 55.884.00 236,822.20
Model Fees 5.760.90 6,760.00
Program supplies 6,925.00 885.00 3,760.00 570.00 1,190.00 16.00 5,000.00 18,346.00
Food Supplies 4,899.00 1,03].50 5,936.50
Transportation Fees 16,]20.00 16,]20.00
Rent 3,720.00 450.00 4,1]0.00
Total Program Expenses 118,755.00 10.635.011 60.165.20 33,879.50 5],0]4.00 2,01].00 5.400.00 40.% 1.497.50 289,243.20
Gallery Expense
Galbuy Coordinator Stipend 2,400.00 2,600.00
Total Gallery Expense 2400.00 2,600.00
Salaries&related expenses
General Labor 3,072.00 10.780.00 19,200.00 1,125.00 1.125.00 16.198.00 51,500.00
Bartender Pay 3,140.00 3.140.00
Staff salaries 44,272.32 32,006.36 17,550.00 16,871.52 22.721.52 24.369.72 32.136.00 13,122.12 34,000.08 145.272.00 383,120.66
House Managers 22,588.00 22,588.00
Social security 8 medicare 3,529.81 2,617.]6 2,0]5.44 2,713.56 1,692.24 1,890.63 2,366.64 1,05].82 2,509.20 13,672.86 33,925.96
Total Salaries&related expenses 50.8]4.13 35.223.12 30,405.44 38,785.08 24,413.76 27.385.35 34.602.64 15,304.94 36.S09.28 200.870.96 494,274660
Employee benefits
Heaiffini rance 4,366.43 4,366A3 4,366.43 2,183.27 2,163.27 2,836.21 4.366.43 1.528.22 4.366A3 22,299.29 52.11".41
SEP-IRA matching contrib. 328.08 243.72 321,36 131.28 374.88 1,399.32
Total Emplovee benefits 4.386.43 4.694.51 4,36643 2,183.2] 21[3627 31081.93 4,68].]9 11659.50 4,366.63 22,676.17 54.263.73
Professional fees
Program planning consultants 25.596.00 25596.00
Pavd,I ruce sing fees 2,785.00 2,,785.00
Computer consultants
Marketing consultants 7.131.95 7,131.95
1.189.00 1,189.00
Co., eltemporary help 3,900.00 3.900.00
Facilitator Fees 12,]411 It 12.748.00
AccountinglAuditor fees ],900.00 ],900.00
Total Proressiorwl fees 25,59&% 1,189.00 34.464.95 61.269.95
Supplies
0(ice supplies 5.215.00 5,215.00
Maintenance supplies 4,900.00 4,900.00
Total supplies 10,115.00 10,115.00
Postage&delivery
Postage&Mailing Services 3,999.00 450400 90.110 200000 1035 600.00 USC.00 840.00 7,240.35
Total POSlaae&delivery 3,999.00 450.00 90.00 200.00 1.35 600.00 1.060.00 840,00 7,200.35
Occupancy expenses
Utilities
Internet access 1.378.80 1,379.80
T ephone El ddrity 6.732.00 6,]32.00
Electricity 16,730.00 16,730.00
Water 5,455.00 5,455.00
Gas 3.255.00 3,266.00
Total Utilities 33,550680 33,550.80
Exterminator Fees 1,125.00 1,125.00
Decorating&maintenance 9,330.00 9,330.00
Main St.Raped-CAM
Total Occupancy expenses 30,221.80 30,221.68]4.22].68 74.227.68
Equipment rental&main{.
Copier lease 3360.00 3,360.00
Postage Meter leas .
e 732.00 732.00
Other equipment rental/maint. 1,240.00 1.240.00
Computer expense 60.00 1,639600 1,419910
Total Equipment rental mand. 60.00 11439 O 6,831.40
Pnnting&publications
Printing&duplication 5,225.00 2,075.00 2,8D0.00 3]0,00 00 1,66].50 100.00 1,000.00 243.00 4,200. 17,680.50
Total Printing&publications 5,225.00 2,075.00 2,e00.o0 370.00 1,667 50 10000 1.000.00 243.00 4.200.00 17.680.50
Conferences&meetings
Registration Fees 1,025.40 200.00 175.00 590.00 310400 850.% 3,150.00
Membership Dues 475A0 430.00 1,060.00 1,965.00
Total Conferences&meetinas 1,025.00 200.00 1]5.00 1,065.00 740.00 1,910.00 5,115.00
Financial Expense
Mudaage Interest 46.457.25 46,457.25
Other Loan interest 46,135.06 46,465.06
Finance Charges&Late Fees 120.00 120.00
gtal Financial Expense 60.762.31 60,742.31
Depreciation expense
Depreciation expense 28,800.00 28,800.00
Total Depreciation expense 28.%0.00 28,1200-0
ma=.e
In cropine-general 10,700.00 10,700,00
UnempbVment Insurance 10,000,00 10,000.00
Workers'comp insurance 5,195.50 5,195.50
Total Insurance 25,895.50 25,895.50
Bank charges&fees
Bank charges 1,]20.% 1,]20.00
Credit Card Charges 23,100.00 23,100.00
Total Bank charges&fees 24.820.00 24.820.00
Advertising
Advertising 3,9".00 1,420.00 54.00 1,150.00 13,o08.00 1,400.00 250400 41530000 25,756.00
To[al Adverttsintl 3.9".00 1.420.00 66.00 1,150.00 13.0011.00 1.400.00 250.00 4.530.00 25,756.00
Other expenses
MealslEntedainment fi25.00 635.00
Sales taxes 00 3.750.00
Special Events 9%.00
Other T. 2.9%.00 2,
xe:
e].% 8].00
Permits 200.% 720.0' 920.%
Total Other excenses 5.18200 8,378.00
Dist.01 Gen.Funds&Overhead 0.01 0.01
Total Expense 188.18&56 145,037.63 99,0%.07 75,21].85 86,688.53 143,103.63 109,691.93 21,519." 19,0".]1 510,181.38 1426,769.73
Net Ordinary Income 11,818.69 17,043.37 79,67226 12,892.8 1,552.80 64,336.37 715506.07 58,675.40 2117327429 518,894.% 8,928617
Nel Income 11,810_.69 1],043.]] 79,672626 12,89248 1,552.90 66,336.3] 71 504.0] 50,6]6.40 211,327.29 519,894.66 8,928.17
Page 2 or 2
The ArtsCenter: ArtsCenter Stage Free Acting'Workshops
Arts Program Grant - Spring 2014
Orange County Arts Commission
2014-2015 Organizational Budget for The ArtsCenter is currently in the approval/revision process, with
anticipated approval in late June 2014. The ArtsCenter can provide an approved copy of the budget at
that time, if requested.
The ArtsCenter: ArtsCenter Stage Free Acting Worksr
Arts Program Grant- Spring 2014
Orange County Arts Commission
Artist Contact List
Hope Alexander
5000 Fortunes Ridge DrDurham, NC 27713-9350
919-824-4610
919-908-9988
BAUB005 I @gmail.com
Cast for Into the Breach - October 2014
Jeb Brinkley
1435 US 15-501 Hwy S Chapel Hill NC 27517
803-603-1345
jeb.brinkley @yahoo.com
Brandon Rafalson
21 IA Jones Ferry Road Carrboro NC 27510
312-969-9382
Brandon.rafalson @ gmail.com
Eric Morales
648 Conover Road Durham NC 27703
919-302-6263
ratlhead20 @gmail.com
Laurel Ullman
7020 Racine War Raleigh NC 27615
336-202-5311
moonchild8I @gmail.com
Justin Johnson
6808 Chester Grate Court#101 Raleigh NC 27615
919-630-0280
jbjohnson @gmail.com
Cast for All is Calm: The Christmas Truce of 1914 — December 2014
Eric Dashman
1821 Rolling Rd Chapel Hill NC 27514
919-491-8714
edashman @nc.rr.com
Adam Dengler
453 Melanie Ct Chapel Hill NC 27514
206-551-9227
akdengler @gmail.com
The ArtsCenter: ArtsCenter Stage Free Acting Workshops
Ryan Frazer
322B Davie Rd Carrboro NC 27510
802-356-6947
rfrazer @live.unc.edu
Scott Goodwin
520 Pleasant Green Rd Hillsborough NC 27278
919-697-1981
sgoodwin @rti.org
John Irwin
167 Viburnum Way Carrboro NC 27510
901-634--0253
johnwilsonirwin @ gmail.com
Drain Knapp
5407 Spring House Ln Chapel Hill NC 27516
919-618-6069
darin_knapp @med.unc.edu
John Paul Middlesworth
305 Parkview Crescent Chapel Hill NC 27516
919-260-0309
middlesworth @att.net
Michael Shannon
303 Berryhill Dr Carrboro NC 27510
919-616-6302
mshannon6 @nc.rr.com
Dave Sroka
12501 Garden Tree Ln Raleigh NC 27614
919-302-7658
dsroka @gmail.com
Graham White
1512 Damascus Church Rd Chapel Hill NC 27516
919-619-6292
graham @campuscrossroads.org
Cast for Oh What a Lovely War— May 2014
Cast for Oh What a Lovely War is ye*_to be determined. Final casting will be done by July 1, 2014 and
can be provided at that time to the OCAC upon request.
The ArtsCenter: ArtsCenter Stage Free Acting Workshor,
Arts Program Grant - Spring 2014
Orange County Arts Commission
The ArtsCenter Staff
Shirlette Ammons
Youth Arts Coordinator
Heather Gerni
School and Family Performances Coordinator
Gallery Coordinator
Adam Graetz
Marketing Director
Jesse Hollars
ArtSchool Assistant
Noel James
Arts in Education Coordinator
Phaedra Kelly
ArtSchool Director
Crystal McKnight
Accounts Director
Art Menius
Executive Director
Brad Porter
Operations Director
Jeri Lynn Schulke
ArtsCenter Stage Director
Julie Tomkovick
Development Director
Louise Tremblay
Summer Camps Coordinator
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The ArtsCenter: ArtsCenter Stage Free Acting Workshop-,
Arts Program Grant - Spring 2014
Orange County Arts Commission
Sample Postcards/Programs/Reviews
Postcard:All is Calm: The Christmas Truce of 19 14, ArtsCenter Stage 2012.
Postcard: 44 Plays for 44 Presidents, ArtsCenter Stage, 2012.
Postcard. The Whipping Man, ArtsCenter Stage, 2013.
Postcard: Gem of the Ocean, ArtsCenter Stage, 2014.
Program: The Best of 10 By 10 in the Triangle, ArtsCenter Stage 2010.
Program: 44 Plays for 44 Presidents, ArtsCenter Stage 2012.
Program: The Whipping Man, ArtsCenter Stage, 2013.
Review of 44 Plays for 44 Presidents, ArtsCenter Stage 2012: "Presidents' hands out a pack of laughs" by
Roy Dicks: News & Observer.
Review of 44 Plays for 44 Presidents, ArtsCenter Stage 2012: "The ArtsCenter's fun and fast-paced 44
Plays for 44 Presidents" by Glenn McDonald: Indy Week.
Review of All is Calm: The Christmas Truce of 1914, ArtsCenter Stage 2012: "All Is Calm recalls the night.
in 1914 when soldiers didn't fight at Christmas" by Byron Woods: Indy Week.
Review of The Whipping Man, ArtsCenter Stage 2013: "A powerful post-Civil War encounter in
ArtsCenter Stage's The Whipping Man" by Kate Dobbs Ariaii: Ind_yWeek.
Review of Gem of the Ocean, ArtsCenter Stage 2014: "Gem of the Ocean Rides High at the Carrbon
ArtsCenter" by Kate Dobbs Ariail: Classical Voice of North Carolina.
Sample Work, DVD
I) The 9th Annual 10 By 10 in the Triangle: "30 Love" by Terry McFadden, ArtsCenter Stage 2010.
2) The I Oth Annual 10 By 10 in the Triangle: "Exit Right" by John Paul Middlesworth, ArtsCenter
Stage 2011.
3) The I Oth Annual l0 By 10 in the Triangle: "Ghost Lite" by Justin Warner, ArtsCenter Stage 201 1
4) The 8th Annual 10 By 10 in the Triangle: "Normal is a Country" by Steven Schutzman, ArtsCenter
Stage 2009.
5) The 7th Annual 10 By 10 in the Triangle: "Speed Mating" by David Guaspari, ArtsCenter Stage
2008.
6) The 9th Annual 10 By 10 in the Triangle: "Stuck" by Christopher Lockheardt, ArtsCenter Stage
2010.
7) The 8th Annual 10 By 10 in the Triangle: "This Side Up" by Lisa Soland, ArtsCenter Stage 2009
8) Eurydice by Sarah Ruhl, ArtsCenter Stage 2010.
9) Eurydice by Sarah Ruh 1, ArtsCenter Stage 2010.
10) Picasso in the Lapin Agile, ArtsCenter Stage 2011.
1 1) Picasso in the Lapin Agile, ArtsCenter Stage 2011.
12) The Best of 10 By 10: "Green Eggs and Mamet" by Matt Casarino, ArtsCenter Stage, 2011.
13) The Best of 10 By 10: "The Rental" by Mark Harvey Levine, ArtsCenter Stage, 2011.
5/23/2014 'Presidents'hands out a pack of laughs I Entertainment I NewsObser\,er.COm
Newsu'bserver.com
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Theater Review
'Presidents" hands out a pack of laughs
By Roy C. Dicks
CorrespondentOctober 2, 2012
Facebook Twitter Goo le Plus Reddit E-mail Print
l'
n�
70,
"fly
�k
Cast members in the ArtsCenter Stage's production of°44 Plays for 44 Presidents."
COURTESY OF ARTSCENTER STAGE
http://ww�v.newsobser\er.conV2012/10/02/2383200/review presidents-hands-out-a.htrrd 1/4
5/23/2014 'Presidents'hands out a pack of laughs Entertainment NemObser\er.com
Details What: "44 Plays for 44 Presidents" Where: Carrboro ArtsCenter, 304-G E. Main d rrboro
When: 8 p.m. Oct. 4-6; 2 p.m. Oct. 7 Tickets: $8-$16 Info: 919-929-2767; artscenterlive.or i
Carrboro ArtsCenter, known for its freewheeling presentations of improv, stand-up comedy and
'theater pieces, is a natural venue to stage "44 Plays for 44 Presidents,,, a raucous grab bag of lies
covering all the U.S. presidents. Despite its rough edges and relaxed pacing, the production off f >Icome
relief from current election rhetoric.
First mounted by Chicago's Neo-Futurists Company in 2402 (when the title number was 43), the Uction
has been popular around the country ever since. This year, Neo-Futurists arranged for 44 pros s
during this election season, including the ArtsCenter's.
Each sketch is presented in a different format, from poetry slam to wrestling match, from rock-a,
dance to illustrated lecture. Five actors play all the parts, passing a multicolored dress coat to c,,,, , ne
portraying a particular president. The others grab various costume pieces and props to become. 'I r
required congressmen, wives, protesters and reporters. Clever musical cues link the scenes, an 3rge
screen shows portraits Of each president, along with additional illustrations, texts and videos.
Derrick Ivey and Michael Brocki anchor the proceedings with their considerable theatrical skills. is E ; 7 a
Hilarious, tongue-tied Thomas Jefferson at his own roast and a show-off Woodrow Wilson toutin- l last
accomplishments. Brocki warbles an off-kilter song as "Silent" Calvin Coolidge and brings a husl a.- ie
refiects on assassinations in the roles of Andrew Johnson and Lyndon Johnson.
Stephen Wall dons a lot of women's hats for comic effect and reads a storybook version of Frari,h 3ierce's
tragedy-laden life. Page Purgar clowns as a silent movie title card presenter and sings a gospekt ,!c:� d
tribute to Richard Nixon's accomplishments. Ros Schwartz goes from a wisecracking Benjamin F i , r.j n to a
scrappy Benjamin Harrison battling a vote recount.
Director Mark Filiaci encourages an improvisational approach, the actors chatting with the audic end
joshing each other as they set each scene But a tighter pace would buoy the audience along ri f rough
the 2 '/2-hour evening. The staging often becomes too boisterous to hear important lines, and tl at
lines in the awkwardly split auditorium are too often ignored. At Friday's opening, many lighting ,:,,; ., 'Vere
uncertain and most sketches lacked a precise finish, often killing audience applause.
If approached as a casual entertainment, accompanied by libations from the lobby bar, the proci,,, r ,; ,t can
offer a diverting and even thought-provoking night out.
Dicks: music—theater@lycos.com
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5/23/2014 The ArtsCenter's fun and fast-paced 44 Plays for 44 Presidents I Theater I Indy Week
Arts »Theater October 03, 2012
The ArtsCenter' s fun and fast- paced 44
Plays for 44 Presidents
by Glenn McDonald
Photo by Adam Graetz
Slaying the POTUSes in "44 Plays for 44 Presidents"
_Just in time for election season, The ArtsCenter in Carrboro has mounted
the fun and fast-paced 44 Plays for 44 Presidents, a collection of staged
shorts concerning history, politics and the U.S. executive branch.
Beginning with George Washington, 44 Plays addresses the presidents in
succession, each getting three or four minutes of attention from the very
busy five-person cast. Most scenes have some sort of comic or satirical
element, but the stylistic range is all over the map. The legacy of a given
-ittp://w vv.indyAeekcorr✓indyAeeWthe-artscenters-fun-and-fast-paced-44-plays-for-44-presidents/Content?ad=3162395&mode=print 1/3
6/23/2014 The ArtsCenter's fun and fast-paced 44 Plays for 44 Presidents I Theater I Indy Week
president- might be addressed in the manner of a quiz show or silent film,
vaudevillian revue or sober monologue.
Some of the funnier bits include a Borscht Belt-style roast of Thomas
Jefferson (by Ben Franklin, no less) and an exuberant musical tribute to
Nixon ("We Love Dick!"). On the dark side are tributes to Lincoln and JFK.
and a particularly compelling scene in which Benjamin Harrison slaughters
Native Americans by stabbing red balloons with a knife.
Funny or dramatic, the vignettes come in such rapid succession that 44
Plays has an inherent problem with tonal consistency. The large audience
at last Saturday's show often seemed unsure when and whether to laugh.
And some bits are simply incomprehensible, unless you're familiar with
Martin van Buren's federal treasury policy, or whatever.
But the flat notes are easy to forgive when you begin to appreciate the
amazing technical proficiency of the cast and crew. The rear of the stage is
occupied by four cabinets filled with costumes and props, which the five
performers bring into and out of scenes at a dizzying pace: hats, guns,
lamps, chalkboards, spanking paddles, fake mustaches and so on.
Meanwhile, the equally busy tech crew is firing off relentless lighting and
sound effects, along with images, scrolling text and film clips on a centrc-11
projection screen. There's a tumbling velocity to the production that's
thrilling.
The ensemble cast manages it all with aplomb and the occasional ad-
libbed aside, giving 44 Plays the energy and verve of an improv show. This
is a true ensemble and everyone gets several dozen moments to shine. I
particularly liked Ros Schwartz's spitfire energy, Michael Brocki's gravity in
the heavier bits and Derrick Ivey's alarmingly accurate Jimmy Carter
impersonation.
The thesis of 44 Plays is more or less stated in the midst of the Benjamin
Harrison sequence, after the intermission. It's about how history is written
and how the legacy of our country is communicated in the story of the
presidents. The play encourages us to think about what we know and what
we think we know. Too bad the artfully posed questions are undercut at
the end with some pedantic rock-the-vote nonsense. 44 Plays didn't make
me want to get to the polls, but it did make me want to read up on some of
these jokers.
This article appeared in print with the headline "Young meets old."
Tags: Theater, The Arts Center
Related Locations
The ArtsCenter
300-G E Main St, Carrboro
http://w,&w.indy,veekcorrVindy AeeWthe-artscenters-fun-and-fast-paced-44-plays-for-44- residents/Content?oid=3162395&mode=print 2/3
5/23/2014 All Is Calm recalls the night in 1914 when soldiers didn't fight at Christmas I Theater I Indy Week
Arts »Theater December 12, 2012
All Is Calm recalls the night in 1914 when
soldiers didn 't fight at Christmas
by Byron Woods
Y.
Photo by Adam Graetz
"All Is Calm: The Christmas Truce of 1 91 4"
First off, report that it happened: Less than five months into the First World
War, an estimated 100,000 German and Allied soldiers stationed in the
trenches along several hundred miles of its Western Front unexpectedly
ceased hostilities on the eve and the day of Christmas 1914.
Unplanned and certainly unauthorized, those troops met with one another,
informally and unarmed, through the night and the day in the no-man's
land between the two front lines. We know they exchanged small presents
and souvenirs; shared food, liquor and tobacco; played pick-up games of
soccer; and cooperated in the removal and burial of the dead. In some
places, it's reported that the impromptu truce lasted up to two weeks, as
entire companies subverted orders to resume combat: directing munitions
fire into the air, away from their former targets, or on a predetermined,
and therefore harmless, schedule.
http://wm.i ndyAeekcorr/i ndyp eek/al I-is-calrrr recalls-the-ni g ht-i n-1914-when-sol diers-didnt-fi g ht-at-christrnas/Content?oid=3215988&n)ode=print 1/3
5/23/2014 All Is Calm recalls the Might in 1914 when soldiers didn't fight at Christmas I Theater I Indy Week
Them reflect that music—mere music—was one of the major things that
made it come to pass.
With the front lines so close to each other, soldiers on each side could hear
their counterparts as they sang seasonal tunes to keep up morale. An odd
sort of call and response developed in the days leading up to that
Christmas; sides actually began trading renditions of holiday carols,
lobbing songs instead of mortar fire across enemy lines. On the strength of
that goodwill, a few brave soldiers followed, bearing humble gifts on
Christmas Eve. When they survived, more came after. Soon, the fighting
stopped.
It's fitting, then, that a stage work commemorating this impromptu
armistice focuses on the music that made it possible. In that sense, All Is
Calm: The Christmas Truce of 1914 is clearly more of a costumed concert
piece for men's chorus than an actual play.
Writer Peter Rothstein crafts a thin but sturdy contextual setting for this
hour-long collection of 26 popular period and battlefield songs, hymns arld
carols. Between the numbers, chorus members unfold the developing story
in spoken-word excerpts from interviews and war correspondence, radio
transcripts and the published work of the period's "war poets," including
Siegfried Sassoon, Wilfred Owen and Francis Ledwidge.
But the music is clearly the centerpiece here. The prismatic emotions of
this work repeatedly shift from the optimism and ribaldry of numbers like
"It's a Long Way to Tipperary" and "Christmas in the Cookhouse" to the
eerie starkness of "I Want To Go Home." Moods shift at times in mid-song,
as a courting tune turns darker during "Will Ye Go Tae Flanders" and a
satiric, battlefield gripe flattens into the elegy that ends "The Old Barbed
Wire."
It's understandable that music director Sue Klausmeyer and the member's
of Cantari Men's Ensemble have resisted the urge to oversell the
combustible passions found in much of the score. But during Friday night's
performance, the emotional bandwidth seemed a bit too narrow in some
spoken and sung sequences.
Michael Shannon andJohn Paul Middlesworth most effectively embodied
the spoken testimony of the veterans they quoted, and Graham White's
luminous solo in "Minuit Chretiens (O Holy Night)" was a standout during
the work's second part. But composer Erick Lichte's pensive, dark
arrangement of "Silent Night" and Timothy Takach's setting for "Auld Lane
Syne" gave the night its spiritual and musical center.
Amid the fluff and empty calories of so much Yuletide entertainment, this
muscular musical reminds us that a set of songs once stopped a war. Novi,
that's power. May we see it utilized more in the days to come.
This article appeared in print with the headline "Upon a midnight clearing."
http://wAw.i ndyweekcorrVi ndyweek/al I-is-calm-recalls-the-nig ht-in-1 914-Men-soldiers-didrit-fig ht-at-christmas/Content?oi d=3215988&mode=print 2/3
5/23/2014 A powerful post-Civil War encounter in ArtsCenter Stage's The Whipping Man I Theater I Indy Week
Arts »Theater October 23, 2013
A powerful post-Civil War encounter in
ArtsCenter Stage' s The Whipping Man
by Kate Dobbs Ariail
O
Photo by Adam Dodds.
L to R: Alphonse Nicholson, Victor Rivera and Phillip B. Smith
Art necessarily takes on the issues of its own time, but it is in its
processing of history that art often excels in feeding civilization. 2013
marks the 1 SOth anniversary of the Emancipation Proclamation, and the
Carrboro ArtsCenter Stage has focused its season on that event and its
long aftermath, beginning with a stunning production of The Whipping
Man, a 2006 play by Matthew Lopez.
ArtsCenter Stage has always been the little theater that could, and this
http://wNw.indyo)eekcomli ndyAeeWa-powerful-post-ci\i I-war-encounter-in-artscenter-stag es-the-Whipping-man/Content?ad=3749259&mode=print 1/3
5/23/2014 A powerful post-Civil War encounter in ArtsCenter Stage's The Whipping Man I Theater I IndyWeek
prod'uttiom•proves once again that a tiny stage, nonexistent back-of-house
and minimal staff cannot weaken the transformative power of drama. The
Whipping Man is two hours long, and for many of those .120 minutes, you
will be on the edge of your seat. The script's intricate folds open slowly;
but during the second act, the intermittent popping of secrets becomes a
fusillade leading to cannon-fire of explosive knowledge, which exposes
both characters and audience in the fiery wreckage.
The story takes place over three days in April 1865, less than a week after
Lee's surrender at Appomattox. As the play begins, we see Caleb DeLeon
(Victor Rivera, moving effectively from callow and commanding to
chastened awareness), dragging himself, grievously wounded, into the
remains of his father's once-grand Richmond house (all the production
design work is very strong). Caleb is a.Jew and a Confederate soldier, and
his parents have fled the city, which is now under Federal control. But two
former slaves have remained in the house for their own reasons: Having
been part of the household all their lives, they too are ,Jews. .John is a
young man, about Caleb's age; Simon is of a solid middle age, and the man
without whom the household cannot run.
It is a season of mud and blood, of despair and rejoicing. And it is
Passover.
Incisively directed by Mark Filiaci, with a restraint that makes late
revelations all the more forceful, the three actors obliterate this time in a
modern town and replace it with desperate days in ruined Richmond. This
is not a play where you are forced to always keep in mind that it is a play. It
is not art about art. The actors do not speak directly to the audience. They
speak to us through the power of the dramatic story, and with their
fearless acting.
Led by Phillip B. Smith as Simon, they make us know some essential things
about that past and the way it has shaped our present. Without spelling
them out, playwright Lopez has Simon engage us with a range of moral
quandaries—what is good, what is right, what is necessary, what can be
forgiven, what cannot be allowed to pass without counteraction? Simon
holds the most knowledge of the three men, though he doesn't know
everything he thinks he knows. He chivvies the fecklessJohn (Alphonse
Nicholson, again leaping ahead of himself in nuanced understanding),
who's frittering his freedom liberating whisky, fancy clothes and piles of
books; he saves Caleb's life; he feeds all three of them. And he insists on
holding a Seder at Caleb's bedside, even though Caleb lost his faith in the
trenches of Petersburg.
That Seder scene, with its celebrations and revelations, is one of the most
powerful scenes I've ever witnessed on stage. Do not miss it.
This article appeared in print with the headline "A night different from
other nights."
http://Www.i ndyweekcorrA ndymekla-poveerfukpost-civi I-war-encounter-i n-artscenter-stag es-the-whippi ng-man/Content?oid=3749259&node=print 213
5/23/2014 CVNC:An Online Arts Journal in North Carolina I Gem of the Ocean Rides High at the Carrboro ArtsCenter
Gem of the Ocean Rides High at the Carrboro ArtsCenter
By Kate Dobbs Ariail
May 10,2014-Carrboro, NC:
Carrboro--(Fri., May. 9, 2014-
Sun., May. 18, 2014)
It's a daunting task to review a production as nearly perfect as the current ArtsCenter Stage presentation of August ArtsCenter Stage: Gem of the
Wilson's Gem of the Ocean. The play, although not the first written(it premiered in 2003)in Wilson's magnificent 10-play Ocean
Pittsburgh Cycle, begins the stories that cover African-American life in Pittsburgh's Hill District through the 10 decades of Ticket prices detailed below in
the 20th century. Several of its characters, including the ancient Aunt Ester,were born in slavery, and the main concern of "Notes"--ArtsCenter,(919)929-
the play is freedom—what it is and is not; how to get it, how to keep it; and how to"live and die in truth."As a piece of 2787,ext.201,
writing, it is beautiful almost beyond describing: robust, musical, rich in color and shading. Its cadences and repetitions http://artscenterlive.orp/
build like those of the best jazz, spiraling around a motif with the hard glitter of change and the lush continuity of
remembrance.
It's a big play in every sense.Two full acts barely contain its life.Wilson(who received many awards for various parts of the full cycle, including two Pulitzers)is
so successful at working with big ideas and concerns because they are the natural concerns of his large-scaled and magnificently detailed characters,who live in
a world where metaphor and reality are not strangers, and where now includes all of the past.Their landscape is strewn with boulders;they are set about with
ambushes, and rivers of blood. It's a world in which a conjure woman can wash souls and cast out scoundrels from her house of peace and sanctuary at 1839
Wylie Avenue, Pittsburgh, PA. It's 1904—110 years ago by the calendar, but not too distant from 2014.
The ArtsCenter production is directed by John Rogers Harris. His timing of the dialogue and action is faultless, but more importantly, he lets love and tragedy fill
the room at their own pace. Harris has cast a powerful ensemble of actors as the seven characters, and Wilson's words pour forth as if from their own minds. No
one spouts speeches, or declaims, or breaks the fourth wall. We observe and empathize looking into a world of which we are not part. It is complete in itself.
Among the actors, first mention must go to Malcolm Green, called in very late in the process to play Eli (replacing Gil Faison,who had to withdraw due to a death
in his family),who is essentially Aunt Ester's gatekeeper. He is also building a wall,a stone wall(not a fence), around the house. Green is still an undergraduate
theatre major at NCCU,but here he's an old man, annealed in the fires of war and reconstruction. He was particularly moving as he told of his days conducting on
the Underground Railroad, along with Solly Two Kings.
Thomasi McDonald may have been born to play Solly Two Kings. He was fantastic as the former slave who escaped to freedom in Canada,only to turn right
around and bring out others. His slave name was Uncle Alfred, but he named himself after two kings, David and Solomon, but someone promptly called him Solly,
so Solly Two Kings he became.Two Kings can't read,and he collects dogshit to sell as manure for a living, but his soul is large, and knows not compromise.
McDonald was in danger of running away with the show every time he opened his mouth—but the others were right there with him, raising the acting to rising
plateaus of greatness.
Gem of the Ocean begins with young Citizen Barlow, recently escaped from Alabama, beating on Aunt Ester's door, desperate to get his soul washed. Jade
Arnold,fresh from his triumphant portrayal of Mozart in Leviathan's production of Amadeus, nearly tore my heart out as Citizen. He's suffering because he killed a
man. He didn't mean to, didn't begin to foresee the effects of an action he took to even a personal score,an action that ultimately sets off riot,fire and more killing.
Aunt Ester takes him on a healing spiritual journey to the City of Bones and almost can't bring him back, because he has let go of the boat—a folded paper boat
she's given him—that links him to his ancestors and his history. He retrieves the boat just in time, and returns to the present with a context for all his troubles.
The struggles and emotions in this scene are very powerful.
Sherida McMullan beautifully portrayed Black Mary,who turned up at Aunt Ester's one day a few years back and is now a conjure woman in training,as well as
cook, laundress, and hostess in the house of peace. Her performance was nuanced, much being conveyed by expression and gesture,and her speaking was so
natural one often felt like an eavesdropper rather than an audience member. Black Mary's half-brother, Caesar W ilks, is played here by the powerful Phillip Bernard
Smith. Caesar is a Tragic figure who doesn't know he's tragic, or that lie's erased his moral center—he thinks he's a success, powerful and righteous. Smith was
more than equal to the task, and particularly eloquent and vicious in Caesar's longest speech.
Juanda LaJoyce Holley gave a majestic performance as Aunt Ester,the wise woman at the center of it all. She's a magnificently tail woman,with a lovely voice
and the sweetest smile. Her Ester connected to all the fundamental powers of the universe; she conjured her character so that the character could conjure up the
truth of the past and apply to it the balm of love. But she—actor and character—also exemplified the particular magic of the drama,whose skilled practitioners
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5/23/2014 CVNC:An Online Arts Journal in North Carolina I Gem of the Ocean Rides High at the Carrboro ArtsCenter
can take us on spiritual j9,ugieys towards understanding.
The one white guy in the play is an itinerant tinker and peddler, Rutherford Selig. He's a friend and frequent visitor, and serves to demonstrate th,i' n,: ui white
people are bad news to black people.The part is small, but key to the culminating action, and is admirably filled by the always-interesting John n1 .m,y
The technical side of this production is as strong as the cast. James Carnahan and Tracy Broome have made a fine set and filled it well. I had a r dr r f quibbles
with Elizabeth Droessler's lighting in the more dramatic moments, but overall it's very good. Marissa Erickson's costuming is first-rate,and tells I< deal about
the characters. Caesar Wilks'oversized white-man suit, pooling around his heels, spoke very clearly. In addition,Zachary Corsa and Denny Wilk s, r !.orsa have
created a wonderful sound design, replete with the blues.This show will be on every year's-best list in numerous categories.
Gem of the Ocean repeats May 15-18.Advance reservations are suggested,as the house size has been reduced by the expanded stage. For me-« i, tils on this
production, please view the sidebar.
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