HomeMy WebLinkAbout2014-595-E Arts - The ArtsCenter for 2014 Arts Grant Agreement $1,500 DocuSign Envelope ID:Al 391C8C-C731-4683-B498-D5B7783F86E4
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ORANGE COUNTY ARTS COMMISSION z �,
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THIS AGREEMENT, entered into this 19th day of December, 2014, by and between Orange
County ("County"), by and through the Orange County Arts Commission ("Arts Commission")
and The 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 Program
to provide economic opportunities to Orange County artists and non-profit organizations
coordinating arts projects benefiting the citizens of Orange County.
WHEREAS, the Spring Arts Grants Program is supported by Arts Commission with
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 the
Spring Arts Grant through the procedures duly adopted by the Arts Commission; and
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 the
County;
NOW, THEREFORE, the County and the Grant Recipient, for the consideration and
under the conditions hereinafter set forth, agree as follows:
1. Approved Grant Project. Grant funds are provided under this Agreement for the project
("Project") described in the Grant Recipient's Grant Application, attached hereto and
incorporated herein as Exhibit A.
2. Grant Award. Grant funds in an amount not to exceed one thousand five hundred dollars
($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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A. Implementation. The Project implementation shall take place between January 1,
2015 and December 31, 2015. The Project shall be implemented in the manner
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, implementation
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 thereof.
Consent to project modifications shall not be unreasonably withheld. Arts
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—assignment. The grant cannot be assigned or transferred to a different project
or artist without prior written approval of the Arts Commission.
D. Records. Grant Recipient must maintain records and other evidence pertaining
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 January 15, 2016 . The Final Report shall be in the format required by
the North Carolina Arts Council. Failure to submit the Final Report or late
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. Pae. The Arts Commission shall release the grant funds in the amount of
$1,500 to the Grant Recipient.
6. Publicity
A. Acknowled eg ment. 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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i. x County Funds Only. "This program is supported by the Orange County
Arts Commission. "
ii. 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 ExploreChapelHillARTS.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 preferred)
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 an
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 of
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. In
addition, Grant Recipient agrees to maintain his or her own worker's compensation
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 any
provision of this Agreement, as determined by the Arts Commission in its
sole discretion.
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(iii) Failure to adhere to the terms of applicable county, state or federal laws,
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 require
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. This
clause shall not be interpreted to limit the County's or the Arts Commission's
remedies in law or in equity.
10. Miscellaneous.
A. Entire Agreement. This Agreement and the attachments contain the final and
entire understanding of the parties with respect to the subject matter of this
Agreement. All modifications and amendments to this Agreement shall be in
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 laws
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 the
dates set forth under signatures below.
Foil �pAybehalf of the Grant Recipient
Nbt l �AtMt.S 12/19/2014
�99EE-0BSD€t�d€c...
The ArtsCenter Date
ForD#q oAybehalf of Orange County Government
jbV�.littf. ( aMmt.V'sb-, 12/22/2014
Bonnie Hammersley, County Manager Date
For ald on behalf of Orange County Arts Commission/approved as to technical content
rVV1e 9444-� 12/19/2014
Steve rant ley,Economic Development Director Date
A o o�e ol
d d qrs to form and legal sufficiency
, J,1, 12/22/2014
Annette M.Moore, Staff Attorney Date
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DocuSign Envelope ID:Al 391C8C-C731-4683-B498-D5B7783F86E4
This instrument has been pre-audited in the manner required by the Local Government Budget
:"f uca ontrol Act
12/22/2014
982
Clarence G. Grier,Administrative and Financial Services Date
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DocuSign Envelope ID:Al 391C8C-C731-4683-B498-D5B7783F86E4
I� Arts Program Grant - Fa l l
2014- 15 Application Form
ORANGE COUNTY ARTS 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 f
Applicant Name J�; ' � c,.h�11 T k-t- Ads Ci v4e K
Mailing Address The ArtsCenter, 300-G East Main Street Carrboro NC 27510
Daytime Phone 919-929-2787 ext 221 Fax Number 919-969-8574
Email Address artscenterstage(aD_artscenterlive.org Web Site www.artscenterlive.org
Project Director Jeri Lynn Schulke Title Artistic Director, ArtsCenter 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 919-932-9855
Email Address jerilynn67CcD_gmail.com
3 Grant Request Summary
Arts Program Grant Request $1,500
Total Cash Match $24,430
Total Organizational Budget 2013-2014 1,592,229 Past Year
2014-2015 1,504,930 Current Year
2015-2016 1,504,930 Projected for Next Year
Summary Statement for Proposed Uses of Arts Program Grant The ArtsCenter is seeking an arts
program grant from OCAC to provide stipends for four Orange County-based production theater artists
collaborating on the May 2015 production of Oh What a Lovely War. Oh What a Lovely War is an
ambitious and large production with eleven cast members and fourteen+ production personnel The four
production members whose stipends will be covered by a generous grant from OCAC will be given the
opportunity to practice their craft in an engaging and supportive environment; they will expand and
strengthen their abilities, gain new insights and push the boundaries for their respective fields In
addition, they will provide new insights to the artists they are collaborating with and teach new skills to the
entire company of Oh What a Lovely War. A generous grant of$1,500 from OCAC will allow these artists
to contribute their skills and expertise to this collaborative theatrical event.
Questions? Call 9191968-2011. Delivery address: 501 West Franklin Street, Chapel Hill, NC 27516
DocuSign Envelope ID:Al 391C8C-C731-4683-B498-D5B7783F86E4
Orange County Arts Commission Fall 2014 Arts Program Grant 1
ArtsCenter Stage production of Oh, What a Lovely War
Arts Program Grant— Fall 2014
Orange County Arts Commission
Application Narrative
Organizational Profile — History and Mission
Over the course of its forty year history, The ArtsCenter in Carrboro, NC has grown from a
single painting class into a vibrant educational center serving our community through the arts.
During 2013, The ArtsCenter provided 93,000 arts experiences, including nearly 30.000 to
youth under 18. Our work, created a local economic impact estimated at $3,488,830.
Mission: The ArtsCenter exists in order to inspire artistic creativity and to enrich the lives of
people of all ages.
Guiding Values: Sustainability; Excellence; Accountability; and Inclusivity.
Current Programs and Services
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 20 scholarships annually, and offers work-study opportunities.
School, Family &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 School Show Series with over 70 performances in schools
as well as field trip opportunities at The ArtsCenter; curriculum-based art workshops in all four
area Title-I schools through the Artist Residency program; the SuperFun Series of performances
for family audiences;ArtsCamp in the summer, and AfterSchool Arts Immersion during the school
year. In addition, Youth Arts classes offer fine art classes and workshops in acting, musical
theatre, dance, chorus, stage combat, radio drama, acting for the camera, and improv.
Combined, The ArtsCenter's youth programs reach approximately 26,000 children each 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 a historical perspective, while its second-stage series includes
improvisation and storytelling, musicals and operas, stand-up comedy and film screenings, 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 aproximateky 60 concerts for adults each year,
representing the spectrum of musical genres by local, emerging, and nationally touring artists
including folk, blues, Celtic, singer-songwriter, roots, and bluegrass.
Gallery. The Nicholson Gallery features the work of local and regional artists on a rotating
basis and highlights the work of more than 100 local and regional artists in 12 exhibitions a
year. The new Emerging Artist series highlights talented local artists who are just starting out
in their careers and features a new artist each month in dedicated gallery space.
DocuSign Envelope ID:Al 391C8C-C731-4683-B498-D5B7783F86E4
Orange County Arts Commission Fall 2014 Arts Program Grant 2
ArtsCenter Stage production of Oh,What a Lovely War
Proposed Uses Of Grant Funds
The ArtsCenter is seeking $1,500 in funds from the Orange County Arts Commission to
provide stipends for four Orange County-based production theater artists collaborating on Oh
What a Lovely War presented by ArtsCenter Stage in May 2015.
In 2013 ArtsCenter Stage was cited by Indy Week for Special Achievement in the Humanities
for its 2013-14 season. Byron Woods stated that ArtsCenter Stage "took a programming risk,
slating a season of theatrical works to commemorate the Civil War sesquicentennial through
three different perspectives." The payoff for this programming risk was a five-star review for
our production of The Whipping Man, raves from audiences for our season and patrons that
were enlightened, engaged and encouraged to support ArtsCenter Stage's mission.
ArtsCenter Stage's 2014-15 is capitalizing on this momentum with an even more aspiring
season highlighting the 100`h anniversary of World War I. For our fall production, a new play,
Into the Breach, was commissioned to be written by local playwright, Ian Bowater, our holiday
production, All is Calm: The Christmas Truce of 1914, is a return of an acclaimed production from
2012 and this spring we're producing our most ambitious production to date, the musical Oh
What a Lovely War.
Oh What a Lovely War is a theatrical chronicle of the First World War, told through the songs
and documents of the period. Adapted by Joan Littlewood's Theatre Workshop from Charles
Chilton's original radio play, The Long, Long Trail, the musical premiered at the Theatre Royal
Stratford East, London in 1963. It won the Grand Prix of the Theatre des Nations festival in
Paris that year and has gone on to become a classic of the modern theatre.
Oh What a Lovely War is a musical satire on World War I and, by extension, of war in general.
Littlewoods' company developed the production using improvisations and popular songs sung
by soldiers during the war. The actors assemble as a pierrot troupe to play many parts -
soldiers, generals, suffragettes, politicians, profiteers and spies, parading before the audience in
a series of quick-fire scenes. Called one of the "seminal events of modern British theatre" Oh
What a Lovely War juxtaposes vaudevillian routines with stark projections of life in the war, in a
thought-provoking multimedia theatrical event.
Oh What a Lovely War is an ambitious and large production with eleven actors, Ian Bowater,
Germain Choffart, Sarah Donnell, Marcia Edmundson,John Paul Middlesworth,Julie Oliver,
Page Purgar, Marleigh Purgar-McDonald,Jeri Lynn Schulke, Geraud Staton, and B. Lazarus
Simmons, and a production team of fourteen+ including Devon Abdo (Stage Manager),Joseph
Amodei (Video/Slide Design), Hope Alexander (Director), David Berberian (Technical
Director), Tracey Broome (Props Design),James Carnahan (Set Design), William Deedler
(Mask Design), Elizabeth Droessler (Lighting Design), Marissa Erickson (Costume Design),
Matthew Lubin (Assistant Stage Manager), Killian Manning (Choreographer), Glenn Mehrbach
(Musical Director), Alex Thompson (Rehearsal Pianist), Nathaniel Wells (Tech Intern) plus
assorted musicians. Fourteen of these company members (cast & production team) reside in
Orange County.
DocuSign Envelope ID:Al 391C8C-C731-4683-B498-D5B7783F86E4
Orange County Arts Commission Fall 2014 Arts Program Grant 3
ArtsCenter Stage production of Oh,What a Lovely War
An overriding goal of ArtsCenter Stage is to provide opportunities for local theater artists to
practice their craft and collaborate within an engaging and supportive environment. Theater
artists working with ArtsCenter Stage are given the chance to expand and strengthen their
abilities, gain new insights and push the boundaries of their respective field. In addition to
gaining new ground in their areas, the following four production theater artists will provide new
insights, collaborate on a shared artistic vision and teach new skills to the entire company of Oh
What a Lovely War.
Stage Manager Devon Abdo is an emerging performance techie in the Triangle. A graduate of
UNC-Chapel Hill, she lives in Carrboro, NC and has worked as a stage manager and lighting
designer in the Triangle area for six years including such places as Carolina Performing Arts,
UNC Communication Studies Department, Manbites Dog Theater and The ArtsCenter.
Joseph Amodei, a graduate of UNC-Chapel Hill, is a video/performance/installation artist and
theatrical designer living and working in Chapel Hill, NC. His work often explores themes of
technology, ritual, public space and language—with the ever-present aim of(re)contextualizing
the present in order to provoke thought about the under and overlooked. Joseph has been
awarded residencies at the Penland School of Craft in Spruce Pine, NC, Talct A.I.R in Berlin,
Germany, participated in group exhibitions in Berlin, Germany, Ghent, Belgium, Richmond, VA,
among many others including galleries and museums in North Carolina.
Costumer Marissa Erickson is a Carrboro-based, self-taught seamstress embarking on her
costume design career. Her work includes costume design for Into the Breach with ArtsCenter
Stage, the initial and encore productions of Manbites Dog Theater's Best of Enemies, ArtsCenter
Stage's Gem of the Ocean, costuming/ props for the project and production of Sweet Tea: Black
Gay Men of the South at the Durham Arts Council, assistant costuming design for the Little
Green Pig production of Our Town, and costume design for the SLIPPAGE/Wideman-Davis
production of CANE. Upcoming costuming projects include All is Calm and Freight: the Five
Incarnations of Abel Green.
Chapel Hill-based choreographer Killian Manning has been malting dances for over 30 years. As
Artistic Director of No Forwarding Address, she has received funding from numerous state and
local arts agencies and presented her award-winning choreography in Salt Lake City, Boston,
Chicago, Birmingham, and North Carolina. She has served on the dance faculties at UNC-
Chapel Hill, Radcliffe, the Boston Conservatory, Repertory Dance Theater, and Samford
University, and currently teaches at The Ballet School of Chapel Hill. Most recently she has
been making new work at Durham Academy and the Carolina Friends School, and
choreographing for Summer Glee at UNC Chapel-Hill. Her latest piece, Lines:the delicacy of
endurance is premiering at The Carrack Modern Art gallery in November 2014.
An Arts Program Grant for $1,500 from the Orange County Arts Commission will provide
stipends for these four Orange-County based theater artists collaborating on Oh What a Lovely
War. The skills and expertise they bring from their various fields will contribute to a most
extraordinary theatrical event.
DocuSign Envelope ID:Al 391C8C-C731-4683-B498-D5B7783F86E4
I I
2014-15 Arts Program Application — Page Three
V
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 $7,230 $7,230
Artistic staff
Technical/Production staff
B Outside Fees and Services
Artistic contracts $12,350 $1,500 $10,850
Other contracts:
C Space Rental
D Travel
E Marketing $2,930 $2,930
F Remaining Project Expenses $3,420 $3,420
G Total Cash Expenses $25,930 = $1,500 + $24,430
Project Income Cash Income
A Admissions $16,950
B Contracted Services Revenue
C Other Revenue(specify)
D Private Support
Corporate support
Foundation support
Other private support
E Government Support
Federal
State/regional(not including this request)
Local(not including this request)
F Applicant Cash $7480
G Grant Amount Requested $1,500
in this application
H Total Cash Income $25,930
(must equal Total Cash Expenses,
Item G above)
DocuSign Envelope ID:Al 391C8C-C731-4683-B498-D5B7783F86E4
1,
G2014-15 Arts Program Application — Page Four
ORANGE COUNTY ARTS
COMMISSION
Signatures
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INCOMPLETE APPLICATIONS WILL NOT BE FUNDED
DocuSign Envelope ID:Al 391C8C-C731-4683-B498-D5B7783F86E4
DEVON LEHN ABDO
110 West Carr St.Apt H
Carrboro,NC 27510
Phone: (949) 683 98o9
Email: dabdoart a gmail.com
EDUCATION
University of North Carolina at Chapel Hill, Chapel Hill, North Carolina
MA in Psychology
MA in Studio Art, Focus in Painting
PROFESSIONAL
Carrboro ArtsCenter
Into the Breach(Fall 2014) Stage Manager
Fall Variety Show(2014) Lighting Designer and Technician
Man Bites Dog
Best of Enemies(2013) Stage Manager
Carolina Performing Arts Chapel Hill,North Carolina
September 2oo9-September 2012
Position Held Production Supervisor, Lighting Technician
Lighting for three different performance spaces
Managing Stage productions
Leading Teams(management and documentation
of each day's activities)
Teaching new employees
Training: ETC lighting consoles,sound system
setup, rigging and line sets
SKILLS
Phone experience— answering, multi-line,talang extensive notes
Management slalls
Microsoft Word and Excel, PC and Mac operating systems
Experience with Registers and POS systems
Typing speed of approximately 65+wpm.
Advanced Painter
Photography—both digital and film
Experience with multiple lighting consoles: ETC Element, ETC Ion, and more
REFERENCES
Available on Request
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Joseph Amodei
www.jamodei.com
110 Old Larkspur Way
Chapel Hill, NC 27516 USA
amodeijoseph @gmail.com
1-919-923-7462
Education
2013 BFA Studio Art, University of North Carolina at Chapel Hill (UNC)
with Honors
Minors in Philosophy, Music, Theatrical Design
Awards/Residencies
2014 Takt A.I.R, Berlin, Germany. (July-Sept.).
2013-14 Francis L. Phillips Travel Scholarship. UNC. Grant supported
research abroad.
2013 Anderson Award. Undergraduate Award Competition. (UNC).
Penland School of Craft. Residency. Spruce Pine, North Carolina.
Concentration: Metal working & material exploration with
Anika Smulovitz.
Allcott Travel Scholarship. (UNC). Grant supported research,
image-transfer collage and cross-country video expedition.
2012 Jonathan E. Sharpe Award, (UNC). Undergraduate Award
Competition.
Penland Scholarship Award. (UNC). Undergraduate Award
Competition.
SURF Grant (Student Undergraduate Research Fund). (UNC).
Grant supported research, video and performance collaborations
with E6 collective in Olympia, WA.
Solo Exhibitions
2014 Who Holds the Keys? Looking Glass Cafe, Carrboro, North
Carolina.
2013 One Size Fits All. Hanes Art Center, University of North Carolina at
Chapel Hill, NC.
The Ritual Factory. The John and Judy Allcott Gallery, (UNC).
2012 Variations on a Theme. Yuxtapongo, episode 37, North Carolina
Public Access TV.
Group Exhibitions
2014 Open House. Berlin Art Week, Leipziger Strasse 60, Berlin,
Germany.
Made & Found. Kunstraum Tapir, Berlin, Germany.
MAYDAYMAYDAY. CAMPO Victoria, Ghent, Belgium.
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1 Observe Myself Observing what l Observe. Space .88, Richmond,
Virginia.
Touch Your Selfie. The John and Judy Allcott Gallery, (UNC).
Proof. John and Judy Undergraduate Gallery, 2013 Undergraduate
competition award show, (UNC).
2013 Matters of Methods. Salon Video, Lasi, Romania.
The Power of Habit. The John and Judy Allcott Gallery, (UNC).
Whatever, it's the First Show. SAMple Gallery, Chapel Hill, North
Carolina.
ACCELERATE!. North Carolina Museum of Art, Raleigh, North
Carolina.
Drying with a Wet Towel. UNC Class of '13 Studio Art Honors
Show, The John and Judy Allcott Gallery, (UNC).
Cosmic. Hanes Art Center. (UNC), Class of '13 Art Graduation
Show.
Everything is the Same as Nothing. John and Judy Undergraduate
Gallery, 2012 Undergraduate competition award show, (UNC).
The Best You Can:Documentation of a Performance. ShouldDoes
online gallery, ShouldDoes Literary and Arts Magazine.
2012 Experimental Ethnography. Wellesley College, Wellesley,
Massachusetts.
A Life, Still. North Carolina Museum of Art, Raleigh, North Carolina.
Energy Vessels. Co-exhibition with Leah Heidelmeier. Looking
Glass Cafe, Carrboro, North Carolina.
Synaesthesia. Nightlight, Carrboro, North Carolina.
Video Art Night. Hanes Auditorium, (UNC).
2011 Taking Shape. Converted Artery Gallery at University Mall, Chapel
Hill, North Carolina.
Yuxtapongo Episode 29. Group collaboration. Yuxtapongo. North
Carolina Public Access TV.
Collaborations
2014 Warnign Signs. Directed by David Kantounas. Prachtwerk, Berlin.
Lighting and projection Designer.
2013 FtoMtoOctopus. Script by Sam Peterson. Directed by Joseph
Megel. 3-Legged Dog Art and Technology Center, NYC.
Lighting designer and projections assistant.
Slap/Kiss. Concept designer and actor in Allen Ferguson's short
film. Dean Street, NYC.
2012 Caucasian Studies. A collaborative sticker intervention with Leah
Heidelmeier, UNC and surrounding community.
2011 Taboo Conversation. Projection and Installation Artist-in-Residence,
The Distillery Gallery, Raleigh, North Carolina.
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Assistantships
2014 Can I get a Witness?Performer/Witness for Ashlee Laing's project.
Berlin.
Love's Infrastructure. Directed by Torry Bend. Assistant video
designer/engineer and projection puppeteer. Duke Performing Arts.
Durham, North Carolina.
2013 Love Buttons by Gregory Sale. Performer in opening reception of
More Love Exhibit. Ackland Museum of Art, Chapel Hill, North
Carolina.
2011 Dinner Music by David ColagioavannL Assistant at video shoot.
Raleigh, North Carolina.
Other
• Radio DJ: WXYC-Chapel Hill (89.3FM), familiarity with broadcasting
technology, live mixing, sound collaging. Curating and presenting a weekly
free-form radio block. 2012-present.
• Eagle scout
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Theatrical Design.
Work Experience
Hoi Polloi and Duke Performing Arts 2014
Master Electrician—for the run of Republic!
Creative Visions Production Company 2013-present
Freelance AN technician
PlayMakers Repertory Theater—Lighting Work-Study 2009-2014
Assist Master Electrician with hang and focus
Lead student crews in care and set up of equipment
Program light board for PlayMakers Productions
Assistant Lighting Designer/Assistant Master Electrician for summer production Summer 2012
of Urinetown.PlayMakers Repertory.
Carrboro Arts Center—Lighting Designer and Master Electrician
Design two 10x10 play festivals Summer 2011
Hang,focus,and maintain electrics
Organize and lead electrics crew and board operator
Work with 10 directors per festival designing new plays
Selected Designs
Show Position Company Director
Warning Signs Projection-Lighting Designer Dream Epic Theater,Berlin David Kantounas
Shakespeare in Hollywood Lighting Designer Montessori Day School Peter Piche
The Whipping Man Lighting Designer Carrboro Artscenter Jeri Lynn Schulk
Baby Blue/July House Lighting Designer UNC Dept.of Dramatic Arts Travis Wright/Katie Chelena
Of Lamb Lighting Designer UNC Performance studies Rachel Lewallen
WSS play festival Lighting Designer UNC Communications dept. Dana Coen
F to M to Octopus Lighting Designer UNC Communications dept. Joseph Megel
Jailbait Lighting Designer Burning Coal Theater Christine Zagrobelny
Almost Maine Lighting Designer UNC Lab Theatre/Ground Up Productions Kate Middleton
Urinetown Ast LD/Ast ME Playmakers Repertory Cecilia Durbin,LID
Julius Caesar Lighting Designer UNC Dept.of Dramatic Arts Josh Wolonick
The Milford Project Lighting Designer UNC Dept.of Dramatic Arts Scott Ripley
Solo play festival Lighting Designer UNC Communications dept. Joseph Megel
Three Days of Rain Lighting Designer UNC Lab Theatre/Ground Up Productions Kate Middleton
Mau a Malawi Lighting Designer Memorial Hall,UNC Comm Dept Joseph Megel
99 ways to Fuck a swan Lighting Designer UNC Professional Actors Training Program Mike Donahue
All Shook Up Lighting Designer UNC Pauper Players Nick Culp
Under Construction Lighting Designer UNC Dept.of Dramatic Arts Jeb Brinkley
The Parchman Hour Lighting Designer - UNC Dept.of Dramatic Arts Mike Wiley
Sweet Charity Lighting Designer UNC Pauper Players Michael McWaters
Related Experience
Show Position Company Director
Love's Infrastructure Ast.Projection design/engineer Duke Performing Arts Jon Haas,PD
How I learned to Drive Sound/Projections Designer UNC Dept.of Dramatic Arts Ashley Gunsteens
Taboo Conversations Projections Artist-in-residence The Distillery Art Collective Sylvia Mallory
Cat's Cradle Concert LD concert hall Lawruh Lindsey
DocuSign Envelope ID:Al 391C8C-C731-4683-B498-D5B7783F86E4
MARISSA ERK" KSON
112 Highway 54, Q8, Carrboro, NC 27510 1 C: 202.631.9197 1 mae6096Qgmail,com
SUMMARY
Freelance Costume Designer with experience in design, construction, and maintenance of costumes
for theater. Job functions include play analysis with directors and producers; rough costume design
submittal for approval; sourcing of costumes by borrowing, purchase, and construction; maintenance
of costumes during production runs; and repair/return of costumes post-production.
HIGHLIGHTS
• Proficient in Adobe Creative 0 Resourceful researcher
Suite, including Photoshop, 0 Works well in a team
InDesign. 0 Able to adhere to budget
• Skilled seamstress requirements
EXPERIENCE
09/2013 to 09/2013 Costume Assistant
Our Town, Little Green Pig Theatrical Concern — Carrboro, NC
Assisted the lead costume designer with the sourcing and construction of
costumes. This production run was September 4-21. 2013.
12/2013 to 12/2013 Costume Design/Props
Best of Enemies, Manbites Dog Theater — Carrboro, NC
Lead designer for the production that ran December 5-21, 2013. Provided props in
addition to costuming responsibilities.
02/2013 to 02/2013 Costume Design/Props
Sweet Tea: Black Gay Men of the South, Durham Arts Council — Durham, NC
Designed, sourced, and constructed costumes and props for the Project&
production that ran February 13-22, 2014.
05/2014 to 05/2014 Costume Design
Gem of the Ocean,The ArtsCenter — Carrboro, NC
Designed, sourced, and constructed costumes for the ArtsCenter's production
that ran from May 9-18, 2014.
09/2014 to 09/2014 Costume Design/Props
Best of Enemies, Manbites Dog Theater — Durham, NC
Designed, sourced, and constructed costumes as well as props for the encore
production that ran from September 11-27, 2014.
10/2014 to 10/2014 Costume Design
Into the Breach,The ArtsCenter — Carrboro, NC
Designed, sourced, and constructed costumes for production that ran from
October 10-19,2014,
Current Costume Design
All is Calm,The ArtsCenter — Carrboro, NC
Costume Design/Props
Freight:The Five Incarnations of Abel Green, Swain Hall UNC — Carrboro, NC
Upcoming project with Piedmont Performance Factory. Production will run
from January 8-24, 2015.
EDUCATION
2003 Bachelor of Arts: East Asian Studies/Chinese Language and Culture
The George Washington University — Washington, DC, USA
Member of the Women in Power program.
DocuSign Envelope ID:Al 391C8C-C731-4683-B498-D5B7783F86E4
KILLIAN E. MANNING, Ph.D.
128 Gristmill Lane
Chapel Hill, NC 27514
919-636-5795
kemannin @uncg.edu
University of North Carolina,Greensboro The Ballet School of Chapel Hill
Department of Communication Studies 1603 E.Franklin Street
Greensboro,NC 27412 Chapel Hill,NC 27514
(336)-334-5297 (919)942-1339
kemannin @uncg.edu
EDUCATION
Ph.D. Communication,University of Utah,Salt Lake City,UT(2004)
Emphasis: Performance Studies
Dissertation: Performing Utopian Visions:Art(iculation)in the Age of AIDS
Committee Chair: Prof.Mary S.Strine
M.A. Communication Studies,University of North Carolina,Chapel Hill,NC(1995)
Emphasis: Performance Studies
Committee Chair: Prof.Della Pollock
M.T.S.Theology,Boston University,School of Theology,Boston,MA(1982)
Emphasis: Religion and the Arts
Master's Program, German,University of Connecticut,Storrs, CT (1978-80)
Emphasis: 19th Century German Literature
Master's Program,Freiburg, Germany;Fellowship from UMASS,Amherst(1977-78)
Emphasis: 19th Century German Literature
B.A.Auburn University,magna cum laude(1977)
Major: German;Minors: Spanish,Russian,Sociology
PROFESSIONAL DANCE TRAINING
American Dance Festival,Durham,NC: Professional Workshop(2003)
American Dance Festival,Durham,NC: Irene Hultman Technique Class(1993)
Skidmore College:Trisha Brown Dance Company,Summer Program(1991)
Harvard Summer Dance Program: Bill Evans,Margaret Jenkins(199o)
American Dance Festival,Durham,NC:John Malashock,Jim Sutton(1989)
American Dance Festival,Durham,NC: Daniel Nagrin,Jim Sutton(1988)
Harvard Summer Dance Choreography Workshop: David Gordon,Lucinda Childs(1987)
Harvard Summer Dance Program:Annemarie Sarazin,Mitchell Rose(1986)
Harvard Summer Dance Choreography Workshop: Mark Morris,Carole Armitage(1985)
Susan Rose and Danceworks,Boston,MA(1981-1988)
PROFESSIONAL DANCE EXPERIENCE
1988-present Artistic Director of Killian Manning and No Forwarding Address
1989-94 Performer with Carolina Dancers;performed works by Carol Richard&Diane Eilber
1988-89 Member of Annie Sailer Dance Company,Durham,NC
1987-88 Member of Nancy Compton Dance Theatre,Boston,MA
1987 Guest Performer with Fiona Marcotty/Stephen Pelton,Boston,MA
1985-87 Member of Susan Rose and Danceworks,Boston,MA
1984-86 Performer with Janice Margolis/Semaphore Dance Theatre,Boston,MA
1983 Member of Lightning Dance Company,Betty Fain,Artistic Director,Boston,MA
Video for WGBH,Boston,MA with M.I.T.Professional Dance
DocuSign Envelope ID:Al 391C8C-C731-4683-B498-D5B7783F86E4
ACADEMIC POSITIONS
University of North Carolina-Greensboro(2004-present)
Lecturer,Department of Communication Studies
Samford University,Birmingham,AL(2000-2004)
Instructor,Department of Communication Studies/School of Performing Arts
University of Utah,Salt Lake City,UT(1996-1999)
Graduate Teaching Fellow,Department of Communication
University of North Carolina-Chapel Hill,NC(1989-1995)
Graduate Instructor/Teaching Assistant,Communication Studies, (1993-95)
Visiting Instructor,Department of Physical Education(Dance), (1989-1995)
COMMUNICATION STUDIES COURSES TAUGHT
PRIMARY TEACHING AREAS:
Lower Level: Performance of Literature;Introduction to Communication;Public Speaking;Business
and Professional Communication; Communication Ethics; Relational Communication
Upper Level: Communication and Prejudice,Performance Studies; Special Topics in Performance;
Communication and Dance;Performing Sexual Identity;The Persuasive Body
Graduate Level: Communication,Play,and Creativity;Various Independent Studies
TEACHING AWARDS
University Marshals Teaching Recognition,UNC-Greensboro,April,20o6
Most Valuable Professor Award, Samford University Student Athletic Advisory Committee(2003)
Martha Nell Hardy Award for Teaching Excellence,UNC-Chapel Hill(1995)
Learning Center Award for Teaching Excellence,UNC-Chapel Hill(1994)
SELECTED GRANTS,AWARDS,and FELLOWSHIPS
North Carolina Dance Alliance Mini-Grant:NCDA,Raleigh,NC(2011-2012)
Carol Richard Memorial Fellowship: Chapel Hill,NC(2012)
Emerging Artist Grant: Durham Arts Council,Inc; Durham,NC(2010-2011)
Faculty Development Grant,Samford University(2003-2004)
Steffenson Cannon Fellowship,University of Utah(1999-oo)
Brolly Arts Choreography Lab Grant,Deer Valley,Utah(Summer 1998)
Graduate Teaching Fellowship,Department of Communication,University of Utah(1997-99)
Graduate Research Fellowship,University of Utah(1996-97)
Departmental Award for Outstanding Achievement in Live Performance,UNC-CH(1995)
Departmental Award for Excellence in Performance,UNC-Chapel Hill(1994)
Orange County Arts Commission Grant; Orange County,NC(1993)
Emerging Artist Grant: Durham Arts Council,Inc; Durham,NC(1990-91,1992-93)
Best in the Triangle for Dance, Spectator Magazine,NC(1990, 1991, 1992,and 1993)
Manning/2
DocuSign Envelope ID:Al 391C8C-C731-4683-B498-D5B7783F86E4
Artist's Project Grant,North Carolina State Arts Council(1992-94)
New Directions Series in Performance Commission from Duke University(1991-92)
City Gallery of Contemporary Art Commission,Raleigh,NC(199o)
Duke Institute of the Arts funding for Winterfest'89; Durham,NC
Video Scholarship to American Dance Festival,Durham,NC(Summer 1998,1989)
Finalist for Massachusetts Artist's Foundation Award in Choreography(1987)
CONFERENCES/PROFESSIONAL PRESENTATIONS
Southern Speech Communication Association Conference,Norfolk,VA (April 2009)
"Conversations with the Muses: Crossing Boundaries with Imagination"
Performance created and performed with Dr.Christopher Poulos
Qualitative Inquiry Congress Urbana-Champaign,IN(May 2oo8)
'Approaching the "autotext":An open dialogue on the process of creation'
Panel presentation on the creative process involved in choreography/teaching
Qualitative Inquiry Congress Urbana-Champaign,IN(May 2007)
"Political,Personal,Performative: When the Secret is Sex"Solo performance created for panel:
The politics of revelation: Secret,truth,story,and desire
National Communication Association Conference Boston,MA(November 2005)
Paper presentation: "Outraged and Outrageous: Mental Illness in the Work of Diamanda Gala
SELECTED EVENING-LENGTH PERFORMANCES CREATED and PRODUCED
1*9*5*6 Degrees of Separation(June 20121)Manbites Dog Theater,as part of the"Other Voices"
series,Durham,NC
The Year of Empty Wine Bottles(July 2010)Manbites Dog Theater,as part of the"Other Voices"
series,Durham,NC
One by One by Once Upon a Time(May 2007)Manbites Dog Theater,as part of the"Other Voices"
series,Durham,NC
Showing of work-in-progress, "Thirty-Seven Shades of Pink,"sections of an evening-length
performance at the Ballet School of Chapel Hill,NC(January 2oo6)
To Sleep,Perchance to Dream. . . (September 1996)Babcock Theatre,University of Utah,SLC
Old,New,Borrowed,Blue(June 1995)A Retrospective Concert,The ArtsCenter,Carrboro,NC
Vanity: A Short History(with Mirrors)in 3/4 Time(February 1995)Thesis Production,
Bingham Hall,University of North Carolina-Chapel Hill
The House That Jack Built(March 1994)Co-created with Philip Stevens and Andrea Wagner;
Produced by the Carolina Union Activities Board,UNC-Chapel Hill
Closer to Black: Dances Designed with your Coffee Cup in Mind (November 1993)
Durham Arts Council,Durham,NC
Dear Sir or Madam(May 1992)Reynolds Theater,Duke University,Durham,NC
Gray Matter Falling:A Prologue+ 2 Dances in Black and White(September 199o)
The ArtsCenter,Carrboro,NC
No Window Broken(March 199o)City Gallery of Contemporary Art,Raleigh,NC
Domestic Strife:An Evening of Dances,etc. (January 199o)The ArtsCenter,Carrboro,NC
Manning/3
DocuSign Envelope ID:Al 391C8C-C731-4683-B498-D5B7783F86E4
The Slightest Chance of Rain(February 1989)The Ark,Duke University,Durham,NC
Father's Day in America(December 1988)The Ark,Duke University,Durham,NC
DANCE WRITINGS
"Romeo&Juliet at the Ballet: Romantic Tragedy or Tragedy of Romanticism?" Co-authored
with Tyler Walters,submitted to:Arabesques And Absolutes: Reflections On Misogyny And
Racism In Classical Ballet: "Revise and Resubmit,"Winter 2oo6
"Shoes and Rice:A Tale of Collaboration"Reflections on"One by One by Once upon a Time"for
North Carolina Dance Alliance Voice Newsletter,Winter 2oo6
"Life Lessons from the Prairie"Review of Chapel Hill Dance Theater's "Little House on the Prairie"
for North Carolina Dance Alliance Voice Newsletter,Spring/Summer 2oo6
"Community Theatre of Greensboro's`Steel Magnolias'Sweet and Sassy"Review of"Steel
Magnolias"for Greensboro News and Record,May 20o6
"Romance Makes a Comeback—Thanks to Greensboro Ballet"Review of"Giselle"for
Greensboro News and Record,March 2oo6
Manning/4
DocuSign Envelope ID:Al 391C8C-C731-4683-B498-D5B7783F86E4
The ArtsCenter
Profit & Loss Budget Overview
Accrual Basis July 2013 through June 2014
TOTAL
Jul-Sep 13 Oct-Dec 13 Jan-Mar 14 Apr-Jun 14 Jul'13-Jun...
Ordinary Income/Expense
Income
Individual contributions 24,370.50 78,594.33 37,130.00 47,705.50 187,800.33
Foundation Grants 90,196.66 5,250.00 67,629.00 27,300.00 190,375.66
Corporate support 2,639.50 3,654.00 9,193.00 2,158.00 17,644.50
Government grants 29,500.00 15,668.00 38,336.00 4,500.00 88,004.00
In-kind contributions 6,000.00 0.00 6,000.00
Performance Revenue 75,047.55 96,299.46 126,234.00 70,649.00 368,230.01
Program Revenue 197,889.49 102,906.92 115,493.25 169,952.92 586,242.58
Gallery revenue 2,107.00 677.26 1,060.00 1,060.00 4,904.26
Interest Revenue 1.10 0.00 1.50 1.50 4.10
Rental Revenue 11,071.43 11,690.23 12,314.98 10,877.48 45,954.12
Special events 0.00 0.00 3,000.00 16,250.00 19,250.00
Refreshment Sales 12,293.39 11,407.33 13,885.50 9,723.75 47,309.97
Advertising revenue 0.00 0.00 0.00
Other revenue 0.00 0.00 0.00
Total Income 451,116.62 326,147.53 424,277.23 360,178.15 1,561,719.53
Cost of Goods Sold
Merchandise purchases 484.49 -135.00 349.49
Gallery Pieces Sold 1,170.00 409.25 650.00 913.00 3,142.25
Bar Supplies 3,960.70 3,474.96 4,400.59 2,912.37 14,748.62
Total COGS 5,615.19 3,749.21 5,050.59 3,825.37 18,240.36
Gross Profit 445,501.43 322,398.32 419,226.64 356,352.78 1,543,479.17
Expense
Performance Expenses 66,806.47 107,673.54 108,334.75 54,795.00 337,609.76
Program Expenses 74,217.95 66,621.14 67,547.59 89,685.89 298,072.57
Gallery Expense 489.98 102.93 150.00 163.00 905.91
Salaries&related expens... 126,096.33 126,435.75 138,805.01 142,325.86 533,662.95
Employee benefits 10,287.40 10,683.59 11,101.74 18,903.82 50,976.55
Professional fees 11,839.52 17,807.40 10,801.77 8,781.18 49,229.87
Supplies 4,226.41 1,448.20 3,825.00 2,650.00 12,149.61
Telecommunications 0.00 225.00 225.00
Postage&delivery 2,378.85 2,866.93 1,153.00 1,899.00 8,297.78
Occupancy expenses 18,165.25 16,202.00 18,759.31 17,919.31 71,045.87
Equipment rental&maint. 1,856.63 2,669.15 1,976.76 1,976.76 8,479.30
Printing&publications 5,778.35 6,849.86 9,518.00 5,958.00 28,104.21
Conferences&meetings 2,113.67 2,220.00 2,707.00 1,535.50 8,576.17
Financial Expense 13,977.51 12,899.96 12,585.58 12,656.74 52,119.79
Depreciation expense 8,250.00 8,250.00 8,250.00 8,250.00 33,000.00
Insurance 5,714.00 3,813.56 4,842.40 2,017.00 16,386.96
Bank charges&fees 5,447.07 5,933.89 8,220.00 5,110.00 24,710.96
Marketing 12,695.36 13,150.19 9,905.90 10,324.35 46,075.80
Board Expenses 78.14 1,125.00 125.00 187.50 1,515.64
Other expenses 1,479.71 2,951.53 3,900.80 2,752.75, 11,084.79
Total Expense 371,898.60 409,929.62 422,509.61 387,891.66 1,592,229.49
Net Ordinary Income 73,602.83 -87,531.30 -3,282.97 -31,538.88 -48,750.32
Net Income 73,602.83 -87,531.30 -3,282.97 -31,538.88 -48,750.32
Page 1
DocuSign Envelope ID:Al 391C8C-C731-4683-B498-D5B7783F86E4
The ArtsCenter M5 Budget-
DRAFT 4
Rev 10.28.14 rev 2
An hoof Theater
Contribuuans
Total COntdbutlons 7,775 12,400 4,000 3,000 82,540 309,]15
Foundation
Total Foundation 19,100 2,000 63,150 102,500 75,000 261,750
CnrPnrate - - -
TotalCOrporate 3,000 3,000 61000
Government Grants
Total covemm¢nt Grants 1,500 61500 9,700 722000 89,700
Total In-Kind Cantdbutions
Per4onnance Revenue
Total Pedormanee Revenue 102,319 1 177,391 1,300 1,500 282,510
'mpram Aeaenue
Total Program Revenue 227,080 230,239 104,394 36,167 25,400 77,960 701,240
Operali-Ravenue
Total Operations Revenue 44,780 43,640 88,420
Fundtakmi &Spa.J Events
Total FUndralsing 38,200 38,200
Total Revenue 253,955 1 105,319 193,291 231,539 104,394 36,167 73,650 25,400 77,960 119,700 44,780 120,740 190,640 1,577,535
Cast of Goods iald
Merchandise Purchases 506 600 1,106
Gallery Pieces Sold 2,210 2,210
Oar SU plies 13,330 13,330
Tota1COG5 506 16,140 16,646
Grand Total Revenue 153,955 105,319 193,291 231,033 104,394 36,167 73,650 25,400 ]],960 119,700 44,780 120,740 174,500 1,560,889
smmmm��=am Lamm, NNIMENNOINIM
Pedorntance Expenses
Total Pedormarlce Expense 92,883 119,861 57,355 11,550 650 277,297
Program Expenses
Total Program Ex Bose 121,785 82,508 26,956 12,570 35,400 420 2,400 1,900 283,939
Salaries&R¢laled Expanses
Total Salades&Related Exp 47,969 37,508 13,516 31,235 65,367 5,941 34.664 38,620 229,268 504,088
Em layee Bene0ls
Total Em lay¢¢Ben¢Rls 4,106 1 4,106 3,734 24,073 36,019
Prof-I-1 Fecs
Total Professional Fees 7,000 10,400 17,400
Supplies
Total Su lies 13,395 13,395
IT Expenses
Total IT Expenses 12,205 1 2,205
Portag,&delivery
Postage&Maibng Services 12 95 30 1,327 2,120 3,584
Total Postage&Mailing Services 12 95 30 1,327 2,120 3,584
Occupancy Ex en
uabnps
Total Oecu aney Expenses 74,214 74,214
Equlp-M Renla(&Malnt,
Total E uipment Rental&Malnt. 22,922 22,922
rioting&Public3licns
Printing&OUpfication 200 125 2,417 19,256 21,998
Total Pdnting&PUblications 200 125 2,417 19,256 21,998
Conferences&Peetngs
Total Conferences&Meetings 1,030 215 200 150 75 75 740 2,951 5,436
Financial Expenses
Total Financial Expenses 54,816 54,816
Depmliallon Expenses
Depreciation Expenses 33,000 33,000
Total Depreciation Expenses 33,000 33,000
Wuranc¢
Total Insurance Expense 25,353 25,353
Bank Charges&Fees
Total Bank Charges&Fees 30,720 30,720
&larkelu,g - - -
Total Marketing&penzes 73,518 73,518
Board Expenses
Board Meal, 480 480
Board Training
Total Board Expenses 480 480
Other Expenses
Total Other Expenses 4,050 10,497 14,547
Grand Total Ex enses 173,860 93,923 156,690 96,224 58,342 12,570 65,367 42,400 64,086 11,780 34,669 650 53,186 641,087 1,504,930
Gross COn[dbulion 80,095 11,396 36,601 134,809 46,052 23,59] 8,283 (17,000) 13,874 (11,780) 85,036 44,130 67,452 (466,587) 55,958
Distribution of Off
DIWibution of Development
DocuSign Envelope ID:Al 391C8C-C731-4683-B498-D5B7783F86E4
Orange County Arts Commission Fall 2014 Arts Program Grant 1
ArtsCenter Stage production of Oh What a Lovely War
Arts Program Grant - Fall 2014
Orange County Arts Commission
2015-16 Organizational Budget
The ArtsCenter's 2015-2016 organizational budget has not been approved at this point.
A draft will be available by April 30, 2015 and can be provided at that time to the OCAC upon request.
DocuSign Envelope ID:Al 391C8C-C731-4683-B498-D5B7783F86E4
Orange County Arts Commission Fall 2014 Arts Program Grant 1
ArtsCenter Stage production of Oh What a Lovely War
Arts Program Grant- Fall 2014
Orange County Arts Commission
Artist Contact List
Devon Lehn Abdo
110 West Carr St. Apt H
Carrboro, NC 27510
949-683-9809
dabdoart(@gmail.com
Joseph Amodei
110 Old Larkspur Way
Chapel Hill, NC 27516
919-923-7462
amodeijosephC@gmail.com
www.jamodei.com
Marissa Erickson
112 Highway 54, Q8
Carrboro, NC 27510
202-631-9197
mae6096(@gmail.com
Killian E. Manning
128 Gristmill Lane
Chapel Hill, NC 27514
919-636-5795
killian man ning(cDyahoo.com
DocuSign Envelope ID:Al 391C8C-C731-4683-B498-D5B7783F86E4
Orange County Arts Commission Fall 2014 Arts Program Grant I 1
ArtsCenter Stage production of Oh, What a Lovely War
Arts Program Grant - Fall 2014
Orange County Arts Commission
The ArtsCenter Staff
Britany Burch
Youth Assistant
Ashley Clay
Youth Education Department Assistant
Heather Gerni
Gallery Coordinator
Adam Graetz
Marketing Director
Jack Hartley
ArtSchool Assistant
Jesse Hollars
AfterSchool & Camps Coordinator
Noel James
Interim Executive Director
Phaedra Kelly
ArtSchool Director
Jillian Lea
School & Family Performances Coordinator
Brad Porter
Director of Operations/ Rentals / Concerts
Jeri Lynn Schullce
Director of ArtsCenter Stage
Julie Tomlcovicic
Development Director
Laurie Weller
Director of Financial Services
DocuSign Envelope ID:Al 391C8C-C731-4683-B498-D5B7783F86E4
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Arts Program Grant - Fall 2014
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Sample Postcards/Programs/Reviews
Postcard: 44 Plays for 44 Presidents, ArtsCenter Stage, October 2012.
Postcard: All is Calm: The Christmas Truce of 1914, ArtsCenter Stage, December 2012.
Postcard: Walt, ArtsCenter Stage, May 2013.
Postcard: The Whipping Man, ArtsCenter Stage, October 2013.
Postcard: Gem of the Ocean, ArtsCenter Stage, May 2014.
Postcard: The 13th Annual 10 By 10 in the Triangle, ArtsCenter Stage,July 2014.
Postcard: Into the Breach, ArtsCenter Stage, October 2014.
Program: 44 Plays for 44 Presidents, ArtsCenter Stage, October 2012.
Program: All is Calm: The Christmas Truce of 1914, ArtsCenter Stage, December 2012.
Program: Walt, ArtsCenter Stage, May 2013.
Program: The Whipping Man, ArtsCenter Stage, 2013.
Program: The 13th Annual 10 By 10 in the Triangle, ArtsCenter Stage,July 2014.
Program: Into the Breach, ArtsCenter Stage, October 2014.
Review of 44 Plays for 44 Presidents, ArtsCenter Stage October, 2012: "The ArtsCenter's fun and fast-
paced 44 Plays for 44 Presidents" by Glenn McDonald: Indy Weelc
Review of All is Calm: The Christmas Truce of 1914, ArtsCenter Stage December 2012: "A Christmas Eve
Truce, with music" by Roy Dicks: News & Observer.
Review of The Whipping Man, ArtsCenter Stage October 2013: "A powerful post-Civil War encounter
in ArtsCenter Stage's The Whipping Man" by Kate Dobbs Ariail: IndyWeek.
Review of Gem of the Ocean, ArtsCenter Stage May 2014: "Gem of the Ocean Rides High at the
Carrboro ArtsCenter" by Kate Dobbs Ariail: Classical Voice of North Carolina.
Review of Gem of the Ocean, ArtsCenter Stage May 2014: "Gem of the Ocean probes the limits of
freedom" by Byron Woods: Indy Weel<.
Review of Into the Breach, ArtsCenter Stage, October 2014: "Henry V meets WWI in Into the Breach"
by Byron Woods: Indy Weel<.
Indy Week Citation, Special Achievement in the Humanities November 2014 : "Honoring the best plays,
performers, directors and designers of the year" by Byron Woods et al: Indy Weel<
Sample Work, DVD
I) The 13th Annual 10 By 10 in the Triangle: "What the Theatre is All About" by Corey Rieger,
ArtsCenter Stage,July 2014.
2) 44 Plays for 44 Presidents by Andy Bayiates, et al, ArtsCenter Stage, October 2012.
3) All is Calm: The Christmas Truce of 1914 by Peter Rothstein, ArtsCenter Stage, December 2012.
4) Gem of the Ocean by August Wilson, ArtsCenter Stage, May 2014.
5) Into the Breach by Ian Bowater, ArtsCenter Stage, October 2014.
6) The Whipping Man by Matthew Lopez, ArtsCenter Stage, October 2013.
7) Walt by Wm.W. Whitman, ArtsCenter Stage, May 2013.
DocuSign Envelope ID:A1391 C8C-C731-4683-B498_D5B7783F86E4 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
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Photo by Adam Graetz
Slaying the POTUSes in "44 Plays for 44 Presidents"
dust 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
http://www.indyweek.com/indyweek/the-artscenters-fun-and-fast-paced-44-plays-for-44-presidents/Content?oid=3162395&mode=print 1/3
DocuSign Envelope ID:A1391 C8C-C731-4683-B498-D5B7783F86E4 w ,aced 44 Plays for 44 Presidents I Theater I Indy Week
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
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 central
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 ArtsCenter
Related Locations
http:Uwww.indyweek.com/indyweek/the-artscenters-fun-and-fast-paced-44-plays-for-44-presidents/Content?oid=3162395&mode=print 213
DocuSign Envelope ID:Al 391C8C-C731-4683-B498-D5B7783F86E4 ith music I Arts&Culture NewsObserver.com
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Theater Review
A Christmas Eve truce, with music
By Roy C.Dicks
CorrespondentDecember 10,2012
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Carrboro ArtsCenter5ETM's theatrical production of a€ceAII Is Calma€will be performed by The
Cantari Men's Ensemble.
COURTESY OF THE ARTSCENTER
• Details What:"All is Calm:The Christmas Truce of 1914"Where:ArtsCenter,300-G E.Main St.,Carrboro When:8 p.m.Thursday through Saturday;3 p.m.Dec.
16 Tickets:$10-$18 Info:919-929-2787 or artscenterlive.org
Carrboro's ArtsCenter is offering a new holiday entertainment that deserves to be an annual classic."All Is Calm"conveys the story of World War I's Christmas Eve truce
in 1914.Told through text and song,it proves a moving testament to"peace on Earth,good will toward men."
Minneapolis-based choral arrangers Erick Lichte and Timothy C.Takach collaborated with director Peter Rothstein on this one-hour work that's a cross between a play
and a concert.Excerpts from letters and diaries of British,French and German troops,along with official military communications and snippets of war poems,tell about
the night when soldiers began singing carols in a meager holiday observance.Then a lone German stood up,singing"Stille Nacht,"the Allied doughboys joined in,and
suddenly there was an unarmed gathering from both sides for food,drink and camaraderie.Unfortunately,commanding officers soon ordered all back to the trenches
and the killing continued.
The show has familiar holiday songs arranged for unaccompanied male voices in rich,multi-part harmonies,transforming such favorites as"O Tannenbaum,""Good
King Wenceslas"and"O Holy Night,"into brand new pieces.The slightly dissonant arrangements sound wistful and chilly,perfectly limning the feeling of that particular
evening.The show also has heartily sung ditties such as"Keep The Home Fires Burning"and"Pack Up Your Troubles."
The ArtsCenter cast consists of 11 members of Chapel Hill-based Cantari Men's Ensemble.Five speak the texts,taking on different personas and accents.John Paul
Middlesworth has the most experience and confidence,but Dale Bailey,Darin Knapp,Michael Shannon and David Sroka each find affecting moments.Joined by singers
Eric Dashman,Adam Dangler,Ryan Frazer,Scott Goodwin,John Irwin and Graham White,they perform impressively precise,velvet-toned vocals.Sue Klausmeyer's
superb musical direction makes for gripping,quietly emotional renditions.
Director Jeri Lynn Schulke arrays the singers over Michael Brocki's wintery setting of sandbags and ammunition crates,giving them just enough movement to ward off
concert formations.Chelsea Kurtzman's heavily layered uniforms,along with onstage fog and snow,add to the palpable cold and dreariness.
The characterizations and accents could be stronger,but the sincerity and simplicity of the production is so satisfying that audiences can easily take away the message
that good will is better than war.
Dicks:music_theater @lycos.com
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Arts »Theater October 23, 2013
A powerful post-Civil War encounter in
ArtsCenter Stage's The Whipping Man
By Kate Dobbs Ariail
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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 50th
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.
hftp://www.indyweek.comfindyweek/a-powerful-post-civil-war-encounter-in-artscenter-stages-the-whipping-man/Content?oid=3749259&mode=print 1/3
DocuSign Envelope ID:Al 391C8C-C731-4683-B498-D5B7783F86E4 ArtsCenter TheWhi in Man Theater Ind Week
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ArtsCenter Stage has always been the little theater that could, and this
production 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 anew 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 feckless John (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.indyweek.com/indyweek/a-powerful-post-civil-war-encounter-in-artscenter-stages-the-whipping-man/Content?oid=3749259&mode=print 213
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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 bom in slavery,and the main concern 'Notes"--ArtsCenter,(919)929-
of 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 2787,ext.201,
of writing, it is beautiful almost beyond describing:robust, musical,rich in color and shading. Its cadences and repetitions httw1lartscenterlive.org/
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 bom 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
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Docu Sign Envelope ID:Al 391C8C-C731-4683-B498-D5B7783F86E4 _urolinaI Gem of the Ocean Rides High at the Carrboro ArtsCenter
natural one often felt like an eavesdropper rather than an audience member. Black Mary's half-brother, Caesar Wilks, is played here by the powerful Phillip
Bernard Smith. Caesar is a tragic figure who doesn't know he's tragic,or that he'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 tall 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
can take us on spiritual journeys 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 that not all 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 Murphy.
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 couple of
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 a great
deal about the characters. Caesar Wilks'oversized white-man suit,pooling around his heels,spoke very clearly. In addition,Zachary Corsa and Denny
Wilkerson Corsa 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 more details on
this production,please view the sidebar.
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DocuSign Envelope ID:A1391 C8C-C731-4683-B498-D5B7783F86E4 es the limits of freedom I Theater I Indy Week
Arts »Theater May 14, 2014
Gem of the Ocean probes the limits of
freedom
By Byron Woods
http://www.indyweek.comAndyweek/gem-of-the-ocearrprobes-the-limits-of-freedom/Content?oid=4163438&mode=print 1/4
Docu Sign Envelope ID:Al 391C8C-C731-4683-B498-D5B7783F86E4 )es the limits of freedom I Theater I Indy Week
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Sherida McMullan and Jade Arnold in Gem of the Ocean
At the start of August Wilson's GEM OF THE OCEAN, only 40 years have
passed since the end of slavery.
http://www.indyweek.com/indyweek/gem-of-the-ocean-probes-the-I i m its-of-freedom/Content?oid=4163438&mode=print 214
DocuSign Envelope ID:A1391 C8C-C731-4683-B498-D5B7783F86E4 es the limits of freedom I Theater I Indy Week
It's 1904 in Pittsburgh. More than half of the characters on stage vividly
recall captivity, and they've also had time to realize that their supposed
emancipation has been circumscribed by a series of political, cultural and
economic realities. When it comes to freedom, former slave Solly Two Kings
(Thomasi McDonald) notes, "I say I got it, but what is it? I'm still trying to
find out."
In this penultimate chapter (which premiered in 2003) of Wilson's 10-play
"Century Cycle," the playwright raises the stakes even further when the
greatest threat that central character Citizen Barlow Oade Arnold) faces
endangers his spiritual freedom as well.
Barlow hasn't come to the house of Aunt Ester Ouanda LaJoyce Holley), a
powerful matriarch and religious figure mentioned in several of Wilson's
plays, to hide from the law. Instead, he's come to get his soul cleansed after
causing a man's death.
That circumstance precipitates an extended, frequently pointed meditation
on individual freedom and the different limits inevitably placed upon it by
legal and economic systems, interpersonal responsibilities and community
membership—true citizenship, in other words. Solly predicts as much when
he tells Barlow, "It's hard to be a citizen. You gonna have to fight to get it.
And time you get it you be surprised how heavy it is."
Significantly, the law—in the person of belligerent neighborhood enforcer
Caesar Wilks (Phillip Bernard Smith)—is one of the entities that must be
fought in this equation. When Wilks says that everything and everyone is
if the law," he's describing a new form of subjugation.
DirectorJohn Harris ably navigates the script, from the deceptively humble
situations of the characters to the civic and spiritual heights they ultimately
ascend. There's true nobility when McDonald assays Solly Two Kings'
account of tasting—and forsaking—true freedom before joining the
Underground Railroad. Holley is on firm footing as she conveys the uncanny
religious authority of Aunt Ester, and Sherida McMullan gives Black Mary a
similarly preternatural knowledge when she challenges Barlow to rethink his
relationships with women.
Regional veteran john Murphy easily portrays peddler Rutherford Selig. But
Gem marks the second time in recent months that Malcolm Green has been
asked to play a character much older than he is on stage. Having hit many of
the same notes here as he did in Bare Theatre's Let Them Be Heard, regional
directors now need to explore this actor's range.
A high point of Gem is the second-act reconciliation ritual Aunt Ester
conducts for Barlow. Holley gives Wilson's poetic description wings as she
narrates—and Barlow lives—the plight of a ship full of slaves who did not
survive the Middle Passage. The afterlife those saints inhabit—the fabled City
of Bones—is the ultimate destination of Barlow's spiritual pilgrimage. That
redemptive, transcendental journey is one all local theatergoers should take.
http://www.indyweek.comAndyweek/gem-of-the-ocean-probes-the-limits-of-freedom/Content?oid=4163438&mode=print 3/4
DocuSign Envelope ID:Al391C8C-C731-4683-B498_D5B7783F86E4 eets WWI in Into the Breach I Theater I Indy Week
Arts »Theater October 15, 2014
Theater review: Henry V meets WWI in Into
the Breach
By Byron Woods
Igor Stravinsky and choreographers from Vaslav Nijinsky to Emanuel Gat
have shown us that the rites of spring are stark. But in his new work at
the ArtsCenter, INTO THE BREACH, regional actor, director and
playwright Ian Bowater shows us that their severity pales compared to the
rites of harvest.
It's late July 1914 when we meet a quartet of boys working in a wheat field
near Stratford-Upon-Avon. Some have completed their studies at a local
school; others will graduate soon. From a flashback, we already know that all
took part in a school production of Henry V, Shakespeare's historical drama
about the glories and the costs of warfare, during the conquest of France
and the Battle of Agincourt.
Now, new conflicts are in the offing. One month earlier, Archduke Franz
Ferdinand was assassinated in Sarajevo, and European and Asian countries
are taking sides in preparation for a fight. In a few weeks, England will
declare war on Germany and enter into what ultimately will be called World
War I.
But at present, on a calm midsummer afternoon, the boys scythe the wheat
and bind the sheaves. As they do, even those who can see the coming
conflict cannot imagine the scope of the bloody harvest just beyond the
horizon: one they all will be a part of.
Bowater follows these boys—and their English teacher, Duncan (David Byron
Hudson), a first lieutenant in the reserves—into the conflict, where they're
reunited later at a military field hospital. Their mission there is to entertain
the patients by remounting parts of their production of Henry V, and assist
in the recovery of one of their own, Fellowes (a poignant Peter Vance).
In the process, old friendships and contentions are revived. After being
drafted into the service corps, Holden Dustin Johnson), the one most
http://www.indyweek.com/indyweek/henry-v-meets-wwi-in-into-the-breach/Content?oid=4269302&mode=print 113
DocuSign Envelope ID:Al 391C8C-C731-4683-B498-D5B7783F86E4 eets WWI in Into the Breach I Theater I Indy Week
opposed to war, brings the most news about the world outside. Meanwhile,
his nemesis, the ultra-conservative Verity Oeb Brinkley), has turned into a
young and humorless budding autocrat.
Bowater's gift for elevated poetic metaphor and discourse is consistently on
display. In an opening variation on the prologue from Henry V, a severe
Laurel Ullman as the Chorus vividly describes the marks that centuries of
conflict have left on the face of Europe. An "oozing gash ... like scar tissue
on a boxer's brow" has reopened, "hacked by untutored butchery." Ullman
later describes a supposed supernatural intervention at the Battle of Mons as
"a fiction dressed in the uniform of gossip" that "struts about like a five-star
lie."
As Duncan and his former students re-examine Henry V, they explore
monologues such as the famous St. Crispin's Day speech that have inspired
generations of soldiers. They also uncover in Shakespeare's text the sudden
limits of wartime gallantry. As they do, both teacher and students struggle
to reconcile their consciences with their present duty.
That task becomes no easier as Holden describes how differently officers are
treated than enlisted men, and Fellowes recounts the summary trial and
execution of a fellow soldier.
Gregor McElvogue's direction is crisp and sure-footed. Bowater transitions
effectively from florid oratory to the commonplace talk of men in a war. In a
time when cowardice is a potentially capital offense, we watch five men and
Ullman's Nurse Claire struggle with their fears and uncertainties. Then we're
left to struggle with their loss.
The show is hardly a joyless affair: The ribaldry and the mixture of folk and
show tunes sung by Verity's brother Bertie (Brandon Rafalson) brighten the
revue they ultimately produce. But in the season of ghosts now close upon
us, Into the Breach is likely to be the most haunting production of the lot.
This article appeared in print with the headline "Love and rockets."
latest in theater
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Dec. 7
by Byron Woods
Theater review: Chicago composer John Kander doesn't stick The Landing
Kander's new musical runs at Deep Dish in Chapel Hill through Nov. 22
by Byron Woods
http://www.indyweek.comAndyweek/henry-v-meets-wwi-in-into-the-breach/Content?oid=4269302&mode=print 213
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Arts »Theater December 18, 2013
Honoring the best plays , performers ,
directors and designers of the year
By Byron Woods
Welcome to our annual bash. We'd call it a holiday gathering, but the party's
actually been in progress all year long, in theaters large and small across our
region. Everybody brings a camera to these things, it seems—and we're no
different. In the categories and lists below you'll find a series of snapshots,
candids and motion studies we've taken of an exuberant theater.community
ever busy in the business of creation. (No selfies. You're welcome.)
Contributors to this story included INDY Week critics Kate Dobbs Ariail, Tom
Elrod, Emma Miller, Zack Smith and Chris Vitiello. All winners are listed in
alphabetical order.
SPECIAL ASSISTANCE TO THE THEATER
Ellen Hemphill, Derrick Ivey, Tim Scales
We get it: It is hard enough getting your own shows up and running in the
first place. That's why it's particularly notable when stage artists are able to
contribute something beyond their own work to the larger community of
practice as well.
When Duke University gave ELLEN HEMPHILL no room to stage her newest
work, she raised the funds, summoned the people power and converted a
long-shuttered warehouse on Foster Street to a stately pleasure dome called
539 Muze. There she staged The Narrowing, and in December Little Green
Pig produced The Man Who Was Thursday in the same space.
With Manbites Dog Theater just two blocks away and the Shadowbox one
block over, what could stop this development from catalyzing a downtown
theater district? The bulldozer's blade, perhaps, as the commercial space is
rumored for redevelopment. Still, it was fun while it lasted.
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Now, a few words about DERRICK IVEY—or, as critic Kate Dobbs Ariail calls
him, "He who does it all." It would have been hard to see independent
theater in Durham this year without witnessing his work on stage, in moving
studies including The Homosexuals, The New Electric Ballroom and The
Best of Enemies.
But then he also designed the sets in each of these productions. And did the
costumes for Ballroom. And directed the Savoyards summer production of
The Pirates of Penzance. And so on, as he has for years.
Ivey's "done such great work with so few resources for so many theater
groups for so many years," Ariail says, making "magic work on the stage [in
a] quiet, almost self-effacing way."
Here's a Zen arts-management koan: If a tree falls in a forest without an
audience, it doesn't matter what kind of sound it makes. After moving here
in 2010, TIM SCALES found an independent theater scene brimming with
energy and talent—but frequently without much of a clue about how to
market and promote its own work. A young professional arts marketer who'd
already worked by then with New York's Roundabout Theatre and London's
Gate Theatre, Scales saw a niche with a need—and started filling it. Ever
since, he's been helping a growing number of companies such as Streetsigns
Center, Haymaker, Manbites Dog and Little Green Pig, independent artists
including Leah Wilks and Torry Bend, Chapel Hill's Office of Public and
Cultural Arts and Carrboro Film Festival all get the word out about the work
they do. They have grown because he has. May that work continue.
SPECIAL ACHIEVEMENT IN THE HUMANITIES
ArtsCenter Stage: Series: Walt, The Whipping Man, A Civil War Christmas:
An American Musical Celebration
Manbites Dog Theater: The Best of Enemies
ArtsCenter Stage's Seri Lynn Schulke took a programming risk, slating a
season of theatrical works to commemorate the Civil War sesquicentennial
through three different perspectives. The payoff: a regional premiere in May
of a music theater work that poetically placed the life of Walt Whitman on
stage in his own words; October's five-star production of The Whipping
Man, in which the remains of a Jewish family—two former slaves and their
one-time master—find one another after the fall of Richmond; and Paula
Vogel's panoramic A Civil War Christmas, which opened last week.
It took two years for Mark St. Germain's stage adaptation of The Best of
Enemies to premiere in the city where the events it depicts took place. When
it did, it played on opening night to an audience that included surviving
members of the original cast: activist Ann Atwater and organizer Bill Riddick,
who risked their lives opposing racism on the streets of Durham in the
1970s, and whose struggles were depicted, before them, on stage.
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Historians and scholars have speculated for some time on the specific half-
life of American racism. Still, one conclusion seems clear: at this date, it
remains much longer than the average contemporary attention span.
Depending on the ages and experiences that unite and isolate them, such a
work is easily a reminder to the person in one seat—and a revelation to the
person next to them. To the latter, we dedicate this citation, with a strictly
confidential admission to those who weren't around in 1974. Actually, it
wasn't that bad.
It was much, much worse. It didn't end after 105 minutes.
And it still isn't over.
SPECIAL ACHIEVEMENT IN DESIGN
When all elements of a show's design work to create a world, an audience
moves into it. In these productions, superior design and execution across all
design elements earned our highest praise. Jon Haas' multi-screen video
montages and Alex Maness' audio design reinforced the time capsule that is
The Best of Enemies, and Jan Chambers and McKay Coble placed Greek
gods and foolish mortals in an aging combination European bathhouse and
bibliotech in Metamorphoses. The filigreed and porcelain corruption of Lear
was a waking nightmare, and we're still unpeeling the layers that gracefully
unfolded in The Narrowing.
Cabaret, PlayMakers Rep (PRC): David Bova, Heather Fleming (Makeup);
Robert Dagit (Sound); Josh Epstein (Lighting); Jennifer Caprio (Costumes);
Marion Williams (Set)
Lear, Duke Theater Studies (DTS): Tracey Walters (Makeup); Sonya Drum
(Costumes); Roz Fulton (Lighting); Torry Bend (Set)
Metamorphoses, PRC: Michael Meyer, Heather Fleming (Makeup); Robert
Dagit (Sound); Marcus Dilliard (Lighting); Jan Chambers, McKay Coble
(Costumes, Set)
Ruined, Burning Coal Theatre (BC): Aharon Segal (Sound); Matthew Adelson
(Lighting); Katrine Blose (Costumes); Morag Charlton (Set)
The Best Of Enemies, Manbites Dog Theater (MBD): Marissa Erickson
(Costumes); Alex Maness (Sound); Jon Haas (Video); Andrew Parks (Lighting);
Derrick Ivey (Set)
The Narrowing, Archipelago Theatre (AT): Jan Chambers (Costumes, Set);
Adam Lindquist (Sound); Jesse Belsky (Lighting); Jim Haverkamp (Video);
Liam O'Neill (Technical Design)
The New Electric Ballroom, MBD: Marc Maximov (Sound); Chuck Catotti
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