HomeMy WebLinkAbout2017-442-E Arts - Street Signs, Inc. - 2017-18 Arts Grant Agreement DocuSign Envelope ID:AD99FE27-E625-45CC-B353-AEE3ADA2F2DA
ORANGE COUNTS
ARTS COMWSSION
August IS, 2017
Elisabeth Lewis Corley, Producer
Street Signs Center, Inc.
606 N. Estes Dr.
Chapel Hill, NC 27514
GRANT AWARD LETTER
Fiscal Year 2018
Grant Category Grassroots Arts Program
Funding Source NC Arts Council Grassroots Arts Program
Award $2,370
Start Date July 1 , 2017
End Date June 30, 2018
OCAC Report Due Friday, July 6, 2018
Project Title You Are Dead. You Are Here.
Staff Contact Katie Murray, Director
919/245-2335
kmurray@)orangecountync.go
Stipulations 1 . Grantee must properly credit the Orange County Arts
Commission and/or North Carolina Arts Council (according
to Funding Source, provided above), using the proper logo
AND credit line on all publicity materials. View proper credit
line language and download logos on the OCAC website at
https://artsorange.orq/qrantS/qrantee-resources
2. Grantee must spend $2,370 on the hiring of multicultural
artists as described in application.
,
DocuSign Envelope ID:AD99FE27-E625-45CC-B353-AEE3ADA2F2DA C a
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ORANGE COUNTY ARTS COMMISSION
2017®18 GRANT AGREEMENT
THIS AGREEMENT, entered into this 17 day of August, 2017, by and between Orange County
("County"), by and through the Orange County Arts Commission ("Arts Commission") and
Street Signs, Inc. ("Grant Recipient").
WHEREAS, the Arts Commission is a countywide arts agency that ensures the growth of
local arts experiences by providing funding and support for diverse high quality programs and
projects.
WHEREAS, the Arts Commission administers the annual Grants Program to provide
economic opportunities to Orange County artists and non-profit organizations coordinating arts
projects benefiting the citizens of Orange County.
WHEREAS, the annual Arts Grants Program is supported by Arts Commission with
funds from the Grassroots Arts Program of the North Carolina Arts Council, a division of the
Department of Natural and Cultural Resources, a state agency.
WHEREAS, the Grant Recipient was selected by the Arts Commission to receive the
annual Arts Grant through the procedures duly adopted by the Arts Commission; and
WHEREAS, both parties wish to promote and maintain the integrity and clarity of the
Grant Recipient's ideas and statements and delineate the Grant Recipient's obligations to the
County;
NOW, THEREFORE, the County and the Grant Recipient, for the consideration and
under the conditions hereinafter set forth, agree as follows:
1. Approved Grant Project. Grant funds are provided under this Agreement for the project
("Project") described in the Grant Recipient's Grant Application, attached hereto and
incorporated herein as Exhibit A.
2. Grant Award. Grant funds in an amount not to exceed two thousand three hundred
seventy ($ 2,370) have been awarded by the Arts Commission to the Grant Recipient for
the approved Project. The Recipient shall be required to match funds 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, as outlined in the attached Exhibit A.
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 July 1,
2017 and June 30, 2018. 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 described in the attached Exhibit A.
F. Final Report. Grant Recipient shall submit to the Arts Commission a Final Report
on July 6, 2018. 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. Pam. The Arts Commission shall release the grant funds in the amount of
$2,370 to the Grant Recipient.
6. Publicity
A. Acknowled eg ment. Credit must be given to the Orange County Arts
Commission and/or the North Carolina Arts Council using the proper logo(s)
and credit line in brochures, news releases, programs, and all other printed and
online publications. Copies of such printed materials must accompany the
evaluation report. Official Orange County Arts Commission and North Carolina
Arts Council logos may be downloaded at www.artsorange.org/grantee-resources
and may not be altered in any way. When no printed information is used, verbal
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credit shall be given. In addition, all print and promotional material must include
the following credit line and logo(s) (check all that apply):
i. County Funds Only. Orange County Arts Commission logo required.
Credit line required for audio projects: "This program is supported by the
Orange County Arts Commission. "
ii. x North Carolina Arts Council Funding. The Orange County Arts
Commission and the North Carolina Arts Council logos are required. Credit
line: "This program is supported by the N.C. Arts Council, a division of the
Department of Natural and Cultural Resources. "
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 Orange County Arts Commission 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
www.artsorange.org (Orange County Arts Commission logo preferred) to their
main webpage.
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
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provision of this Agreement, as determined by the Arts Commission in its
sole discretion.
(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. Both parties agree that this Agreement shall be governed by the
laws of the State of North Carolina. Provider shall at all times remain in
compliance with all applicable local, state, and federal laws, rules, and regulations
including but not limited to all state and federal anti-discrimination laws, policies,
rules, and regulations and the Orange County Non-Discrimination Policy and
Orange County Living Wage Policy (each policy is incorporated herein by
reference and may be viewed at
http://www.orangecountyne.gov/departments/purchasing_division/contracts.php).
Any violation of this requirement is a breach of this Agreement and County may
immediately terminate this Agreement without further obligation on the part of
the County. This paragraph is not intended to limit and does not limit the
definition of breach to discrimination. By executing this Agreement Provider
affirms that Provider is and shall remain in compliance with Article 2 of Chapter
64 of the North Carolina General Statutes. By executing this Agreement Provider
certifies that Provider has not been identified, and has not utilized the services of
any agent or subcontractor, on the list created by the State Treasurer pursuant to
G.S. 147-86.58.
C. Entire Agreement and Signatures. The parties have read this Agreement and agree
to be bound by all of its terms, and further agree that it constitutes the complete
and exclusive statement of the Agreement between the parties unless and until
modified in writing and signed by the parties. This Agreement together with any
amendments or modifications may be executed electronically. All electronic
signatures affixed hereto evidence the intent of the Parties to comply with Article
I IA and Article 40 of North Carolina General Statute Chapter 66.
[SIGNATURE PAGE TO FOLLOW]
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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.
For and on behalf of the Grant Recipient
(—jSacuSigned by:
D4 I-
�t!A/lS rbVU 11 8/24/2017
€b tDknls Corley,Producer Date
For and on behalf of Orange County Government
DocuSigned by:
�jbin,bLlt �GUMwtt VS�t(� 9/5/2017
PfPi1V4HUMffiersley, County Manager Date
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i� / i I r i / ✓ f
a„✓ r/l ii(i iy i l it/ i„ �r ,{ ilr!./,.i��,����, f r«. „e % i:./ /2017-18 GRANT APPLICATION COVERSHEET
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Applicant:
Street-Signs Center
Date Received: 5/31/17 � Date Notified Complete: 6/1/17
"You Are Dead. You Are Here."" 7/17-10-17
Project Title: .Date:
Use of Funds: Artist contracts
NCAC Funding Priority: 1't El 2nd Cl "�
NCAC Multicultural Requirement? IN Yes Amount 3000 Cl No
Total number served: 1350 +
Community served. :het Hill
Demographics: Hard to determine
CHECKLIST
• Completed application form with Budget: FY17-18 lid
signatures 04 Board list
• Narrative N Tax exemption lette
IN Project Budget worksheet Sample publicity
• Resumes of Ivey artists/instructors W Work samples •�`
• Financials: FY1 -16 0 Letters of support(not required)
Financials: FY16-17
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I
AMOUNT REQUESTED, $3000 AMOUNT GRANTED:
FINAL SCORE:
DocuSign Envelope ID:AD99FE27-E625-45CC-B353-AEE3ADA2F2DA
It
2017-18
Z
ORANGE COUNTY ARTS GRASSROOTS ARTS PROGRAM
Comm ISS,ION vvww,ncarts-org APPLICATION FORM
9 W Z
................
Organization Name: reo nc.', . ............. ........
flwand eet Address"2D4" 1
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ifibn er ormance
Phone. ebsite:WWW� IE)
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5-61F �e WF§`Gde 1-6y-
Authorizing Official Name .......
Authorizing Official Tftle ro
TnTer ma c
Authorizing Official Email:
Off icial Phone: -------
t Race" Gaucasia,n Organization EIN,
-ippil Fca-n"
ORGANIZATIONAL FINANCES
Please attach a complete income and expense statement(an audit may be substituted)for your last fiscal year and
complete operating budgets for the current fiscal year and next fiscal year. Public schools and other large governmental or
community agencies should attach arts program financial information only. Please copy the totals from these attachments
in the spaces below:
t Year Actual: FYI 5-16 Current Year., FYI 6-17 Next Year- FYI 7-18
............. 032'-
$25-
. .....--- $Go Projected Income: $
Actual 75 Projected Income:
Pr oje cted Expe n
se: $ jected Expense: $
Actual Expenses: $
.......... ............ ---------- . ....
PART,2.'PIROJECT INFORMATION
PROJECT DIRECTOR INFORMATIO from klthorizi�q_qffioa!)....... ....... ...............
ct Director Name�
_J;;cie,
PROJECT
... DIRECTOR. ...... ................................
Project' Director Titl e
-—------------
Street Address:
-'city;7....... tate:
PROJECT SUMMARY
OU
Title of Grant Program or Projec141ydJ-Ar-e-"D`e' a ou AFEi ---re. ......
,-G� -1--.1-1-.1531�010.�..-...1--l�-�-,--... --..—,bb -.— -.-
Ca I
nt Requested: ..............
JL
Project Start Date(No earlier than July 1, 2017,): U Y
-2 17--
roject End Date (No later than June 30, 2018)� Co ...............
..........
SCHOOLS ONLY: Schools Program? 0 YES W NO
Are you booking your artists through The ArtsCenter's Arts I n
....................
DocuSign Envelope ID:AD99FE27-E625-45CC-B353-AEE3ADA2F2DA
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PROJECT NARRATIVE
Please attach a narrative providing the information requested below for�Oie project you propose. Please be a concise
and specific as possjble:
anlation, Including rriission, board and staff composition, current arts
I. Please give a brief description of your org
programs and services and number and kinds of people served, Public schools and other large governmental or
community agencies should provide a description of their arts program only rather than the entire organisation. (250
words or less)
2, Offer a brief summary of the proposed project,
i
State your project's goals.
4, Offer a description of intended participants/audience, including estimated numbers arid racial and cultural
composition. For school applications please include the demographic breakdown of the student body, as well as the
percentage of students on the Free and Reduced lunch Program.
5. Describe the location where project will take place.
6. Explain all project activities.
7 Describe all artists to be involved in the project, how and why they were chosen, and the rate of payment for their
services, If you have not yet selected the artists, describe the kinds of artists you intend to involve and how you will
select them, (Schools, please indicate if you are working with The ArtsCenter's Arts in School program to secure your
artists), Please include the ethnicity of artists or instructors hired for the project.
8. Describe how the project will be publicized and promoted to reach intended participants
g. Describe how you will evaluate the project.
PROJECT BUDGET
Please provide a projected budget for your proposed project utilizing the format below, You may attach an additional
detailed budget if necessary, but the tables below must be filled out. Please see the attached Glossary of Budget Terms
for more information.
PROJECT EXPENSES Explanation �rti Request Amount + 1.atohrrg Euads �Total . r eOO
�..a
t fstlr°Administrative.._taPl
A .,..��._.._w
A, Personnel Stall
...mm �a ...__ .. .
Artistic Contracts:
Staff:
S, Outside Fees �_..w
aim s .... X �
Thor t�c�ntracts, $ . __w. �..,. ,� . . .. .., ........
Ta �,,,.... ,,,�,.�
_.�. . s
p
e Rental _w.. „ , _.....
Services
.. .ww ,_..._ ... . 77G' �.�...5..,_.w )ITI ,�,,,..w__._._w......� . .� ...mm
D Sac
D. Travel — OD
. m ,. _._ .. .w. M. .�. . ..
E Marketing
g � prod, St / p. c�u��.
F, Remaining Project $12,642 1 , '4
Ex nses CSC w....., .. ......,......
.
G, Cash Expenses„�., _.. _. ....... .�.,. ._... ..�J
��. .,_.i_�E_C
tN..C..O.. ME ro ,
....... ...
�
�.�u� rri
Admi ssions
E' i oak d Svces
Revenue
C. Other Revenue. ....... ..
Corporate Support ra7
.........
:..
lE _.
_.._
D. Private Support Support
,..a.....,_ ..
Other private supl,aort �W
Federal: yy^^��pr��/� � .....
E. Government Support St�rto/l ee-ional, ... ,.. .. . _ ... . ,.,.w_.._ , ,.. .�._.__..,... _ .w__.
_ Local(not including this inquest)
l . Af _.....__ .,,..,.....w,.,.ww.M . �,u
pilcant Dash 3 000
Grant oount Requested
,
sted
to titre aplrptlpn) _.. _ ... w........... ......_... _ M _,uw.._ ....__.._..... ,.
H, Total Cash Income ('raaarst
equal e ab Total Cash Expenses,
Itm 0 ova6 ..wr,, .. .,y,,,,� , .r�„ ,,ti,.
a..n.r2"WNRIX' ^rvm.¢kMJMdPW.Jrau.aw a
DocuSign Envelope ID:AD99FE27-E625-45CC-B353-AEE3ADA2F2DA
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„A«. APPLICATION
APPLICATION CHECKLIST
Please compile in this order. Do not staple, bind, or put into individual folders or sleeves. Provide one copy,
one sided, 8,5 x 11 white paper. A digital copy of the application is not necessary.
i
Le Application Form, including signatures
Ca"Narrative
0 Detailed Budget(if necessary)
UK Resumes of key artists and administrators involved in grant funded prograr'n(s)
[],"Income and Expense statement for FYI 5-16
L" Budget or year-to-date statement for FYI 6-1 7
GK Budget for FY1 7-16
Current Board of Directors" list
ED,'Copy of IRS Tax Exemption Letter, if applicable
ample programs, press, or other materials from this or similar past programs
Work samples by artist(s), labeled with artists" name, title of work, date of work, produced in the last three years:
Visual artists; CD, DVD, or high resolution photographs (6 images per artist MAX), clearly labeled with
dimensions and media and indicate top of image
o Dance or theater artist: CD or DVD, or link to high-quality online video (3-5 minutes)
o Music and.spoken words CD MP3 or link to high-quality online video(3-5 minutes)
o Literary arts: Manuscript(10-15 pages) submitted as pdf file or hard copy
PART 40 CERTIFICATION
We understand that failure to respond to any of the above items may adversely affect the consideration of this application.
We certify that we are committed to the completion of the proposed project in compliance with legal requirements and
granting procedures.We certify that the information contained in this application, including attachments and supporting
materials, is true and correct to the best of our knowledge.
I IQJEC7 DIRECTOR.�.___
Printed or typed narne:
Signature:
AU"t"kfiCMRNIhNIa CIP.._ w�..�.,w.,� ..._.. ., .,.,..w.. .b�.._w,m.. ..
Printed or typed name: Elia th Lewis Corley
Signature:
...Date:......,.,.__.......
.w.. ..............�.........wM�„;;�w...
Y_..._.....,v......,.wwm,,..,
7
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DocuSign Envelope ID:AD99FE27-E625-45CC-B353-AEE3ADA2F2DA
Orange County Arts (,lornmission Arts Prograrn Application'Narrative
is proud to be producing the world premiere
StreetSigns ('enter for Literature and performance
ofYou Are 1)e(jej You 11re Here, (Y11D),A11), created by playwright Christine Fvans, director
Joseph Me el, and media designer Jared mezzocchi, in September 2017 in Hill, Aar l)
Carolina.
Note: We applied to the Orange C.ounty Arting,riission for support for this project last year,when it was, scheduled for a May 2017 open and were awarded the 111aximurn then allowable.
Due to a conflict in a,principal arfist's,, Jared Mezzocehi's, schedule, StrectSigns needed to
reschedule this premiere to September 2017. The Orange (.1"ounty Arts Commission determined
that we would be obliged toforego the grant in last year's granting cycle. 'rhis request is for the
same protect, now rescheduled and in pre-production for a,September 2017 opening,
Organizational Prortle: StreetSigns is a not-for-profit, independent, theatre Organization devoted
to the development of new work. Founded in Chicago in 1992 and moved to North ("arolina In
2000, Street Signs has presented more than fifty productions in its tweaty-PILIS Year history.
StreetSigns is dedicated to the development and presentation of new literary adaptations,
company-created theatrical works, innovative new plays, and bold re-imaginings of classics, An,
award-winning professional performing arts and educational center, Street Signs is committed to
celebrating our region's rich oral and written traditions, and to engaging cultural and political
issues through perforrnancc.
Our board members are Elisabetli'Lewis Corley, Mende Alexander Craft, Derek (joldnian, John
McGowan, Joseph Mleget, and Mike Wiley. We have no permanent staff. We ernploy artists and
artisans on a per pro�jcet basis.
(I
.,lurrent Programs and Services:
StreetSigns develops new work and in sorne years we produce a single show or a season orwork
while in others we concentrate on our New Works Initiative Reading Series and our partnership
with The Process Series: New Works in Development. This year we also partnered with
Motites . g heater in Durhm to presenL A Ilublic Reading qfan aa the Death offf"idt Disl1ey by Lucas 11nath in fall 2016 and a workshop of The Uiraculous
ono the Mundane,by I loward L. ("raft in,January 2017. Othet-wise our efforts have been focused
on the development of Y,41))`Afl', and new works for future seasons by Howard L. Craft, Kane
Smego, and Jennifer Maisel,
Below is a selected list,of plays we have presented in recetit years, edited to reflect only those
that took place in Orange County. For a complete list please visit
littp://www.piedi�iiont:perf*ortnancef',,ictory.org/19!st,reetsigils/c2471
2015
T"reighk The Eivetneornations(#'Abel Green. by Floward L, Craft
Geonioncy: Divination by Geogralilty by 1`3dizabetliT, (3ray Jr. and E',Iisabeth Lewis Corley, co-
produced concert reading athe Press eies New rk in evelopment at the University of
North Carolina at Chapel I lill, a p�rc�cnun�a(�tl�ze�:la,tu�c�ctcarstlrcwl,�a°1�,gai " and I lumanities
Troian Barbie by Christine Evans
DocuSign Envelope ID:AD99FE27-E625-45CC-B353-AEE3ADA2F2DA
2012
AcIs of Witness— Two Theatrical al 1' °rents in Rololing lr'ep
Athol igar cl's Blood Knot, 4eaturing Alphonse Nicholson and laueiaas Robinson, directed by
l
l bane S ;ca, Will McInerney, Same �r i11 et- alk, sand
Joseph Me gel
poetic
nimad C'v ouss ,��ert"lrrtr e � c fci al Poets Kane Snag o and crlcarnad la the �aa. McInerney
2010
l hedr 's Blue, tr nslated rorn tl�c.�Racine and adapted by Elisabeth Lewis Corley with
additional material and lyric by Elisabeth Lev is Corley and music by Lightnrn Wells, readings
produced in association with 'The 1'roces� Series
2007
A Il"croillet ti5'toiji by Chris Chiron (with Wordshed Productions)
2006
New M arks llrrtiattae Readiwg Series
Will the t"`
r c lc
Be Unbroken, Derek Rebirth, t l rl l the Be
Unbroken? Reflections on Death, cr l n Hunger e tVa r aemori l fall with David,.
traa.tlaairn
200
1/anishing Morion by Jeaananarie Ili „ins
White People by Jim Craaste Molacre's The Miser, transla ted d aaaad adapted by l.lisabct.la Lewis C"-caa•lcy
2004
New forks Initiative Reading din Series:
Vanishing
nralin Mar ion screenplay lay by Elisabeth Lewis (7 or lcy frorn the flay by J
eatimari
c Higgins
r ,er Rises y T. ` t s of Flannery O'Connor
alc � of 7 rc l l c ae y Andrea Stolo itrlro n a rac cent stories and ry tales
2003
Shakespeare's R&J, adapted by, Joe CPala rco
a�r�Ya Like It b alla�ana Shakespeare� �ad��tcd
Dream BOY la Jinn Grinaslc, � by Uric 1 cosela.
Twilight: Los Angeles, 1992 by Anna Deavere Smith
The Tura of the Screw by flenry James, adapted by Derek Goldman
Project Summary: Strc e
Sa as seeks support tc � bases)premiere theatrical
production(and
ilitar y all l �. l in Chapel I-lilt, North
preparation for a possible teaa to venues near
Carolina, The venaac„ Swain l tall Studio Six oil thelJNC carnpus seats c 1. We ante
ilatc 14-16
'perf'ormances. 1A DYAll as a multimedia t,ae trca ace charting an encounter between ccn
an,
2
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American. soldier and in Iraqi girl blogger through the lens of the technologies that connect
them.
Y,119)1,41[tells the colliding stories ofMichael, anNfrican American veteran undergoing virtual
reality therapy for PTSD, and Zaynab, as teenager From Fallu ah blogging during the Iraq war. It
explores the haunted human American and Iraqi.........1hat shadow the digital surfaces
through which we wage, view, and recoverfrorn war, YADY,41-1 blends scripted live performance
with projections developed -ftom the animated landscapes of Virtual Iniq, a virtual-reality
program based on video-game graphics and developed as a therapy too] fior US veterans
suffering frorn 11 SE) "I"his production is the only theatrical venture licensed to use this software,
developed by Skit.) Rizzo, Director of Medical VirtLU11 Reality (VR), and the rest of the Virtual
Iraq team, For the Institute for C reati ve Techno logics (IC"T), located in the University of Southern
California in Los Angeles.
The US military increasingly uses virtual and "mixed-reality" environments both to train
soldiers disproport ionally drawnfirorn Families with lower incomes kind fewer Opportunities and
disproportionally people of color......-and to rehabilitate thern. These animated landscapes are
highly evocative. Ohostly Iraqis, modeled on real people, populate thern.......throwing borribs,
shopping at an open-air street market, screaming when a car bomb explodes, Immersed in its
digital world, a user can drive a I I umvee or patrol a market carrying a gun, but cannot occupy the
viewpoint of this landscape's Iracli figures,
To date, the learn has workshopped versions of this complex work at UNC Chapel Hill, ART,
Georgetown's Davis Center for the Pet.-forming Arts, and ICT in LA with Virtual Iraqs design
tearn. In June 2013, the artists had an Equity showcase at HERE Arts, NYC, 'l'he most recent
work included aJanuary 2017 workshop at the University of Maryland and a May 2017
workshop at Georgetown University, both b6cused on StreetSigns' preparation for the world
premiere production in Chapel Hill September 2017.
Project Goals: A crucial part of our planning for this prodUCti011 is developing a strategy to
bringing distinct populations into the audience at the sarnetirne: the communities impacted by
Americanniflitary service directly ('veterans and their families"); Americans especially impacted
by events in the middle east (particularly lraqi-Americans); and expatriate Iraqis. N,,trt ol'this
strategy will be the development, of panels of experts and community leaders to lead post-show
discussions and engage with and bring to the produotion their own constituencies, Because of its
small size, StreetSigns has in the past been too often unable to focus beyond the artistic needs of
a production, sometimes resulting in work of the highest, artistic quality and importance reaching
only a small audience accustomed to going to the theatre, Making sure that 1ADY41I is produced
successfully, reaches intended audiences, and has the future life it deserves is demanding Nvork,
requiring ,a diverse, fiocused, and united tearrl. We believe that there are people who would
greatly appreciate this production both inside and Outside of the traditional theatre-going
population, Outreach to and accessibility for the underserved ,ire high priorities in our planning,
ensuring wide audiences can benefit ("torn seeing the work and then contribute to a conversation
within our community, We want to be absolutely certain this irnport,,int production reaches those
for whom it will be most meaningful and healing.
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DocuSign Envelope ID:AD99FE27-E625-45CC-B353-AEE3ADA2F2DA
Intended Participants
" )c r�e f than t
,wen�t years, Street Sign s„haas acted
an
is a part of Street ign ' c ann t tment to staging
active diversity and outreach e . t
cultural difference and underrepresented voices, While fictional, the � draws extensive
research into military culture, veterans' experience, lthe laves cf ra qi civilians during,
American war,"
f
particularly the teenage girls who blog ed tlirou ;hoot the wat The characters �
are a male . fa'can American veteran, an Iraqi teenage
girl rlcggea, a � �� lc
military
therapist Al of these characters are believably cv all e�l �ticcir, war's aftermath, complex
loyalties
and moralities, and ,:are diverse in ethnicity and outlook
We plan to reach out tea military communities throughout the state to bring audiences to our
production agl also to spur interest an ha� g version the
production to tlataay ~asesatcaieara communities, Cape Fear Region l l heate and
l°`aayette'ville grate Univers ity have indicated interest..
()Ur January 2015 production, Freig,hk The FiVe
���ac�t��.<a�•�aDemographics �l�c�wcl r����udsr�Clcac�rt�°�al�`t
saw an increase in attendance from A ttca
continuing Jiocus can diversity. Among key, artists, tour were African American, rive were White,
five were male, and tcar were female.
tle aad�i e
ncc
� l � African
� American,
l Latina./o, 7C1Yo White ea l lispaaac or ether as ameaudience will have amts of
engagement with this production and we will reach beyond it veterans groups and
axtlataa communities as well as lract Arne aeanrndl aicalatt � ccara �iesthrcagha Lit the
state. We believe that bringing in local, and national authorities on the various issues raised by
the piece-veterans, affairs, Middle Tlastean affairs, the medical treatment of traunna - o alert
their networks to the prodr•action and to lead post show discussions will faring diverse audiences
to the theatre.
' "he cast consists tsts ct one African-American`
a �
c, one Iraq. i ,
a one Caucasian fern
g
l
e.
Based cta who we now lclacvc are on board, he creative design team will be composed o f"au
r
Caucasi an women, four Caucasian men, and African-An acricaa woman, We will have
between 1, 60 and 1,,40 seats to fill We hope to find ten acy cetct tlatarca �cc a ide ra p of
the 11 o ay and fifteen percent from active duty military an d veteran communities,
at large, active duty and, veterans communities
and the rest, rnn the community
should increase both the 'L,atina/ca and t`a acan.- mericart make rifer of our audiences.
^r
oject Lucat ica
a Ihe �ca tcraances will take� � � � a
all Studio '" at the
northwest
corner of the University of Carolina at Chapel llilla na irs, le location is easily
accessible from l r anld n Street and main thoroughfares through Chapel I-fill and routinely
attracts
an audience bath within and beyond the university.
project Activities: fit addition to the regularly sclaedaaled four to five performances per weep, we
wall schedule multiple talk backs with
t � audience and
panels
from aIous ctsct p t
lies: veterans t
eran
s
affaa.s, mtca eastern aa medical experts an fD a cognitive behavioral acs,
al reality app licati ons at example, we are partnering with the MorelReality,ti n and
Scie (",enter on an afternoon panel discussing c ent cen tt Virtual
including local experts and a member of the University them California Institute for
4
DocuSign Envelope ID:AD99FE27-E625-45CC-B353-AEE3ADA2F2DA
f
Creative J.'echnolcaa ies team. These discussions aa�cl talk backs will create a wider context �:�aa,° the
work and also draw audiences from those interest areas, i
h
Artists PaalrticiPasl till: j
StreetSi ns Artistic Director Joseph Mcgel has been involved in the development of th
work
Ir " inception commission lot, Christine Evans for (Co ta i t
tiesrtsuac 1eela�lay) Ia , valia2Cl( Iec1s artist-irar esi dcrce an Iea 1aaar
cc
Studies at Cpl C-C::ha el dill and director of the Process Series He serves as Artistic Director of
Street Signs and I-Carland's Creek Proda.rctions. Rec4ent.regional directing is des treet d Bras and
Manbites Dog.directed )4 D YAJ-X in a HERE workshop production, C � �
He directed J r c ight for c et.�+r�ns rn l l(. grad at l
� 1 l )t:hc�r clircetira rrac,lr.acics 7aI, street l"°l�aatr,°cm
1"heaatr°e ,I 1 "1° "est in 1.
A and the Organic I'laeate�r (Kennedy (,,enter.'s New American la
Grant), Me el is a rnenaher of the Stage Directors and Choreographers Society.
from Australia, Playwright Christine Evans, is a l and developed Originally crrk has been produced ec R op �
playwright .„. ,,� c gat the American
Y St 1 laeatre (Sydney),�. tl e aide International
Repertory c.rtarr�l�tl laeater�l�lc�v�r, lac, (London), l:�elvcar w a.. �cicl�r, c� c
�f"the�trts, tcaacl'h�eat a�1�1`�C"y,�lr5hcllri.sla R.ca�l'J� " 13�aastcam l�lay�vri�;rsl�ahle lh ,
Festival c. � re, l er
New Jersey, Sure and the Women's Project. Christine is as (".ore of the Pl�ay��t Playwrights'
�a�tt.lc;�trc�lc. I hcant(.filar. ( ) .nr�' �Cvl Member� .�
c° crr
�,
Center ca l�lraaracacrlis,l *Women's
� and as l'lr.�, ( 1laeaatre Performance erral�acr°fit Studies) Crcara�trsts
C er°at� ct Playwrights' l.,�al.�a ala.araa.and
She lac C eland Lecturer can 1,n ,lisp at Harvard from 20
Cirarld. "~�l holds Sara l ( �' � ,17- (�tl and rra
�a
012, pined ("ec a �etcrl�vn University's faculty as an Assistant Professor ill 'l"heatre and
Performing Arts.
Digital media designer tired Mezzoechi is a multimedia director and designer fbr live
multimedia �crt`carrar�.aces. l�lc lr.calds an cclai won all )laic Award, aa ..uc,illcPerformance
� Award,cl
naultim 1 � full A from Brooklyn okl n C ol'l.c e for l erforma R
i tl"1 n r his work can Qui N „uyen's 1'"7ct, one aatlthc;tM Manhattan
�ar�cl a
Interactive lie trc� � �. ° � Y a
eslc. .µ
Award ranraa � �.. :�, �� Arts�,
�r�ana"� s. at the r rra
Media r 1.,Arts (,"'entc
lkac.4atr 1C..lul°�. ln,recognition raatrnn
aria
�r � � � �' .� designer�taea�tcarreceRav�e as Princess Grace Award in City in fll"�, lrc'
became the first projection des g ,... , e the New shin theatre,atre, In 2011.
his ad � World at Andy's Summer Playhouse. Ile has collaborate theatre
� the Best anal Playwright award at the New l lama aeater'�Awards or
aeehi �vcar "w`rvrtla t
lra.s adaptation t�atraam cif�"" ,
cs in the 'US, aracl Europe, including, S*rr"c�tig Big Art (�rcraenter�'�ta�e Builders C
Association, 3-Legged Dog, Arena Stage, rdrer 1,heater, I'rg 1 l " "
House, . .. `lac,�at.er J � Stage,�, raev l"laeartr°e
Center, '°"" rynran �lic�atae, Cleveland flay � �.,. Repertory� 1 hrtt cr, and Wilma
to
R
1 � 1vlrlwaaulccc Maryland outside Washington,
rr,
Director cetrcr re �
I�`C and a. Currently he al , tcaa cif Andy's rar�nraaaer l"laaylacra.rsc, aa.youth theatre'"r laeatc� in Wilton,
New Harripshre .fared has taught multimedia courses at l�l'a'l..l and Brooklyn yn o eg RandMcrITeated
the curriculum in�Prujection Design at the University of Maryland's College I ark theater
Department,
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DocuSign Envelope ID:AD99FE27-E625-45CC-B353-AEE3ADA2F2DA
These threel'oundational collaborators are essential to the production. as originators and
continuing developers of the work and each brings particular experience and expertise to the
endeavor.
Elisabeth 1,4ewis Corley, StrectSigns' producer and the actor who will be playing "Hanna," was
the founding artistic director of the Atlanta Shakespeare Company, which started out performing
Shakespeare in bars and now operates as the Shakespeare Tavern on Peachtree Street. She was
part of the sniall team who established SignatureTheatre Company in New York City at a 90-
seat theatre on Bond Street. Signature now occupies a Frank Gehry designed building on 42 nd
Street. She has been producing for StreetSigns since 2012. Corley has appeared locally with
StreetSigns, Maribites Dog, Triad Stage, and the Justice 'rhe atre Company, and in New York
City with Signature 'llicatre Company, 4'7`h Street Theatre, Harland's Creek Producti oils,
Triangle; regionally with Playwrights "T'heatre ol'New Jersey, Georgetown University, and in
countless readings and workshops including Merchant Ivor), Productions, Steppenwolf, New
York Theater Workshop. She is a member of Actors' f'!,'qUity Association, SAG-Al,-IRA, and the
Dramatists Guild.
Kathreen Khavari, actor playing "Zaynab," is best known for tier role as "Samantha" in the
ey � rthd 1hso appeared in the comedy TV
ses Inecure as Patricia. She inade tier film debut with T"ionu'sScripi as "Paloma," and her TV
debut With LOW Biles, as "Young Lawyer," She played Zaynab in the 111,RE, Arts workshop of
this play, then titled )`ouAre Dead YouAre Here,, in New York City in 2()12.
Trevor Johnson, actor playing "Michael," is a frequent perl"ornier on stages in Chapel Hill,
Durham, and Raleigh, most recently performing in the workshop of Howard L. Craft's The
Uiraculous antl the Muntione presented by Manbites Dog in association with StreetSigns and
directed by, Joseph Megel. He was alsothe original, "Michael" in the very earliest incarnation of
(his work when it, was conitnissioned asa,part ofthe Virtual performance Factory f"or the CHA'I'
I"estival in Chapel Ifill.
..........--......
ROLE CF�NIGI T GENDER PAY NAME ------lAy�Lrght aucasian Female $31000 Christine Evans
Director aucasian $3,000 Jos Me
Caucasian Mace $3,000 Jared Mezzocchi
Male 2 !�(L Trevor Johnson
African American
Actor --fra"n, ian Female $2,500 Kathreen Khavan
r ucasian F'emale $2,500 Elisabeth Lewis
.-S®rl Y.
het Cei Nor casian ...... ........--T-e Melpornone
Katakalos
--LFd6iin g---D-e-s-i-g-r,;e'-r-- .............. 6-6- ----------- inic
Abbenante
Costume Desiqqej Fernale $1,500 Melissa Erickson
---------- Chris Bane
S 6Tj—nd auca'...sian _Male ..........---
Funding to date: We have received a,matching grant of$15,000 (rorn the National Fridownient
for the Arts (NEA) for the development and production ol" YADYAH. This critical grant has
allowed us, and the entire YADYAH creative team, to lay the foundation for future work on the
6
DocuSign Envelope ID:AD99FE27-E625-45CC-B353-AEE3ADA2F2DA
r
piece,, The creative team is collaborating with partner Skip Rizzo at Its t and visited IC T most �
recently atly ira August 201.6 to incorporate recent developirients to VIA technology rratcr the world of
the play.
y y raising oaf, having the E grant of$15,000,
e,00, $4,0100
u'c arc, crrrcratt err c>rrr � to rrrrr farad
i tted� to the project from, the, E $ 00 from the � ce
Foundation, , ..�, rn c Green
pending, T"hercreaat vice team is bring with them several hundred
coraanar .
thousand dollars'other
worth cal in-kind support through Virtual Iraqs design team's gift of the
software for and theatrical rights to Virtual Iracl :rs well as space and egUiprrlcrrt from the
University of"North Carolina at C;�hapet Flill and the 't.,tniversi:ty of:'Maryland.
publicity and er in � established"marketing prograin and PR list a press
releases o rr t�tculaatv Is in advance c f hcarodrctroasand we have lr� with
h
publications both oil line and printed who normally respond with some promotion of the wor k
before opening and reviews of the work once it opens. This traditional mode of`pronrotion is
critical to the traditional theatre going market.
As we have said elsewhere,sewhere, for this production � - are also cr l post show and
nd
reaching orrt t o specific constituencies with the goal of bringing normally d ratc discussions
into the theatre together, We will reach out to both traditional and non-traditional audiences,
theatre� the i content audience, but reach.out to a new, younger, and more diverse community of artists
using �rra cal tl��ae work gas a raa,aior draw. �.s always, we hope to c.Ialrven not.
rant (lie older
tlac��<atrc ern audience, b
fists
and audiences.
Clearly word of month is the strongest marketing toot in theatre, and critical responses to our
hy years should � e . important part of our publicity and
work motion is maintaining the highest standard of attist cquality in the work. A rave review and
word of mouthy is the best promoter of any theatre piece.
All studies indicate that rd ia�r c,>arr central media,nary. 7c> crlc�r���la t1�aFrr�.�� C)laseraaehrc able to be
create an ongoing presence y budget
advertising only with repetition, sea our
Observer, 1rre�lra cNr,,
create
and Facebook are our° likely places to arse advertising budget based oil current
demographics.
Evaluating Project Success', Id"A DYA11 is experimental inform and content: it combines two
perspectives (Traci civiliaa,n; US veteran) almost never seen oil stage together, and it does so by
re ur° casing a digital military t theatrical stage purposes. As Laruren.
Gunderson writes, theater is a tens, no a mirror. In combining digital landscapes with the
technology icrr expressionistic t c r c ur° cr
c of live performance we foreground �politics ° � c innovative, roving shifting
es
�� 'a 1. center ��ronnct ttar„p Sara poetics tla���
immediacy century--what ana.� es out. l'h? tea
,. ., "what rt zooms n, what it leaves t tlac" � �,l s rn o � a.tarase Raymond
ract
he parameters of r�hat we tally about when we talc about, a r
l of par���p r ,, ya�ro
Carver), and in.pioneering the worlds first adaptation Iraq ��t�or live l�,er for �Dance.
"t"herefore, evaluating the artistic success refthis venture and its benefit to audiences will not be
simple. StrectSigns
measures audience r
rlvement directly in talbac M with the audience and
in panel discussions and indirectl y monitoring seer at arccra statistics and statistics r
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DocuSign Envelope ID:AD99FE27-E625-45CC-B353-AEE3ADA2F2DA
responses to email newsletters. We chart audience numbers and donations. We seek comments
and t"eedback from our audience at ever-y stage, both in person at dcvclol,)metital readings and
talk backs and through social media. For YADY11 11 this will involve increased outreach to
veterans groups, Traqi Americans, and Iraqi expatriates and careful evaluation of their responses�
We will consider the prqject a comprehensive success (a) ifour outreach efforts succeed, and
veterans, lraqi-Arnericans, and civilians are in the audience together; (b) ifthat diverse audience
is engaged by the work and engaging with each other, and (c) if the production continues at. other
traditional and nontraditional venues (military bases, community centers, cle.) and has a ffiture
life, We would measure this success by analy'sis of the audience demographics, audience
responses in talkbacks and on social media, statements of the artists themselves, and from critical
response.
11'we are able to salisfy ,the artists and reach veterans, American military families, fraclis, and
general theatre goers alike, we will have accomplished, with the help of the Orange County Ails
Conin-tission, sornething of pressing need and lasting value.
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DocuSign Envelope ID:AD99FE27-E625-45CC-B353-AEE3ADA2F2DA
Joseph mcgel
181 Manco Dairy Road
I'littsboro, North Carolina 27312
919-54,2.54,06
EDUCATION Stark Motion Picture Producing Program, School
ersity of Southern Calif'ornia, 1982, Peter
of Cinerna. 1980. College Conservatory of Music.
M.A. University of Cin0i"I'lati,
B,s, 'Northwestern University, 1978" school of Speech,
PROFESSIONAL EXPER[EINCE
LlrimW
2011- Senior 1,ecturer, Deliarttuent or Cornmunication,UnivelsitY of North Carolina at Chapel 1-fill
2005-2011 Lecturer, Department ofcomrnunieatiol�j, liniversity ofNorth Carolina at Chapel [fill,
2004-2005 Visiting lecturer, Department of COMITRAInic,"ItiOn, University of North Carolina at Chapel [fill
2001 Visiting Artist, liniversity of Nevada, Las Vegas
f1rialp _�A InIl
!:y L All Ifin-
_pq i e nts
2008- Direetor, 'The Process Series: New Works in Development, University of North Carolina at
Chapel Hill r for L,iterature and Performance
2013- Artistic Director, StrectSigns Cente Literature and Performance
2004-20113 Co-Artistic Director, StrectSigns Center for
1999-2001 Artistic Associate,'fhe Working'rheatre, NYC
1996-2000 Artistic Director, flaywriglus Theatre of New Jersey
1994-1996 Associate Artistic Director, Playwrights Theatre of New Jersey
1991-1994 Founding Artistic Director, Words Across Cultures, LA
1988-1991, Artistic Director, Theatre of N OIT,, LA
yisi iLl,&.A
Spring 2007 visiflug Lecturer, Screenwriting,Creative Writing Program, [err
ory University
Spring 2006 Visiting Artist, Program in Performing Arts, Georgetown 1,,Jliivcrsit,Y -eative
Mate tjrriversity, Virginia G. Piper Center for CI
Fall 2004, Distlinguished Visiting Artist, Arizona S
Writing and Department of"I'lleatre a ofTheatre
Spring 2004. A(tiunct Pl-ofessor, North Carolina A&TUniversity, Departmet
1996-1999 Adjunct professor, Film and Video, Fairleigh Dickinson (JiliversitY
C7tlrcr ;l , an d._I_,)rofess iLnla—a—m—cric'leg
Summer 2005 Screenwriting F"aculty, Arizona State University, "Desert Nights/Rising Stars" Writer$
Conferencc I u d Performance
2003-2004 Associate Artistic Director, Streetsigns Center for Lite,at re an
2001-2003 Freelance director, SCreenWriting Coa,011, C011SUR811t and writer
2000 Visiting Art ist/Dircetor/Dra malurg, Arizona State University, Department ourheatre
2000 Director/Drarn atu rg, Arizona State University, Institute for Studies in the Arts
shops in Play wright ing, Sereenwriting and I)ircction
1994-2000 Artist in the Classroom and Adult Work
throughout the New Jersey schools system and youth correctional play rights
Theatre ofNew JerseY Charlottesville
1998-1999 Visiting Artist/Director, UfliversitY Of Virginil"k, ,
1998 Visiting Artist/Director, Arizona State University, Department of'I'lleatre
1997 Director,f,airleigh Dickinson University
1997 jnsrj,rjcnj poetry Performance and Playwrighting, New ,lersey State Cotincil on tire,Arts
DocuSign Envelope ID:AD99FE27-E625-45CC-B353-AEE3ADA2F2DA
i
Joseph Mc gel
February 23,2017/Pa c 2
1,992-1994 Co-Owner, Brave New Media
1987-1994 Co-Host/Co-Producer, "Morning Magazine" KPI`K, Los Angeles
1000-1992 Proelucerr•4)ircctor, Video Newsletters
1986-1988 Producer/Director, Coffee 'fable Videos
1984-1986 Executive PreaelUCCT,, Photographic Illustration C."orriparry
1982-1,984,82-,1 984 West Coast Representative, Arts & fintertainn"rcnt Network
1980-19115 Guest LCCture:r, Television and Film Production, U'nivcrsity of Southern California, Los Angeles
1978-1980 Cirtadcrate 're china Assistant, Broadcasting, Film &"h`heatre,„ University of Cincinnati
t
HONORS (S1 1,EC:' 'F,,' 3)
2015 Irr(a'y ff&,ek, Best:Productions or 2015 (director):T"rvi ht: The F'ivee Inc-ornations" of"Abel
Green
2014 Incl)) Week, Best of'Theatre 2014, Best Production (director): The Best crf Iswn erraies
2014 Irrch, Pl ecek, Best oft.I°rcat;re 2014,. Best Production (artistic director): `Furry Bend's If 4� 1
,a'e et IlaveA Lost the G'r°or no`
2,013 Irrc(t, Week, Best ol`"1 heatre 2013, Special Achievernent in the l-fuirianities, Special
Achievement in Ensernlale(director): The Best of',Eraemie,s
2013. Irrcly Week, Best of-theatre 2013, Best Production (director): The Best of ls"wrr.lniens"
2012 Irulefrcenelcent, Best of "'heater 2012, Special Achievement in the llurnanitics(director):
.Acts q1' itr°res"s" Blood Krim&Poetic Portraits rrfa Revolu iora
2012 ncler)encnlo>nt, Best cal""1heatrc '2012, Special achievement in 1,nsenible(director)- fhe
fir°oth er"s,Since
2012 Indep encient, Best of"1"heatre 2012„ Best:Direction (director) The Brothers Size
2012 Iirc,lcepeticleent, Best of`Theatre 2012, hest Dirccdon (director):.4(,,!Is" gfff7itrace,ss
2011 IF°rdepenelent, Best of"1 heatreµ 2011,. Special Achievement in the Humanities (Process
Series Director): Poetic"Por°tr uit,s, of or Revolution
2009 Ind elrreracicerrt, Best of"'"rhe titer 2000-2001, Best Productions of the Decade,(director):
Mixon Nixon
20I:9 I1161el;renclent, Best of" heater 2000-2009, Best Produewtiorrs of the Decade,(director):
Dr°emn BoY
2000 Ira(leej)en ent, Best o'f`"1"lrcatcr 2000-2009, 13est Productions ofthe Decade,(director):
Sh ahvskrceaiv`s R&J
2007 ,Sor Ir c,,rac isco t"
ccrcicrr, Best Play List(director): N`ca Parole
2005 Roberts Re vie)vs", Best Production ((Iirector). 1`"h^rce Ifiser
2005 Roberts"Reviews, Besst production (direc(or): Ifornen`s Ilin,Yan
2005 Nevus c, Observer, Best Production (director�): lAite People
2004 ariloni Theatre Inwards, of'E cellencer, Zoni Award Nomination for Direction (director):
Mcry on the lac q,-,,C 11
2004 ariZoni "1'hesatre Awards ol`I'Acellence, Z:oni Award Nomination for Best 'Production
(director); Arleen on the Pirr ice II
20041 Roberts R eviewy, I lonorable Mention(director): N'.xor"r's.Nixon
2004 Roberts Revi evvs, Honorable Mention (director): "I"e ("hzoseen
2004 News & Observer, Best Production (director): The Chosen
2004 News - Observer, Bost Production (director): iV"r"xon s Nixon
2004 Ari srr°rer I ailta 6Sfar, Mac Award,lest Comedy (director): A,Jer°r on the Kergg e lI
2004 Iracicelreerrclreni, Best production (direetor); Nixon's Nixon
2004 Best Director(director): Nixon's Nixon
2003 News Observer, Best Production (director): Drcc'arrr Ilea„))
2003 %'ricarre;lee °C"lrc�atr°ce 4rr err°cls, Best Ensemble,ble Drama,, Nomination (director): Shako sPeezre's
R&J
2003 Iimirarrglee Theatre AarFrrr°r/s, Best Director, Franca (director): Slrc;ke spec;rr"ce's R&,J
2003 Roberts Reevioeivs", Bests Production (director): Shr(&esxl:ear°e`"s R&I
DocuSign Envelope ID:AD99FE27-E625-45CC-B353-AEE3ADA2F2DA
f
,Joseph Mc el
I�'ebruar°y 23, 201"7iPa e 3
Irre e aerrer'c rrt,Best Production (director) Sh kes7.var e 'k &I
2003
2003 1u eperideirt, Best Productioa(director): C.)rcon, boy j
2003 trre°lepenrle',rrt, Pest (director), Vralr�c^speam's.r&J'
2003 1na'+pendent, Best Ensenrhle(director) l)rewn Boy
2003 bade,lrendent, Hest Director(director): 5ha esivare's Rc�,1
2003 Indej)endent,
r Director(director): Dream BQv
'Ncrriratiar for Direction (director):
200� ariZo ni Theatre Awards of fl,xcellence, Zorn ward
alrss
ons d
rrlactioa
arrjZoni Iheat�c Awards of l�,xcclleacc, Boni Award for Best
2Jt2
(director): miss t or sxclo
(director) aacrre ,
rs
2001 4rraomi R /aalli /AiA zine, Most Innovative r r duct{oa �
2001 Kennedy CenterFund for New Arrrerre a Plays ward (p icd t c/director) The Lest
le cr l alrr
a9 et', Best Pls List director) dor ivae fiearnatica
for Direction (director):
198 ariZoni'Theatre Award of l,xcellenee,
ldre b"s`a,°lur tlorrs r .Iral^rrrcllcl Award for Best F rodUCtion(director): The
19 ariZoni l heatre Award; of l;,xe rtcc, crrs
e r af r ) V
1997 New Yo rcOuterCr.ties Circle Aw
,r-r , Best Solo 11rcrfr,rnlaace(director): Alen On the
Vear, e q cr:i 7 mic BreciUmvri
19911 LA ;tae Alliance, Ovation Ne minatiorr for Direction (director): Alien on the Vei e raj"ca
ljrs-1.%,irre Tr ecllrran
19e 4 LA Stage
Alliance, ovation. Award for Best:flay (dircctor): 4en on the VerVe Qf O His-
Panic
LA `stage Rreukdoivrz
Award for Best Woa°ld f'retnierc (director): r�9in Cara t�rc"'. l�cr°�'
drier I-is lacrnic°Brccakd raga
llrs�Alliance, Ovation Award for Best l'rodnctiora (director): al7c�r�a r°r tl�rc l r��r°�co,°r f rr
1994 LA Stage All
1993 The w"car ledgxer, BestaPlayrra Mei er �,
rcanic B
c,t � Best I�l<ry jl�r�t (director):
1993 NAACP l'hea tre nominations, best Dire:etor (dircetor). 1�1eyoncl the Ashes
1993 NAACP,f cXrtre n on rnations, best Play dor) jleyorr.d the Ashes s
1993 arr � � � Direction (director):
Isaac Bas/ears rrg cr^Stories
1 992 City of"Io Ang lesVayo3ral Certificate efA ociation
(aadaptor/dn rector): Out
c?f Ashes
1990 ,A- W ekl)h,c
e Awa�d Nomination f;or°[)irection (dir°ect:or): Iraajaote^n ee & Crrter°national
/er r°car°lsrra
11)88 Dr•cmre'rr•l ras e, Award for�C)ireetion,(adaptor/dire
� 1�rl;a�rxrr �M�`r.rsac�arle�
1984 Los Angeles Corornission on Assaults Against wornen, Humanitarian Award, Volcrnteer
of the Year
BIBLIOGRAPHY AND I'IwmC'rs oi)1 C"I10L.PAI SHIP
CHAPTERS AND ARTICLES
2,(114 "White Space: An Approach to t1le practice of Scr°eenwrit:ing as Poetry," lay Elisabeth Lewis
Corley and Joseph � net. Putting Practice into
C'orrtext, Craig Batty,eEd,,Pal rave MacMillan, 2014 1,1-29,
�
2000 "Reading evading hell." They Drotrrcrtist 2:41 36-38,
PRODI- C"".IM OF CREATIVE IVE AC"F llVI"NCY/1'[i*RF+C)RMA C E
2011 AllenSELECTED° CAit,icrt ns, bas don��the]FOR
work olfl I�e�n► ssee Williams, co-adapted with Glaris C"hircara WORKS
"a° enca,�.
t
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Joseph Nleel
February 23, 201 7/Page 4
and I)crelc Goldman, Arena Stage
2011 IA,,,,rrrrgerie Var°iatiOns, based can the work of fennessee Williams, co-adapted with Claris Chiron.
and l;)erelc Goldman, directed reading f'tar Tenn Cent Festival, (.3eorgelown flrirversity"
2008 f ecrth cif frrru;rr enls ra.dapted with Chris Chiron and I'lisabeth Lewis Corley from tlae book by
Sister Helen Prejean, directed concert reading(with Sister Helen Prejeara)m Georgetown
2007 IXoth c:f'Innocents adapted with Chris Chiron and Elisabeth L,ewis Corley from the book by
Sister Flelen Prejean, directed concert: reading, F.fniver:sity of"North Carolina at Chapel
-Jill, Memorial Hall
2007 Richard Wrigla Centennial Celebration adsal)'teel by Ada.ni Versenyi and Joseph Mc ;el frorn the
works of"Richard Wright, directed concert reading, 1.lniversit„y of"Norl:h Carolina at
Chapel Hill, Memorial hall
2000 Dunce 010th Tee adapted with 1;lisabeth. Lewis Corley from songs of"John rand Johanna [ball and
Jonell Mosser, Playwrights Theatre ofNew Jersey
2000 Dunce With Mee adapted with 1'lrsabeth Lewis Corley from songs,ofJohn and :lohamaa Hall and
Jonell Mosser, Byrdchffe Theatre, Woodstock,NY
1 997 De*err 1.:)igby adapted with Elisabeth Lewis Corley from the novel by Carol Muske [)likes, directed
concert,reading, Playwrights"I"heatre of New Jersey
1993 At thce,9-ellir°g frorn the story by John Ilearne, F untainlaead I"heatre„ LA
c gcer�9or iee,s°adapted from lssac Baskhevis Singer, Nest Fand Playhouse, LA
1�,1"3 l,scrcxc lfcr.s°hc.r�i,s,tiirr
1 992 Out of'the Ashes from student writings in the wake of the '92 F,A uprising, Words Across
Cultures, LA
1992 Black:fives White Lives Thre,e Decades gt'Ruce Rele,rtions rrom the book by Bob Manner,
F)elaartment(A'Sociology, University of Cal ifornia at Berkeley
1990 �ombreero f4'allc�na from the novella by Richard l3rautihan, Friends & Artists"I'"heatre, 1."A
1988 A Rilynng rrsicale from Old UOglish Pub songs, "C"c atre of .CJ l'.E., LA
1981 Children's Stories 1, 2, .J & 4 likrrn F,ugene lonesco stories, Theatre ofN.01'.17-, LA
SE F C' 4A) FILM 0)1101.C:,I"I'NG
2013 "About"I"inae"screened at 'NewF"ilmrnaleers New'Yorle ball ;series„New York; Long Island Film
Festival,New York; `pan Antonia film Festival, San Antonio, Texas; fort Myers Beach
Film 'Festival, Foil Myers Beach, Florida; Ube Second Sunday lw"il it Series, Carrboro, 'N(.,
2012 "About Trare" screened at F,e:rwcountry Indic Shorts at Park Circle Filrus, North Charleston, youth
C'arolina.
2012 "About Time" short fihn from Flarland's Creek Productions, screening,at "he 'Varsity ors Franklin
Street, Chapel hill, NC;
SELI"C'1131) C:)l�"I�-BROAlu7WAY A'NI:) CJIFI C�FF 131�CtAl;JWAY l)ll�,.li?.0 �I"I JC
"
2015 l m"° iy ht: The F'Nee Incurnaticans cif Abel Green by I-lowrrard L Craft, 5ueetSigns in association with
New F)og as part:of SubletSeriew",1" ull ltl?,
2013 You Are^ Dead Fou Are 1ferµc;a" l l;lsRE Arts Center, NYC
2012 Ycau Are Dead You Are fl'eere" Culture Mart at HER .?
2001 /'Tree Afurlml eight commissioned short plays by Jinn Cirinlsley, 0ya.rno et al", "1Ile Working
"l:"heatre
2001 "Yc .emcee.F'"c°air°by Jeanmrarie WilliG;ams, HERE Ill:;: Arts Center.
2000 BIc')od Knot by Atlrol l ugard, Ill"' Street, rhe�atre lei°e Festival
000 De rwlin the l° hmu b Guillermo Reyes, Queer l
Lab
1998 The Lizard d erf Tor sr"rs by J ins Gr uars;ley, 'Uri all gle Theatre Company
1997 Mcen on the IP"erge caf'cr orbs-.T''rarrre Breeetkdoan,,n by Guillermo Reyes, 41" Street"1'laeatre
tal l l-^C:C'TED RI'GIC)NAt, DIRl',"C;""1"ING
2016 A Public Reading cif tn? About the Death r,?1`f41ult Disney by Lucas Ilnath,
1Vlanbites Do fhent:er° in association with StreetSigns, Durlrarrr„ 'NC"
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. ..........
2015 77te 7ranq,,,) s New w0t4cl written, adapted, and perlormed by Rob arsen from the screenphty
treaurient by James Agee, Manbites DogTheater, Durham,NC
2015 The Worki written, adapted, and performed by Rob Jansen frorn t he sCrCenPIaY
treatirrent by James Agee, Diogenes Theatre,Cincinnati, Ohio
2015 BUrbiel by Christine Ewans, StreetSig"s (11811el Hill, NC tj 1 1, N('
2015 Freight, The Five Inearticitions (Y"Abel(Yreen, by Howard I.- Craft, StreelSig S, Flea it
77je Best of 1'�'neniies by Mark St. Gerninin, Manbites Dog, Durhalil,NC(Remounted due to
2014
popular demand.) h,written and perf'ornied by E, Patrick Johnson, PSI
2014 Sweet Tecv Black G'q,V,Ue�n q1"the Soul
Theater at the Durharn Arts Council, Durham,NC
2013 The Best of'Eneinies by Mark St. Germain, Maribites Dog, Durham, NC,
2013 Bogcuk An Enemy qfthe People by Boaz Goan and Nir rez, ll�,,,tsed on the Play by Henrik Ibsen,
Theatre J at Georgetown University's Davis Theatre, Washington, DC
2012 Cl e Brother,s Size by 'rarrell Alvin McCraney, Manbites Dog,DurhamNC
2012 Acts t,�I'ulitness: Tavo ThecItricol Events in Rolafing Rep, Athol lTugard's Blood 7ri a
nd Poetic
pojqpuits ol"a Revolution by Kane StrIC90, Will Mcinel-noy, Moliammad Moussa, and
Sarneer Abdel-Khalek, StreetSigns ( enter For Literature and Performance at'Fhe
ArtsCenter, Cartboro, North Carolina
C r -auclery by Howard Craft, Manbites Dog, Durharn, NC
2009 .b (,'utypso and the Allidnigh(Xfat
2008 Allother Courage by Bertolt Brecht,irlstice Theatre Company, Raleigh,NC and Chapel Hill, N2008 The Last Sedei�by Jennifer Maisel, Ensemble Theatre West, Los Angeles
2,007 No Pat-ole by Carlo D'Amore, San Francisco Playhouse, San Francisco
2007 Still, . , Life by JL1,StiCe"Theatre Project and Del'.)Royals,JUstice Theatre Pr(.�jeot' Chapel I-lilt, NC
2007 Peter & the Wotf& MU by Ari Roth, Jewish Theater of tlic, South, Atlanta, (3A
2006 The Goat by Edward Alyce, Manbites Dog'rheater, Durhaln, NC
2006 I/cInishing Allen-ion by Jeantriarie Williams, StrectSigns Center for 1,iterature and Performance,
('ha pel Hill, NC
2006 Ylie Last Two Mintdes of the Works qfffeni,ik Ibsen devised and adapted by Greg Allen
and the Neo-FuturiSts, Manbites DogTheater, Durfiana, NC
2005 The APser translated and adapted by Elisabeth Lewis Corley froln Moliere, StreetSigns Cenler fOr
Literature and Performance,Chapel Hill, NC ureand Perforniance, Chapel Hill,
2005 White People by Jim Grinisley, Street it Center for Utel1it
NC uillerrno Reyes, Teatro Bravo, Phoenix
2004 A,4en, on the v4,,pge!7 The Sejf-Esteem Files by G
2004 Aden on the plerge j1-'1*)le Selj"EsteeatFiles by Guillermo Reyes, BorderlandsTheatre, TUcsOr1
2004 Nixon's Nixon by Rnssell I,ees, Manbites DogTheater, Durharr),NC
2003 Shokespeure's R(U by Joe 011arcO, StrectSigns Center fior Literature and Perfiorniance, Chapel
Hill, NC
2003 Dremn Bqv adapted by Eric Rosen Frorn the novel by Jim (,irinisley, StreetSigns Center for
J.,iterature and Performance, Chapel Hill,NC
2003 I'lle Last Seder by Jennifer Maisel,'I'llealre J, Washington, D,
2002 Tkie j,"ost Sedet- by Jennifer Maisel, Organic "Illeater, (.11hicago
2002 Aliss Consuelo by Gnilleano Reyes,Tealro, Bravo, Phoenix
2000 Radizon Girls by Dolores Whiskeyman, Playwrights Theatre Of New Jersey
1999 Southern christnios by ("I'uillen-no Reyes, PlaY wry ghtsT heat re of New Jersey
1997 Mi'Ys by ('41illernio Reyes, Playwrights Theatre of NJ e 11 it er, et
1997 Roi,ving to'4tnericu: The [In In igrcint Project eight commissioned sh()rt Plays by K it ov
yllt� TheatlT orNew ,lersey
��„ y96 Unver Ce,,wie by Robert Clyrnan, playNvrihts "Ilicatre of NewJerseall d 1995 Allen on the erge qfcl lliS-Ponic Brecikdoivn, by (I'Llillernio Reyes, City t,ights'Theatre, S
1995 Men on the Ver'ge qf jji,�_pcjnic ,8reokdmvn by GIjillenno Reyes, Theatre Rhino, San Francisco
I c, Breokeloivn by ("jilillertrio Reyes,Celebratiori Theatre, Los
199,11, meit on the fl'ergye (')I'cl Ilis-l"Oni
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Angeles
1993 I)aDo by Haris Orkin, American Stage CompkillY, NJ
1993 Allende by GUillernio Reyes, W()rds Across cultures, LA,
1993 fvij,� & pfi,sps from writings by people diagnosed as rnentally ill and living oil Skid Row, Words
Across Cultures, [- S et al, (IlUrrierous I,A writers), Words Across CUItUrCS, LA
1,993 Beyond the Ashes by Guillermo Reye w R 1
1993 Ghosts 01" Fire by Michael Weller(LA Premiere), IIOIIY 0 c)ertory, LA
1991 Degenerate Art fly 'roni Jacobson, The Complex, LA
1990 Inipotence and In.ternotionol Terrori,san by Haris Orkin, "The Cou'Plex, LA
SUIL,ECTED I,JNIVERSI,I,y PRODUCTIONS, WO1TKS11OPS, SERIES, AND CONCERT
READINGS I histories taken by thc Southern Oral I'liStOry Project,
2016 The Block, Piorieers Prqjecl rrom ora
adapted by Elisabeth Lewis Corley, directed,conceit reading and led discussion fbrThe
Process Series: New Works in DevelOP'llent and at Kings College, London during USA
(j)q)( Week eiforaied by candidate Elizabeth M. Metion, co-directed
'Icki;,?g Lojjgrie,4� written and p
2016 1
Swain flail Studio Six Perforinance Series, Department of C( nurninication
and mentored, by flavithra Vasudevan, directed and luentored For February
2016 Race and Olaste in,41,urninzon Tmvn Series, Department of C,�Oj1llTlUlliCO,tiOD, Sllilob
2017 Swain Half Studio Six Perforulance
Saptist Church, Badin,NC tion by Adam V6rsenyi, concert reading
2016 yc)ur Desires in Fragments by Ramon Griff-cro,transla
for'yfle process Series at UNC-Chapel Hill, NC
ji �jj,j I& wis,directed staged reading 6or artniversary of WPA Federal
2016 11�pepj, 1jere by Sinclair Le pel Hill,NC
Theatre, Arts( 'rhe("ore, Historic Playmakers, UNC-Cha
2016 1 Was Never A lone by, Cassandra Hartblay, directed staged reading at University Of'San arc t,
San Diego, CA -ected staged �rllili�cbl�dCtJt)trAnniversary ol'
2016 brahoiri's Boson" by Paul (jrcca, adapted and oetenTheater, UNC-CIlape
2016 1 R/os Nei,er Alone by Cassandra Hartblay� directed staged reading at Swain Hall Studio Six,
I JNC-Chapel Hill,NC fa-Romero,directed tin reading filrThe Process Series
2016 Mbry Domingo by Arnie G 'It at
2016 The,Looking Glass by I iin (11-juisley, directed staged readg for Brave New Works Festiv,
Emory Ijuiversity in Atlanta, GA
2016 An Loc% by 1'.1isabeth Iewis Corley,directed concert reading for Veteransand,rbeir F"arnilies
Festival w/17 the Holliefiwnt by Mike Wiley, directed concert reading {'or Veterans
2016 Downrange: Kfic-e-vfi
andTherr Families Festival
2016 Silhoueltes qfService byres De("andia, directed workshop production for'Veterans and
Their Families I;estival, at UNC-Cliapel Hill, NC
fj�linqte Loty)written and per by ph.D candidate C.1 1a
Dahlie, directed and
20 15 mentor for Swain Studio Six Per tbrinance Series, f)epartmerlt of Cornmunioation
2015 Siveet Teo: Black Gqv U en o 'the S outh, written and perfortned by F,, Patrick Johnson,
Nort1twestern, 1,,,vanston, Illinois
2015 Geoniane.v: Divination h)�Geoglwphy by Elizabeth 1'. Gray, Jr. and 1�'jis;lbeth Lewis Corley,
directed c(.)ncert reading for "The Process Series
2009-2014 Curated 1,SoloTakes oil" I�'esfivals one (2009),Two (2011), Three (2012), and Four(2014)
ark YOUng,
2014 Dramaturge I`OrRemeinber 7`174S,' 4`01king avithdan Korski by Derek,Goldman and Cli
staged readings irl 'Washington, Neva C� andNew York, New York , Series�
2014 J)Okv Wilde's Picrure Shoiv by Rebvcca ct,direcwd concert reading tr)r (1 110 PrOcess ,
by Ranlon Griffero,translated by Adana vj�rserjyi, directed staged reading for
2014, Drearn Acts of"'DraiiiaLtirgy: 'f'r,irlslltiOl'i Staged Reading, A"1111" Conference
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2014
A Shnj)le f"ft by TC Cat 1�"ord, directed concert reading for'Vork 'I'lleatre C'"ompany,'New York,
of Dramatic Art, pelIfill
New York I.fNC7/C,laa
201 1 (2i,ir C°rrrrratry'" �a"r exi by
"f'iw l c rlrwltie 'Vwaw't veal veal w, Department cw t cw
, lr l rr.°rr l�
N�� le written,f adapted performed� . ,
w screenplay 201 1 our,,, 'erial awaw e Studies, Department of
trcatne t James Agee, lSolcl ac�� Ow l
� r �a i Studies, IN C/ li pelllwll
21 13 /I , inrlll f by T. Ford, directed rcac�wt rcacwwz g for ;iw cet rpns (enter for Literature rid
rf a Chatham Evans,Mills, North . wwclwaa„`trectSi wws Center for L,iterat
u
r
201 1 Can't Complain k Christine ww ct c concert w reading for
}'
l� r in Carolina
Boy by Saudi 'roksvig, directed crude rttadirig) as paid cal'I l and Afghanistan Veterans of
llarlll Jura Performance� concert rc�a` '
2111�1 ,
America Common Craft,Ground D North Carolina
21 The l?lirisrclbHowardActivated Art at Ackland Art Ma
01 a <�cr. ,rl asc o orrow b y R icardo Monti,translated by Jean C w1 �w�
a nes I"c
The Process
.�, e Department
f ion as Creative Process Conf�rence in collaboration
of"Dramatic Art at LNG-Cha ael ill and Duke and labodied
Research � vrtla °'re ai Willi and John ha caslcy, in connection Witt'
2012 T he T rain D iv t b y Atholl u a d,
Athol l^u and Morgan Writer-in-Residence residency
2012 Ir1'"iciget by Daniel Wallace, Activated Ad at Ackland Art Mluseuna
012 l” Octopus by `aaua Peterson, Solca'�{ak s C)rw 3
2012 ,"he Life and Times c,f'C hang E r;,` aeosculaetlale lr; f rave that Binds by Phi Iip Gotanda,
directed concert reading fc.En g." p rtitlrs rr l clra
�riarl 1
2012 The r1�exicwn,s', cis 1"ial(l b), Us Alfe is onls by�Ric°h,ar dew A.�Bracho and Virginia c ws ,adapted frorn
the short story by lack Londe , directed concert w din (br Process Sri Washington, l,)("
2111 l l�"r.�ar W17orn the ,��eaiaher n Belle Tolls b Christopher Duran g, Arena Stage,
2111"1 l�. l'"cst., Washington,n Belle Tolls by (:11irLst pher Duran „, Geor etown f.lniversrty, l erawa Cent
rar° lrf'laiana tlac ,�crrrtlactcan, DC;
2011 On Breathing in tlrc�;Tl'arre eb Scan(digital o wnaa,dialde designer, JaredwcMlez cwhi),w�s�workslac,�lc�s C7rr 2
2010 Ilic i.lncic,rl,7e�u by C.hrw � y Department
screenplay bl�c�Aleca
lar"ncluctrnn f"car �r��car°gcta'rwra, laraive.rstt� e artnaent c'w1' r^,�.r'ts
2010 Vertigo adapted by Lucius Robinson based u1�on tlae w p �1 'cwppel and Samuel
Iaylcar,production at C9NC"-Chapel 1-till
Santos C i rwt as b y
)Gregory ta v. i�r Solis, reading for the �
� a tra a
/c Series
n
d
l'
heProcess Series
2111 Ramos, Fl nn he atre University of Vermont, Burlington,V `
210 Then We Jancecw by
20LC Clnelerlarss by Christine Evans, A "I"/Harvard University, Cambridge,MA
2010 I44Xcn We Don.c-ect by Gregory wsa 1" Aaiwcwst, rwac A
2110 lcclr c s cs adapted l� wsabcthL�c r Corley with lyrics by Elisabeth l.ecwls Corley and
music� g Wells, c forThe P ass Series
211 0 1"le Under o b C hris tine vans (ch(digital media designer, ate� \ e��cc r directed workshop
production fer A° Cl /Harvard (Ionservatury
2010 Die Miser by M oliere, translated and adapted by Elisabeth Lewis Orley,
Duke Theatre Studies
e„ray lyres car°Allona b Mark Perry,production, Durham,NC
. ,�� ;>.,,, . f° ,,°.� , � rr°�la C�lrr°istlraell�wvalns,��l�,eith�Clcavea� ,Irna�C.raasley,rJeaw lilt p�cadarcticara
2010 arnarw
; rus, feranwl C�c ll.A.birlth u t I l
fir"tr"icrl lHi Higgins,rnriJen (er M aisel,l l arris Orkin,C�1 e rap l NC "era ci 1 Hill, adapted by
2111,1) � r,ae l Hill
21)1'1.1 Will t!°ac' ewelc Clcalc/ralarrrlweri. lac°flb csl< by Studs
Terkel (starring David Strathalrrr, Theodore
c
fnian from the �7a
1311<.el and Kathleen C.halfiint), Georgetown 1.1nivc sit�y
201:N 1 wYi rr"icy by Ashley Lucas,perfcrrrraruaaces rra llararaan ra, wncicrclru C11cal�wal I-Iealtla and llrararrrrrr
c 1�oin 1i
2009 it is i J ou by Marie Garlock, l
1�i lats Conference Opewa ng, tjr°wiversity of Czar es Salaarn
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s af ta / rw
c/r/w tired by Carina Cortese for The Process erie
01 �1ea Irac
. Ecrcncc,
2009 at as in You by Marie Garlock, Pedagogy and Theatre o the Oppressed Global
Mrnracaalaulis, MN
1
2009 Downriv ertsereenplay by Duna Coen, reading tycar"l`lac process Series
200 t�"ez(rw(� ("cr( 3P)67041 the �t�ltr(r^as� (rG rar.rrra�(r r
a la l lcawarc C rant 1'o l`lac Process Series
ne U vans for The e procMss Series
210 (rrrp tr I unfir by Christi
200' at is rrvb by Garlock, The
Process
'cccd� y corpos rJason, Robert Brown and dramatist tl l IDepartment University of North
2007 Carolina, Memorial Hall, produced by Oyer WorkshEa„ cl'Mnsre Carolina
Performing Arts
2007 lllibi and Beibeleb byKate Kelso,l cancars Thesis Production 4 ,, clrrct:icarws for 2007
006 Will the( irtcle (e Uribr ra(�Cen: Reflections lc�rcDe thrrrlr'eb Rebirth cmd ((u ng�"fi w ca`(�ohlr adapted by
2iJ()Gr
Derek t:lcaldrnara tror°ar Esttrcls°1'cr°kcl (starring David "at.raatlaarrra), University of nrt
I y maakcrs Ike p, Street ilr,ns Center for Literature
1 1 � e
aradcl�cr°lirrcraacarral �I�rll arcadrreed la ] lea
y
ranee and the Department nto C o music trod Studies
I>w crr°r Boy adapted. b E'r is Rosen t'rrorn the navel h ll y (co-directed with Derek
Goldman), Georgetown University, Davis Performing Art's Center, Gritty Politti urTnrncr
lJC)(i Beira r "fJcar Teeth Festival hacarntcrn 1tJilcler, Georgetown University, Davis performing Arts Center,
cl ua �l �c
e( ,two g
radnatc student plays t"t
r N" ew P
lays Festival,
2004 ,r r r Ie ec 7r t and / l rrtr o j
Arizona State University J Orkin g l'heatre,New York,New York
2002 /chr on,�raac( c , t the
2111 Eca/ac Crccr as by Jewell kark*r Rhodes, lraStia rte for Studies in the Arts, Arizona State
University
1998 °l m Seduc tic;ns gfJrr(ang),/;')sego by Guillernrca Ikeyes, Arizona Static.University Mainstage
CONFERENCE PRFSl N 1 A ION ,
2012 Harvard l laywrighting Festival,Cambridge, MA: "New W .
s in Development"
211 2 [Jniversity at"North Carolina at Chapel 1 Tll }rncsrurr, Chap el Hill, N Sc
r Work at ltNts
(with Spin Peterson,Marie Garlock, and ;asar'Pall)
2012 C 11A.l Festival, Chapel plrll,NC "Digital 'erlcar naaraeeI'
(panel discussicara)
2007 Harvard's 'laywri htrn 1
Festival, C;arnbridge, MA "New Works in Development”
l "Ekae Journey of the Narrator"
2008 A l 1m Conference, Driver, C
TEACHING RING AC lVt" IF o. Students
TERM C'.0UR la rAJCfl VAST THREE' AR
29
Spring 2017 Freshman Seminar/Creative Process in l'erlormancc 16
Spring 2017 Media in performance (with Dominic Ahhcnante)
Spring"2017 Performance cal"African American llrstor`y, Depaartra°tart crt Al'rican, Ati�icara-
Arnericon, and Diaspora Studies 12
Fall 2016 Digital Media and Live Perturnaaance (with Lce Weisert)
Fall 20126 Advanced Prc.rtects in Performance Studies 13
Spring 2016
sec nrtncat cl"Atare<aa, African-
f
Spring 2016 performance of Africali American llrstcr y, Jca
a l Diaspora �
l
l
fiar ra g 21 16 Meolir performance nainic Ahhcnantej 2 6
Fall 201 5 lareshr aps Scrarnar/_r catrve process in Performance
12
Fall 2013 Mcnrcary Acts 15
Spring 2015 Advanced Prnlects rya l'c:rtcn°rnaar�rce Sta�rr��ler 18
spring 2015 Media.in Performance (will, Jaarr C"laaarnlacrs)
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TERM CO(JRSESTAUG11T PAST THREEYEARS No. Students
Spring 201.5 Africaan American Contemporary — Pertbruriing African Araaerican History Ca
Education, Freedom, ,aid Democracy, Department of"African," African-
American, and Diaspora Studies
Fall 2014 Perl"nrmaarice of the Solo Show 14
Spring 2014 Media in Performance (with Will Bosley) 1
Spring 2014 Special Topics: Water, Department:of African, African—American, and Diaspora 201
Studies
Spring 21114 performance Practicum 5
MAST'FA S STU'DEN T"THESIS COMMITTEES
Sprint!,2008 Ariel (iratch, "Flaunting "Stories of Ahrrse: Revealing C 114ac�asts "l-hrough Critical
Performance 1lthrrca raphy,°" in ccan,junction with prodUcticrn cif"The Bell
l,Vitc b
Spring 2006 Allan Terry Manic, "Exploring the "I"heatrical Experience with the Playwright as
Director," based cara the Production of Framing the Shot
Spring 21115 Kelly Pape, "The Masks We Wear"
Spring 21114, Korde Tuttle, """The Chair, The Dance"
Spring 2014 Joseph Antodei, "One Sire fits All"
Spring 2013 Alcoa Lytle, "'Where? When?: One Daughter's lt'x ploration of the Past and
Remembering"l hrough Her Mother, Grandmother, and Thormas Wolfe"
Spring 201.2 Saaan Peterson, "Frahm F to N4 to Octopus"
Springy;2007 Kate Kelso, "Buhi and 13ci1:releh"°
Sharing 211119 Carina Cortese, "After Images of the Disappeared"(Department of'Dramatic Art)
MENTORED PRODUCTIONS
Spring 2015 Marie Garlock, Cancer
Spring 2013 l rista Jasper, On Bi-euthing(in) the l3rac v
Spring 2011 Gretchen Fox Klobucar" G(ralm,)
Spring 2007 Tracy Walker,A uthentic Ch aniele(,) rs
Fall 2006 Chris Chiron, Oil Greed and l:ranefiries,
S1?f,l C"1"I'D GRANTS, F l.,LOWSl- 1PS, AND EA1C1"r1ET) INCOME,
20116 UNC:W Performing Arts and Special Activities Fund: The Process Saries: New °2";1.3°3.51)
Works in
2016 l.,GB`I'`Q Provost Advisoryr�C�.animiftee: The Process�escSeri st(f�c rrr lac=s r^es in 100111
(116 &�'.nseroblc Studio l�)
l�r agrrre ntw
�?�, -" �lac;at.r°c/Slraaarr Foundation Grant: Str'eetSil„rrs (Yrrrr Are Dcc�rel, 4000
1"(,nl Are Here)
20111 Paul Green Fourrdatiow StrectSig,ns (You Are l)ecacl, You lfre Here) 2500
2016 National C�,rrdowment for the Arts: StrcetSigrrs(You Are Dr'ml. You re l ere) 1511011
2015 UNC, Arts arrd Sciences Grant f"ur Interdisciplinary Initiatives - "team "l"eaching 1011100
Initiative(with Lee Wcitiert): "l°uundations of Media and Pe,rf arnlaance:
"1rans,disciplinary Exploration"
2015 Paul Green Foundation The Process `aeries(Tom Aaxrm ier) 1500
20115 StreetSigns: Peribrrraance Season at Swain llarll, 'IUNC -Chapel Hill (Fr^eaig-171 and 3771,16
paid
2014 UNCB Carolina Digital IfcuararrrtiesInitiative Graduate Course )
�rer°rt C�ararat 6000
(with Lee Weisert): "Foundations of Media and Performance:
'I"ransdisciplinary 1"Aploration
DocuSign Envelope ID:AD99FE27-E625-45CC-B353-AEE3ADA2F2DA
Joseph ma"gel
February 23, 2017/1"39C 1 C7
2014-20115 UNC performing Arts and Special Activities 1 und: The Process Series (With
507070
Renee Alexander l eCaf) C � Currents) ; 200
201 1-2015 1NC perforraarn tsand Special Activities Fund: production with
I
treetSi ns ("Tr°oitm Barbhle) , 5010707
'2O14-207:15 UN Institute for the Arts and 1�laana;taar:ties World ��r:r°f C:�ent�.enar�y Project: 7°laea
2171. 1 2015 U'NC� College 7170
� 11e ,e of Ants �� Sciences' ftaterdi� 1� � laaiti�ao�e�"r�artt (���:: c �
Process oeess cries 000
, and ^� � scr alrraa.r tc,�,ratta 0 7
l"hey ;:lint 1��lerasota 1�oundation. StrectSigns production su Ch:�j�1��'cu��t
2O1d
. . ' lla Lost t � . three-year ion rat 1
process Series 85
70
2012-2010 UNC lnstitaate for the Arts and lrraaar to
�fnnovat y (With 25000
;rraaea�2711- Ark eater, New York Cit7 l k resid er�c
2013 playwright C.'brr,stine fwa.rrs and digital media designer pared M,ezrOcMri)
2071�3 Ensemble cSac lira f heatre/Alf ed P eSlc an Foundation. C►a�tuat: You Are f2ecrc.l. Tcaxr CiC)07C)
2(.11.:5 l:°.ciltlr 1,,rAre'r"rr�;ere�Ncaratrra.n Bel Geddes l nh«anc ernent l�r,rn& You Are .Decal, I'�ar,r Are 850 0
You 5� 00
Ifcrc� 3C
2012 UNC" Institute for the Art's and Flurnranrtrew: 7 rrtr 2r^c I)c�c�c;X, l cr° Are �T�r�°�', 000
20112-13 UN(", pea-forming Arts Sp Yott aial e fiV ti }Fund:c lie Pa Series
00)1')
201
2 2 UNC.� institute tear the Arts road rhim anities Schwab OpportunityP Fund 0
. al 1 l 1 nstitatte for the Arts and I.ltarnanities 1 caeult:y Fellowship wship 100 0
20110(111 UNC� Department cafe �: �air unicatican Studies 1"hay Process Series 5(�00
C.cara
2010-11 UNC;Department of Cfott)inunicr�ation Steadies: The Under;r)uss 5'07007
17
The
0107-11 C.� !(.1" Performing l¢aa:"naira Arts and `�l�.accit�al aKrnrtre�� Schwab Process a� 5(70(7
10) 1.1 UNC.' institute: for the Arks and Humaniti rues ehrwab „ 300`
Series
ca, 1 grad
u
2010-1 1 UNC"Teatro 1.,r�at�ino Series,l.Aatinrafo Culture Speakers Series sand l.,atink�a0u C7itt
Fund: '1 he Process Series 251 007
200)9-10 1 NC� Institute for the Arts and 1-turn ararties C`,.t�1.A,`1". Festival (l�ir�trr�r'rl
" )c,pe�rrt�rnentrofeC1can�rrnuatre�F � ,Stalres "I' Bess Series
200 0
2009-10 UNC., 1. " - a�r�l+arC.atlterre Speakers and 1,atina/o Gift, 4070 0
2009-107 UNC f"eatro Latino Series, 1.,atrr 1
Fund T'he Process Series (,,lfter l:)r°, uj,;a7rccrree,7and When We
J)mcae ') 15 011
20079-10 C�N` C" "VVritiaal lcar Strafe anc�:l "ser°Ben lrr°or"arta `1"he 1a`tocess Ser°ies 22507
2009-10 UNC"Department of C Ornrurrnicr�atfcara Studies: ,lusUec "'1:laeai:r°e C`rant�any
09 11NC' Department car Al''other C ouro ,c� at Swain Hall 10000 10 0
C1,or i. . "e Studies: �oss Series rrreatic 117
production
2071 ntraaerat of"� ttn�tunacatican 'Stu '� the Process air Staaclie
2008-079 UNC7 1�,�mitive Director for the Arts" Department of�
(
ecarsc rcMic l forr 1re Process Series)
metrcation Studies:dies: 4000
20 07 1 A �ew utive Direetc for the Arts and Department of C ora
Net iuc.ome to Department of Co rnmunaeation, Studies (llr.e', Both of
,Irar'rrre4*r'at.�')
2CJC'7 1J MC", 1 Executive Director for the Arts and f)epartnaent of C'�ommunicratican Studies 11000
and Department of Dramatic Art: Net income to Dep ai trnent: of Dramatic
Ail,and Department of(',,()lit mun icati on Steadies (ffr 11 tl?,e c7irc le Be
C7f7Cr
Unbroken) f"C orrrntaraatcration St Marion) S r ectsi Ins Center for 1.iterataure� 7500
2 UNC::, Department tr
`�
sand perfcarttt�alice (1 cmishin � J 75O0
2005 UNC:; Department of C uratntunlcation Studies: Street i ns Center fi'ar� Literature
and Performance(:777 i-y(?r°)
DocuSign Envelope ID:AD99FE27-E625-45CC-B353-AEE3ADA2F2DA d
I
)()se ph Mo eal
February 22, 201 7/Page l 1
PROFESSIONAL SERVICE'
201' 5- Campus arts Advisory C nmrni ttec
2015 NC-Chapel Hill's Chancellor's Faculty
Entrepreneurship Boot C'aanip
2015 Safe Zone "l'rarining, LG1 '1 Ql ("enter
2014- Diversity Can1rnrttce For the Department ct C 0nrra'runicatic n Studies at U C Chapel el Hill
201 1- Provost's C cnjnarttcc on _dtB Q lJCc at 11 ( Chapel Ifill
2010- Associate Artistic Director l ic latr�
2010- Matr lee Scholars, Board of �irccturs, Stephen Neigher, Chairman
2001- StrcctSigns Center for Literature .
,111d Performance, Board of
2003- Performance Coordinator, 1 � � nic atioll
�� � Scasur°a Department r�'f`C'(ar�rrr'a�ar
1984-1987 Los Angeles Coalition Against. C�rirncs Against inst 1�1/omen.,„ Board e l"Directors, Men's Caucus
PROFFI`iSSIONAL AFFILIATIONS
2014-present LM1')
2006-present ATIIE
1997-present Society of'l irrwctors and Choreographers
DocuSign Envelope ID:AD99FE27-E625-45CC-B353-AEE3ADA2F2DA
i
Christine Evans
3721 39',3L NW, Apt.13196
Washington, DC 2(:1016 �
ire I ablete,r�rr'? at�ail ���aa.:�. '
LAYS PRODUCED
Can't Complain Spooky Action, Waasl,ain tean, DC:, 2015 (premiere)
g Arts, C"., 2011.5
f SanµFraaraeascea, "0 .
Slow l��eallarr l3'rr -Davis Center e 14
-University
-Darwin Theatre Company, Australia, October 201.3
Me t ro rs,B
Brisbane, Australia,, 2107
-Crowded re 1aeatae,
San Francisco, 2005 (premiere)
Monash University, Australia, 20014
You Are.11ea& You Are Here. l l R , Arts, NYC". Equity sh,ea case, 2013
Trojan Barbie -Carnbr ad ,e University, UK, 2016
-University of 1'orernto, 201"
-"street'Signs Theater, NC, 2015.
-SFA State University, "1 , 2014
The Arches, C;1asgo w,Scotland, 20114
1Cine s C e:rlle.g London,ondon, 201.4
l'rinity St, David."s College? Wales, 2014
-C1Lrsta,vtts Adolphus College, MN, 21114
C:'ross� rts/ Flinders leaUnive�rsity, Adelaide, South .� str°arlia 2111.3
1p,alin 's Plaayh()use, UK, 2013 arts, C ccr,al;etcravr°t 1la7iversity, 013
Davis Center tear Performing
-Garage Theater, Long 13eacl-t, CA 2012
•UCW San Diego, 2012 ��^
Charing Cross Theatre, London, U` K 2,011.1.
llaybox Theakre,Warwick, U.K,, 2011
-University of New England, 21111.
-University of lew j4arnpshirc, 2010
-American RepertoryTheatre (A.R." ), March 2009 (premiere)
Fishbowl Boston Theater Marathon, 2010
Red Fern "-1 30NC Y", New York, 20101
Weightless
Perisba ale 1"heatre, Providence, ltl, October 20017
The Doll Hospital -University of Sara Francisco/ Brava! For Women in the Arts, 21104
Pussy J _ 13elvoir St.'1'laeatre, Sydney, Australia, 2(1112
Bear
All Souls' 1:7ull i()ston '�l'hctiter Marathon, 2007
1 etishable Theatre, 2002
Actors 11'heatre crt'Sora ono a, 2003
Mother gun -Wheaton College, MA 20018
d MutG'Ia;;LYlurn Vitae 1.
DocuSign Envelope ID:AD99FE27-E625-45CC-B353-AEE3ADA2F2DA
l
I
-1
-Emergency
�."'beate�r°atProject,c,tors Lab,o n International "1 hoatre Festival, 007
_Samuel breach Off-Off Broadway One-Act Play Festival, (1f1.1
_pera:;l�able ➢'hea tr10, Wcaa:n,ell's Playwriting Festival, 2001 (premiere)
� . tival of the Art s,�
Australia, t( )
1J Vicious Angel -,Adelaide International Fes
-Belvoir St. l he att e, ��c �ay, Australia, 9
-ABC la �in a tn l' � 1 � � (
r�:a� ic c�
italstata t National Vcro ` llcatre, Adelaide
of Sharks -Dock C:.hair'I"lle'atre�, Fremantle Australia, °l.99
Ila,e o°rr°r��rarxl/��j "
Alice -Spare Parts Puppet Arts`l"lleaatre, TWra a��a�a�tlax, Aa;�straaliaaw, 1990
llcame* Port Deck Cljaair'1'heatre (co-written with Phil 'l:"hornsoll) 198
PLAY READINGS AND WORKSHOP PRODUCTIONS
Galilee �Bay Area l la wrights Festival, 2015
Theater `L, .ally Grown" Festival,
2015 1.5
Kennedy Center Page to Stage" Festival,
2014
Can't Coniplain Spooky l w
DC,
1 4
Centenary Sta ve omes l l a yv
ra
lts Series, I01
'la <ls, ?la vri lets Center,Minneapolis,
2012
Trinity RepertoryTheatre, 2011
Irish repertory Theatr e (NY), 2011
Boston Playwrights' 'I'licater, 2010
fl
Perishable Theatre, 2010
You Are Dea& You Are rc
CUtt
aao :art, 14�[3'f + Ja January 2012
of North,Carolina, a pel [Ell, 2011
-Anlerican Re ertory'lheater, 2010
Slow Falling Bird 111a wri gh t�s l h eatre of New Jersey,
CC
-Bay Area l a-ights 1wcstival, 2003-Crowded Fire,2104
pr ro an Barb e -Fles Ensemble,
NYC, 2010
in-11 L O
r
ea dia ,
2008
e can se ae lh acre (A 1 1
le International � ` 2009
La ivll- cot No t "ar na (Chapel l l a g�Series, 200
9
-Providence Black, epettcry"1"l eatr e "First Look" Series, 7108
-Cutting Ball l,lleatrc "bask as 1 has lestival 20
h r t Festival,se � �
-Ohio Theater, NYC Resona nce Ensemble Fall
Series, 2005
-Brown / "I,rixlity C;oajsortieaa ,2003
Weightless lglrtle>ss skis J'heatre, r � .. d � 1)
-Royal Academy c,)f Dran al cArt(RADA),), I"cn
-Magic Theatre, San Francisco 2004
e Dramatists, �� 2U12
1re � 1avcasat y e
Inlays Festival, 2002
Cd:l�i°ro t�rb I:;ve'� t.r.rricnlum Vitae
DocuSign Envelope ID:AD99FE27-E625-45CC-B353-AEE3ADA2F2DA
itch on Theatre (l; � 2((
-K , �
� r .
l
rd East, Lcalcr , 2016
Pussy Boy f'laywrrhts Across Borders, ' l aatre Royal tratfc
-l3ast'r1 lay"irghts` heater, 2010
-R,ittlesticc'Fheaitre,
NYC, 2009
-Live Girls! Festival of New Plays, Seattle., 2007
rre (Dallas) festival taf , ew Plays, 2002
My Vicious Anget i heSeattle,e, hn ton,D -,'., 2000
-Theatre 1 i
M pie Larz, .uttge - nstralian National Playwrights Conference, 2000
- entj,e for Performance Studies, University of yc "OY'
u ^at
AWARDS AND HONORS
Georgetown University Summer Research Award,2016
oglaasco Foundation Fellowship, 201
Georgetown 'University junior faculty Research Fellowship, Fall 2014
Georgetown University International Collaboration Grant, S u.rna¢r, 2012
Rhode 'Island State Council on the Arts (1 I C".A.) Fellowship in Playwriting, 20 13: Ycrtr Are
Dead. Ycarr Axe -tare,
lC
Merit 2 p
1.x.1./Flo anFound Foundation
Seed Grant award for You Are C:1c,ad. Ytrrr Are Here,,20111
Rockefeller Center Vella io Residency Fellowship, May 2011
Australia Council for the
Award,Work Parts, New ward, You Are Dead, You Ate t1rr°c, 201
Playwrights Theatre ",Plays for the 21-Century",First Prize, 't'Niarrr parrbie, 2009
RISCA Fellowship in Playwriting, Frojon Rtr°laiv' 200
Jane Chambers Playwriting Award, Trojan 11arr°Ne, 200
cogut Center for the Humanities Inaugural Graduate Fellowship, Brown wn University°, 20016-7
Dissertation Fellowship, Brawn Ul-liversity, 2005-
Literary 'Fellowship, Brown University al,,d I aal~aa.ty ;Repertory Theatre, 2
Rellca bossy Playwrights Award, San Francisco State C.lnNersity, 2004
Monash Association National Playwriting Award (Australia) 2004
Bay Area Playwrights Festival, 2003
MacDc�rwell Artists Colony Fellowship, 2002 and 200
Graduate Fellowship, Brown F,hiiversity, 2001-4
a
ull�ara Visual (International` ; Awar� � � l� ttt
Australian F lart din Va�r 1 aa�d '1 erforaar an Arts 2171
Australia Council for the ,Arts Theatre Award (Inte rn�a' travel to ell.;racfe), 2003
Y g Competition (WPF) 2002 sand 2001.
Perishable 1.in Dramatic Writing, ti
nAwar�ce��tre Women's Pia „alaa�>�vt°a University Best C:lradar��te Flay, 2C)Cl'1.
Weston
Vitae
DocuSign Envelope ID:AD99FE27-E625-45CC-B353-AEE3ADA2F2DA
I
r
Australia Council New Media Award Funding, to develop � �rimental libretto,
. 1999
Adelaide Critics Circle Award Outstanding Production Wy rercw Angel, Australia), 1998.
;
Australia', Postgraduate Award (with stipend) 1996-7
t
Varuna'Writers' Centre Residency Fellowship, 1997
COMMISSIONED PLAYS AND PERFORMANCE.CCJrRMA1NeC"E WOO S
University of Chapel Hill '.lnstiLLIO o e c�vrta nine Ica d�lce Arts:�r�y"x nlissiOn
�'Frc �rrel��r.�ln�ss llnrv��
to create a live/virtual. crfrarniancc in collaboration
The Doll Hospital Aria. adaptation Of f urllardc�s" "lire" t"a�ojnrr Wcrrlt.ra cc:ana�n
by �1"1"c>at.rc� �rtaalc�crl and the University of San lw7rancisco, 2004
Decay An experimental performance/ sound script for tc r saxophones and four voices, With
corn crier Peter Boyd. Con-tronssioned by the Australia Coulicil New Media Fund, 1999
M411 Vicious Angel Radio adaptation r of own original stage€ play`, ccraaissioncwd and produced by
the Australian Broadcasting (-ornnarssion, 1"9th
M`rxgl)ae &,mguagye Play commissioned
by Griffin fin "l heat re, Sydney,
Alice puppet:adaptation
of Alice in (, idea d, c ll-Irrussione d and produced by Spare Darts
"1 heatre, Fremantle, Western ra
l"h.e Crrnipa ry of Sh..arks Comn1issioned and Produced by the One World, Center in conjunction
with Deck Chair Theatre, l-rr•eniantle, Western Australia, '1.99"
1?ictirarr
C lotidless, a novel in verse. University of'Western. Australia Publishing, 2015,.
'Plays
1Nrcj�Plcrys, Anthology 01 'Evans" Plays al�scatat war- Trojan l�r,rr laic�, Slozrr "er.11rrr 9 l3rr°+� and,
Mofhe>r����rrrr., 12A. C�.ar idad vic ., with all introduction by Peter Davis, NoPasspol,
Press, "Dreaming the Americas" series, 2013,
1"r cajetrt Bar hie, Sarxauel French,. 2010.
,,Pussy Boy" and "Trojan arlaie."' (excerpts). hest X'lernolragrrc s r��rr�rel stca�,c sac e nes%or Men,
7010, 'Ed. Lawrence Harbison, New Harripshire; Smith and Krauss lone., 2010
I'Slow Falling lied" and "Troj an 'B arrbie" (excerpts). Best Strege, Sce lies € nd Monologues fiv.
Mitten, 20101 Ed, Lawrence Harbison, New 1 laMpshir e: Srrrith and l(rauss Inc.,
2010
"Trojan 'harlaie.",]"he atre For°teri°r, lssve 35, Summer, 2009, UCSD, pp -47.
c tiar ltrtler Five, Hobart, the 1c Australian Script
"Slow"Slow Falling bird.' C ollc
Centre, 2004. (Published on C included wr la �l au�)
"Hoin.e'llo Roost: An Impossible Clay Cannibalized by l,ve'rats.- lgrtrater oil,line Theatre
e
Review ID42 / V y�,y hQ1tevric'w.woe~x art—kk--67 21a���,tr�r�;�c��t l�trtrw
4 C"u,rriA'dual Vitae
(,i,riwt:ine [-.',vans,
DocuSign Envelope ID:AD99FE27-E625-45CC-B353-AEE3ADA2F2DA
I'
1
lijatt a s t/rurc�r u Reader,l re,CCaC��� �w���x� ..literary
ate a y ralagaz ne ) 1
O . ly�s.'�_ irJ �7 "MIDI. G �µ c � xkl � xf �?�h
5
"" other gun." I'lie 9,,Antruual lr1/rarn ar`s 1'C��T/a�t�t tr`,��" Festival A.ntaarolo),gy� 'Ed,Vanessa Gilbcr°te 1
f rr v�ideraee, 1 1.: Peri.sliable,lheatre� f1G1°.l. 2:1 4Ci.
"" "� ry J Festival Antlurwlogy. l:w�d. Vanessa
I
"�11 Souls' 1Jayo blue^ lCrl" ,�1r�urrauaal iarnr.rr"� I"alu�rr 2rar rtr►r � ;dy/aCxaVygacu! y1
Die " Z ' 5 112 43-49.
ie Australian Reader, 2005. aline literary magazine.) oI.S � .�_...�.
�'`ilhurt�rarrr ��ra.e�cr�c.�x (15 �C"� .e :�. .._�_,.�...:. .�."� _ �.
tIzir� e )j-n) �r ekr r�r� rye ,w tl,�l. eal Cl 1.1.;
. . ty�Spring 2C1 . 1aw1. )1�
"llrcat an, St. Louis: Washington unversi
-My Vi,ciours Angel." Best 1N'olnen's stt:tge M1mtcrlragrus�s ()f 19i)9. Ed. Josephine" Board.New
-lanapshrre. Smith and Krauss Inc., 1999. 81-82,
PROFESSIONAL MEMBERSHIPS
Australian Writers' Gurild.
Australian Society of Authors
Core Member, Playwrights' Center, Minneapolis: 2012-201
11EIRE esiclent artists Program, 011- 201
lNoraaen`s Project Playwright,", Lab, 2008-2010
'Fhe Dramatists Guild of America
> '�ar°-Articrican theatre: aareis ts' r:caralilie�n�, c nvened 'ley c� a ie-luad Svich)
The l cur ure of
1'�Iea1 asspcart(l
MUSICAL ComPOSITION
11oxca 1 l.x ar°rucaal to Drive Stte al
heatre of Sou th urat alla, 2000
Beloi St 'fhe tre, c Sydney,WesteEninia rn Sydney,
Yungaburra oad trban Theatre Prelets
Appearing,in Pieces "1"ae party 1TMrrie, presented ak 17e performance Spacc, 1,994
My Vicious Angel V'italstatistix National Wom ell,s'1'heatrea, Adelaide, 1998.
„ Sy y 3' t Arts, k
1Tclvtarrt. lheat;re, drae. , 1e '�
Sugar c1 Spice and the Not-So international
lVaa�e Cor r ,ate>drIr`analheat ,D arwira, uastralia 1.���1�.
"1"i e Cor�ip any f haarks1 Deck and eatr , �Ml teXrn Australia, 1993 1alsic.Gal director, or
za aa.r and
ste rn urstr al a
Artist-in-Residence: a i ar cents kaar°" ,eerc,e,., rt
Wcrr° ura �`crac�es, a 1°ruaeTc Union, chearr, 1`�e.rlcarraaewwearir�rl� lc� ale, �1 �1..
song-wratrra workshops, arranged c.e, People,
OTHER"I°"I°IE TRIC L EXPE RI a'N'C
performed, played music, and ce devrsed ser ipts for us , s and performance g ou s
(1,985-2000Y
1"he Wimmins Circus; furious Chicken; I Papaveri, T Tl a s, � Sincere Reliable Evans sisters; Makedonski rap;"I"he Party I"rne, Harn er "I'err1gues, Still Moves Dance Curanpar1y,,
jur pin" Chapatis; Seaweed and Wires Brassuv; Get'prockeed; Barking Gecko Youth ,rheatre.
DocuSign Envelope ID:AD99FE27-E625-45CC-B353-AEE3ADA2F2DA
ED CATi '
Brown University, Providence, RI 1
h r 1'leatre & Perfo
niarce Studies, 2008
M. .A (llayvrttial), 2002
�
University of Western Sydney ( epean),Australia
..A ( 'rit ng), 1997
University of
First t TechnelogY, Sydney, Australia
Class 1°~10rt ) , ( ,o year of the Australian,,BA) C"u.ltu.ral,StUdics, 1995.
ttictalcrm Vioc fi
c
C:ml r°i Picx F"Vans
DocuSign Envelope ID:AD99FE27-E625-45CC-B353-AEE3ADA2F2DA
Ar-4lilk AO-4
-iff-Nzz I
I
JARED" ML
I.
5 1 FI eel avocacd $t waet,tailuc.r°yldar°ink„,MI)2())J1().917-972-2252- rttaii.�carr6
JAREDM ZZOCCI-11-CO
1_NC> Srr. ��ri.x.. _.._.
e ;
Urooklyn,NY Brooklyn College
%F A,Perlorrriane and tnteruutaVe Media Arts 2002-2007
Fairfield,("t Fait-field Unrverslty
t1.A.,`l"heater env Media: 1'adlaii,"1'c leVisiun, lod Radio,
IR
QJ,JRRt,`,N1,,E IVI
1'Va sloili t�rtrn �Professor a�ri Media rrnci 1)iralucti 5ra Design, 20112 yr�+ent
1lnirrea saty of aa° la�n1(College e 1
,MFA/BFA Theater Department
Wilton, fl, Aniy's 5,nrarmer Plaaybouse
201 5-l're^sCa'rt
producing Artistic Director
DESIGN� . ..._._ , ... _ _._
2016 Maanhaat tarn 1`hC3ter Co.
W11`�•'1`CaC�)P+dF°°; May Aclr•aatc;s„fir, 1'www•je,ctarrn C>esir'r
� Shana C'aorer,cir, Prawection Design Woolly Maninaath
l hr Nether
Anwrican Song
Mark C"�Ienaeaat„(fir, 1lrojection Design Milavar,tsee Rep
201
l:`)erek lcdnaawri,ciir d'r°aver trr�rti �)cisikrr Mta^�nie,'I heater
11nexplewred Interior , SurIth Coast Rc)
Women l ra shin �Alone with Salad tsr,I a ran cdir t rtrjcctiorl Design t
Maav Aclrcalew etu. t rcwje-ctrcrn tJcsr
,1 � inn Wwactll� M,trrantotta
1,
C'dr•c',rr,rrrcteed I�trek C'aolclnraan,du Mudtrrrrc.clra Design i ,n Olrrcy l�livarter
l�1om:'ly or an American
Mdeliact('dances,e:tdr, 1'r•rrJOc�ttora Design Wrdnira"t hcate�r•
2014
lrttelli en ll€.tnrose:srrarl'aa Guide
't'o ociahsri, and C a0itualisna with
A key to the�+w.;,rrlaturea'a Jc,lrn '�r'eel« fir. 1"1rcrje,ctrran l�c.win Theater d
C'lrer y tte�cl Derek(:Jolclrrian,dh% Multimedia Design t Nrer�^rriarrr d'heater
'�tuadrayrrc,wrrse
lcrewrra' ateiwlwrr rre,rttr. 1'rar,lc uorw 11e ry4rr liar«rginan
Night lit chair r 'I'll eater
)
Aastro Boy an the Carped of"(.ornics Naat r.r Onicla„stir, l�j•ojecticrri csign Company One,
Robert C 't lrrr°s,cir, pr•oieetion Design Woolly Mammoth
I otultardaras
history of Invulnerability Marlc C"lerrrents,fir 1'r°ojectrcrri C)csirr C�1i�lvwkatrkcu 1Ceti
Breath and drr�rar irasation May Acdralcz,cdir, 1'"roJecetion Design Cleveland velaricl l�laydre�rtrsc
°5tcrrtcis ir��r this�'caetcets
Derek Gl'-fl drrwarr,dir. 1'rr•erjec.tic.)ri l:)esi err C enterstaake
201 recd t)er•
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washing(r)II,tr,ri, l .0, projection Design rNational Geographic
d ?tl tt AF?'ar ts„NYC
you 6ire eae. You Are 1dere, New York,'NY Video )esrfin 'r cp iHarvart,
A31.,T.
C.ieorgetoWn
RAC F*
wtsr.r t�)eke,,(Ili, P Video Designer Theater 1(tit C)
" ' „� irei.iu I Ire�rrter
lr,lrwr�r�e,c�e aiir°, r
A 1 Op To The Mrawan r9c wr l�usrrµlnea/I''r�o ,rams �
2012-Earlier,
'S'he Mounraatop May Andrates,ciir Prolecuorra'L�esi nr" dW ootlrlcce .ep
'1'lre r1aborate lAntrance ot"C'hac1 Derl:y+ J(rlin Vreeke,cdir, Video Designer
Wr�ratdy Mautariiot.h
Awirtrorr ,l lweurw w,NYC 5uninler in Sanctuary Rob Uraanati,cir° Video 1)esigns/Prokraraas
;311> Outdoor Projection's 31,C7"1ectr Center
SI)Y iAR11C':7 t,incoln Center d'�C
11Cw'//fat "Vicdccr 1Je�,sirrer°
The Velvet Clratcario
1,61°(' 861 Video Designer 51,D Tech Center
Do Android s weann or r1ectric Shee
DocuSign Envelope ID:AD99FE27-E625-45CC-B353-AEE3ADA2F2DA
The'Lluildcrs Associasti()n Jet Lag Associate Video monclair I tnivcrsity
I"I11", P1,11,0PIA Vrcic:a')Sy'Stcrrrs San 1 r�anOiSCO
Big Art Group t;�l'I`YRAMA Vide()I)esiixrr/I'ro rnnrs 1"aarirrta,Iti'rrly
SOS Sy^s erns Vienna Fcstivarl
Toulouse,F raucc
tvttrntrcaal,C-",awnaadra
"I"he Kitchen,NY(",'
"1°191,SLM"'1' Video 11'rogrur"rtw ljul�jiurtrr, Slovenia
I9crlin„Gernratny
I
EC TI C a... „..... �...._
_ NYC 015
The Kid of 19IIT)a The Kid 3-Le Andy's Summer 1 4a t<att,c° tl l5
Pop pa God Bless 9 1 �I roc 1�0 2011 Thc
t.lri ve sit i,lif N4,r latnd Iiw� I°°,lil1 NOMd' 2015
la"
°7111(? Vast World � � 2011
Andy's 4twwrrt"nc.r. 11�a1�10
Andy's Snrnw�ner Plaayhouscz 21911
The Block
77aax L,I�tticr 1�'rtra�a:"u� Andy's Struanrcr�1�'Iraylrc�atrsw 21:11;9
Andy's Surarrncr 1'laayl"ausc 2012e
The 731""(:7 2011 0
"77tr 1'ra�je�c°ticarra,w°t 1'ca�wrl�ran�w:°�I 1xc�tc:r,V����r
Andy's Suer n er Plsylas M' 29IG
Dick Tracy 20(Donkey c)te Andy's )
Sttta"Hies L'taaylaotrsr,
1 Irna;t ltarrt oad Lobby rs a;ant�aui�,N Design , 2(115
!'viult.tn�c,tlnr I)csr rr 2(1f�1
y h rrtcr`�I t9c Svinitintcala�a C�.ararsultunt. 2C
lratcrnsat'ionasl Design Wcelc. Stalacr�trrdita,Milan IT I'rralcctruns I:)c�si n April 2013
C minecO.Climate L„vent World'Batik,I.)C I'rc�r„�cctwcarr. I�csi�aa H�turcl�2O1�9
LkarccASl°"("10J1`� MILK Studios Laser Design 1'ehrr,ts�ar,y 2010
Video Hologram Fcbrwv 20 10
9cn �c MIL Studios
Ilaauteholics Anonynr,c�atrs F'a�.shiora''Week
Vidca�:r 1)as�ka��ra Scl��tcnal»cr` flt'�1�1
THEATER A'WARDS: Wocally Man-imoth 2014,
Helen Hayes Nomination ?"TdJ"2"C�7"A7,1 Trl72IAIV,S
Be] Geddes mart 1'M/ARE MAU 1°C U ARE 1°170N�i7' Nc A,l jar t�2G')l
CTf,)Cs1;,)f71�i,�i A'IYC"711KA Fif,,tR C«ucrr�u x2 9
111;I�C�i;,trts 2(�1I2
Princess i'yr«ace Award OSTWORLD AI l l heater Awards(2012)
Best Original Playwright 7,1111h"L,
"Vlor,, 1 T"rtODUC"°r ION AWARDS,
Macy 1,,ouise picks arraabeecrw Award lice Outstanding Achieveme Y CO¢arrar.6M 4 I Oet/,)0 ar
*nt in l�"ilwwrr( 17'1"
The 14 11 wnanities Institute,h till(+'awarding(106),New M edia Grant('06)„77ie t")tre S100A't Irr 11011is:
Cinefest,Best cecen rla y
(106),Aging 0r^ac
lnteruaticw t yideographer
Awards: Award 01,Excellence (1114),„Phe Or Dhll Shfflt): Ple'lgIcarisvar
DocuSign Envelope ID:AD99FE27-E625-45CC-B353-AEE3ADA2F2DA
AR 1 EDµt IC, IpION, O.Nl�1�"REN( f' and gO��Y...1 LIAC11....... . .
HAIR Barber Shop Installation April 20115
Students taking 6991) Multimedia in Public Space have been collaborating with T1°I131 SHOP,a barbershop
in College park. Recording their stories and history,the students are Making art installation where(.tie
public;is invited to sit in a paths-up shalt that simulates a barber shop, in the pop-up shop,the participant is
exposed to a barber's story and is encouraged to tell their"train story.`l"iris is recorded an reproduced on
the outside lagade of that pop-up shop,creating,a mosaic of"many stories,This is to help build community
and storytelling in localized environments.
Digital 1larbor fli h School's Jaaaaiatr Prom April 2015
Statdents taking 699D Multimedia in Public Space are collaborating with the Prom Committee at Digital
I larbor High School to create an inimersive environment for their Junior Prom'fi're thane is"One
Night in Paris"and the students are discovering ways to encourage the Prom Attendees ita instagrana,
tweet,and post irna es from the year that will he repurposed in the space This will create an
hnimersive, living yearbook for the prom to take place in.These images are overlaayeci onto predesigned
palettes of Paris at night,This pro ect is to explores ways to create a live-voice of the famrtrc ipaants while
also managing to curate the event's racsthetic and mood,
The Center for Creative C":;'aallaaborataiaaa January 2015
1 was one of five faculty memlters who helped to created The Center f"or Creative Collaboration(CC(")
was created as a,latnuaary lnler session c,or.trse for students of varying backgrounds.The courser was team
l.aught and explores the intersection between Playwrighting„ Perf6rrrranc.e,,Research and Documentation,
Protection Design,and Dance. Students were a,ssigne.d to pods that fitcused specifically on one cif those
topics but were quickly immersed in collaborations branching across all topics,°I"he course;waas all
experiment to explores the depths of collaboration and to unlock new vocabularies,experiences,and tools
to teaching in an interdisciplinary classroom.
lardependeaat Study: Dance and Projections
I created a one-semester 3-credit course fitr Dance Chards Sinck,,tir O atga and Matthew Reeves tee,help
betler equip them liar using multimedia in their productions.The course taught,practical prograarnrning
shills and led thcm through simple tasks to help therm achieve their initial ideas lot-dance performances in
which they are currently generating. Sinclair O'Ciaga will be using many o1 his e;.xploraations fitr his Dance
Thesis.
NextNO�)W Festival, University of Maryland fSe.pteam ber 2014
Installation of J pro,je�ctors into the lobby of the,C`laarivv Performing Arts Center on campus of'University
of Matryvlcand for a wesek long,festival,Students taking independent studios spent the week designing
various designs for parties,curatorial events and neutral displays in ruder to better understand
architectural pro jectkm design in public:spacscs,
"1EDOiscaataarlutia"THE"1 EC:H"fYOi..C1C RIIIIAt,IMAGINATION May 201 14
1 gave.a 15 minute TFI' 7 talk in Portsmouth,,NH about nay process kind development as aa.Projections
Designer"The talk was about nay history as well as my philosophy of how we rnust find deeper way s to
use technology to tell our story and avoid using it just llor spectacle,.
31A)ART &TECHNOLOGY Y C"E "1"J«R May 2011,January 21112
"Three day workshops in I,sadora and the process of rnultinrediar design frorn script to stage.
Vassar C°'olle e Jaaly 2009
Workshop in the theories and practice,aof rnultirnedia performaance,using software to produce a series of
short performances,
Broolclyra College e 20f0 8-20112
Max M5l'/.lITTI R and fSAI)ORA Instructor for graduate level Students.
Fairfield University laelaa°aaary 2009
Clue clay workshop in multimedia programming in MAX MSS/Jl'T"1f1`R,fs:oie'Singer's Mlh)kl`RON,and
Cvtoa°f ar I�.
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t
llarr"lasl it College October 2008
Two day rvrar°k.�lar'rf it°r CVt<�rx l l'lal t t° 1� will,evening N,erfor�nlancc Orl lsrst dolt (A'StUdcr�t " fllstallatiotl-s�
I
1 m.�New York Chit 11r July 2012 l�rer�...
N y tll"lAN '4 C l��"l{N'�C�dINC"l+�la
handheld,C (e)Se t.t C.,arnerar lur Su1jalr Stevan. t VI) Project for his l�cr°f. f«cot,
Park,Brooklyn NY.
York City KOTC Y Music.Vir c() �acd�tcrrrlrcr 2010 New Vor
I: irec.tor and Editor of lCotchy°,official"Sorrretirnes l get Down"music video.
New York C,;lity FA RRAD Rock Music Video August 2010
p1ditrrr,rrt""C)t"tic,ial ernix'Music"Viderr"Misunderstood"
Santos Party Clouse Resident Video/F,i lrt/parser Designer 2009-2010
Designed,operated,updated rand rtaaint.ained the video, fighting,and laser ccluitanaerat ran tavaa el�L
floor's for live pertcarrnarrcas and parties spanning,all genres Of"rnrrSro arad interest.
New'York City FAR AAD Reurix Music Video February 2010
jl'djtor aat 0fl"icial Renaix Music Video"T'ic.k V"caur°hare'tip()('The Floor"
New York City Independent Fill" Production Fall 2007
Writer,I)ireetor and Producer o0n The llot Semi, ar short film about two)college roorrrnaates
reuniting years later ail(] uncovering a long lost secret that will Change the course;,oftheir lived;
Fairfield,CT Independent F ilnr/lheaterProduction Surnmer2006
Writer,l)rrector and t'toducCr of* One Sfulalrgtjt ida Hollis, A lilnr0 theater Interdisciplinary
pl,oduction,ofthe perfect Mather and husband realizing the truth;about hlS like upon waiting entry
into laervcn.
Fairfield,C1" lrrdependent Short Filru Suujurer 2006
Produced,direeted all(]edited Shoes,ar.jrrtrrncy to find the perfect shire ill orders to find trued lover,
Fairfield,CT Independent Short Film Spring 2006
Wrote and cr-edited,41r"akirr,g Grace,an intensc visual story of*kiss and reofiscovery,
Writer,cr:>µclirectcar,and c.r, oetitrrr°of C ccrr"a^it re:r Peter, A styl`r;�.ect story ofa dyslunctiom
Fairfield,C T Collaborative Short ltiilr" t fanril�°
Chiding",t.rut h in the lolls ol`aa car III era,
I.ms A.ngetes,CA. Independent Feature Winter 2005
Camera Operator tier La 1'rrscrea"ra,an HD documentary ern lrcry�,rnal stories of inanrigrant injustice,
kilned in L.A.and'U,S,-Mexioo h0l'(101%
Fairfield,CT Educational Filru tirrur"rer 2ildJ4
produced,direeted and edited The Dr, Dhil,S"lrmv„ A spool'oll'crf the Dr, Phit,
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1.1-`11sabc,th L(,\vis ("ork-Y
E.ducation
MI A. The MFA Pro gran) for Writers at Warren W,ilson College, 4,111uary 01oc f:'Oetry.
13.A, University of North (,arolina at Chapel tfill, 1976' En gl is b, With I I ighes t I I Oil ors i 11 cre."I t ive
Writing— Poetry,
Academic A,ppointinents
• Visiting Lecturer,Advanced Study of Literature in Perforawnce, Spring 2017'
Department of Communication, University of North Carolina at
Chapel Hill
• Visiting Lecturer, Screenwriting, Carolina Courses Fall 2011, Spring 2010
Onfine/Department of Communication Studies, University of
North Carolina at Chapel Hill
• Instructor, Screenwriting, Program in Creative Writing, Emory Fall 2009
University
• Visiting Lecturer, Screenwriting, Department of CO ►MUnication Fall 2007
Studies, University of North Carolina at Chapel [fill
• Instructor, Screenwriting, Pr ograrn in Creative Writing, Cniory Spring 2007
University
• Visiting Instructor, Screenwriting, Department of Communication Fall 2006
Studies, University of North Carolina at Chapel Hill
• "Deadline," poem in Cold Mountain Review Forthcoming Spring 2017
• "New Eumenides," "Full Military Honors, " "That Moment When July 2016
you Want the Radio," poems Kira New Haven Review
• Okefenokee,screenplay by John David Allen and Elisabeth Lewis September 2015
Cot-ley "Second Rounder," Screenplay competition,Austin Film
Festival.
• GeortioncY Divination ky GeogralMY by Elizabeth"f, Gray,jr,and February 2015
Elisabeth Lewis Corley, a poetry/dance/multimedia performance
in the Process Series: Now Works in Development, a program of
the Institute for the Arts Humanities at the University oh'North
Carolina at Chapel Hill
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ElIisathet A
Page
i
I
August, 211
"White Space:Ali Approach to the Practice of Scrc enwritin Vias
l
Poetry," by Elisabeth Lewis Corley and Joseph Mef;(,,wl,
Screenwriters oriel S'creenwrit.inq:Putting Practice into Context,
Batty, f��
About Time, short film with screenplay by l^-lisabeth.Lewis Corley
l�ecs�;��r�nlie� November
Craig Batt c..
�wr 2013 Novena
screened at NewFilminakers New"York hall Series; Carrboro Film 013; September 013;
Festival; long Island Filrn Festival; San Antonio Film Festival; Fart: June 2013�; May 2013; filar°il
Myers Beach Filin Festival; Second Sunday Film 4Se�r r iic Shoi°ts at. 2013; May 20,12
ArtCenter,C arrboro,North Caro: lima, l,,r,rwcociratry line
Park Circle Films in North Charleston, South Carolina
• Election Central, Officia, Selection/Official Finaalist Screenplay oveinber/1")eceniber 20112
competition,
Nevada I rain Festival
•
Election Central,concert rewacliiaf; of screenplay presented by October 201
StreetSi ras Center for literature and Performance at Manbiteas
10 Theater as part of their Other Voice$ Series.
August 2112
• "First Person Plural," poern published at rnaarnoqorg,A Moojuzine
• gf Arts
Mi,�ao lllurnanitie
The ,translation and acla ta'tican l"roi°ia Moliere�a �lai�caclrrrerl by April 201;101
1le arr lraa rat i f 1 ae at e
Studies,
�c �r taaversit:y, u
r�aana, NC
• Love are Rrcekrli screenplay by Elisbeth J,ewts Corley, b
asel on 2008-2009
short play by]lose Caruso, film produced by Dented Ferrclear°films
20o8. official selection Seelona International Film Festival; Golden
State Film Festival,Monterey,California; Montreal World Filro
Festival; Boston International Film Festival;Willi araastow"a F"ill"
festival; Pahn Springs Sheirtfest; aril Durango Independent:Filrn
Festival.Whiner Best Actor hill Camp, Charleston Film Festiv a l.
.
ZhC7-ZCIr
Okefenokee, screenplay by John David Allen and Elisabeth Levis
Corley,in development with Merchant Ivory and Sarah Green
Films (www.
eil<cferrrlceei r ri . November 2003
Death of"Innocerlts, stage Ala y aclaf tcc by Joseph Me ;e l,with G lars
Chiron and Elisabeth Lewis Corley from the boob by Sister Helen
preje=an, concert reading directed by Joseph Me el at Georgetown
• tlarv�e r sity(with Sister Iiclen 1 re eanJ
Deoth of Innocents, stage I)lay adapted
by J�eseph Meg el,with Chris September l
tC I
Chiron and Elisabeth Lewis Corley from the book by Sister Helen
1"i e J Baia, concert reading directed by Joseph Meg el at the
University of North Carolina at Chapel Ilill, Memorial Hall
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{
'h"he Miser, translation and adaptation 1"t°oill Moliert.,produced by
i
St.°eetSipns Center-ftrr Literature and Performance,Chapel Hill,
C
Winter Birds,screenplay by Elisabeth Lewis Corley and Jim
Crimsley, adapted from Jim Grinisley's eponymous first novOL
"Second Rounder,"r Screenplay competition, Austin Film Festival
November 2003
+
"Explication" and "The Spirit Wars," a � � i
l � � " pcaenas ara l3%�C"rt�rl'�rt
ear°lJr,�ll,��ry, stake play adapted with JOSeph meg(l fron the novel Slaa�ira �Clf)�
by Carol Mrrske [)likes,workshop prodraction by Asylum 1"heaatre.
Las Vegas
Near Foaling,"g," poa�ara�r ill t�;"err°trrr�t t Studies
Summer C)fl�.
• " oaliaaf,,
Dance Witt) Me, musical review adapted with Joseph Me el from November/December 2000
songs of john and Johanna I-laall and )one]] Mosser, Playwrights
"F'heaatre of New Jersey
Dunce With e, musical a�.eview adapted with Jo�sa�pl�a Me el 1°a'ona Jarly/August 2pUC')
songs of Jahn and Johanna.Hall and Jonell Mosser, F yrdcliffe
Theatre,Woodstock,
a Jaeph Meel lra,an the novel September 197
Dear h Ys tage play adapted wit
M by Carol Muslce Dupes, concert reading at Plaaywriglats Theatre of
New Jersey
"`C�aaing on,"" laaern era S`c�rrrt�l�rer�°r�r �'rre�rr;y�l��evirXw
Summer ,F�)�,4
Winter 1988
4•
"Making'
Money," poem i
n a olirra Quarterly
August a4t 1987
Phedres Blues,translation and adaptation of Facine's Phedre
production by Winterbird Productions at 1 dinburgh Fringe
Festival
Phedr°r translation and adaptation from Racine produced by
7Stages`l"heaatre,Atlanta,Georgia
Winter 1981
• `Letting ;o," p aeas in crolraca Quorterly .
F flCl
he Miser,traanslaatiota.of Mcrliere conamissionerd by 7Stages
a)
l
Theatre,Atlanta,Georgia
Winter 1.978
"Glow," F oe" in Carolina Quarterly 1976
ell by 7 -yang FFsiu in Hyperion
"After We Part," translation olFo
Blaring 1.976
"The Beloved" and "After'Drinl ing Wine'Vll'. From tha.a 20
'Drinking Wine' poems of Tao Chien," poems in Cellar Door
Fall 1
-1,11e Vegetarian Epicure,"" poem in Cellar l OO"
'�7 S
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j
I�aw�w, a
i
of her Tea chinl„
Directed the Mks Too Mor°InCcic�ues I°or the Department rak"Drarn at c C)c;�c��ae c-����u��ry f�V.��.��,
Art at UNC-Chapel l4ill,working with Student writers, student
actors,
Craft C ourse Po etry Ct Louc," he MFA Program for Writers at January 201.0
Warren Wilson College
•
2005
Srreenwritin kaculty, 'Desert Nights/rising Mar's' Writers
Conference,Arizona State University
F.l0 F
t„wueSt l,ertrrrer°"Artir�af; for the C�arner'a,`" North Carolina �."r
University
1998-1999 Poetry workshop for adults at Plaaywri ghts Theatre of New Jersey
Poetry residencies in elementary schools for They New Jersey
Writers Workshop Project in .
'l�fiil
. "lnanf;uaae aa�cl Poetry ir�� lyre 1�"l�etrcw", ��rt the National
Theatre lnstitctc at the Eugene O'Neill Theater Centel* 1979.
• t!,riglisa as s Second Language,Advanced Writing Requirement for
College Entrance, Oglethorpe llniver ity
177
• 1,eac:her of Em,n lisp as a sercrnc�l language ill Montpellier,Montpellier,France to
students aged 5 through adult
Writinf ,Editerriral la: lrexriCrrc°e
Freelance writer and editor (principal c:liomts: Duke University
'1. 82- present
School of Law, Chancellor of the New York City Board cat
Education,Algonquin Books)
Editorial assistant,journal crf'Quali(y Tec�hrr�olc�a�Y,at Georgia.
l.c�SC)-l.r�it
institute of Technology
17 -1974-1976 At:university, member of founding editorial cal board of student
magazine, New Carolinian,ian,and oil staff of student ne.wsp�afrer, Tl�re
Daily Tar Heel
S el(. c;ted Film arrtel ":l elevisie:arr Ctirr
"Woman" (guest star 2Cl04
�Inc� 7`r�c„e f�liCC,Warner 1r°ratlac�,rs, �Worrrarr (. �
Ten Hundred Kings, Grards Pictures, "Kaaren"
C)ClC)
Mcarnccrttan Breakfast, Last Village Productions, Lisa (lead)
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iS'a et t w s C..' 11cY
a�kXr;:y 4'ie
cxlcMc�ted Off-Broadway aand 0,11'014'Broadway Act:irag
- The Lizard(.V'Tarsus by Jim Grinasley(dir.Joseph Megel), Harland 1998
Productions/Triangle.Theatre Company, (New York premiere)
"Sol"
Merr on the Verge rrf"a 11is-Panda Breakdown by Guillermo Reyes 1997
(dir.Joseph Me el),47th StreetTheatre, Francis [,,fill &Associates
with T. I., Reilly, "Hispanic,Hotline Voice"
Math ancd Afterntath by Jim Grinasley(dir. Dean Gray) Harland 1,995
Productions (New York premiere), "Voiceover can-stage
character)
The 8orderlancd by Jim Crirnsley(dir, Dean Gray), Currican (World 1994
Premiere), "Helen Hammond"
Woman 141itlrarrt a Narr°relay Romulus Linney (dir.Tom ,f ullard), 1993
Sigtaature. theatre Company(New York Prca iere), "Fantay Knapp"
EM, by T1.onaulars Unney (dir. Romulus Linney),Signature "T'he'atre 199
Company (inaUgUral production), "May Ford„
t,drtchantiging lave by Romulus Linney(dir.John Dillon),Triangle 1991
Theatre (New York Premiere), "Annie Musgrove"
Selected Regional Acting
• A Puhlic Reading of"crn Clnpro ducredd 5creenplayAbout the Deot:h of 2016
WtVt Disney by Lucas finath (dir.Joseph Megel), Manbites Tool;
Theater,in association with StreetSi ns, Durham, NC, "Roy
Disney"
• Trojan Borbie by Christine Evans (dir.Joseph Me el), StreetSiT ns 2015.
Center for Literature and Performance,Chapel flill,NC"flecuba"
• The Best o dsnernies by Marls St.Germain (dir.Joseph Me gel), 2014 and 201
Manbites Dog Theater, Tlnrhaarn, NC, "Mary Ellis" (first produced it)
2015 and remounted September 2014)
• Steel Mac7nolios by Robert Harkin (dir. John Feltch),"T'riad Stage, 201.1
Greensboro,NC, "Cslairee"Y
• Mother Courage by Ber tolt Brecht, adapt. David Hare (dir.Joseph 2000
Me el),Justice Theatre Company, Raleigh, NC, "Mother Courage"
• Tlie Goat by Edward Albee (dfr.Joseph Me el),Manbites Do g 2006
Theater, llurhana, NC,, "Stevie"
DocuSign Envelope ID:AD99FE27-E625-45CC-B353-AEE3ADA2F2DA
fi`h s a b(r t h 1x\,vis Cork y
A
200
As You Like it by William Shakespeare (dir, Derek Goldman),
'3
StreetSi ns Center for Literature and Performance, Chapel Hill,
NC "Jaques"
I
• ream Bqy adapted by Eric Rosen from the Jim Gr iursley novel
(dir,Joseph Meg
el'),cl), StrcctSrgr°rs,"Mother" +prre� y 3
The Turn of the Screw adapted and directed by Derek Goldman
from the Henry Jamea s novella, StreetSi ns,"Mrs. Grose"
The Lost:Seder by Jennifer boast (dir.Joseph Mogul),organic,
C)Cl
Chicago (World Pretniere)
Prodtjc,inlrl IF;Xper°iencwc
• Producer, Harland"s Creek Productiorrs (a.l<.a. Harland
1995-larexserat
I'rodrrctions), Cuff-off Broadway larodrrctions, new play and
screenplay deve'lopment:. Produced ,hort fflraa About:"F hne.
Screenplay reading of"0kefenokee" friar Merchant Ivory
productions, New York premieres of Jim Grinisley"s Moth and
Aftermath and The Lizard of Tarsus, All fund raising, assembling of
creative teams (including casting), production management; close
r
oversight for post production, editing, marketing,press relations,
web presence,and social rraedia. Instrumental in World Prerraiere
Of Jim Grinisley^s The Borderland at Cur°r°ican.
• Pi-o ducer°/ rt:istrcw.Assoc;iate, StreetSigns Center for Literature and 2003-present
Performance,Chapel bill, North Carolina, Produced New Works
Initiative Reading Series,Acts raf'Witness. T'"nro Theatrical al Events in
Rotating Rep - Athol Fugardrs Blood Knot and Poetic 1`0111°crits rrf u
Revolution by Kane Smego,Will McInerney,Sameer Abdel-Khalek,
and Mohammad Moussa;"I'"orgy Bend's If A4y Feet Hove Last the
Ground, and Freight: T"he Five haccarr°rr.itions of Abet Green by
Floward L.Craft, among other productions.
," Founding Imlardcore Volunteer, Signature Theatre Company, New
York City, New York.All elements of starting as new theatre
conalraany from planning season to casting to resign.Wrote anal/or
edited all press releases, artistic director's notes, correspondence,
proposals,brochures Extensive front of house,technical support,
and advisory reslaonsibilities.
DocuSign Envelope ID:AD99FE27-E625-45CC-B353-AEE3ADA2F2DA
- Producer,Winter bird Productions,Phedre's Blues at the 1986-1987
Edinburgh Festival Fringe.All fund-raising,assembling of creative
team,production management, inclUding overseas logistics for
the company, oversight for marketing and press relations.
- Founding Artistic Director,Atlanta Shakespeare Company, flow 1979-1984
operating as The New American Shakespeare Tavern.Founded
the company and served as its Artistic Director for five years.
Directed most of the early productions including The Winters Tole
and Much Ado About Nothirig.
Also in Atlanta in the same period served as Literary Manager, 1979.1984
7StagesTheatre; Board Member, Atlanta New Play Project; Vice
Flresiden( Off-OJT Peachtree Syndicate (OOPS); Member of
Mayor's Committee on the Arts; and Volunteer Coordinator for
Alternate ROOTS lZestival, a week-long, city-wide, hi-annual
gathering of theatre artists from all over the South,
Constihing
• Consultant for-special projects for Chancellor of the New York City 2000
Board of Education Flarold Levy, reporting directly to the
Chancellor and to senior staff. Produced "Arts Mondays," bringing
New York City school children into the Board of Education for
public performances, Voiceover work for public television station
and telephone system.Reorganized the legal department frorn
staffing through office layout. Coordinated promulgation of
revised Chancellors Regulations.
Consultant for Salomon Brothers.Coordinated the docurnent 1993-1994
production for the Treasury investigation.Coordinated activities
of outside counsel, acted as haison for all docurnent requests,
reported to in-house litigation counsel.
• Ghost writer for private communications consultant,Cheats'its 199 1-1993
included national and international politicians,talk-show hosts,
celebrities, news broadcasters, and corporate MCLItives. Ghost
wrote articles, speeches, book proposals,and correspojfdence.
Professional I)eveloprnefft
- Voiceover training with Wendy Dillon, New York, New York 1,998
DocuSign Envelope ID:AD99FE27-E625-45CC-B353-AEE3ADA2F2DA
i
Page H
• ScreenwrUing training with Joseph Megel, New Work, New York 1997
• Twelve•weekwor°kshop on shaping a collection of poetry into ar 1994
hook manuscript with 1,aurel Blossom at The Writer's Voice,Now
"cork,New.York.
• Twelve-week workshop on shaping a collec"tio" of"POetry into a :1993
book r33anuscript;with Jill Biarlosky at The Wtriter's Voice, New
York, Now York
• Weekly acting classes in studio with Mira Rostovat and voice 198T4990
training with Julie Fogt, Carolyn Marcell, and Whitfield 1,100
Af"'flliartiarrrarJlVla�rrrlrc�r:�l�i��s
• 'SAG/AF°l RA 201 - pmseot
• SAG E i ihle 2004- 2012
• Actor& h qu:ity Assoc:iattcarr 1,990-present
• American Federation of Television and Radio Artists (AFT RA) 1988-2012
• The Drarnahq Guild 1986-present
lgeNv Play Readings and Workshop Productions (Selected Ust)
• Prt Ivory , l"r � r � � , C Company, l e W rarkshop, e;rrnen"s
o J ecProductOns, 1h0'010 king Them, Prgject at Healing`p°ingt C olrniWa
Unive rot c School of Lad m/%ae'dc"llia �gle' ;he at rce company, l"he Pr Process Series: 1�l e x Works in
C)e vralca pr r c and F r l�;rrrrrxrne r,.°M, C Carolina
1��'c�r 4min �Arts,Marra Chambers 'Read ir"r��X���xtCA.' 11r1..�,a�Nl�rrr bitc�;a�Do "'leater, III ay�vr rights '111(:^Bt:rc�,„
and manor others,
Awards & l.lcrracar s (SCI(rc.;ted lis()
2016 Inf; /Poke `lleefrc sir rs and Updates an the"1 rap Stories of',a Vigorous, Vostile 2016 in the Arts
Scene,' Black.Pione"s 1'yee , Ile process Series New Works in Development("Otcdr•)
11, Ella Focr ain Pratt 1.me r °din»•Ar gist (er aot fr orn the l)ur hanr.Arts it
015 tly [Veek Best Prodiwtions o 2015 hal 1le b'ive Xrer'rrrertern q s el(wr eea (
arodo c )
2otit" bur)e heel(Best:Productions of,go 1,t, Pie Bes/, uj Ta.nrrrerc"s(reprising tile, male of" Taat,y lr'llis") anc1
Ally Peel Have Lost. the(;rrarreed(producer For Slreet` i ns)
,20143 1reely IthekSped al Achievement in Ensemble (also Special Achievement in the 11urnanides aarul
13(,st Production) foW 7/rep Beast(# uerrrres
D)1 1,ndependent estof'rhurter 201 , Special Achievement in tic: 11urnaani.ties for "le'ts (?1',o1 fitness:
Blood Knot &Poetic Po"ta`crits r j°ee Revolution(producer)
3o o8 ladepeadent'11c�;st Lead Perfiar°rnance for"Niother Courage" in lothm" C'rrrrr'W"
onnunign Envelope ID:Ao99Fs27-E625-45oo*353+uEE3AoAeFem^
E'|'6Q|wtk l o'O0 K`C/[|cy
raX�»
uooG hWqnWmi Top I% W' 7haGmu/rSLev *~\
euOG 7bao &0bw/wer1'Opl'CoI^iot The Gmu/ ("Stevic"}
2000 l[riomcdc Theatre Awards Best Prod uctivuyxo�6n\��&/,�o/'�'}�itm'')
2005 -[rioug}m 1rbomtrm Award Best ProJucdoo 70u���mo/^/uJuytor/boomlntor\ �
20uD R'/le,g6 News & 0bxx/vmrDeut Production White Jomoj)le6yJiro [:rlozn|ey ("Enmecub\e")
mOs Wangle Theatre Award Best Sopporting Actrnm, Comedy, 000niuutimoRi, ''Jugucm" ill /YxT'(/'
Like It
2003 Independent Best SupportiugPcArrumncO |bc "]a(Juuu'' im 'js You Like 8
9003 ///uej,)e1'u1(?1d BcntIinmerobl(� 6`r Dream,'Boy(''&Ju(ber")
9003 /:l.*pr//dw/t Bost ProdurLiuoh)rl}/'euoxDo*rWoth(r")
�UV8 &()6s/var Best Pc(�)ducdool)rmmnB,v('Modzer")
2ow) Raleigh News 8? *6/wwr Best 1roduoboo5ur7&* 7uroof&m Screw(^& rw, Go,am")
2000 ' i un�l e Theatre Awards BmtSuppmrtiog Actress, Drmoo ooviumtioo [br &rm,
Grooe^ in 7'h«
7ymmrMaSaew
lm W8, /ttivuia Vital Elelxu///Award fbrJ;,ceyiug the /\dxoLvSbmbu*pcurmC*ropauy alive and
eomu6ng Its onuLitUuity
DocuSign Envelope ID:AD99FE27-E625-45CC-B353-AEE3ADA2F2DA
Page: 1 1
Monday, May 29, 2017
5treet5igns - All Accounts
Category Summary Report
7/1/15 through 6/30/16
7/ 1 / 1 5 -
Category 6/30/16
inflows
Box Office:
freightNYC 7,103.10
Total Box Office 7„1 03.10
Donation:
FreightNYC 1 ,043.65
Donation - Other 2,000.00
Total Donation 3,043.65
Grant:
FreightNYC 2,500.00
Total Cant 2,500.00
Loan 5,0700.00
Production Services 4,250.00
Total Inflows 21 ,896.75
Outflows
,ids:
FreightNYC 41 x.41
.Total Ads 41 2.41
Bank Charge 5.20
Costurnes.
freightNYC 546.60
Total Costumes 546.69
Entertainment:
FreightNYC 56.9
Total Entertainment 56.95
FreightNYC.
office 115.56
Total FreightNYC 11 5.56
Goldman Expenses:
music 149.90
travel 600, 3
Total Goldman Expenses 750.13
Independent Contractor Fee.
bookeeping 600.00
DocuSign Envelope ID:AD99FE27-E625-45CC-B353-AEE3ADA2F2DA
Monday, May 29, 2017 Page: 2
StrootSigns _ All Accounts
Category Summar r Report
711115 through 6/30/16 1
i
7/1 / 1 S -
Caatgory 6/30 /1
freight 500.00
froightNYC 8,298.75
Me Too 25740
NWIRS 3,0150.00
Trojan Barbie 225,00
Total Independent Contractor Foe 12,931 ..15
Insurance 453.00
Internet 59.95
Jan Karski;
grant 7..,000.00
meals 36.66
parking 23.00
Total Jan Karski 7,061 .66
Licenses and Permits;
froightnyc 500.00
Total Licenses and Permits 500.00
Lighting;
FrightNYC 1 06. 16
Total Lighting 1016.'9 6
Marketing;
FroightNYC 1 ,100.00
Total Marketing 1 ,10)01.00)
Meals & 6ntrtn
FroightNYC 1 ,751 ,29
NWIR.S 76.14
Total Meals & Lntortn 1 ,827,4,3
Office:
h�VatchFund 1 1 1 .7
NWIRS 256.05
Office - Other
16.45
Total Office 334.23
Parking;
FroightNYC 64.50
Total Parking 64.50
Postage and Delivery:
FroightNYC 14.62
DocuSign Envelope ID:AD99FE27-E625-45CC-B353-AEE3ADA2F2DA
Monday, May 29, 2017 Page: 3
StreetSigns - All Accounts
Category Summary Report
7/1/15 through 6/30/16
/ 1 / 1 -
Category 6/30/16
.........................
Total Postage and Delivery 14.62
Printing and Reproduction:
FReightNYC 5 5 S.2"7
Total Printing and Reproduction 555.27
Regulatory Fee 213,00
Rent:
freight—nyc 8,0M00
Total Rent 8'000 00
Rent on Equip:
FreightNYC 81 Mo
Total Rent on Equip 81 OM
set:
FreightNYC 629.31
Total set 629,31
Tax Preparation 150,00
Travel:
FreightNYC 1 ,338.60
Trojan Barbie 0,00
YADYAH 11 2.00
Total Travel 1 ,450-60
Travel, Bus 4.34
Union Dues:
FreighNYC 200.00
-------------.................
Total Union Dues 200.00
website 14.17
Outflows - Other 0.00
Total Outflows 38,512.18
Net Inflows/Outflows - 1 6 ("; I " 11113
DocuSign Envelope ID:AD99FE27-E625-45CC-B353-AEE3ADA2F2DA
Monday, May 29, 2017 Page: 1
StreetSins - Selected Accounts
Category Summary Report
7/1/16 through 6/3 0/17
7/ 1 / 18=
Category 8/3 0/1 7
Inflows
Donation 5,430 00
Goldman Income 500.00
Grant:
Yadyah 6,500.00
Total Grant 6,500.00
Production Services:
NWIRS 1 ,478.81
l WIBS 1 ,210.00
YADYAH 1 ,048.00
Production Services Other 4,075.32
Total Production Services 7,81313
Total Inflows 20,243.13
Outflows
Ads 30-00
Bank Charge 15,x'9
Charity 250.00
Duos 801.00
Entertainment:
YADYAH 273.40
Total Entertainment 273.40
Goldman Expenses:
travel I20 60
Total Goldman Expenses e l ?
Independent Contractor Fee:
bookeeping 1 ,200-00
-00
NWIRS, 1 ,050.00
f WPS 2,100-00
-00
YADYAH 1 ,100.00
'Total Independent Contractor Pee 5,450.00
Insurance 323.00
Internet 9.95
Jan Karski:
Administrative Serivices
grant 5,816-89
Total Jan lfarski 5,,8'1 6.83
DocuSign Envelope ID:AD99FE27-E625-45CC-B353-AEE3ADA2F2DA
Monday, May 29, 2017 Page: 2
StreetSigns - Selected Accounts
Category Summary Report
7/1/16 through 6/30/17
7/ 11 / 16-
Category 6/30/17
Legal-Prof Fees 80.00
Loan Repayment 2,000.00
Meals & Entertn:
NWPS 132.21
Total Meals & Entertri 152.21
Production Expenses 2,860.00
Regulatory Fee 10.00
Tax Preparation 690.00
'Travel:
YADYAH 2,950.37
Total Travel 2,950.37
Travel, Bus:
NWIRS 328.81
NWPS 1 ,191 .20
Total Travel, Bus 1 ,520.01
website 148,12
Total Outflows 22,348.64
Net Inflows/Outflows -2 , 10!", . 5 l
DocuSign Envelope ID:AD99FE27-E625-45CC-B353-AEE3ADA2F2DA
StreetSigns, Inc. Cash Budget FY 17/18
YADYAH M Expenses NWIRS/NW inist
PS General
Expenses Admrative
Ad;`nTs—traii-ve W...........
Staff
Artistic ........
Technical 0
Production Staff
�
24
1370 ntrcts
Ad
ni-i i n i"s"t-raii-v'e' $ 3,,000
Contracts
Production
Contracts ......
-,�P,�e�Bental
$ .......
8,725
8,725
.-Or o d ucti on
Set
Special $ 2,000
Materials for $ 1,300
Costumes and
,.."t p ,.gxpew�es _q!!g 2000
EXPENSE $59,182 21,225 25 3370
TOTALS
INCOME YA DYAH M NWIRS/N�� GEN. AI
$ 7,056 .........
Contracted
Services
Revenue ..............
..........
qjate Support
_ 10,000 10 0
FoundatiqrL..YpPort-.,...--
S
Grant $ 4,000
Awarded $ .......... .......
.—Pau r en Found. 2,500 ...
Awarded .......
11 225 3370
—Sum)ort $ 626 11,225
federal Government
NEA Grant $15,000
Awarded ......,....,_w_.......
DocuSign Envelope ID:AD99FE27-E625-45CC-B353-AEE3ADA2F2DA
State/Regional
Government S ............
N of Comm. $ 5,000
UNC Process Series $ 8,000
.......... -5—,0 0"0".............
—rn-m- e
n ity Arts $ ..............
i�ajjj Cash ......... .......
$21,225 $3370
INCOME YOTALS $59,182 21 ......
...........
2
DocuSign Envelope ID:AD99FE27-E625-45CC-B353-AEE3ADA2F2DA
StreetSigns Center fbr Literature and Pert'urmance Board Contact I.Ast
ame Address Phone email .. Role
........
181 Manua Dairy 919,542.5406 strectsi gnsce nter( I
�,),g milxoni Secretary
Lewis (,",orley Road, Pittsl,.)oro,
NC 27312
-----"-'f-fFFal,Ienwood 919,672,8026 Renee,alexander.craftO,)gmail Director
Alexander Ave., Durharn, 'NC XOITI
Craft
27713
Derek 30 Columbia dergolc[C�),aolxorn Director
Goldman Ave.jakoma
Park, MD 20912
Win-.....
I 10 W averley 9.9Ca .68 11 1\✓Iegowarkiohn74(�),gtiiail,c(,)jii President
McGowan Forest Lane,
Chapel NC
27516
,Joseph Nlegel 1,81 Manco Dairy 919.593.1491 rnegel(4)
en1ail.unc.edu Treasurer
Road, Piusboro,
NC 27312
Ike ley 238 Bellerriont, 1.7 619 Mike(�t,,)inikewi,leypi-oductiojis Vice
Road, Pittsboro, 'Com President
......------1C.2'73l2
DocuSign Envelope ID:AD99FE27-E625-45CC-B353-AEE3ADA2F2DA
r
1
I
T
Internal Revenue Service Department of the Treasury
p,0,Box 2508
Cincinnati,OH 45201
r3ate. January 12,2960 person to Contaot.
Jocie Bradshaw.31.02167
Cu torner Service Representative
Streetsigns Telephone Number;
C/o Derek Goldman 57 7-6295500
55 Anrber Wood Run Fax Number:
Chapel Mill, NC 27 546 513-263-3756
Federal Identification Number:
6-3922635
Dear Sir or Madam:
This letter is in response to your request for a copy of your orgeraizaf*r)'s determination letter. This letter,will
take the plate of the copy you requested.
our records indicate that a dote rrrtlnatiorr letter issued ill January 4994, granted your organization exemption
from federal trtcorne tax under section 501(c)(3)of the internal Revenue Code. That letter is still in effect,
Based on information subsequently submitted,we classified your organization as one that is not a private
foundation within the meaning of section 609(x)of the Code because it is an organization described In
section 509(a)(2),.
This classification was based on the assumption that your organization's operations would continue as stated
In the application, if your organization's sources of support,or its character,rrrethod of operations, or
purposes have changed,please let us know so we can consider the effect of the change on the exempt
1 status and foundation status of your organization,
l
°(our organization is required to file Form 996, Return of Organization Exempt frorn Income Tax,only if Its
gross receipts each year are normally more than$25,000 If a return is required, it must be filed by the 15th
day of the fifth month after the end of the organization's annual accounting period. The law imposes a
penalty of$26 a day,up to a maximum of$10,000,when a return is filed late,unless there is reasonable
cause for the delay.
All exempt organizations(unless specifically excluded)are liable for taxes under the Federal insurance
Contributions Act(social security taxes)on rerrruneration of 100 or more paid to each employee during a
calendar year, Your organization Is not liable for the tax imposed under the Federal Unemployment Tax Act
(FUTA)a
Organizations that are not private foundations are not subject to the excise taxes under Chapter 42 of the
Code, However,these organizations are not automatically exempt from other federal excise taxes..
Donors may deduct contributions to your organization as provided in section 176 of the Code, Bequests,
legacies,devises,transfers,of gifts to your organization or for its use are deductible for federal estate and
gift tax purposes if they meet the applicable provisions of sections 2955,2166, and 2522 of the Code,
DocuSign Envelope ID:AD99FE27-E625-45CC-B353-AEE3ADA2F2DA
,2.
Streetsigns
#36.3922635
Your organization is not required to fire federal Income tax returns unless It is subject to the tax on unrelated
business income under section 511 of the Code. It your organization is Subject to this tax, it must file an
Income tax return on the Form 990-T, Exempt Organization Business Income Tax Return. In this letter,we
are riot determining whether any of your organization's present or proposed activities are unrelated trade or
business as defined in section 513 of the Code.
The law requires you to make your organization's annual,return available for public inspection without charge
for three years after the due date of the return, you are also required to make available for public inspection
a copy of your organization's exemption application,any supporting documents and the exemption letter to
any individual who requests such documents in person or in writing. You can charge only a reasonable fee
for reproduction and actual postage costs for the copied materials, The law does not require you to provide
copies of public inspection docurrients that are widely available, such as by posting them on the Internet
(World Wide Web`'. You may be liable for a penalty of$20 a day for each day you do not make these
documents available for public inspection(up to a maximum of$10,000 In the case of an annual return).
Because this letter could help resolve any questions about your,organization's exempt status and foundation
status,you should keep it with the organization's permanent records.
If you have any questions,please call us at the telephone number shown in the heading of this letter.
This letter affirms Your organization's exempt status.
Sincerely,
Robert C. Padilla
Manager,Customer Service
DocuSign Envelope ID:AD99FE27-E625-45CC-B353-AEE3ADA2F2DA
dou Are Here
I,!
t
.. as You,
1 Are Dea
............
MCittsc n CJ"9dcIM1 and AlntM_il'ay d lmlins in M''aRF,2013 showcase,°Photo by 1,in a M itiverm an,
You Are Dead. You Are, Here.. (YADY H) is a multi-media theatre
piece that tells the charged story of an encounter between an American
soldier and an Iraqi girl blogger through the lens of the technologies
that connect cat theme Inspired by the co
n g nc gam
environments, technology and research, e t tr production duction liven to n. or rat animated
the world's firs,
landscapes
�la""om i rt W11_1 i„a, virtual-reality (V1 ) program gram based on
war video-games and used in veterans” PT SD therapy. Playwright:
ht:
Christine vans. DirectorJoseph Megel. Media Designer. Jared
Mezzoechl.
NYC Critics,
gripping ° impassioned new 1 "
n
SIMON S, 1.,
trtSi ns { i . .,a,.. . ....r . 1 j dmontpertormancef� tory.or~
r Drive I�Itt�l �r�, NC 27312 ..
Harland's s Creek
..�r
DocuSign Envelope ID:AD99FE27-E625-45CC-B353-AEE3ADA2F2DA
64. . . cutting edge means of storytelling Gaskins deliver[s] a
terrifically complex performance as the troubled soldier."r
"Every war has two sides. It can be difficult to position yourself at a
ve, but this new lay PU11S
vant�,tge point with an all-inclusive perspecti P
it off ingeniously."
SYDNE RNDT, Show Business
"You Are Dead. Km Are Here was one of the best shows I have
experieD.Ced in 2013. I've read the articles i�n the Science Times, abont
;TSB but never was I this moved and. inspired to fully grasp the extent
of the suffering that soldiers returning from cornbat suffer."
JOAN KANE, N.ew York 1111cater Indie Ar(.Iiive
ko"', o/
SireetSigns 1 204 Harland's Creek Drive I Pitfsboro, NC 27312 1 pied montperforma ncefactor'y.Org
DocuSign Envelope ID:AD99FE27-E625-45CC-B353-AEE3ADA2F2DA
I
�i
'r Hr':,xrim
Review: in Treigh ,' a Black an the
Sc,ript for Five Incarnations
Freight:The Five Incarnations of Abel Green I NYT Critics'Pick I Cuff off Broadway,Play
HERE,945 Sixth Ave,1 292-647-0202
AUG.3 2015 OC l.�C.la"�11.�.,� �'k�" � � � w ,
Abel s cart crt lrr c on his wra1nF1torrn �. � �°row.'prat Irca�l orrrrrrr rr�rcl he
Abel Green aarriv0
is an actor hopping ar boxcar y rinstrc,l
something lie's done since long before,he ever was paid for it.
"See,al'l Negroes are actors by necessity,","lie tells us eonvea sationally,getting
dressed out of the
suitcase he h r or ht script is passed c
wr
e e nation to gc ne aton. l he Negroes who crow they lines tend t o live
longer than
the Negroes that don't, errer°ally speaking,as it pertains to dealing with white
rnerica's constricting racial framework is ever-present in Howard L.Craft's
c„ntur -s p arr r
irr Trciht The Five Incarnations Abel Green,"at Ilere,yet tlis
rich and thoughtful r , tconcerned wtl more rnlrnrte self-
examination:n:howto he good to Onc:another
within black culture,when the larger
cull:rrre rewards cerrul;rlicftY.
l'osirxl,tlriS Ctrrestior"r with a sardonic,humor that recalls George(; Wolfe's"The
Colored Museum"amid,,I'tobert"l"ownserlial's"Tlollywooil Shupe,"the play is made,
r r S monologues,each spoken by,ar c r fle ent version of Abel Green,W.�rrr the
trlr of five 9rarncrl
a
Alphonse
of believers,the nriostr°el in the tw ros;a faith header„I�°
l
ievers,in the igws4 an F.M.informant,infiltrating the Black
DocuSign Envelope ID:AD99FE27-E625-45CC-B353-AEE3ADA2F2DA
l
1
i
f'anthaer.s in'the 1960s;an actor a+alaea tunas his back on an H.1,V.-positive friend in
the:rydeas;and a can-collecting laorareleess ntar,r,Circa 2ra�ro,who once,111ade as
fortune hawking subinrlrrae loans.Their consciences are Badly"smeared at best,.
Presented by the 4trectSigns Center for Literature and Performance,in
Dog" n any, I r ight"1 directed by Joseph eph � 'w,h!el
4�rssoa,aatrean wrt'h�New l)crl.,� `heeat:e.a°f.'�.uru
on a set(by Daniel h:ttin ger.�)that,morphs'from boxcar to su bwaay train with the avid
of Earnoun Faraell's video and strUnd design.
Mr.Nicholson transforms from one Abel to the next irr front of us,and though
he doesn't quite get his arms around tlae faith healer,lie makes the others distinct
and entertaining,each a smart rnan with the charm to hold a rooru r tad the capacity
to savor memories of least Pleasures.
if they are tormented,too,by the echoice s t:heey"are nnade,they fully understand
the context in which they made them.
I am a snatch,"the F.B.I.informant acknowledges,and he isn't proud o'f it.
"But even,fudas had his reasons,and if you're durnb enough h to think it vwas iust
about 30 Pieces Of'silver,diern you're as dumb as a box of rocks,,for real."
"4A'o"reec id n:August5,2015
Because of an editing CffOr,,ra picture caption on"t"ucesd ay with as theater
review of Vreeight:The Five fnearrratioas of Abel Green,"at the Here Arts
Center in'Manhattan,carried an erroneous credit. ne,picture,of J.
Alphonse Niel-Tolson,was taken by Nick Graetz,not by Dennis C ahlo.
"Freei hl;'f'hee Five Incarnations of"A,hel Green"rums throLigh Sunday at Here in
Manhattan;21 -s .-;�,ro'l,lae.re".arrg.
Aversion of this review arppeears in print on August 4,2015,on page(,2 of qie New York edition with the
heatdllne .Just Saying What Had to Be Said
2015 The New York"times Company
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UIVI�I�I
4FREIGHT" CARRIES THAT WEIGHT, FIVETIMES
OVER
BY M IRIAM FECTON-DANSKY TUESDAY,JULY 28,2015 8 MONTHS AGO
fir
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Willing,And Abel.J.Alpl omw Nicholson gives an inspired lac•w-rormaace in p"rtajgjzt;7"17,e l'iiie lracctrnzr:irarr.s ol'Ab t(�;ieert,
Nick Gram
You
may know that racism and poverty have always ben in collusion.But you'll find
y()rrs surprised moved lstruggle e en ward Craft's incisive
arc-m<t la Frctl111: Xle Five Incarnations q/Abed Dir ecicb y.to e h ac gel and e
xp
rtl'y
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W3101ItICki oy�.��atr�K�r�i���OMARAMMI,1.1rigut k
al.ruIares 'askraNM.aaaWdl41. aar s4raaktr,
idiosyncratic tales.
Abel Green,you'll sc>crra cliscover,isn't:one ,try;Ire's five,
living in live different.c.r as,confronting Arneric a's rigged
historical Freight captures bi e conorny and its addiction to racial vicale.ncc Each vignette
truths ill Pel" 81 , is distinct but patterned on the,"me lotlrrre..Abel lands in
idiosyncratic tales, trouble and gets resoled by r new"friend" —but,s,rlval:ion
unexpectedly turns sour, III one"incarnation"lie's,a minstrel
lac»rf'orine:r,struggling to lce:cp snailirrg and sirri ing for white:
rtw °hrrr. others he's a betrayed preacher,a Black Panther,a
witae ss to the A DS c r sis la airs fi ae
freight,cars to New York subways —of fer a recurring
Inotik for this travel through time and space.
(,,'raft's medilaation on race in America is clearly t.irrrely;what's surprising here is his light touch.
Humor and song leaverl the evc1lin ,and a surreal ending offers all escape f'rcana Greens troubled
world.But your delighted tenalataation t,o follow hir'n will remind you that our own universe
remains sea inhospitable to scar many,
jzcgg zt. 'ire Five Incarnations of Abet Green
By Howard L raft
Here.
145 Sixth Avera e
21.2-352-3101,hre^r o,,%gar
�rr4lrartl Mini mFeltonmD nsky ir�Grla�a: Village Voice Arts llltul°e
DocuSign Envelope ID:AD99FE27-E625-45CC-B353-AEE3ADA2F2DA
INDY
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HURTS SO GOOD durham-chapel hill
Painf ul 'tessons of American an its in five-star Freight 1,121115
LVY kf i" O id WOODS
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u ,ri'a�outl&iii Consider Abel+preen—or at least
the fire of the five characters so named In Howard
L CraWs historical play F'AEf lit;THE FIVEs,
INCARNMONS OF A m aREEN,whose somhie
tvnrld premiere doses with an added SaturdaY night
performance this weekend.
why is a prcnfessional thearrical artist Was Green ridlrig
as boxcar to his next venire?In Craft's script,tie,"oswera
are crtlarvaal,ecorannic and.pen°sonal,as a gifted African
-
Amerlcan conushan and singer pursues burnt•coik
rninsrrelsy in tire early rpuos,
I lie money's not,acr good any snore because the genre is
in decline,decided as a betrayal by cultural leaders and the
Nceudy formed NAACP.Even inure oftaina,ruxly,C n arr'a
bnlgtinae partner has quit,hearing that lac'll never feel deist
aagain rite r doing bl actdace.
After afl:ennerla of alynchurlg Greenruant Actor t Alphonse Nlaholson(pictured)otters Weld
cs ufront the reality of perfornaingto"a sell of faces that portrayals ins froward L.Craft's Freight.sr+oro ay MICK rMAM,
looked just like those watching that man treat and bang!'
yet Green soldiers oar down a path that can onlydend-end. vtw acrora in the reiaon possess Ure range,this challenging
Through these five,well-crafted rnoraologuesofAhicarr• solo work requirce,1.Alphonse Nicholson"s artisticfrowtir
American n lives in rile zoth century,kenaayals and dead ands conrinues with his hatenaely vivid portrayals of the five who
are featured as centrally as travel by nail,ire it work whoa arc,cane.Director hiSeph Megcl has athieved exceptional
scope,suhstance,and tyricisna recall that ofAugivit vdilsoM n eatits in pry noes outings with ahrs actor and pl rywriglrt.
°I"weirty years latter,the second Alga^l Green,a credulous Here,he rnrsruprishagly pulls the best out of both,in a show
but otherwise flood-hearted nurn,unwittingly dtrprzs drat nukes rear wonderwhat the mast atop ra on caur crrltrre'3
nbousturds as a faith healer in'"the instrument ofGod."In mystery train.
""I"lro Snitch,"tlrar'third G:Ireoi winds+.rp inning used by the
I7�l its all i,rrfcrrmrrrrt,on the l ladle panthers err the r960s.
After the fourth G,»netts,a Hollywood actor,tires Of being
crest as pimps,thugs and drag k igpirw--in what Craft seems
to plash as Dire laflos am wer its blact knee, lie tunes has hack
unit friend in""plae l art Great Black Acton"A chf'fi nrent but
no less devastating betrayal figures tarn the final tales,"°flat
Satan-hound Manz."
Much ofthe suspc?ase in these five briefacts involvea
ltow-,or if--the characters surpags the roadblocks they've
either encountered or°construered for them ivat,Inthis
w<sn,+ne,the tarts,I''°rvort alludes not only to the trains on which
we rind each character,but eh:o to tine considerable baggage
ofthelegrrcyof a century or more of racial rncrluality.
l'ra choosing sit single name For five disparate characters, pledros art podoraa sec Factory/strorriftile orator
Craft invokes an Afriaa n-Ametrcan everyman who faeces for Utevature and p totmarjoa 0 al e's•Swaahr halt
mytiad changes and crhallenlles over the last century.fle also ttff-S.to run Am,MOW tbltl
nc,ady flips a conventional but by now jaded wisdorn,which pf�a f aEtJ
bends that the Haines array chant e but the stoncilneWIr do.
In thnaa world,when the names ail>an't change,either,what is wn� gh lamretiamadorar arrcaataetruryowA
visited upon one irsultirna telyvisited upon all. thairatfhlaa°'gat
r
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Oc 0
I
Saturday,daanuaey'10, fYt5 2
'Freight' one of year's best
By Rov C.Vacs by outside factors but also by Details
Correspondent his own flaws and desires.
Invert those who've wit- Nicholson reaches new lev- What:"Fl Oght," presented
nessed the impressive tr�jec- els of confidence and sensitiv- by StreetSi ns Center for Utw
tcar°ies of play,wrig
ft Howard ity inhabiting these c harac- erature and Performance
L. Omit and tors, each facial expression ' heraa. Swain Hall, UNC-
actor J. Al- auzci body position si naling as Chapoi Hill
phonse Ni- much as his wards. "When., fi p,m. Friday and
review cholson over As a resourceful minstrel at. Saturday,Jan,15.17 and 211.23;
the years the,tarn of'the previous centu- 3 p.m.Jan.it,18 and 24
will their stunning ingconvex unprepared tell" black mans with s" I ke acts pled
-
"Freight: y for c Nicholson Tic $1042
.�, saarh tansto of witness- tnt'ir:919-542-5406 ar
"Freight. "l.her Five Incaa raa in a a : '��m by arontperfor ��f ry.org
tions of Abel Green." This the same people he must'.later
imaginative production exam- perlarmfdr As a'1930spreach- ambient sound designs.
ines the African-American er whose money-minded.con- At T'Inursday"s preview, Ni-
naale over the past century gregational leaders convince cholson seemed less involved
with moving and gripping im- hint he's a faith healer,'Nichol- in the last two characters,part-
pact. seen affe6tin,gly conveys the an- ly because 100 unbroken min.
Craft's premisehas the same ash and wilt of learning the ores can test endurance,but al.
actor play a main called.Abel truth so because his delineation of
Breen in five time periods, Director Joseph Nlegel them is more,generic and di.
from the early 1900s to theyre• supplies,a polished, organic dactic than the first three.
sent.Although they're not the flow, the staging creatively That shouldn't s t o p
same person, these men are varied. He's tremendously anyone from experiencing
connected through Ameria °s aided by Derrick Ivey's Inge- this laudable achievement.
racial,political and soci,'d in- Mons settings,Kathy A.Per- It's not too early to call this
justices, Each 20-minute kins"mood-iriducinglighting show one of the:year's best.
monolog reveals one margin's and Eamonn arrell's stage.. _---
troubles brought on not only filling video projections kind Dicks:rnusic_tiieater iycos.corn
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I
Password: YADYA 2014
Artist or group: Artists: Christine Evans (Playwright),
Jared Merochi (Media), Joseph Megel (Director)
Title: YOU ARE DEAD. YOU ARE HERE.
Late premiered: June 201.3 (workshop production, HERE, NYC)
Length of sample: 3:00 min
Description and additional information:
In this excerpt, Michael's anxiety flares as he remembers being
unable to stop his friend from being billed. He fears that the
program is out of control, when in fact the images are all inside
his own head. This excerpt showcases the intertwined
elements of story, staging, and technology in bringing this
painful internal moment to three-dimensional life.
2. U RLw �i n i N�: �u , . .� a�� �w �� �� .. 7/[.2..�.���e.
Password: YADYAI Z 014
Artist or group: Christine Evans (Playwright),
Jared Meochi (Media), Joseph Megel (Director)
Title: YOU ARE DEAD. YOU ARE HERE.
Cato premiered: June 2013 (workshop production, HERE, NYC)
Length of sample: 3:00 rain
Description and additional information:.
At the end of the play, Michael remembers a period of time that
he had previously blocked—the moment when he met Zaynab.
The use of live actors and media design together creates a
sense t hat the characters are meeting in the past—and a sense
of inevitability. This excerpt highlights the power of the
intersection, of live actors, virtual technology, and sound.
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Artist or group; StreetSigns
Title: Freight: The Five Incarnations af' hel Green by Howard L.
Craft
Date premiered. January 20
Length of sample: 03:03
Description and additional specific information: Thr e-m"i Lrte clip from the
opening offREIG1FI`: THE FIVE INCARNATIONS OF ABEI,
GREEN by Il ward 1.,. Craft, production by StreetSigns Center I`or
Literature and p rforrrr.arrc e in Chapel. Fl ill, NC, directed by .Josep h
1!egel ,fieatLrrin J. Alphonse Nicholson. Video and sound design
by I ar onn 1"atTell, lights by Kathy. . Perkins, sots by Derrick
Ivey, Costumes by 1Vlarissa. Erickson. Produced by Elisabeth 1..ewis
Corley, Production video by Nick l ;arn r,
Artist or group: StreetSigns
Title: Freight. The Five Incarnations of Ah t Green by Howard L.
Craft
Date premiered: January 2015
Length of sample: 05;
Description and additional informationm, StreetSigns (",en.ter for Lit. C"a.hAre
and r.for.rnan(.-e prodLrc d FREIGHT T in January 2015 in
Chapel l,Iill, NC. The l)1-0d.LrCti.01f1 f atLrred J. Alphonse Nicholson
as "Abel Green" ar cl was directed by Joseph M 'gel. Video and
scrurid design by Earnonti Farrell, Lights by Kathy A. Perkins,
Set by Derricl Ivey, Costtinies by Mar r sa Erickson. Prorlc.r c„1
by l~:,'li ab th Lewis orl y. Video by Nick l<arner. l attar.
cont rat: for langttage only.