Callboard Fall 2007

PAGE 3 Where Do We Go From Here?

By David Bridel

PAGE 5 Internship Program Grows with Zucker Productions Partnership

PAGE 7 Applied Theatre Arts: Equal Parts Theatre, Education and Therapy

FALL 2007

Tony Award Winner Christopher Akerlind named Director of Design Tony Award-winning designer Christopher Akerlind has been named Director of Design at the USC School of Theatre, it was announced

by Dean Madeline

(L. to R.) SCR Producing Director David Emmes with stars Stephanie Zimbalist and Damon Kirsche at the opening night party for SCR’s recent production of A Little Night Music, with lighting design by Christopher Akerlind (see story next column).

Puzo. Akerlind Christopher Akerlind

SOT Alums Achieve “Artistic” Success

at USC this fall.

Puzo stated, “We are ecstatic that Chris will be overseeing our extensive design curriculum at the School of Theatre. He will supervise all areas of design for us, including, sets, costumes, lights and sound. His years of experience as a lighting

Shashin Desai, David Emmes, Tim Dang and Michael Michetti run four of the Southland’s most important theatre companies.

S

joined the faculty

and set designer on Broadway and in theatres nationally and internationally, as well as his expertise working in an academic setting make him the ideal person to run our program.”

ince it began some 62 years ago, USC’s

some cases the founders, of four of our regions

Akerlind said, “I’m honored and excited to join the

theatre program has been committed

most important theatre companies.

faculty at the USC Theater School and to take on

to a philosophy of not isolating the

Dean Puzo’s mission to build a design curriculum

various crafts of theatre but teaching

Before coming to Los Angeles and earning a

an understanding of the whole art.

masters degree in theatre in 1962 at USC, Shashin

known for its creativity and intellectual rigor.”

Theatre students are expected to actively create

Desai studied drama in his native India and at

Akerlind has designed over 550 productions at

theatre rather than passively practice their partic-

Britain’s revered Royal Academy of Dramatic Art.

theatre, opera and dance companies across the

ular craft, so it is not surprising that many of the

Settling in Long Beach, Desai established the Long

country and around the world.

actors, playwrights, directors, designers, stage

Beach Summer Repertory in the 1960s, which he

managers and scholars who have passed through

ran for 24 years, and then, in 1985, International

Recent work includes the Broadway productions

the School of Theatre have gone on to become

City Theatre. Honored in 2000 with a special

of 110 In the Shade (Tony nomination), Talk

producers or have established or run theatres.

award for “sustained excellence” from the Los

Radio, Well, Awake and Sing! (Tony nomination),

Among them are the artistic directors, and in

Angeles Drama Critics Circle, ICT, which presents

Rabbit Hole, The Tale of the Allergist’s Wife and

(continued on page 4)

(continued on page 2)

A MESSAGE FROM THE DEAN

A SCHOOL OF IMPACT

S C H O O L O F T H E AT R E BOARD OF COUNCILORS

Dean Madeline Puzo

I can get so occupied with the day-to-day workings and future plans of the School that I sometimes forget what an enormous impact the School of Theatre is having, and has long had, on American theatre and the performing arts. From its very beginning in 1945, the dramatic arts program here at USC has been among

Lisa Barkett Terry Berenson (Chair, USC School of Theatre Parents Council) LeVar Burton Tim Curry Charles Dillingham Michele Dedeaux Engemann (Founding Chair) Robert Greenblatt Susan A. Grode Paula Holt Sheila Lipinsky Martin Massman Madeline Puzo Madeline Ramer Andy Tennant Joe Tremaine Richard Weinberg (Chair)

the very best, quietly and consistently training artists who have been crucial to the vitality of theatre, film and television. Some have become very famous, such as last year’s much-honored actors Oscar-winner Forest Whitaker and Kyra Sedgwick (who won a Golden Globe), but the larger world of show business is full of actors, directors, playwrights, designers, stage managers and producers who are School of Theatre alumni.

Akerlind (continued from cover)

The Light in the Piazza (Tony, Drama Desk, I note this in part because the current Callboard has several fascinating examples of the ongoing impact of

Outer Critics Circle Awards), Rinde Eckert’s

the School. An article profiles four School of Theatre alumni who are not only working directors but the

Orpheus X at the Edinburgh Festival, the world

artistic directors (and in some cases the founders) of four of our region’s most important theatres, theatres

premiere of Phillip Glass’ Appomattox for San

whose influence extends well beyond Southern California. It isn’t widely known that these daring and productive artists received theatre degrees from USC, but given the School’s history and reputation, it is also not surprising that our alumni are so crucial to Southern California’s theatre culture. One finds their entrepreneurial spirit, the willingness to lead and create, among our more recent graduates as well. Looking through the Marquee section of the newsletter, which is full of news of our alumni, I note that they are not only making their way in business but starting their own ensembles and even using their theatre training to explore the dramatic possibilities of the Internet.

Francisco Opera, Anne Bogart’s productions of Score, Room, and A Midsummer Night’s Dream, Robert Woodruff’s productions of Oedipus, Olly’s Prison and Britannicus, Martha Clarke’s productions of Belle Epoch, Kaos, and her revival of The Garden of Earthly Delights, Cymbeline at the Royal Shakespeare Company, and a site-specific outdoor production of The Mystery Plays in Orvieto, Italy.

And it isn’t only our alumni who are advancing the art of theatre and drama. One of the key strengths of the School is that our faculty are working artists as well as master teachers, something that the article

His extensive credits in opera include produc-

on the minor in Applied Theatre Arts makes apparent. An innovative method of using theatre for therapy

tions at the Boston Lyric, Dallas, Glimmerglass,

and education, the Applied Theatre Arts program was developed by longtime School of Theatre Senior

Hamburg, Houston, Metropolitan, Minnesota,

Lecturer Brent Blair who has utilized and taught his increasingly popular techniques throughout the world.

New York City, Nissei, San Francisco, Santa Fe, and Seattle Operas and over 40 productions

Every great school has its own distinct personality, a philosophy and vision that become a tradition that attracts not only the best students but a specific kind of student. I certainly have always felt that is true of our School. In my work as Dean, I’ve consciously tried to build upon the School’s tradition with the goal of making the School even more than what it has always been. The simple truth is that the School of Theatre has always been excellent but that these days more and more people are aware of it. We have a great past and with the help and support of you, and all who have been or are currently part of the School, the future will be even better.

for Opera Theater of Saint Louis where he was Resident Lighting Designer for 12 years.

He is the recipient of an Obie Award for Sustained Excellence in Lighting Design, the Michael Merritt Award for Design and Collaboration, and numerous nominations for the Bay Area Critics, Drama Desk, Hewes, Joseph Jefferson, Kevin Kline, Lucile Lortel, NAACP, Outer Critics Circle and Tony Awards.

In 1996, along with set and costume designer Anita Stewart, he was appointed co-Artistic

Madeline Puzo

Director of Portland Stage Company in the

Dean

state of Maine, a post he held for three years.

A graduate of Boston University and the Yale School of Drama, he was Head of Lighting Design and Director of the Design & Production Programs at the CalArts School of Theater and has guest taught at New York University, the University of Connecticut, the Broadway Lighting Master Classes and at Yale.

2

own principles and values agree with or, more interestingly, contradict those of the world in which they live. Therein, after all, lies a tension, a seed of conflict, and the motive for action; a confluence of factors that mirrors the acting process itself. I once had the great fortune to have lunch with a Spanish neuroscientist who had, in his youth, been a relatively successful actor in his homeland. (He wanted to conduct experiments with nodes attached to actor’s foreheads to trace flashpoints in the brain and compare imaginary to authentic neurological activity. But that’s another story.) I asked him what method he had followed, as an actor, in the creation of his characters, and he replied – ‘That’s simple. I deduce the values that the character holds, and then I know what he does and why he does it.’

This, over a bread roll and a salad nicoise, was my Damascan moment. Thanks to my neurologist’s uncomplicated response, I suddenly understood that self-knowledge is more than emotional honesty, or physical agility, or vocal freedom; that playing action is more than understanding objectives and executing tactics.

The foundation of who we are and why we want others to change is planted in the earth of our values. And so it is values – which we might describe as the beliefs that we would die for – which underpin our relationship with the world, (Clockwise from top left) Senior BFA Acting students Mike McLean, Sarah White-Stern, Chris Downey and Catherine Farrington perform in Bridel’s Free Play class, where the actors are encouraged to create their own work.

which bring us out of ourselves and into communication and conflict with others; and so it follows that values are the true subject of character, fictional or otherwise. I propose that it is our job,

Where Do We Go From Here?

By David Bridel

our mandate, to draw from our students, as the raw materials of their real and imaginary personae, the value systems upon which their points of view – and thus their desires – and

(Excerpts from a speech given at the

I’m also certain that we need to address this matter

thus their actions – are based. And most impor-

Second National Congress of Acting Teachers,

at length. But though a necessary conversation,

tantly, through the prism of theatre, we are to

The Actors Center, NY, June 16 & 17, 2007.)

it occurs to me that we may find it a depressing

encourage them to practice the debate between

one. With Reality TV in the ascendant, celebrity

belief systems that exemplifies the dialogue our

In addressing the question “What does the

mania continuing to run rampant, and the

world so sorely needs.

future hold for actor-training in the U.S.?,”

pernicious influence of mammon corrupting

I initially thought to begin with the matter of

everything from casting to theatre programming

For if values are the tectonic plates of our

adaptation – how we, as acting teachers, might

around the country, the industry we aim to

cultures, defined by their vast edges, edges that

stay ahead of, or at least in touch with, the

serve appears to be making an ever-dwindling

move with inexorable force against one another,

cultural curve as it affects our industry. The

investment in the craft of acting. Thus, on

then the theatre – as befits the great humanities

business of acting is changing with great rapidity.

consideration, I posit that a genuine dialogue

– offers us the chance to rehearse and prepare

Today’s drama-school graduates are as likely to

concerning the future of actor-training must

for the necessary earthquakes and volcanoes,

be making YouTube videos as they are to pick up

address what takes place within our programs,

reminding us of previous conflagrations, warning

under-5’s on a soap, as likely to voice video-game

not to be distracted by the dizzying landscape

us of future ones. The theatre is our laboratory,

characters as they are to join a fringe theatre

without that awaits our intrepid graduating

our petrie dish; it conducts experiments in the

company. I recently had the chastening experience

actors. I will take the liberty of leaving the

clashes of values and civilizations, and yet, para-

of directing a graduating student as Eddie Carbone

industry to its own devices – for the time being...

doxically, it confirms our commonality at one and the same time, making scientists of us all. The

in ‘A View from the Bridge’ in his last conservatory project – a role that he performed with great

I believe that an education brings about a reck-

stage offers a vital juxtaposition of antagonism

sincerity – only to learn three weeks later that

oning: ask the student to admit to who they

and co-operation, a yes and a no together. It

he’d been cast as one of Fox TV’s “Five Most

are, for a specific purpose – that they become

promotes characters that do things we would

Eligible Bachelors in America.” From Arthur

better prepared for what it is they might do.

never do, but at the same time it requires an

Miller to Reality TV – some startling new career

Know thyself, yes – but know thyself in order

act of collective make-believe in order to help

paths are in the making. Yes, I’m certain that the

to stop thinking about thyself; to turn thy gaze

them do it. Without us, Othello cannot murder

entertainment industry is evolving more quickly

away from thy navel and out into the world.

Desdemona. We may not admire, respect, agree

than we, in our ivory towers, care to admit; and

Education helps students to reveal where their

with or condone his deed, but we do advance his (continued on page 7)

3

SOT Alums (continued from cover)

famous for its new play development program

by any standards

and no other theatre over the last 25 years has been a more fertile or successful incubator of

America’s regional

new plays and playwrights. Donald Margulies

productions

theatre move-

(Sight Unseen), Richard Greenberg (Three Days

annually and

ment. In 1964,

of Rain), David Henry Hwang (Golden Child)

operates seven

Emmes and col-

and Margaret Edson (Wit) are just a few of the

league Martin

major playwrights developed and/or championed

Benson hatched

by South Coast Rep. Even with the massive labor

the seemingly

of building and running one of America’s largest

unpromising

theatres as its Producing Director, Emmes – or

project of creating

Dr. Emmes, for he received his Ph.D in Theatre

and community programs, is now regarded as one of the

Photo by Mark Jordan

one of the stars of five full

educational

Shashin Desai

David Emmes is

David Emmes

preeminent the-

a major theatre institution in fast-growing but

in 1973 from USC – remains an active director

atres in Southern

culturally very underdeveloped Orange County,

responsible for many acclaimed premieres of

California.

California. South Coast Repertory, which began

new American and British dramas.

as a traveling theatre doing Moliere’s Tartuffe Desai is also the award-winning director of

and operating out of a 1960 Studebaker station

While Shashin Desai and David Emmes founded

over 160 classics, modern works and musicals.

wagon, now does some 14 full productions every

their theatres, Tim Dang faced the somewhat

His most recent production, and the opening

season in the stunning three-stage Folina Theatre

different challenge of succeeding a legendary

production of ICT’s current season, was the world

Center in Costa Mesa. SCR is not only the major

founding artistic director: the revered actor

premiere of Calling Aphrodite, a play by fellow

theatre in Orange County but a Tony Award-

Mako who, in 1965, established East West

alum and Director of the School of Theatre’s MFA

winning powerhouse recognized as one of the

Players, America’s first Asian-American theatre

in Dramatic Writing Program, Velina Hasu Houston.

nation’s preeminent theatre institutions. SCR is

company. After switching his undergraduate

A LOOK AHEAD TO OUR SPRING PRODUCTIONS The Love of the Nightingale

2008

Blueprints: The MFA in Dramatic Writing Playwrights Workshop

By Timberlake Wertenbaker Directed by Abigail Desser Bing Theatre February 21 – 24, 2008 Based on the ancient Greek myth of Philomele and Procne, The Love of the Nightingale is an explosive drama about the power of words and the ultimate price of using violence to enforce silence.

Massman Theatre April 11 – 27, 2008 Presented over three successive weekends, this workshop features the exciting and diverse new works by School of Theatre secondyear MFA in Dramatic Writing students: Forrest Hartl, Julie Oni and Alexis Robian.

Compleat Female Stage Beauty

BFA Sophomore Show

By Jeffrey Hatcher Directed by Stephanie Shroyer Scene Dock Theatre March 6 – 9, 2008 In 1661, the most famous portrayer of female roles on the London stage was not a woman, but a man, applauded onstage and off for his interpretations of Shakespeare’s tragic ladies – Ophelia, Cleopatra and, especially, Desdemona.

Directed by Lora Zane Scene Dock Theatre April 24 – 27, 2008 An annual tradition, a play will be announced this spring that will spotlight the talents of the Bachelor of Fine Arts sophomore class.

SPRING DANCE CONCERT

Footprints: Dance and Architecture

Carousel

Directed by Margo Apostolos Bing Theatre May 1 – 2, 2008 A multimedia concert that features the dancers and choreographers interpretations of some of the world’s greatest architectural sites.

Music by Richard Rodgers; Book and Lyrics by Oscar Hammerstein II Based on Ferenc Molnar’s play Liliom, as adapted by Benjamin F. Glaser Bing Theatre April 3 – 13, 2008 One of the finest musicals ever written, Carousel is a story of love, loss and redemption with a musical score full of classic Rodgers & Hammerstein songs, including If I Loved You, You’ll Never Walk Alone, What’s the Use Of Wond’rin’ and June Is Bustin’ Out All Over.

Under Construction: The Master of Fine Arts Play Project Scene Dock Theatre May 27 – 31, 2008 A festival of plays by the three graduating playwrights of the MFA in Dramatic Writing program: Donald Jolly, Brian Jones and Mayank Keshaviah. The readings, which will each have two public performances, will be presented concert style with professional actors and directors.

Book of Days

By Lanford Wilson Directed by Paul Backer Scene Dock Theatre April 5 – 8, 2008 When murder roars through a small Missouri town, a woman begins her own quest to find truth and honesty amid small-town jealousies, religion, greed and lies.

2008

For more information or to purchase tickets, please visit http://usc.edu/spectrum or call (213) 740-2167.

4

major from math

try’s most active Asian-American play development

Drama Critics

to theatre – and

program. As a director, Dang is especially cele-

Circle Awards,

earning a BFA in

brated for his revivals, featuring Asian-American

including

1980 – Dang

casts of major musicals.

Outstanding

became an actor

Tim Dang

Direction) and

and EWP became

Anyone who follows the most daring shows

Hard Times. He is

his artistic home.

being done at L.A.’s smaller cutting-edge the-

a double Ovation

He eventually

atres has most likely seen or heard about the

Award winner

moved to direct-

award-winning work of director and School

(as director and

ing and was so

of Theatre alum, Michael Michetti (BFA, 1980).

co-producer) for

successful that he

Currently co-artistic director at the celebrated

was chosen to be

The Theatre @ Boston Court in Pasadena, Michetti

Michael Michetti

his production of A Midsummer

the company’s new Artistic Director. Under Dang’s

has developed a reputation for provocative and

Night’s Dream, set in British Colonized India, and

stewardship, EWP, which had long worked as an

imaginative productions of new plays, classics,

won another L.A. Drama Critics Circle Award for

Equity waiver company in a 99-seat house, moved

musicals, and operas. Among Michetti’s many

his direction of Pera Palas. Prolific and creative,

into Little Tokyo’s historic Union Center for the

acclaimed productions are a Romeo and Juliet

Michetti is one of the indispensable figures in

Arts where it produces a full season of shows in

set in antebellum New Orleans; a revival of the

L.A. theatre.

a new 240-seat theatre and operates extensive

musical, Anyone Can Whistle, which he altered

education and artist development programs. Dang

with the blessing of its authors, Stephen Sondheim

Desai, Emmes, Dang and Michetti each exemplify

passionately believes that nurturing new talent

and Arthur Laurents; the world premiere of Tom

an entrepreneurial, theatre-making spirit that

is integral to EWP’s mandate to “give voice to

Jacobson’s Ouroboros; and his own intensely

has always been an element of USC’s drama

the Asian Pacific American experience” and EWP’s

theatrical stage adaptations of the classic novels

programs and is certainly integral to the School

David Henry Hwang Writers Institute is the coun-

The Picture of Dorian Gray (winner of two L.A.

of Theatre today.

Internship Program Grows with Zucker Productions Partnership

T

hanks to the help of Pat and Michael Peyser, parents of Natalie Peyser ‘10, the School of Theatre has forged a new partnership with Zucker Productions, an independent production studio located

(L. to R.) Amanda Carrozza and Erica Sardi.

in Santa Monica, CA, that offers internships to our students.

Zucker Productions, co-headed by Janet and Jerry Zucker, have

their upcoming projects, which I’m really excited about. It’s amazing to

produced the movies My Best Friend’s Wedding, A Walk in the Clouds,

feel like I’m part of something big.”

Rat Race and First Knight, in addition to others.

Sean Gesell, Director of Development at Zucker Productions interviewed This new partnership is a great addition to the established internship agree-

and hired Erica and Amanda for the internships. When asked about the

ment the School has forged with Center Theatre Group, Los Angeles’ largest

joint venture, Gesell said, “Zucker Productions is excited about the develop-

theatrical organization that operates the Mark Taper, the Ahmanson Theatre

ing partnership with the USC School of Theatre. Here at Zucker Productions,

and the Kirk Douglas Theatre. Students and administrators alike are pleased

our interns play an integral part in the development and production of

that the School is expanding its internship program to include opportunities in

our projects, assisting in production and casting research, contributing

the film and television industries. And of course, the students involved in the

opinions, reading and evaluating potential incoming projects. The students

new venture are thrilled that they receive academic credit for the experience.

at USC have the reputation of being intelligent and resourceful and the interns we’ve hired thus far have lived up to those expectations.”

This semester, two students – Erica Sardi ‘09 and Amanda Carrozza ‘11 – are serving as Production and Development interns at Zucker Productions. When asked about her experience, Erica said, “My experience has been great. It’s

If you have an industry contact or internship opportunity for School

such an amazing opportunity. My duties include everything from reading

of Theatre students, please contact Visiting Artist and Internship

scripts to doing project research to running errands.” Amanda echoed

Coordinator Louise Bale at bale@usc.edu or call (213) 821-2519.

Erica’s sentiments saying, “I’m in the process of reading screenplays for

5

Applied Theatre Arts Equal Parts Theatre, Education and Therapy The techniques taught in the School of Theatre’s Applied Theatre Arts minor empower people to actively engage with the forces – social, political, psychological, personal or intellectual – that shape, and often limit, their lives.

Because ATA is applied to different fields, it requires a knowledge of those fields: pedagogy, psychology, sociology, political science, cultural studies, etc. ATA is fundamentally interdisciplinary and Blair’s students spend as much time on acquiring the necessary intellectual foundation as they do on ATA techniques. In Theatre in Education, students study traditional theories of education as well as contemporary critical pedagogy. Theatre and Therapy covers the major psychotherapeutic theories and methods. Students in Theatre in the Community are exposed to a variety of cultural and political theory to free them from assumptions about different cultures. “We don’t want to go into someone else’s community pretending to be experts,” observes Blair.

Senior Lecturer Brent Blair leads an improv workshop for a Theatre and Therapy class at Manual Arts High School.

A

lthough theatre has been used

replayed but can take over the role of the

for social activism, education and

wronged laborer (the play’s “protagonist”)

therapy, rarely have the methods

and demonstrate how the laborer could

been as rigorous as those of Applied

solve his problem. Of course, the other players

Theatre Arts (or ATA), a field

remain in character and may not be persuaded

Once they have an intellectual grounding, students learn ATA techniques, such as devising scenes that present an issue in a clear protagonist/antagonist format, helping non-actors be effective performers and “Image Theatre,” in which body position and tableaux are used to portray experiences and relationships.

And all of Blair’s ATA students must do field work applying ATA in a local school, clinic, shelter, therapeutic facility or a community group.

technique developed by School of Theatre

by the new tactics but what is important is

Senior Lecturer Brent Blair to enable groups to

that the group actively engages with the issue

explore specific issues through the creation and

and not only discusses it but actively rehearses

performance of interactive plays. Inspired by the

possibilities for change. They have been

revolutionary work of Brazilian director Augusto

transformed from passive spectators into

The program, completely contained within the

Boal, Blair has spent two decades developing

“spect-actors.”

School of Theatre, encompasses ATA’s broader applications and Blair hopes that the minor will

and teaching ATA in universities, hospitals, jails, shelters and community centers around the

Although Blair, who sometimes refers to his

attract students from diverse majors, such as

world and seen it used by groups as diverse

work as “liberation arts,” initially developed

Political Science, Psychology and Anthropology.

as the inmates at Australia’s Borallon Maximum

ATA as a way to empower and help marginalized

“What we do is sometimes called ‘cultural field

Security Prison and teachers working with

or oppressed communities, he has also applied

work,’” Blair observes. “I think ATA techniques

genocide survivors in Rwanda.

it extensively to education and mental health.

can be very useful for any discipline or field that

In the classroom, ATA allows students to creative-

needs to explore and understand other cultures

At its most basic, ATA involves a specific group

ly engage with a subject. And ATA techniques

or communities.”

co-writing a simple play that portrays a concern

can be as therapeutic for troubled individuals

or problem common to the group. For example,

as for troubled communities, regardless of

Interest in Applied Theatre Arts has grown great-

a group of day laborers might create a play in

whether the individual’s problem is external

ly in recent years as more and more professionals

which a laborer does a job but is then denied his

circumstances or an internalized attitude.

devoted to enabling social or personal change

pay. The play does not resolve the dilemma; it

Blair’s classes on these uses of ATA, Theatre in

have discovered the potential uses of theatrical

simply presents it. Then the play is performed for

Education, Theatre and Therapy and Theatre

techniques in this work. The ATA minor at USC

the group. It is here that ATA most departs from

in the Community, form the core of the new

is a mark, not only of how far and how quickly

conventional theatre practice: anyone in the

five-course ATA minor, which also requires

Applied Theatre Arts has evolved, but of the

audience can not only ask for a scene to be

classes in directing and acting.

discipline’s bright future.

6

Where Do We Go From Here?

F O C U S O N F A C U LT Y

(continued from page 3)

Charlotte Cornwell

grisly ends (and her grisly end) through the willing faculty of our imaginations. Great theatre

A Senior Lecturer teaching acting, Charlotte Cornwell’s distin-

implicates us in every last zealotry, makes empa-

guished 30-year career began when she trained at the Webber

thetic the worst of convictions. When we leave

Douglas Academy of Dramatic Art in London. She made her

the auditorium, our own values are sharper in

professional debut with three seasons at the Bristol Old Vic

consequence, they have been cut on the edges

Company, playing a broad range of roles from Kate Hotspur in

of a collision; and yet our tolerance for the other

Shakespeare’s Henry IV to Becky in Sam Shepherd’s Tooth of

is that much deeper too, for we have seen into

Crime. Her first major TV series, the influential “Rock Follies,”

the heart of the enemy. There is nothing more

in which she starred, won the BAFTA award for Best Drama Series. She spent three years as a leading member of the Royal Shakespeare Company and has been a leading actress with the Royal National Theatre since 1984. She has worked extensively

important for a culture to do than test its capacity for compassion like this, and there is no better place to do it than in a room with other people.

So perhaps there is one basic question we must

both in the West End and on the Fringe, and has appeared in

ask ourselves, as a matter of principle, and as

the U.S. in several productions, including Richard III at Royce

a premise for all other questions to follow: how

Hall and An Enemy of the People at the Ahmanson Theatre, both opposite Sir Ian McKellen;

can we bring the student into contact with the

Athol Fugard’s The Road To Mecca; and as Maria Callas in Terrence McNally’s Master Class. She

value system that is the foundation of his or

has starred opposite an extensive list of respected actors, including Anthony Hopkins, Tim Curry,

her own world? To accomplish this magnificently

Bob Hoskins, Val Kilmer, Kate Nelligan, Pete Postlethwaite, Joanna Lumley, Joseph Fiennes, John

difficult task, I believe that we must ask our

Hurt, Charles Dance, Daniel Day-Lewis and Helen Mirren. She has worked with noted stage and

students to create their own work.

film directors, including John Carpenter, Trevor Nunn, Phillip Noyce, Clint Eastwood and Harold Pinter. Her film credits include White Hunter, Black Heart, The Krays, The Russia House and Ghosts of Mars. Her U.S. television credits include “The West Wing,” “The Practice,” “The Agency,” “Family Affair” and “Gideon’s Crossing.” Most recently, she appeared as Mrs. Lintott in the West Coast premiere of the Tony Award-winning Best Play, The History Boys, at the Ahmanson Theatre.

Have you ever noticed that people who grow their own vegetables are invariably splendid cooks? So it is that the best actors, or the besttrained actors, must continually be asked to plant, and then water, and then grow, by which I mean create, their own stories. Only by demanding acts of personal creativity from our students can we truly bring them face to face with themselves, make them responsible for who they are and

Don Llewellyn

what they might do; promote a sense of them-

As an Associate Professor and Director of Scenic Design for

selves as artists, as agents of change, as masters

the School of Theatre, Don Llewellyn develops curricula for

of their own destiny, and eventually as inheritors

the BFA and MFA design programs. As a faculty member since 1982, Don has designed dozens of shows for the School, including last season’s production of The Threepenny Opera at

of the tradition of theatre, bringing people into the same room at the same time to debate the past as they dream up the future.

the Bing Theatre. He received a BS in Biology from SUNY and his MFA in Theatre from Tulane University. He has worked extensively in the professional arena as well, creating scenic designs for International City Theatre in Long Beach (Charley’s Aunt, Judgment at Nuremberg, Tea, Once On This Island, My Boy Jack, Awake and Sing!, A Christmas Carol, Raisin, and Master Harold…and the boys. He has designed sets for other local regional theatres as well, including Things We Do For Love and the premiere of Three Travelers at the Odyssey Theatre Ensemble; The Misanthrope at A Noise Within; Diablogues at the Tiffany Theatre; Romeo and Juliet and The Taming of the Shrew at the Kingsman Shakespeare Festival; and Perchance to Dream at the Open Fist Theatre Company.

For his work in theatre, he has been honored with an Ovation Award, two Los Angeles Drama Critics Circle Awards, a Beverly Hills/Hollywood NAACP Theatre Award, four Drama-Logue Awards, two Backstage West Garland Awards and a 20th Anniversary Award for outstanding contribution to International City Theatre. His professional associations have included the United Scenic Arts of America, Local 350; the American Theatre Association; Illinois Theatre Association; and the International Alliance of Theatrical and Stage Employees (IATSE), Local M-482.

(Above) David Bridel, a stage director, choreographer, playwright and master teacher of acting, is a School of Theatre Lecturer and Head of Movement for the MFA in Acting program.

7

MARQUEE Summer of Tears, a sketch-based comedy troupe comprised of USC alums Kirstin Eggers (BFA Acting, 2001), Jamieson Fry (BA Cinema, 2004), Will Greenberg (BFA Acting, 2002), Rob Kerkovich (BA Theatre, 2001), Nick Massouh (BFA Acting, 2001) and Todd Waldman (BA Broadcast Journalism, 2001), won the award for Best Sketch at the U.S. Comedy Arts Festival held in Aspen, Colorado, earlier this year. The alums first met on campus when they all starred in the improv comedy troupe Commedus Interruptus.

The VH1 series “I Hate My 30s” could hold its own SOT reunion as it features five alumnae: David Fickas (BFA, 1996), who also co-created, co-wrote and co-directed the series; Ric Barbera (BFA, 1995); Jill Ritchie (BA, 1996); Mark Kelly (BFA, 1995) and Rachel Lawrence (BA, 1999).

Patrick J. Adams’ (BFA, 2004) production of Marat/Sade, presented at the Sacred Fools Theater Company in Hollywood, was named Production of the Year at the 28th Annual L.A. Weekly Theater Awards held this past April 2007.

Robert Baker (BFA, 2002) has a featured role in the George Clooney-directed romantic comedy Leatherheads, set in the world of 1920s football. He also appears in Alan Ball’s Nothing Is Private and the drama Save Me. Todd Black (BFA, 1982) is one of Hollywood’s most prolific producer’s, having produced A Knight’s Tale, Antwone Fisher, which won him a PGA Golden Laurel Award, Alex & Emma, S.W.A.T., The Weatherman and The Pursuit of Happyness, which starred Will Smith in his Oscar-nominated role. His latest film project is The Great Debaters, starring Academy Award winners Denzel Washington (who also directs) and SOT alum Forest Whitaker (1982).

Sophia Bush (2003) was the biggest competitive individual-category winner at the seventh annual Teen Choice Awards winning three awards: Choice Movie Breakout: Female; Choice Movie Actress Horror/Thriller: for The Hitcher; and Choice Movie Actress Comedy: for John Tucker Must Die. Caroline Choi (BA, 2004) recently co-starred in a episode of NBC’s long running hit, “E.R.” Erin Carufel (BA, 2000) has a featured role in the Gregory Hoblit-directed film Untraceable, starring Diane Lane and Colin Hanks. She appeared last season on the television series “Scrubs,” “CSI: Miami” and “Without A Trace.”

Megan Densmore (BFA, 2005) performed her stand-up comedy routines in September at the Aura Nightclub in Studio City and at the NoHo Arts Center.

Tate Donovan (BFA, 1985) stars in the new FX series “Damages.”

Zsa Zsa Gershick (MFA, 2005) recently won a GLADD Media Award for Outstanding L.A. Theatre for her play, Bluebonnet Court. The play was also awarded two NAACP Theatre Awards for theatrical excellence, as well as three L.A. Weekly and L.A. Stage Alliance nominations. Bluebonnet Court can be seen March 20 – April 13, 2008, at San Diego’s award-winning Diversionary Theatre. (www.diversionary.org.)

Ben Giroux (BA, 2007) guest-starred on the USA Network comedy “Psych.” He also produced and starred in Invasion! The Musical presented at the Hudson Backstage Theatre.

Laura Howard (BA, 2006) recently starred in Michael Eisner’s web-series “Prom Queen.” The show was nominated for an Emmy and a second season is currently in development.

David Hilton (BFA, 2005) has been named field project coordinator for ETC (Electronic Theatre Controls), one of the world’s largest theatrical lighting manufacturers.

Nikki Hyde (BA, 2006) has received a stage management fellowship at the Oregon Shakespeare Festival for next spring. She recently staged managed a new play, Butterflies of Uganda, at the Greenway Court Theatre in West Hollywood.

Swoosie Kurtz (1968) stars in the new ABC series “Pushing Daisies,” a hybrid dramatic/romantic-comedy about a man who can reverse death.

Alma Martinez (MFA Acting, 1994) was reappointed to the Board of Trustees of the National Theater Conference, an organization founded in 1932 to bring together theater professionals and scholars. She was also invited to serve on the Board of Directors of Trustees of the Claremont Museum of Arts. She performed a supporting role in the feature film Crossing Over, starring Harrison Ford and Sean Penn, written and directed by Wayne Kramer and produced by The Weinstein Company, and had a guest star role in last season’s closing episode of the CBS television dramatic series “The Unit,” Executive Producer David Mamet.

We’d like to hear from you, keep you informed and share your news in an upcoming issue of Callboard.

Please mail this completed form to: USC School of Theatre, Attn: Tony Sherwood, Childs Way, DRC 104, Los Angeles, CA 90089-0791, or fax to (213) 821-4051.

Full name Telephone (

Degree/year

)

Home address City/state/zip

Company address Company city/state/zip Telephone (

Los Angeles, CA 90089-0791

Callboard is published three times a year by the USC School of Theatre for alumni, parents, students and friends of the school.

Design IE Design + Communications

Company name

)

Fax (

)

I’ve attached my news on a separate sheet of paper.

Kelly Preston (1981) recently starred with Kevin Bacon in James Wan’s thriller Death Sentence.

Joni Ravenna (BFA, 1984) produced “Donovan in Concert: Live in L.A.,” starring the iconic singer/songwriter from the ‘70s performing his greatest hits to a SRO crowd at the Kodak Theatre in Hollywood, which was seen nationally on PBS television. Additionally, she completed a play commissioned by the Black Rock Center for the Arts to teach math through music to elementary students. Her production company, Raven Productions, purchased a broadcast television license and now owns the PBS affiliate Channel 9 in the Coachella Valley.

Cari Smulyan (BA, 2002) is one of the producers of the hit Broadway musical Xanadu.

Mageina Tovah (BA, 1999) appeared in the summer blockbuster Spiderman 3 and Live! a film with Eva Mendes. She has guest-starred on many television series and had a recurring role on CBS’ “Joan of Arcadia.”

Bree Michael Warner (BA, 1998) most recently gueststarred on the series “American Heiress” and Nickelodeon’s “iCarly.” She can currently be seen in several commercials and is slated to begin shooting the feature film Terminal Trap with John Schneider later this fall.

Michael T. Weiss (BFA, 1984), after appearing on stage at Boston’s Huntington Theater Company in their productions of Burn This in 2004 and Les Liaisons Dangereuses in 2006, made his off-Broadway debut this past summer in the Atlantic Theatre Company’s production of Scarcity.

Non-Profit Organization U.S. Postage

School of Theatre

Assistant Dean, Communications Tony Sherwood

Check here if this is a new address

Joy Nash (BA, 2003) created a YouTube sensation with her video “A Fat Rant,” daring overweight women to stop obsessing about how they should look and start feeling good about the way they are. Developed as a monologue for a class, the video has been watched by more than 700,000 people, inspiring more that 690 pages of debate in its comment section, one of the largest tallies in the history of YouTube’s popular entertainment category.

University of Southern California

Dean Madeline Puzo

E-mail address

Meghan Beals McCarthy (BA, 1995) left her Artistic Associate position at the Pearl Theatre Company in New York City to earn her MFA in Directing at DePaul University in Chicago. For the past three summers, she worked in New Play Development at Steppenwolf Theatre. She is now the Literary Manager & Resident Dramaturg at Northlight Theatre in Chicago.

ADDRESS SERVICE REQUESTED

PAID University of Southern California