Callboard Spring 2007

PAGE 3 Walking Through Fire [Telling Stories and Not Getting Burned] by Luis Alfaro

PAGE 6 The MFA Dramatic Writing Play Project

PAGE 7 A Galaxy of Stars Shine on Galileo

Photos: © “HFPA” and “64th Golden Globe Awards.”

SPRING 2007

Life Imitated Art For Successful Actor Turned Businessman Fess Parker When he was studying for his master’s degree in theatre history from the USC School of Theatre in 1951, Fess Parker never dreamed that he would become known to millions of fans in the 1950s and ’60s as two of television’s most popular coonskin cap-wearing frontiersmen, first as Davy Crockett, and then later, as Daniel Boone.

A

nd, as it turned out, life imitated art when by the end of the 1970s, he pulled the plug on an acting career that was never fully satisfying and found entrepreneurial success on another

Forest Whitaker

Kyra Sedgwick

School of Theatre Alums Capture Gold at the Golden Globes

western frontier of sorts, Santa Barbara County.

Today, he’s a prominent land developer with such successful ventures as Fess Parker’s DoubleTree Resort sitting on 23.5 choice oceanfront acres, Fess Parker’s Winery & Vineyard and Fess Parker’s

Fess Parker at his vineyard in the Santa Ynez valley.

S

chool of Theatre alums Forest Whitaker (1982) and Kyra Sedgwick (1988) pose backstage in the press room after winning for Best Performance by an Actor

in a Leading role for his performance as

Wine Country Inn & Spa, all proof of his advenNew Talent people at MGM, 20th Century Fox

Ugandan dictator Idi Amin Dada in “The

and Paramount. And I got zero, zero, zero

Last King of Scotland” and for Actress in a

After serving in the Marines at the end of

response,” he laughs. “I guess they weren’t taking

Leading Role – Drama Series for her work

World War II, Parker graduated from the

any people with funny accents, no experience

as Deputy Police Chief Brenda Johnson on

University of Texas in 1950 with a degree in

and a chipped front tooth.” So, with a year left

the TNT series “The Closer,” during the 64th

history, which also included two years of law

on his GI Bill, Parker enrolled at USC.

Annual Golden Globe Awards at the Beverly

turesome spirit.

Hilton in Beverly Hills, CA on Monday, January

studies and classes in Russian.

“I think I had a primary interest in the history of

15, 2007. Whitaker has swept the awards

At the University of Texas he had a chance,

the theatre, which presented many centuries of

this season, including the Academy Award

but fortuitous meeting, with actor Adolph

drama reflecting life and afterlife, power, romance

for Best Actor, as well as Best Actor awards

Menjou, who saw potential in the handsome

and revenge. All of those things were interesting

from the Screen Actors Guild, the Boston

6’6” student and promised to put him in touch

in historical settings. It gave a certain validity to a

Society of Film Critics, the Chicago Film

with his agent after Parker graduated.

career in entertainment, something that too many

Critics Circle, the L.A. Film Critics Association,

actors have been told is not a substantial pursuit.

the National Society of Film Critics, the

“But the net of it was that this guy from the

Too often family and friends feel that the son or

National Board of Review and the New York

William Morris Agency took me over to the

daughter is involved in a trivial pursuit.”

Film Critics Society.

(continued on page 5)

A MESSAGE FROM THE DEAN

School of Theatre Board of Councilors

CREATING A COMMUNITY

Dean Madeline Puzo

“What extraordinary people.” Such was my first reaction to this edition of Callboard and its articles about School of Theatre faculty, alumni, students and our Board of Councilors. My second thought was, “What an extraordinary community.” But, of course, the two – the individuals and the community – are not only

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 School of Theatre would like to recognize the newest members of the Board of Councilors: Lisa Barkett A USC alum,

inextricably connected, they depend upon and create one another.

Lisa holds a law degree from This is, in part, the nature of the performing arts: it takes a community (or, if you will, a village) to make

Pepperdine University. She

theatre. It may just be possible for an individual to prepare a performance alone. But for it to be truly

currently serves as VicePresident and Board member

a “performance” an audience is necessary. Theatre essentially remains the work of a community for a community. In the ancient Greek city-states which gave birth to drama, all the citizens of the city participated in or attended the yearly contests for which the great tragedies were written. Theatre is perhaps the most collaborative, the most social, of the arts.

of Merjan Financial Corp in La Jolla, CA. A long-time supporter of theatre, Lisa has served for 12 years on the Board of the Old Globe Theatre in San Diego.

It is not at all accidental that the School of Theatre is the locus of such a vital and dynamic community

Tim Curry A multi-faceted

of bright, passionate, talented and committed people. The School has always been guided by an under-

actor with extensive credits

standing that not only theatre training but the very art itself requires a center, a meeting place, where

on stage, film and in

experienced artists and scholars can share their knowledge with talented students who will, in turn, go out

television, Tim is perhaps

into and enrich the profession and larger community. This is certainly how actor and alumnus Fess Parker

best-known for his role as Dr. Frank-N-Furter in the

(a formative figure for those of us who grew up watching his television portrayals of Davy Crockett and Daniel Boone) remembers his theatre studies. Arriving at USC in 1951, Parker felt connected to both the

cult classic The Rocky Horror Picture Show.

great history of the art of theatre and the best of the entertainment business reassuring him that his career

Tim most recently starred on Broadway

choice was a valid one.

and in the West End as King Arthur in the Tony Award-winning musical, Spamalot.

I was recently reminded of the depth and richness of the School of Theatre community at Galileo, the third

Robert Greenblatt

of four readings we are presenting as part of Visions and Voices, USC’s Arts & Humanities Initiative. Here

Bob currently serves as

was Bertolt Brecht’s great classic of modern drama, a subtle, sophisticated work with much to say about

President of Entertainment

important issues facing our university and nation, brilliantly brought to life by a superb cast featuring School

for Showtime Networks, Inc.,

of Theatre alumni. And in the audience was director and designer John Blankenchip, now in his 51st year

where he developed such

as a member of our faculty.

award-winning original series as “Dexter,” “Sleeper Cell,” “Weeds”

Creating a community is what we do at the School of Theatre – and it is a community of which you are

and “Brotherhood.” He also supervised

an essential member.

Showtime’s foray into producing for Broadway with Laugh Whore starring Mario Cantone, which received a Tony Award nomination for Best Solo Performance.

Sheila Lipinsky

Madeline Puzo

Sheila is a committed

Dean

philanthropist who supports various educational and arts organizations, including SDSU, the Old Globe, San Diego Repertory Theatre and the American Red Cross Red Rose Society.

Sheila was awarded a 2006 Monty Award as a distinguished alumna of San Diego State University.

2

I do this through writing exercises, theatre games, research, reading work and asking a lot of questions. It is the questions that become our great drama. I believe we should all have questions about our life and our community.

Things we want to know about ourselves and the world. This is the stuff of great theatre. When the artist is provoked and provoking enough to uncover a great mystery and bring it to light.

Whether I am teaching Solo Performance, a graduate playwriting workshop or youth theater, I love to create ‘environments of possibility’. A space where an artist can feel safe and free enough to explore. I think school is the ultimate laboratory.

Playwright Luis Alfaro and director Michael Garces during a rehearsal of Alfaro’s play Breakfast, Lunch and Dinner.

I want everyone to push themselves farther than they’ve ever gone to see what their limits are.

Walking Through Fire

How can you know how high you can fly if

[Telling Stories And Not Getting Burned]

But I am not in the business of making art for

By Luis Alfaro

I chose art as means of creating social change.

you’ve never reached for the sky?

I will tell you something about stories. They aren’t just entertainment. Don’t be fooled.

They are all we have, you see, all we have to fight off illness and death. You don’t have anything if you don’t have the stories. – Leslie Marmon Silko I have always had stories that I wanted to tell.

And sometimes these stories can be scary to tell because the best emotion is the one we can not

Stories about Los Angeles from a native Angeleno.

control and comes surprisingly spilling out of us.

Stories about the astounding diversity around us and the largest populations of people from out-

If we are the subject of our stories, are we not

side their native countries. Stories about why L.A.

the most complicated, emotional and interesting

is America’s city of the future. Stories about the

people in the world? I thought so.

I marched, I got arrested, I ran an AIDS hospice, I worked for a union, I even helped people put together demonstrations. As you can tell, I like artists who have questions about the world.

But can art really do that? Change people, that is.

I believe that everyone is an artist. Everyone has a great story to tell. Everyone can write a great solo show, play, poem, song, etc. But few of us can write twenty of them, because, honey child, that takes muscle! That takes commitment and perseverance and consistency and enthusiasm and

L.A. that sits at the end of the world and is home to an amazing legacy of literary tradition.

arts sake. I came to art making by way of politics.

In order to tell these stories we have to walk

focus and skill and most of all – desire. And this

through fire, jump off the cliff, go into the

is what I wish for every student that I work with.

When I think about the great West Coast literary

danger zone, etc. We don’t get to pass through

artists who came and wrote here, I see my

GO and we don’t get to skip the small stuff.

But the journey can be emotionally painful.

It can bring up memories we don’t want to

favorite writers among them. Bertolt Brecht, Joan Didion, William Faulkner, James Cain,

I believe that writing is equal parts desire and

remember. I like to think that if a story is holding

Carey McWilliams, John Fante, Nathaniel West,

skill. Passion and technique. Technical and

you hostage, it’s time to give it a voice, so that

Raymond Chandler, Christopher Isherwood,

emotional. The alchemy of our work happens

you can control it instead.

Charles Bukowski, John Rechy, Carol Muske-

in that moment when our muscle for writing

Dukes, Bernard Cooper, Wanda Coleman,

finds our heart and soul. This is hard because

Marisela Norte, Mona Simpson, Carolyn See,

you have to nurture it like a great love and

Walter Mosley, Mary Helen Ponce, Mike Davis,

feed it, well, like a great love as well.

Walking through fire can be so hard sometimes.

Every play, performance, class, article, story requires that I look deep inside of myself. Not just for the details, but for the feelings as well.

Ruben Martinez and Lynell George.

Just thinking about these writers made me salivate! And they also made me want to write.

But the stories that I wanted to tell, were not the stories that I needed to tell.

In the stories that I needed to tell, I was never quite as sexy as I wanted to be seen. I was also not as funny or suave or likable or even articu-

This is what I bring to USC. A desire to see a young person become a great artist and citizen in the same moment. To help you work on the skill and technique and to make sure your passion and desire are free and open to be able to tell the stories that will change our world.

To conjure worlds, to question my community, to feel my characters, to know all I can about a given time and place, to let my characters speak as honestly and truthfully as I possibly can.

Try it. I promise you, even if you get burned – it’s so cool on the other side.

Luis Alfaro is known for his work in poetry, theatre, fiction, performance and journalism. He is a MacArthur

late. What I was instead was – honest. And

Fellow, a current AETNA Fellow at Hartford Stage

this honesty is full of a better kind of writing

Funny, but I can’t quite bring myself to say that

that is filled with joy, pain, hope, sorrow, frustra-

I am a teacher. It feels like a teacher owns a ruler

tion, anger, laughter, exhilaration, freedom

and a compass. What I really am is a facilitator,

and most of all – drama. That is because the

a dramaturg, even a cheerleader for a student’s

production. He teaches Solo Performance and a Graduate

story I need to tell is not in my head, but in

process towards becoming the most extraordi-

Playwriting Workshop at the USC School of Theatre.

my heart. Which makes this story emotional.

nary person and artist that they can be.

3

Company in Connecticut, and a new appointee of Mayor Antonio Villaraigosa as a commissioner for the City of Los Angeles. His film Sense & Sensibilidad has just begun

Internships At Center Theatre Group Prove Invaluable For Our Students The School of Theatre encourages students to gain professional experience and academic credit through internships.

The School recently formed a partnership with Center Theatre Group, one of the nation’s leading professional theatres with a history of theatrical excellence, to offer internships for students ranging from performance opportunities to administrative aspects.

This is what some of the fall 2006 interns had

”As the intern in the Literary

to say about their experience:

Management Office of Center Theatre Group, I had the

”CTG posed a challenge for

unique opportunity to work

me that was both enriching

with the literary manager

and exciting. This internship

and literary associate at one

enabled me to work with

of the major regional theatres

professionals and view

in the country. One of the most interesting

the world of theatre from

aspects of the job was reading play submissions

a business perspective.”

and vetting them based on whether or not

— Katie Novack, Intern, Management

CTG was likely to consider them for production.

As a playwright, this experience was invaluable

”Working on 365 Plays/Days

as it taught me a great deal about the decision

was definitely a highlight of my

rules theatre companies employ in considering

experience at CTG. I was put on

plays for production.”

headset and answered to the

— Mayank Keshaviah, Intern,

Stage Manager. It was wonder-

Literary Management

ful. I took a great deal of pride in my work that day as I led

”I had a great experience

the audience around and gave the actors the

as a part of the Center

cue to walk onstage at the world premiere of

Theatre Group family this

the largest theatrical collaboration in history.”

past semester. I was exposed

— Tim Sullivan, Intern, Press

to various areas of marketing, such as distributing promo-

”Everyday that I spent at CTG,

tional materials, updating

I felt so honored and privileged

the patron database, re-vamping the website,

to be an artistic contributor

working the opening of a show, developing

to one of the most highly-

audiences, working with group sales, etc.

regarded theatre companies

I came to appreciate how events like this

in the country. Working in the

really help CTG foster a strong relationship

casting office and observing

with the Los Angeles community.”

professional auditions taught me many invalu-

— Caitie Hannon, Intern, Marketing

able things about the business that could not be learned from a textbook.”

”I could not have pictured

— Danielle Faitelson, Intern, Casting

a better way to become a part of the working environment

”I had a wonderful experience

of a major theatre, meet

at Center Theatre Group.

others working in the arts,

I immediately felt like I was

and hone my production skills

part of and contributing to

than with the Center Theatre

the work of the department.

Group. I thank the USC School of Theatre for

The learning experience was

helping to facilitate the opportunity.”

invaluable to me as a thespian

— Heather Pennington, Intern, Production

by teaching me that a successful theatre com-

The Tony Award-winning Center Theatre Group is home to the Mark Taper Forum and the Ahmanson Theatre at the Los Angeles Music Center and the new Kirk Douglas Theatre in Culver City.

pany is one that communicates constantly and

”Working as an intern at

efficiently to accomplish a common vision.”

Center Theatre Group was

— Sarah Buster, Intern, Development

both one of the most challenging experiences

”This was an amazing experi-

I’ve ever had and one of

ence, and the best part was

the most rewarding. The

that I got to interview Center

responsibilities that my

Theatre Group Artistic Director

internship entailed made me much more

Michael Ritchie!”

well-rounded, professional and competent

— Lexi Cejka-Hales,

in my abilities as a theatre practitioner.”

Intern, Finance

4

— Kate Gorman, Intern, New Play Development

Mark Morris In Motion Modern dance is increasingly evolving toward incorporating elements from other technologies to enhance the observer’s experience. In an effort to bring together USC’s strengths in engineering research as well as dance, famed director, choreographer and dancer Mark Morris presented a workshop for USC students and faculty in preparation for the USC School of Theatre’s Repertory Dance Company’s annual spring concert, Step Into Spring, where Morris’ work will be featured using a merger of motion capture technology and robotics with modern dance. Mark Morris’ visit and workshop were made possible by a grant from (Back row, center) Director of Dance Dr. Margo Apostolos and director/choreographer Mark Morris with motion-capture workshop student choreographers/dancers Joe Ungco and Kelly Proctor, and (front row) Alisa Cohen and Mary Thurtle.

Visions and Voices, the USC Arts & Humanities Initiative.

Fess Parker (continued from page 1)

Parker continues, “I suppose that all aspiring

in real grief, sobbing and wailing, did not move

So after almost

people secretly hope for that magical moment

an audience as much as a single tear.“

30 years in the

when they are recognized and subsidized as a

business, Parker

result of pleasing the film public and their peers.

After USC, he nabbed his first professional acting

and his wife Marcy

And to those people, and to me, the university

role in the national company of Mr. Roberts,

pulled up stakes

was a place that reassured me that it was worth

starring Henry Fonda. A series of small film roles

and moved to

the challenge. USC faculty and former students

followed including a brief appearance in the sci-

Santa Barbara

have contributed so much in the field of enter-

fi thriller Them that was just long enough to

County permanent-

tainment. Just having the privilege of being at

be noticed by Walt Disney who offered him a

ly, albeit with a

USC gave one the sense of taking the first step

personal contract and the role of Davy Crockett,

little more than a

toward a career.

King of the Wild Frontier. Parker knew this wasn’t going to be like playing Hamlet. Still, the

“Being able to take classes under (School of

naïve newcomer never foresaw the limitations

Theatre founder) William C. DeMille, who was

this would ultimately place on his career.

a film director and playwright before his brother

...and as Daniel Boone

jar of Skippy’s and a box of Velveeta.

Today, his businesses are very much family affairs.

He’s the CEO of the winery, but his son, daughter

Cecil B. DeMille, was a privilege and a great

“I soon realized that at Disney, they only wanted

and son-in-law run much of the operation.

learning experience. Mr. DeMille had written

me to play a certain kind of role,” says Parker.

The Inn and Spa was his wife’s idea. And Fess

a small book entitled The Truth of the Unreal.

And it was only after the fact that he learned that

and Marcy have performed show tunes and

For actors it made the point that in acting the

famed director John Ford wanted him for a role

ballads every Thursday night at the Inn for years.

untrue became the truth. That people involved

in The Searchers with John Wayne but that Disney

“And, we still do,” he says.

had turned him down. Later, Parker brought William Inge’s play Bus Stop to Disney with an eye

Now, at 81, Parker’s philosophy may seem

toward the role of the brash cowboy Bo. Again,

simple to some, but it’s obviously served him

Disney put the kibosh on Parker playing against

well. “Life is fickle…” he says. “But I still find

what had now been established as his “type.”

tomorrow enticing.”

“Yes, my acting career was frustrating for me. But

The Davy Crockett and Daniel Boone television series are now available on DVD. For more information on the DVDs, Fess Parker's Winery or the Wine Country Inn & Spa, please visit www.fessparker.com or call (800) 446-2455.

you know what? I would have described myself Fess Parker as Davy Crockett...

as a happy camper if I’d had a jar of peanut butter, a dozen eggs and some Velveeta cheese.”

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Under Construction

USC FRIENDS OF THEATRE DONOR MARQUEE

The M.F.A. Dramatic Writing Play Project

“U

nder Construction: The USC School

The three plays and playwrights are:

of Theatre Master of Fine Arts Play Project,” a festival of plays by the three

Ruby, Tragically Rotund by Boni B. Alvarez

graduating playwrights of the M.F.A. in

In a modern Greek tragedy, Ruby Salazar, a plump

Dramatic Writing program, the inaugu-

and vivacious Filipina American longs to be a

ral class of the newly-revised three-year course of

teacher. She is well on her way with only one semes-

study, will be held from May 22 – 26, 2007, in the

ter left to go at San Jose State University when her

Scene Dock Theatre. The readings, which will each

beauty-obsessed mother, Edwina, takes a refund on

have two public performances, will be presented

Ruby’s tuition as she needs the money for the beauty

concert style by professional actors and under the

pageant endeavors of Ruby’s little sister, Jemmalyn.

guidance of professional directors.

Devastated, Ruby must find a way to survive in a world in which being fat is both an encumbrance

USC School of Theatre Dean Madeline Puzo stated, “We are so pleased to be able to give our thirdyear M.F.A. playwrights the opportunity to see their works presented on stage, cast with actors who best represent the multi-dimensional characters that they have created. These concert readings, we believe, will provide the best showcase for their plays, focusing solely on the text rather than on elements of production.”

USC Professor of Theatre and Director of Dramatic Writing Velina Hasu Houston said, “The culmination of a playwright’s artistic journey is to have his or her play brought to life, which is why the

and a hindrance to success and happiness.

Circus Ugly by Gabriel Rivas Gomez Circus Ugly tells the story of Razi, a young woman whose skin is made of paper. Her skin is full of secrets, scars and stories of how she has been made to feel disposable. When she comes to town looking for answers, she meets Neto, an artist whose arm doesn’t work and who is every bit the freak she is. Together, they explore the pain and isolation that comes with being different, along with the constant longing to be something normal.

Las Mujeres Del Mar by Janine Salinas

Master of Fine Arts in Dramatic Writing offers a

Las Mujeres Del Mar traces the lives of three genera-

three-phase process for our students that includes

tions of women in the Del Mar family, through love,

production, festival presentation and post-festival

loss, violence and the process of healing and for-

introduction to the profession. The festival allows

giveness. Virginia’s memory is slowly fading even

our students to take their plays through develop-

though her adolescent memories are still very much

mental paces with professional artists who bring

a part of her present being; Marina searches for love

skill and depth to the plays, thereby allowing the

and faith within the walls of the prison that has

students to experience their work on a high level

become her home; and Lupe tries to create a better

that in turn inspires them to strive for greater

life for herself (outside of the violent world of gang

excellence in craft.”

life) once she discovers that she is pregnant.

(L. to R.) M.F.A. Dramatic Writing students Boni B. Alvarez, Janine Salinas and Gabriel Rivas Gomez.

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The USC School of Theatre is grateful to those who have given wisdom, talent, time and financial resources to the benefit of the School. Our Donor Marquee recognizes those who have made gifts the School between July 1 and December 31, 2006. We hope that you will consider joining with these supporters. All gifts received by June 30, 2007 will be included in the School’s 2006-2007 gift report. For more information about giving to the School of Theatre, please call Cindy Young at (213) 821-4047 or email theatre@usc.edu.

ANNUAL FUND/DEAN’S STRATEGIC INITIATIVES Anonymous Michele & Arlen Andelson (in memory of Madeline Barbato Puzo) Sherril & David Anderle Brenda & Richard Anderson Francesca Baldassano Crystal Balthrop Eliot & Sheryl Barnett Spencer Beglarian Sara Benjamin Gary Benke Bob & Terry Berenson Candace Barrett & Raye Birk Adele Bobo The Boeing Company Howard Bolter Jessica & Martin Boskovich Gisela Brodin Michael Cantor Gail Carrier Erin Carufel Frances Ciulla Susan Clines & Charles Dillingham Carrol Cohrt Marlene Coleman Dorothy Coon Dennis Cornell Karen Covell Terri & Stephen Crinnion CUNA Mutual Group Nancy Davidson Sharon DeBriere Vaughn de Guigne Kristine Dillon & John Curry Ralli Dimitrius Dana Dowell David Drummond Mary Dunphy Megan Dunphy James Eggold & Karen Benik Donald Elson Michele & Roger Engemann Linda Ewing Katherine Farren Joseph Farris Andrea & Fred Fenster Amber Flamminio Marilyn Q. Fomon Alan Foote & Janet Amirault Kelly Foster Marcia & Bill Frank Madgel Friedman Kalia Fullerton The Gale Family Foundation Constance Goldin Patrick Gorman Doyle Gray Will Greenberg Cindy & Peter Greenwald Susan Grode Lauren Haberman Trevor Haggin Danielle Hamrick K. Robert & Mary Hahn Robert S. Harris Judith Heinz Michele Henn

Elinor Hickey Carolyn Holm & Hratch Kouyoumdjian Joanna Humphrey Carol & James Hunt Robert Ishii & Arlene Luck Chuck Jones Taylor Joseph Rachel Kaber Kurt & Rosemary Kalm Holly & Howard Kalmenson Liza Kaplan Joanne Karr Kathie Kellogg-Taxe Dylan Kenin Jan Klevan John Kyser Susan Laemmle Karen & Gary Lask Liz Munro Ledwell Gloria Lemus Joanne & John Leslie Julie Levin & Marc Daigle Peter Levine Mary Lewis Elizabeth & Thomas Little Alexander LoCasale Shelley Long Wayne Long Cinda Lucas Masako & Kazumi Maki Babette Markus-Weir & Jack Weir Eric Marshall Jennifer Martin Alice & Filippo Masciarelli Edward Matazzoni Jo-Anne & Howard Matsuba Richard McCune William McGovern Thomas McWhorter William Means Marilyn & Trent Merrill Alison Michaud Catherine Moffett Pamela Monroe Christopher Moore Michael Moore Penelope Moser Scott Mullin Chelsea Nassif Richard Nathan Jacquie Nemor New York Life Foundation Will & Nora Newbern Kathleen & Mark Nolan Gay Oakes Kevin Oeser Inger & Tomson Ong Alfred Onorato Steven Oreste Carolyn & Robert Owens Nick Pagliante Mary (Reveles) & Oscar Pallares Pamela & David Patch Kosha Patel Gordon Pattison Agnes Pearlman Daphne Pena-Higgs Myra & Lee Perlman

Bradley Phillips & Margaret Milligan Nancy Pierandozzi Janice Gudde Plastino Brooke Marie Procida William Putney Ilean Rabens Catherine Rahm Cathy & Robert Ramer Linda Reilly-Swick Sali Rejto James Ribbans Marita & Gary Robb Eve Roberts Manika Aia Rogers Philip Ronstadt Joel Rosenzweig Hector Ruiz James Ryan Donald Schmidt Dino Schofield Donna & Robert Schuller Nancy Shirley Jason Shubb Norman Shultz Sheri Sindell Jason Stracker Kandace & Craig Summers Jennifer Thibault Diane & Donald Thompson Douglas Tisdale Joe Tremaine William Vogt Wachovia Foundation Suzanne & Malcolm Waddell Richard Waddleton Alexandra Wayman Elizabeth Westbrook Michelle Westenhaver Taylor Webb Richard & Diane Weinberg Steven Weinzimmer & Karen Maas Jennifer Wheeler Robert Whitten & Prudence Hay Kevin Wibberley Annette Wickline Jarrod Wolkowitz Dorothy & James Young Jane & Kenneth Zone Jeanie & William Zwiener BLANKENCHIP VISITING ARTIST FUND Tate Donovan Gretchen Kanne Kathie Kellogg-Taxe Bill & Mary Lou Mullin BLANKENCHIP/WHITE SCHOLARSHIP Richard Clutter DAVID DUKES MEMORIAL SCHOLARSHIP Anonymous Gay & Harry Abrams /Abrams Artists Agency Steven Albrezzi Jeffrey Buhai Hunter Cain Philip Casnoff William Chais Douglas Cook Christopher Dorr

James Eggold & Karen Benik Leah Fischer Martin Fisher Gary Gilbert Richard Gurman Ron Harris Steven Hartman Raymond Hartung Kyle Heffner Darlene Kaplan & Stephen Zuckerman Mitchell Kaplan Seth Kaplan Barnet Kellman Stephen Lowe Roger Lowenstein Michael Mantell Paul Marcus Babette Markus-Weir & Jack Weir Mark Hopkins McNabb John McCarthy Anna McDonnell Joan & David Meister Randle Mell Stephen Mendillo Carol Muske-Dukes Old Gym Productions Inc. Scott Paetty Steven Peterman Jeff Rake Edward Redlich Mark Rossen & Mary Gwynn Doreen Sachartoff-Hawbecker Andrew Shore Michael Skloff Joan & Kurtwood Smith Tracy & Norman Stephens David Zucker

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LIPINSKY SCHOLARSHIP Jeffrey & Sheila Lipinsky Steve & Christy Lipinsky JOHN RITTER MEMORIAL ENDOWMENT Stacey Eisenberg Christine Healy & Paul Linke Nancy Ritter Aurie Salfen

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BOARD OF COUNCILORS SCHOLARSHIP Lisa & William Barkett Bob & Terry Berenson Susan Grode Madeline Puzo MFA DRAMATIC WRITING FESTIVAL Anonymous Iris & Matthew Strauss MFA ACTING Fredda Weiss USC ASSOCIATES—THEATRE K. Robert & Mary Hahn Jean & Steve Hamerslag Debbie & Terry Hammer James Kim Lynn Lasher Inger & Tomson Ong Howard & Sally Oxley Mary & Graham Whaling

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1) (L.- R.) Philip Ross Weiner, Ryan Eggold, Scott Atkinson, Brian T. Finney, Tagen West 2) The Galileo Company 3) Tate Donovan 4) Peter Stormare and Eric Stoltz

A Galaxy of Stars Shine on Galileo A terrific company was assembled for Galileo, the third reading presented by the School of Theatre as part of Vision and Voices, USC’s Arts & Humanities Initiative, on Thursday, January 25, at the Scene

We have taken care to list names and gift designations accurately. If you believe there has been an error or omission, please contact development assistant Vanessa Tuverson by phone at (213) 821-4262 or send her a note via email addressed to vtuverso@usc.edu. Thank you for your support.

Dock Theatre. Under the direction of Neel Keller, the cast was headed by well-known actor Peter Stormare (Fargo and TV’s Prison Break) as Galileo and featured many School of Theatre alums, including Patrick J. Adams, Erin Anderson, Scott Atkinson, Tate Donovan, Ryan Eggold, Trevor Peterson, Eric Stoltz, Andrea Syglowski, Philip Ross Weiner and Tagen West.

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MARQUEE Sophia Bush (2003) most recently co-starred in the new big screen version of “The Hitcher.”

Ryan Eggold’s (B.F.A. 2006) most recent credits include roles on the television series “Entourage,” “Brothers & Sisters,” “The War at Home,” “Related” and “Veronica Mars.” He also appeared in the Visions and Voices reading of “Galileo” for the School of Theatre.

Jeff Parker (B.F.A. 1989) most recently appeared as the Comte de Rochefort in a new musical of The Three Musketeers, music by George Stiles, lyrics

by Paul Leigh, book by Peter Raby and directed by David H. Bell at Chicago Shakespeare Theater, Chicago, Illinois.

Kate Hutter (B.F.A. 2004) is co-founder and Artistic Director of the L.A. Contemporary Dance Company, as well as an independent choreographer and lighting designer in the Los Angeles area. She completed her M.F.A. in choreography at Purchase College, SUNY under the direction of Kazuko Hirabiyashi. Credits include choreography for L.A. productions of Peter Schaffer’s Equus and Carol Churchill’s Vinegar Tom, as well as artistic direction of “An Unknown Nutcracker” for the USC Repertory Dance Company.

Stark Sands (B.F.A. 2001) just opened on Broadway co-starring as Rollie in the revival of Journey’s End at the Belasco Theatre. Sands’ professional career began immediately after graduation. He has been seen on television as a recurring love interest to the angst-ridden teen Claire Fischer on HBO’s critically acclaimed series “Six Feet Under,” and on “Nip/Tuck,” “Family Guy” and “Hope & Faith.” He co-starred in Me and Daphne, a short film directed by actress Rebecca Gayheart and produced by Brett Ratner. Sands made his feature film debut in Charles Busch’s Die, Mommie, Die! His recent film credits include the role of Gus in Clint Eastwood’s Flags of Our Fathers, Pretty Persuasion, Shall We Dance with Richard Gere and Susan Sarandon, Chasing Liberty opposite Mandy Moore, and Primal Scream, as well as the well-received independent films 11:14 and Pack of Dogs.

Anthony Sparks (B.F.A. 1994) is currently a staff writer for the new ABC Family series “Lincoln Heights.” He also wrote for “The District” (CBS), was selected as a Fellow for the prestigious ABC Entertainment/ Walt Disney Studios Writing Fellowship and is working on a doctorate in the USC Department of American Studies and Ethnicity. Along with his wife, School of Theatre faculty member Anita Dashiell-Sparks, he recently celebrated his daughter’s second birthday.

Jonathan Silverman (1985) recently starred on the ABC-TV comedy series “In Case of Emergency.”

Julie Valine (B.A. 2003) has recently been promoted to Creative Executive at The Robert Simonds Company. She also appeared in Tony Scott’s film Domino released by New Line Cinema in 2005.

Bree Michael Warner (B.A., 1998) appeared most recently on the CBS television series “The King of Queens” and on the new drama series “The Heiress” for My Network television. Warner, who has guest starred on “Six Feet Under,” “CSI: Miami” and “Crossing Jordan,” has just signed on to star in the post 9/11 feature film Terminal Trap, slated to begin production this spring.

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.

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Paul Backer A Senior Lecturer teaching voice, acting and theatre history, Paul Backer has spent the year completing his doctoral dissertation in Theatre through the joint Ph.D. program at U.C. Irvine and U.C. San Diego. His dissertation blends together several diverse interests he had pursued in both his professional work in theatre and his scholarly interests in the arts and humanities: Shakespeare, religion, spirituality, science, psychology, cultural identity and trans-cultural connections. His dissertation topic explores the correspondences between and Shakespeare and the Chinese religion and philosophy of Daoism. The meeting point between these two apparently very different worldviews is the ancient art of alchemy, which was central to both Western and Chinese early modern culture and shared many attributes in common. In both cultures, alchemy was an investigation of the natural world, but even more importantly it was a type of “inner theatre” for psychological and spiritual transformation of self and society and a vehicle to achieve it. In addition to an “outer alchemy” that worked with metals, there was an “inner alchemy” of breath work, meditation, active imagination, visualization, physical work and artistic expression. Backer brings to this research his long professional association with Shakespeare as Artistic Director of the Ojai Shakespeare Festival since 1989. A Master Teacher of Fitzmaurice Voiceworks, he was a teacher during the Certification program, and led a five day workshop in New York. For the School of Theatre this semester, he is directing The Ash Girl,

by Timberlake Wertenbaker, a modern retelling of the Cinderella story told with a delightfully dark magic and poetic wit.

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

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Associate Professor and Director of Critical Studies at the School of Theatre, Dr. Meiling Cheng was born and raised in Taipei, Taiwan.

Dr. Cheng came to the United States in 1986 to study at Yale University, School of Drama, where she earned her MFA (1989) and DFA (1993) degrees in Theatre Arts. She began teaching at USC in 1994 and has taught a variety of courses in theatre history, dramatic literature, contemporary visual theatre and live art, and critical and cultural studies.

Dr. Cheng is a noted performance art critic and poet and has published widely in both English and Chinese. Her first book, In Other Los Angeleses: Multicentric Performance Art (University of California Press, 2002), received a Junior Faculty Award from Southern California Studies Center and the Zumberge Individual Research Grant from USC. She won another Zumberge Individual Research Grant in 2006 to conduct fieldwork in Beijing for her current book project, Beijing Xingwei: Time-based Experimental Art in China, which covers performance and installation artworks in China. Within 2006, Dr. Cheng had published several ground-breaking articles on performance art (translated as “xingwei yishu”) in China. She also had three different papers (on extreme performances, death in live art, and cadaver display in Chinese performances and installations) presented in international conferences, including one in Boston, one in London, and one in Chicago.

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