Callboard Summer 2007

PAGE 2 A Message from the Dean

PAGE 3 School of Theatre Holds 16th Annual Awards Celebration

PAGE 4 Focus on Faculty: Margo Apostolos and Brent Blair

SUMMER 2007

School of Theatre Holds First Annual Entertainment Industry Night at Spring Musical

Commencement 2007 A New Beginning

D

ean Madeline Puzo opened the 2007

Next up, representing

commencement ceremony by declar-

the B.F.A. students, was

ing, “What a great day this is. After

Beck Bennett. Bennett

years of studying and preparing, the

advised, “We can do

day you all simultaneously dreamed

anything we want.

of and feared is finally here. You are graduating,

Go have fun. Do what

you have done it, congratulations. You’ve been

you love. Change the world for someone,

a great class, a joy to teach and to watch grow as artists and individuals.”

Keynote Speaker Michael Ritchie

because we have that opportunity. And

Robert Greenblatt

The School of Theatre held its first annual Entertainment Industry Night on Saturday, April 7, beginning with a dinner reception in Queen’s Court followed by a performance of our spring musical, “The Pajama Game” at the Bing Theatre.

The first student speaker, Timothy Sullivan,

don’t forget what happened here – the projects

representing the B.A.s, got things off to a

you worked on, the friends you made and this

rousing start with a comical speech unexpectedly

incredible faculty who inspired us, challenged us,

Hosted by School of Theatre Board of Councilors

inspired while on a trip to Disneyland. Sullivan

made us question, cry and fight and believe in

member Robert Greenblatt, who is President

found, “...the most astute depiction imaginable

something greater than ourselves.”

of Entertainment for Showtime Networks, the

of what life as a theatre major is like. This

purpose of the evening was to introduce the

sometimes disturbing, but nevertheless accurate,

The final student speaker, playwright Boni B.

work of the School to people in the entertain-

representation of a life in the theatre is known

Alvarez, represented the M.F.A.s, and spoke

ment industry by giving them a chance to see

as Pinocchio’s Daring Journey.” Sullivan then

poignantly of diversity in the theatre and the

the high caliber of work done by the very

proceeded to recite the lyrics from the song

challenges facing a writer: “We are writers and

talented students, on stage (in performance)

featured on the ride, “Hi-diddle-dee-dee,

writing is painful. It is solitary. It is a daily struggle.

as well as behind the scenes (in design, stage

an actor’s life for me” to hilarious effect.

Battling and loving our characters, searching

management and technical direction).

(continued on page 3)

(continued on page 2)

A MESSAGE FROM THE DEAN

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

A BREAK IN THE ACTION

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) Dean Madeline Puzo

As many of you will remember, the traditional academic year has a distinctive shape and development which, if it is not exactly like a play, does have many of the characteristics we associate with a dramatic tale.

The intensity and excitement increases steadily, with the pace accelerating in the second semester as the rising temperatures and energy of springtime coincide with plans and assignments coming to fruition and students striving to complete courses and projects and, in many cases, their academic programs and careers.

The work, anxiety, struggle and excitement culminate in that grand University-wide ritual, Commencement, a ceremony which concludes the academic year in much the same celebratory manner as weddings close Shakespeare’s comedies.

Industry Night (continued from cover)

Greenblatt said, “As a proud alum of another department of theatre, I know the value of a great theatre training program. I attended the University of Illinois at Urbana-Champaign – along with classmate Ang Lee – and I experienced an arts education that has served me throughout my career. Since USC is right in the entertainment

For those of us left behind after the classes end and the mass of students depart, there’s always a lull.

This year, however, the break in the action is more striking than usual and I’m pretty sure I know why: we had an extraordinarily intense and active year, the most productive and fertile and fruitful that I’ve experienced at the School of Theatre. Not that the increased activity was a surprise; it’s the expected result of the new programs and curricula we’ve been introducing over the last few years. For example, this year we had the inaugural class of our M.F.A. Acting program, a group of talented and ambitious young artists whose work and energy has already had a considerable effect upon the School. This year also saw the first class to complete our three-year M.F.A. program in Dramatic Writing, culminating in “Under Construction,” a festival of plays presented concert-style with professional actors and directors. Add to these the projects of our undergraduate students (many of whom, I should note, work on the M.F.A. productions) and the many non-major undergraduates who take courses at the School and you get some sense of how exciting and busy it has been around here.

business’ backyard, it seemed logical that more

Frankly, I love it. It’s exactly what we had in mind when we set out to re-imagine the School’s programs.

I’m already getting excited about the year to come, which I’m sure will be even more active and productive than was the year just past.

academic support group of USC, chose our

people in the business should know about the great work going on here. I hope that this is the first step for industry professionals to become involved in this exciting world of emerging artists.”

More than 100 industry professionals, representing studio executives, management agencies, casting directors and independent producers, attended the event making it a resounding success.

In addition, the USC Associates, the premier musical for their spring event for the third year in a row and also attended the same performance. The Associates held their reception

I will speak about that in the fall. But for now, I intend to enjoy the quiet and wish you all a lovely summer.

at Town and Gown prior to the show, with special guest of honor, School of Theatre alum Fess Parker.

The USC Associates is a philanthropic association dedicated to the advancement of knowledge.

Madeline Puzo

Gifts from USC Associates members provide

Dean

essential support for some of the university’s most vital academic programs and initiatives.

3

1

2

Attending our first Entertainment Industry Night were: 1) Fess Parker 2) Lisa Barkett, Blake Nesbitt and Susie Smith 3) Joe Tremaine and Mrs. Katherine Loker 4) Nancy Sinatra and Michele Andelson

2

4

School of Theatre Holds 16th Annual Awards Celebration The School of Theatre held its 16th Annual Awards Celebration on Friday, May 4, on the stage of the Bing Theatre. The dinner and ceremony acknowledge exceptional work done by students in all areas of discipline over the past year, including acting, design, stage management and technical direction. We are extremely proud of the extraordinary work of our talented students and of the dedicated faculty who guide them with such skill and expertise. Congratulations to all!

2006–07 AWARD RECIPIENTS Aileen Stanley Memorial Award

Dance Leadership Award

For Graduate Students

Melissa Joseph

Matthew Little Kate Poppen

Bill White Faculty Recognition Award

John Blankenchip/Bill White Award

Joseph Hacker Andrew J. Robinson

For Outstanding Contributions

Sean Foote Sue McGrew

Ava Greenwald Memorial Award For an Undergraduate Actor

Paulie Rojas USC Alumni and Friends Award For Creative Projects

Tim Sullivan

James Pendleton Award For Outstanding Contributions

Brittany Perham-MacWhorter Ruth and Albert McKinley Award For B.A. Students: Performer and Highest G.P.A.

John Ritter Award

Kristin Findley Ray Chase

James Grosch

Student Council Award For a Graduating Senior

Tim Sullivan Nancy Kehr Award For funding an ISP

David Dukes Acting Scholarship For a Senior Student

Devin Kelley Outstanding Dance Choreographer Awards

Chris Downey, Fall Concert Jessica Schaer, Spring Concert

(continued from cover)

Stanley Musgrove Award For Outstanding Creative Talent

Philip Kong Jack Nicholson Award For Outstanding Actor/Actress

Donald J. Webber, Jr. Catherine Farrington

Tom Polos Matthew Little

Commencement

For Comic Performance

Ritchie Spencer Memorial Award For a Graduating Designer

Kristen Kopp James and Nony Doolittle Award For Graduating Seniors

Deborah Ann Woll Beck Bennett Matt Griggs Ben Bowen

theatre. And that means that we have to support

today as a man who never got a college degree.

the theatre and actually go to the theatre.”

And yet I never wanted to stop learning. Be the

somewhere, everywhere for a story. But amidst

same. Your learning doesn’t end today. It begins.

the battles and the struggles are moments of joy.

Keynote speaker, Center Theatre Group Artistic

Joy when your character whispers in your ear

Director Michael Ritchie, applauded the three

best for that day. Tomorrow will take care of

that she has a broken foot or when a character

student speakers for their wit, wisdom and

itself. Today is the most important day of your

defies you and goes to a strip club instead of

their strength of purpose. He then advised the

life. Tomorrow will be the most important day of

going to the library. Joy when a character says

graduates that there is a fine line between suc-

your life. Your career is important. Your life, your

‘I know people are watching, but I’ll dance any-

cess and failure and that often failing at one

happiness, your contentment more so. So fail.

way.’ This is a joyful day. This ceremony celebrates

thing leads to success at another: “I stand here

And succeed. Just live a happy and engaged life.”

3

Whatever you do, whatever your role, be the

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

for Sports” in collaboration with the Stanford

for therapists, cultural field workers and activists,

Athletic Department. This work was presented to

learning how to turn passive observers into more

Director of Dance at the

the International Olympic Committee in Sydney,

active and critically aware participants through

School of Theatre, Margo

Australia, for the 2000 Games and in preparation

the training and practice of theatre in and among

Apostolos has authored and

for the Salt Lake City Games in 2002. Dr. Apostolos

their relative communities.

presented numerous articles

developed the Dance Minor program in Theatre,

on her research and design

directs the dance concert each semester, and

Brent is also an actor, designated Linklater

in Robot Choreography.

coordinates the Open Gate Dance Program. In

voice instructor, and former Marriage and Family

In addition to her doctoral

2004, she presented at the Athens IOC meeting

Therapist Intern. He studied Igbo traditional

and post-doctoral studies

on Dance for Sports and at the World Congress

theatre and community engagement on a Fulbright

at Stanford University,

of Dance. This past spring, she was instrumental

grant to Nigeria in 1992, and co-founded the

she earned an M.A. in Dance from Northwestern

in bringing internationally-renown director/

Center for Theatre of the Oppressed and Applied

University. She has served as visiting professor

choreographer Mark Morris to campus for a

Theatre Arts, Los Angeles (www.ctoatala.org) in

in the Department of Psychology at Princeton

workshop that integrated motion capture

2001. He has been working and training with

University and has taught in Chicago, San

technology and robotics with modern dance.

Augusto Boal for more than ten years and he

Margo Apostolos

Francisco, at Stanford University, Southern Illinois

leads Cultural Field Worker training seminars

University and California Polytechnic State

Most recently, she co-founded the Cedars-Sinai/

across Los Angeles and around the world. He

University-San Luis Obispo.

USC Dance Medicine Center, a specialized

is completing his Ph.D. in Depth Psychology at

treatment center – the first of its kind in

Pacifica Graduate Institute. His research is lately

A recipient of the prestigious NASA/ASEE Summer

Los Angeles – offering preventive care and

focused on Liberation Arts from a post-colonial

Faculty Fellowship, Dr. Apostolos worked for

treatment specifically designed for professional

model, and he is teaching the fifth year of

NASA at Jet Propulsion Laboratory/Caltech as a

and recreational dancers.

Liberation Arts and Community Engagement (LACE) at USC.

research scientist in the area of space telerobotics.

At the Annenberg Center for Communication, Dr. Apostolos conducted research on facial expres-

Brent Blair

In the summer of 2006, he was invited by the

sions and human-computer interactions. Her work

A senior lecturer at the

Queensland Shakespeare Ensemble to design

in this area continues in collaboration with the

School of Theatre, Brent

and implement a three-week intensive course

USC neuroscience program. She was named a

Blair teaches voice in the

in cultural field work for theatre artists who

Southern California Studies Center faculty fellow,

BFA program and founded

use expressive arts with a variety of populations.

where she is surveying theatre and dance in the

the Applied Theatre Arts

At the end of the training, Brent worked in

Southern California region.

(ATA) curricula. ATA

Borallon Maximum Security Prison with six core

addresses the theory and

members of the ensemble and 12 prisoners in

Currently, Stanford University is providing fund-

practice of applying theatre

a conjoint workshop using Shakespeare and

ing for Dr. Apostolos’ work in the area of “Dance

skills as supplemental tools

Theatre of the Oppressed.

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