Download Comprehensive Instructional Program Review Theatre Arts

COMPREHENSIVE INSTRUCTIONAL
PROGRAM REVIEW
Theatre Arts
Riverside City College
OCTOBER 2012
Office of Institutional Effectiveness
Prepared by
JODI JULIAN AND DAVID NELSON
Associate Professors
Web Resources:
http://www.rccd.edu/administration/educationalservices/ieffectiveness/Pages/ProgramReview.aspx
Need Help? Contact Dr. Jim Thomas ([email protected]) or
David Torres ([email protected]) )
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Table of Contents
A.
Mission and Relationship to the College …………………………………. 3
B.
History …………………………………………………………………….. 3
C.
Data and Environmental Scan ……………………………………………. 4
D.
Programs and Curriculum ………………………………………………… 11
E.
Student Outcomes Assessment …………………………………………… 13
F.
Collaboration with Other Units …………………………………………… 17
G.
Outreach ……………………………………………………………………17
H.
Long Term Major Resource Planning …………………………………….. 18
I.
Summary ………………………………………………………………….. 23
J.
Recommendations to the Program Review Committee…………………… 26
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Theatre (Performing Arts)
Comprehensive Instructional Program Review
Theatre Arts
Riverside City College
October 2012
A. Mission and Relationship to the College(s)
The mission of the Theatre Discipline at Riverside City College is to provide students the means to
accomplish their goals in the performing arts with an educational program that prepares them to
contribute as artists, educators, audience and supporters of the arts. In addition, to empower and
support a diverse community of learners as they work toward individual achievement and life-long
learning. At the heart of the department are outstanding arts experiences, superior teaching, and access
to valuable aesthetic learning in dance, music, and theatre.
Integral to the academic foundation of students’ education at Riverside Community College District
are the institutional mission, vision and goals. The instructional philosophy of Theatre as a discipline
is in harmony with the District’s Mission Statement:
“…prepare students for intellectual and cultural awareness, critical and independent thought enhancing
the quality of life and internal harmony of the communities we serve.”
Theatre continues to be an elective discipline that is fundamental to a solid liberal arts education;
however it continues to align itself with the institutional mission, vision, and strategic goals by
offering appropriate classes to meet the needs of our students. The Theatre Discipline offers courses
that:
1.
2.
3.
4.
5.
6.
Meet the general education requirements for both the Associate of Arts and Transfer student.
Provide survey and understanding of the fundamentals of art form and aesthetics in general.
Offer specialized introduction to literature, history, performance and acting techniques.
Provide production and technical skills.
Recognize and facilitate diversity and cultural awareness.
Provide students with skills and techniques to explore the evolving aspects of the performing
arts industry.
B. History
The Theatre Discipline went through program review both in 1999 and 2004, 2008 and now again in
2012. At this time we will try to summarize by years to create a brief historical account of our program
reviews:
1999: There was only two full-time faculty to facilitate the program(s) - one located on the Riverside
Campus, the other on the Norco campus. The extent of that particular review was the rewriting of
existing curriculum to match the District’s form and template for course outlines. In addition the
curriculum was rewritten to facilitate articulation.
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2004: Since 1999, the Theatre Discipline has been represented by two full-time faculty members
located on the Riverside Campus, and a single full-time faculty member located on the Norco Campus.
Moreno Valley was staffed by adjunct employees, and was not addressed sufficiently in this review
process.
2008: The number of full-time faculty has not changed since the year 2000. The following graph
shows the ratio of full-time to adjunct faculty on the Riverside Campus from Summer 1998-Spring
2008:
2012: The number of full-time faculty has not changed since 2000. The graph still reflects the fulltime faculty to adjunct ratios on the Riverside Campus.
C. Data Analysis and Environmental Scan
Hit by the current financial crisis, but recognizing and addressing socio-economic and ethnic issues
within the community, combined with the goal of providing adequate choices for our students, the
Theatre Arts discipline at the Riverside Campus is strongly challenged at present. Budget cuts have
trimmed the program, and faculty continues to work diligently to provide access and superior
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instruction to the maximum number of students. There has become a deficiency in the number of
sections and course offerings in order to facilitate all facets of the missions of the discipline, college,
and district. When budgets are reduced significantly, the learning experience for the student is greatly
diminished, especially in courses in the arts.
The following graph provides enrollment trends over the last 9 years (Fall 2000 to Spring 2009) –
provided by Information Services. The graph demonstrates a dramatic increase in enrollments for the
discipline as a whole, as well as shows equally impressive retention and success rates among students:
Enrollments, Retention, Success Rates
Efficiencies:
The graphs below highlight the steady and impressive increase in efficiencies in the Theatre Arts
discipline at the Riverside Campus in recent years, and these statistics continue to hold strong. The
graphs should help as we look at how enrollment drives budgetary, facility, and human resource needs.
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Concerns:
However, with the deletion of courses and our Summer Conservatory Program and concurrent high
school enrollment since 2008, and the Course reductions since 2008 shown on the following chart will
provide an example of the steady decline. The deletion of our Summer Conservatory Program and
loss of class sections due to Budgetary cutbacks have affected our discipline (see charts below) I have
included both Theatre and Performing Arts as a whole to provide context.
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.
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To be a little more specific class reductions were as follows:
CLASS CUTS FROM SUMMER 2008- FALL 2012
SUM 08/09- CUTS 0
FALL 08/09- CUTS 0
WINTER 08/09-CUTS 0
SPRING 08/09- CUTS (1 SECTION) THE 5, (1 SECTION) THE 6
SUM09/10- CUTS (4 SECTIONS ) THE 3
FALL 09/10 –CUTS (6 SECTIONS) THE 3, (1 SECTIONS) THE 39
WINTER 09/10- CUTS (5 SECTIONS) THE 3, (1 SECTION) THE 42A,
(1 SECTION) THE 42B
SPRING 09/10- CUTS (4 SECTIONS) THE 3
SUM 10/11- CUTS (1 SECTION) THE 2,(3 SECTIONS) THE 3
FALL 10/11- CUTS (1 SECTION ) THE 2, ( 2 SECTIONS ) THE 3
WINTER 10/11- CUTS 0
SPRING 10/11- CUTS 0
SUM 11/12- CUTS (1 SECTION) THE 3, (1 SECTION) THE 5,
(2 SECTIONS) THE 50, (2 SECTIONS) THE 51, (1 SECTION) THE 6
FALL 11/12- CUTS (3 SECTIONS) THE 3, (1 SECTION) THE 32,
(1 SECTION) THE33, (1 SECTION) THE 39, (1 SECTION) THE 5
WINTER 11/12- CUTS 0
SPRING 11/12- CUTS (1 SECTION) THE 5, (1 SECTION) THE 6
SUM 12/13- CUTS 0
FALL 12/13- (2 SECTIONS) THE 3, (1 SECTION) THE 33
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The following chart shows the Theatre discipline in context with the entire Performing Arts department.
Concerns:
Production Classes (Theatre 2, 4, 5, 6,) present special concerns regarding minimum enrollment caps
of 20 students as set by the district. Current trends and financial constraints, inherent to the art form
and industry, in the last two decades have necessitated re-evaluation and modification of production
requirements. Many plays and other theatrical works possess minimal cast requirements and therefore
a realistic class size is problematic. As a district discipline and a community cultural provider, we
wish to remain current and relevant in our production offerings, and therefore we require special
consideration when setting class minimum caps.
The Theatre Arts Discipline is a facility driven program that requires specialized and dedicated space.
Programs such as Kinesiology, Art, Music, Dance, Culinary Arts, Vocational programs, etc., should be
used as examples for comparison. Space as an integral part of this discipline, greatly impacts the
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program development and offerings. Specifics of this issue will be addressed in the Resource section
of this document.
As our Discipline assesses its performance, we find that our strengths are in the following:
o Audience Outreach
o Production quality
o Student Success Rate
o Discipline collaboration
o Current in field
o Quality of instruction
o Opportunity for students to gain performance experience.
o Efficiency rate
o Student success rate
o Student access rate
o Department collaboration
o Knowledgeable in current trends and requirements in field
o Quality of instruction
However, with every strength comes weakness, and we have discovered as a discipline that we need to
address the following challenges:
o The current quantity of additional non-instruction responsibilities assigned to
full-time faculty required to build and maintain a proper theatre program, has an
adverse effect on the overall success of the department.
o Ability to address the varied skill levels in performance and technique classes,
maintain pedagogical integrity, and still meet district requirements for
enrollment.
o Ability to address and provide service to the vastly diverse socio-economic
composition of our respective communities.
o The ability for two full-time faculty to provide an adequate and comparative
variety of courses to accommodate the needs of students.
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D. Programs and Curriculum
Theatre course offerings are varied in style and genre. Since the last review, the Theatre Arts
Discipline at the Riverside Campus has extensively evaluated and selected various course offerings for
inclusion to the college catalogue. All course offerings were written/re-written to bring them into line
with the current course outline template, pedagogically, and approved language adopted by the
Curriculum Committee and the State.
Course
Title
THE 2
THE 3
THE 4
THE 5
THE 6
THE 25
THE 26
THE 29
THE 30
THE 32
THE 33
THE 34
THE 35
THE 36
THE 37
THE 38
THE 39
THE 41
THE 44
THE 46
THE 48
THE 49
THE 54
Play Practicum - Special Projects
Introduction to the Theatre
Play Practicum - Special Projects
Theatre practicum
Advanced Theatre practicum
Makeup for the Stage
Directing for the Stage
Musical Theatre Appreciation
Voice and Movement for the Stage
Acting Fundamentals - Theatre Games and Exercises
Scene Acting - Creating a Role
Scene Study in Various Theatrical Styles
Classical Acting with Emphasis in Shakespearean Verse
Improvisational Acting
Musical Theatre Techniques
Auditioning for the Stage
Acting for the Camera
Elementary Stagecraft
Theatrical Set Design
Theatrical Costume Design
Theatrical Lighting Design
Scenic Painting for the Theatre
Introduction to Stage Management
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3/8/12
3/8/12
3/8/12
3/8/12
3/8/12
3/8/12
3/8/12
3/8/12
3/8/12
3/8/12
3/8/12
3/8/12
3/8/12
3/8/12
3/8/12
3/8/12
3/8/12
3/8/12
3/8/12
3/8/12
3/8/12
3/8/12
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Theatre (Performing Arts)
The discipline continues to offer and develop Theatre Arts courses that articulate well to other higher
education institutions and additionally, has implemented the State generated AA SB1440 that was
approved in May 2012.
The Theatre Discipline currently uses existing curriculum as the basis of instruction and support of its
programs, such as the following:
Off Broadway Play Series that was created in 1991 to provide students with an opportunity to explore
the collaborative process of theatre provided by a production class setting, in both performance and
technical theatre. Prior to the quad re-model it was a subscription-based series that produced five or six
shows per season and provided students and the community with the opportunities to see live theatre
in a variety of styles end genres for an affordable price. However due to the length of the re-model,
state-wide budget cuts and still not having a space we have suspended subscriptions indefinitely until a
new space/home is found. We have gone from six-seven shows per season to three-four.
Musical Theatre
In order to fulfill the growing needs of the community, the Musical Theatre Program was developed
during the Fall of 2000 to integrate the three mediums of performing arts (music, dance and theatre),
and to provide adequate training in the various methods and styles involved in performing musical
theatre. The program provided community service and outreach during the summer with our popular
Summer Conservatory and concurrent high school enrollment which was deleted due to Budgetary
constraints at the State and College level. Currently we do one-two musicals per year.
Some of the logical progressions of the courses, however, have been severely impacted by budget
actions. For example, acting classes should support the production classes by providing students with
acting skills necessary to create a character, support character choices in voice, articulation,
movement, emotion, imagination and sustainability, and then directly apply those skills to
performance. Technical theatre classes provide the basis of set construction, lighting techniques,
property construction and costuming, but the lack of practical production opportunities fails those
students interested in preparation for professional work in the industry.
Revised courses Since 2000:
THE 3
Introduction to Theatre
THE 5
Theatre Practicum
THE 200
Work Experience
New course Since 2000:
THE 2
Play Practicum - Special Projects Laboratory I
THE 4
Play Practicum - Special Projects Laboratory II
THE 6
Advanced Theatre Practicum
THE 25
Makeup for the Stage
THE 30
Voice and Movement for the Stage
THE 32
Acting Fundamentals-Theatre
THE 33
Scene Acting: Creating a Role
THE 34
Scene Study in Various Styles
THE 35
Classical Acting with Emphasis in Shakespearean Verse
THE 36
Improvisational Acting
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THE 37
THE 38
THE 41
THE 50
THE 51
THE 52
Musical Theatre Techniques
Auditioning for the Stage
Elementary Stage Craft
Acting Technique for Musical Theatre
Production Technique for Musical Theatre
Musical Theatre Touring Ensemble
New Courses Since 2004:
THE 26
Directing for the Stage
THE 29
Musical Theater Appreciation
THE 39
Acting for the Camera
THE 44
Theatrical Set Design
THE 46
Theatrical Costume Design
THE 48
Theatrical Lighting Design
THE 49
Scenic Painting for the Theater
THE 54
Introduction to Stage Management
Deleted Courses Since 2008:
THE 50
Acting Technique for Musical Theatre
THE 51
Production Technique for Musical Theatre
THE 52
Musical Theatre Touring Ensemble
Courses being developed and/or revised 2012
THE 37
Beginning Musical Theatre
THE 40
Intermediate Musical Theatre
THE 42
Advanced Musical Theatre
E. Student Learning Outcomes Assessment
Assessment has traditionally been understood to mean:
(1) Assessment of student entrance skills in a particular discipline and placement into classes
as a result of that assessment
(2) Grading practices
Most contemporary assessment theorists argue that grades often have little to do with measuring
accurately the degree to which students have achieved the learning outcomes for a particular course.
And yet we believe that grades, and grading practices of a discipline viewed over time, do provide one
indirect clue as to whether, and to what degree students are learning. In theatre an assessment is often
subjective and based on students’ growth as artists individually. The Theatre Discipline assesses
students in Acting and Production classes on a daily basis. We believe “art is authentic assessment”.
As a discipline we believe that theatre is “real-world” situations and our production/performance
classes are an accurate reflection of any theatre program. As a faculty/discipline we focus assessment
on program level outcomes.
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As we continue growth, all of the above has led us to discuss program level outcomes, and devise the
following table to exemplify our courses/program:
Program Level Outcome
Yes
Collaboration, both artistic and
general.
x
Character analysis, development
and implementation.
x
Goal and process experience,
including audition, rehearsal, and
performance.
x
Direct application of artistic
imagination.
x
Text and script analysis and
memorization.
Awareness and development of
physical instrument, which
includes body, voice, and
articulation.
x
Experience and appreciation of
the other performing arts such as
Dance and Music.
x
Familiarity with and knowledge of
Dramatic Literature.
x
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No
Comments/ Actions
x
Re-evaluate the way in
which we teach students to
learn memorization skills. For
example, drilling, subtext,
moment to moment
exercises etc…
Theatre (Performing Arts)
The following courses that result in being assessed at a program level included: (THE 2, 4, 5, 6,)
which are laboratory based classes oriented towards providing students with practical and applied
knowledge of theatre as a collaborative art form. After careful review of the projects in these courses
it is apparent that student outcomes are successful when all student learning outcomes are met.
Student Learning Outcomes include applying production skills in technical theatre, demonstrating
acting techniques in creating and sustaining a role, interpreting various theatrical styles through public
performance, and integrating the various elements necessary for a public performance. In addition,
ensemble work and collaboration are encouraged so that students may achieve skills that can be
utilized in all aspects of their life, whether interpersonal, professional or educational. At the
conclusion of each project, the faculty conducts both group and individual exit sessions (debriefings)
in which students and faculty discuss the development and outcome of specific collaborative process.
However, it has also been determined that the success of students and the quality of community
offerings would be significantly strengthened with additional resources and adequate facilities. The
discipline used video, journaling, and student self-evaluations to document students’ development and
growth as artists. These are combined with the exit interview and discussion (debriefings) in which
faculty and students discuss strengths and challenges students face while mounting a production on an
individual basis. Participation in Laboratory courses allows students the opportunity for direct
application of skills learned in the other courses offered in the program. These courses are designed to
prepare students for success in production and performance in both the University training setting
or/and professional work force.
The discipline plans to assess other Performance based classes during Fall/Spring 2012/13. At this
point in time, the faculty felt that the discipline competency goal was achieved, was very successful,
and that no modifications to instruction are necessary.
1. General Education Classes (THE 3, 29) - Students should apply principals learned in class to
appraise and criticize theatrical presentations, distinguish theatrical styles, and describe
theatrical conventions used in theatre.

THE 3, 29 – are lecture based, survey courses that have been designed to fulfill the transfer
and graduation requirements for the general education student as an introduction to the art
form. After careful review of the course outline, it is apparent that student outcomes are
successful when all student-learning outcomes are met. Faculty base their syllabi on the
course outlines and student learning outcomes. The Theatre Department Chair reviews
these syllabi to ensure they are in compliance with approved course outlines. Subjects
covered include examination of various theatre genres, theatrical conventions, theatrical
elements necessary to produce theatre, and examination of theatrical selections.

Assessment: As a faculty, we have decided to begin formal assessment again through the
recommended Survey Monkey of the THE3 courses beginning in FALL 2012. As a
culmination of the semester’s lectures, group projects are reflective of the students’
comprehension of the material which may or may not include: set design, costume design,
playwriting, acting, and play analysis leading to an appreciation and understanding of
theatre as a separate and distinct art form.
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2. Technical Theatre Classes (THE 25, 41, 44, 46, 48, 49, and 54) - Students should demonstrate
techniques in various aspects of technical theatre, interpret various theatrical styles, apply
production skills and develop an appreciation for the integration of various elements necessary
in building theatrical productions.

THE 25, 41, 44, 46, 48, 49, 54 - are lecture and lab based classes that provide students
with specialized skills in technical theatre. Course objectives include demonstrating
knowledge of the physical equipment of the theatre, operate theatre equipment in a
competent and safe manner, construct set pieces independently using applied skills, and
analyze various design techniques for elementary set construction. Students will also be
able to demonstrate the fundamentals of makeup design, proficiency in makeup
characterization through varying ages, fantasy, corrective and inanimate objects.

Assessment: These seven courses were approved (12/11/07) and some have not been
taught to date. We have now been teaching stage craft (41) and scenic design (44) for
several years and met the assessment requirements last year with those courses.
However, at this time the discipline feels that assessment is not reasonable since the rest
of the courses are space driven. However as the department grows, an assessment plan
for all production classes will be implemented.

Acting/Directing Classes (THE 26, 30, 32, 33, 34, 35, 36, 37, 38, 39, ) - Students
should be able to analyze different acting techniques and styles in both contemporary
and musical theatre genres, develop psychological and physiological acting instrument
through scenes and exercises, analyze scripts and characters, develop their own sense of
artistic choice emphasizing their individuality.

THE 26 30, 32, 33, 34, 35, 36, 37, 38, 39, 50 - are laboratory and lecture based classes
that explore various styles and techniques in the acting medium. After careful review
of the course outline, it is apparent that student outcomes are successful when all course
objectives are met. Course objectives include: demonstration of the fundamentals of
various acting styles, analysis of different acting techniques and styles; compare and
contrast different acting techniques; and developing the acting instrument of voice,
creativity, speech, body and imagination. However, student success would be greatly
strengthened with additional resources and adequate facilities.

Assessment: Beginning in Fall 2011 video and self-evaluation were used by students to
view progress in their own growth as artists while preparing for public performance in a
structured environment. Faculty has had discussion regarding current techniques to aid
in the artistic challenges students face when developing their craft.
The discipline has determined that much more study is necessary of Assessments and
Outcomes as it pertains to the Performing Arts. There are plans to research other community
colleges in the next year specifically on this topic, in order for the discipline to develop better
assessments based on recognized models. In addition, further investigation will be done to
develop a Jury System to better assess performance-based outcomes to be modeled after the
California State University at Fullerton’s Theatre Department Juror System.
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F. Collaboration with Other Units Including Instructional, Student Services or
Administrative Units (Internal)
As a discipline that is inherently collaborative, it is necessary to regularly examine areas which require
ongoing maintenance. In a constantly developing and changing medium such as theatre arts, and other
vocations closely related to it, our goal as a discipline is to remain abreast of specialized trends and
techniques that will enable our students to succeed in the industry.

In an effort to better serve the student population, the Theatre Discipline continues to work
with various district disciplines and entities:
Dance
Music
Film Television and Video (formerly Telecomm)
Performance Riverside
Coil School of the Arts

Assessment of the various collaboration efforts has been positive and effective in most cases
for the students, by allowing them insight into other disciplines as well as the transference and
application of their education in the arts.
The Musical Theatre Program works closely with the Music Department, and participates in annual
Homecoming events with both Dance and Music Departments. The discipline has also created a
partnership with the Telecommunications Department to collaborate on projects, and jointly created a
class titled Acting for the Camera.
G. Outreach Activities
Recognizing that the study of Theatre provides an important foundation of communication for students
in all areas of their education in the arts, the Theatre Department continues to move beyond the
boundaries of the college and into the surrounding community.

The Off Broadway Play Series serves the local community and reaches approximately 3,000
audience members per season. In addition, the series provides local high school theatre
students the opportunity to observe what the discipline has to offer, and thereby serving as an
excellent recruitment tool. The discipline also provides many opportunities for students to
perform at various school functions, (i.e. Homecoming, Outreach, and A.S.R.C.C).

The department works closely with local High Schools and other community groups by
attracting both student participants and audience members.
For disciplines such as Theatre Arts, the topic of "outreach" and how it is approached is a vital
component to the success of the program. Because Theatre Arts is automatically involved in inviting
the community at large onto the campus through audience attendance, the discipline constantly strives
to make the theatre experience for every audience member, a positive one. Word-of-mouth and
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reputation boost this aspect of our growing programs. In addition, direct contact with the leaders of
high school and community theatre programs has been and continues to be a major part of the
discipline’s mission. In addition, outside affiliations including the Kennedy Centers American College
Theatre Festival, and the Southern California Theatre Association, assist the discipline in asserting its
presence in the theatre community at large.
H. Long Term Major Resource Planning
Physical Resources and Facilities
The constant struggle for dedicated space in which to facilitate the varied program needs, remain a
daily challenge. Practical laboratory space, adequate storage, and a safe construction area, are
essential to the success and growth of the program.
Financial resources and the creative use of them have been a constant struggle for each faculty
member in the discipline. Financial resources required to mount productions, properly instruct
students, and provide the community with quality entertainment is the responsibility of any
community college district. With the looming threat of diminishing overall budget dollars for the
district, it is the hope of the discipline that, as is often the case, the theatre program would not be the
most immediate budget reduction consideration
Facilities - The Theatre Discipline, still constrained by the need for adequate dedicated and specialized
space, continues to share classroom and program space with other disciplines, and non-academic
programs throughout the district. The discipline recognizes the following specific categories of
concerns. In sections of this document, proposals for fulfilling the stated goals are presented.
Dedicated space for rehearsal, construction and laboratory instruction is a priority in building and
maintaining a theatre program.
Support – Box office maintenance, clerical and technical theatre support, as previously stated remain
at the top of the priority list of resources needed to support the disciplines various programs.
The Theatre Program has grown tremendously in the last ten years, with three separate and fully
realized programs on the Riverside campus which serve thousands of students and community
members yearly. In addition, the department's various performing groups provide entertainment for
over 3,000 community members per year. However, the department has been forced to relocate its
shows to spaces that are not conducive to theatrical productions, including the Digital Library
Auditorium and/or Singletary Hall (Quad 144), which are limited performance venues and not
dedicated theatrical spaces.
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Due to scheduling conflicts and the presence of Performance Riverside, the discipline currently uses
Landis Performing Arts Center only once during the academic year. Landis is the only state coded
classroom space for theatre on the RCC campus.
Currently, the discipline produces four fully mounted shows per year, as well as several One-Act
productions, and numerous performances of student Cabaret's, Directing Projects, and Masque Clubs.
The following survey shows that Riverside Community College is one of the top producers of theatre
in the region while working with the least amount of facilities. Every single institution surveyed
except Riverside Community College, has a dedicated theatre space, scene shop, costume shop,
dressing rooms, green rooms, etc. RCC’s lack of dedicated theatre facilities continues to greatly
inhibit the growth of the department.
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Facilities
RCC
Type of
Stage/Seats:
Proscenium
Thrust
Fullerton Victor Saddle- Mira Palomar Golden
College Valley back Costa
West
650
400
400
300
400
Citrus
Chaffe Valley CSUF CSULB UCR
College y
Colleg
Colleg e
e
370
260
680
450
200
Black Box
Dedicated
Space*
Fly System*
Windows
in Theatre
Control Booth
Lobby
Dressing
Rooms
Make-up
Stations
400
200
200
100
100
No
Yes
Yes
Yes
Yes
No
Yes
No
Yes
Yes
No
No
Yes
Yes
Room
for 10
Yes
Yes
Yes
No
mirrors
10
Yes
spaces
100
175
100
150
100
200
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Yes
No
No
Yes
Yes
Yes
Yes
No
No
No
No
No
No
No
No
No
No
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Green Room
Scene Shop
Costume Shop
Prop Shop
Storage Set
Prop
Costume
Rehearsal
Space
Productions/Year
No
No
No
No
No
Yes
No
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Yes
No
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Yes
No
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Yes
No
No
Yes
No
No
Yes
No
Yes
Yes
Yes
Yes
6-7
5
5
6-8
4
5
4
2
3
3
8-10
4
5-6
F/T Faculty
F/T Staff
2
1
5
2
7
1
2
6
2
1
2
3
2
2
1
1
3
1
1
1
14
10
7
4
6
3
* Dedicated space refers to space that is controlled by the Theatre Department
** Fly System is the ability to raise or lower scenery/curtains/lighting
FACILITY CONCERNS
Facility concerns have been divided into three areas based on the following scenarios:
Renovation of the Quadrangle with the theatre relocated to Q-144:
Faculty and staff involvement is critical in all areas of the planning process as the space is so highly
specialized in order to meet the needs of the discipline. Decisions made without faculty and staff
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involvement have adversely affected the use of the space, and will inhibit future learning ability of
students. There is a need for the Facilities department to hire an outside consultant specializing in
theatrical construction, in order to meet the needs of the department. The hiring of a consultant was
suggested by the current architects working on the Quadrangle remodel.
The room was designated as a lecture hall rather than a performance space, resulting in confusion as to
necessary infrastructure, wiring, etc, needing to be pieced together in the space. This continues to
pose problems as the existing infrastructure is insufficient for major productions.
Public and student safety concerns over the structural soundness of the room to hold the necessary
equipment for theatre productions, especially theatrical overhead lighting instruments. Safety
concerns regarding the height of the room and how to access suspended lighting equipment. With the
ceiling at 36 feet high, it is unsafe for students and staff to hang the 50 to 70 lighting instruments
needed per production by ladder, especially considering that the floor is sloped. Therefore it becomes
essential that a safe method be employed for reaching the overhead theatrical lighting, either a
motorized grid system or a permanent cat-walk system.
Adequate space for scenic construction, student dressing rooms, a small storage facilities, and
laboratory space is still needed. Currently students spend approximately one-quarter of all class time
cleaning up the space so that it may be used as a lecture hall for other disciplines. Over the course of a
semester, students may spend 20 to 30 hours doing basic janitorial duties as opposed to actual stage
craft. Although a small dressing room was implemented, it is only made for 10 people, and must be
shared by both sexes to accommodate space. Actors are forced to change costumes in hallways or
bathrooms used by faculty and students. The current changing restrictions raise serious privacy issues.
The performance/rehearsal space must be dedicated space, controlled by the Theatre Department. As
demonstrated above (survey of dedicated spaces), successful theatre departments must have dedicated
space to accommodate the extensive work on productions, as well as the number of hour’s theatre
classes require. The department must have a space that is controlled by the department, to allow the
program to continue to grow. As shown in the Theatre Survey chart above, every single institution
surveyed has dedicated theatre space.
Adequate theatrical equipment in Q-144 to sustain productions and provide students learning
opportunities. The remodel of Quad-144 did not include any theatrical equipment necessary for
theatre productions. The discipline spent over $25,000 from its trust account to purchase the necessary
curtains, drops, electrical cable, lighting truss and sound equipment. Simply moving the equipment
from McDermont Hall didn’t work due to the difference in room size. And then, to date the space still
has inadequate theatrical equipment to produce shows in an artistic and safe manner. It will be
necessary to replace some or all of the existing equipment, and purchase new equipment to make the
space usable. Where will the funds come from to facilitate this?
Adequate electrical and sound wiring to sustain the needs of theatrical lighting and sound equipment
are needed. If the proper planning is not implemented for electrical and sound wiring, it will be more
expensive to go back and redo the facility to make it usable for the department. Therefore, it is
imperative that the Department be involved in the planning process for the space.
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Theatre (Performing Arts)
Black Box Remodel:
With the college growing and Film, Television and Video’s move to Riverside School for the Arts,
District Strategic planning has approved the remodel of the Black Box behind Landis to facilitate the
Theatre Department needs for a permanent, dedicated space of our own. The discipline has had
multiple discussions with the administration and strategic planning, and has been through all the
necessary steps to finally have a dedicated space… although it has not yet been funded. So again we
wait
STAFFING CONCERNS
The Theatre Discipline must hire the following staff to accommodate anticipated growth over the next
several years. The following data and graph on p. 20 shows current theatre staffing:

Full-Time Faculty – specializing in Design and Technical theatre to support the existing
program and develop a technical theatre program. Currently the discipline offers only one
technical theatre course due to space and facility restraints. The department needs a full-time
faculty member dedicated to this program. Geographically, there is a need for such a program
and would fill a void in the Inland Empire.

Full-time Accompanist – specifically for Musical Theatre and Summer Conservatory Programs

Full-time Staff (Technical Theatre) – Due to budgetary constraints, it is necessary to hire a fulltime technical support staff to reduce the cost incurred by part-time employees. This position
would assist in all aspects of production including lighting, sound, and set building. The
discipline currently has a full-time Technical Director to ensure that the productions are
completed on-time, per budget and in accordance with State safety laws. There has been some
preliminary discussions to reclassify this position to included duties for Performance Riverside.
The discipline feels that this would be detrimental to the program and possible lead to
production delays, cost overruns and possible safety issues with students.

Full-Time Staff (Production Manager) – Due to the increasing number of productions, audience
base and student needs, there is an obvious need for a full-time staff position, dedicated solely
to marketing, audience development and publicity.

Increase in Part-Time Hourly funding – to help facilitate the tremendous growth in the number
of productions presented by the department. Additional funding will reduce workload stress
and several safety concerns, for the single existing full-time staff member.
Clerical Staff – as the Performing Arts Department continues to grow, more and more demands are put
upon the existing clerical staff. In order to adequately facilitate new programs, activities and
increasing department demands, additional part-time help may be necessary. Due to the many
demands of the discipline’s productions, the position of Clerk/Typist for Performing Arts is essential
in tracking budgetary issues, scheduling and facilities.
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Theatre (Performing Arts)
I.
Summary
Having reviewed other discipline self-evaluations such as Philosophy and English, it is clear that many
issues regarding the program review process are universal throughout the district. This includes:

Continuing ongoing reviews

Maintaining communication within the disciplines as the district moves toward a threecollege system

Addressing the issue of constantly changing circumstances on campus

Evaluating which areas of implementation that are most difficult

Addressing the lack of resources to help discern/interpret the constantly changing
requirements and information for the reports

Addressing clarity in the area of evaluation and assessments, especially in the area of a
standardized format from the district.
Being a discipline that is inherently collaborative, we often utilize areas which require ongoing
maintenance. In a constantly developing and changing medium such as theatre arts, and other
vocations closely related to it, our goal as a discipline is to remain abreast of specialized trends and
techniques that will enable our students to succeed in the industry. The following are ways in
which we will attempt to do this:

The status quo being three separate programs (dance, music, theatre) within the single
discipline (Performing Arts). Each discipline to continue to facilitate the training of future
artists and technicians while providing general education requirements to a broad-based
student body.

Programs and Curriculum - will require ongoing monitoring to insure curriculum is current
in the field of theatre arts. The discipline's programs and curriculum should be examined
and updated at a minimum, every 5 years.
As Theatre Arts is a subjective art form, and it is up to the faculty to determine if assessment
criteria have been met on a per-course basis. Faculty will conduct meetings on a regular basis to
ensure that the assessment strategies are met. After examining policies on this issue, the discipline
strives to stay in conformity with other institutions.
Planning

Initiatives - Investigating, creating and implementing a certificate program for an Associate
of Arts Degree in Theatre should be a priority for the discipline. In addition, there is a need
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Theatre (Performing Arts)
to create and implement Certificate Programs in Technical Theatre in association with
Riverside/Coil School for the Arts .

Strategies of goals - Offering theatre courses that are both acutely focused on the theatre
artist in academia as well as in the industry. Courses that cater to non-majors and those
pursuing simple cultural enrichment should be pursued by the discipline.

Activities - The faculty in the Theatre Arts Discipline will strive to remain current with
trends in the industry, and bring any pertinent information directly into the classroom.
Working with parent groups such as Screen Actors Guild, Actors Equity Association,
American College Theatre Festival, etc. will help to facilitate this goal.
Resources
Proposals for fulfilling the stated goals have been presented in the earlier sections of this
document:

Dedicated space for rehearsal, construction and laboratory instruction is a priority in
building and maintaining a theatre program.

Support - Box office maintenance, clerical and technical theatre support, as previously
stated are at the top of the list of resources needed to support the discipline’s various
programs

Financial resources and the creative use of them have been a struggle for each faculty
member in the discipline. The financial resources required to mount productions, properly
instruct students, and provide the community with quality entertainment is the
responsibility of the community college district. With the looming threat of diminishing
overall budget dollars for the district, it is the hope of the discipline that, as is often the
case, the Theatre Program would not be the most immediate budget reduction consideration
To Summarize Goals:
1. Request for additional full-time positions to support the existing program on all three
campuses.
2. Request for designated space.
3. Continued dialogue regarding the possible renovation or remodel project of the “Black
Box” located at the rear of Landis Auditorium.
4. Continued dialogue regarding the possible renovation or remodel project for Quad-144
to prioritize the initial remodel.
5. Continued and increasing funding support for Instructional Aid, clerical and other parttime hourly budgets to support ongoing program growth.
6. Continue outreach to the community and local schools, including audience
development, summer conservatory, productions etc….
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Theatre (Performing Arts)
Overall Summary
Having reviewed other discipline self-evaluations such as Philosophy and English, it is clear that
many issues regarding the program review process are universal throughout the district. This
includes:

Continuing ongoing reviews

Maintaining communication within disciplines at the district level

Addressing the issue of constantly changing circumstances

Evaluating which areas of implementation are most challenging

Evaluation and addressing the issue of reassigned time for work involved in the program
review process
Being a discipline that is inherently collaborative, we often utilize areas which require ongoing
maintenance. In a constantly developing and changing medium such as theatre arts, as well as
other vocations closely related to it in the entertainment industry, the goal as a discipline is to
remain abreast of specialized trends and techniques that will enable our students to transfer
successfully, and eventually thrive in their chosen profession. The following are ways in which we
will attempt to do this:

The status quo being a majority of large-lecture and online THE 3 classes, Acting courses,
Play Productions courses in which the genre of which rotates from semester to semester,
are the current offerings at the Riverside Campus.

Program and Curriculum will require ongoing monitoring to insure curriculum is current
and up-to-date in the field of Theatre Arts. The discipline's programs and curriculum
should be examined and updated at a minimum, every 5 years.
As Theatre Arts is a subjective art form, it is dependent upon the faculty to determine if assessment
criteria have been met on a per-course basis. Faculty will review curriculum and assessment
outcome data on a regular basis to ensure that the assessment strategies are met. After examining
policies on this issue, the discipline strives to stay in conformity with other institutions.
J. Recommendations to the Program Review Committee
There are so many repeated questions in required District documents such as Educational Plan, Unit
Plan, Comprehensive Program Review; the overall process is not helpful.
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