Download workshop offerings

WORKSHOP
OFFERINGS
**********************************
PA Thespians State Conference
December, 2014
•
Please review these offerings – and allow students to select one session for each day. Please
understand that this list may change, and that some will fill quickly. Students should have
alternate choices in mind.
•
All students must attend a session on each day. (Except evening mainstage schools who are
setting up). Workshop sessions are the last activity of the afternoon, followed by dinner.
•
Requests for workshops are handled on a first-come basis. You may submit the chart requesting
tickets via email to Melissa Mintzer, and they will be processed in the order they are received.
Either scan, or send the document back – but change the document name to your school’s name
or troupe number, please. Email: [email protected]
•
Please fill in student names on the sheet, so if there are conflicts, we’ll all know which
student(s) are affected.
•
No more than 10% of your delegation may attend the workshop on a day. If you have 30
students, you may only request 3 tickets for Friday – but you may select 3 for Saturday as well –
since all workshops are offered both days.
•
Admission tickets will be available when you arrive at the conference. Our goal is to hand the
troupe director two envelopes with all tickets requested at the registration desk upon your arrival
on Thursday. Students can put their tickets in the back of their name badge for safe-keeping – but
must have a ticket to enter a workshop – attendance lists will be given to each workshop
presenter as well. Specific room assignments will be determined and made available at the
conference.
Questions? Contact Melissa Mintzer ASAP.
Email: [email protected]
Analyzing the Hat
Lou Volpe, Retired Truman HS director
An intensive investigation of selected Stephen Sondheim songs with emphasis on the use of language, rhyme, meaning and
how the song works in a particular musical. A list of the specific songs will be forthcoming and workshop participants will be
expected to bring their own copies of them (they are easily downloaded from many sites on the web). Most of the songs will
be from the following musicals: PACIFIC OVERTURES, COMPANY, MERRILY WE ROLL ALONG, PASSION, INTO THE
WOODS, SWEENEY TODD, A LITTLE NIGHT MUSIC, FOLLIES, SWEENEY TODD AND SUNDAY IN THE PARK WITH
GEORGE.
Lou Volpe: Retired director of HS Truman HS Drama program.
Anthony Meindi’s Acting Workshop
Ben Hodge, Central York HS
Stuck in a creative rut? Having trouble in the audition room? Look no further than this workshop geared to reenergize and
rejuvenate the most important part of the acting experience: You. Discover the power of staying present in the work through
the power of listening. Reclaim confidence and drive when facing those tough auditions or scenes.
Ben Hodge has been acting and directing for 20 years in a variety of formats. He has directed several productions in York, PA and had his play REACH
performed in NYC at an Off-Broadway venue in 2009. Ben studied English and Acting at Messiah College and received his Masters in Education from Penn
State University. After the success of REACH, the hit play about the hidden issues of 21st Century teens, Ben started acting classes in the York, PA area and
created Ben Hodge Studios in October 2009. His main goal is to bring a high-level, professional acting workshop to York, PA that is modeled after
professional workshops with influences by Uta Hagen, Sanford Meisner and David Mamet. Ben has been the only acting teacher at local Central York High
School for the past 13 years where he has developed an innovative and fresh curriculum for young actors aged 13-24. This curriculum and workshop format
is now available to the greater York area with hopes of training and leading new actors to the realization that acting is a more than just a hobby or pastime: it
is an honorable profession and a way of life. His connections with New York City, LA and local talent agencies are now being offered to anyone who joins
the Studio classes and have opened the doors for many already joined. He currently runs classes and offers private acting coaching via Skype. Email:
[email protected]
The Art of Acting: A Master Class in the Meisner Technique
Pamela Moller Kareman, Neighborhood Playhouse
This workshop will introduce the student to the world-renown acting technique, developed by Sanford Meisner at
The Neighborhood Playhouse. Professional actors universally agree with Sanford Meisner's definition of acting:
"Living truthfully under imaginary circumstances." During this workshop students will explore how to achieve this
goal through a series of acting exercises designed to ignite one's actor instincts and one's talent.
Pamela Moller Kareman is the executive director of the legendary Neighborhood Playhouse School of The Theatre in New York City. Before starting her
professional career as a director, educator and Meisner Technique teacher, Ms. Moller Kareman graduated from The Neighborhood Playhouse where she
studied with Sanford Meisner. She has taught classes and workshops in the technique for over 20 years.
www.neighborhoodplayhouse.org
Audition Tips from the Fulton Theatre
Artistic Director Marc Robin, Company Manager Randall Frizado and/or Dir. of Community Engagement Jennifer Ridgway
How do you incorporate theatre technique and discipline into an audition? What are the people behind the table thinking
during your audition? Learn the dos and don’ts of auditioning, and techniques and strategies to ace one. Join the
conversation alongside working professionals (such as Artistic Director Marc Robin, Company Manager Randall Frizado,
Director of Community Engagement Jennifer Ridgway). The lineup will be determined, and may vary between the two days.
No matter who shows up, you will walk away with concrete ideas from Fulton’s professional artists!
Marc Robin: Fulton credits include the Direction and Choreography for 26 productions including Les Misérables, Carousel, Crazy for You, 42nd Street,
Rags, and Miss Saigon. He also helmed the productions of Driving Miss Daisy and August: Osage County. He has staged over 300 productions across the
country at such theatres as Walnut Street Theatre, Theatre Under the Stars in Houston, Chicago Shakespeare Theatre, Utah Shakespeare Theatre and Drury
Lane Theatre in Chicago. He works extensively in the summers at Maine State Music Theatre and still has the pleasure of directing at the Marriott Theatre in
Chicago where he has been employed in various capacities over the past 29 years. His work has been awarded and nominated by several different
organizations including 3 Barrymore Nominations (Philadelphia); A Carbonell Nomination for Best Direction for the transfer of the Fulton’s production of
The Sound of Music (Florida), A Black Theatre Award for Direction (Chicago), 13 After Dark Awards for Direction and Choreography (Chicago), Lifetime
Achievement Award from Light Opera Works (Chicago); 3 Broadway World Nominations (Chicago and Maine) and most recently he received his 53rd
Joseph Jefferson Nomination (Chicago), making him the most awarded individual and the most nominated in the Jeff Awards 63 year history. Before arriving
in Lancaster he was the Artistic Director for Drury Lane Theatre Evergreen Park where he spent 13 years. This coming season, in addition to his Fulton
schedule, he will stage The Music Man (Walnut Street Theatre), Spamalot (Theater Under the Stars Houston and Kansas City Starlight) as well as Mary
Poppins and Les Misérables (Maine State Music Theatre).
Basics of Improvisation
Jenna Simmons (student) & Ricardo Vila-Roger (faculty), University of Pittsburgh Department of Theatre Arts
Goal: To introduce students to the basic elements of improvisation and to demonstrate how they can be employed in aiding
an actor approach established text.
Synopsis: The workshop will cover the three rules of improvisation and will explore them by playing a variety of improv
games. It will then demonstrate how these games free the imagination and open the performer to new vocal and physical
choices when approaching established theatrical text.
Detailed Description: No idea is a bad idea in improvisation. Improv partners must learn to support each other by making
sure they agree that no ideas are given with intent to harm or offend–only to build scenes and ideas. When approaching
improvisation, it’s important to remember that you already know everything you need to know. Your life experiences, your
ideas, and your memories are a wealth of knowledge that you can never exhaust. You can create through agreement.
The 3 basic rules* to follow when improvising:
1. Information gifted is not to be challenged or debated
2. Information gifted is never to be taken personally
3. Information gifted is in the realm of your and everyone else's knowledge.
(*Rules courtesy of Unplanned Comedy Pittsburgh and iO West created by Woody Drennan)
The three rules of improv teach actors how to approach not only the text, but also their acting partner. These rules help actors
create and develop new worlds by encouraging them to treat each other's ideas as gifts that have immense possibility for
creation. Improvisation can also help teach performers to root themselves in their objective (sometimes called "position" in
the improv world). Development of this "positioning" skill becomes useful when approaching new text or doing a cold read
for an audition because it forces you to quickly and convincingly choose a point of view that justifies text and creates a
strong character.
The workshop participants will play a variety of basic improvisational comedy games to teach them these rules, help teach
them what agreement feels like, and give them a glimpse into how their own creativity can unlock avenues in approaching
new text in rehearsal and in cold read auditions.
Ricardo Vila-Roger Teaching Artist: is a Pittsburgh-based actor, singer, and director. He was born in San Juan, Puerto Rico and graduated from the University
of Colorado, Boulder where he studied acting, directing, and voice. While in CO, he worked as an actor, singer, director, scenic painter, and properties
designer and studied under numerous teachers (including a week-long Shakespeare intensive with Martin Jenkins, the director of BBC Radio Drama, and a
dance workshop with Ben Vereen). He received a Peak Area Performance Award (PAPA) nomination for best actor for playing Yvan in the Colorado
Springs Fine Arts Center Repertory Theater Company’s production of Yasmina Reza’s Art. Since moving to Pittsburgh, he has appeared in the regional
premier of Fixing King John and Orange Flower Water as well as the world premier of Oedipus and the Foul Mess in Thebes with No Name Players. He
directed the regional premier of Dead Man’s Cell Phone — the inaugural production of Organic Theatre Pittsburgh—, which was named best new theater
company by The Pittsburgh Post Gazette. Recent productions include Man of La Mancha for The Company of Pittsburgh, the world premier of OJO with
Bricolage, and In the Heights here at UP Stages. Ricardo will teach Introduction to Performance and serve as a mentor and acting coach for undergraduate
performers.
Building a Connection with BC/EFA – Fundraising & Performances
Andrea Roney, North Penn HS
This workshop will focus on building a stronger connection between your thespian troupe and Broadway
Cares/Equity Fights AIDS (BC/EFA) and strengthening Pennsylvania's overall relationship and support with
BC/EFA. Ideas will be given on creating fundraising opportunties and activities for and with BC/EFA, working with
your administration and district, exploring your special troupes special talents and interests, and reaching out to
your school and community for additional support. Time will be given for Q&A and brainstorming ideas.
Andrea Lee Roney is in her 10th year of teaching and directing the North Penn High School Theatre classes and productions and the North Penn High
School Thespian Troupe 5464. NPHS created the first high school BC/EFA fundraiser in 1999 and helped spread the connection to the PA State Thespians
and International Thespians. In 2012, high schools passed the $1 million mark in fundraising for BC/EFA. North Penn celebrated its 15th Anniversary Gala in
February 2014 receiving a special award from the BC/EFA Board of Directors for the troupe's collaboration with BC/EFA and Thespians. Mrs. Roney worked
in professional theatre as an actor, director, and administrator and taught on theatre on the college/university level prior to happily accepting the position at
North Penn High School. She is currently on the PA State Thespian adult Board of Directors.
Dance: Production Workshop
Jaimie Geddes, Bensalem HS
In this workshop, students will learn a complete dance production number in the two 90 minute sessions.
Participants will be taught a brief combination in a mock open-call dance audition style and then, they will use
their skills in a fast paced dance environment. Participants will need to pick up choreography quickly and work to
have their piece performance ready in the time allotted. They will perform their piece at the closing ceremonies of
the conference for all of their peers. The goal of the workshop is to provide participants the skills required to be
prepared for any dance audition they might encounter in their career.
Jaimie Geddes is a New Jersey native who teaches and performs and teaches in the Philadelphia region. She trained at the Lee Strasberg Theatre & Film
Institute, Broadway Dance Center, and Steps on Broadway. She has taught the dance production workshop for the past two years at the Pennsylvania State
Thespian Conference. She also teaches ballet, pointe, jazz and contemporary in Bucks County, PA and was an instructor at the Bucks County Playhouse.
Her favorite performance credits include Cassie in A Chorus Line (Original Broadway Choreography), Velma Kelly in Chicago (1996 Revival Choreography),
Miss Adelaide in Guys & Dolls, and Sally Bowles in Cabaret.
Given Circumstances
Richard Sautter, Gettysburg Area HS & Lecturer of Theatre at Messiah College
What exactly are they? How do you find them? How do you use them? This workshop answers these questions and uses
exercises that help you harness the power of Given Circumstances to add depth to your performances.
We will start in discussion, identifying all the various factors that make up the Given Circumstances of a scene. Then,
student actors will perform simple actions and simple scenes, changing the circumstances one at a time, to reveal how a
commitment to the realities of a character's life can increase the level of artistry in an actor's work.
A professional actor for over 20 years, Richard Sautter is a member of Actors’ Equity Association and of the Voice and Speech Trainers Association. His
performing career has ranged from Shakespeare to children’s musicals and includes regional theatre, summer stock, and fringe festivals. Richard holds
degrees in Theatre from Bates College, the University of Exeter, and Virginia Commonwealth University. He has taught Acting at Ferrum College,
Gettysburg College and Penn State Lehigh Valley, and is currently Visiting Lecturer of Theatre at Messiah College. Richard is advisor to ITS Troupe 4670,
Gettysburg Area High School.
Good prop/Bad Prop—choosing props for performance
Brian Jones, Indiana University of PA
Whether you're a performer, director or designer, you need to understand how prop choices affect performance. Go through
a trunk full of props with a props master, and learn to choose props best suited for you and your theater.
Brian is chair of the Department of Theater and Dance at Indiana University of Pennsylvania, and is the resident scenic and lighting designer. He earned an
MFA in design and technology from The University of Florida in 1984. Since then he has designed scenery and lighting for over 200 productions in
academic and professional theatres. He received a Certificate of Merit from the Kennedy Center American College Theatre Festival for the scenic design of
Zastrozzi, The Master of Discipline. Brian’s artistic interests include puppetry and masks. In the fall of 2004 he was an Artist in Residence with Mum
Puppettheatre in Philadelphia, PA, where he designed The Puppetmaster of Lodz. He is also the executive director of Footlight Players, a youth theater
program at IUP. Brian has served as a leader in several organizations including as President of the Indiana (PA) Arts Council, member of the Education
Commission of the US Institute for Theater Technology, Vice-Chair of KCACTF Region 2. In 2012 he opened The Artists Hand Gallery and Studio in
downtown Indiana, PA.
Hand sewing skills 101
Nancy Pipkin-Hutchinson
Learning the beginning skills to attach a button, sew on a hook and bar, attach snaps. Hand techniques for trim application
and appliques.
Nancy Pipkin-Hutchinson has been working in professional theatre for over 25 years. Her experience encompasses all levels of costuming from stitching,
cutting, pattern development, crafts, shop management and design.
IE Solo Musical Theater Workshop, Acting a Song
Mark Wade, Arcadia University
Is it enough to sing the notes right or is there more? We will talk thru what you need to do from the moment you walk in the
door and work thru a section of your song to try to take it to the next level. If you take this workshop you will be expected to
sing, no lurkers allowed. Please bring your recorded music.
Mark is a graduate of The Yale School of Drama in Acting, and The Neighborhood Playhouse (where he studied with Sanford Meisner). Acting and directing credits
include work for The Westport Country Playhouse, The Long Wharf Theater, and Trinity Repertory Theater. He spent five years as a creative consultant for Joanne
Woodward, and produced with her two television movies for the “Hallmark Hall of Fame.” In addition, Mark collaborated closely with Ms Woodward during her time
as Artistic Director of The Westport Country Playhouse, serving as an education consultant and as her assistant director on The Constant Wife by Somerset Maugham
and Three Days of Rain by Richard Greenberg . Mark served as assistant director to Lloyd Richards on the Hallmark Hall of Fame’s television adaptation of The Piano
Lesson by August Wilson. He directed the New York premiere of The Sirens by Darrah Cloud.
At Arcadia, Mark has directed The Laramie Project, Keely and Du, Hearsay (a world premiere written by Kathryn Petersen), The Love of the Nightingale, The Wind in
the Willows, Home (a regional finalist and recipient of multiple awards including Outstanding Direction and Outstanding Ensemble Acting by the Kennedy
Center/American College Theatre Festival), an all-female version of Shakespeare’s Julius Caesar, The Swing of the Sea (a world premiere written by Molly Hagan, an
invited production to the KCACTF’s regional festival and winner of the Harold and Mimi Steinberg National Playwriting Award soon to be published by Samuel
French), Meshuggah-nuns!, and co-directed with Kathryn Petersen The House of Bernarda Alba.
Mark has taught classes at The Wilma Theater Studio, and The University of the Arts. He directed Home and The Pillars of Society at The University of the Arts. Mark
taught acting for ten years at Wesleyan University in Middletown Connecticut.
Improv Games from "Whose Line is it Anyway?"
Sally Vogel, Pennridge High School Troupe Director
Actors will volunteer to perform in various improv games including: (but not limited to): Props, Scenes from a Hat,
Questions Only, Hats, Alphabet Game, Duet, Foreign Film Dub, Rap Songs, Superheroes, Sound Effects and World's Worst.
Pennridge High School Thespian Troupe Sponsor for 6 years. Active volunteer production assistant with musicals, drama and one-act competition plays at
middle school and high school levels. Former actor in Children's Theatre productions as a high school and college student.
Intro to Improv Theory and Concepts
Jonas Bloomfield, Parkland HS, DeSales University Student, Allentown Public Theatre – The Associated Mess
-Hello all! - Focus/Points of views – Discoveries - "Yes, and..." - Clear objectives (and understanding scene partners'
objectives) - Justification of circumstances - Straight Man vs. Funny man
Warmup: - warmup body and imagination- "7 things"
Warmup Game: - Firing line (game in which people stand in a line, while 1 person goes down the line, receives a word and
responds to it with their impulsive thought) - Bippity Bippity Bop- Zip Zap Zop
Short Improv Games: - New Choice - Character Circle - Rotating Box - Oscar winning moment - Superhero vs. villain
Final large group game: Super Freeze
Jonas Bloomfield is a former student of Parkland High School, and a current student at DeSales University working towards a B.A. Theater Arts. For almost a
year, he has been performing short form improv comedy with Allentown Public Theater's group, the Associated Mess in Bethlehem, PA. He most recently
performed in Hair as Margaret Mead, hosted at Cedar Crest College in August of 2014.
Introduction to Theatrical Photography
William Kenyon, Penn State University School of Theatre
This hands-on workshop, appropriate for beginners and those with some experience, will discuss the challenges of capturing
theatrical pictures for your design & technical portfolio. Students from all areas are welcome. Please bring your camera, as
we will spend some time working with the various specialized settings available to digital cameras. If you have access to the
manual, bring that too! Feel free to join us even if you don't have a camera, or are thinking about getting one, you will still
get a lot out of the session.
William Kenyon serves as Head of the Design & Technology Program, and runs the Lighting Design Program in the School of Theatre at Penn State. An
active professional designer, Prof. Kenyon has designed over 150 plays, operas, and dances, along with over a dozen national and international tour seasons
with several theatre & Dance companies. Prof. Kenyon’s recent work includes performances at The Kennedy Center, Lincoln Center, Wolftrap, the Qatar
International Arts Festival, and Bucknell University. He has also designed for the Metropolitan Playhouse, Opera Delaware, Ballet Theatre of Central
Pennsylvania, Nebraska Rep, Russian Ballet Theatre of Delaware, Opera Omaha, University of Iowa, and MTI-Disney. Prof. Kenyon has been involved in
Native American theatre and dance for over 15 years, serving as resident LD for the American Indian Dance Theatre, and was involved in the complete
reimagining of “Unto These Hills”, a massive outdoor spectacle celebrating the history of the Cherokee. Prior to Penn State, William taught Lighting &
Sound Design at the University of Nebraska-Lincoln. Prof. Kenyon received his BFA from the University of Connecticut, and his MFA from Brandeis
University. Prof. Kenyon serves as the US Delegate to the OISTAT (Organisation Internationale des Scénographes, Techniciens et Architectes de Théâtre)
Education Commission, after haivng served 2 terms as Commissioner for education for the United States Institute for Theatre Technology. Prof. Kenyon is
also the Education Editor for USITT’s journal TD&T. Member of USITT, OISTAT, IALD, IESNA, and USAA Local #829 in the areas of Lighting and Sound
Design. When not on tour or in tech, Prof. Kenyon is working on climbing the highest point in each U.S. state. He lives in Pennsylvania with his wife Jenny,
a Costume and Scenic Designer, and his daughter Delaney.
Introductory Lessac Voice and Body Workshop for Actors
Barry Kur, Penn State University, Professor Emeritus
Introduction of character development and text exploration through Lessac Kinesensics- a physically based training method
of both voice/speech and movement.
BARRY KUR- Theatre Voice and Speech Specialist. Master Teacher, Lessac Kinsensic Voice and Body Training. For 30 years on the faculty of Penn State
University’s School of Theatre Kur taught all facets of voice/speech training to BA, BFA and MFA performance programs and served as the school’s Associate
Director. He has been designated a Master Teacher of the Lessac Voice and Body Work and Director of Certification of the Lessac Training and Research
Institute with extensive training with Arthur Lessac and Sue Ann Park. He continues to lead Lessac Institute sponsored workshops. Prior to his Penn State
appointment, he was the Voice/Speech Trainer at Ohio University. For twenty-two years he served as administrator and faculty of the South Carolina
Governor’s School of the Arts and Humanities. During the spring of 2001, Kur was an invited guest teacher of four theatre-training programs in South Africa
and during the Fall 2011, led master classes for Toi Whakaari New Zealand Drama School and The Central School of Speech and Drama, London, England.
He is the author of the textbook Stage Dialect Studies- A Continuation of the Lessac Approach to Actor Voice and Speech Training. He has been the voice,
speech, dialect and text coach for over 100 professional and academic productions. He is the recipient of Penn State’s George W. Atherton Award for
Teaching Excellence and the Lessac Institute’s Leadership Award. Kur is the Past-President of the Voice and Speech Trainers Association and the Lessac
Training and Research Institute.
Leadership Workshop / STO Selection
Marlene Thornton & Jill Campbell – PA State Board members
Alex Minton – International Thespian Officer
Each troupe should have 2-4 students attend this workshop. They will get to know the current student state board members,
and the candidates who are running for those positions for the coming year. Each troupe may cast one ballot – and students
participating in this workshop must attend both sessions. Participants will learn what makes effective leaders and hear from a
current ITO student as well.
Marlene Thornton – Springfield HS. Jill Campbell – State College Area HS. Alex Minton – Omaha, Nebraska
Learning Nationally- Living Locally - exploring the new national theatre standards
Cory Wilkerson, National Coalition for Core Arts Standards, EdTA member
In June of 2014 a coalition consisting of national arts organizations and partners led by the State Education Agency Directors
of Arts Education launched the first revision of the national arts standards in twenty years, written by arts educators for arts
educators, these voluntary standards live in an interactive web based home, ready for you to explore Join Cory Wilkerson,
State Education Agency Directors of Arts Education, in a deep dive to slice, dice, compare, and contrast the new National
Core Arts Standards to Pennsylvania’s Arts and Humanity standards. You can play a key role in thinking through how
Pennsylvania educators can tap into this resource and influence the future for Pennsylvania’s arts education.
Ms. Cory Wilkerson is a former theatre arts educator currently working in arts consulting and administration. Ms. Wilkerson has a specialty in theatre for
young children, and studied in DIE and TIE techniques in Scotland with Lynne Clark of Queen Margaret College and Theatre of the Oppressed at New York
City’s TOP Lab with Augusto Boal. She maintained the Palmyra Middle School drama program for ten years, followed by a position as Theatre instructor at
the Infinity Gifted Charter School, before retiring to full time consulting. Ms. Wilkerson was a contributing editor to the Pennsylvania Arts and Humanities
standards, served on the Pennsylvania Assessment through Themes project, co-chaired the Arts Committee for Pennsylvania Standards Aligned Systems, and
consults on the Pennsylvania Student Learning Objectives initiative. In her capacity as Project Director for the State Education Agency for Directors of Arts
Education, Ms. Wilkerson served with the National Coalition for Core Arts Standards (NCCAS) working on dissemination of the new national core arts
standards; and is a member of the NCCAS Communications and Technology Committees. Ms. Wilkerson serves on the Media Arts Committee of the
national coalition, providing guidance and a voice for the new media arts standards.
Long-form improv: Finding the Game and Building Scenes
Michael Schwartz, Indiana University of Pennsylvania
In this workshop, students will learn and implement basic long-form improv techniques such as creating and finding "the
game" in a particular scene--an element, gimmick, theme, or idea that can be repeated, exaggerated, and expanded upon in
subsequent scenes. Students will learn to watch for and seize on a variety of scene elements that audiences will recognize
and appreciate as the performers find different ways to "intensify" the game. Students will also be encouraged to find when a
game has reached its logical climax and begin a new game. These games are the fundamental elements of the basic longform format, the "Harold."
Michael Schwartz is an assistant professor of history and playwriting in the Theater and Dance department of Indiana University of Pennsylvania. He has
trained and taught with Philly Improv Theater in Philadelphia (including workshops with "Impro" author Keith Johnstone, Upright Citizens Brigade cofounder Matt Besser, and acclaimed improv duo Bassprov), has taught and performed improv in New York, Philadelphia, and Pittsburgh, as well as at IUP.
Period Costuming
Sandy Chantry, Council Rock North
As per my usual workshop, an overview of dressing a play for a range of periods. I provide examples and models. I also have
research materials. This year, I'd like to focus on undergarments. I will have costume examples from a variety of eras,
including the undergarments, explain and demonstrate the differences, and give a brief tutorial on construction.
Sandy joined the theatre club at CR North as an Assistant Director in 1993. Over 20 seasons, she has worked in many capacities, adding the Principle
Costumer title in 1996. She became the Artistic Director in 2006 and has continued as Principle Costumer, providing costumes for 3 Main Stage productions
every year. Sandy conducts workshops in costuming and set and prop design, as well as Stage Management. She also designs and builds costumes for other
theatre groups and outside events, winning several awards for her work in Boston. She has been designing and constructing - including knit pieces - for more
than 50 years, specializing in the Victorian Era.
Playwriting
Ivan Fuller, Rider University’s Westminster College of the Arts
In this workshop participants will actively engage in the writing of a complete script by being coached through a
timed writing process. By letting yourself enter the moment, writers can find their focus heightened and
pressurized, often resulting in a surprisingly exciting product. This workshop has proven to be highly popular with
both beginner and more experienced writers. The approach taken in the workshop is easily transferable to home
campuses where students or teachers can recreate the experience for a wide array of outcomes.
Dr. Ivan Fuller serves Rider University’s Westminster College of the Arts as professor of theatre, chair of the Theatre & Dance Department and Associate
Dean of the School of Fine & Performing Arts. He teaches courses in Theatre History, Script Analysis and Dramatic Literature.
Prior to coming to Rider, Dr. Fuller was professor of theatre at Augustana College in Sioux Falls, South Dakota, 1989 – 2011, where he served as chair the
Performing & Visual Arts Department. He was the founder and artistic director of the Bare Bodkins Theatre Company, which produced summer Shakespeare
in Sioux Falls. Since 2003 he has spent time during the summer in Russia, leading students on study abroad trips or simply being inspired for his various
writing projects. In addition to his work as a director, actor, theatre educator, and poet, Ivan is a playwright. His play, Eating into the Fabric, was chosen for
the Mainstage Reading Series at the Great Plains Theatre Conference in May 2009 where it was awarded a Holland New Voices Award for Outstanding
Play. It was also a semi-finalist for the Eugene O’Neil National Playwriting Conference. In July 2009 he served as playwright-in-residence for Summer
Literary Seminars in Vilnius, Lithuania. It was there that he completed the first draft of Awake in Me. In 2010 he returned to St. Petersburg, Russia, where he
began writing the final chapter of his Siege Cycle.
Playwriting Now!
Lindsay Price, Theatrefolk
Don't wait to write, start writing now. Playwright Lindsay Price will give you the warm ups, the tips to avoid writers block,
and the exercises you need to get writing. Write your play anytime, anywhere.
Lindsay Price has been a professional playwright for 20 years writing plays specifically for schools and student performers. She averages 500 productions a
year in schools across Canada, the US and overseas. She teaches playwriting workshops regularly around the country, most recently at the International
Thespian Festival, the Arizona State Thespian Festival, the North Carolina Theatre Arts Educators Conference, and the Florida Association for Theatre
Educators Conference.
Poetry Alive
Dorothea Hackett, Dubois Area Senior HS Troupe #6949
Students read poetry and create scenes from the texts.
Dorothea Hackett is a 36 year veteran teaching English/Theater Arts/French at DuBois Area Senior High School. She also directs three productions each year
at DAHS. She holds a BS in Secondary Education from Clarion University of Pennsylvania and a Masters in Curriculum and Instruction from Gannon
University. In addition, she has earn National Board for Professional Teaching Standards certification.
Scenery construction techniques
Thomas Haughey, West Chester University of PA
This workshop is intended to offer some solutions to scenic shifts that are repeatable, safe and can be done with the tools that
are in the theatre environment. There will be a presentation of several examples of scenery moving techniques (lift-jack
systems) along with a short discussion about general safe working practices backstage and other technical solutions to
scenery moving challenges (ie planning for curtain call).
Thomas Haughey is the assistant professor of technical direction and sound design at West Chester University of Pennsylvania. He has been the TD for over
100 productions over the past 20 years. He is also an award winning scenic and sound designer. His most recent productions include: The Wedding Singer,
Dead Man's Cell Phone, A Misdummer Night's Dream and The Rivals. Thomas would like to thank his amazing wife, Amy for all her support.
Script Analysis
Denise Connor, Montoursville Area HS
Group analysis of a short piece using a technique called the literary seismograph, where we chart words based on how much
their intensity "shakes up" the reader; partner analysis of a 10-minute play, including line analysis paired with individual
intention and overall spine/message of the play.
Denise Connor is an English and Drama teacher at Montoursville Area High School, where she directs the fall play and spring musical. In the spring of 2014,
Montoursville won Best Small-Scale Musical and Best Drama Program at the Ray of Light Awards, a regional program which recognizes excellence in high
school theatre.
Scriptwriting for the Stage and Screen
Patricia Yost, Former Troupe Director from Penn Central Middle School
Students will actively engage in the process of writing a script for the stage or screen while learning helpful tips and
guidelines for writing, submitting, and publishing.
Patricia W. Yost is now a retired Pennsylvania English/Writing/Theatre teacher and director after 33 years (28 with the Pennridge School District). She holds
a Bachelor of Arts degree in English from Ursinus College, State certifications in Secondary Ed. English and Elementary Ed., and a Pennsylvania Master's
Equivalency certification. Throughout her career, Mrs. Yost has won local and state awards in performance, directing, and playwriting.
Seven Secrets of the Working Actor
Christopher Booth, New York Conservatory for Dramatic Arts
This workshop helps connect-the-dots for success in your career, specifically your career as an actor. We discuss the
practicality in what some see as a “crazy” career. We discuss the balance between “Art” and “THE BIZ”, handling the
challenges of the ups and downs of everyday living as an actor. The workshop goes through the seven secrets and uses
personal anecdotes of the speaker to illustrate how to apply these secrets for a successful career. Participants will also receive
monologue coaching and career coaching.
Chris Booth (AEA) is a NYC based actor, comedian, and storyteller. Chris’ TV work includes National Geographic’s Brain Games as well as being the cocreator, writer, and co-star of the Spike TV pilot Punching the Midget and the Travel Channel pilot Ultimate Fan Pass. Chris’ stage work includes the OffBroadway hit Awesome 80’s Prom (Snelgrove) and Born Without Clothes (Carl). Chris is also the co-creator, writer, and co-star of the award-winning sketch
comedy group City Hall. He has performed improvisation at the Upright Citizen’s Brigade, the People’s Improv Theater, the Magnet, and has toured with
the National Comedy Theater. His commercial work includes spots for Dewar’s, Nestles’ Crunch, Audi, Showtime and two spots for Comedy Central.
When not performing, Chris can be found at The Tank Theater, in Times Square; where he currently serves as the Comedy Curator. Chris is also an
Admissions Coordinator at the New York Conservatory for Dramatic Arts and travels the country teaching workshops for them
Singular Sensation: Writing the Monologue
Jonathan Dorf, YouthPLAYS
From Hamlet’s immortal “To be or not to be” to the Zoo Story’s “story of Jerry and the dog,” monologues give actors
moments to shine, and audiences often remember them long after the applause has died. Whether you’re a playwright who
wants to take your play to the next level or an actor looking to create your own material, this workshop will help you write
that memorable monologue—right now.
Author of 40+ plays with 1000+ productions worldwide, including 4 A.M., After Math, Harry's Hotter at Twilight, Thank You for Flushing My Head in the
Toilet… and The Locker Next 2 Mine, Jonathan Dorf co-founded publisher YouthPLAYS and co-chairs the Alliance of LA Playwrights. He served as Visiting
Associate Professor in the MFA Playwriting and Children's Lit programs at Hollins University and as US Cultural Envoy to Barbados. Creator of
Playwriting101.com and advisor to software-maker Final Draft, he teaches playwriting through Screenwriters University and has spoken at schools and
festivals from Alabama to Singapore. BA in Dramatic Writing and Literature, Harvard University; MFA in Playwriting, UCLA.
So You Want to Be a Professional Actor
Wayne Turney, DeSales University
The straight skinny about breaking into the business and staying employed as an actor in the theatre, television and film
presented by Professor Wayne S. Turney, Emmy winning actor with a forty-plus year career (that’s still going strong). Insights
into the Actors Unions, Casting Directors, Training, Choosing a college, etc. And plenty of Q & A.
Wayne Turney - DeSales University; Pennsylvania Shakespeare Festival; Actors Equity Assoc.; SAG/AFTRA
Stage Management
Travis DeCastro, Penn State University
Along with students from the BFA Stage Management Program, we will discuss the life cycle of a play and the stage managers
role throughout each phase. It will include paperwork examples from each phase of production as well as a question and
answer period at the end.
Travis DeCastro is the Head of the BFA Stage Management Program at Penn State. He credits include Broadway, Off-Broadway, Tours, Opera, and large
event management. He is the Associate Director for Production at Penn State.
Stage Management: The Transition From High School to College to Professional
Annmarie Duggan (faculty) & Brittany Coyne (student) University of Pittsburgh Department of Theatre Arts
Goal: To explain and prepare students for the differences in Stage Management through the course of a career.
Synopsis: The workshop will cover how students can navigate the change in expectations and job description as they move
from the High School Stage to the University Stage. The Workshop will also give an overview of what College and
Universities are looking for in incoming Stage Management students, with an additional section devoted to understanding the
path to becoming a working theatre professional.
Annmarie Duggan has designed Off Broadway and extensively in regional theatres across the United States. She has designed the lighting for more than 300
productions including over 35 productions at Seaside Music Theatre.
Annmaire is the winner of the 2012 Bellet Teaching Excellence Award.
Her work has been seen Off Broadway: Sphinx Winxs, Beackett Theatre at Theatre Row, That Other Woman’s Child, 37 Arts, Captain Louie, York Theatre,
Jolson & Company, Century Center, A Winter Beauty, Mint Theatre, The Kitchen of Heaven, Mint Theatre, The Offspring of Lorraine, Phil Bosakowski
Theatre. Regionally: Cumberland County Playhouse, Orlando Rep, Capital Repertory Theatre, Skylight Opera, Alabama Shakespeare, American Girl
Theatre, New York, Chicago, and LA, Northern Stage, St. Michaels Playhouse, Foothills Theatre, Chattanooga State Theatre, Coconut Grove Playhouse,
Carousel Theatre, Stoneham Theatre, Wachusett Theatre Company, Florida Repertory Theatre Company, Theatre Winter Haven, American Stage Festival,
Utah Musical Theatre, Lycian Center for the Arts, Theatrefest, Little Theatre On the Square, Circa 21 Playhouse, Music Theatre North, Invisible Theatre, Back
Alley Theatre, Turtle Lane Playhouse, Merrimack Repertory Theatre, Hampton Playhouse, Wellfleet Harbor Actors Theatre, Forum Theatre, Weiss Center for
the Performing Arts, New Jersey Center for the Performing Arts, New Victory Theatre, Manhattan School of Music, Seacoast Rep, University of California at
Fresno, and Pitt Rep at the University of Pittsburgh. Ms. Duggan has also worked as a Production Manager for the construction of two brand new theatres
for American Girl Place, one in midtown Manhattan, New York, NY and one at the Grove in Hollywood, CA.
In Addition she has also served at the production Manager for Northern Stage, White River Junction, VT and Music Theatre North, Potsdam, NY. She holds
a BS in psychology from Worcester State University and is a graduate of the University of Arizona’s MFA program in Lighting Design. Ms. Duggan is also
currently a consultant for Que-It in the development of computer software for the Stage and Production Manager. She is an active member of IATSE local
829 United Scenic Artists, USITT National, and Ohio Valley Section. Ms. Duggan teaches courses in Lighting Design, Stage Management, and Computer
Aided Drafting.
Stage Management: Feng Shui For The Entire Production
J.E.R. Friedenberg, Wake Forest University
How does the stage manager best serve the production, balancing the many tasks? This session will discuss the SM’s work in
the context of auditions, rehearsals, production week, and performance, and explore the core skills and necessary discretion
that are central to the stage manager’s function. What makes an exceptional stage manager? What are your own strengths
and weaknesses, and how can you best apply that understanding to make the show a success for all involved?
Useful to students at all levels, particularly suited for students with some stage management experience.
J E R Friedenberg “Jerf” (BA Wake Forest University, MFA Carnegie Mellon University) Director of Theatre and Associate Teaching Professor at Wake Forest
University where he has taught for over 25 years including courses in producing & directing, theatre management, and stage management. Jerf’s background
is in scenic and lighting design, technical production, directing, and producing. He has served on the boards of several theatre and arts organizations, most
recently focusing on the admissions and recruiting process in education and has lead workshops and panels on this topic for various groups. He is a director,
producer, KC/ACTF Respondent, and Adjudicator for State and Thespian organizations for design, stage management, marketing, and 1-act events and
organizes the college and graduate school auditions for the Southeastern Theatre Conference. He is the North Carolina representative to SETC and serves on
the NC-EDTA Governing Board.
Styling Hair for Theatrical Productions
Constance Case, West Chester University of PA
Demonstration of how to style a Gibson Girl hairstyle for theatrical productions, with tricks, tips and lessons in styling hair.
Ms. Case is an Assistant Professor in the Department of Theatre and Dance at West Chester University of PA. She has designed costumes and makeup for
more than 50 theatrical productions and over 100 dance pieces. Her designs have been seen at the Kennedy Center for the Performing Arts, the National
Archives, the Washington Opera, the Woolly Mammoth Theatre, the Harmonie Park Playhouse, Muhlenberg College, East Stroudsburg University, the
Hilberry Theatre, the Michigan Opera, and Wolf Trap.
Tea with the Countess?
Karen Glass, Seton Hill University Theatre and Dance Program
Prop masters and actors alike need to learn the use of historic objects and the manners and customs that are associated with
those objects. This hands on session will cover the do's and don'ts of a formal afternoon tea prior to the invention of the
Keurig. The proper brewing, serving, and etiquette of drinking tea will be demonstrated and rehearsed. There is so much
more to learn than just what to do with your pinky! When the session is over, you will be ready to have tea with the Ladies of
Downton Abbey.
Karen A. Glass is an assistant professor of Theatre at Seton Hill University in Greensburg, Pennsylvania and freelance scene designer. She has enjoyed long
associations with The Crane School of Music and the Pittsburgh C.L.O. Current projects include “Tartuffe” and “She Kills Monsters” for Seton Hill University.
Her most recent project in Pittsburgh was a dance theatre piece “Contained” choreographed by Moriah Ella Mason for the New Hazlett Theatre CSA
(Community Sponsored Art) Series.
Technical Portfolios
Charles Blymier, Penn State University senior, Penn Manor HS Alumni
A presentation on how to put together a portfolio for technical theatre. This will be an overview on putting a portfolio
together and prepare for interviews for colleges in technical theatre. We will cover physical portfolios, interviewing tips, and
web based portfolio.
Charles Blymier is a senior lighting and sound designer at Penn State. He is from Lancaster PA and is an Alum of Penn Manor High School. His recent
production credits include, No Place to be Somebody (Lighting Designer), Guys and Dolls (Lead Sound), PSU 2014 Dance Concert (Lighting Designer), Into
the Woods (Sound System Designer), and O Beautiful (Assistant Lighting Design). Along with theatre productions he also served as a production chair for
Penn State's 2014 Movin' On Spring Music Festival.
Techniques for Creating Physical and Vocal Characters
Vickie Fuller, Pennwood Middle School, Parent from Pennsbury HS
This is an interactive workshop; participants should come prepared to move and create.
Vickie Fuller is an actor, director and educator originally hailing from South Dakota. She continues to work with the South Dakota Arts Council as an Artistin-Schools. When a school invites her, Mrs. Fuller uses theater exercises to create arts-integrated lessons relating to the needs of the school. She considers
herself a character actress and is excited to share her work with you.
Telling a story with sound - an introduction to sound design.
Curtis Craig, Penn State University
We will work on how sound design can be used to tell stories in the theater and learning how to use Qlab in the process.
Participants are encouraged to bring a Mac laptop if they have one available.
Curtis Craig: Professor and head of sound design program at Penn State University. Freelance composer, sound, and media designer who has designed for
regional theater, industrials, and dance companies around the world.
Turning Thrift Store Finds into Period Flavored Costumes
Laura Robinson, Penn State University
With a little time, limited experience, and a small budget, period costumes can seem a daunting process for most high
schools. However there are ways of. This workshop will cover the basics of turning goodwill purchases into those costumes.
A brief historical overview of the three periods covered, plus a before and after of the existing garment and the finished
costume will be displayed as well as a demonstration of the process.
Laura Robinson has been working at Penn State for 10 years as a cutter, tailor, and designer. Ms. Robinson's work has been seen at Opera Theatre St. Louis,
San Diego Opera, Glimmerglass, Kansas City Rep, St. Louis Rep, The Goodman Theatre and others. BFA - Directing and Design - Baylor University - 1986
and MFA - Costume Design and Technology - University of Missouri-Kansas City - 1990.
Unearthing Shakespeare's Rhetoric
John Bellomo, West Chester University of Pennsylvania
This workshop is designed to help the young actor identify the rhetorical patterns found in Shakespeare’s language and how
they can be used to enhance performance. The first part of the lecture will cover the different rhetorical patterns and in the
second part students may be able to work on a monologue from their rep.
John Bellomo is Co-Artistic Director of Ombelico Mask Ensemble, an Assistant Professor of Performance and Movement at West Chester University of PA
and is the former Artistic Director of the Maryland Shakespeare Festival. John has choreographed violence for many of Philadelphia’s theatre companies and
is a 2010 Barrymore Award winner in Outstanding Choreography/Movement. John earned a B.F.A. from The University of the Arts, an M.F.A. from Temple
University and is a graduate of The International School for the Comic Actor in Italy.
Using Under Painting and Latex to Create Old Age
Jenny Kenyon, State College Area School District HS coach
By under painting (or painting BEFORE the latex application process) a beautifully crafted old age makeup can be achieved.
Come and learn the tips and tricks for creating an old age makeup that can be read and appreciated close-up and far away!
Live demos will be taking place.
Jenny Kenyon is a freelance Costume & Scenic Designer and Scenic Artist and has worked professionally for over 25 years. She has worked at Radio City
Music Hall, the WPA theatre in NYC, and for various dance companies throughout the US. In addition to her theater career, she is also a practicing forensic
artist, doing reconstructions for museums and using her art skills to find missing persons. She has been working for SCASD for the last several years as their
Set Designer and Scenic Artist alongside her husband William and daughter Delaney.
Using Your Body to Tell Stories
April Daras & Joan Van Dyke, Indiana University of PA, Department of Theater and Dance
A fun, playful and highly interactive workshop that will get you on your feet and into your body. This workshop will
introduce participants to physical improvisation exercises and dynamic movement practices that lead to the development of
embodied characters and support the playing of other people's stories. The workshop will include a series of warm up
activities that may be incorporated into the classroom or rehearsal hall. Participants will explore the use of rhythm in creating
dramatic moments. The workshop will culminate in the improvisation of fluid sculptures and three-part stories.
APRIL DARAS, Assistant Professor of Theatre at IUP
Ms. Daras is a veteran actor and director who teaches Performance and Applied Theater at Indiana University of Pennsylvania. She holds a BFA in Acting
and an MFA in Directing from Florida State University. She has directed more than thirty college theatre productions and has performed in many of Florida's
respected regional theatres. She is conductor and a company member of Pittsburgh Playback Theatre.
JOAN VAN DYKE, Associate Professor of Dance at IUP
Ms. Van Dyke graduated from Indiana University, Bloomington, with an M.S in ballet with an emphasis in kinesiology. She studied the Pilates technique and
Laban studies at the Laban Center in New Cross, London. She graduated with an M.F.A. in dance from Arizona State University. During her time in Arizona,
she conducted extensive research on the effects of climate in young ballet dancers throughout the United States.
Ms. Van Dyke has owned and directed her own school and performing civic company for the past fifteen years. Most recently, she was the appointed ballet
mistress for the Pennsylvania Governor’s School for the Arts from 2001 until 2007.
Viewpoints Workshop
Lane Savadove, Rowan University & Artistic Director, EgoPo Classic Theater in Philadelphia
Viewpoints is an new internationally renowned actor training technique. Developed in the last twenty-years, it is now core
training in most graduate actor programs and in many innovative undergraduate programs including Rowan University.
Viewpoints is a movement-based philosophy for teaching actors to be physically expressive and natural. Aimed to make an
actor’s body as eloquently expressive as the words of a good script, Viewpoints is also often used by directors to help actors
become more open and vulnerable through dramatic movement.
Viewpoint is a movement training discipline that seeks to turn the actor into a holistic being that is highly attentive and
responsive to the world around him/her. The ultimate goal is to make the actor highly watchable, powerful, and physically
creative. Viewpoints begins by breaking the world down into nine component parts: space, tempo, kinesthetic energy, floor
pattern, contract, duration, architecture, scale and repetition. The actor systematically learns how to pay attention with their
body to each of these elements. They then learn to tie their physical responses into this act of “listening” so the perception
and action are turned into one unified act: reaction. At this point the actor then can return to a more primal state of physical
existence that leads to full power and creativity.
In this workshop, 8-16 participants will be led through core exercises that display some of the basic elements of Viewpoints
training and introduce the basic concepts. The rest of the workshop attendees will mostly observe, depending on the size of
the space. It will be a fast-moving and rigorous workshop. It requires barefeet, ideally a wood floor and a large open space
(ie dance studio, stage, gym).
Lane Savadove (Director) is the founding Artistic Director of EgoPo, now in its 20th year. He has directed over 35 productions internationally, regionally,
Off-Broadway, and on National Public Radio. In addition to EgoPo, he was the resident director of the National Cultural Center of Indonesia (1996-7), the
Artistic Director of Jean Cocteau Repertory (2004-5), and the Associate Artistic Director of the Living Theater (1989-90). He has been an Independence
Foundation Fellow, Drama League Directing Fellow, Shubert Fellow, and a Henry Luce Fellow. Notable productions: Beckett’s Company (National Public
Radio, Phila Fringe); world premiere of Tennessee Williams’ House Not Meant to Stand (Southern Repertory); a dual version of Genet’s The Maids (New
Orleans, Phila Fringe, Jean Cocteau); Wedekind’s Spring Awakening (Annenberg, Barrymore Nom); Maeterlinck’s Bluebird (Mandell Theater, Barrymore
Nom.) and Uncle Tom’s Cabin: An Unfortunate History. He holds his MFA in Directing from Columbia University and his BA from Haverford College. He is
an Associate Professor and Head of Performance at Rowan University. Savadove was just awarded a TCG Leadership Grant to research Primal Voice
Technique for EgoPo.
Voice, body, and Imagination: How these three elements add to your ultimate storytelling performances
Q. Smith – Professional Actress
The workshop will consist of a physical body warm up. I believes everything is connected. When the body is warm, the
mind follows. We will then move into some improvisation (ice breakers) as a group and begin dealing with emotional
connection to text and how that transfers to an audience and your scene partner.
Q. Smith was last seen in on Broadway as Ms. Andrew in Mary Poppins. Other Broadway/Off B'way credits include Les Miserables (the revival), Fame: The
Musical (Mabel Washington-Cast Album), Showboat in Concert (Carnegie Hall), and Abyssinia with Wynton Marsalis (Lincoln Center). Tours include: Mary
Poppins (Mrs. Corry, Ms. Andrew, and The Bird Woman), Smokey Joe's Cafe Starring Gladys Knight, The Music of Andrew Lloyd Weber (Central America).
Q. was also a soloist during Barak Obama's Inaugural Ceremonies in 2009. She recently just returned from performing a concert Requiem with the Omaha
Symphony and 500 High School students from the surrounding area. She has taught all over the country conducting audition technique masterclasses, and
taught improvisation and directed Shakespeare's Much Ado About Nothing at Interlochen School of the Arts in Michigan. Q.'s plans are to continue
performing professionally, build a school of the arts integrated with the juvenile detention system, and finish her book Queens of the Theatre. Q. was one of
the first African American females to receive a B.F.A in Musical Theatre from Ithaca College. www.qperstar.com
What Playwrights Want Actors to Know
Arthur M. Jolly, YouthPLAYS
Sharpen monologue performances, nail auditions and develop your roles by understanding and applying the secret
techniques playwrights use to create them.
In this workshop, we start with Uta Hagen's seven questions, then add five more that are specific tools playwrights use
writing characters that can be part of an actor's toolbox as well. During the workshop, we have a staged reading of an
excerpt from a play, then use these new tools to analyze - as a group - one of the characters and discover the subtext, text
and contextual motivations.
Arthur M. Jolly was recognized by the Academy of Motion Picture Arts and Sciences with a Nicholl Fellowship in Screenwriting. Published plays include: A
Gulag Mouse (Finalist Woodward/Newman Drama Award), Trash, Past Curfew, Long Joan Silver, What the Well Dressed Girl is Wearing, The Christmas
Princess, How Blue is My Crocodile, Snakes in a Lunchbox, Bath Time is Fun Time, The Four Senses of Love, The Bricklayer and many others. Jolly is a
member of the WGA, The Dramatists Guild and is represented by The Brant Rose Agency.