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Theatre Arts Department THEATRE ARTS DEPARTMENT SELF

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Theatre Arts Department THEATRE ARTS DEPARTMENT SELF Powered By Docstoc
					                                THEATRE ARTS DEPARTMENT
                                      SELF-STUDY

OVERVIEW OF THE THEATRE ARTS DEPARTMENT

         THE MISSION: The department provides quality training in a modified conservatory environment for
undergraduate and graduate students who are pursuing careers as professional theatre practitioners, high school
drama coaches, college and university instructors of design—scenic, costume, lighting--and technical theatre and
stage management. Many seek additional graduate training. The program also provides quality cultural enrichment
by a season of performances for the University and surrounding communities and serves as a showcase for the
University in promoting the institution's cultural image via the Caine School of the Arts. The general USU student
community is served by the department through university studies and liberal arts courses. The department also
provides service to the Departments of Secondary and Elementary Education with support training as a resource for
state-mandated oral language arts curriculum.

         ACADEMIC PROGRAMS AND ENROLLMENT: At present, the Theatre Arts department serves
approximately 100 majors, including eight graduate students, the maximum permitted by current levels of
departmental funding. It offers a BA degree in general theatre studies and the pre-professional BFA with
specializations in Acting, Theatre Design (scenery, lighting, costuming) and Technical Practice, and Theatre
Education; graduate degrees include a non-specialized MA and MFA degrees in Theatre Design and Technical
Practice. The physical facilities include l) the 670-seat thrust stage of the Morgan Theatre, 2) the 370-seat historic
Lyric Theatre in downtown Logan, and 3) an 85-seat flexible Ablack box@ studio stage. Supporting facilities include
a scene shop, costume shop, design studio/lighting lab, dressing rooms, multi-purpose (dance, voice, movement,
rehearsal) studio, and a small departmental library. The department=s operating and equipment and maintenance
funding from E&G sources was $26,469 at the beginning of the current fiscal year, approximately ¼ of which is also
used to operate the summer Old Lyric Repertory Company.

          ARTISTIC PROGRAMS: Utah State Theatre, the designation for the department‘s theatre production
program, produces four mainstage plays each year: a musical, a classical play, a contemporary piece, and a work
from the modern canon. This year‘s season includes Arther Miller‘s All My Sons, Nilo Cruz‘s Anna and the Tropics
(invited to perform at the regional Kennedy Center/American College Theatre Festival (KCACTF) in a competitive
bid for a slot at the Kennedy Center), Moliere‘s Tartuffe, and the Cole Porter musical Anything Goes (originally
announce as Chicago, for which we were denied production rights due to professional productions in the area). The
Children=s Theatre hosts 5,000-7,000 children from the primary grades who are bused to Fine Arts Center. This
year‘s production was an adaptation of Roald Dahl‘s James and the Giant Peach. A Conservatory Series produces
graduate student directed productions, original plays and readings, and venues of one-act plays. This year‘s
production included two grant-funded works by faculty members: Scope, a piece about America‘s involvement in
Iraq by Prof. Shawn Fisher, and The Café Plays, a work based on the histories of several well-known Utah
restaurants written by Prof. Lynda Linford, funded by the Mountain West Heritage Center. Also produced are a bill
of six one-act plays and four independents student productions by the department‘s student organization, the Theatre
Student Association (TSA). Tentatively planned for the 2007-8 season are the following productions:
Metamorphoses, Urinetown (musical), The Cherry Orchard, and King Lear. Invitation to participate in the artistic
program at most levels is also made to non-majors as well as to the community-at-large, although majors retain
priority in casting. Funding for Utah State Theatre productions comes from a fee assessed to all registered students
that student fees (about 56%), public ticket sales (26%), the Marie Eccles Caine Foundation for the children=s
theatre (6%), College of HASS work grants (9%), and the rental and sale of sets and costumes (3%). The student fee
is split 50-50% with the Music Department.

          A Visiting Artistic/Master Class and Visiting Company program is funded by the Marie Eccles Caine
Foundation. As many as six top professionals come each year, and a major acting company comes for one or two
week residencies two out of three years. In recent years, the department has hosted the premier of a new work by
Anne Bogart‘s SITI company, the Actors from the London Stage; Broadway scenic designer John Lee Beatty and
lighting designer Beverley Emmons; playwright Charles Mee, actors Anthony Zerbe, Chris Ellis, Roscoe Lee
Browne, and Anthony Rapp; Sundance Institute Director Philip Himberg; Equity Stage Manager Monica Dikhens;
and some two dozen more. This program balances the geographic isolation of the department and brings our
students into contact with the best professional practitioner working today
          .
          The Old Lyric Repertory Company is a summer program producing five works in an 11-12 week period. A
company of approximately 50 is made up of advanced and graduate students both from the department and other
students nationally. From 1-4 professional Actor‘s Equity Association performers are hired as well. A separately
funded apprentice program for 10-12 students who have completed their junior or senior year of high school is
associated with the program. These students support the OLRC, are engaged in separate acting and scenecraft
training, make a field trip to the Utah Shakesperean Festival, and produce their own showcase production. The
OLRC, celebrating its 41st season this summer, is scheduled to produce the following works in 2007: Carson
McCuller‘s The Member of the Wedding, William Inge‘s Picnic, Fred Alley and James Valcq‘s The Spitfire Grill
musical), and the Michael Cooney farce Cash on Delivery.


          FACULTY: The faculty is made up 10 full-time and one part-time instructors, five women and six men:
Lecturer Robbin Black (theatre education; MFA, University of Utah), Professor Mark Damen (40% jointly with
history; theatre history, playwriting; PhD, University of Texas), Professor Kevin Doyle (acting, directing; MFA,
University of Missouri—Kansas City), Associate Professor Bruce Duerden (lighting, technical direction; MFA,
Brigham Young University), Assistant Professor Shawn Fisher (theatre design and technical theatre; MFA,
Brandeis University), Associate Professor Dennis Hassan (scenery design; MFA, Ohio State University), Associate
Professor Nancy Hills (costume design and construction; MFA, University of Oregon), Professor and Department
Head Colin Johnson (theatre history and criticism, film; MFA, PhD, UCLA), Associate Professor Lynda Linford
(acting, makeup, MFA, University of Minnesota), Associate Professor Adrianne Moore (voice for stage, acting;
MFA, Florida State University), Assistant Professor Artemis Preeshl (movement for theatre and dance; MFA,
University of Arizona). Profs. Fisher and Preeshl are the only non-tenured faculty. A support staff includes two
administrative assistants, one whose primary duties are as an accountant and business manager of the department and
production programs and one who is primarily a receptionist/secretary dedicated to serving faculty needs; a publicity
director; a scene shop foreman/technical assistant, and a costume shop manager. There is one open, unfilled position
created by the resignation of Associate Professor David Sidwell (theatre education and theatre history/criticism;
PhD, University of Minnesota) last fall. The department will request that position be filled in 2007. The curriculum
in theatre education has been taken over by Lecturer Robbin Black.

B. Analysis and Assessment

     While the number of major and graduates has remained relatively constant over the past 5-7 years, the
department has experienced a significant decline in generated credit hours, partly due to the institution of a new
University Studies program, partly due to changes in staff assignment, and partly due to the increasing complexity of
university operations with no increase in staffing and reduction, in fact, of operating monies. Choices for staffing
and replacing vacant faculty positions over the past five years have favored a mission that emphasizes theatre
production over a more general liberal arts study. While the department head is the primary faculty member with
expertise in theatre history and criticism, his other responsibilities do not allow him to cover this area of instruction.
The loss of Prof. David Sidwell last summer exacerbates this. On the other hand, the appointment of a specialist in
design and technical theatre has increased the department‘s ability to deliver theatre productions with much higher
production values. The success of the department and its students in winning regional and national recognition for
the productions and their design in particular work is clear evidence of this. Moreover, the appointment of a faculty
member in movement for theatre and dance brings the department much closer to conforming to standards for
accreditation by the National Association of Schools of Theatre (NAST). Time will tell whether the department and
university should take the next step in seeking full accreditation from this body. Finally, the department compensates
for the relatively isolated geographical location by means of active involvement the programs of the KCACTF by
both faculty and students.


C. Challenges and Recommendations

     Under the new banner of the Caine School of the Arts, the department is challenged to balance training in the
traditional theatre canon while at the same time working under the scrutiny of sister institutions by engaging in more
contemporary, cutting edge work of discovery. It must do this while attempting to reverse a trend of declining
attendance by paying patrons in the community. While the present student-instructor ratio is a very healthy and
appropriate one for study in the arts, the department could well support about a 1/3 increase in the number of major
with the present faculty without a significant decrease in quality. Proactive recruitment and retention remain as
priorities. The department must replace the theatre historian-critic position it has lost due to several circumstances.
The department is deceptively complex in its operation because its primary instructional ―tools‖ are two producing
theatre organizations—Utah State Theatre and the summer Old Lyric Repertory Company. There are many more
accounts to manage than most traditional departments. The operation of the department and these two organizations
should be partitioned more than they are today as the complexity of all three is more than one person is able to
manage well. Over time, much more responsibility will need to be delegated to others. A major challenge of the
department is working within an ageing facility—now 40 years old--that presently requires several safety and fire
code upgrades. Expansion of the program at this time is mostly limited by studio, rehearsal, and storage space and by
equipment needs. The department depends heavily on gifts and grants from foundations and the Utah Arts Council
for its summer repertory program and for artist-in-residence opportunities that bring students into contact with
practicing professionals and allows it to offer unique opportunities beyond a generic theatre training. The Marie
Eccles Caine Foundation will fund Anne Bogart=s SITI company andBwith the English Department--Actors from the
British Stage and in 2008 the Pig Iron Co. of Philadelphia. The royalty and production costs of the theatre
production program are self-sustaining from public ticket sales and a nominal student fee collected with tuition.

Websites: www.usu.edu/theatre and www.usu.edu/lyric


A BRIEF HISTORICAL PERSPECTIVE

              Theatre arts activity has a long tradition at USU. The first theatre production was presented in 1895,
and theatre has been a part of the University since that time. Through the years, courses were taught in the
Department of Speech, and productions were staged on the Old Main Auditorium stage and in the Little Theatre on
the second floor of Old Main. Theatre activities remained with the Speech Department until the late 1950s when
theatre arts became part of the Fine Arts Department along with music and art.

             In 1960 the University acquired the Lyric Theatre which was restored, and in 1961 the theatre reopened
with a production of Hamlet. The Lyric became the primary performance space for the department, and in 1971 the
theatre was placed on the Utah State Register of Historical Sites. Following a $2.2 million expansion and
remodeling of the front-of-house spaces in 2000, the building was renamed the Caine Lyric Theatre, and the Old
Lyric Repertory Company celebrated its 40th anniversary season there in the summer of 2006.

             In 1967, when theatre arts moved to the Chase Fine Arts Center, the Fine Arts Department was split and
the Theatre Arts Department became autonomous. Dr. Twain Tippetts served as head for one year and was replaced
by Prof. Floyd T. Morgan. Also in 1967, the summer Old Lyric Repertory Company was established, offering two
productions and 18 performances. In 1968 a Dance for Theatre program was implemented, but in 1974 the
University Administration determined that pure dance activities would be more appropriately conducted by the
Health, Physical Education and Recreation Department where facilities were available and a Dance major was
offered. The department retained dance and movement courses which had direct application to theatre arts. The
Dance Department was phased out in 1998 with the transition to the semester system. In 1970 the College of
Humanities, Arts and Social Sciences was organized, and the Theatre Arts Department became part of that college.

             A summary of the history of the evolution of the present theatre faculty since the previous accreditation
study will be useful in providing a context for the analyses that follow and in highlighting future challenges for the
department.

             Since 1990, the faculty has been relatively Atransient@ compared to the previous decades of the 70s and
80s. In 1991 Prof. Gary Bird, the primary voice-for-theatre instructor, left the department and was replaced by
acting instructor Kevin Doyle. Technical Director Phil Haslam left at the same time and was replaced by Bruce
Duerden. Scenic designer Dan Guyette, employed in 1989, left in 1992 and was replaced by Prof. Dennis Hassan.
All have earned tenure and promotion to associate professor; Prof. Doyle is now a full professor. With the
retirement of W. Vosco Call in 1993 Prof. Roger Held was employed; he taught acting, directing, and playwriting
until his departure in 1997. In that same year Prof. David Sidwell was employed to fill the position made available
by Farrell Black‘s full retirement. Prof. Colin Johnson, who joined the faculty in 1972, became Department Head in
1997 when Sid Perkes returned to teaching and retired to emeritus status in 1999. Consequently, upon Prof. Held‘s
departure, he was replaced by Prof. Kirstie Rosenfield for the purpose of teaching the history, literature, and theory
classes previously covered by Prof. Johnson. Prof. Art Smith retired in 1998 and was replaced by Prof. Anne
Berkeley in the fall of 1999; he continued to teach two courses a year in emeritus status until about two years ago.
When Prof. Sid Perkes retired, part of his salary was used to increase History Department (Classics program) Prof.
Mark Damen‘s part-time position from about 18% to 40% and to employ Prof. Adrianne Moore. Prof. Damen
teaches a course in classical drama and also developed a playwriting program begun by Prof. Held. Prof. Moore
was brought in to restore the voice-for-theatre program discontinued with Prof. Gary Bird‘s departure ten years
earlier.

              In the 2001-2 academic year, a series of events occurred that significantly changed the composition of
the faculty and the mission of the program: the departure of both Profs. Rosenfield and Berkeley prior to their
attaining tenure and the decision to suspend application to the MFA program in Directing. As a result of the Regents
Review at that same time the faculty redefined the two positions. It decided to employ a dance and movement
instructor for one and an additional designer and technical instructor for the other. It was thought that the combined
teaching resources of Prof. Johnson, Damen, and Sidwell—all of whom held PhDs in a field of theatre history and
literature--could bridge a hiatus until another theatre history position might be created. In addition, some of Prof.
Sidwell‘s theatre education instruction was covered by giving part-time adjunct instructor Robbin Black a larger role
in the department. The loss of graduate students in directing would reduce some of the production load and result in
greater flexibility in the remaining production scheduling. Unfortunately, it would also mean the loss of graduate
students capable of serving as readers and even instructors of some University Studies courses. The result of this
transitional period was the decision to employ Prof. Artemis Preeshl in the movement/dance position and Prof. Prof.
Shawn Fisher as a new designer and technical theatre instructor in the fall of 2003. Prof. Fisher would relieve Prof.
Bruce Duerden of extensive responsibilities as technical director for every theatre arts production and lighting
designer for many more productions. Prof. Sidwell resigned in 2006 to take another position locally. His position
was frozen, but funds were provided to raise Robbin Black to a full-time Lecturer and cover some of the essential
theatre education curriculum.

     Finally, a selected list of student successes of graduates from the past ten years:

         Amy Lewis, MFA, 2006 - University of Missouri-Kansas City (full scholarship) Professional Actor
         Training Program, presently a member of John Houseman‘s The Acting Company in New York City, on
         tour through August of 2007.

         Richard Call – accepted into the MFA Professional Actor Training Program at Rutgers University, on
         scholarship.

         Vanessa Ballam - MFA (2006) Professional Actor Training Program at Indiana University, now a guest
         artist/instructor at the Pacific Coast Performing Arts (PCPA) training program in California; Eric Vantielen
         will complete the same program at IU this year.

         Michael Flood - MFA, (2005, Acting), University of Illinois--Champagne

         Stephen Fehr - MFA, (2007, Acting), University of Nevada--Las Vegas

         Kate Moss - MFA, (2004, Directing), University of California--San Diego

         Linda Muggleston – Performing on Broadway as lead understudy in Kiss Me Kate, On the Town, Nine

         Randy Muggleston, MFA, Indiana University; Faculty Lighting Designer/Technical director, Department
         of Theatre, Montclair State University

         Amy Critchfield, Lighting Designer/Technical Director, on faculty of Western Wyoming State College

         Craig Steenerson, Lighting Designer/Technical Director, on faculty of University North Carolina at
         Wilmington

         Cole Adams, Resident Lighting Designer, Dance Department, University of Utah

         Greg Brenchley, won the Barbizon Award in lighting for KCACTF Region VIII; MFA, Indiana University
         in Lighting Design, Architectural Lighting Designer in New York City
      Becky Dawson , KCACTF Stage Management Regional winner, 2004; graduate student at Rutgers

      Ashna Horman, Production Stage Manager for the Aladdin Theatre, Disneyland, California

      Mike Jones, Technical Director, Arizona State University

      Lew Haslem, Facilities & Production Manager, Utah Shakepearean Festival, Cedar City

      Troy Cadwallader, Scenic Designer/Technical Director, Designer, Disneyland, California

      Jason Romney, MFA (2004, Sound Design), North Carolina School for the Arts and now on its faculty

      Brian Richards, MFA, North Carolina School for the Arts; 2003 KCACTF Regional Design Winner,
      currently a sound designer in New York City

      Jon Savage, MFA, North Carolina School of the Arts, on faculty at Boston University

      Craig Brashears, 1996 KCACTF scenic design national finalist and 1997 lighting design regional
      KCACTF, Scenic Designer/Technical Director, on faculty of Del Mar College, Corpus Christi, Texas

      Andrea Varga, MFA, Florida State University, Broadway costume designer

      Linda Pisano, MFA, Cincinnati Conservatory of Art, head of Graduate Costume Design on faculty of
      Indiana University; also Utah Shakespearean Festival

      Cameron Roberts, KCACTF finalist in two consecutive years (1996, 1997); one of 14 costume exhibitor
      from the USA featured—also with Linda Pisano and with Prof. Nancy Hills--in the USITT-sponsored
      Quadrennial (The World of Design) in Prague, 1999; MFA, Yale University, freelance designer in New
      York City.

      Brooke Pulver, playing leading role in national professional touring company of Hairspray

      Other students acting regionally and nationally: Colleen Baum, Arika Schockmel, Christopher Glade,
      Annette Pyne, T.J. Larsen, Erica Stoddard, Joel Wayman, Matt Kohler, Holly Hartman (LA=s The
      Groundlings), Lillith Fields.


UNDERGRADUATE AND GRADUATE ACADEMIC PROGRAMS

   DEGREES OFFERED

          The Theatre Arts Department offers a BA Degree in General Theatre Studies, a BFA Degree that allows
   students to specialize in Acting, Design (Scenic, Costume, Lighting), and Advanced Theatre Practice and Stage
   Management, and Theatre Education. It offers a non-specialized, non-terminal MA in Theatre and the MFA in
   the areas of Design and Advanced Technical practice. The MFA is a terminal degree requiring three years to
   complete.

          DATA

                  Number of Majors: The number of majors over the past five years has varied from a low of 83
          in 2003 to a high of 105 in the fall of 2006, including graduate students. The number of graduate
          students by headcount has varied from a low of four to a high of 10 in 2005 and is presently eight.
          These figures are up from the mid-1990s when the average total number of students was closer to 60-65.
           As the general enrollment at USU has risen, the number of theatre arts majors has remained relatively
          stable or has demonstrated a slight rise, due in part to the nature of the discipline and the uncertainty for
          the graduate of finding stable, well-remunerated employment. Most students will attend graduate school
          to gain the necessary skills to be successful in this field. Few students enroll in the graduate program
          unless they are supported with some form of financial aid, usually in the form of an assistantship or out-
  of-state tuition waiver. Because of this we almost never have more than six or seven student in the
  program at a time, the maximum we are able to fund. Most elect the terminal MFA.

          Degrees Awarded: The number of degrees awarded fluctuates between a low of eight in the
  academic year ending in 2004 and 17 (2003 and 2005). Last year, 15 degrees were awarded, three of
  them graduate degrees. Again, this is significantly higher that figures from the previous accreditation
  cycle in the 1990s when 6-8 graduating students were more common and is related to the improvement
  in retention rates (see below). For the reasons listed above regarding the number of graduate students,
  we generally award from one to three graduate degrees per year. Graduates receive much one-on-one
  training and are motivated to complete their programs in a timely fashion as financial support is limited
  to three years. In the past five years we have awarded nine graduate degrees, all MFAs. We currently
  have one student in the non-specialized MA track who intends to pursue a PhD degree elsewhere.

         Student Credit Hours: The number of student credit hours has shown a significant decline
  despite fairly even numbers of student majors. The year 2002 records 2,308 SCH and the year 2005
  records 1,671. Last year the number was nearly identical, and SCH‘s have been flat for the past three
  years. There are several factors contributing to this: 1) At about the year of the first major decline in
  student credit hours (2004), enrollment in the University Studies course USU 1330 skyrocketed, causing
  enrollment in our general theatre arts course for non-majors (THEA 1013) to decline significantly. The
  number of sections of these courses dropped from as many as five a year (including one section in the
  summer) in the late 1990s to two for the entire year. Moreover, this is the year in which Prof. Johnson
  discontinued teaching THEA 1023 Introduction to Film, a popular film course having an enrollment of
  80-100 students. Prof. Johnson‘s duties as department head and the need to cover more theatre history
  and criticism courses due to the resignation of Profs. Rosenfield, Berkeley, and Sidwell, and the
  decision to reclassify that position required him to suspend scheduling the film course. Also, the
  resignation of Prof. Berkeley caused a shift in the teaching load of Prof. Sidwell that resulted in a
  lowering of his total SCH production as he could no longer teach as many sections of the language arts
  courses that were highly subscribed by elementary education majors. That department occasionally
  requested and funded additional sections of those courses.

          Student Demographics: Most students intending to enter the field of theatre declare a major
  early on, and the department encourages its students to become heavily enrolled in courses for the major
  in the freshman year. They are expected to complete most of a basic core curriculum during the first
  year before ―declaring‖ a major in one of the specialized areas, which require an audition or portfolio
  interview for entry. Since most elect the pre-professional BFA degree and specialize in Acting, Design,
  or Advanced Technical practice, three years are required to complete these programs, which average
  about 75 credits apiece. Consequently, a high percentage (average of 85%) are enrolled full-time.
  Slightly under two-thirds are female, not an unusual statistic for this field as some of its disciplines—
  costuming, for example—are perceived to be more appealing to women. About 5% identify themselves
  as minority students and 5% as international students. Of the eight graduate students currently, five are
  female (one of these a minority), and three are male.

          Retention: One of the most dramatic changes in quantification is in the area of retention. While
  the six-year graduation rate of a fall cohort remains fairly flat—the highest at 50% for students entering
  in 1996, the first year retention rate has climbed remarkably and steadily from 44% in 2000 to nearly
  74% in 2004. I find in the data little correlative information to support any sound reasons for this. Over
  this period of time, there was a subtle shift not reflected in the data which may account for this. Fewer
  majors were electing the Acting track and more were enrolled in the Theatre Education track, largely as
  a result of more aggressive recruiting by Prof. Sidwell. Also, as we became more heavily involved in
  the Kennedy Center-American College Theatre Festival, student achieved a phenomenal success rate in
  winning regional nominations to exhibit their work at the Kennedy Center in Washington. I believe that
  the type of student we attract is more motivated to attend USU because of the reputation of the
  department and the sound pre-professional training we offer.


ANALYSIS AND ASSESSMENT

       In April of 2001 the Theatre Arts Department completed an intensive seven-year Regents Review
chaired by Larry Cannon of the Mathematics Department and two external reviewers, Patti Gillespie,
Professor Emeritus and former chair of Theatre at the University of Maryland and Mark Shanda, Associate
Professor of Theatre at Ohio State University. That committee made a number of recommendations based
upon a three and a half day on-site visit to the department. The department then ―triaged‖ these
recommendations into 1) those that were easily accomplished internally, 2) those that required faculty
discussion, planning, and a procedure for implementation, 3) those that were of a long-term nature or simply
impractical at the present time. Within three years following this review, the department had addressed and
achieved most of these recommendations. These included, but are not limited to, the following:

            A residual effect of the transition to semesters was that many of the intermediate and advanced
             acting courses had been curricularized at 2 credits apiece. The recommendation of the
             committee was to standardize these at three (3) credits. This was undertaken the following
             year. One outcome was a greater ease in assigning faculty loads on a clearer 3-3 scale where
             all the courses were of equal credit. A faculty member who directs or designs a production is
             given a one-course reduction. This factor is somewhat moot, however, as the participation in
             the production program is viewed as a teaching/training function. If a production receives a
             peer adjudication, or if the faculty member exhibits the design work nationally or
             internationally, as has been the case, credit for professional activity is also earned by this.

            The committee recommended the appointment of a full-time tenure-track dance instructor in
             order to strengthen the MFA specialization in Acting according to guidelines of the National
             Association of Schools of Theatre. This was accomplished in the fall of 2002 with the hiring
             of Prof. Artemis Preeshl. However, the position was only gained because of the resignation of
             Prof. Kirstie Rosenfield, the instructor of theatre history and criticism, who was hired to cover
             the curriculum formerly taught by department head Colin Johnson. Most of the newest
             curriculum for the department has been in the area of dance and movement for theatre with
             eight new courses: fundamental and intermediate courses in basic movement and movement
             styles, an introductory course in jazz, ballet, and tap as well as a follow-up, more advanced
             course in each, a course in mask building and movement, and a course in period (historical)
             dance. A ninth course in choreography has been proposed to extend training for the interested
             student and support the theatre education specialization.

            Since the previous accreditation study, curriculum in voice for theatre has been reinstated—
             four courses: beginning, intermediate, and advanced voice for theatre, and a course in stage
             dialects. In addition to the classroom dialect work, the voice instructor works as needed with
             theatre productions requiring specific American regional or international dialects.

            The committee recommended the elimination of the MFA in Directing because of insufficient
             resources of personnel and time. The committee recognized the programmatic adjustment
             required by this action to replace non-mainstream productions lost by this action with a fresh
             look at the production mission of the department‘s UST and Conservatory seasons. With a
             fewer number of productions, the result has been an increase in the budgets and production
             values of the remaining plays.

            The committee recommended a reduction in the more service-related courses that did not
             contribute directly to the curriculum for majors, especially courses in film, dance, and the
             language arts. This recommendation was more problematic as the film course (University
             Studies) and the language arts (service to the elementary and secondary education programs)
             traditionally generated a substantial (sometimes as much as 40%) of the total student credit
             hours annually. Nevertheless, the film course was suspended in 2003 and the number of
             sections of the language arts reduced by the necessity of Prof. David Sidwell‘s resignation in
             2006. High demand for the Storytelling class made it impractical to discontinue that course.
             Some 19 sections of this class were offered in the five years preceding Fall 2006 semester
             both on campus and at extension centers in Roosevelt, Tooele, and Brigham City. The
             recommendation to eliminate courses in dance was puzzling in the light of the committee‘s
             urging to employ a dance/movement instructor.

            The committee recommended the institution of a process providing greater exclusivity for the
                      pre-professional BFA programs. At the time, the BA program was being revised. It was
                      decided to make the BA the ―default‖ degree of the department into which all declared majors
                      were automatically placed. This degree had a liberal arts ―flavor‖ with more history and
                      literature courses required. It would become the recommended degree for those intending to
                      pursue stage directing at the graduate level.

                     The problem with the BFA in Theatre Education has yet to be addressed, although the faculty
                      has made some changes in it the past few years. While the NAST accrediting body recognizes
                      such a degree, it requires half of the credits (i.e., 60 hours) be dedicated to theatre courses.
                      Because of the required teaching minor—sometimes as much as 28 credits—and a 35 credit
                      education component at USU, theatre teaching majors cannot take more than about 44 credits
                      in theatre and earn a certificate in the State-mandated time of four years and 120 credit hours.
                      Our students fare well nevertheless and those seeking positions upon graduation have a 100%
                      placement rate.

                     The committee recommended more specialized courses in MFA design and technology
                      designed exclusively for graduate students. There was a difficulty here in that such courses
                      would almost certainly be undersubscribed. A compromise was arrived at whereby several
                      advanced technical courses—Advanced Scene Design, Advanced Costume Design, Advanced
                      Lighting Design—were created, courses that could be taken by both graduate and
                      undergraduates. The results have not been entirely satisfactory. Even though these courses
                      are rotated on a cycle of two years, enrollment continues to be below acceptable university
                      minimums. Moreover, the curriculum continues to reflect an ―inadequate distinction between
                      graduate and undergraduate courses‖ as a result. The typical graduate student‘s transcript still
                      reflects an abundance of generic ―Special Topics‖ courses when, in fact, these represent many
                      distinct projects in diverse specializations.

          For several years the recruitment of new students has been a priority for the department. Principal means for
this has been attendance and professional involvement by faculty in the Kennedy Center-American College Theatre
Festival, Utah Theatre Association, and occasionally the Rocky Mountain Theatre Association. Until his resignation,
Prof. David Sidwell, the department‘s theatre education specialist, was very pro-active in recruiting new students to
that program because of his involvement with the regional high schools.

         In 2002 the department was awarded the Kennedy Center Medallion of Excellence.

           In 2003, the department hosted the KCACTF, REGION VIII (Utah, California, Nevada, Arizona, Hawaii,
and Guam) region in February 2003. Planning was undertaken a year in advance, and approximately 1,000
university students, staff members, faculty, and regional and national officers attended or participated. At this
festival, the department was invited to present its production of an original adaptation of the Japanese tale The Boy
Who Drew Cats in regional competition for the Kennedy Center Festival in April. In four of the last five years the
department has won one of the six invitations in the regional schools to compete in this event.

        The following year in January of 2004 the department hosted the Utah Theatre Association Festival with
approximately 1,200 attendees, primarily high school students.


         CHALLENGES AND RECOMMENDATIONS

                   The department could increase the number of student credit hours with additional sections of its
         university studies courses. The film course cannot be taught at present; only two instructors in the
         department are qualified to teach it, and their commitments are heavy in other areas. A similar problem
         exists with the introductory course in theatre for non-majors: few volunteers come forward to teach it
         because of heavy commitments in their respective specializations. During the past several years the
         department has received Breadth Course classification for several of its courses, notably courses in costume
         history, historical period styles, and contemporary theatre, the latter also designated as a Communication-
         Intensive course. Enrollments in these courses have increased by virtue of their availability to non-majors.
         The department should seek similar classification of other suitable courses. It also needs to seek
         designation of Quantitative-Intensive for a course for its majors.
          The BFA in Theatre Education must be addressed by either converting it to a BS degree to avoid
the international language requirement--a process requiring Regent‘s approval--or eliminating the degree
altogether and requiring that student complete a BA in General Theatre Studies or a BFA in one of the
specialized disciplines and requiring the student to enroll an additional two or three semesters for licensure
in order to complete the education pedagogy component of 35 credits. Given the diverse nature of skills
require for mastery by the single high school drama coach, the additional courses would provide many more
pedagogical resources for that individual.

            Students are now advised to participate in as many practicums as possible to gain these skills, but
this is a hit-and-miss solution at best.

          Few students graduate with the BA degree, even though it is the recommended degree for those
wishing to continue in graduate school as stage directors or continue for the doctorate. The language
requirement seems to be the greatest hurdle. Both this and the additional literature and criticism courses
better prepare the student for intense graduate work, and the minor requirement gives greater depth to the
degree. The Regents Review Committee challenged the department to make this degree more attractive to
students.

           Related to the preceding is the current lack of curriculum focused on dramatic literature. Until
about five years ago the department relied on resources of the English Department. Three courses taught
under the general title ―Perspectives in Literature‖ offered curriculum in modern American, modern British,
and modern Continental drama. The English department did not replace the faculty member teaching those
courses upon his retirement. The Theatre Arts Department responded by expanding the syllabi of several of
its courses with additional dramatic literature and by creating a special topics course in theatre history and
literature (THEA 5290). Only courses in classical drama and the American theatre have been offered under
that title however as faculty loads have precluded the development of additional syllabi for it. Ideally, each
faculty member could offer a special course in the area of his or her research interests, for instance, Italian
renaissance (Preeshl), the avant-garde (Linford), Spanish theatre (Johnson), Irish theatre (Doyle), and so
forth.

          The Regent‘s review committee recommended a stronger integration of the theatre education
faculty into the major program. The suggestion was made to offer fewer service and other peripheral
courses. Ironically, these are the same courses that have traditionally boosted departmental credit hours.
One suggestion was to have them offer a pedagogical course for graduate students in teaching theatre at the
university level. With the loss of Profs. Berkeley and Sidwell, this excellent recommendation has had to be
put aside for the present.

          Even as we need to fill lacunae in a few areas, some ―streamlining‖ of the curriculum is necessary
in others. The department teaches many under-enrolled courses, particularly at the advanced level where
there are so many distinct skills to be learned: acting, voice and dialect, styles of movement and dance,
costume design and construction, scenery design and construction, lighting design, stage management and
technical theatre skills, and, of course, the literature of the stage, its history, theory, and criticism. One
solution of offering generic advanced multidisciplinary courses (eg., something like ―Advance Design and
Technical Practice III‖) presents issues of faculty load assignment and a vague transcript for the individual
student.

          Student retention in theatre remains a major challenge to the department, despite data that suggests
we are much more successful. The enthusiasm of the high school ―star‖ quickly dims when the student
gains an understanding of the long hours of dedication required to succeed in a profession that offers no
guarantee of employment or a sustainable salary. For many years the department offered a freshmen
orientation course as part of an effort to enhance the first-year experience of its students, to introduce them
to the faculty and facilities. It stressed the importance of early and heavy involvement in the program
(unlike many other fields, where the declaring of a major may not occur until late in the sophomore or early
junior year), especially for those intending to pursue the three-year BFA degrees. The freshman year
virtually requires students to complete much of the core curriculum and participate in several theatre
practicums (crew work on productions). Discouraged by the results of the course and student unwillingness
to complete it, the department discontinued it several years ago, replacing it with a concentrated ―mass
         advising‖ meeting of an hour and a half at the beginning of a semester. Several other strategies, aided by
         technology, now permit us to accomplish much of the same thing. The department‘s large Procedures and
         Policies Manual is now on-line for consultation and the department maintains a current e-mail list to notify
         students of major events, auditions, and announcements. Advisers are now assigned earlier and more
         efficiently by the university and students are more closely advised and mentored by faculty than before. We
         believe that these steps may contribute to the much higher first-year retention figures since 2002.


         FACULTY

            DATA:

                   Number: At the current time the Department consists of 10 full-time and one part-time faculty
            and five full-time staff (senior office assistant/accountant, public relations director, costume shop
            manager, scene shop foreman and production manager, and a second office assistant).

                    Degrees, Rank, Gender/Demographics, Percentage with Terminal Degrees: Of the faculty,
            six are male, five are female; of the staff, two are male, three are female. There are no minorities
            represented among both faculty and staff. Currently there is only one emeritus staff member teaching an
            occasional course via the extension program. The department regularly employs one adjunct (female) as
            a temporary instructor in the costume area. Faculty with terminal degrees stand at 100%: three of our
            faculty members hold the PhD; the remaining—including the Lecturer--all have terminal MFA degrees,
            appropriate for their area of instruction. Three faculty members—including the part-time instructor
            whose main department is History—hold the rank of Full Professor, five are Associate Professors, two
            are Assistant Professors, and one is a Lecturer. No female holds the rank of Full Professor. Two faculty
            members at this time are non-tenured, both in their fourth year; one male, one female. The institutions
            from which they hold their terminal degrees are listed above. At the present time, two of these faculty
            members—Profs. Hills and Moore—are on sabbatical leave. In 2005 Prof. Damen was promoted to
            Full Professor, and in 2006 Prof. Moore was granted tenure and promoted to Associate Professor, and
            Prof. Doyle was promoted to Full.


            RESEARCH/CREATIVE ACTIVITY/PRODUCTIVITY

      [Attached as an appendix to this report are narrative summary of the professional activity of each USU Theatre
Arts faculty. In most cases their service work is also mentioned. Complete faculty CVs are linked to the Mission
and Assessment page.]

     EXTENSION AND SERVICE ACTIVITY

             Extension activity by department faculty has tapered off considerably over the past two years. Much of
     it was dedicated to the language arts curriculum and taught by Prof. Emeritus Art Smith or by education
     specialist David Sidwell. About half of 19 sections of THEA 4030 Storytelling over the past five years were
     taught through distance learning in centers in Tooele, Brigham City, and Vernal. Both still teach occasionally
     when there are requests for these courses. Prof. Sidwell developed several courses for web delivery.

            For the past 30 years until the spring of 2005 there had been a full-time theatre arts instructor at the
     Uintah Basin Extension Center (Roosevelt and Vernal, Utah). He was not replaced on his retirement in the late
     summer of 2005.

             The design and technical faculty frequently provide consulting services for other local performance
     organizations, including the public schools. For more detailed activity on service, see the individual faculty
     narratives in the appendix.


     ANALYSIS AND ASSESSMENT
        The theatre arts faculty are highly dedicated to quality instruction and committed to producing quality
theatre for the region. Student successes in winning major regional awards and recognition are a testimony to
this, even if all are not equally successful in finding gainful employment immediately upon graduation, a
common syndrome of the discipline. As instructors, the faculty often score slightly higher than the College or
University norms on student evaluations (eg., Fall 2006: Dept. average = 5.2 on a scale of 6.0, College average
= 5.1, University average = 5.0). The part-time faculty member is a Carnegie Professor for the State of Utah.

        Once again the Regents Review committee made several recommendations respecting the faculty related
to assessment of creative activity, fairness in making productions and assigning teaching duties in University
Studies and service courses:

            The committee recommended that some way be implemented to impose some formula perceived
              as fair in assigning directing duties to faculty. In doing so, the department head created two
              paid assistant positions for faculty, an Assistant Department Head and an Associate Artistic
              Director for the Utah State Theatre season. The latter heads a committee made up of one
              faculty member from each specialization: acting, design and technical theatre, education, and
              general studies. The committee established a formula for rotating productions through the
              dramatic genres that were considered most essential to the mission of the department: classical
              plays (considering that a Shakespeare play might be performed three out of four years,
              sometimes by a visiting company), musicals, contemporary plays (of the last 5-10 years), and
              modern plays (since 1875, the acknowledged beginning of ―modern drama‖). The system also
              forecast an alternating schedule of plays that were ―small‖ in scope with those considered
              ―large‖ plays over a four year cycle, the intent being that a student completing a degree in this
              cycle would be exposed to a balanced variety of productions over his or her academic career.
              The small plays were usually the first of the semester and the large calendared towards the end
              of the semester. The children‘s play was also placed in the rotation cycle. (At the time the
              university transitioned from quarters to semesters, the Children‘s Theatre production was
              moved from early spring to October in order to balance the calendar.) Then, the faculty were
              assigned plays in this rotation over four years, working out a calendar that took into account
              teaching loads, sabbatical leaves, and so forth, as needed from year-to-year. We follow this
              plan today although in practice we have discovered it is far more complex than it may seem.
              For instance, designations of ―large‖ and ―small‖ vary depending on which designer one speaks
              to. A play on a single set with four characters may seem ―small,‖ but if they each have five
              costume changes, to a costume designer and shop foreman this is a very ―large‖ play, larger
              still if it requires costumes in a specific historical period. We continue to assess this practice
              annually, tweaking it from time to time, but there is general agreement that it is better than
              many alternatives.

            The committee recommended combining the position of Fine Arts Center manager with a theatre
              art position—possible at the time. The faculty instead decided to redefine one of its open lines,
              largely as a result of restrictions upon or the disappearance of other resources available to the
              department: the discontinuing of the fashion and marketing program in the College of Family
              Life (itself subsequently dismantled), the restrictions of a ―majors only‖ policy in the Industrial
              Technology Department that barred our students from taking computer-aided drafting and
              welding courses, and a policy in the oversubscribed Art Department that created similar
              conditions with very useful rendering and drawing classes for our majors. The faculty
              determined that the loss of these resources amounted to the equivalent of nearly 1.0 FTE
              faculty, hence, the need to replace that curriculum to the best of our ability with resources
              within the department.

            Another recommendation of the committee was the regularizing of a process of feedback and
              evaluation of productions. This has probably been one item least successfully accomplished.
              We have tried a number of things, including gatherings moderated by independent,
              hypothetically disinterested, faculty, but they are forgotten after a time or two. The most
              consistent form of feedback is the peer review process through the Kennedy Center/American
              College Theatre Festival. An adjudicator—an informed faculty member from another regional
              university or college—views the production and responds with an oral critique of
              approximately one hour immediately following the performance. Other adjudicators may meet
            with design students who have worked on the projects. Unfortunately, the process no longer
            requires a written record, or summary, of the adjudication. On the other hand, participating
            productions may be nominated for performances at the regional festival, students may be
            nominated to compete for regional acting awards, and designers likewise in their respective
            fields. In theory, nominations for regional award represent significant proof of peer-reviewed
            success as an outcome of the process. In this regard, our record has been outstanding: four
            productions invited to the regional festival in the past five years, and approximately fourteen
            students winning regional awards and traveling to Washington, DC, in the past 11 years.


CHALLENGES AND RECOMMENDATIONS

           The department will request reinstatement of the theatre education specialist this year. Nearly
            one-third of the department majors are enrolled for this degree or have indicated their intention
            to complete the BFA with a specialization in Theatre Education and secondary education
            certification. In the meantime, the department will consult with the Council on Teacher
            Education for their recommendations on steps the department would take to improve teacher
            training while still offering service courses needed by the College of Education in language arts
            skills for elementary and secondary teachers.

         The department requires a single, full-time instructor in theatre history, criticism, and literature.
           Presently, all faculty qualified to teach in this area have only a small part of their role
           dedicated to departmental teaching or have heavy loads in other primary areas—acting, voice,
           movement, design, and technical theatre. Several scenarios are possible at this time to achieve
           this position, including the return of the present department head to full-time teaching.

         The most critical challenge faced by the department is travel support for faculty to engage in
           research, workshops, and presentations. The nature of the theatre discipline as a ―workshop‖
           culture on the creative side requires consistent attendance at regional and national
           conferences. Without stronger support here, faculty simply cannot fulfill the requirement for
           excellence in building strong national reputations to support promotion and tenure; that is,
           unless they agree to support their own travel, a condition that is very problematic given the
           level of USU salaries.


SUPPORT SERVICES

    DATA

           STAFF

                   The department funds five full-time staff, three classified and two professional staff.
           With the retirement of part-time dance and movement instructor Maggi Moar in 1999, her salary
           was converted into a second office assistant (Staff Assistant II) position and the first office
           assistant was upgraded to Staff Assistant III. The third classified position is the costume shop
           manager. The two professional positions are a technical assistant in the theatre scene shop
           (construction foreman) and a public relations director dedicated to publicizing the regular season.
           This person also functions as the department‘s webmaster.

           OPERATING BUDGETS

                    The stated operating budget for the Theatre Arts Department is $22,012 from State E&G
           funds with an Equipment and Maintenance budget of an additional $4,457. Most of the funding
           in the latter category goes to upgrade faculty computer/word processing equipment and is
           exhausted early in the academic year. By far, the major expenses covered by these funds are the
           telephones, copy paper, and the duplicating equipment. Because of the volume of telephone
           business necessary to operate two theatre production programs, removal of phones is not a
           practical, cost-saving solution. Morever, the need to duplicate multiple copies of scripts for
              classroom and production purposes results in very high duplicating costs for a department of this
              size.

                         In 2005-6 a university cutback removed about $17,700 of these funds. Fortunately, the
              department had some reserves in one-time monies to cover this. For the current year, a total of
              $15,440 was removed from the combined $26,469 allocation. This includes $1,760 to support
              the Provost‘s Innovation Fund initiative. Therefore, the department has been funded a total of
              $19,798 out of $52,939 initially allocated during the past two funding cycles. Were it not for the
              fact that the department is fortunate to have other sources of income (ticket income, grant income
              and gifts, student fees) to support the operation of Utah State Theatre and the Old Lyric
              Repertory Company, this amount could not sustain the program without drastic sacrifices of basic
              means to conduct business. Both of these organizations budget some expenses toward the
              operation of the office, salary, and supporting facilities above that from State E & G funding, but
              a further incident will end our ability to deliver an artistic program and basic theatre teaching and
              training of any quality.


              FACILITIES

                        The Chase Fine Arts Center was completed in 1967, and thus is completing its 40 th year.
              The facilities available to the Theatre Arts Department consist of a 670 seat thrust stage theatre,
              an 85-seat flexible ―black box‖ studio, a costume shop, a costume storage area, a large property
              and scenery storage area beneath the stage, a shop that spans the width of the stage house, one
              regular classroom (cap. 30), one multi-purpose dance/movement studio with a sprung floor, a
              combined seminar room/departmental library, two chorus dressing rooms (cap. 12 stations each),
              five smaller dressing rooms (cap. 3 stations each; two with shower and toilet facilities), a main
              office complex of three rooms plus a workroom, a publicity office, and eight faculty offices
              associated with these spaces. An adjacent facility (University Reserve Building) contains a
              rehearsal space, a large drafting studio/graduate carrels, and three faculty or graduate student
              offices. The department has some additional scenery storage space at a remote location on
              campus. In downtown Logan (25 West Center Street) is the Caine Lyric Theatre, a proscenium
              theatre with a capacity of 370, built in 1913 and extensively remodeled in 2000 and seismically
              retrofitted at a cost of $2.2 million funded by the university, several foundations, the City of
              Logan, Cache County, and private gifts.


ANALYSIS AND ASSESSMENT

        The staffing is adequate for the department of this size. The Staff III assistant receives a salary
supplement for additional hours worked for the summer Old Lyric Repertory Company. This and the addition
of the second office assistant allowed the OLRC to dispense with the position of Business Manager, formerly
held by Prof. Johnson before he became Department Head. Among the fine arts departments, Theatre Arts is
the only department to employ a public relations/marketing person, a position that was ―grown‖ over a period
of years until it became full-time in the mid-90s. The costume shop manager and the scenic technician position
have traditionally had the incentive of released time to take classes towards a terminal MFA. The results of this
have been mixed. When the employee wishes to complete a degree in fewer than five or six years, there are
often time and interest conflicts which compromise each task. Also, this often means that the positions turn
over with some regularity. The department will be reassessing this practice with the departure of the current
scenic technician this year.

        While the facilities are well-maintained and some safety and fire code issues have been addressed in the
past few years—safety railings in the Morgan Theatre and foyer, a new fire alarm system—there are still
several code issues that interfere with the program operations in the facility:

            Classrooms in the Chase Fine Arts Center are not adequately equipped with up-to-date
              instructional media. There is not a single, fully-equipped ―smart‖ classroom in the entire
              building and laptop interfaces with the one classroom with a digital projector is a primitive
              arrangement (FAV 150).
             The rear entrance to the orchestra pit in the Morgan Theatre is accessed by a gangway that has
                been declared unsafe and condemned. This access was permanently locked two years ago and
                orchestra members must now enter the pit from trap accesses on the stage in full view of the
                audience. Often, we must design musicals in a way that place the orchestra or band on the
                stage itself.

             The counterweighted fly system was never provided with a proper, safe loading rail. Some work
                was done on this last year to satisfy the OSHA officer temporarily and Physical Plant is
                addressing a more permanent solution. Fortunately, we have never had an accident with this
                system, which requires the passing of up to 25 lb. pig iron weights in free space over the heads
                of assistants 50 feet below.

             Additional lighting of the aisles and stairways was installed for patron safety about five years
               ago during an acoustical remodeling of the Morgan Theatre. Worn, loose carpeting unsafe for
               the aisles was also replaced.

             Likewise, the Caine Lyric Theatre operates with the antiquated hemp rope/sandbag system
                originally installed in 1913. In six years this system will be 100 years old. It is unsafe and
                unsatisfactory for many productions played in repertory rotation in the summer. The integrity
                of the original building will likely not support the installation of a new counterweight system
                without special reinforcement or complete replacement. Despite the beauty of the lobby,
                gallery, reception area, and new dressing rooms, the stagehouse is in need of a major
                remodeling or replacement.


CHALLENGES AND RECOMMENDATIONS

        With the departure of the current scenic technician (professional staff) sometime during the coming
year, the department may seek to upgrade this position to a theatre production manager. This would relieve the
current faculty member and technical director (Prof. Duerden) of some of his duties to concentrate on teaching
and the development of curriculum for a theatre sound program.

        The establishing of the Caine School of the Arts and its need for a separate public relations office
creates a dilemma for a department having its own publicist. In a large operation, this office generally has three
or four skilled personnel: a graphic designer/artist, a writer, an office assistant, and possibly a
webmaster/computer-artist. Few single individuals are trained with or equally adept at all these skills.
Moreover, it is difficult to compensate skilled persons in an academic setting when the going rate in the
commercial field is twice what we can pay at USU. When our present staff person leaves, we will not only be
challenged to replace him, but will need to move forward with a clear policy on how our continuing marketing
and public relations needs dovetail with those of the CSA.

        Space is at a premium in a facility designed for far fewer majors. The facility was built at a time when
there was a single ―Fine Arts Department‖ and was not created with sufficient office space for four
departments. The departments of Theatre and Music have main offices that were meant to be adjunct office
space or workrooms.

       Safety and fire code updates in the past few years have been temporary solutions. In some cases our
program is compromised by these restrictions, which must be addressed with major institutional infrastructure
funding. The department does not receive adequate funding to correct these problems, largely due to code
practices in effect when the building was completed.

       Finally, the condition of the physical plant described above becomes critical when considering its
obstacle to recruiting students. Snow College, Weber State University, Dixie College, the College of Eastern
Utah, and Idaho State University have either brand new or remodeled facilities within the past three years to
show their prospective students.
APPENDIX I: FACULTY VITA

[Faculty Vitae for Theatre Arts may be found on the department‘s website, linked to the Assessment page at
www.usu.edu/theatre.]

         The following contains narrative descriptions of individual faculty professional and service activity.

MARK DAMEN, Full Professor; Playwriting, Theatre History
          Prof. Damen has a 40% appointment in Theatre Arts; his major department is History (Classics). His
interests focus on the understanding of ancient theatre and drama in performance. It is his conviction that by staging
the works of classical dramatists and seeing their plays as "scripts" intended for performance, we achieve a fuller
appreciation of the ancient playwrights' intention in composing drama and their contribution to humanity. His
research involves pursuing different approaches to the question of how to highlight the theatrical values of classical
drama. In 2003 he published an article on how quickly scenes change in Greek tragedy, concluding that the changes
visible there illuminate the interaction between tragedy and its burgeoning rival, comedy. He published as well a
long piece on Hrotsvit's drama, including a scholarly introduction and the translation of two of her works, based on a
production of his translation of that work done here at USU. He has also served on the Committee for the
Performance of Ancient Drama, a branch of the American Philological Association. The members of this committee
oversee the performance of classical works across America and stage one such performance each year at the annual
meeting of the APA. In the last five years he has been involved in two such productions, three total since the creation
of the committee. His current work in progress centers on Euripides' drama and how it maintained a sense of
suspense when the story unfolding on stage was based on well-known myth. He expects at least three articles to
emerge from these researches: one on the disposition of scenes in ancient comedy, one on Euripides' "red herrings"
(based on a seminal piece published by Geoffrey Arnott, one of the most important scholars in the field) and another
on the innovations effected by Euripides in his masterwork, The Bacchae.

         Several classes which he teaches function effectively as "laboratories" in which ideas come to fruition and
maturity. His graduate directed readings courses in the Greek language and the current class he is teaching on
Euripides' Bacchae have been and continue to be crucial in the formation of his current scholarship. The playwriting
classes he teaches are also essential in honing his appreciation of theatre in general and the formidable challenge
presented to all playwrights in forging new drama. His work, therefore, integrates all his activities on campus:
sharpening his critical facilities, refreshing his comprehension of the classical corpus and enhancing his humanity
and understanding of why the ancient world expended so much energy and wit on expressing their wisdom and
wonder through the lens of theatre.



KEVIN DOYLE, Full Professor; Performance Studies (Acting, Directing)

          It is Professor Doyle=s firm belief that any instructor with an MFA degree (conferred from accredited
professional training programs) must continue to seek out and be retained in their area of expertise by the top-tier
venues, either regionally and certainly nationally and internationally. In the past five years he has put extra focus in
that belief and has worked to be seen as an actor in some of the best venues in the intermountain west region, some
with national and/or international acclaim.

         He has performed in each of the last four seasons for the Salt Lake Acting Company, an Actor‘s Equity
Association (AEA) professional company, in major roles, winning a ―best actor‖ award from the City Weekly
magazine for 2005. Professor Doyle has also been a part of five play reading and development workshops at SLAC,
one leading to the eventual premiere production of The Overwhelming by J.T. Rogers at The National Theatre in
London, England, in 2006.

         He has performed for the LORT B Equity Pioneer Theatre Company in Salt Lake City four times, most
recently as the only non-New York-based actor in the company.

        Professor Doyle has worked three seasons with The Sundance Institute Theatre Lab, assisting in the
development of new plays as an actor and director=s assistant. He has worked with artists such as directors Moises
Kaufman, Michael Grief, Lisa Peterson, Peter DuBois, Les Waters, Jo Bonney; and Marion McClinton; playwrights
Tanya Barfield, Jessica Hagedorn, David Grimm, Adrianne Savan, Lisa Kron, and Edmund White; and actors Euan
Morton, John Neville, Reg E. Cathey, Emily Bergl, Joseph Gordon-Leavitt, Danny Gurwin, Emily Swallow and
others.

         He has created and maintained an ongoing grant that brings major acting companies and figures of the
professional American Theatre for workshops and performances to the USU campus, including Anne Bogart and the
SITI (Saratoga International Theatre Institute) Company (3 times, including the world-premiere of their original play
systems/layers, plus having studied extensively at the four-week SITI summer workshop in Saratoga Springs, NY);
The Actors From the London Stage (four times); Anthony Zerbe and Roscoe Lee Browne with their two-man
production Beyond The Broken Word; the Pig Iron Theatre of Philadelphia (performing their Obie-winning play Hell
Meets Henry Halfway), plus individual visitors Euan Morton, Anthony Rapp, set designer John Lee Beatty, lighting
designer Beverly Emmons, film actor Chris Ellis, and over 20 other professionals.

        Professor Doyle also wrote three original radio scripts for struggling 4 th-grade readers that is now the
number one reading tool for the public school system in all of the boroughs of New York City.


BRUCE DUERDEN, Associate Professor; Lighting, Sound, Technical Director

          Since 2000 Prof. Duerden has completed 40 Lighting Designs, 57 Technical Direction projects, 5 Scene
Designs, 2 international exhibitions/publications, 2 publications in national trade journals, 4 national workshops, 2
grants totaling $42,160.00. In 2001and 2006 he received the Kennedy Center American College Theatre Festival
Medallion of Excellence in Education award. In addition to these assignments, he has supported many student
designs and technical projects.

         Prof. Duerden‘s lighting design for Les Liaisons Dangereuses was first entered in the design expo at the
United States Institute for Theatre Technology (USITT) in New Orleans, March of 2002, where it was juried and
chosen to represent the United States at the International Prague Quadrennial. As part of this exhibition it was
published in Theatre Design & Technology (TD&T) Journal, spring of 2002. In 2003 it was exhibited at the
Industrial Palace Vystaviste, Prague Czech Republic, after which it returned to the U.S. and was displayed in Long
Beach California, spring 2004. In 2005 his lighting design for The Boy Who Drew Cats was exhibited in Toronto,
Canada, as part of the World Stage Design Exhibit. It has also been published in the World Stage Design
publication.

          Other projects of interest include four professional designs. In 2006 he was invited to design the scenery
and lighting for an original play Sail Past Molikai in New York City at the Broadway 54th Street Theatre. In 2004 he
was invited to design lighting, scenery, and costumes for a production of The Secret Garden at Brigham Young
University-Hawaii in Laia. It became a huge success, playing to sold out houses over two weeks on the north shore
of Oahu. In October of 2004 he was asked to design the lighting for La Boheme at Brigham Young University as part
of a professional design team. A USU student was able to work on this project as an assistant designer. Jane Eyre
(The Musical) was Prof. Duerden‘s third invitation as a lighting designer at Western Wyoming University. Such
projects as this also develop into successful recruiting opportunities, and several students have transferred to USU as
a result. In 2002 Prof. Duerden designed the lighting for Fiddler on the Roof at the Broadway on the Hill Regional
Theatre in New Jersey.

            Nationally, he regularly attends conferences of the United States Institute for Theatre Technology
(USITT) where he is currently a commissioner in the Technical Production Commission. He has participated as a
chair for the national convention workshops: Scene Shop Math, presented in New Orleans; Technical
Director/Scene Designer Relationship presented at Minneapolis; and Curriculum Articulation for Stage Craft at
Long Beach. These workshops require assembling a group of colleagues from across the country and presenting a
two-hour workshop to a room full of theatre professionals. Before attending USITT 2005 in Toronto he spent one
week in New York City attending several shows and studying the technology used on Broadway. He was able to
interview one of the assistant designers for Dirty Rotten Scoundrels and study the drawings and unique mechanics of
the scenery pieces.

         Prof. Duerden is currently working on a long term research project to expand his lighting curriculum into
the world of architectural lighting. In doing so he is working with the firm HTMN in Salt Lake City and Cline,
Bettridge, and Bernstein in New York City. His goal is to work with these firms as an assistant to gain a better
understanding of the requirements for designing light for architecture, then translate these experiences into a
curriculum for Theatre, Interior Design and Landscape Architect students as a collaborative curriculum for the Caine
School of the Arts.


SHAWN FISHER, Assistant Professor; Scenic Design, Technical Theatre

           Since arriving at Utah State in August of 2003 Prof. Fisher has been serving the department and developing
his professional career in several ways. Prof. Fisher‘s primary efforts in the department have been divided between
two main areas and several secondary emphases. The first area of primary emphasis has been theatre design.
Initially, Prof. Fisher began his service as an Assistant Professor of Theatre Design, and was categorized as a design
generalist. Although this is broadly descriptive, Prof. Fisher‘s main expertise is in scenic design and therefore the
majority of his teaching reflects this. Along with the efforts of his colleagues, Prof. Fisher has mentored students
towards design excellence and in both his second and third year, numerous students were awarded national
recognition for their work. Most notably, two students who began their graduate education just after Prof. Fisher‘s
arrival received Kennedy Center American College Theatre Festival awards in scenic design. Darrin Brooks was
awarded a KCACTF Regional Award in scene design in 2005 and Caress Bergado was awarded a National Award in
scene design in 2006. Each student had never participated heavily in theatre until the year Prof. Fisher arrived at
USU.

         As a designer, Prof. Fisher has also continued to pursue his professional career. Living and working in
Utah presents challenges to do so as theatre design requires travel and multi-week residencies wherever a design
opportunity may arise. Despite this, Prof. Fisher tries to focus on designing in major markets, most recently New
York City. Since arriving at Utah State he has designed three Off-Broadway shows at the Gene Frankel Theatre in
Manhattan. The two producing companies for whom he worked, Woken Glacier Theatre Company and Red Radar
Productions, are largely made up of groups of international artists, many of whom are graduates of the prestigious
Actor‘s Studio in New York. The shows were Seal Sings Its Song, Cop Out, and The Talking Dog. In addition, he
has designed three sets for The Old Lyric Repertory Company in Logan. These were Post Mortem, Route 66 and
Relative Values in the 2006 summer season. He will design The Spitfire Grill, Picnic, and Member of the Wedding
in the summer of 2007. In addition to professional work, Prof. Fisher has designed three shows for Utah State
Theatre including The Beaux Stratagem, Comedy of Errors and Picasso at the Lapin Agile. He is currently working
on designs for Anything Goes. Furthermore, Prof. Fisher has designed the lighting for two productions at USU, Hay
Fever and Antigone.

          Prof. Fisher‘s second area of primary effort is in the theatre department‘s graduate program. Upon Prof.
Fisher‘s arrival at Utah State, he quickly recognized the need for close supervision of the graduate program. He
initiated several programs and assessments that would foster greater success from the MFA candidates and in 2006
was appointed as Graduate Program Coordinator. Several of his initiatives include annual public portfolio reviews,
the Graduate Student Code, continuance evaluations, designer contracts, and a fully revised Graduate Studies course.

          Prof. Fisher has also served the students and department in other ways. He sits on numerous student
graduate committees as well as the Production and Planning, Graduate Program and Season Selection committees.
He has also presented a workshop at the international convention of the United States Institute for Theatre
Technology in Toronto and has sat on KCACTF Barbizon Design Competition adjudicator‘s panel for three years at
festivals in California, Phoenix, and Utah.

          Most recently Prof. Fisher has also endeavored to introduce students to new play development and
production. Prof. Fisher recognized that at Utah State, the students had numerous opportunities to ―do‖ theatre but
few to ―create‖ it. As a result he applied for and received a grant to create The Fusion Theatre Project. In 2005
various students met with Prof. Fisher to explore various approaches to new play development. In 2006 and 2007
Prof. Fisher took this further and, with a team of students and professionals created A Night in Iraq which included a
full-length original play Scope, which he wrote. The script was recognized by The Kennedy Center Advanced
Playwriting Intensive and as a result Prof. Fisher was invited to be a guest artist in the intensive playwriting program
in Washington, DC, during the summer of 2006.


PROF. DENNIS HASSAN, Associate Professor; Scenic Design, Contemporary Theatre

        Prof. Hassan is very active in the international organization for set designers and theatre technicians, the
United States Institute of Theatre Technology (USITT), where he is currently Vice-Commissioner for Computers for
the Scene Design Commission. Prof. Hassan has been a frequent presenter at annual USITT conferences and
previously served as Vice-Commissioner for Programming.

         Prof. Hassan‘ innovative design work for the recent Utah State Theatre production of Jacques Brel is Alive
and Well…and Living in Paris was chosen through a national juried competition to be one of the United States
selections in the international display of design at the Prague Quadrennial 2007. In 2003 Prof. Hassan‘ work was
seen at an earlier juried exhibit in Prague, Czechoslovakia, through his collaborative design of Dangerous Liaisons
with costume designer Prof. Nancy Hills and lighting designer Bruce Duerden. Jacques Brel… was also selected for
inclusion in the USITT national juried exposition Stage Expo and was published in the summer 2006 issue of
Theatre Design &Technology.

         In 2005 USITT awarded Prof. Hassan a fellowship to study at the Washington, D.C., in its Summer
Intensive program with distinguished designers Ming Cho Lee and Constance Hoffman. He received a Special
Achievement Award in Production Design for his design of The Boy Who Drew Cats from the Kennedy
Center/American College Theatre Festival (KC/ACTF) in 2003 and was awarded Artist of the Year by the College of
Humanities, Arts and Social Sciences at Utah State University in 2005.

          Prof. Hassan is a very active, working artist and designs professionally for theatres across the United States,
including the Hale Center Theatre, Salt Lake City, Utah, Thoroughly Modern Millie, Aida, One for the Pot, West
Side Story, Seven Brides for Seven Brothers), Southwest Shakespeare, Mason, Arizona, (Hamlet), ACT Theatre,
Honolulu, Hawaii (Joseph and the Amazing Technicolor Dreamcoat, Sweeney Todd, CATS!), Montclair State
University, Montclair, New Jersey, (Hotel Paradiso), the Babcock Theatre, Salt Lake City, Utah, (Measure for
Measure), Utah Festival Opera Company, Logan, Utah (Fiddler on the Roof, Tales of Hoffman, I Do, I Do), and the
Old Lyric Repertory Company, an organization for which he has designed over 40 productions. He designed the
Ghost of Firs Nicholayich at the Chekhov and New York Fringe Festivals in Manhattan. Prof. Hassan has designed
a series of nationally broadcast commercials and collaborated on productions in historic manor houses in England
(Importance of Being Earnest, Enchanted April, Woman of No Importance, Pride and Prejudice) during four
summers, 2002-5. Of course, Prof. Hassan also regularly designs sets for Utah State Theatre (selected favorites
include: Macbeth, Dangerous Liaisons, and A Little Night Music). In the summer of 2007 alone, Prof. Hassan will
design Cash on Delivery for the Old Lyric Repertory Company in Logan, Utah, West Side Story for Maine State
Musical Theatre, Once Upon a Mattress for ACT in Honolulu, Hawaii and Once on this Island for the Hale Center
Theatre in Salt Lake City, Utah.

         In addition to keeping his skills sharp and developing valuable connections with theatre companies across
the United States, Prof. Hassan regards his professional designs as a means to assist students in developing their own
professional careers. Prof. Hassan involves his students in almost all his professional designs, hiring and mentoring
them as assistant designers or scenic artists, helping them develop their own resumes and forging contacts for them
that have evolved into work opportunities and even some career positions.

       Prof. Hassan is very active in the department, the university, and the community. He was Interim
Department Head in 2005-2006, serves on the Faculty Senate, and was Chairman of the Board of Trustees for the
Cache Valley Center for the Arts in 2004-2005.

         Prof. Hassan believes that in order to be a good designer, you need to see excellent theatre, and you need to
have a global perspective. He therefore encourages his students to travel and experience life beyond the Northern
Utah region. He frequently takes groups of students to New York City and for the past five years Prof. Hassan has
taken students to London, Paris, and Florence in summer study abroad programs where they can attend world-class
and contemporary theatrical productions, experience great museums and see historical architecture and furnishings
first-hand. This activity directly supports the ―Period Styles‖ course he developed.


PROF. NANCY HILLS, Assistant Professor; Costume Design and Construction, University Studies (Fine Arts)

         Prof. Nancy Hills is currently on sabbatical leave in California and Oregon and is in the process of
designing a production of Hamlet for the Calaveras Repertory Company in Milpitas, California, for director John
Ribovitch, who she met during her last sabbatical. As a guest artist in 2006 she designed a production of Beauty and
the Beast for the Northwest Children‘s Theatre in Portland, Oregon, a play which garnered accolades and will be
remounted in their next season. Prof. Hills has been offered future invitations to design with that company. In 2006
Prof. Hills was invited to present several pieces, including sketches and finished costumes at the annual Arte Gras in
Ogden, Utah. The exhibition included ―wearable art.‖

         In 2005 Prof. Hills was awarded a National Teaching Fellowship for her continuing contribution to the
teaching of costume design from Kennedy Center/American College Theatre Festival. Her portfolio was reviewed by
a panel of professionals and educators at the national USITT conference. With that fellowship came a trip to the
Kennedy Center and an intensive two week workshop where she worked with internationally acclaimed American
designers Ming Cho Lee and Constance Hoffman. In 2003 her collaboration with colleagues Profs. Dennis Hassan
and Bruce Duerden on their USU designs for Les Liaisons Dangerereuses were presented in shows at the United
States Institute of Theatre Technology conference in Denver and at the 2003 Prague Quadrennial in the Czech
Republic.

          Prof. Hills‘s position as Head of the Costume Design Program has reaped successes for her students. For the
past five consecutive years her costume design students have won the five-state regional KCACTF festival‘s first
place award which entitled them to attend the national assembly of student designers in Washington, DC, where
students from each of the other eight regions work with professional designers. The students who accomplished this
include Macy Perrone in 2006 for The Comedy of Errors, Darrin Brooks in 2005 with Hayfever, Amanda Profaizer
in 2004 with Beau Stratagem, Rachael Wendel in 2003 for The Boy Who Drew Cats, and Philip Lowe in 2002 with
his designs for The Lion In Winter. Philip‘s went on to win the 2002 KC/ACTF Barbizon National Costume Award.
Prof. Hills continues to collaborate with her design colleagues to fine tune the Design Graduate Program. Her class
Historic Clothing THEA 3670 was added to the list of breath classes and now has a more university wide general
education appeal. With two costume design projects that Prof. Hills executed for Utah State University she was able
to collaborate extensively with members of the Art Department. During the design process for Jacque Brel is Alive
and Well and Living in Paris and Macbeth, Prof. Hills was in charge of the costumes used in pre-production film
footage shot by Art instructor Alan Hashimoto‘s graphics design class.

         Prof. Hills was been invited to be a participant as a judge at the KC/ACTF conferences held Cedar City,
Utah, in 2006, Glendale Community College, Phoenix, Arizona, in 2005, Calif. State College, San Bernardino,
California, in 2004, Utah State University in 2003, and Fresno State University, Fresno, California, in2002. While
the conference was held at Utah State she was very involved in coordinating the Design/Technical workshops.

         In the spring of 2006 she directed a production of A Midsummer Night’s Dream at the Cache Valley
Learning Center (a kindergarten through 8th grade school). During that project she worked with the social studies
teacher, Cade Basset, who taught a section of Elizabethan History and life where she gave a guest lectures. While in
Portland, Oregon, Prof. Hills went to discuss costume design to all of the fifth grade classes at the Maplewood
School, all of which went to see the production of Beauty and the Beast.

         With her colleague Prof. Hassan, Prof. Hills has been instrumental in organizing a study abroad program
based in London with travel to France and Italy. There she has taught USU 1330 Civilization: The Arts, Historic
Costume, and a team-taught costume rendering course. She also had the experience of designing the costumes for
four productions that were presented in consecutive summers at a countryside manor house Northamptonshire. These
productions were sponsored by the University College Northampton, International Office: Pride and Prejudice, A
Woman of No Importance, Enchanted April, and The Importance of Being Earnest.


COLIN JOHNSON Full Professor and Department Head; Theatre history & criticism, film

         Prof. Johnson is completing his tenth year as department head. Since the fall of 2002 he has directed nine
productions: four in the main Utah State Theatre season (To Kill a Mockingbird, Holes, The Beaux’-Stratagem, and
Tartuffe), four for the Old Lyric Repertory Company (Forever Plaid, The Last Train to Nibroc, The Hollow, and
Wiley and the Hairy Man), and Philadelphia, Here I Come. The last production was staged at the University of
Wisconsin—Milwaukee, where Prof. Johnson spent a sabbatical year teaching as a part-time visiting adjunct
professor.

         Professor Johnson‘s primary professional activity is serving as the Producing Artistic Director of the
summer Old Lyric Repertory Company, for which he receives no extra compensation. In this capacity, Prof. Johnson
reads scripts, selects the four or five plays for the season, conducts local auditions and travels to regional auditions,
casts and staffs the company, and runs the day-to-day business of the theatre during the 11-week (expanded to 12
weeks in the summer of 2007) season. In addition, he writes as many as six grants and follow-up reports (College of
Humanities, Arts, and Social Sciences, the Marie Eccles Caine Foundation, the George S. and Dolores Dore Eccles
Foundation, the Bridgerland Tourist Region, Cache County Restaurant Tax Allocation, and Cache County
Recreation, Arts, Parks, and Zoo—RAPZ—tax). During the past five years he has written 25 grants and reports for
gifts totaling nearly $525,000 (not counting the College of HASS, which has funded approximately an additional
$240,000 over the same period). This company of approximately 50 advanced students, high school apprentices,
staff, and professional actors operates on a budget of about $280,000 plus university overhead, producing 5 works
playing in rotating repertory over an 8-week season with an additional 3-4 weeks of rehearsal.

          Professor Johnson serves as an occasional adjudicator for the ACTF circuit and participates in that
organization‘s Next Step Auditions as a state contact. He has represented USU on an ad hoc basis as a delegate in
the arts for the University Studies Program at statewide meetings. In 2005 he received an Excellence in Education
award from the Kennedy Center/American College Theatre Festival, Region VIII.


LYNDA LINFORD, Associate Professor; Acting, Makeup

         During the past five years Prof. Linford has become increasing involved in the Kennedy Center/American
College Theatre Festival, serving as its Utah Circuit Coordinator for four years and arranging adjudications for all
theatre productions from participating Utah colleges and universities. She attended and fully participated in all
regional festivals, adjudicating the Irene Ryan scholarship competition, serving on the Stage Manager and Student
Director awards committee, presenting three workshops in three different years: ―Collaboration,‖ ―Ibsen: From The
Outside In,‖ and ―Exploring Theatre Studies In England,‖ and taking two Utah State Theatre main season shows into
KC/ACTF competition adjudicated by a national team of judges. She wrote and directed The Boy Who Drew Cats in
2002, which took Utah honors and won again at the next level of competition at KC/ACTF regional competition for
that same year. In 2006 she directed Anna in the Tropics, which again won at the state level and will compete in
February 2007 at the KC/ACTF regional festival. Due primarily to her efforts, Utah State University hosted the
Region VIII Festival in 2003 (about 1,000 registrants from Utah, Nevada, Arizona and California) with Prof. Linford
serving as the Host Coordinator. In 2003 she was named a AFellow@ of the KC/ACTF organization, the highest
honor given in its academic community.

         Prof. Linford has one of the longest chronological records with the Old Lyric Repertory Company,
beginning as a student in the 1960s. In recent years she has directed Postmortem (2006), Cat On A Hot Tin Roof
(2005), Enchanted April (2004), and The Murder Room (2003).

         For Utah State Theatre she has directed the following productions: Anna In The Tropics (2006), Macbeth
(2005), Jacques Brel Is Alive And Well And Living In Paris (2005), The Miss Firecracker Contest (2003), The Boy
Who Drew Cats(2002), Vanities (2002, and Pride And Prejudice (2001.) Jacques Brel . . . should also be
considered a design collaboration. It will be exhibited at the Prague Quadrennial in the summer of 2007 and has
been featured in Theatre Design & Technology¸ a publication of USITT.

         During the past five summers she has taught the APeriod Styles@ course and directed for the University of
Northampton, England: Relative Values, The Importance of Being Earnest, Enchanted April, A Woman of No
Importance, and Pride And Prejudice. In 2007 she will teach and direct Somerset Maugham=s The Constant Wife.
During the six-week=s summer program she also serves as research facilitator in London, Florence (Italy), and
Edinburgh, and as tour guide in Venice, Bath, Stratford-Upon-Avon, Oxford, York, and Brighton for this study-
abroad program.

          In the summer of 2006 she delivered a paper/presentation at the Oxford Roundtable, Oxford, England,
entitled ANot by Bread Alone: Scientists On-stage!@ Two USU student-actors read excerpts from the plays referred
to in the paper.

          Prof. Linford received a grant from the Mountain West Center for Regional Studies in 2003 and wrote a
play about the Bluebird Restaurant and Café, ―The Café Plays: Bluebirds and Lambs in an Idle Isle.‖ She presented
a paper at the Utah State Historical Society in 2004, AUsing Oral History in Writing Plays: Bluebirds and Lambs in
an Idle Isle.@ In the spring of 2006, the play was read at the Salt Lake Acting Company=s playwright=s workshop
in Salt Lake City. She had, in her words, Aworked out@ with SLAC=s playwright=s program for two years, hosting
the Fall 2006 SLAC retreat in Logan. This work, under the title ―The Café Plays.‖ will premiere in 2007 at Utah
State. She is still writing and gathering further research for two additional plays in the Arestaurant cycle@ about the
Idle Isle Restaurant in Brigham City and Lamb‘s Café in Salt Lake City.

         Two Women and Gender Research Institute (WGRI) grants in 2004 and 2006 helped her travel to Oxford to
give her paper in 2006 and also to teach and direct at Northampton University (2004).

         She has given AUta Hagen Technique@ workshops at the Utah Theatre Association (UTA) state festival in
2005, 2006, and another entitled AActing for the Camera@ in 2007. She taught Acting in the Restoration Period in a
three-week workshop for the Shakespeare Conservatory, Southwest Shakespeare Company, Mesa, Arizona, in 2002.
She has taught a summer citizen=s workshop course, ―What=s Hot, and What=s Not!@ to senior citizen visitors from
Arizona each June/July for several years through USU Extension. In 2006 she was named HASS Creative Artist of
the Year.


ADRIANNE MOORE, Associate Professor; Performance Studies (Voice for theatre, acting, directing)

         Adrianne Moore has directed for several well-respected professional companies during the past five years.
For the Salt Lake Acting Company she directed the new play Hold Please and most recently was a co- director on
The Water Project, a collection of dramatic pieces written by Western playwrights dealing with issues of water in the
West. Her second area of specialization is Voice and Dialect Coaching and she has coached no fewer than seven
productions for this company.

          Prof. Moore has established a reputation as a professional dialect coach and is regularly employed in this
capacity. She has coached actors in the use of over twenty different American and foreign dialects. For the Utah
Contemporary Theatre Company in Salt Lake City she has directed and also coached British dialects for their series
Talking Wales. She directed a controversial new play about the beef industry called Miasma for Plan B Theatre in
that city and was one of the directors for their Play Slam event.

          Prof. Moore has coached dialects on two occasions for Pioneer Theatre Company and has just been
contracted by the Pygmalion Theatre to coach Birmingham dialects for the Tony Award-winning play Frozen.
She made her entrance into film work with the movie The Redemption of Sarah Cain directed by Michael Landon Jr.
For this project she coached Pennsylvania Dutch accents for a movie centered on a group of Amish children.

         The productions she has directed for Utah State Theatre have been well received by audiences and they
have effectively showcased and further developed the acting talent in the department. These include productions of
Cabaret, Taming of the Shrew and Hay Fever. Her production of Anton in Show Business was chosen to be
performed at the KCACTF regional festival held in San Bernardino, California, in 2004. At this festival the
following year the short play The Crossing, which she directed, won the best play in this category and then went on
to win this award nationally. She has coached dialects for the Utah State Opera working with university faculty and
also professional guest directors. She has also been involved with the Old Lyric Repertory Company as a director
and as a dialect coach.

         Her interview with Fred Adams, the Artistic Director of the Utah Shakespeare Festival, was published in
The Voice and Speech Review, a serialized monograph. She has had papers accepted for presentation at two
National Conferences – the Voice and Speech Trainers Association (VASTA) and the Association of Theatre in
Higher Education (ATHE).


ARTEMIS PREESHL, Assistant Professor; Movement and Dance for theatre, Acting

          The Movement Specialist position was created in 2003 to develop movement and dance curriculum for
theatre students, teach acting, and to direct and choreograph productions for Utah State Theatre. This position fulfills
the National Association of Schools of Theatre (NAST) requirement for movement competencies, including dance
and mime. Professor Preeshl assessed the BFA courses and aligned course objectives with NAST competencies. The
new movement sequence of mask and physical theater courses expand the actor‘s dynamic posture and gesture on
stage. A sequence of dance courses was designed to prepare students for musical theater. These courses represent
the most significant changes in the curriculum in the Theatre Arts Department in the past four years.
          As the result of a series of awarded grants, Prof. Preeshl has encountered techniques and teaching styles in
international workshops in Italy: La MaMa International Symposium for Directors, International Centre for the
Research of the Actor, the International University Global Theatre Experience, the International Training Session in
Commedia dell’arte and Donato Sartori‘s Centro Maschere e Strutture Gestuali. Prof. Preeshl has also enhanced
her own skills, incorporating them into her curricula, by attending workshops nationally: The School for Mime,
American International School of Commedia dell’arte, Voice and Shakespeare's Heightened Language with Patsy
Rodenberg and Lecoq Actor-Created Theater with Thomas Prattki and Amy Russell of the London International
School for Performing Arts. Her SITI Company performance in the systems/layers premiere encouraged her to
incorporate Suzuki method and the Viewpoints techniques of Anne Bogart in class and rehearsal.

          As a teacher and director, Prof. Preeshl‘s commedia dell’arte research became international in 2006. At La
Mama Umbria, Artemis & The Wild Things (ATWT), a non-profit theater/dance company, made its international
debut in Shakespeare‘s The Comedy of Errors with Italian actors. In New York City (NYC), ATWT has applied
commedia dell’arte to The Merchant of Venice (2007) and A Midsummer Night’s Dream (2004.) After a commedia
dell’arte lecture-performance by Prof. Preeshl and six students at the Italian Center in Salt Lake City, she performed
commedia dell’arte with her company for State Italian Day (2006). Prof. Preeshl has taught commedia dell’arte
master classes at the Kansas Dance Festival, the Rocky Mountain Theater Festival (Pocatello, Idaho), Fort Lewis
College (Durango, Colorado) and the American College Dance Festival (Rock Springs, Wyoming). Mary Kay
McGarvey, the Nebraska Regional Governor, invited Prof. Preeshl to present commedia dell’arte at the National
Opera Association (NOA.) She taught a commedia dell’arte workshop and directed a commedia dell’arte with a
scene from The Barber of Seville at NOA in New York City (2005.) This year, she was invited to teach an
improvisation master class at NOA. She published ―Ever After: The Last Years of Musical Theater and Beyond” in
The Opera Journal (2005). Because most commedia dell’arte literature is in Italian, Prof. Preeshl became proficient
in Italian through an Italian Cultural Institute scholarship.

    For the first time in nine years, USU performed at the American College Dance Festival. Students premiered
Prof. Preeshl‘s When a Spirit Bends with lighting designed by USU theatre alumnus Bryce Allen in 2006. She
received a Utah Arts Council grant to commission NY composer Eric Starr‘s Carnac for Desert Dance Theater‘s
Wyoming and Utah tours (2005). She mentored puppeteer Susan Niedert through a Utah Arts Council grant (2006).
Prof. Preeshl has directed and choreographed The Soldier’s Tale (2004), Eight Songs for A Mad King (2004), The
Comedy of Errors (2005), Dancing at Lughnasa (2005) for Utah State Theatre. She choreographed 42 student
dancers for West Side Story. For the summer Old Lyric Repertory Company, Prof. Preeshl directed and
choreographed The Fantasticks. She has presented the following papers: ―The Emergence of the Professional
Actress in Commedia Dell’Arte‖ at the Mediterranean Studies Assoc. Int‘l Congress in Genoa (2005) and ―Inside
and Out: A Performative and Contextual Comparison of ‗The Three Dances‘ in Stravinsky‘s L’Histoire du Soldat‖
(2005) and ―Gender-Specific Dance and Theater in Polynesian, Melanesian and Balinese Cultures‖ (2004) at the
Hawaii International Arts and Humanities Conference. Prof. Preeshl was invited to jury scripts and plays for that
conference in 2005.

         Since 2003, Prof. Preeshl has received $30,865 in grants: $14,500 (HASS New Faculty Research Grant
(2004), $1,363 (2005) and $1,800 (2006) from the Gardner Junior Faculty Fellowship, and $1,000 from the Women
and Gender Research Institute (WGRI, 2006); for performances of the dance Ocean of Wisdom in Utan, Maine, and
Hawaii, $250 from The Utah Humanities Council and $952 from WGRI (2004); for guest artists, $2,000 for the Dee
Visiting Scholar (Mountain West Center, 2006), $2,350 for the Dance Company residency from Marie Eccles Caine
(MEC, 2006) and $1,700 for the Indian Research Symposium from MEC (2004); for students to attend the American
College Dance Festival (Wyoming) and the Kansas Dance Festival, ASUSU Academic Opportunity Fund
scholarships were awarded: $1,000 (2006) and $500 (2004). ATWT has received $800 for A Midsummer Night’s
Dream (2004), $900 for Sail Past Molokai (2005) and $900 for The Merchant of Venice (2006) from The Puffin
Foundation.

        Prof. Preeshl has adjudicated for the American College Theatre Festival and the Wyoming State HS Drama
competition. She is the primary reader on the commedia dell’arte thesis committee of a BYU Masters candidate.

				
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