FROM BROADWAY TO YOUR BACKYARD - Florida Theatre

FLORIDA THEATRE CONFERENCE NEWS SUMMER 2014

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FALL 2010 FLORIDA THEATRE CONFERENCE NEWSFALL 2010 FLORIDA THEATRE CONFERENCE NEWS

Inside this issue:

Volume 55 Issue 2Fall 2010

FLORIDATheatre is the official newsletter of the Florida Theatre Conference for theatres through-out the state of Florida. FLORIDATheatre is published twice a year and is free of charge. To be added to the mailing list, please contact: Steve Bayless at [email protected]

PresidentRick KerbyExecutive DirectorSteve BaylessEditorSusan M. Smith

Community Theatre Spring Fling .. 3Changes to AACTFest 2015 Handbook .................................. 4 FTC President Reelected to AACT Board .............................................. 5Rick Kerby Reelected to ACCT National Board ............................... 5Workshop Application 2014 .......... 6T-Shirt Design Competition ........... 6Murray Chase & Norm Small Receive AACT Award .................... 7Ballot Distinguished Career .......... 8 FTC Lifetime Members ................. 8 Distinguished Career Awards List .. 9FTC Membership Form ................. 10FTC Board of Directors ................. 11How to Teach Your Children Shakespeare ................................... 12Festival 2104 Registration Form .... 13Schedule of Florida Theatres ........ 14

Volume 59 Issue 2Summer 2014

FROM BROADWAY TO YOUR BACKYARD

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www.flatheatre.org

It’s the dawn of civilization (no, not the one in The Walking Dead) and you’re about to create a new town, a new city, a new beginning and for your starting point, you want a center of this new civilization. An environment where artists can converge to share their vision and nurture their craft. All will be fine until the elected or appointed leaders realize that artists influence people. So, the artists get rounded up. Quickly society realizes that without art, there is no community. And without community, there is no environment for self-expression, inter-activity, socialization, mentorship, personal

creativity and growth, friendship, knowledge, risk taking, and yes, without community, there is no environment for debate or leadership. So, with the artists back, however represented by agents and lawyers, this new civilization embraces art, it promotes art, it secures art.

The art, now firmly in place, survives throughout time. For herein lies the fabric of society, the gathering place, the social circle, the emergence of venues, the public forum, and the audience. From this art form comes the birth of theatre, educational theatre, commu-nity theatre, professional theatre, youth theatre. When all are viewed collectively, these categories of theatre yield a wonderful leveler of people. But how much does it cost to create theatre? Who will at-tend? Where will the venues be located? And will it happen year after year?

Among the countless entertainment choices and delivery systems now available, professional, amateur and educational theatre has

Excerpts from the keynote speech by Steve Spiegel, Founder, President, & CEO, Theatrical Rights Worldwide, at the Georgia Theatre Conference Annual Convention, October 12, 2013

Steve Spiegel

SUMMER 2014 FLORIDA THEATRE CONFERENCE NEWS

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From Broadway to Your Backyardcontinued from page 1entrenched itself as a significant component of the landscape. While theatre cannot achieve the extraordinary revenue or attendance associated with film, television, concerts or sports, the statistics in the United States for a typical year for Broadway, touring, stock and amateur productions paint an optimistic picture.

According to the Broadway League, Broadway shows grossed over $1 billion in box office revenue in the 2012-2013 season with a total audience of over 11 million. Touring productions of Broadway shows added another $950 million in box office revenue last season. The American Association of Community The-atre (AACT) claims there are 7,000 Community The-atre organizations in North America. Our Theatrical Rights Worldwide customer list has over 9,000. These theatres produce over 46,000 shows a year playing to audiences of 86 million people and have a combined annual budget of over $980 million. With 1.5 million volunteers, Community Theatre involves more partici-pants, presents more performances and plays to more people than any performing art. The National Alliance For Musical Theatre (NAMT), with 160 organizational members, employs 25,000 people and stages over 22,000 performances attended by nearly 12 million people. Collectively these NAMT organizations have operating budgets totaling over $500 million and per-form in 280 facilities housing over 190,000 seats.

Nationally, there are over 150,000 public and private elementary, middle, high schools, colleges and universities. Their enrollment is over 96 mil-lion students and while only 15% or 22,500 of these schools have active theatre programs, they present over 350,000 performances.

Although box office revenue numbers are not readily available for Community, Professional or Educational theatre, it is not difficult to see that the volume of participants, on stage, in the audience, in the administrative offices, in creative capacities, demonstrates that theatre is an essential piece of our economic engine, our cultural heritage and our social behavior. Collectively, over 45,000 theatre organiza-tions license musicals in the US.

Okay, so, why is it such a challenge? Why is the art influenced by the commerce and commerce im-pacted by the art? Why is there always the fear that your theatre program will disappear. Why do writers,

producers, artistic directors and drama teachers nar-row their vision when creating and selecting product? We all want success. We all want sold-out venues. We all want theatre programs to grow year after year. To achieve this standing, theatres must have a strategy to face obstacles in an ever changing civilization.

Erosion of audiencesThankfully this is not everywhere but contributing factors include a decline in subscription renewals, attracting single ticket buyers and a shorter window for family social event planning. A typical American gets bombarded with over 3,000 different market-ing messages every day. Many consumers say they are too tired to do things when traveling is involved. With downloads and on-line and digital all at their fingertips, why leave home? Attending live theatre is risk-taking and writers and producers have narrowed their vision to de-risk the audience experience.

TechnologyAre we fully able to understand the impact of tech-nology on the performing arts? Technology, not necessarily more sophisticated, competes with live, stage performance and is our biggest competitor for leisure time. Information, entertainment, culture is on demand at any time, at little or no cost. What are the ramifications of 99 cents a song or a free download when we, producers and guardians of musicals, are asking someone to pay $25, $50, $100 or more for a theatre ticket?

Leadership Over time, like all businesses, theatres are faced with the transfer of leadership, as founding members retire or depart. Will new leaders bring expectations that are counterproductive to the goals of the long established environment they now control? Will they expect shorter hours, higher compensation and a shift in the artistic ambitions established by their predecessors? Can creativity prevail alongside the protection of a theatre’s identity?

Possible solutions: How do we build audiences. Schools

A 2009 study in New York City found high school graduation rates and access to arts education are closely linked. Schools with the highest graduation rates offer the most access and resources to support arts education. Conversely, students at schools with the lowest graduation rates have the least access to the benefits of a quality instruction in the arts. High

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Community Theatre DivisionSpring Fling

The Annual Spring Fling for the Commu-nity Theatre Division of the Florida Theatre Conference held their 2014 session at the Ice House Theatre in Mt. Dora, FL on April 26, 2014. Our host for the session was Darlin Barry, Artistic Direc-tor of the Ice House Theatre, who provided wonderful accommodations and re-

freshments for the 30 Community Theatre leaders from across the state of Florida. After a round of introductions, the group jumped right into a dis-cussion/introduc-tion to and about the 2014 Florida Theatre Conference to be held on the campus of Santa Fe College in Gainesville, FL No-vember 5-8, 2014. There seemed to be interest among those gathered to attend and perhaps present a play for the Community Theatre Festival on Saturday, No-vember 8.

The discus-sion moved on to such topics as: How to Finance Your Theatre; How to Market Your Theatre; How to Select A Season for Your The-atre; and the High Points of Each Theatre During the Last Year. After lunch, we reviewed the 2015 AACT Festival Handbook with changes and updates to the process, and Outreach Activities, Audience Develop-ment, and Volunteer Management for each theatre.

The FTC Community Theatre Division Chair, Kristofer Geddie moderated the meeting and moved the

discussion along beautifully. Thanks to Kris for all of his hard work in setting up the Spring Fling.

The Board of Directors of the Florida Theatre Conference invite all Community Theatres to par-ticipate in the November 5-8, 2014 Conference in Gainesville.

Kristofer Geddie


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New AACTFest 2015 Handbook Features Changes

The AACTFest 2015 Handbook establishes a common ground for all festivals leading to the national 2015 AACTFest, providing participating companies a level of continuity in the festival process.

Performing companies, festival hosts, and adju-dicators will notice several changes to the AACTFest Handbook for the 2015 cycle.

The AACTFest 2015 Handbook is now divided into only three sections: the Basics (for performing companies), Adjudication Guide (for adjudicators), and Festival Chair Guide (for festival hosts). Each section is written to outline rules pertinent to its target audience with a more consistent style throughout.

Most noticeably, the AACTFest 2015 Handbook is considerably shorter than its predecessors. The text of the entire document (including all three sections) occupies only seventeen pages; the Basics section is comprised of only nine pages. Each section also in-cludes forms that pertain specifically to that section.

As a result of the rewrite, the Handbook should be easier to navigate and understand, and each section should stand on its own depending on the needs of the reader.

In addition to a new format, the AACTFest 2015 Handbook includes several rule changes and clarifica-tions:

• The rules are less restrictive in regard to where a festival may be held (i.e. a legitimate theatre space vs. a hotel ballroom). This edition of the Handbook allows for a waiver to be granted by the Vice President of Festivals.

• The definition of censorship has been simplified for greater clarity.

• Requirements for a theatre to participate have been simplified.

• The process by which an alternate production advances to the National Festival if one of the regions is unable to send a production has been clarified.

• In addition to Actors’ Equity members, members of Screen Actors Guild-American Federation of Televi-sion and Radio Artists (SAG-AFTRA) are prohibited from performing at AACTFest.

• The on-deck and storage areas are more clearly defined, and the on-deck area is specified to be exactly 100 square feet.

• Costumes and musical instruments, if they are not part of the set or used as properties in the produc-tion, are no longer required to fit in the storage or on-deck area. Costumes and make-up may be stored in the dressing room (if space allows), rather than the on-deck space.

• The company is no longer required to assemble in or beside the on-deck area before and after the performance. Technicians and actors may go directly to their positions and stay there if a company prefers. This is now entirely at the discretion of the performing company.

• As with lighting equipment, if a company elects to supplement existing sound equipment, it will be set up during the company’s rehearsal period and left, unless the host technical director determines the place-ment of the equipment has a detrimental effect on other companies.

• There are some changes in the required documen-tation the performing company must provide.

• Only four scripts rather than five are required to be submitted to the festival, unless more are requested for interpreters or other personnel. More scripts may be added only with sufficient notice to the company.

• A warranty that the performing company received permission to perform, and permission to cut the script is required, but copies of the permission no longer need be submitted. AACT will notify licensing theatrical agencies of productions being performed at AACTFest.

The AACTFest 2015 Handbook includes several changes to the adjudication process:

• Adjudicators may now listen to preceding adjudi-cators as well as succeeding ones.

• The adjudicators are now allowed to discuss the festival productions among themselves prior to delib-erations, but not with anyone else present.

• Panel adjudication is defined more clearly and a process for panel adjudication is prescribed.

• The balloting process and determination of fes-tival awards has been changed. For the 2015 Festival, the determination of festival awards (such as Outstand-ing Actor, Outstanding Director,, etc.) is done first, through discussion, immediately following the final adjudication. Following the determination of these

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awards, balloting takes place regarding show ranking. Unanimous agreement is now required for each show position. If a unanimous decision cannot be reached after three ballots, a split decision is allowed. If there are only two adjudicators and unanimity cannot be achieved after the third ballot, the Festival Commis-sioner will break the tie.

For detailed information, please see the entire AACTFest 2015 Handbook at http://www.aact.org/aactfest/handbook.html.

Reprinted from Spotlight, March/April 2014. Used by permission of the American Association of Community

Theatre (www.aact.org).

AACT Handbook Changes continued from page 4

FTC President reelected to AACT National Board

Rick Kerby was reelected as a Board Member at Large for the Ameri-can Association of Community Theatre (AACT) on May 1. Prior to his move to Florida, Rick was Entertainment Director for the USO of Metropolitan New York and organizer of the Miss USO Contest. Other directorial credits include productions at professional theatres in New Jersey, Rhode Island, Maine, Virginia, New Hampshire, New York City, New Orleans and for many prominent cruise lines. He has served on the faculties of Wagner College on Staten Island and the Acad-emy of Music and Dramatic Arts in New York City. Rick is currently Producing Artistic Director of Manatee Players in Bradenton, FL, where he was named Best Director at the Florida Theatre Conference, three-time winner as Best Director at the Southeastern Theatre Confer-ence (SETC), and two-time winner as Best Director at the National AACTFest. He has served as an adjudicator for professional theatres for the Florida State Division of Cultural Affairs. Rick is starting his third term as President of the Florida Theatre Conference. He is Past President of the Florida Association of Community Theatres and has served as Community Theatre Festival Chair for SETC. For AACT, Rick has served as the Florida State Representative and the Commit-tee Chair for Membership, and currently serves as Board Member at

Large and as an Executive Board Member.

Rick Kerby

Reprinted from Spotlight, March/April 2014. Used by permission of the American Association of Community Theatre (www.aact.org).

SAVE THE DATE!November 5–8, 2014 2014 FTC Festival

Santa Fe College Campus Gainesville, FL


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FLORIDA THEATRE CONFERENCE FESTIVAL 2014November 5–8, 2014

WORKSHOP APPLICATIONTitle of Workshop ______________________________________________________________Presenter(s) and organization represented ________________________________________________________________________________________________________________________Division represented: ___ College/University ___ Community Theatre ___ Professional ___ Secondary Schools ___ Theatre for Youth Room Size: _____ Small _____ Medium ____ LargeAddress of Major Presenter ______________________________________________________City/State/Zip __________________________________ Phone Number ________________Email _______________________________________________________________________Brief description of workshop for program: ________________________________________________________________________________________________________________________________________________________________________________________________Brief bio of each participant for program: ______________________________________________________________________________________________________________________ ____________________________________________________________________________

Any special needs for the workshop: _______________________________________________Workshop appropriate for ___Secondary Students ___Adults ___Youth

I understand that my services are donated as a part of my community service.

ACCEPTED _____________________________________________ DATE __________

Send completed form to: Steve Bayless, FTC Executive Director, at 5650 Park Blvd. Suite 7 Pinellas Park, FL 33781 or email to [email protected].

Deadline for entry is October 1, 2014

Are you artistic? Your design could be chosen for the 2014 Festival T-Shirt and 2014 Festival Program (given to each Festival participant). Email your design ideas to [email protected] by August 1, 2014. On August 9, 2014 the Board of Directors will announce the lucky winner- you could be at-

tending the Festival for free!

Design the T Shirt for Festival 2014


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Florida Recipients of AACT Art Cole Lifetime of Leadership Award

Murray Chase has served as the Executive/Artistic Director of Venice Theatre for 17 years, following six years as Executive Direc-tor of Corinth Theatre Arts in Mississippi. Under his leadership the Venice The-atre has grown to become the third largest commu-nity theatre in the US and

the largest per capita. Murray has directed approxi-mately 200 shows including many award winning ef-forts. He has served as president of Venice Main Street Board of Directors, division chair and festival chair of the Southeastern Theatre Conference, division chair of the Florida Theatre Conference, a grants panelist for the Florida Arts Council and the Mississippi Arts Com-mission, and chair of the Sarasota County Arts Council, and with the Venice Chamber of Commerce he served on the City of Venice Anniversary Committee and the Cultural Executives Committee. Nationally, Murray serves AACT as the Executive Vice President and is on the Endowment, International, and Festival Com-mittees, and is leading his theatre in hosting the AACT International Community Theatre Festival for the second time.

Norman Small has contributed to commu-nity theatre across state, national and international borders. He founded and been the Producing Direc-tor Theatre Winter Haven for the past 44 years. He is a published author (The Making of Drama, Hol-brook Press, 1972) and an

award winning director. Norm led theatre Winter Haven to a first place win at the 1987 International Play Festival in Dundalk, Ireland, and has taken five AACTFest winning productions to the national festi-val. His most recent national festival entrant was the 2013 production of Golda’s Balcony, which ended its banner year with a performance in Germany. Norm served on the AACT Board for five years including a term as VP Planning and Development. His contri-butions on the national level continued an additional six years with his participation on various AACT committees. Norm is a recipient of the Florida Distinguished Lifetime Achievement Award in Com-munity Theatre, as well as both the AACT David C. Bryant Outstanding Service and Fellow Awards.

Norm SmallMurray Chase

Reprinted from Spotlight, May/June 2014. Used by permission of the American Association of Community


Reprinted from Spotlight, May/June 2014. Used by permission of the American Association of Community


Dance Workshop at FTC Festival 2013 Checking callbacks at FTC Festival 2013


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Florida Theatre Conference Ballot2014 Distinguished Career Award

Deadline July 30, 2014

Send completed form to: Steve Bayless, 5650 Park Blvd. #7, Pinellas Park, FL 33781

Community Theatre /Affiliation ................................................................................................................ Name and Address .....................................................................................................................................

Theatre for Youth /Affiliation ....................................................................................................................Name and Address .....................................................................................................................................

Secondary School /Affiliation ...................................................................................................................Name and Address .....................................................................................................................................

University/College/ Affiliation ..................................................................................................................Name and Address .....................................................................................................................................

Professional Theatre/Affiliation ................................................................................................................Name and Address .....................................................................................................................................

FTC Member submitting nominations ......................................................................................................Address ......................................................................................................................................................

In April 1986 the FTC Board of Directors voted to present an annual DISTINGUISHED CAREER AWARD to one individual from each of the five FTC divisions. The recipients are honored at the FTC Festival. If you are an FTC member, you are entitled to nominate a candidate(s) for the 2014 award. A master ballot will be compiled by the Chair and presented to the FTC Board of Directors for final selection for each division. The nomination of members should be based upon their service to the or-ganization and field. The awards will be presented at Festival 2014 in Gainesville. If you should enter a name that the Board of Directors may not be familiar with, we ask that you include a short resume.

A list of past award winners since 1986 is on Page 9

LIFETIME MEMBERS OF FLORIDA THEATRE CONFERENCEYou may become a lifetime member by sending in the membership form on Page 10.

The cost of an individual membership is $400. If you know of names that have been omitted, please contact contact Steve Bayless at [email protected] or (727)560-8879.

Saul BeckerMary Ann BentleyMajor Beatrice BowmanMary BoyleDale CarpenterRalph CarruthersSandra Q. CockrellAlvin Cohen

Coral Reef High School Drama DepartmentDonald Creason

Clay DavisYvonne C. DellMarilyn GardnerMatthew T. GitkinRita J. HutchinsonDon Jones, Jr.

Irene JurlineAnita KauffmanJean Marie LaytonDonald L. LoefflerAngus McPherson Marty MartinCarol Sue Moore Terrance OlsonRobert Prescott

Rebecca Rankin-HopkinsRene SandsRalph Schaeffer

Walter B. Shipley William A. Shook

Joan TaylorN. Jean TrammellBobbie and Joyce Ward


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Distinguished Career Awards 1986–2013UNIVERSITY/COLLEGE THEATRE1986 Al Wehlburg1987 Robert Kase1988 Harold Burris-Meyers1989 Judith Kase-Polisini1990 Jim Wright1991 Gil Lazier1992 Walter Shipley1993 H. Kenneth Walker III1996 Robert Ankrom1998 Mary Ann Bentley1999 Marilyn de Simone2000 David Moberg2001 David Young2002 Dr. Richard G. Hinners2003 Barton Lee2004 Kenneth McCulough2005 Ken Kurtz2006 Ben Wilson2008 Donald Seay2009 Rosemarie O’Bourke 2010 Ed Kelly2011 Mikell Pinkney2013 Johnny Pettegrew

PROFESSIONAL THEATRE1986 Richard Fallon1987 Burt Reynolds1988 Michael Hall1989 Tippin Davidson1990 Bob Naismith1991 Norman Easterbrook1998 Lester Malizia1999 Howard Millman2001 Ann Reinking2004 Patrick Wilson2006 Mark Chambers2008 Gene Colombus2011 Bridget R. Bartlett2012 Judy Lisi2013 Michael Donald Edwards

COMMUNITY THEATRE1986 Hazel Lewis1987 Phyliss Walters1988 Angus McPherson1989 Norman Small1990 Mario Sanchez1991 Michael Fortner1992 Ken Garner1993 Mary Ann Dean1997 Mary Britt1998 Fran Walker1999 Rosemary Greene2001 Dallas Zonkers2002 Peg Brandon2005 Tammy Serebrin2006 Murray Chase2007 Janet Castro2008 Deborah and Dale Carpenter2009 Eric Hurst

SECONDARY SCHOOL THEATRE1986 Christine Chavers 1987 Marty Hancock1988 Ellen Davis1989 Donna White1990 Joe Boyd1991 Sheila Taylor1992 Don Jones1993 B. J. Leiter1994 Debra Barnum1997 Sandra Q. Cockrell1998 Ken Wiegers1999 Jay W. Jensen2001 Rick Adams2002 George Murray Mintz2003 Beverly Blanchette2004 Carla Webster2005 Bob Strickland2006 Karen Rugerio2008 Charlotte Brown Seward2009 Frank Venezia2010 Margie Timmons2011 Christa Whittaker2012 Paul Hughes2013 Nancy Sears

THEATRE ARTS ADVOCATE2000 Sherron Long2008 Senator Evelyn Lynn2009 Commissioner Bill Segal2012 Jeanne Reynolds

THEATRE FOR YOUTH 1986 Nancy Yoje1987 Ruth Foreman1988 Linda DeGabrielle1989 Cornelia Dozier1990 Bill Petterson1991 Rene Sands1993 V. Ann Nall1995 Carole Ries1998 Jerry Bickel2000 Judith Delgado2002 Stephen D. Nelson2005 Doreen Heard2006 Jeff Revels2008 Linda Downey2012 Earl Malden

LIFETIME ACHIEVEMENT AWARD 1997 William H. Lockey, Jr.1998 Donald Creason2002 Robert E. Ankrom2004 James Randolph, Sr.2006 Mary Ann Dean2008 Mary Hausch2009 Sandra Cockrell2011 Don E. Jones, Jr.


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Name of Individual / Organization ________________________________________________Contact Person (If Applicable) _________________________________________________Address ______________________________ City ______________ State ____ Zip ______ Evening Phone __________________________ Day Phone ___________________________ Email Address___________________________________________________________________What is your area of interest?☐ Secondary School ☐ Theatre For Youth ☐ Professional Theatre☐ Community Theatre ☐ College/University ☐ DraMature

With your paid membership in the Florida Theatre Conference, your organization will receive:

• Two free newsletters• Free theatre season listing in both FTC newsletters• Free hotlink on our website• Free festival registration for sponsor.

Annual Membership Fee Group $70.00 $ ________________ Indiv Adult $50.00 Student $40.00 Lifetime $400.00

Would you like to contribute to the Robert Ankrom Memorial Fund for the Advancement of Theatre Education in Florida? Please include any contribution you can.

Charitable Contribution $ ________________

Total Due: $ ________________

Organization Check or Money Order only, no personal checks can be accepted.(Credit card only accepted through website)

Mail completed form with check to :

Florida Theatre Conference5650 Park Boulevard, Suite 7

Pinellas Park, FL 33781

FLORIDA THEATRE CONFERENCE5650 Park BoulevardSuite 7Pinellas Park, FL 33781

(727) 544-8915

MEMBERSHIP FORM


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FTC BOARD OF DIRECTORS 2013–2015PRESIDENTRick KerbyProducing Artistic DirectorManatee Performing Arts Center502 3rd Avenue WBradenton, FL 34205(941) [email protected]

VICE PRESIDENTGary CadwalladerEducation DirectorOrlando Repertory Theatre1001 E. Princeton StreetOrlando, FL 32803(407) 896-7365, ext. [email protected]

TREASURER/SECRETARYTerry A. KlenkProfessor/Theatre DirectorSanta Fe College3000 NW 83rd StreetBuilding FAH, Room 127-8Gainesville, FL 32606-6200(352) [email protected]

PAST PRESIDENTJeff RevelsArtistic DirectorOrlando Repertory Theatre1001 E. Princeton StreetOrlando, FL 32803(407) 896-7365, ext. [email protected]

COMMUNITY THEATRE CHAIRKristofer GeddieDirector of DiversityVenice Theatre140 W Tampa AvenueVenice, FL 34285(941) 488-1115 ext [email protected]

THEATRE FOR YOUTH CHAIRGary CadwalladerEducation DirectorOrlando Repertory Theatre1001 E. Princeton StreetOrlando, FL 32803(407) 896-7365, ext. [email protected]

PROFESSIONAL THEATRE CHAIR TBA

Bill MurrayDirector of AdmissionsThe Art Institute of Jacksonville8775 Baypine RoadJacksonville, FL 32256(678) [email protected]

Tammy Serebrin1122 Kells CourtLakeland, FL 33813(863) [email protected]

Sara Skinner-ProbstTheatre & Stage CraftFreedom High School2500 West Taft VinelandOrlando, FL 32837(315) [email protected]

Dr. Rodney WhatleyDirector of TheatrePensacola State College1000 College BoulevardBuilding 8Pensacola, FL 32504(850) [email protected]

Ex Officio Board Members:

EXECUTIVE DIRECTORStephen Bayless4945 B 91st AvenuePinellas Park, FL 33782(727) [email protected]

FESTIVAL REGISTRATIONElizabeth Gress11783 7th Lane N., Apt. 3St. Petersburg, FL 33716(727) 577-9613 [email protected]:NEWSLETTER EDITORSusan M. Smith6520 SW 45 StMiami FL, 33155(786) 299-0860 [email protected] Ford RAF Web Designs & Hostingwww.rafwebdesigns.com(941)[email protected]

SECONDARY SCHOOLS CHAIRMargie TimmonsGulf Breeze High School675 Gulf Breeze ParkwayGulf Breeze, FL 32561(850) [email protected]

DraMature CHAIRMary Britt, Executive DirectorOcala Civic Theatre4337 E. Silver Springs Blvd.Ocala, FL 34470(352) [email protected]

UNIVERSITY/COLLEGE CHAIRGlenn Avery BreedAssociate Professor of TheatreCostume Design and TechnologyThe University of West Florida11000 University Parkway 82-288Pensacola, FL 32514(850) 857-6286 [email protected]

SETC REPRESENTATIVEDonna A. White8401 W. Gulf BlvdTreasure Island, FL 33706(727) [email protected]

SETC PRELIMINARY AUDITIONSMarci J. Duncan, Asst. Professor Theatre Florida A&M University515 Orr Drive, Room 105Tallahassee, FL 32307(850)412-5532 [email protected]

DIRECTORSGlenn Avery BreedAssociate Professor of TheatreCostume Design and TechnologyThe University of West Florida11000 University Parkway 82-288Pensacola, FL 32514(850) 857-6286 [email protected]

H. Scott KeysBooker High School3201 N Orange AvenueSarasota FL 34234(941) [email protected]


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In his introduction to Ken Ludwig’s new book, How to Teach Your Children Shakespeare, John Lithgow writes, “This book is a teaching primer for parents and a manual for making Shakespeare man-ageable and fun for kids. On these terms alone, it succeeds splendidly. But it has an extraordinary hid-den virtue. It is equally informative, readable and fun for adults. It is essential reading for anyone who has grown to adulthood with the misfortune of missing out on Shakespeare. And it is just as rich for those of us with a long history with the bard. Shakespeare’s mind is so limitless and Ludwig is so knowledgeable that we discover little gems on every page.”

When his children were six years old, Ludwig began teaching them Shakespeare by having them memorize short speeches. His book outlines a plan for teaching 25 passages, beginning with excerpts from A Midsummer Night’s Dream and ending with speeches from Shakespeare’s most psychologically complex play, Hamlet. Appendices suggest additional passages that students or adult learners might find fun to memorize, as well as providing favorite epigrams, a chronological listing of Shakespeare’s plays, and an annotated bibliography of children’s books, scholarly research, recordings, and films.

Ludwig provides a careful analysis of each pas-sage – paraphrasing, defining archaic words, and breaking down complex metaphors or images – to ensure that learners understand what they are memo-rizing. He also illuminates how each passage re-veals character or advances plot. Along the way, he explains Shakespeare’s use of iambic pentameter, alliteration, rhyme, and puns, using examples easily grasped by children.

So that passages will not appear intimidating to children, Ludwig suggests printing them in a large font, a few lines per page, breaking each line into short chunks based on rhythm. A few examples of a “Quotation Page” are shown in Appendix 5, but others are available at www.howtoteachyourchildrenShake-

speare.com, along with recordings of the speeches by Sir Derek Jacobi, Richard Clifford and Frances Barber.

Having fun with his children during this learning process was clearly a priority for Ludwig, but he also offers other goals.

1. Shakespeare ranks next to the Bible as one of the two great bedrocks of Western civilization in English, thus, “To know some Shakespeare gives you a head start in life.”

2. Memorizing and analyzing Shakespearean pas-sages, rather than simply reading them, will gradually build facility in understanding Shakespeare’s lan-guage and syntax and hone an appreciation for Shake-speare’s playfulness and precision in word choice.

Ludwig’s commentaries on Henry V, Prologue to Act 1, The Tempest, IV,1, 165=175, and Hamlet, II,2, could spark some interesting discussions about the theatre, imagination and the “purpose” of art.

Accolades from Sir Derek Jacobi (“a rare treat”), Hal Holbrook (“scholarship dancing around with fun”) and Rocco Landesman (“a delight from first page to last”) accurately convey Ludwig’s gleeful approach to working with Shakespeare’s language. Come join the fun, even sans children.

How to Teach Your Children ShakespeareBy Ken Ludwig; introduction by John Lithgow

2013; Crown Publishers; ww.crownpublishing.com; ISBN 978-0-307-95149-6. Pages: 348. Price $25

Reviewed by Linda Dean

Reprinted with permission from the Spring 2014 issue of Southern Theatre, the quarterly magazine of the Southeastern Theatre Conference (www.setc.org).

Linda Dean has served as education director at the Alabama Shake-

speare Festival and on the Execu-tive Board of Shakespeare Theatre

Association and is an adjunct instructor in Auburn University’s

Department of Theatre


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Name of Individual / Group ________________________________________________Contact Person (If Applicable) ________________________________________________Address ______________________________ City ______________ State ____ Zip ______ Evening Phone __________________________ Day Phone ___________________________ Email Address _____________________________________________________________Choose an area of interest:☐ Secondary School ☐ Theatre For Youth ☐ Professional Theatre☐ Community Theatre ☐ College/University ☐ DraMature

☐ Check here and do not pay Annual Membership Fee if you have already paid your current year’s membership dues.

Annual Membership Fee (required) Group $70.00 $ ________________ Adult $50.00 Student $40.00 Lifetime $400.00

Festival Registration Fee (required) Adult $50.00 $ ________________ Student $40.00

With the decrease in funding for the arts from the State of Florida, your contributions are becomingincreasingly important to allow us to continue providing services to theatre institutions of Florida. CharitablePlease include any contribution you can. Contribution $ ________________

Total Due: $ ________________

Mail completed registration form with payment to:

Florida Theatre Conference5650 Park Boulevard, Suite 7Pinellas Park, FL 33781

Florida Theatre Conference2014 Festival Registration


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KALEIDOSCOPE THEATREP. O. Box 526Lynn Haven, FL 32444(850) 265-3226www.kt-online.orgThe Liar May 30–June 15, 2014

PENSACOLA LITTLE THEATRE400 South Jefferson StreetPensacola, FL 32502(850) 432-2042www.pensacolalittletheatre.comImprovable Cause Improv Comedy TroupeJune 7, 2014The Taming of the ShrewJune 6–15, 2014Songs for a New WorldJune 26–29, 2014Nick Tickle, Fairy Tale DetectiveJuly 12–13 & 19–20, 2014AnnieJuly 25–August 17, 2014Annie Get Your GunSeptember 12–21, 2014The Rocky Horror ShowOctober 27–31, 2014

PENSACOLA STATE COLLEGE1000 College BlvdPensacola, Florida 32504(850) 484-1807www.pensacolastate.eduSherlock Holmes and the Case of the Suicide Club May 15–18, 2014BIG: The MusicalJuly 25–August 3, 2014Jesus Christ Superstar Nov. 7-9 and 14-16, 2014

TALLAHASSEE LITTLE THEATRE1861 Thomasville Rd.Tallahassee, FL 32303Mailing address: P.O. Box 3262Tallahassee, FL 32315(850) 224–4596 or (866) 893-7972www.tallahasseelittletheatre.orgMainstage:Coffeehouse:Clybourne Park May 1–18, 2014Harvey June 12–29, 2014A Few Good Men August 21–September 7, 2014Proof September 19–October 5, 2014

THEATRE A LA CARTE1516 Copperfield CircleTallahassee, FL 32312(850) 385-6700www.theatrealacarte.orgShow BoatJuly 18–27, 2014

YOUNG ACTORS THEATRE609 Glenview DriveTallahassee, FL 32303(850) 386-6602www.youngactorstheatre.comMainstage:GodspellJune 20–29, 2014

FLORIDA SCHOOL OF THE ARTS5001 St. Johns AvenuePalatka, FL 32177(386) 312-4300www.floarts.orgRun For Your WifeJune 12–15, 2014

AMELIA COMMUNITY THEATRE209 Cedar Street (PO Box 662)Fernandina Beach, FL 32034(904) 261-6749www.AmeliaCommunityTheatre.orgMainstageThe ForeignerJune 12–28, 2014Always a BridesmaidOctober 9–25, 2014

LIMELIGHT THEATRE11 Old Mission Ave.St. Augustine, FL 32084(904) 825-1164 www.limelight-theatre.orgOliver!June 6–July 6, 2014

ACTOR’S WAREHOUSE608 N. Main StreetGainesville, FL 32601786.543.5737www.actorswarehouse.orgThe Nacirema SocietyMay 8–24, 2014GodspellJune 20–29, 2014

AMERICAN STAGE163 3rd Street North St. Petersburg, FL 33701(727) 823-PLAYwww.americanstage.orgMainstage Series:Steel MagnoliasMay 21–June 15, 2014

Coming Soon ..... at Florida TheatresIf you would like your theatre’s schedule to appear in the next newsletter, please send your season no later than August 15 to: Susan M. Smith, 6520 S.W. 45 Street, Miami, FL 33155 or [email protected] (please note NEW EMAIL

NORTHEAST

CENTRAL

NORTHWEST


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AMERICAN STAGE, continuedIt’s a Living Improve Comedy ShowJune 1, 2014The ChosenSeptember 5–28, 2014Nureyev’s EyesOctober 17-26, 201429th Annual Stage in the Park:2014 Summer Camp (5-12 Year Olds)Teen Summer Institute (13-17 Year Olds)June 9–August 8, 2014BAY STREET PLAYERSat the Historic State Theatre109 N. Bay StreetEustis, FL 32726(352) 357-7777www.baystreetplayers.orgMainstage:Legally Blonde:The Musical Jun. 27–July 20, 2014Second Stage:Glengarry Glen RossJuly 6–20.2014Young Peoples’ Theatre: Peter Pan Jr. May 22 - 25, 2014Disney’s Aladdin Jr July 31–August 3, 2014

CARROLLWOOD PLAYERS4333 Gunn Highway (in Plantation Plaza)Tampa, FL 33688(813) 265-4000www.carrollwoodplayers.orgOne Act WeekendMay 30–June 3, 2014The Cemetery ClubJune 13–28, 2014Noises OffJuly 11–August 2, 2014Little Shop of HorrorsSeptember 5–27, 2014

ERIE PLAYHOUSE171 Fairway CircleWinter Haven,FL 33881(814) 454-2852www.erieplayhouse.orgJesus Christ SuperstarJune 5–28, 2014Reverends UncorkedJune 29, 2014

Mark Twain’s Is He Dead?July 11–27, 2014Let Me Be Your StarJuly 21 & 22, 2014

FRANCIS WILSON PLAYHOUSE302 Seminole StreetClearwater, FL 33755(727) 446-1360www.FrancisWilsonPlayhouse.org Mainstage:Guys and DollsMay 8–25, 2014A Day in Hollywood/A Night in the UkraineJuly 10–19, 2014Les MiserablesSeptember 4–21, 2014George Washington Slept HereOctober 9–19, 2014The Glass MenagerieNovember 6–16, 2014

FREEFALL THEATRE6099 Central AvenueSt. Petersburg, FL 33710(727) 498-5205www.freefalltheatre.comThe MikadoApril 26–May 18, 2014The Burnt Part BoysJune 14–July 6, 2014Into the WoodsOctober 11–November 9, 2014

GAINESVILLE COMMUNITY PLAYHOUSE(at the Vam York Theater 4039 NW 16th Blvd.) P.O. Box 14233Gainesville, FL 32604(352) 376-4949www.gcplayhouse.orgInto The WoodsMay 23–June 15, 2014A Chorus LineJuly 10–August 10, 2014

HIGH SPRINGS PLAYHOUSE130 NE 1st AveHigh Springs FL, 32653(386) 454-3525http://highspringscommunitytheatre.comDearly DepartedJune 13–July 6, 2014

Youth Production:Law and OrderAugust 6–17, 2014

HIGHLANDS LITTLE THEATRE356 W. Center AveSebring, FL 33870(863) 382-2525www.highlandslittletheatre.orgMainstage:ProofJune 13–15, 2014

LAKELAND COMMUNITYTHEATRE at Lake Mirror Theatre121 South Lake StreetLakeland, FL 33801(863) 603–7529www.lakelandcommunitytheatre.comShout!May 30 –June 1, 2104August: Osage CountyJune 6 & 7, 2014SpamalotJuly 18–27, 2014The Adams FamilyOctober 17–November 2, 2014Theatre for Youth:The Little MermaidJune 20–29, 2014Ramona QuimbySeptember 26–October 1, 2014

LARGO CULTURAL CENTERResident Theatrical Group: The Eight O’Clock Theatrewww.eightoclocktheatre.com105 Central Park DriveLargo, Florida 33771www.largoarts.com(727) 587-6793HairJuly 11–20, 2014

MAD COW THEATRE COMPANY54 West Church Street (new location)Orlando, FL 32801(407) 297-8788www.madcowtheatre.comHairJune 6–July 6, 2014CockJune 20–July 20, 2014The History BoysAugust 8–September 7, 2014


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STAGE WEST COMMUNITYPLAYHOUSE8390 Forest Oaks BoulevardSpring Hill, FL 34606(352) 683-5113www.stagewest.netMainstage:The Best Little Whorehouse in TexasMay 8–18, 2014 (weekends)

THEATRE WINTER HAVENPost Office Drawer 1230Winter Haven, FL 33882-1230(863) 294–SHOWwww.theatrewinterhaven.comThe Phantom TollboothMay 16–18, 2014BuddyJuly 18–August 3, 2014

ASOLO REPERTORY THEATRE5555 North Tamiami Trail Sarasota, FL 34243(941) 351-8000 or (800) 361-8388www.asolo.orgRepertory Season:Hero - The MusicalApril 29–June 1, 2014I Loved, I Lost, I Made SpaghettiMay 18–June 15, 2014Baritones UnboundJune 7–29, 2014

FIREHOUSE COMMUNITY THEATREPO Box 958Labelle, FL 33975239-850-2907The Shoemaker and the ElvesJune 27–29, 2014

LEMON BAY PLAYHOUSE96 W. Dearborn StreetEnglewood, FL 34223(941) 475-6745www.lemonbayplayhouse.comThe Four PosterApril 30–May 18. 2014The HeiressJune 11–29, 2014

SOUTHWEST

ORLANDO SHAKESPEARETHEATER in partnership with UCF812 E. Rollins St.Orlando, FL 32803(407) 447-1700http://orlandoshakes.orgYoung Audiences:RapunzelJune 19–July 27, 2014Signature Series:Les MiserablesSeptember 10–October 12, 2014The Best of EnemiesOctober 15–November 16, 2014

OSCEOLA CENTER FOR THE ARTS2411 East Irlo Bronson HighwayKissimmee, FL 34744407-846-6257www.ocfta.c0mThe Full MontyMay 2–18, 2014Jekyll and HydeOctober 17–November 2, 2014Driving Miss DaisyNovember 7-23, 2014

RICHEY SUNCOAST THEATRE6237 Grand Blvd.New Port Richey, FL 34652(727) 842-6777www.richeysuncoasttheatre.comSpamalotMay 8–25, 2014

SONNENTAG THEATRE at the Icehouse Theatre1100 N. Unser StreetMount Dora, FL 32757(352) 383-4616www.icehousetheatre.comDuck Hunter Shoots AngelMay 16–June 8, 2014All Shook UpJuly 18–August 3, 2014Arsenic and Old LaceSeptember 12–October 5, 2014Annie Get Your GunNovember 21–December 14, 2014

The Who’s TommyOctober 3–November 2, 2014 The LettersAugust 22–September 21, 2014

MELON PATCH PLAYERS311 N. 13th StreetLeesburg, FL 34748(352) 787–3013www.melonpatch.orgThe Little FoxesMay 9–25, 2014

OCALA CIVIC THEATRE4337 East Silver Springs BoulevardOcala, FL 33470(352) 236–2274www.ocalacivictheatre.comSignature Series:CamelotMay 15 – June 8, 2014Crazy For YouSeptember 4–28, 2014Dixie Swim ClubNovember 6–30, 2014Ovation Series:Breaking LegsOctober 9–19, 2014

OKEECHOBEE COMMUNITY THEATRE1414 S. Parrot AvenueOkeechobee, FL 34974(863) 763-1307www.okeechobeecommunitytheatre.comThe Wizard of OzDecember, 2014

ORLANDO REPERTORY THEATREin partnership with UCF1001 East Princeton StreetOrlando, FL 32803(407) 896-7365 ext. 1www.orlandorep.comFreckleface Strawberry - The MusicalApril 17–May 25, 2014The BorrowersSeptember 2–28, 2014Click, Clack, BOO! A Tricky TreatOctober 6–November 9, 2014


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MANATEE PLAYERS502 3rd Avenue WestBradenton, FL 34205(941) 748-5875www.manateeplayers.comMy One and OnlyMay 1–18, 2014Disney’s TarzanAugust 7–24, 2014Dames at SeaSeptember 11–28, 2014Mornings at SevenSeptember 18, 2014The Best Little Whorehouse in TexasOctober 23–November 9, 2014GodspellOctober 30–November 16, 2014

VENICE THEATRE140 W. Tampa AvenueVenice, FL 34285(941) 488-1115http://venicestage.com/Mainstage:How I Became a PirateMay 8–25, 2014Stage II:19th Annual Loveland FolliesMay 29–June 1, 2014AACT World Fest 2014 FestivalJune 16–21, 2014

ACTORS PLAYHOUSE AT THEMIRACLE THEATRE280 Miracle MileCoral Gables, FL 33134(305) 444-9293www.actorsplayhouse.orgMainstage:Scott and Hem in the Garden of AllahMay 14–June 8, 2014Childrens Theatre:RapunzelApril 24–May 23, 2014PinocchioJune 26–August 2, 2014

ADRIENNE ARHST CENTER FOR THE PERFORMING ARTS1300 Biscayne Blvd. Miami, FL 33132(305) 949=6722www.arshtcenter.orgBroadway in Miami:EvitaMay 27–June 1, 2014Theatre Up Close:Peter and the Starcatcher (with University of Miami Dept of Theatre Arts)October 9–26, 2014Detroit (with Zoetic Stage)November 6-23, 2014

BROWARD CENTER FOR THE PER-FORMING ARTS500 E. Broward Blvd.Fort Lauderdale, FL 33394(800) 764-0700www.BroadwayinFortLauderdale.comAnnieOctober 7–19, 2014The Phantom of the OperaNovember 19–30, 2014

CITY THEATRE444 Brickell Avenue Suite 229 Miami, FL 33131(305) 949-6722www.citytheatre.comSummer Shorts Festival 2014 June 12–July 6, 2014at the Adrienne Arsht Center in the Carni-val Studio Theatre

FLORIDA INTERNATIONAL UNIVERSITY DEPARTMENT OF THEATREHerbert & Nicole Wertheim Performing Arts Center11200 SW 8th Street, WPAC131Miami, FL 33199(305) 348-2895www.fiu.eduAlternative Theatre Festival 2014June 19–August 2, 2014An Ideal HusbandDates TBAJuanita’s StatueDates TBASix Characters in Search of an Author Dates TBAThe Wild Party Dates TBA

GABLESTAGE AT THE BILTMORE1200 Anastasia AvenueCoral Gables, FL 33134(305) 445-1119www.gablestage.orgVanya and Sonia and Masha and SpikeMay 17–June 15, 2014

MARATHON COMMUNITY THEATRE5101 Overseas HighwayMarathon, FL 33050(305) 743-0408www.marathontheater.orgMarrying TerryMay 8–24, 2014tah DanceJune 13 & 14, 2014

MIAMI THEATRE CENTER(formerly the Playground Theatre)9806 NE 2nd AvenueMiami Shores, FL 33138(305) 751-9550www.mtcmiami.orgTwitter @MTCMiamiFacebook/MiamiTheaterCenterEverybody Drinks the Same WaterApril 30–June 1, 2014Sandbox Series:Bare BonesJune 13–28, 2014Musical Theatre Summer CampJune 9–27 & July 14–August 1, 2014

NEW THEATRE8567 Coral Way #355 Miami, FL 33155 performing at the South Miami Dade Cultural Center10950 SW 211 Street Cutler Bay, FL 33189 (305) 443-5909www.new-theatre.orgGideon’s KnotMay 30–June 15, 2014

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PALM BEACH DRAMAWORKS201 Clematis StreetWest Palm Beach, FL 33401(561) 514-4042www.palmbeachdramaworks.orgTrystMay 16–June 8, 2014ZorbaJune 20–29, 2014The Most Happy FellaJuly 18-27, 2014Our TownOctober 10–November 9, 2014

RED BARN THEATRE319 Duval Street (rear)Key West, FL 33040(305) 296-9911www.RedBarnTheatre.comRandom Acts of ComedyMay 6–31, 2014

PLEASE NOTE NEW EMAIL

ADDRESS

Please email your theatre’s schedule to Susan M. Smith at

[email protected]

or mail to6520 SW 45 St.

Miami, FL 33155

SAVE THE DATE!November 5–8, 2014 2014 FTC Festival

Santa Fe College Campus Gainesville, FL

VERO BEACH THEATRE GUILD2020 San Juan AvenueVero Beach, Florida 32960(772) 562-8300www.verobeachtheatreguild.comThe Miracle WorkerMay 8–18, 2014 No Sex Please, We’re BritishSeptember 18–28, 2014Sweet CharityNovember 13–30, 2014

Santa Fe College Theatre


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schools in the top third of graduation rates had 35 % more graduates completing three or more arts courses than schools in the bottom third. The report recom-mends: 1. Expanding course offerings in the arts 2. Full-time certified arts teachers on staff 3. Student access to the city’s cultural arts sector 4. Adequate space for arts instruction 5. Adequate resources to support the arts 6. Compliance with existing state regulations for arts

education Broadway as the Launch Pad

With the economic crisis arts organizations lost funding and lost sponsors. In all theatres decision makers looked for shows that were safe; sell tickets, be profitable, and guarantee an audience. Shows that had name recognition, a known brand. On Broadway, the original musical has been replaced by shows based on well-known movies. The same formula holds true for a revival. Familiarity breeds ticket purchasing. Are audiences telling writers and producers to give them what they already know? Or are writers and producers creating product that assures audience recognition? Is the economy driving the art? Or the art driving the economy?

Hundreds of new plays and musicals debut at regional theatres and new work’s festivals each year and demonstrate the abundance of talent in the theatre industry and validate the commitment to fostering new work. But if Broadway is the pinnacle, the source pro-vider, the distribution system, without the Broadway attachment to its launch pad, rarely do these shows achieve the same production history, profile, notoriety or revenue value as those titles that make it to the four blocks in NYC. They rarely get produced internation-ally and infrequently provide a steady income stream for the author. A sad reality.

So, shows journey to Broadway hoping to be an artistic and financial success. Here is where it gets in-teresting. You, everyone reading this article, are essen-tial to this process. Over 85% of the shows that open on Broadway do not make their money back for the producers and investors during their Broadway run. Were they too elaborately produced and too expensive to keep open? Why did they not run long enough? Why did they not attract enough ticket buyers? Of course there are the blockbusters, the shows that run

for years and years. But this is the exception. I refer to Broadway as the launch pad. The lift-

off site. The starting point of a roll-out plan that will enable the show to live in its after-life throughout the course of the copyright. The after-life being the professional, community and school marketplace. And with copyright term now being the lifetime of the author(s) plus 70 years, and this being the last surviving author if a show has multiple writers plus 70 years, the longevity of value for a show has never been more important. The roll-out plan, which follows a long established hierarchy, begins with a na-tional tour (usually equity first followed by non-equi-ty). Next in line are professional theatres, followed by civic light operas, equity regional theatres, communi-ty theatres and amateur groups, colleges and universi-ties and high schools, middle schools and elementary schools. The cycle begins. You are all essential to this process. Keeping a show in the forefront of the theatre landscape rewards the authors and producers and enables discussions of revivals and tours.

From your productions, the show enjoys a healthy after life and I receive wonderful phone calls from producers saying “with this royalty check from your school and amateur licensing, I now have paid back all my investors and my Broadway show was a suc-cess.” Of course this could be 12 years later and their Broadway show only ran for 3 months, but who am I to judge their interpretation? What I can judge is the spirit, dedication, talent and artistic sensibilities you bring to your production.

Whether you get on a plane or live down the block, Broadway is a destination. It can be the last stop or the starting point. It’s something writers and producers aim to achieve and audiences aim to attend. A destiny. When a tour production comes to town, it’s a location. The performing arts center, the arena, the hall. Like a location shoot for a movie, you set it up, take it down and move on. But, when you perform a show at your theatre, your auditorium, your room, it is a foundation. Nothing can be built without a strong foundation. Nothing lasts without a solid foundation. Your foundation is the fuel, keeping both the art and commerce alive.

So getting from Broadway to your backyard is crucial to the evolution of the work. Which brings me to the performance venue. When including Theatre For Young Audiences (TYA shows), performance venues encompass a huge array of structures and fa-cilities. Many are newly introduced to the art form of

From Broadway to Your Backyardcontinued from page 2


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Publix Alachua County

5650 Park Boulevard, Suite 7Pinellas Park, FL 33781(727) 544-8913

theatre but offer great opportunities for development of new work, growth of existing work, solidifying of current audiences and introduction of new ones. Among these venues are: arenas, outdoor amphithe-aters, playhouses/theatres, dinner theatres, auditori-ums, multi-purpose rooms , casinos, hotels, cruise ships, theme parks, zoos, tents, museums, aquariums or pubs.

Support New WritersI conclude by saying that the strongest influ-

ence on New Vistas, New Voices, New Venues is the consumer. The audience. Who you want to create it and where do you want it performed, is under your control. Broadway can shape the landscape, but the foundation you create in your backyard has the most direct impact on theatrical presentation. Encourage new work. Support new writers. Invent places for shows to occur. Influence a change in national buying habits to allow non-Broadway shows to stand side by side with Broadway shows in popularity, in impor-tance. That’s the new civilization I look forward to.

From Broadway to Your Backyardcontinued from Page 19

SAVE THE DATE!March 4–8, 2015

Southeastern Theatre

Conference

Chattanooga Tennessee

Florida Theatre Conference, Inc.

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FROM BROADWAY TO YOUR BACKYARD - Florida Theatre