Scholarship
“Speak the speech, I pray you.” Hamlet Act 3, Sc. 2
-William Shakespeare
REFLECTION ON SCHOLARSHIP
Words, words, words…theatre is about the words, the text. Maybe Shakespeare should have said “research the speech first...”
In order to bring the story to life a director must first unpack the text. What is the context, the subtext, the important inciting action that underscores the theme? Further, who is the playwright and when was the play written and why? Is it autobiographical? Is there important information that can be gleaned from referencing other plays written by the playwright? History, time period, style of the play, these research questions are all highly important. They are the dramaturgical roadmap for any serious artist.
My favorite playwright is Tennessee Williams. I teach his works each fall to my Sophomore level students. We typically focus on A Streetcar Named Desire and Cat on a Hot Tin Roof. As we examine the character motivation, we discover the relationship between these two plays and digging further, the connection with Rose Tattoo & especially Glass Menagerie, his most autographical work.
I become elated when my students begin connecting Tennessee Lanier’s life to Tom in Glass Menagerie. When they begin to see relational themes of Old South vs New South, Illusion vs Reality, Broken Dreams, themes of emotional instability, escape into alcoholism and as they connect the similarities between Blanche, Maggie or Laura they celebrate the research on the stage. They begin to see the reason behind the research. The lightbulb goes off and they begin to personalize the work, finding in-roads into the drive of both playwright and character. They see the arc and resolution.
I become like a kid at Christmas when we get to this work. I hated research as a high school student as I didn’t see the point. I guess that’s why I become so impassioned over it now. I want my students to learn the value of scholarship as they study to become directors, actors, dancers, designers, and playwrights.
One of my favorite experiences was co-directing Les Miserables for ACU Homecoming with Adam Hester in 2013. The research and scholarship that went into that production was enormous and we agreed we would serve the production better collaborating than trying to tackle the story alone. This show was a daunting task. I learned a long time ago, if you don’t walk into a project with some trepidation, it’s not the right project. What I mean is, as an artist, the canvas is blank, so there should be healthy fear as you approach the study and artistic exploration. You better come armed with a toolbox of research preparation or you are sunk. You can not fake scholarship.
I have been blessed to direct Miller to Disney in my almost 20 years at ACU. I learn something about myself and the process of technique each time. I love table work and dramaturgical discussion. Coming from a dance background, I love sculpting physical body pictures in space with actors. Finally, I would be remiss if I did not reference the experience of live theatre. I will never take for granted the live audience experience after Covid.
Songs for a New World was pushed back in our season due to the crazy Texas Snowstorm we experienced this year. It was an insane time to mount a show with Covid protocols and then to be forced to mount the production graduation weekend but the students were so thrilled to perform. They were willing to do anything to tell the story live, we all were.
Coming out of Covid, I think I had excessive artistic energies that I needed to express. I needed a way to create so I began writing. I have always enjoyed writing but never fancied myself as a writer as such. With the encouragement of a couple of colleagues, one suggested a poetic book for children. I decided to be brave and dive in deep.
I am currently working on a children’s book with a recent ACU Art & Design alum. I have loved the collaborative process of sharing words with Jax and witnessing the colorful images he has watercolored. This book entitled “The In-Between” is highly personal as it is about our bi-racial 15-year-old son, Charlie. It has to do with the way he views himself and how the world views him. It was emotionally tough to put on paper but I felt his story needed to be told.
Last September, I had the opportunity to interview the playwright of American Son, Christopher Demos-Brown, with our guest director Vinc Green. This play stole my breath as I watched it a year prior to applying for the rights. It has to do with a bi-racial couple and their child. I sat in that Broadway house swallowing back the knot in my throat. I was so moved and I promised myself I would bring it to ACU. The Lord blessed us with this play as a Cornerstone production in the Convention Center November 2020. Again, the power of story.
Recently, I was so fortunate to have a NYC Playwright friend invite me to interview him. His name is Chip Deffaa. He is a talented writer. He wrote for the NY Post for 19 years. It was a delight to interview him and I am excited to move this to print and submission.
I felt so moved to ask the “when, what and where” of this man. I sat up tall as I listened and followed up with more detailed questions.
The power of words, the power of humanity and the story that accompanies it. The power of research. I pray I can honor the story of this man as I strive to honor each story I direct and bring to life with integrity of scholarship, be it, the page or on the stage.
scholarship: Publications
01
"The In-Between"
Children's Book Collaboration with ACU Alum, Jax Womack
I had felt for a long time, that I had a book inside of me but I had not quite known what that meant...After going through "Covid Fatigue" last year, school let out and one night I woke up about 3am as I often do when my brain will not shut down. I felt this urge to write. I sat down at my kitchen table with with laptop and words started pouring out of me. I wrote a full piece in one sitting. For the next two weeks, words were flowing. I wrote piece after piece mostly about my son, Charlie. It was cathartic and healing.
I am crazy about my boys and I love both of my children equally, but I think with the shared history of a difficult first marriage and my first child's emotional journey, there was emotional processing to do that only my heart understood through words on the page.
Thanks to the encouragement of dear friends, I decided to contact an artist. I was familiar with Jax's work as a student. I had heard him speak on Racial Justice Panels and I was drawn to him because of his own mixed heritage like my son, Charlie. He had even been to our home to braid Charlie's hair at one point.
This collaborative process has been so rewarding. Jax Womack's art makes my words on the page vivid and visceral. It has been a beautiful process. We have a meeting this next weekso I can look at my text interwoven with Jax's illustrations. I am forever grateful and we are already discussing a follow up book with another piece that awaits publication. I have submitted to several journals and am encouraged.
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02
Interview with Chip defFaA
July 19, 2021 (Zoom)
I met Chip many years ago in NYC. I worked on several NYC original projects with him as both a performer, Choreographer and Assistant Director. Those included George M. Cohan: In His Own Words, The George M. Cohan Revue and Yankee Doodle Boy. Chip generously agreed to allow me to interview him.
Mr. Defaa is an American author, playwright, jazz historian, songwriter, director, and producer of plays and original recordings. He wrote for the New York Post for eighteen years, covering jazz, cabaret, and theeatre. He is an old soul with innovative new ideas and huge heart. He has published more than twenty plays by Samuel French, Baker Plays and others. He introduced me to incredible people like Matthew Broderick and Sarah Jessica Parker and opened up early professional opportunities for me upon my arrival in NYC. I have submitted my interview to Mr. Jack Quin and Mr. Victor Gluck that run the East coast TheatreScene.net Journal. I am delighted to return Chip's generosity.
Publication is pending.
03
Regional Coach/Critique & Adjudicator
I began judging for the Texas Educators Theatre Association One-Act Play Competition shortly after joining the faculty in 2006. Serving as a coach, mentor and adjudicator has strengthened my ability to critique in such a way that the young actors improve their craft. I also served as a Christian Theatre Festival One-Act Judge under Dr. Joe Cardot's coordination and leadership. I reflected on both of these areas on my T&P submission in 2012.
Since 2012, I served regularly for Tracy Jordan's High School College Prep Workshop and Recruitment event. ACU joined in year two as Tracy, a Broadway vet, launched this important event with Dallas Summer Musicals. For several years, this 3-day workshop was hosted at Dallas Opera near the Dallas, TX Fairgrounds. Dave Clemmons of David Clemmons Casting in NYC made the move to Houston over 15 years ago. I had known David when I was an auditioning actress in NYC. He served as a Casting Director and Coach for the first several years we mounted Senior Showcase at ACU in the years between 2007-2014. He has been a friend to the ACU Theatre Department for a long time. Each year I delight in engaging with Dave along with friends like Kaitlin Hopkins, Director of Musical Theatre at Texas State. I love the energy of this special event. I love coaching and guiding these young hopeful performers. I love their bright eyes and open energy. Tracy Jordan moved out on his own two years ago and all of the collegiate programs followed him. He is excellent. We so hit it off, he came out for a dinner theatre about eight years ago. He came to see Hands on a Hardbody. I am inspired by his artistic abilities and his faith walk. Tracy recently reached out to me about a trial musical theatre collaboration. I am excited about what the future may look like.
Additional programs that I have attended and supported over the years as coach and adjudicator are as follows:
Booker T. Washington, Dallas, TX
North Texas Auditions, Dallas, TX
Houston Greater Auditions, Dallas, TX
Southwest Auditions, South, TX
Wylie High School, Wylie, TX
Christian Theatre Festival, ACU-Abilene, TX
04
adjudication for Production of Emma and steel magnolias
It has been an honor to work with (ACTF) American College Theatre Festival tied to the prestigious Kennedy Center in Washington, D.C. since I arrived in 2005. Adam Hester was always good about encouraging these construcive experiences. I have the privilege of being evaluated by adjudicators from other university theatre programs critique my work over the years.
Two stand out experiences were for Emma and Steel Magnolias. I respect the process of critique and find outside reflection to be valuable both for me as a director and for our students. I appreciate that concept, theme, metaphor, silhouette, blocking, action, aesthetic in design are all discusssed. The critique may not always be agreed upon, but it is an important process for artistic leaders and students to walk through.
We must be willing to be open so that we can be guided by articulate informed intentional choices in our work based on dramaturgical research and study.
In my world of theatrical endeavors, creativity equates to scholarship. Directing or being part of the birthing of a production IS scholarship. As artists, we spend hours researching, presenting to our design team, casting the right players and then working through technique execution before our production goes to print. In other words, meaning opens doors with a live audience. I would liken the artist's way to a published paper or conference presentation, only we present to an theatrical audience. I have served as actress, director, choreographer, and producer. I have worked on public relations promotions for our season brochure, collaborated with alumni artists, donors for special Lights Up and mentored countless student directors, choreographers, stage managers, designers and PR students. I love telling stories that come to life as I shape pictures on the stage. I love collaborating and working with people on the stage, backstage and in the house. I love the research process, table work with the student dramaturg and cast. I delight in discovering the theme, concept, metaphor, arc and dramatic climax. This work matters. As we seek to communicate truth, we seek to invite the audience to see themselves in the stories shared. I believe this work is a calling. This work is missional prophet work and I believe theatre can so impact an audience that we can transform lives. I tell my students that this is a noble calling and we are ultimately seeking to be world changers. This is hard work, roll-up-your-sleeves work, where you sweat, struggle, laugh, shake your hands at the earth and cry. This journey work is a gift in the translation to the artist and audience. I am forever grateful and will never trade it.
01 matilda at The firehouse theatre - dallas, tx 2021
I was invited to step in to serve as Associate Choreographer for Matilda in Dallas two weeks before the musical opened this past June. ACU Theatre Alum, Eean Cochran, was hired to serve in this role but left the show to go back on the National tour of Hamilton as a Swing and Dance Captain.
My stepping in to replace Eean in such a high need capacity, was similar to stepping into replace the director for American Son ten days out, except I had absolutely no context for the show this time. I had never read the book, play or film and I was hired with no preparation time.
My former student, Matt Silar was serving as Director and flown in from Chicago. He drove to visit with me for one meeting in Abilene and then we were off to the races. I did my research quickly and watched all of the posted videos of the rehearsed choreography. The cast that was made up of profesionals and approximately 16 children had already been rehearsing for four weeks. Almost all of the choreography had been taught with a couple of dance number exceptions and nothing had been cleaned up.
I had the opportunity to watch Eean stage his final rehearsal before he left for Hamilton the next day. The children loved Eean and I was concerned there might be some tension or push back as I stepped in to replace him. Instead, the cast welcomed me with open arms and I was appreciative.
I have choreographed many shows but never been invited to finish and polish dance choreography with so little notice. It was a bit daunting and there were high stakes associated with this first produced piece coming out of Covid. The board was coming opening night and I desired to honor the work that had been done and keep the style consistent. It was a delight to work with my former students, and I wanted to be sure to honor the authority and creativity. The energy was fast but I loved working on Rohl Dahl's musical. I love polishing story movement, defining body lines, silhouettes, and detail in dance and movement. Story telling through dance is so satisfying and powerful.
02 American Son - Cornerstone production Abilene Convention center 2020
Last November 2020, I had the unique opportunity of stepping in to complete American Son, a racial justice piece, when our director needed to exit early. This piece had a special timing in the wake of George Floyd and with our invited talk back we were able to delve into important justice conversations. I had been part of the research conversation including an incredible zoom with the Broadway playwright, Christopher Demos-Brown due to the connection our alumna, Shae Candelaria had from work on the show in NYC. Thanks to the research and the journey, I felt equipped to finish the show and lead it from opening to closing night. It was humbling to step in and did not take the responsibility lightly. The show was produced in collaboration with Cornerstone, Dr. Taylor and the Spain Center. Due to Covid, we moved the production to the Abilene Convention Center, in order to seat 150-200 a night masked patrons for 3 nights. A talkback took place after the final dress rehearsal with the cast, Dr. Taylor, Dr. Hamm, ACUPD Lieutenant, Motz and others. It was filmed by Dr. Dickson's team.
The Freshmen Cornerstone Production is produced in November as part of one of ACU's initiatives. It is a unique theatrical run for our students as we open on Monday and close the following Sunday. It is a wonderful challenge to consistently hit their performance marks each night as opposed to the usual 2-3 nights in a weekend. It better prepares them for a real world performance expectation. Every freshman is required to attend this production and is then attached to a paper reflection. The intent of this show is to intentionally promote deep thinking, cultural awareness, identity, community and responsibility.
We collaborate with Dr. Trey Shirley, Dr. Eric Gumm and the Cornerstone Faculty. Former Chair, Adam Hester started this collaboration several years ago and it is a blessing to dream creatively each year as we pray over the show selection. We have produced Next to Normal, Wit, Jon & Jen and American Son to name a few. Our student dramaturg works closely with our director and I love that we have the opportunity to share research and dive deep with our freshmen audience.
Overview of Scholarly Productions
ACU Theatre produces 6-8 productions a year. I support all shows with PR initiatives with a team of PR and Recruitment Students along with the incredible support from Faculty Emeritus Adam Hester who supports the Web pages and archival filming and streaming. I am beyond grateful. I typically serve as Producer, Director or Choreographer. This is a demanding major. Our faculty stay busy and our students stay challenged. The ACU Homecoming Musical is a long time tradition and biggest mount of the season that tracks along with the parade, carnival and Homecoming Football Game. I love that this musical is a statement of legacy for our alumni and future students.
Senior Showcase was started in 2005 with my two personal industry agents, Nancy Carson of Carson-Adler and John Shea of Frontier Booking. We produced on-campus for 10 years and then moved to an off-Broadway venue in order to produce a NYC caliber Showcase. God has truly blessed our work as we have had representatives from NBC, Casting Directors from Hamilton, Dear Evan Hanson and others attend Showcase and invite our students for callback meetings. This past year we filmed showcase and posted it on Actors Access for the first time.
I am incredibly grateful to my colleagues, industry professionals and proud of our students as we managed to produce six major productions even in the midst of Covid and a Texas Snow Apocalypse: Homecoming Film, Cornerstone, Winter Comedy, Spring Musical, Filmed Dance Show and a Filmed Senior Showcase. This was the first year we produced a Dance Film.
I have been striving to bring in Guest Artists from LA, NYC and other places. It is important for our students to be exposed to all different styles and techniques of directing, design/tech, musical direction, and choreography. Alum and Broadway Creative, Jesse Galvan was slated to join us in the fall to direct Joseph but due to Covid he was forced to step out. I am grateful that Gary Varner has stepped in as Director. Jesse, David Utley and I were all involved with the Joseph production in the 1990's. Adam Hester directed, I choreographed as a student and my brother, Ryan played Joseph so this piece means a great deal to me personally. Lily has asked if she can remount my original choreography from that production in 2005. I am honored.
I love the process of collaboration when working on a production at ACU. The group is always stronger together.
03 Cinderella - panto productions-The stage & Production House
NorthUmberland,england
Spring 2020/fall 2021
I have been hired to serve as the Casting Director for Stage & House Productions/Panto Productions out of the UK twice now. I was invited to cast three actor replacements in the spring for the CEO and Producer, Matt Lee-Alliston. I supported the production by polishing all of the musical numbers and preparing the cast both for a performance at the Paramount, and for a tour to the East Coast. I was delighted to bring my youngest son, Henry to the Paramount Theatre to see the show locally. I was then hired again to provide casting for two more replacement roles for Fall 2021 for the same production of Cinderella. Both times, we flew actors in from New York City. I really loved working in this profesional capacity. In a couple of cases, I was given the opportunity to hire two of our alumni. Casting is a completely different professional lane that I enjoy. I was in the casting room on several occcassions when I worked and lived in NYC but never for a touring production. I have enjoyed lining up profesionals based on skill set, character type and aesthetic look. I hope to continue to work with Panto Productions in this capacity.
Honors and recognition
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CAS Mentor Award 2015
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CAS Collegiality Award 2021
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Serving as ACU Theatre Chair since 2015.
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Serving on Faculty Senate for the last two years.
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Serving on ODEI and Allyship Committee.
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Serving on QEP/Cornerstone Committee under Dr. Laura Caroll for the last ten years assessing papers.
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Imagined & Founded Senior Showcase with my two personal NYC Agents, Nancy Carson of Carson-Adler and John Shea of Frontier Booking International. Agents and Casting Directors came to campus for Showcase from 2005-2014. This was done in collaboration with Adam Hester the first year I joined ACU Theatre in 2005.
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Actively supported NYC Showcase transition to Off-Broadway venue in 2015.
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Courted and Contracted five professional Guest Dance Artists for five consecutive Fall Semesters with Support of the Dean.
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Courted and Contracted Guest Dance Artist, Lily Balogh from the New York City Ballet and Ballet Flanders in the Netherlands. Lilly continues to teach and choreograph for ACU Theatre.
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Founded Dance Track under BFA in Fall 2018.
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Helped transition four Faculty Retirements including Adam & Donna Hester, one faculty move and faculty interviews and hires.
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Brought in first Guest Artist Faculty person of Color to serve for one full year in support of faculty.
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Served as Casting Director and Coach for Cinderella September 2021for UK Theatre Company, Panto Productions.
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Invited in first Visiting Committee Members of Color.
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Re-crafting MFA Program to be housed in DFW with summer in Abilene.
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Fund Raising for Carpet Replacement in Fulks Theatre, 1 million endowment for Homecoming, $250K Endowment for Williams Performing Arts Building Upkeep. $25K for Shakespeare.
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Flew to LA, met with Netflix and Greenhouse Media Summer 2021. Launching Maymester film opportunity for May 2021.
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Began serving 6 years ago as Producer and partnering with Lynn Barnett/Abilene Cultural Affairs Association and Alumni Relations on CALF Festival Performance in the Downtown Library. Gary Varner or his daughter Kari, wrote original performance content.
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Stepped in as Director for Racial Justice Play, American Son when LA Guest Director went home two weeks before opening.
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Reformatting of Lights Up for Downtown Cabarets.
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Going "Back on Brand" with ACU for Brochure and PR statements.
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Served as Casting Director for Cinderella April 2021for UK Theatre Company, Panto Productions.
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Stepped in as Associate Choreographer for Matilda at the Firehouse Theatre, replacing Eean Cochran 10 days out from opening when he left for Hamilton Tour.
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Sang the Lord Bless You and Keep You at the Amy Grant Alumna Luncheon in 2018.
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Led Special Prayer for ACU Alum of the Year Award Event for Lara Seibert-Young downtown in Greenwich village, NYC in 2019. Special thanks to Craig Fisher.
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Served on ACAC planning committee for Nelson Coates Event for one year. Presented ACU Alum, Nelson Coates with Abilene Cultural Affair Artist of the Year Award at the Paramount Theatre, May 2021.
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Currently collaborating with ACU Art & Design Painting Alum Artist, Jax Womack on a Children's Book entitled, "The In-Between." I wrote this reflection about my Bi-Racial son Charlie, in poetic form.
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Recently, was invited to interview NY Post Writer and NYC Playwright, Chip DeFaa. I am awaiting response from the editors at Theatre.net.
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Served as Associate Choreographer for Matilda at the Firehouse Theatre in Dallas, TX. The production ran July 16-August 8, 2021.
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Supported Adam Hester in the brokering of an SPT Union agreement which went into effect June 24, 2021 with Actors Equity Association. This is much like going D1 in the world of theatre. Agreement and collaboration with our Abilene Summer Shakespeare Festival will be ongoing and we are required to produce LIVE SHAKESPEARE for the next 3-5 years. This will allow our students or guest artists whom are contracted for leading roles to be offered a union card.
NOTE:The following opportunities were cancelled due to pandemic and family needs in 2019-2020.
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Travel Booked to Sweden to Direct and teach theatre workshops Sp 2019.
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Invited to Lead Alumni Relations/Gerontology Dept trip to London for Summer 2020 with Dr. Suzi Macalooso.
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Invited to direct original play in collaboration with Carl Garrison in NYC for Summer 2020.