Tag Archive for: Shepherd University

CATF’S NEW THEATER…

CCA-II smallConstruction continues on Phase Two of Shepherd University’s Center for Contemporary Arts. This joint project of the University, CATF, and the Shepherd University Foundation was a key component of the recently completed Shepherd comprehensive campaign known as CREATE.  The $13.5 million facility should be completed by March. It will include a brand new 185-seat theater (special announcement coming soon!), a sculpture studio, costume and scenery shops, graphic design studios, a rehearsal and small performance room, a small art gallery, and theater support areas like dressing rooms, lobby, etc. Plus, the exterior patios are gorgeous and will lend themselves to special events.  The terrific team at Holzman Moss Bottino Architecture have done a great job, as have the construction company Morgan Keller.  It’s going to be a great venue for CATF patrons to take in a show and gets us one step closer to our dream of having our full repertory take place in one multi-building complex.  Next step? Phase Three…..stay tuned.

Check out the photos here on Shepherd’s Flickr account to see the progress so far (through early November).

And here are a few of our (low res) iPhone shots from the last couple of months:

from the Phase One breezeway, looking east.. (September 2012)photo9

The pre-copper siding goes up on the west wall. September, 2012.

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From Phase One. September/October

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On the right is the east wall of the new theater along with the stone patio. October 23, 2012.

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(left) from the interior lobby looking out to stone wall gallery; (right) Catherine Irwin (retired CATF arts manager), Ed Herendeen, and Jenny Ewing Allen (Board President), October 23, 2012.

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December 31. Glass lobby windows and exterior stairs.

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Inside the new theater, from the catwalk. September 2012.
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From the tech booth.
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December 31, 2012.
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December 31, 2012.

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Ed, Peggy & James TALK THEATER.

The following marks the first installment of a discussion between CATF Producing Director and Founder Ed Herendeen, Associate Producing Director Peggy McKowen, and Managing Director James McNeel. Join the CATF staff throughout the year as they discuss theater, festival machinations, the 2012 plays and artists, and much more.

James

Okay. Here we are, 2011 coming to a close – we had a great year and season, with record-setting attendance, the groundbreaking for the new theater here on Shepherd University’s campus (to open in 2013), former CATF plays hitting the big screen and Broadway, Ed joining the Theatre Communications Group (TCG) board, etc., etc.  But what are your most striking memories of the past year? Shotguns? Finicky fans?

 Peggy

Wow! I heard this question and I stopped to think about a striking memory and everything was truly a blur.  Perhaps oddly enough, some of my most memorable moments came from our additional programming.  I thought watching Dr. Aaron Anderson, or resident fight genius, work with our audience in a stage combat session was just priceless. Listening to our audiences argue and debate the merits of WE ARE HERE in a talk-back was enlightening to me.  At a Lunch & Art session, one of the artists brought his parents to participate in the conversation and listening to them talk with pride about the work of their child and his involvement with CATF was simply rewarding to hear.  I guess what I realize now is that it is truly the exchange we have with our audiences that reaches through the plays to a deeper, more powerful relationship.

Ed

The past year has seen protest, unrest, and upheaval around the globe.  Here at home we are all painfully aware of the political stagnation and divide, as well as the continued economic uncertainties.  Through it all, life and art went on – it was not only at CATF that there was record attendance, but around the world – at the Epidaurus Theater, Barcelona Festival, France, etc.  An article in The New York Times in August – which featured conversations with a number of artistic directors – hypothesized that “perhaps people turn to art in difficult times.”  If so, this impulse—this reaction—continues to be interesting to me and I’m hopeful CATF is feeding and responding to that need in some way.

Personally, one of my fondest memories from 2011 was the opportunity to direct the world premiere of FROM PRAGUE by Kyle Bradstreet.  It was exciting to have the “living playwright” in rehearsal and work with the cast and him on developing the script during those four crucial weeks leading up to its performance run.  Plus, of course, talking to Sam Shepard about AGES OF THE MOON – he gave me excellent insights into his script which helped tremendously. And working with props designer Sean McArdle – who has worked on several of Sam’s plays now – on the fan provided a great special effect. The RACE rehearsals sizzled – the cast was fantastic and it was a joy to work with them on the tempo and rhythm of a David Mamet play.  Also, I am so proud of THE INSURGENTS – it’s always a risk to commission a new play; as they are produced without the safety net of tradition. Lucy Thurber was a joy to work with.  Commissioning a work is truly collaborative process – from the donor (our friend Katha Kissman) taking the lead, to the creative team, the director Lear, the actors – and I am thrilled about our partnership with this important and original voice. You don’t have to look deeply into the year’s news headlines – “we are the 99%”, “class warfare” – to see how prescient Lucy was with this play.

James

Peggy, I’m sure for many of our CATF friends and patrons – beyond June and July – they don’t know what we do with the rest of our year here. Once the final performance comes to a close and our incredible production team strikes the sets, we go from a company of over 90 theater artists to just the three of us, and our terrific board, left standing.  How have we been passing the time since? Obviously sleep was priority number one in August – then what?

 Peggy

I think many people have some inkling of the process to take down the scenery, put the costumes away and say goodbye to all the artists, but I often wonder if people truly understand the level of administrative detail that closing a season involves. We have $800,000 worth of receipts, payroll stubs, deposits slips, etc. to be accounted for, filed, and prepped for an extensive annual audit.  Just think of what you do to prepare your household taxes!   Analyzing the previous season for financial trends as we prepare the upcoming season budget is always fascinating and informative by providing a tangible sense of what occurred the previous season.   Manuals, handbooks and policies all need finalized before the close of each fiscal year. The “paper closing” seems endless sometimes.

 And then, while the ending of one season is consuming us, the beginning of the next must simultaneously happen.  What do we want to improve on next year?  How can we provide more opportunities for our audience to really participate with us?  What plays will we do?  How do we raise the money to do that play?  When is the grant deadline? Who will the artists be?  What does the marketing look like?  Each question takes more than a minute to answer, often requiring weeks of the team’s collaborative work to come up with the 2012 solution.

 James

Ed, without giving too much away, what are your first reactions to the plays you’ve been reading (and now have selected) for the 2012 season? 

Ed

I am overwhelmed by the 75+ manuscripts I have read this fall. The work is full of pain and joy; drama and conflict; and social issues and personal moral and ethical character choices. The economy, housing crisis, violence, evil acts done by real human beings, dysfunctional families – all dominated my reading.  Comedies were mostly absent – while dramas and political and psychological thrillers were common.  Plus, I read a lot of historical plays set in the civil rights period, Nazi Germany, the War of 1812.  Every fall, I feel like I am given a front row perspective on the pulse of the country and world through the lens of our contemporary writers. I think the 2012 season of plays will provide a diverse snapshot on the issues and ideas dominating our world and thinking right now. 

James

Peggy, you and I have the unique perspective of watching Ed build, practically from scratch, the annual repertory of plays.  What’s the process like?

Peggy

It’s like riding the biggest, fastest roller coaster ever while knowing that Ed Herendeen is driving the lead car.  You jump in the car thinking, I’ve been on a roller coaster before—what’s the big deal?  As we climb, Ed talks you through his ideas about the season and then suddenly there are three new, fabulous plays to consider. He absolutely loves them and you’re whisked away in a rush of passion and intensity and you think, ‘we will never discover more exciting  plays’.  On the next upward climb we discover that the rights aren’t available or it won’t fit with the parameters of the casting pool and the climb seems to keep going forever.  The following morning, Ed is back in the lead talking about another new play and you think, ‘this is it!  How could we do better?’  But as we read the play aloud to each other we discover that the play doesn’t live up to its “selling pitch” and so the climb continues.  Finally, at a certain point the ride just has to end…so CATF slows down — Ed has found work that fits into our budget, the casting matrix, and venues and we are ready to produce a (well vetted, read, discussed, debated, and reread) selection of plays.  And then, before you know it, we’re right back at it preparing for another year, as if it the ride had never really stopped.

 

[The 2012 season will take place July 6 – 29. Look for the full season announcement in late February.  Want to be a part of the process?  Consider a tax-deductible contribution by visiting www.catf.org/donate.]

ALUMNI RESPOND TO DRESSER

Those of us who work in non-profit Arts Organizations realize the value of establishing relationships with generous benefactors. CATF enjoys a long standing partnership with Shepherd University. Shepherd is and always has been our most important benefactor. For 19 years Shepherd has hosted The Contemporary American Theater Festival. We are proud of our on-going partnership with this extraordinary Liberal Arts institution.

Shepherd University recently invited CATF playwright Richard Dresser to give the 2009 Commencement Address. You can read Dresser’s insightful remarks to the Class of 2009 in my previous posting. I want to share with you some of the emails that I have received from five Shepherd/CATF Alumni who are responding to Richard Dresser’s speech. Their comments demonstrate that our relationship with Shepherd and our mutual endeavor to “create the future of the American Theater” is working. Each of these former students/interns enjoy successful and productive careers in the professional theater. They all live and work in New York City. I am deeply touched by their comments. These are excerpts from their emails to Suzanne Shipley, President of Shepherd University:

From Audra Roberson, NY Stage Manager and a 2002 graduate of Shepherd University:

I recently received a copy of Rick Dresser’s Commencement speech and felt obligated to tell you how impressed I was with the speech itself and the fact that a CATF playwright was chosen for this honor…Thank you for appreciating the unique value of CATF at your Liberal Arts University. Thank you for recognizing how important the arts should and can be in every one’s life. By bringing Rick in for the Commencement speech you have honored not only your graduating class but the artists, audience members and Shepherd students that have discovered a part of themselves at CATF.”

From James McNeel, Arts Consultant, New York City and a 2001 graduate of Shepherd University and a former CATF Admin Intern.

“I wanted to drop you a short note as Ed Herendeen–my first and most important mentor–forwarded me the remarks that Rick Dresser made at the commencement. First and foremost–I’m jealous. I have zero recollection of who even spoke at my graduation; and certainly no retention of the speech. I hope Rick’s remarks were as powerful live  as it is on the page. Secondly, I couldn’t agree with him more…

I write because Dresser’s (who I still see from time to time; it’s a small field) points about the (blessedly unknown) future feel accurate and pertinent to my own journey. I cannot sing high enough praise about my experience with CATF, Ed, and Catherine. I say, without irony or cliche, that it changed my life… My closest friends to this day are still those I met at Shepherd and through doing theater there. And I can honestly say that my affection for Ed and CATF are not my own–we all share in it. Personally, I have encountered very few that have Ed’s passion and vision–it was infectious and inspiring when I was there as a student and it remains so ten years on…and do I hope that the relationship between the school and CATF continues to be strong and fruitful. I am so glad that you chose a CATF alum like Rick Dresser to speak to the graduates–he knocked it out of the park. As an arts professional–I am grateful; as a native West Virginian, I am proud.” 

 

From Ed McKeaney, General Manager THE WOOSTER GROUP and a 2001 Shepherd/CATF alumni:

I wanted to thank you for having Richard Dresser give the commencement speech at Shepherd this year. I had the good fortune to work with Richard Dresser and Ed Herendeen at CATF… Over four years…I served as the Assistant Box Office Manager, Company Manager, the Intern and Education Director and the first Assistant Managing Director. In addition, each summer I was given the honor of working alongside the most talented performers, playwrights, designers, technicians and fellow administrators…

CATF taught me more than just the basics of managing a company, taking a ticket sale, or creating an operating budget. It taught me the value of hard-work, perseverance, thoughtfulness, and to quote Richard’s inspiring speech, it taught me to “pursue what you love”. An invaluable life lesson that I will never forget.

I will be forever thankful to Ed and CATF for helping me to discover who I am and what I can be, and I will be forever thankful to Shepherd for taking a risk by hosting the Contemporary American Theater Festival. I applaud you for your choice in commencement speakers. Good show!”

 

From Stephanie Nasteff, actor and independent theater producer in New York City and a 1998 Shepherd/CATF alumni:

“…But the entire reason that I chose Shepherd in the first place was the CATF. I’m writing because I had the good fortune of reading a copy of Richard Dresser’s commencement speech–and was thrilled, not only by his ever hilarious and pointed words, but that a playwright was chosen to deliver this year’s address…I thought it would be nice to let you know how happy I was about your choice of speaker. The relationship between CATF and Shepherd is at the heart of the fondness I have for my college years, and I am truly inspired that that relationship continues to thrive in old ways and new.”

 

From Aaron Kliner, actor and director and a 2001 Shepherd/CATF alumni:

“During my time at Shepherd I was deeply immersed in your incredible theater program as well as the CATF. In fact under Ed Herendeen’s inspiring tutelage, I was awarded a full scholarship to a top-ranking acting conservatory, studied with key members of the ROYAL SHAKESPEARE COMPANY in London and received my MFA in 2005.

Needless to say, the impact Shepherd University has had on my life, along with its consortium with CATF, is hugh and deeply profound: I simply would not be where I am today without this kind of academic and professional nurturing…I found Richards words moving, heartfelt and entirely true. I wish I could have been there personally to hear his undoubtedly powerful delivery! I know Richard through my past experience at CATF and I’m extremely honored and proud that you would choose a CATF playwright as the University’s 2009 commencement speaker. So on behalf of Shepherd alumni everywhere and as a dear friend to CATF: Thank you.”

 

I am very proud of these former students and CATF interns. And I am proud of the extraordinary partnership that we have with Shepherd. In addition to our mission ” dedicated to producing and developing new American theater” the Contemporary American Theater Festival at Shepherd University is educating the next generation of professional artists and arts leaders. We are having a significant impact on the future. 

I want to thank those of you who have made contributions to support  our important CATF Intern program. As you can see from the above student comments: your support does make a difference! And I thank you on behalf of all of our CATF Interns. I hope that others will join you and consider making a contribution to the CATF Intern and Education Programs. Your gift can and will change lives.

I look forward to receiving your comments.

Ed Herendeen

Dresser At SHEPHERD

Playwright Richard Dresser gave the 2009 Commencement Address at Shepherd University on Saturday. He also received an Honorary Doctorate from Shepherd University President Suzanne Shipley.

As you know the Contemporary American Theater Festival is hosted by Shepherd University. We enjoy a long and productive partnership with Shepherd. I am thrilled that President Shipley asked Richard Dresser to give the Commencement  Address. Please take a moment and read Rick’s talk to the 2009 graduates and let me know what you think . . .

SHEPHERD UNIVERSITY COMMENCEMENT
May 11, 2009 Richard Dresser

Thank you. When President Shipley called me in November to ask if I would be your commencement speaker, I was truly honored. She then asked if I had my own academic regalia. I told her not only do I have my own cap and gown, I just happen to be wearing it on this Tuesday morning, sitting alone by the telephone, waiting for a college president to call. So I am delighted to be here.

But this isn’t about me. This is about you, and what you have achieved over the past four years. Or five or six or seven, depending on how leisurely your journey has been through academia. If you look around you will see many people who are proud of you. You have done something noteworthy today. You have fulfilled other people’s expectations. And that’s to be applauded.

But what you will do next is far more challenging, painful, awkward, daunting, terrifying, and exhilarating.

You must now fulfill your own expectations.

And that’s what I’d like to talk to you about over the next two hours and forty-five minutes, which is all the time that President Shipley has given me.

After this ceremony, many people will ask you what you intend to do next. Perhaps you know. Perhaps you don’t and you will lie to them. Perhaps it’s none of my business. But whatever you tell them, it’s the question you’re all facing. Where do I go from here? And will I need a new coat?

When you’re trying to find an answer to that, in the darkest hours of the night, you will inevitably come up with ideas that are grandiose, foolish, laughable, borderline insane, and far too embarrassing to ever tell your parents. These are the ideas you should pay attention to. Write them down so you won’t forget them. In one form or another, this is what is in your heart. The crazy, the unpredictable, the illogical, whatever it is, find the thing that drives you.

No one else can tell you what that is. But it is what sets you apart from the pack, and it will be the source of your greatest strength. It is to be trusted.

I know you’ve all been consumed with academics and perhaps you haven’t been paying much attention to what’s going on out there in the world. Now I don’t want to be the bearer of bad news on such a glorious day, but I feel I should tell you there’s been a global economic meltdown. The world is profoundly different than it was last year. I hope this isn’t too much of a shock. It’s been in all the papers.

As a result, many people seem to think that this is a rotten time to be graduating from college. I respectfully disagree. When things are rolling smoothly along, there’s a big club and you aren’t in it. Everyone’s pretty sure they’ve got it all figured out so why do they need you?

But right now, everything’s up for grabs. There are lots of things that need fixing, lots of people who need help, and there’s a planet that’s crying out for attention. So we need your ideas and your energy and your optimism. Desperately. If you stay open to what’s happening around you, there are truly exciting opportunities in times of transition like this.

But let’s be honest—these are difficult times for many people. And in such a perilous climate, the tendency is to try to find something safe. Something that will get you through the hard times. I’m going to save you a lot of time right now by telling you that making the safe choice is in fact the riskiest thing you could do. Forget about making a safe choice. It’s too dangerous.

The truth is, there are no safe choices. Whatever seems safe today will probably seem ludicrous in ten years. If you don’t believe me, talk to someone who’s trying to pursue a career delivering ice or repairing typewriters or working the switchboard at Western Union. These were once growth industries that no longer exist. You’d do better to talk to someone who’s hunkered down in his garage building a flying car. The fact is, the jobs that many of you will be doing in the future don’t exist today. So if we live in troubled times and there are no safe choices, and the job you will probably doing in the future doesn’t yet exist… what should you do? How do you prepare for a job that doesn’t exist?

That’s an excellent question, and I’m glad you asked it. Fortunately, and this is why you all are so unbelievably lucky to have me as your commencement speaker, I have the answer.

I’m going to tell every one of you what your absolute best choice is. Your mission—and it’s not as easy as it sounds—is simply to find out what you love doing. And then pursue it with all your heart. And when someone tells you that you aren’t good enough or there’s too much competition or they don’t need you, well, you should thank them because that’s the little push you need to go at it with even greater intensity. Revenge is a wonderful motivator. I know. I work in show business.

If you do this—if you pursue what you love you will enjoy a working life without regrets. But if your life is dedicated to fulfilling someone else’s expectations, you will be haunted by the road not taken. You’ll never know what you could have done. I don’t wish that on any of you.

And let me assure you that the risky choice—taking a leap based on passion—is in fact the safest choice you can make. The most successful people I know have one thing in common—and it isn’t where they went to college or what their grades were or who their parents are or what kind of connections they had.

They love what they do. It’s really that simple. This doesn’t stop them from complaining about it, it doesn’t protect them from the harsh blows that life will inevitably deal to us all, it doesn’t mean they wake up smiling every day.

But it means they are driven by passion rather than obligation. And I would always bet on the person driven by passion. They will work longer and harder and they will find a way to succeed.

So the risky choice—taking a bold leap into a scary world armed with whatever you love—is in fact the safe choice. Because your chances of succeeding are far greater. And why spend your life trying to succeed at something you don’t care about? Now some of you may already know what you love to do. I applaud you. You are very fortunate indeed.

Personally, I wasn’t that lucky. When I got out of college I didn’t have a clue. So I embarked on a series of jobs which included serving up fast food, working as a security guard watching over convicts, operating a machine in a factory which made GI Joe’s thighs, editing college textbooks, working in a warehouse, loading trucks, and for six excruciating hours doing telephone sales.

Whatever this is, it isn’t a traditional career path. Fortunately, I drifted into a job doing radio news in a tiny station in western Massachusetts. This seemed like the start of a reasonable course of action, something I could call a career instead of a job. Finally, I was on my way.

I decided I needed to get further training so I went to graduate school in Chapel Hill NC. This was a very logical plan and it worked out perfectly until I was forced to take a course in theater. It seemed silly. What did this have to do with my chosen field?

I dutifully set out on the first assignment, which involved writing dialogue. And from practically the first line of dialogue I wrote I was hooked. It was like a narcotic and I knew without any doubt I was going to do more of this. A lot more.

My perfectly reasonable plan for a career in broadcast journalism was out the window and I plunged into the theater in my late twenties with no training, no experience, no connections, no background, no idea what working in the theatre even meant. But I was armed with a fierce desire to make something happen and I had the added incentive of not being remotely qualified to do anything else.

Now I don’t recommend any of that. Particularly telephone solicitation. But I also don’t regret it, because taking every semi-demented detour and blind alley I could find ultimately led me to the place I was looking for.

We all have to make a living and we all have to find our place in the world. You can rationalize what you do and you can convince yourself that any number of jobs makes sense. But you can’t fool yourself about what you love doing.

Again, I don’t want to be the bearer of bad news, but we’re all on a one way trip. I’m assuming you’ve encountered this concept of mortality in one of your classes or hidden somewhere in the fine print.

It’s a tremendous ride we’re on but it goes by far more quickly than you can imagine. We already know how the story ends for all of us. So let that liberate you to have the most extraordinary life you can imagine. I urge you to aim high. This is your time.

With passion, with hope, with knowledge, and by staying open and alive to what’s around you, you can truly change the world. And if you play your cards right you can have one hell of a good time doing it. Thank you.