<p>I’m a current drama student, and all of the current students just received an email from Liz Bradley outlining the changes… Stop worrying and speculating! I only find the new programming in years to come extremely exciting, if anything. Students will have more forms of theatrical events to participate in, will work with faculty and master artists more extensively(Sutton Foster is teaching a class!), and hence will build a stronger community and get more exposure as the new “main stage” series have a lot more opportunities off-site, and will seem to hold a larger impact on the community and groundbreaking explorations. I find it appropriate to post this as it is now confirmed news at the community level.</p>
<p>Dear Students of the Department of Drama:</p>
<p>Hopefully your summers are proceeding well. I am waiting for better weather in New York, reflecting on my first year as Chair, and continuing to plan for next year! It is in regard to those plans and changes in the Department of Drama that I am writing to you today.</p>
<p>PUBLICLY PRESENTED PERFORMANCES</p>
<p>Beginning last fall, I gathered with a group of faculty and studio colleagues from across the program to discuss and determine our concrete objectives when we create works of theatre for public presentation in the department. After a lively period of exploration, we concluded the following:
· Productions should be in support of consolidating and synthesizing student learning for all participants</p>
<p>· Wherever possible production experiences should originate within, and relate significantly to the curriculum</p>
<p>· Productions should be regarded as “laboratories” that impact student populations beyond those directly involved in realizing the work</p>
<p>· Commitment to realizing work should extend into the external community</p>
<p>· We should seek a variety of forms, venues and perspectives</p>
<p>· At least one play should be written in a language other than English</p>
<p>With these goals in place, we challenged faculty across the department anyone who could grade the work of an NYU student - to propose presentations that would extend their course work and benefit a designated population of students. The menu of work that we will undertake in the coming year represents the culmination of these efforts, and in some cases the conflating of multiple proposals. I joke a little about “the season formerly known as Mainstage”. This is to suggest that theatre can assume different forms and expressions for different purposes. Our aim is to resource productions in a way that matches their objectives. As I think many of you know, “important” theatre is not necessarily the most expensive or that which is staged in the largest capacity venue. When you look at the list below, hopefully you’ll get some tangible sense of this and how it will all play out – no pun intended!</p>
<p>SCENEFEST 1: The Civil Rights Project</p>
<p>There will be several evenings of scenes as well as a related symposium featuring the playwrights, scholars in the field and cultural commentators. These scenes and short one-acts will be curricular generations from the acting studios; staged and minimally produced. All studios will be invited to participate.
· Co-curated by Robert Vorlicky and Kent Gash</p>
<p>· Loewe Theater</p>
<p>· October 4 17</p>
<p>THE FOREST by Alexander Ostrovsky </p>
<p>A fully mounted production of this Russian ensemble comedy now acknowledged as a classic. This play was chosen in part because events in contemporary Russia merit our attention, and because the thematic exploration of the real as opposed to perceived value of money is especially timely. THE FOREST is about the victory of art and humanity over hypocrisy and pomposity. It is about generosity. It is about the joy, the grandeur of acting, with two vagabond actors first diverting, then driving a cunningly structured storyline. It is about the wrenching anxiety of holding on to your money when you’re losing it. And it is about what a woman of her time has to do – to hold on to her life.</p>
<p>· Directed by Dmitry Troyanovsky</p>
<p>· Burrows Theater</p>
<p>· October 29 November 7</p>
<p>THE COYOTE PROJECT: Theater for Young Audiences</p>
<p>A new play for middle-school students based upon Native American Trickster mythology. Presented as part of the Publics Native American Festival, and in other venues to be determined</p>
<p>· Created and directed by Karmenlara Seidman in collaboration with Muriel Miguel of the Spiderwoman Theater</p>
<p>· Venues TBD</p>
<p>· November 14 (plus additional dates TBD)</p>
<p>CABARET SERIES 1: New Composers</p>
<p>Featuring material from the Graduate Musical Theatre Writing Program Writing Program, and from other emerging composers and lyricists in New York.</p>
<p>· Created by Kent Gash</p>
<p>· Joes Pub</p>
<p>· November 7</p>
<p>CABARET SERIES 2: Political Revue</p>
<p>Featuring material developed by the students from Liz Swados course in Performance Composition: Political Revue. In this class, students are invited to learn as much about the news and todays culture as they possibly can, absorb and translate it into song, monologue, sketch, scene, dance, acrobatics, circuses, etc. There will be extreme discipline in learning how to define satire and different styles of humor from stand-up, to sketch, to physical theater will be explored. The political revue is a vital theatrical form, and students will have the opportunity to innovate within it.</p>
<p>· Created by Liz Swados</p>
<p>· La Mamas The Club</p>
<p>· December 9</p>
<p>OVID IN THE DARK (working title)</p>
<p>Project based on the aural experience of language and sound emphasizing voice and choral work integrated with sound design. The audience will listen – not watch.</p>
<p>· Directed by Jonathan Hart Makwaia, with sound supervision by Sten Severson</p>
<p>· Brooklyn Lyceum [News</a> — Brooklyn Lyceum](<a href=“http://brooklynlyceum.com/]News”>http://brooklynlyceum.com/)</p>
<p>· December 5</p>
<p>hotINK Festival</p>
<p>Continuing into its ninth year, hotINK is an annual, international festival of play readings that brings together playwrights from around the world with distinguished actors and directors from the New York theatre, as well as students, alumni and faculty from the Tisch School of the Arts.</p>
<p>· Festival Director, Catherine Coray</p>
<p>· Venues TBA</p>
<p>· January 23, 24, 25, 30 & 31</p>
<p>THE WHO’S TOMMY</p>
<p>First produced on Broadway in 1993, its thrilling score and MTV-style storytelling is viewed by many as the seminal musical that brought Broadway into the rock era. Peter Townshends tale of a young boys journey from pain to triumph originated as a recording and concert. This new take on TOMMY will be fully produced in a 300-seat theatre ideally suited for musicals with terrific acoustics and a full pit.</p>
<p>· Directed by Kent Gash</p>
<p>· Harry De Jur Playhouse at the Abrons Arts Center </p>
<pre><code>Henry Street Settlement: Abrons Arts Center And Harry De Jur Playhouse: 466 Grand Street
</code></pre>
<p>· February 4 13</p>
<p>SCENEFEST 2: Buried Treasure (working title)</p>
<p>Featuring scenes from plays by women playwrights, this fall project will explore material from the 17th century to contemporary writing - Aphra Ben to Suzan Lori Parks. All studios will be invited to contribute.</p>
<p>· Curated by Kay Matschullat </p>
<p>· Loewe Theatre</p>
<p>· February 21 March 6</p>
<p>FUENTEOVEJUNA by Lope de Vega </p>
<p>When Lope de Vega staged FUENTEOVEJUNA (The Sheep Well) in 1614, he meant his play, based on an actual event, to sound a warning. When does political power go over-the-top and become outrageous? Lope looked back to a turbulent period in 1476 to find the answer and created a classic with a modern message. In some parts of the world today, Fuente Ovejuna lo hizo (Fuente Ovejuna did it) has become a catchphrase for revolution against human rights abuse, as symbolic as a raised fist against a tank in Tiananmen Square. A fully mounted co-production with DucO in Chile, with Chilean acting students joining the company and a Chilean director. Plans call for performances in both Spanish and English with surtitles.</p>
<p>· Director TBA</p>
<p>· Burrows Theater</p>
<p>· April 8 17</p>
<p>BOOKS COOK! Theater for Young Audiences</p>
<p>Based upon selections from outstanding recently published children’s books, this project marks a first collaboration of a Drama Department production with the Atlantic Theater Companys Atlantic for Kids program. Students will enroll in a spring course with Liz Swados to create the theater piece that will then be presented on the Atlantics Linda Gross Stage.</p>
<p>· Created by Liz Swados</p>
<p>· Atlantic Theater Companys Linda Gross Stage</p>
<p>· March and April 2010</p>
<p>CABARET SERIES 3 & 4</p>
<p>Created from individual courses offered in the spring term taught by Sutton Foster and Nora York.</p>
<p>· Joes Pub</p>
<p>· Dates TBD</p>
<p>TECHNOLOGY PROJECT: Theater in Second Life</p>
<p>A theatrical production entirely produced and performed in a virtual world, such as Second Life, and witnessed in real time over the Internet. An opportunity for students to open up the realms of the Internet and worldwide performance space and collaborate interactively and internationally.</p>
<p>· Created by Ann Cudworth</p>
<p>· Virtual Reality Venue TBD</p>
<p>· Dates TBD</p>
<p>This range of work represents a marked shift in how we conceive productions. It engages communities beyond campus, reaches out to different age groups, embraces a global perspective and investigates the role of the new technologies in performance. Certainly these are endeavors I very much look forward to our realizing - they say a great deal about who were are and what the mission of the Department of Drama at the Tisch School of the Arts represents.</p>
<p>CHANGES IN EXTERNAL STUDIO AFFILIATIONS</p>
<p>As you may be aware, Dean Campbell recently announced that the contracts to provide external training with The Strasberg Institute and CAP 21 would not be renewed, therefore the entering fall 2009 class will be the last to begin training at these studios. This represents the end of long standing and productive relationships that have produced accomplished alumni. Since this information was made available we have been responding to questions from current and incoming CAP and Strasberg students. In the interest of open and consistent communication, I would like to share with all of you the answers to the most "frequently asked questions below. We continue to work with our colleagues in both studios on transition planning, and will update the students most directly impacted as new information becomes available. For next year, it is important to remember that nothing will change.</p>
<p>What led to the decision to create a new program housed in the Department of Drama?</p>
<p>During ongoing extended negotiations with the external studios, it eventually became clear that in the current economic environment Tisch could no longer sustain six external studios simultaneously. As you might be aware, musical theatre training is the most expensive of the programs to deliver. More importantly, perhaps, there was compelling evidence that there are resources within Tisch that enable the school to offer a superlative and distinctive music theatre and acting training program. This would bring our artistic community closer together organizationally and geographically, increasing the opportunity for cross department collaboration. This applies most directly and immediately to cooperation with the acclaimed Graduate Musical Theatre Writing program. These collaborative opportunities and reclaimed resources will permit an enhanced range of musical theatre educational support that will benefit all musical theatre students - those continuing at CAP21 and those eventually admitted to the New Studio On Broadway. These initiatives demonstrate our ongoing commitment to excellence in musical theatre training. Here are some specific examples of opportunities available to current CAP21 students that will begin as early as the fall of 2009. The official name is New Studio On Broadway: Music Theatre and Acting.</p>
<p>· THE WHO’S TOMMY</p>
<p>As noted in the season synopsis above, this production will be a fully resourced staging, directed by Kent Gash, Director of the New Studio On Broadway. It will be presented at the Henry Du Jour Playhouse at the Abrons Arts Center on the Lower East Side. Previous departmental productions have taken place either in the challenging Skirball Center or one of our own smaller venues. The Henry Du Jour Playhouse is a 300-seat venue with an orchestra pit, full flying capability, terrific acoustics, and a wonderful artist/audience relationship. Auditions will be held in September, and open to students across the Department.</p>
<p>· CABARET SERIES</p>
<p>We are creating a four event Cabaret Series with performance opportunities arising from course enrollment, except in the case of the NEW COMPOSERS cabaret that is not formally linked to a course. Participation and registration where applicable, will be determined by audition, so as to create an ensemble. Cabaret performances will be presented at professional off-site venues, such as Joe’s Pub and La Mama. Kent Gash and Liz Swados will each mount a fall cabaret; in the spring, Nora York and Broadway leading lady Sutton Foster will each teach courses culminating in cabaret performances.</p>
<p>· ADDITIONAL PRODUCTIONS</p>
<p>Two additional musical performance opportunities will be provided in each of the spring and fall terms for CAP students only. Even during this period of transition, there will be more performance opportunities than ever for Drama students studying music theatre, and/or committed to this art form.</p>
<p>Will CAP21 faculty remain the same?</p>
<p>All hiring decisions rest with CAP21. We have no reason to assume that core faculty will not continue.</p>
<p>What do I need to know about the new studio?</p>
<p>As the program to be offered at the New Studio On Broadway: Music Theatre and Acting comes on stream, we are committed to making opportunities such as master classes, special guests, etc., available to continuing CAP21 and Strasberg students, as relevant.</p>
<p>What are the advanced training options?</p>
<p>High quality, immersive advanced training in musical theatre and acting will be made available in the third and fourth year to all students currently enrolled in or entering the CAP21 and Strasberg programs in fall 2009. We are working to allow students to continue at CAP21 and Strasberg until the spring of 2012. Should that not be possible, we will ensure that advanced training options that build upon the training already received at CAP21 and Strasberg are made available to CAP21 and Strasberg students without an additional audition requirement.</p>
<p>What is the status of the CAP21 Fourth Year single semester professional practicum and showcase?</p>
<p>Again, our goal is to allow students to access this opportunity through spring 2012. Students entering CAP21 in the fall of 2009 will be offered career transition support as part of a new commitment to career development across the Drama Department. We are evaluating our course content, professional access and overall approach to this central area. We will ensure that access to key industry professionals continues to be made available.</p>
<p>When will more information be available?</p>
<p>As chair, I will send periodic bulletins to faculty and students throughout the summer. </p>
<p>ADVISEMENT & MENTORSHIP</p>
<p>Another project under way this summer is the full implementation of a revised advisement system. During the last year I’ve been conversing with students, staff and faculty about the advisement experience. It became apparent that consistent advisor assignments through the four years of training, and increased access to specialized advisors with in-depth knowledge of the overall curriculum and the rich resources and intricacies of the university would be viewed by all as significant positive change. Scott Loane, a long time member of the Drama staff, has been appointed Director of Student Services and is working to put in place a team of credentialed staff professionals who will serve as advisors to the Drama student body. Moving to a staff centered advisement system will make it possible for students to keep the same advisor through all four years of study. Advisors will be constantly engaged in an information feedback loop about the evolving curriculum and ways to take full advantage of university opportunities. There will be systematic communication between studio faculty and the advisor assigned to the complement of students in that studio. Staff advisors will be regularly available to meet with students during standard hours. This new administrator run advisement system will operate alongside a faculty mentorship program – currently under development – that will create opportunities for students to interact one-on-one and in small groups with faculty members, focusing on mutual areas of interest, thereby allowing students to deepen their education through contact with the remarkable expertise and scholarship of our faculty. I’ll be updating you on the mentorship program as it takes shape. Scott will be in touch with you later this summer about your advisor assignment. </p>
<p>Thanks for reading through this dense bulletin! Please feel free to drop me an email if you have further questions or comments. This first year in which it has been by privilege to serve as your Chair has been stimulating and rewarding. I trust all of this information will excite and engage you. We look forward to welcoming you back next fall. Meanwhile, be safe and well. </p>
<p>Elizabeth Bradley</p>