Theatre North Carolina

Non-Profit Theaters and Profits

We wanted to make sure you saw this article in the New York Times about non-profit theaters enjoying "profits". We might call it a surplus, but semantics aside, what do you take away from this article?

Nonprofit Companies Enjoying, Well, Profits

While money is tight these days for nonprofit theaters nationwide — with Intiman Theater in Seattle becoming the latest to face closing, amid heavy debts — New York’s major nonprofits are financially stable by comparison, their leaders say. But they are becoming more aggressive about producing work that can sell tickets, as a hedge against the unpredictability of private donations and subscription renewals.

 

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Merry Christmas from Shakespeare

From McSweeney's - Letters to Santa Written by Shakespeare Characters.

Dear Santa,

The trifles you brought me last year meant absolutely nothing. What’s the point of gifts when everything is falling to shit all around you? Why didn’t you steal the family account information I left out for you last year? That would have meant something.

Do you ever feel like everything is just a big conspiracy? Do you ever want to hurl yourself out of your sled and fall down, down, down onto the cold hard street below?

Look out for the slings and arrows.

— Hamlet

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Hail, Santa, King of the Elves!

Many thanks for the male-enhancement products you brought me last year. But as my wife has since forsworn me, I will not be needing them again. Hence, I devote this year’s list to her Christmas wishes. She demands the following items:

— A gift certificate for LATTICE eyelash treatment

— A Wonderbra (size: 36D; color: Midnight Animal)

— Arctic-raised Reindeer Pâté

— “Buns of Steel” DVD

— Dolce & Gabbana Bling Sunglasses

— One ticket to Barack Obama’s 2010 New Year’s Day Brunch [or another exclusive political event]

Santa, may I be frank? My Lady says that if she does not receive all of these anon, she will fly into a murderous rage. Just thought you should know.

— Macbeth

P.S. If you find a posset of cocoa labeled “For Santa,” do not drink it.

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Dear Santa, sweet, sweet Santa:

This Christmas, we wish for nothing more than peace, love, and understanding (LOL). We pray that you will fly like a nimble-pinioned dove to bring our parents copies of Chicken Soup for the Vengeful Soul. And perchance a little Valium for Lady Capulet?

Should Time slow her swift-footed pace, and night’s cloak agree to hide you, do you think maybe you could bring us some stuff too?

— Taylor Swift’s “Love Story” video and poster.

— DVD of The Secret Life of the American Teenager (Season 3)

— Quick-Escape Portable Ladder

— Motorola IMfree Personal Instant Messenger

— Plethysmograph Pulse Recognition Processor

xoxoxoxoxo,
Romeo and Juliet

 

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Visualizing Opera

Check out these designs for La Bohème byTony Lee, Jr. What do you think? Will they attract a younger audience?

Here's what Mr. Lee has to say.

A self-defined senior project developing a system of visual identities for Giacomo Puccini's operas La Bohème, Tosca, and Madama Butterfly. The goal was to visualize these operas in a way that would begin to attract a new, younger audience, without alienating Puccini's already loyal following.

Each opera features a series of posters with a key quote from each act of the libretto, plus a signature title poster. As a set, the posters are meant to build upon each other sequentially as a kind of campaign, while the title poster can then be applied to other formats and mediums.

I also created a hardcover book for each opera's libretto meant for both first-time and committed opera listeners. Each book provides a detailed synopsis by act and character lists, as well as the original Italian with corresponding English translations. I typeset each book so that listeners can follow along line by line, and keep up with the dialogue without having to know any Italian. Each book was perfect-bound by hand.

Auditions for ACROSS THE HOLY TELL at Burning Coal Theatre Company

Burning Coal Theatre Company will hold an audition on Saturday, January 14, 2012 from 3 to 5 pm at the Murphey School, 224 Polk Street, Raleigh, for a staged reading of June Guralnick’s Across the Holy Tell, directed by Jonathan McCarter. Actors interested in auditioning should email coalartisticdir@ncrrbiz.com to obtain an audition slot and a copy of ‘sides’. Actors should bring two copies of their picture resume, if available. Please determine in advance what part you would like to be considered for.

CHRISTINE: American soldier (Caucasian), late 20s/early 30s. Devout Catholic raised in New York. Her father (a fireman) killed in 9-11. Married to Joe with one daughter, Mary.
JOE: Christine's husband (Caucasian) in his early 30s. Loves motorcycles, video games, and his mother in that order. Works for ATF as a computer specialist.
MARY: Christine and Joe's 11-year old autistic daughter (casting age range 11 to 15). Although limited in language skills, Mary has extraordinary artistic skills.
MONA: Iraqi botanist in her 30s from a distinguished Baghdad family. She works part-time as a translator for a peace-keeping group and has one daughter, Yazmin.
YAZMIN: Mona’s 13-year old deaf daughter (casting age range 12-17 years old). Yazmin has an effervescent personality and loves to blog.
CHORUS: Four men and two women, age range 18-45. In the first act they are soldiers, children and a teacher and in Act II, they are pilgrims, children, a teacher, and Osama bin Laden.

Native New Yorker June Guralnick is the author of 11 full-length plays and various other fiction and non-fiction works. Her plays have been performed at venues including the Kennedy Center (Washington, D.C.), New Federal Theatre (NYC), Southern Appalachian Repertory Theatre (NC), and the North Carolina Museum of Art. Past positions include National Endowment for the Arts Theatre Administration Fellows, Executive Director of the City of Raleigh Arts Commission and Theatre Arts Director of the North Carolina Arts Council. Most recently, June was appointed Director of the Theatre Arts Program at Guilford Technical Community College. Awards and grants include the Silver Medal-Pinter Drama Review Prize, North Carolina Arts Council Literature Fellowship, Southern Appalachian Repertory Theatre New Plays Winner, United Arts Council of Wake County Artist Grant, Mid-Atlantic Arts Foundation: America Creates for the Millenium Finalist, Hughlene Bostian Frank Visiting Writer at Appalachian State University, Tennessee Williams Scholar at the University of the South Sewanee Writers’ Conference, and Tar Heel of the Week (by the News & Observer). She is a member of the Dramatists' Guild of America and the Playwrights Center (Minneapolis).

Jonathan McCarter has worked in the theatrical field as an actor, director, playwright, stage manager, set, light and sound designer, producer, instructor and arts administrator. Until August of 2011, he was the Artistic Director of Jonesborough Repertory Theatre. Prior to that he was Director of Education and Outreach for Opera Memphis. In 2004, he received his BFA, in Performance Theatre, from University of Memphis. Jonathan currently is Call Center Manager, for North Carolina Theatre, and is assistant directing Jude the Obscure Parts I & II, at Burning Coal.

Auditions for OTHELLO at Cape Fear Regional Theater

Auditions for OTHELLO at Cape Fear Regional Theater

Date & Time: Sunday, Jan. 2 & Monday, Jan. 3

5:30-6:30 by appointment only 6:30-8:00 open auditions

All actors (Equity and non-equity) who wish to schedule an audition should contact Nicki Hart, CFRT Company Manager, at 910.323.4234 or nickim.hart@gmail.com.

Location: CFRT, 1209 Hay Street, Fayetteville, NC

Rehearsals: Rehearsals are scheduled to begin January 30.

Performances: Performances are scheduled for March 1-4 at FSU’s Seabrook Auditorium. There will be daytimeperformances for school children on March 1 & 2 at 9:30 a.m.

Who:

Adults (Ages 17 & Up). We are looking to build a versatile, racially and ethnically diverse cast. All ethnicities will be considered for the roles of Iago, Emilia, Bianca and Montano. African-American and Arab-American actors will be considered for Othello. This production will be in modern dress.

Audition Requirements:

1-2 minute monologues are appreciated but not required. Auditionees should be prepared to read from audition sides which may be found at www.cfrt.org/auditions.php.

All roles available at this time include:

Othello: Plays late 20’s to late 50’s. Role requires significant experience with classical text. Othello is the highly respected general of the armies of Venice, although he is not a native of Venice but rather a Moor. He is an eloquent and powerful figure, respected by all those around him. In spite of his elevated status, Othello is easy prey to insecurities because of his age, his life as a soldier, and his self-consciousness about being a racial and cultural outsider.

Desdemona: 20’s-30’s. Desdemona and Othello are secretly married before the play begins. Desdemona is determined and self-possessed. She is equally capable of defending her marriage, jesting bawdily with Iago, and responding with dignity to Othello’s incomprehensible jealousy.

Iago: late 20’s-40. Othello’s ensign, a military veteran from Venice. Iago is the villain of the play. Obsessive, relentless,bold, and ingenious in his efforts to manipulate and deceive the other characters— particularly Othello.

Michael Cassio: 20’s-30’s. Othello’s second-in-command. Cassio is highly educated but young and inexperienced in battle. Truly devoted to Othello, Cassio is ashamed after being implicated in a drunken brawl on Cyprus and losing his place as lieutenant. Iago uses Cassio’s youth, good looks, and flirtatious manner with women to play on Othello’s insecurities about Desdemona’s fidelity.

Emilia: 20’s-40’s. Iago’s wife and Desdemona’s attendant. A cynical, worldly woman, Emilia is deeply attached to her mistress.

Roderigo: 20’s-30’s.A jealous suitor of Desdemona. Young, rich, and foolish.

Bianca: 20’s-30’s.A courtesan, or prostitute, in Cyprus. Bianca’s favorite customer is Cassio, who teases her with promises of marriage but laughs at her behind her back.

Brabantio: 40’s-60’s.Desdemona’s father, a somewhat blustering and self -important Venetian senator.

Duke of Venice: 30’s-60’s, male or female.The official authority in Venice, the duke has great respect for Othello as a public and military servant.

Montano: The governor of Cyprus before Othello.

Lodovico: One of Brabantio’s kinsmen, Lodovico acts as a messenger from Venice to Cyprus.

Graziano: Brabantio’s kinsman who accompanies Lodovico to Cyprus.

A perusal script is available in the Business Office from 9-4 M-F.

Full text of the play is available here: http://shakespeare.mit.edu/othello/

The CFRT cutting of the play will not be available until rehearsals begin.

All are welcome! No experience with Cape Fear Regional Theatre is required. Upon arrival you will be asked to fill out an audition card including contact information, theatre experience, and all January-March conflicts. Audition cards are also available online at www.cfrt.org/auditions.php. Headshots and resumes are welcome, but not required. For more information contact CFRT at 910-323-4234.

2012 Dates Announced

More member events may be added, but be sure to mark your calendar now for these upcoming events:

Middle School Play Festival - Saturday, March 17 at Kings Mountain High School (Kings Mtn.) and Pinecrest High School (Southern Pines)

Producing Theatre Gathering - July 22-24 at PlayMakers Repertory Company in Chapel Hill

High School Play Festival - Regional festivals: October 26/27 and November 2/3  at 8 locations across the state (TBA). State festival: November 15/16 at Greensboro College

SETC Screening Auditions - November 15 and 16 at Greensboro College

College Discovery Day - November 17 at Greensboro College

2011 NCTC Awards

2011 NCTC Awards  

Each year, the Board of Directors presents the NCTC Awards to companies, schools, and individuals that have exhibited leadership roles in their community, as well as artistic, professional, or educational excellence. We are proud to announce the 2011 NCTC Award Recipients! 

 

Marian A. Smith Distinguished Career Award

Mary Regan (North Carolina Arts Council) 

 

Herman A. Middleton Distinguished Service Award

Catherine Rodgers (Meredith College) 

 

College/University Award

High Point University  

 

Community Theatre Award

Davidson Community Players 

 

Constance Welsh Theatre for Youth Award

North Carolina Theatre for Young People at UNC-Greensboro

George A. Parides Professional Theatre Award

Triad Stage

Theatre Arts Educator Award

Trimella Chaney (retired from Watauga High School)   

 

Congratulations to all of the award recipients!

How to Increase Donations

A newly released report by two scholars at Indiana University, Adrian Sargeant and Jen Shang, suggest ways to increase charitable donations. The Chronical of Philanthropy has the details.

Find the full report here.

Some ideas from the report as reported by The Chronical of Philanthropy:

 

 

Other ideas from the report:

* Encourage charities to develop productive ways to handle complaints from donors, which would reduce negative word of mouth, build trust, and provide ideas to improve fund-raising operations. Charities could take a lesson from the business world, the authors write, where “complaining customers are the firm’s biggest asset.”

* Place more fund raisers on nonprofit boards so they can educate fellow trustees about the best ways to raise money.

* Persuade fund raisers to stop talking to donors about annual funds, capital campaigns, endowment drives, and other such insider approaches and instead urge them to focus on what their money will accomplish.

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Ticket Transparency?

How transparent are your ticketing policies? Will actions in New York City affect the entire field? TicketNews has the details.

The Consumer Affairs Committee of the New York City Council has begun studying the lack of transparency in ticket sales for many of the events in the city.

[On] October 28 the committee held the first of what could be a couple of hearings on the matter as it relates to a proposal for venues in the city to reserve at least 15 percent of tickets at the box office for individuals to buy in person. Such sales also would be limited to four tickets per person.

"Greater transparency in the ticket marketplace will allow consumers to know just how many tickets are out there for a particular event and may even shame artists into adopting business practices that don't stick it to the very people supporting their livelihoods," said councilmember Dan Garodnick, chairman of the Consumer Affairs Committee, in the statement.

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Getting In On The Participatory Act

Do you know about the Audience Involvement Spectrum: curatorial engagement; interpretive engagement; or inventive engagement?

Take a look at this facinating new report - "Getting In On the Act: How Arts Groups are Creating Opportunities for Active Participation"

Understanding Participatory Arts Practices

Arts participation is being redefined as people increasingly choose to engage with art in new, more active and expressive ways. This compelling trend carries profound implications, and fresh opportunities, for a nonprofit arts sector exploring how to adapt to demographic and technological changes.

Getting In On the Act: How Arts Groups are Creating Opportunities for Active Participation is a new study commissioned by The James Irvine Foundation and conducted by WolfBrown. It draws insights from more than 100 nonprofit arts groups and other experts in the U.S., U.K. and Australia. The report presents a new model for understanding levels of arts engagement as well as case studies of participatory arts in practice. It also addresses many of the concerns that arts organizations may have in supporting participatory arts practices and provides inspiration and ideas for exploring this growing trend.

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