Tag Archives: Shakespeare

NOTES – STA Business Meeting

STA Business Meeting

Saturday, March 3, 2012, 2:50am-4:00pm

Patrick Spottiswoode reviewed the accomplishments of STA for the last year:

  • New logo
  • Paypal
  • Increased membership, increased dues, perfected dues structure
  • Updated website making it more user friendly
  • Beautiful quarto
  • New host for next year, Pennsylvania
  • Successful teaching collaborative workshop at UC Davis: Shakespeare works when Shakespeare plays
  • Expanded pre-conference
  • Successful Conference here in Orlando


Treasurer Report

  • Refer to financial report
  • This year there is a surplus of $12,000, acquiring the NEA Grant of $10,000, $6100 spent in previous fiscal year.
  • Ended in black in last year’s financial.
  • Pay Pal Instituted.
  • Paid for three quartos this year.
  • Robust membership, presently 109 members, 27 associates.
  • Present budget balance of $42,600
  • This reflects cash reserves of $35000
  • (refer to 2012 budget.)
  • The only surprises on the budget sheet are the new dues structure, money is currently set aside for GM position.
  • If we were to hire GM we would have funds for the new hire in the Fall.
  • Question: If the executive decided to go to online quarto when would it go into effect?
  • Fall
  • Why are the dues reflected in two years? Answered in previous session. Dues collection is started at the end of the present year.
  • Patrick: one of the aims was to increase international members. Accomplished.

The conference in 2014:

  • Stratford Festival has offered. We are very grateful
  • Lesley Malin: Motion to approve Stratford Festival as hosts for 2014 conference.
  • Seconded. Voted on. Motion Passes.
  • Representative from Stratford will be on the Executive committee.
  • Representatives from each of the focus groups include:
  • Management: Casey
  • Education: Rebecca
  • Artistic: Lisa
  • Recommendation from the artistic committee: Increasing the committee up to nine. Because of the changes that have introduced this year, this recommendation will be tabled until next year.

Appointment of a working committee for 2016 Celebration. Representatives include:

  • Education: Michael Lominico, Kristin Clippard,
  • Management: Suzanne Dean, Nikki Allen
  • Artistic: Ralph Cohen, Phillip Sneed with assistance from Becky Kemper and Dawn


Approval of Executive officers including:

  • Patrick Spottiswoode, President
  • Jeff Watkins, VP
  • Michael Bahr, Secretary
  • Treasurer, Casey Gallagher
  • At Large Member Rep from Stratford
  • At large Member Sarah Enloe
  • At large member Patrick Mulcahey
  • Moved and seconded
  • Motion passes.


The executive presented two items of the Operational plan for discussion: Quarto and membership dues. Reports from focus groups:


  • Education Committee report: No problems with the dues being raised.
  • Quarto on-line is great, we like the idea of it being printable. The website will give us more opportunities, would encourage exploring possibilities to administer it like a wiki where people could contribute.
  • Inclusivity was the other big topic, would like our staff and actors reflecting our audiences. If we diversify our staffs they will diversify the audience.
  • Must focus on Economic diversity, gender.
  • Talked about overcoming the bias of sports and athletics. They could also be our partners
  • We would like to have a quarterly on-line discussion between each other. We are going to be doing other UC Davis modeled meetings. Webinars.
  • Really liked the idea of a reading and incorporating the ideas found in the new book “Counting New Beans” presented by Christh Dickinson, of Arts Midswest.
  • Management Committee Report: The Management committee felt that the dues were fine and could be increased for larger organization and bear a larger burden. Regarding quarto: Felt unanimously that it should go on-line. This way it can be forwarded to the board and archiving to libraries. SUU would continue to support they would still want to be a part of it. Prefer to have a quarterly schedule. Shorter in format, useful tool for the website. Making the quartos searchable by key words.


  • Question from the management committee included: How does the general manager position going to be fulfilled, Health insurance, how selected , how we would find partner organizations?
  • Management is exploring management in a pre-conference. Add activities on Wednesday arrival to expand opportunities to learn and network.


  • Artistic Committee report: We had concerns about taking quarto on-line. Perhaps it could be phased in order verify that this will work. Spoke to Jim Volz. Quarto copies are sent to us and for advocacy purposes. 1100 that go out to us, 900 go out for advocacy purposes, to NEA, to members. If it came in an email it is so easy to delete. Artistic director would be willing to pay for a few copies. Check with advocacy groups before we commit to the choice. Many of the relationships and places Jim sends the quarto are places he has built relationships with. Then Lisa listed many theatre organizations that receive the Quarto including: TCG, American Theatre Critic, NEA. Etc. We need it for Advocacy and recruitment purposes.


  • Christy Dickinson of Arts Midwest commented if you are sending it generally to the NEA, no one is reading it. You need to target to the right person. Send electronically, that is the way the world is going.
  • Clark Nicholson, Harrisburg, Shakespeare: We use the Quarto. It goes to our board meeting, is on our counter, table, in our bathrooms. It is good to have a physical publication that shows that we are part of a greater whole. We will lose something if we lose that tangible thing.
  • Lesley: The money is presently used for quarto would allow greater reach if used on the web. It allows us to expand our web.
  • Lisa: Postage is the major cost.
  • Patrick: Could we download and print color cover page.
  • Could we do a survey that would poll specifically about the use of Quarto?
  • Dawn: While asking about Quarto on the previous survey she will do a more specific survey on Quarto.
  • Within the focus groups Education and Management were for moving Quarto to an electronic format. In Artistic the vote was 19 for paper and electronic, and 11 for a web issue.
  • Patrick: Observation that management and education in favor while most of those that hold the one vote for the organization are in the artistic committee. He asked for another vote of the organizations regarding Quarto.
  • On-line: 22
  • Paper and online 16
  • Dawn will send out a survey. She had 40 groups that responded. She asked that all groups respond.
  • Tina Packer shared that the reason artistic wants quarto is because quarto is useful to artistic, Its not useful to the others in the present format.


  • Artistic group report continued: 2016 ideas. Some included: 1,000 Hamlets, youtube productions, actors from STA orgs present, all board member act production, produced the entire canon world wide, commission standard set of study guides, Shakespeare Flash mob, Shakespeare Karaoke, combine with Opera and Ballet. Artistic would like to reinvigorate the conversation for Shakespeare Equity contracts. Ideas for future conference topics include: Focus groups within sizes, research on vocal coaches, aha moments as themed lunch topics, move warm-ups to after lunch, Inclusion. Would like the planning to happen so that art sessions are not on top of each other. Always impossible so that Art sessions are not on top of each other.


Operational plan and vote

  • Lesley: acknowledge Dawn McAndrews work the survey, yeoman’s work. Thank her for her clarity and sense of purpose.
  • Vote on the plan with two amendments
  • Alteration to the existing plan
  • The dues schedule would be adjusted within the operational plan to include: groups over 5 million being charged $550.
  • Operational plan changes (all changes were based on discussion):
  • Pg. 9 Member Dues
  1. 1. US $ 5 million and up Dues: $550

2. US $1.5 million – $4,999,999 Dues US. $450

b. add to end “or granting a membership fee waiver.”


  • Membership Benefits
  • Strike a and b from the plan.
  • Pg. 17 General Manager Description
    • Compensation:
  • (Pending determination of FTE or PTE/Contractor)
  • Strike bullet 4 (no other benefits)


  • We will hold on Quarto, we will review that based on results of the survey.
  • Jim moves accept operational plan
  • Seconded
  • Discussion which included:
    • Question: Peter Scribner proposed that the increase in fee rate might discourage future STA groups, Offer a teaser with a cheaper rate to encourage.
    • Executive had previously discussed this suggestion. and did not feel was necessary
    • Lisa: ex can still offer scholarship to groups.
    • Question. The GM position has the language “No other benefits.” Member felt that she “Can’t in good conscience vote on a position without benefits, don’t think we should have them eliminated initially. “ Page 17 Refer to operational plan
  • Discussion ensued on benefits
    • The executive committee did want to see it as a benefitted position. If it is a part-time position then benefits would not be required. Will be explored by committee but we will strike the offending line on page 17 (as listed above.)
    • Dawn and Jeff will be on the search committee.
    • Dawn: recommend amendment: Pending determination of full-time employee or contract. (listed above)
  • Page 9 process of reinstating a membership waiver.
  • Lesley: Motion to strike membership benefits
  • Re-instating a membership waiver
  • Page 17 pending determination of part-time employee or contract. And striking “benefits”
  • Seconded,
  • Carries.
  • Ralph Cohen moved to pass the motion, as articulated above including changes on page 9 and 17,
  • Seconded
  • Carries.
  • We will have a committee discussing compensation and research chaired by Jeff Watkins and Dawn McAndrews.


New Business or Any Other Business

  • Recommendation for next year, identify which members are leaving early so we don’t over spend on food expenses.
  • Status of the banquet. Is the banquet a key element of the conference?
    • Cost of banquet is approximately $75.
    • Robert Barr: That is a standard price. It is usually half of the registration cost for the banquet. Jim Helsinger: cost of the Banquet for 2012 is: 6,167
    • A closing event is necessary.
    • Ralph: It’s the food that is the chief cost.
    • Gathering is important but it doesn’t have to be formal dining.
  • Christy Dickensen: have people choose what lunches they want. It helps to give out tickets.
  • Suggestion offered, could individuals choose whether they go to banquet or introduce a separate fee.
    • Pat: We don’t want a two-tier party.
    • Dawn: How about a pig roast
    • Lisa: less formality and still celebrate.
    • Its ok to go for a cheaper option.
  • Patrick: Thank you to Lesley Malin for all the help.
  • Thanks to Jim and Pat, the organizational flair, online, recording box office. Thanks to the staff. Thanks for all the volunteers who have made us welcome, a board that has made us welcome, crew, and actors, technical. PJ and AJ. Thanks to Jay for facilitation of the blog. Great to have the on-line presence. Caters. Thanks to our international members. The whole world has been represented. Its been a joy. I hope we get more international members. Sensed an incredible spirit of collaboration. Thanks to all our speakers and moderators.
  • Lesley: thanks to Patrick Spottiswoode.
  • Closure!
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NOTES – Focus Group Meeting 2 on STA Strategic Plan: Education

Focus Group Meeting 2 on STA Strategic Plan: Education

Chair: Rebecca Ennals
Saturday, March 3, 2012 10:00am-11:10am


  • Virtual Festival vs. a physical festival
  • Technology in 2016 is going to be different. As long as we are thinking about a collaborative initiative.
  • FLASH MOB of the balcony scene (Folger Theater)
    • Not just one day but the entire year (Balcony on feb. 14)
    • Guinness book of world records (Balcony Scene)

Would it be interesting to have an Ian Mckellan as Romeo?

Around the world. Using iconic days in Shakespeare’s life

Online celebration that culminates in a big event

The artistic committee is pushing for in person

39 times zones/ 39 plays (reading online)

Make it as interactive as possible. (Shakespeare in the round, creates interdependency)

BARDATHON Alaska shakes

  • Lines, scenes all virtual
  • Allows for community involvement

Time zones is like passing the Olympic torch (globe)

  • You can have stations.
  • Virtual map of what’s going on where

Virtually Connected, Globally Focused

“ALL THE WORLDS A STAGE” possible title

We are invited to nominate a working committee:

  • Kristen Clippard


  • Composition and engagement with education and training?
  • SF Shakespeare just eliminated the education board committee
  • Who does have an education committee?
    • Colorado Shakes does
    • Stratford does

They have not been the most helpful. Create more work and they don’t actively advocate to the larger board.

We look at the skill sets of board members before they place them in a committee. When new board members come on board. How they can engage with the organization. Otherwise I find they don’t read the education report. Find a hook and then they will invest. If they don’t come to an education activity then they shouldn’t be on the board. (The Globe)

San Francisco Shakespeare

  • Almost entirely an educational program
  • Board members have joined because of children’s involvement within the program. Finding which parents are willing to invest as a board member
    • Everybody is busy, but you need to create peer pressure within the board.
    • Once they see what you are doing they become invested and are invested.
    • Make it peer to peer

Seattle Shakespeare

  • Exists because of board member involvement whose children went through the programs
  • Make it a part of the ritual in joining the board


Youth advisory board

  • Must have gone through the education programs
  • The students are active. They get a full board member vote
  • They are the vocal part of the whole youth board
  • Really strict age bracket

Education is very program generated. So many times board members have many ideas, but little desire to execute it themselves.

Make sure the bright shiny objects (new ideas) align with the mission statements

The final decision rest with a staff member

Look at parents of children in camps! Look at someone who is active already

  • Get someone politically involved in the local group
  • Someone who shares the theaters values

San Francisco Shakespeare

You think you are asking, but you are being too subtle. (JUST SAY: will you go drink coffee with so-and-so?)

  • You build a board through communities. Have them get you engrafted into the community. Use the board or they will begin to use you.

Harper: board techniques

  • In the board training it is about getting the board active. They must name 3 organizations they will go to. What people/ organizations the board wanted to hit without looking like the hard sell. Give them advocacy tools and expectations.
  • Create clear expectations
  • Don’t be worried about issuing too many email blasts. If they don’t want to read it, they won’t. If they unsubscribe then you can see that.

Vocabulary training for the board members. Be careful to train the board. Make sure they understand the words internally within the company. Staff appreciation.

If you have an opening night its like your birthday. It should be a well-crafted celebration.

What we do during board orientation: Give a one-page fact sheet. So they understand the relations/ key terms in all the programs.

  • Sponsors and board members can lead you to mentors
    • Instead of asking for a job, ask for advice.


  • Economically/ gender/ relationally
  • Folger: We have a problem with public schools coming to our training
    • Any urban area advice?
  • Richmond: 90% black. Only two of the government schools attended.
    • Get the superintendent involved in the schools. Giving curtain speeches. (NEVADA CITY)
  • San Francisco Shakespeare
    • Community is diverse, the staff is not.
    • Does anyone have a diverse board?
      • No one
      • That is an issue within the STA organization
      • NPR inner city basketball coach
      • Richmond even if I have another teaching artist, racial diversity still doesn’t happen.
      • The Guthrie set up interaction with a local football team. Having workshops with the football players.
      • Tackling Shakespeare (Globe) looking at art v. sport and the cross-pollination of both ideas. Teamwork, ensemble, competition, etc.
      • We are working in authentic environments, performance based. We are sharing common denominators.
        • Authentic environments with honest engagements.
        • Let makes healthy, active human beings (both sports and theater)

If I am going to expect my audience to be diverse the cast and staff must reflect that!

Former military people are another group to recruit. That is where our last touring ethnic performers came out of.

Adopt a school for one year.

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NOTES – Breakouts by Budget Size: $150k – $499k

Breakouts by Budget Size: $150k – $499k

Moderator: Clark Nicholson – Harrisburg Shakespeare Company
Saturday, March 3, 2012, 2:50am-4:00pm

Resources Mentioned: websites: http://Theatrebayarea.org/; Creativeclass.com; http://www.artsaction.com/ (arts action resource)

Session Summary: A group discussion of successes and challenges facing Shakespeare theaters that are in the same budget size. What are the ramifications of your organizational and executive leadership structure? What are your artistic and budgetary struggles and triumphs?


How do you tell your board having an 8 thousand dollar cushion doesn’t do it?
Music gets endowments. Shakespeare in the title helps.
The goal may be to stay at this level and building a 100k dollar cash reserve.
Keep the reserve in the project budget to help make day to day decisions.
Where do we find the money for an endowment.
Can’t push endowments when you have to make payroll.
Should this budget size have an endowment?
Building a skyscraper on a raft.
We have always been in the black but the city hasn’t and that’s the storm that’s coming.

Harrisburg did 27 shows last year on this budget.
Start the company with a much larger base.
As a community institution we can’t be just getting by.
A big problem is Branding. Non specific focus on programming. Indoor non shakespeare and outdoor shakespeare. Owns 2 DBA’s

2 separate entities. Children’s theatre, Shakespeare theatre. Combined into one board.

Is it the goal to be in the next budget size up? How do you do that?

Next level up means more staff positions instead of production Quality.
What is the earned vs. contributed income balance?
Balance vs. Fiscal growth.
Earned percentage.- 68%-70%-63%- 3 companies below 50%
65% is industry standard.
Corporate sponsors want something in return.

Oversees- under the stars in italy.
Approx 200k financial needs a year
1/3 private sponsor 1/3 from public sector 1/3 tickets
we must strive to be independent of sponsors and and given income
Competition between the theaters has gone down. Forming a theatre alliance helps keep all of us alive.
become a member of the chamber of commerce.

If you have ever been in the red, How do you keep yourself from going down the spiral of cutting even more and more? One idea is intervention from the Board.

An option is much like penn shakespeare or OST to get assistants from a university or Educational institution.

Make sure that everyone that works for us understands the situation we are in all the time.

Do we like to stay small enough to do this. ^

When can I stop doing 80 hour weeks.

Theatrebayarea.org How do we say what we do as artists is valuable to a community
what is the intrinsic value of the arts. We change this many lives. A study on human impact in our communities.

Questionnaire for audience member.

How many are on boards been on boards and how many are founders?

Would you want to step off?

Stepping off may destroy the organization.

Creative class
arts action resource.

When building boards are member reluctant because they used to be members of other boards of other theatre organizations?
Take every no as a not yet.

One thing we should understand is the geography to help us get into the next room. Changing geography if it doesn’t work. What radius can I get to that I can bring people with me audience board members.

Arts organizations are good leaders for the board.
Go to the lunch with the director of United way in your area.

NOTES – Focus Group Meeting 2 on STA Strategic Plan: Management

Focus Group Meeting 2 on STA Strategic Plan: Management

Chair: Lesley Malin
Sat., March 3, 2012 10:00am-11:10am

SUMMARY: Board composition and relations are crucial issues to monitor. We need to get new people involved while keeping valuable assets and to come up with ways to get board members excited about what they/we do.


Malin: Anything further about operational plan?


Today’s major topic is Board Composition.

At Chesapeake Shakes, we just created a board mission.

Very important that they are part of the community, to engage with each other and company members.

We ask our board to be innovators.

Our board is relatively young, under 10 years, so we ask for a personally significant donation among their top 3 yearly contributions.

We ask them to:

Treat each other with respect and dignity.

Approach company members with a good sense of humor.

We offer them:

Opportunity to step away from your day-to-day life, and engage in the arts.

Opportunity to come to the STA conference.

Anybody have anything about how they encourage their boards?

PSF: At Pennsylvania, board meetings had been mostly business until the last few years. We recently added a specific topic of discussion (e.g., the film Anonymous , casting process at PSF, design process). What do other people do that ’ s not just the business side?

APT: We give people opportunity to be social with our company and each other, so when something comes up they aren’t talking to strangers.

We had a demonstration with a vocal coach and actor; they were completely absorbed.

We did a complete facility tour to show first-hand maintenance issues, etc.

Member: We use a retreat with an artistic vision, taking board members away to an unfamiliar location; opportunity for board to contribute to and understand company

PSF: Do you present your seasons as a complete package? Do you encourage discussion about it?

Bard on the Beach: We have business and academic professionals on board. Members have a place to ask, “ What if we did this or that? ” with artistic director.

How many people have board approve season? * 4 hands raised *

The real key is them approving the budget for the season.

Stratford: Education is very big in their minds. Something they want is to appeal to schools. There’s a wish to see an artistically balanced and economically viable season.

Member: There ’ s a fine line between asking for permission and asking for participation. Focus group is audience members and board members. Focus group has been very helpful to test ideas on them.

Lacek, Orlando Shakes: We have a harder time selling the Board on non-Shakespeare works in our season. New works, controversial material, etc.

We do an artistic interlude during each board meeting that they love; taking them into the theater to show them how something works.

PSF: We had a half-hour block to explain our jobs and tour the building. The tours have been the single biggest hit with them. I’ve toured half of our members.

They were excited that they knew something that the audience didn’t know.

Toby, San Fran Shakes: We do an exercise with every agenda at the meetings to show what our education programs are doing.

Member: We had a board chair that didn’t understand how educational programs were important, so we took him with us to some of our teaching events. He ended up weeping at the positive impact and all his skepticism became huge support for theatre education.

Shakes & Co.: I love having members go with us to schools, etc., but it’s a little tough for us because we’re so dispersed.

Outdoor Drama: It’s important to decide what you want your board to do. Too much it’s the goal to keep them quiet or entertained. Boards and staffs have marginalized boards and created them unintentionally to be micro-managers.

Malin: It’s so difficult to give them enough information to educate themselves in the midst of their busy lives.

Outdoor Drama: The focus group of 5-6 people is very telling. Small groups are easier to make a positive influence on.

APT: Trust is important between board and staff. There’s this underpinning of trust that’s

** A Board Member **: It’s been perverted from what a board was years ago. A board use to run an organization. Now they retain the liability according to law, but our organizations have become to complicated to manage business routinely. We as board members therefore delegate to people they trust. We have to trust you. You have to trust boards when you need to run something by them.

STA Member: How do you become engaged as a board member?

** Board Member**: Generically, you have board members on the board for all sorts of reason: artistic fun, civic duty, a whole mix. You have to give the board member an opportunity a way to be involved in a fun way. Your board members are volunteers, so they have to be getting something out of it. I love to talk and love to give advice, so I love when organizations ask me. I love going to the theatre and having a good time, but some of Shakespeare’s subtlety will be lost on me. Each board member will have a different reason for being involved.

Utah Shakes: Nominations committee is one of the most important entities. They find out the individuals ’ interest and building the board. They are too often over looked in the business.

Hancock, Shakes & Co (Board Member): Nothing’s better than to help a theatre than with the skills you have, it’s very gratifying.

Bard on the beach: There should be a board development committee to check in with members: what are you getting out of this, what do you want out of this, etc?

Lacek: What are term limits?

PSF: Our longest is 9 years. You can come back on after a year off after that.

Malin: Term limits are renewable because you don’t want to lose your best or keep your worst.

Does anything have anything to offer on filling empty roles in the board?

Nashville: There’s a faction of our board that wants to keep Southern names of things, etc., but there are Yankees in board who want to change things because the makeup of the city is changing. The city has changed drastically in 10 years.

Malin: A Board matrix is a list of essentially categories you desire in a board member: areas of expertise, humor, community ties, financial stability, etc.

Outdoor Drama: The trouble with our board is we only put people on board that other people on board knew.

STA Member: There are people who have been around forever, but there are a majority of new members who don ’ t show up because they feel that most of the decisions are made by the executive committee.

What I ’ d like to do is limit members to one committee.

APT: We don’t have a board matrix, but our version of that is three tests:

  • Collegiality
  • Capacity
  • Fans of APT
  • Passionate about APT

** Board Member**: That problem of executive committee eating the authority of the board is a very common problem. No easy answers because executives meet prior to board meetings to make the important decisions. Other members feel they just write checks and give rubber stamp of approval.

APT: Our board wants to keep small and not have an executive committee, and they don’t.

Outdoor Drama: I think it’s key to have dispersed governance so that, e.g, facilities committee has already done all the work on the issue before they bring it to the board and executive committee.

*** Never go to a board meeting where you don ’ t know the answer before you ask the question ***

Utah Shakes: Term limits are absolutely essential. You need to make your board that way if it ’ s not already. You must bring in new blood. Don’t forget about Emeriti. Find ways to continue to engage them; they’re you’re greatest asset.

Biggest problems we have are complacency. You have to constantly change. You have to!

PSF: Without term limits, there ’ s also a feeling of a lifelong commitment. It saves face on both sides.

San Fran Shakes: Having a different initial term limit than a long-term limit is a great Jekyll/Hyde test to figure out if they will work out. Balance between vocal, passionate engagement and interference every step of the way is the goal.

Malin: Let’s talk about inclusivity: financial brackets, age, etc.

STA Member: Trying to find younger generation is harder in rural communities.

PSF: We want to get more people on our board beyond our immediate region, but it’s already difficult to get people close by on conference calls and to meetings, etc.

Nashville: Our younger board members are spotty about coming to meetings, but they always want to be involved and when we give them something they want to do, they do really well. Younger people want to be involved, but not in the traditional board-member way. If you ’ re on the junior board of Lookingglass, you are on the coolest board in Chicago because they are so involved in events

Malin: It’s thrilling that the conversation has shown that we have learned the mutual benefit and dependency between staffs and boards.

Nashville: How do you make an organization as efficient as possible in case you lose somebody (temporarily or permanently) who seems to run everything?

HANDOUT: Topics for the 2012 STA Conference suggested by the management focus group.

  • Best practices for the annual appeal
  • Sessions with theatres broken out by income
  • Sessions with theatres broken out by university-affiliated or outdoor or city/destination/suburban
  • How to craft a powerful board
  • Session on Strategic Planning, led by Jim Volz and featuring three different plans
  • Best practices in Managing a staff
  • Customer Relationship Management software
  • Have an Equity representative AT the conference
  • Donor breakout session (repeat as in Colorado)
  • Session on leadership infrastructure (Managing/Artistic Directors, Executive Directors, Artistic Directors)
  • Company management (controlling actors and artists, dealing with travel, etc.)
  • How does STA membership fit into the world of TCG and other member organizations?

Any other ideas to add?

Nashville: New business models. Creating revenue streams beyond ticket sales, fundraising, and grants. I would LOVE to have serious conversations about that.

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NOTES – Celebrating Shakespeare in 2016

Moderator: Tina Packer
Friday, March 2, 2012, 5:30pm-6:00pm
Session Summary:
Brainstorming session for celebrating the 400th anniversary of Shakespeare’s death in 2016. Looking for ideas that are inclusive, interactive, and involve youth.

Brainstorming ideas

  • Patrick – a way forward would be in our focus groups tomorrow, secure one or two people who are really interested, and that group becomes a working group, develop them, and hash out a plan. We have to have a working group on this.
  • Ralph – we need to think about a lot and need to consider, England is working with all sorts of institutions. The more we think about bringing all kinds of orgs into this, the more clever it will be. how are states and cities and countries going to celebrate?
  • Tina – how do we get all states involved? How do we ensure every student in every state see a play?
  • STA celebrates anniversary throughout the entire season
  • membership-wide, worldwide reading of all plays
  • each of us can have an online sonnet fest, each org can reflect something unique to their org
  • we’re looking to make the anniversary or his death a big one? Not his birthday? Already planning to celebrate in 2014.
    • Tina – everyone is doing 2016, we can’t be left out. Plus, we don’t have time.
  • Folger Shakes is planning an exhibition of touring folios, planning to go to 56 states and territories, working to dispel myths
  • engaging the biggest, most prestigious performance space in your area, ‘we’re putting on a performance in that area’ and work to engage as many entities in that area as possible at that one location
  • try to figure out a way to highlight breadth of performance styles for all the different org in this group
  • can we create the gold-star shakespeare theatre-goers membership?
  • Got to be a big, sexy project; ‘nurturing our souls,’ we need to care about it too
  • some way of utilizing technology to bring it together, live broadcasting, disparate nature of different performances
    • possible to have a screen in Australia? Another in Central Park? Another Walla Walla?
  • Contact public television?
  • Have auditions, youth camps, etc, see auditions online, bring teens together for a rehearsal and performance
  • viral campaign – film your own video from your own location
  • Patrick: in 1916 there was an anthology put together, homage to Shakespeare, only Turkey and Germany not included – Harper Ray has a copy
  • Shakespeare Birthplace Trust – parade every year on birthday, time out so it coincides with London’s celebration, trade videos of performances, could expand on this system
  • several hundred actors dance their way to stratford, carrying a torch
  • involve celebrities to gain media attention
  • 24 hours of screenings around the world, curated by STA
  • have kids film scenes from Shakespeare, have people vote
  • sonnets, every member theatre does a sonnet, could do an act of a play, live simulcast it
  • pointing out that Shakespeare is not just a recreation of what he looked like, but actually a living, breathing, artistic energy we all plug into
  • idea of doing many productions in many languages in many styles is powerful idea
  • key is to do something that involves young people
    • every venue gives venue over to a young cast to do their own production, make it theirs, give them the opportunity to do their own production
  • feasibility and process, what’s already happening? Are we talking 365 plays in 365 days? Fireworks? This requires us thinking about a mechanism and support system, that can get behind something like this.
  • There are 39 plays, 39 time zones —oooooh!!! going across the globe, every new hour, a new play going?
    • Tina – we have to do this! 3 and 9 is 3×9, 3 is a reoccurring theme, Shakespeare uses it all the time – magic in the weave of it
  • president at the Lincoln memorial reading Shakespeare
  • focus groups have more conversations tomorrow, come up with two people from each group to join the team.
  • We don’t want it to be just about us, sharing with others, spreading the energy and excitement

NOTES – New Buildings for Shakespeare

New Buildings for Shakespeare

Moderator: Ralph Cohen – American Shakespeare Center
Panelists: Jerzy Limon – Gdansk Shakespeare Theatre;
Mauro Maya and Aimara Resende – Instituto Gandarela;
Neil Constable – Shakespeare’s Globe
Friday, March 2, 2012, 4:20pm-5:30pm

Session Summary: Three international companies talked about their plans to build new and exciting venues for the exploration of Shakespeare: A Globe Theatre in Bela Horzonte, Brazil; a Fortune Theatre in Gdansk, Poland; and a 17th Century indoor theatre is being built in London.


-BRAZIL- Instituto Gandarela building a Globe Theatre.
-Slideshow concerning the beautiful landscape of the country.
-Rio Acima bear Bela Horizonte is the site due to beauty and similarity to the London Globe area, location to historical cities, and tourism.
-VALE, a mining company donated the land.
-The goal is to create a whole Cultural Complex, not just a theatre.
-The Cultural Complex will enrich the lives of poor residents through education and artistic endeavors, as well as better social conditions, fostering international activities, teacher training, ecological development. A collaboration agreement will be signed on March 6th between the UK and Brazil. Tourist guides, schoolteachers, and other jobs will arise from this enterprise. It will be enhanced by the 2012 World Cup, 2016 Olympic Games, and is the best time to do this.
-The root between London and Brazil: Storytelling, folk dances, communal season representations.
-The Complex will establish a “Globe Education Academy” for international cultural exchange, as well as Shakespeare Festival. It will be a celebration of Shakespeare in multiple languages.
-Peter MCurdy, Jon Greenfield are major supporters.
-Complex will open April 23rd, 2012

1. Build and Upkeep-Petrobras, Vale, and BNDES are sponsors.
2. Infrastructure Build and Upkeep leads to environment, education, culture, tourism, ministries, and linking them to the GOVERNMENT, federal, state, and city.
3. SPONSORSHIPS-Uniliver, Brasil, Anglo Gold-he hasn’t officially signed a contract yet.

-POLAND, Gdansk
-Indoor Jacobean Theatre, now being built, should open next year.
-Historically, royal patronage supports their theatre, currently by Prince of Wales.
-Activity was done before theatre was built.
-Video clips of shows done in Gdansk, performances by Wooster Group, they have six different venues for performances. Two years ago, they opened a Blackbox that opens into the street for summer shows. Theatre, music, performance art, body art, even construction of buildings is turned into theatre.
-Original theatre has three galleries for spectators, performances from 1630s-1660s, new theatre is being built near the site of the original.
-Theatre looks like a Gothic church from the outside. Made of bricks, copper, red and green.
The space can be a box, Italian stage, or thrust, and is interchangeable within a matter of minutes. There are wooden galleries.
-Photos shown of the technologically difficult construction, opening of theatre should be September of 2013.

Neil Constable, GLOBE
Shakespeare’s Globe-Ambition is to provide year-round performance, and to complete the interior of the indoor theatre, on the Globe site. They want to create an indoor theatre “which Shakespeare might have recognized”.
-The Jacobean Theatre is based on designs by architect John Webb, 350 seats, is in a U-Shape.
-Plans for a 24 week Winter Season of four plays from October to April, complementing the Globe’s regular season.
-Considering accommodation for audience comfort, disability access, two galleries wrap around the stage, seating 140 each, and a pit seating 60. Intimate space, close audiences, direct address going to be used. The performances will be lit by candlelight, experiments with lighting and acoustics to be authentic to the experience of the plays.
-AUTHENTICITY is key, much architectural research. Experiments with candlelight performances at Colleges to prepare for the theatre. The effect of daylight in night performances is being worked out.
-Simple Jacobean screens will be used. No over decoration. Sight lines will be challenging. Right experience, right price. Audience will be totally wrapped around stage.
-The cost is 7 million, they have raised 5.6 million. Construction to begin in October, completion November 2013.
-Current Foyer-reconstruction where buildings will be linked by a mutual space.
-Cleaning up front of building, lightening it up, glass front to showcase inside.
-Anonymous donor stipulation: it will be called Sam Wannamaker Theatre.

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NOTES – Shakespeare Virtually Everywhere: Social Media and the Educational Mission

Shakespeare Virtually Everywhere: Social Media and the Educational Mission

Moderator: Michael LoMonico – Folger Shakespeare Library
Sarah Enloe – American Shakespeare Center;
Rebecca Ennals – San Francisco Shakes;
Harper Ray – Globe Education, Shakespeare’s Globe;
Josh Stavros – Utah Shakespearean Festival

Friday, March 2, 2012, 2:50pm-4:00pm

Materials Mentioned: (Folger) folger.edu; (ASC) http://www.americanshakespearecenter.com/v.php?pg=7www.twocrowns.com, twocrowns.com/cuescripts; (Utah) http://bard.org/education/; (Globe) http://www.shakespearesglobe.com/education

Session Summary: There are ways to use new media to our advantage. We need to educate ourselves and provide each other and teachers with resources needed to keep theatre education up to date with 21 st century technology. Let’s use it to our advantage to enhance the skills we already have. Let ’ s collaborate with one another and share good resources and ideas.

Major topics of session:

  • How can the web and new media support active theatre-centered learning?
  • Is screen-based learning a contradiction when trying to engage students with the “now” of live theatre?
  • How can we avoid resorting to posting study guides on-line?
  • What opportunities does the web offer us for collaborative projects?

Introduction by Job Titles

  • LoMonico: I am Senior Consultant on National Education
  • Ray: I am Digital Manager
  • Stavros: Associate Education Director
  • Ennals: Artistic Director of Education Programs
  • Enloe: Director of Education

LoMonico: What we do:

  • Folger:
    • Our institution is educational-based more than theatre performance
    • Statistics:
      • 192 countries visited Folger’s site
      • 359,000 visitors
      • 1.3M page views
      • Average visit 3min, 38s
      • Top countries that visited site: UK, Canada, Australia, Italy, Philippines Brazil
  • Newsletter called Bard Notes that users may register for
  • 13,000 people regularly visit blog
  • Virtual Field Trip starting Tuesday at 1:00pm
  • 311,000 students will be involved
  • Info on Folger.edu

Ray: Globe Education had a website before the theatre did; very forward-thinking

[PowerPoint Presentation]:

  • Active/Interactive: Approaches to new media in theatre-centered education
  • Why ‘active approach’
  • Site Resources
  • Playing Shakespeare
    • Micro-site split up into
      • Living the Dream
      • Backstage Pass
    • Week by Week
      • Site updates all the time
        • People invited to submit designs for Midsummer via PDF
        • You could write in with “advice” to characters
        • Can zoom in to online textbooks for extra notes
          • Can compare different photos from different productions, etc.
    • The Scene Machine
      • Filming various takes on a scene in rehearsal, e.g.
        • Happy
        • Sad
        • Angry
      • Each clip posted on the site so users can see which choices work best
      • You can “Direct” scene by using your favorite version of each clip to piece together a scene

Stavros: Primary use of Utah’s site is ticket purchasing

  • Education tab has on-line study guides
  • Tasked with providing educational resources for patron base as well
  • Basically an online recreation of traditional paper resources; looking to get away from that

Michael Bahr, Utah Shakes: Looking for how to push us into the century we belong in with online educational resources

Stavros: For a long time we were creating large PDF study guides

  • Moved to individual html pages for easier download of content
  • Now provide both individual pages and PDFs
  • USF uses no paper


  • Interested in teaching teachers how to use the resources that 21 st -century students want/need to use
  • Parent complaint: How do I get away from the screen?
    • H ow do we use it to our advantage to create companionship
      • Ex. People tweeting about food trucks and live events that people show up at and it’s like a fun secret
        • How do we apply it to what we do?
        • Flash Mob Idea: Secret YouTube instructions, Facebook posts, Tweets, etc. gathering people for 25 th anniversary flash mob events; nothing published besides secret digital ads


  • 13,000 people being hit with our blog
  • Interns going even deeper
    • Required to make daily blog entries
    • Rehearsal notes, dramaturgy, etc.
    • Increases blog hits significantly
    • We edit for grammar
  • Podcasts
    • Meetings between master students and actors
    • About 5,000 hits over last several months
  • Cue Scripts available
  • Have hard copies of comprehensive study guides on sale for $12.50/piece
    • “ Stop signs” printed in pieces for teacher to stop and ask students questions about the text at appropriate moments
  • Digital Text Resource with pieces
    • User may examine with various tabs to click on
      • Scansion
      • R.O.A.D.S
      • Expanded
      • Embedded
      • Dramaturgy
      • Textual
      • Guide for Teachers
      • Staging
      • Writing
      • Video
      • Notes
  • Working with grants from Cambridge to use iPads for actors
    • Currently trying to develop way for actors to handwrite on iPad
  • Tools for Rehearsal on website (in development)
    • Descriptions of kinds of rehearsal actors are using
      • How it can be translated to classroom
    • Theatre for Shakespeare and his contemporaries
    • Effects of architectures on play
    • Archival materials from each production ASC has done
      • Able to study records such as
        • 1988 Richard III: Performance 6 a sword broke
          • How did production continue
          • What would you do?
        • Doubling charts
        • Optional cuts


  • What opportunities does the web offer us for collaborative projects?
    • How do we collaborate?
      • E.g. I’m directing Midsummer, I want to use the Globe’s Scene Machine


You’re right. We should not duplicate devices other companies have already developed.


We should not re-invent the wheel. Is there a way to divide and Conquer?

    • Who’s doing really well with digital media? The Globe
    • How can we share that?
    • Financially speaking, how do we afford this?

Audience member:

    • How do we generate revenue?

Ray :

    • Scene machine: went to company that built it and got huge discount for saying
      • “ We don’t want credit for inventing it, but it is our idea”
      • The Globe just doesn’t throw money at a project

Spottiswoode , Shakespeare ’ s Globe:

  • General manager could help us celebrate each other’s work on the web through STA
  • We could all say here’s a wonderful way to do this kind of project and share


  • App market: Time-killing games are a great example
    • First download is free
    • Once you get used to/addicted to using a great resource, you start charging


  • Start with basic package
    • Charge for additional features

Audience member:

  • Should you sell ad space? You’ll be getting enormous hits

LoMonico: No. We’re non-profit. Alabama Public Television is doing a lot of our funding, so the cost is relatively low for us.


If a company in Australia and a company in UK are both doing same show, we should talk/ have actors talk to each other


  • How can we avoid resorting to posting study guides on-line?

Interactive Textbooks and resources like the Globe’s are a great substitution

Enloe: Let’s speak to our own strengths. If they need a synopsis, they can go to Arden. Let ’ s play.

LoMonico: We need to lead, not follow.

Ray: There’s a wiki where students can look at study guide at home but only update it in classroom

*Students read text and use analysis to create study guides themselves, together

Bahr: How many are involved at your companies, doing this work?

Ray: 2 people

Enloe: 1 person at ASC

E nnals: How many people have a digitally-trained staff member?

*Low number of hands*

Coleman, Shakespeare & Company: I’m having terrible I.T. envy over what you’re saying

Bahr: I’m excited. What are you envying?

Coleman: I envy that there’s so many wonderful resources I don’t even know about.

Ray: The Globe is talking about using the Scene Machine with other theatres to reduce costs.

Audience member: I would love to send teachers to ASC’s gorgeous study guides, but when we send off grant applications, the grant sponsors want to see what guides we ourselves produce.

LoMonico: Is screen-based learning a contradiction when trying to engage students with the “now” of live theatre?

Ennals: Teachers ask, “How do I make this interactive when I must use this white /smart board? ”

Enloe: I’m worried about audience contact. I see the scene machine as an excellent way to get students into scene and then they can put it up on their feet.

Jay Shepherd: I’m examining the use of technology for Shakespeare in the classroom. YouTube is popular right now, but it doesn’t seem to have a great value for this. What are you seeing with this?

LoMonico: Students have an active approach for making comments on designing and directorial choices on their scene work in videos.

Audience member: We gave our students incentives to make a documentary about their journey through Hamlet . The winning film would be shown at an event to patrons. Huge payoff: Hilarious, wonderful entries and the patrons got a huge kick out of the final result

How can the web and new media support active theatre-centered learning?

Covered in conversation

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