Callboard Spring 2008

The School of Theatre is proud to

announce the addition of two new

buildings: the Technical Theatre

Laboratory and the McClintock

Building. With state-of-the-art facili-

ties, both buildings will enhance all of our

educational programs providing much needed

space for classrooms and studios where vision,

imagination and craft are brought to fruition.

Dean Madeline Puzo said, “The School needed

the additional space so that our new MFA

programs would in no way inhibit the growth

and excellence of the undergraduate program.

Thanks to the support of the university, we are

now able to move forward with undergraduate

and graduate programs that will continue to

set the standard for theatre education and

training in the country.

The School wishes to thank first and foremost

President Steven Sample and Provost Max Nikias

whose unwavering support was critical in

realizing the dream of these two buildings and

for the belief the university has in the School.

We also wish to acknowledge the hard work

and assistance of: Curtis Williams, Vice President,

Capital Construction Development; Susan Lewis,

Associate Vice Provost for Planning and Design;

Joe Back, Program Director, Capital Construction

Development; Gary Allen, Project Manager,

Capital Construction Development; and Brian R.

Bloom, Principal Architect for the McClintock

Building. Without them, we could not have

accomplished our goal. We owe them all a

debt of gratitude.”

The New Technical Theatre Laboratory

The magic of theatre comes to life as a

collaboration among many artists. We often

focus on the actor and playwright in this

mix, but the technical dimensions of theatre

comprise the critical mechanisms that support

what we see on stage.

S P R I N G 2 0 0 8

PAGE 7Professional PerformanceOpportunities Continue WithCenter Theatre Group Internships

PAGE 5School of Theatre Receives$70,000 Gift In Memoryof Edwin Lester

PAGE 6MFA Writing Festivals—Blueprints & Under Construction

(continued on page 3)

The School of TheatreAdds Two New Buildings

Spring Is Bustin’Out All OverWith Rodgers &Hammerstein’sMusical Carousel

As our spring musical, we are proud

to present a new production of

Rodgers & Hammerstein’s classic

Carousel, playing April 3–13, at the

Bing Theatre. Directed by Associate

Dean and Artistic Director Jack Rowe, in his

School of Theatre musical directorial debut, and

with musical direction by Parmer Fuller and

choreography by Jonathan Sharp, Carousel is

sponsored by Board of Councilors members

Bill & Lisa Barkett and Roger & Michele Dedeaux

Engemann. The Barketts and Engemanns

generously sponsored last year’s spring musical,

The Pajama Game, as well. We are extremely

grateful to both couples for their continued

support of the School and all of our programs.

One of the finest musicals ever written,

Carousel is the ultimate story of love, loss and

redemption with a score full of timeless Rodgers

& Hammerstein songs, including If I Loved You,

State-of-the-Art Facilities Will Enhance Educational Programs

(continued on page 2)

(L. to R.) Carousel director Jack Rowe and choreographerJonathan Sharp.

The new Technical Theatre Laboratory.

Carousel(continued from cover)

You’ll Never Walk Alone,What’s the Use of

Wond’rin and June Is Bustin’ Out All Over. In a

Maine coastal village toward the end of the 19th

century, the story revolves around swaggering,

carefree carnival barker Billy Bigelow, who capti-

vates and marries the naive young mill worker,

Julie Jordan, only to have an unfortunate series

of events dramatically change their lives forever.

On Sunday, April 6, the USC Associates – the

premier academic support group of USC – will

offer an exclusive matinee performance of

Carousel for their members, followed by a

post-performance reception with the entire

cast in Queen’s Court. We are proud that the

USC Associates have chosen our spring musical

as a special event for the third year in a row.

For further information and to purchase tickets

to Carousel, please call 213.740.2167 or visit

www.usc.edu/spectrum.

2

WE’VE JUSTGOTTEN STARTED“Hard work pays off.” “Good work is rewarded.” Most of us were brought up on such wise maxims and

if we eventually learn that they are not inevitably true, the principles remain true enough to be the best

recipe we have for success and happiness.

These thoughts came to me as I looked through this edition of Callboard and considered three seemingly

unrelated stories: the $70,000 gift given in memory of Edwin Lester, founder of the Los Angeles Civic

Light Opera, to support our musical theatre productions; the casting of four current School of Theatre

students in the Center Theatre Group’s world premiere musical Bloody Bloody Andrew Jackson; and the

announcement that we have acquired two urgently needed new state-of-the-art facilities, the Technical

Theatre Laboratory and the McClintock Building.

I believe these three events have something in common: they are indicative of the increasing quality of

our programs and of the School’s growing reputation for excellence. And that excellence is the result

of years of hard and first-rate work by many, many people – faculty, staff, students, alumni, the university

administration, and friends such as our Board of Councilors and yourself – dedicated to the goal of making

the USC School of Theatre America’s preeminent theatre training institution.

While I do not have the space here to acknowledge all who have contributed to the School’s success, I do

want to mention two indispensable figures: University President Steven Sample and Provost Max Nikias.

They have always encouraged our hopes for the School and have been unfailingly enthusiastic about what

we have achieved so far. And they have done much more: it was their support which made it possible for us

to acquire and equip our new buildings. Without these new facilities, the School simply would not be able

to grow or fulfill the artistic potential of our increasingly talented undergraduate and graduate students.

As proud as we all are of the School’s programs and growing reputation, there is still much more for

us to do. And it is with an eye to the future that Chris Cook has joined our staff as Assistant Dean of

Development. As Chris notes in the article about his appointment, his immediate focus will be to increase

our Annual Fund, something crucial to the School’s future.

An analogy keeps coming to mind when I think of how far we have advanced in fulfilling our vision for

the School. It’s as if we set out to scale the highest mountain and, after much determined effort, made

it to base camp. We feel an exhilarating sense of accomplishment – but then look up the slope and see

how much farther there is to go. Some people might find this discouraging but I feel the opposite. Our

accomplishments are real and because of everything we’ve achieved so far, I feel more confident than

ever that working together we will make the USC School of Theatre the institution that not only sets

the standard for theatre training but advances the art in the century to come.

I can’t wait to get started.

Madeline Puzo

Dean

A M E S S A G E F R O M T H E D E A N

Dean Madeline Puzo

Lisa Barkett, Terry Berenson (Chair, USC Schoolof Theatre Parents Council), LeVar Burton,

Tim Curry, Charles Dillingham, Michele DedeauxEngemann (Founding Chair), Robert Greenblatt,

Susan A. Grode, Paula Holt, Sheila Lipinsky, MartinMassman, Madeline Puzo, Madeline Ramer, AndyTennant, Joe Tremaine, Richard Weinberg (Chair)

S C H O O L O F T H E A T R EB O A R D O F C O U N C I L O R S

Carousel sponsors Lisa Barkett (top photo, on right withBFA Acting student Devin Kelley) and Michele DedeauxEngemann (bottom photo, in middle with BFA Actingstudent Catherine Farrington and USC Chief of ProtocolDennis Cornell).

With nearly 8,000 square feet of space, the brand

new Technical Theatre Laboratory is a primary

teaching space, as well as studio area, for all of

our students. Classes held here give the students

the practical knowledge of stage craft which will

inform their future work and provide them with

a deeper understanding of what makes theatrical

productions succeed, an invaluable resource to

academic and artistic education and process, pro-

viding for a first-rate theatre education. In the

lab, theory and practice are integrated to allow

our students to create with vision, vigor and skill.

In addition, the Technical Theatre Laboratory

houses our Scene Shop, where the sets, scenery

and props for all of our main stage productions

at the Bing Theatre, Scene Dock Theatre and

Massman Theatre are built from the ground up.

According to School of Theatre Technical Director

Duncan Mahoney, “The Technical Theatre

Laboratory was built as an open space, with

equipment for woodworking, welding and basic

metal working, for all the Theatre Lab and Scenic

Construction, Scene Painting and Properties

classes. The new space is larger, cleaner and

more convenient for students than our previous

facility, which was not located on campus. In

addition, we can pre-assemble and store more

scenery for our productions in the new space.”

The new Technical Theatre Laboratory was

dedicated on January 11, 2008 and will soon

be fully operational to meet all of the School’s

expanding needs.

The New McClintock Building

Scheduled for a major renovation to be completed

by fall 2008 is the McClintock Building, located at

one of the primary entrances to the USC campus

on the corner of McClintock and Jefferson Blvd.

The renovation of the McClintock Building will

provide the School with over 15,000 square feet

of space that will include:

• Five new studio classrooms – four for acting,

voice and directing and one larger studio

for movement. These classrooms will serve

the whole School – both graduate and under-

graduate programs.

• A 99-seat theatre where we will mount the

MFA Dramatic Writing workshops and the

MFA Acting productions.

• A recording studio with classroom attached

where we will teach “voice work” to our

students enhancing both the graduate and

undergraduate programs. Whether it is

commercials, dubbing, books on tape, games

or other platforms that don’t yet exist,

“voice work” is a very important and growing

source of employment for actors.

• A video reference library of performances.

Our acting, writing and design students will

now be able to see the vast range of excellent

work available in New York or London.

• A dozen new faculty and staff offices.

• A conference room.

• A new outdoor patio space where students

can interact, collaborate on projects and

share new ideas.

3

New Buildings(continued from cover)

Artist illustration of the soon-to-berenovated McClintock Building.

Top photo: (L. to R.) Assistant Technical Director Michael Etzrodt and Technical Director Duncan Mahoney.Bottom photo: Technical Theatre Lab dedication celebration.

4

SEASON SPONSORSEric T. Kalkhurst

& Nora K. Hui

EXECUTIVE PRODUCERSLisa & Bill BarkettRoger & Michele

Dedeaux EngemannJean & Steve HamerslagSheila & Jeffrey LipinskyBruce Vanyo

PRODUCERSBob & Terry BerensonGary & Karen LaskRichard & Diane Weinberg

DIRECTORSMitch & Bonnie BloomAngela & Amir BozorgmirJohn & Leslie BurnsTate DonovanSusan A. GrodeFred & Emily NasonSally & Howard Oxley,

In honor ofDean Madeline Puzo

Sidney SternMemorial Trust

Iris & Matthew Strauss

PATRONSInger Armour OngLynne Davis LasherJoe Tremaine

ANGELSSherril & David Anderle,

In memory ofThomas Costello

AnonymousEliot & Sheryl BarnettBarbara CotlerGail & Jim EllisDavid EmmesThe Gale Family Foundation,

In honor of Tina BarbatoJack LarsonJulie Levin & Marc DaigleAlice & Filippo MasciarelliDebbie & Bob MymanJacqueline & Harry PappasNancy RitterMark Rossen

& Mary GwynnRick SilvermanNancy Sinatra, Sr.Catherine

& Jeffrey ThermondRebecca & John Walsh,

In honor of Jordan WalshLinda Yu

BENEFACTORSGisela Brodin-BrosnanBeth Corets & Alfred GoughAndrea & Fred FensterDoyle GrayAnn LandrumMasako & Kazumi MakiJerry NeillIrene & Andy RobinsonAurie SalfenCharles & Pamela SchroederJennifer Thibault

The USC School of Theatre would like to recognize thetremendous generosity of the following individuals andorganizations whose cumulative giving has exceeded$1 million. Their foresight and commitment to the arts andhigher education have helped transform the School intoone of the nation’s premiere theatrical training institutions.

We have taken care to list names and gift designationsaccurately. If you believe there has been an error oromission, please contact development assistant VanessaTuverson by phone at (213) 821-4262 or send her a notevia email addressed to [email protected].

Thank you for your support.

USC FRIENDS OF THEATREDONOR MARQUEE

The USC School of Theatre is grateful to those who havegiven wisdom, talent, time and financial resources to thebenefit of the School. Our Donor Marquee recognizesthose members have made pledges of $500 or more to theSchool between July 1, 2007 and February 22, 2008. Wehope that you will consider becoming a member as well byjoining these supporters. Please take a moment to returnthe enclosed reply envelope. All pledges received by June30, 2008 will be included in the School of Theatre’s 2007–2008 Pledge Report. For more information about giving tothe School of Theatre, please contact Chris Cook by phoneat 213.821.4047 or by email at [email protected].

People give to make good thingspossible. Donors to the USCSchool of Theatre are no excep-tion. They believe that theatreoffers performer and audiencealike a necessary joy and fillsthe heart and soul with under-standing, perspective, insight andgrace. People give to the USCSchool of Theatre because theybelieve there is beauty in whatour students create, will createand, indeed, must create.

Ninety-five percent of the revenue for the School of Theatre’s annual budget comes from tuition.

The Annual Fund provides approximately $350,000, which amounts to only 2.5% of our total

budget. That is why it is crucial for individuals like you to become involved. The mission of the

School is to set the national standard in theatre education. Your support allows many things,

including the creation of much needed student scholarships, the ability to hire the most talented

faculty from around the world and to construct and refurbish state-of-the-art facilities for

innovative teaching and research.

Each and every gift is important and appreciated whether it supports the Dean’s Strategic Initiative

Fund, scholarships or a project of special interest. Your gift to the School of Theatre pays extraordi-

nary academic and societal dividends. Whether it’s in the classroom, the laboratory, the studio

or on one of our four stages, our students, faculty and staff share high ideals and a powerful

commitment to make a difference in the lives of those around us. Your gift will fuel the School’s

move from excellence to greatness.

To help us in this phase of fundraising is our new Assistant Dean / Director of Development,

Chris Cook. Chris joined our staff right before the holidays and has already set in motion

innovative plans to help build our Annual Fund.

Dean Puzo said, “I am very pleased to welcome Chris to the School. He is an experienced

fundraiser with a deep love of theatre. This is a critical time for us; we have achieved a great

deal at the School in the last few years but still have a distance to go. I am confident that with

Chris on our team, and with your help, we will reach our rightful destination.”

Chris is a seasoned fundraising professional who is thrilled to be returning to his roots having

graduated with a Bachelor of Arts in Theatre. Most recently, he spent six years at the Gay &

Lesbian Alliance Against Defamation as their Director of Annual Giving taking their budget from

$4.5 million to $11 million. Besides raising money in the non-profit sector, he has overseen political

and capital campaign fundraising as well. After graduating with his theatre degree, Chris worked

in the entertainment industry for producer & director Norman Jewison, working closely with

playwrights in adapting their plays for the big screen and ultimately producing feature films,

cable and television movies.

Chris stated, “I’m very excited to be working with Dean Puzo and the incredibly talented faculty,

staff and students. One of the most exciting opportunities and the largest priority for the School

right now is our Annual Fund. We invite our friends and supporters – individuals, corporations,

foundations and non-profit patrons of arts, education and research – to join us in building on the

excellence at the School of Theatre. Thank you in advance for taking the time to make a pledge

commitment in support of us by returning the enclosed gift envelope.”

If you would like to contact Chris directly, he can be reached at 213.821.4047 or at [email protected].

New Director of Development Chris Cook.

VISIONARY CIRCLEDr. & Mrs. Peter Bing and the Anna H. Bing Living TrustGeorge N. Burns TrustKatherine B. Loker

The Annual Fund

5

The USC School of Theatre has received a

generous gift of $70,000 in memory of

theatre impresario and founder of the Los

Angeles Civic Light Opera, Edwin Lester.

The gift to the School’s endowment will

help support our annual musical production.

Dean Puzo stated, “The School’s spring musical

is our most popular – and in many ways our most

important – production of the season. This gift

will be instrumental in focusing attention on

our School and the work of our very talented

students and will ensure that we will continually

offer high-quality productions.”

The gift was given to the School by the three

remaining trustees of a foundation funded out

of Los Angeles’ former Civic Light Opera: Mr.

James E. Ludlam, Dr. James Loper (who is also

Executive in Residence for the USC Annenberg

School of Communication) and Peter J. Musto.

Mr. Ludlam said, “After it became evident that

the marketplace of blockbuster super-musicals

had succumbed to the impact of increased costs,

so that it would be no longer possible for the

CLO to assemble, from New York or elsewhere,

an annual array of musicals of the quality

and appeal that would satisfy its loyal annual

subscribers, the LACLO had no choice but to close

up shop. After a long period of soul-searching,

the trustees determined that the most appropriate

use for its remaining assets was to dedicate them

to the support of the rising success of the USC

School of Theatre as a tribute to Edwin Lester’s

great lifetime contribution to the culture of

California in the field of the performing arts.”

One of the most influential figures in 20th century

musical theatre, Edwin Lester founded the

Los Angeles Civic Light Opera in 1938. He created

the organization to present high-quality stage

musicals – to present “light opera in the grand

opera manner.” With the inaugural production,

Blossom Time, starring John Charles Thomas,

Lester commanded attention and showed that

big Broadway-style entertainment could succeed

in Los Angeles. By partnering with a colleague,

San Francisco-based Homer Curran, Lester was

able to offer artists and producers the ability to

book their shows in both L.A. and San Francisco.

Because of this successful partnership, Broadway

producers saw, for the first time, that it could

be profitable to extend the route of touring

Broadway shows west of the Rocky Mountains.

The Los Angeles Civic Light Opera was a

major partner with Mrs. Norman Chandler in

the development, design and financing of the

Los Angeles Music Center. For decades, the

Los Angeles Civic Light Opera presented annual

The School of Theatre held a special staged

reading of Oscar Wilde’s classic comedy The

Importance of Being Earnest on Saturday, January

26, in the Scene Dock Theatre, as an appreciation

to our friends and family for their support

throughout the year. Directed by USC Chief of

Protocol and SOT alum (M.F.A., 1981) Dennis

Cornell, the reading featured theatre students

Brian Jordan Alvarez, Stephanie Barnes, Ross

Bautsch, Clay Elliot, Catherine Farrington,

Patrick Leslie, Devin Kelley and Julia McIlvaine.

School of Theatre Receives $70,000 Gift inMemory of Theatre Impressario Edwin Lester

A Special StagedReading ofThe Importanceof Being EarnestHeld at the SceneDock Theatre

(continued on page 6)

Top: The cast with Dean Puzo and director Dennis Cornell (back row center) and School of Theatre supporter Mrs. Katherine B. Loker(front row on right). Bottom Left: Brian Jordan Alvarez and Stephanie Barnes. Bottom Right: Julia McIlvaine and Clay Elliot.

Edwin Lester

Alexander the Greatestby Forrest Hartl

Directed by Michael Keenan

Friday and Saturday, April 11 & 12, at 7 pm, Sunday, April 13, at 2:30 pm

Genesisby Alexis Roblan

Directed by Robert Bailey

Friday and Saturday, April 18 & 19, at 7 pm, Sunday, April 20, at 2:30 pm

nat&EMby Julie Taiwo Oni

Directed by Luis Alfaro

Friday and Saturday, April 25 & 26, at 7 pm, Sunday, April 27, at 2:30 pm

6

W R I T I N G F E S T I V A L S

seasons of first-class musical theatre engage-

ments at the Music Center’s Dorothy Chandler

Pavilion and the Ahmanson Theatre, some of

which were locally produced by Mr. Lester and

many of which were local engagements of

big Broadway tours with their original casts,

including Yul Brynner in The King and I, Katharine

Hepburn in Coco, Angela Lansbury in Mame,

Mary Martin in South Pacific and Ethel Merman

in Gypsy. Among the shows he produced or

co-produced that went on to great success

on Broadway were Song of Norway (1944),

Magdalena (1948) Kismet (1953), Peter Pan

(1954) and Gigi (1973). The LACLO became the

most successful musical theatre subscription

organization of its kind. He retired as general

director and producer of the companies in 1976

but continued on their boards. The SFCLO ended

in 1980 and LACLO presented its last production,

a revival of Cabaret starring Joel Grey, in 1987.

Lester was born in New York City and had brief

careers as a child singer and as a pianist. In the

late 1920s, he staged spectacle prologues for Sid

Grauman at the Chinese Theater in Hollywood

and then became a manager of performers. In

1935, he started producing light-opera festivals

to provide job opportunities for singers, which

led to the Civic Light Opera. Lester died in 1990

at his home in Beverly Hills. He was 95 years old.

Edwin Lester(continued from p.5)

BlueprintsThe MFA inDramatic WritingPlaywrights Workshop

April 11 – 27, 2008 | Massman TheatrePresented over three successive weekends,

this workshop features the exciting and diverse

new works by School of Theatre second-year

MFA in Dramatic Writing students:

Rangoonby Mayank Keshaviah

Tuesday, May 27 & Friday, May 30, at 8 pm

Artist Exchange Programby Brian Jones

Wednesday, May 28, at 8 pm & Saturday, May 31, at 2 pm

Baby Eyesby Donald Jolly

Thursday, May 29 & Saturday, May 31, at 8 pm

UnderConstructionThe Master of Fine ArtsPlay Project

May 27 – 31, 2008 | Scene Dock TheatreA festival of plays by the three graduating

playwrights of the MFA in Dramatic Writing

program. The readings, which will each have two

public performances, will be presented concert

style with professional actors and directors:

Mayank Keshaviah, Brian Jones, Donald Jolly

Julie Oni, Forrest Hartl, Alexis Roblan

Admission is free and will be available at the door on a first-come, first-served basis.

For more information, please call 213.740.2167 or visit www.usc.edu/spectrum.

LEGACY CIRCLEPROVIDING FOR THE FUTURE

The USC School of Theatre established the

Legacy Circle to honor and recognize benefac-

tors who express their commitment to the arts

by including the School in their financial and

estate plans. These gifts provide a lasting

legacy for the School and the arts community.

We invite you to join other members of the

Legacy Circle by considering a planned gift.

During your lifetime, a bequest is private,

changeable at any time and does not deprive

you of the use of assets or income. Whatever

your needs or situation, careful planning of

your will can improve financial security for

yourself and your family.

Planned gifts to the USC School of Theatre

can offer a wide variety of benefits for you:

• Annual income for you and/or a beneficiary

• Avoiding capital gains on appreciated assets

• Enjoying significant tax savings

• Creating a permanent legacy at USC

• Membership in The Legacy Circle

For additional information, please contact

Chris Cook, 213.821.4047, or [email protected]

Professional PerformanceOpportunities Continue WithCenter Theatre Group Internships

The School of Theatre’s partnership with

Center Theatre Group, one of the nation’s

leading resident theatre companies that

operates the Tony Award-winning Mark

Taper Forum, the Ahmanson Theatre

and the Kirk Douglas Theatre, continues to offer

students internships with hands on experience

and training in a variety of departments, from

marketing and publicity to development and

casting to production and performance.

Begun in 2005 with the casting of 14 students in

the Ahmanson Theatre’s production of Dead End,

this professional association has proved to be an

invaluable opportunity for our undergraduate

students to work with and learn from acclaimed

theatre artists and administrators. In the last two

years, over 50 students have benefited from this

unique relationship.

In January of 2008, four theatre students were

cast in the world premiere rock musical Bloody

Bloody Andrew Jackson at the Kirk Douglas

Theatre: Zack DeZon, Kristin Findley, Jimmy Fowlie

and Patrick Gomez were required to hone their

skills as triple threats – having to act, sing and

dance – as they played multiples roles in this musi-

cal retelling of President Andrew Jackson’s humble

beginnings to his rough presidential tenure.

Here’s what the interns had to say about

their experience:

“It was a truly enlightening experience…

An awesome opportunity for any aspiring actor.”

— Zack DeZon

“Working on ‘BBAJ’ has provided me with the

opportunity to do exactly what I want to be

doing after graduation. It is the ultimate intern-

ship opportunity for a future working actor.”

— Patrick Gomez

“What’s great about this internship is that it

helped me learn the ropes of the theatre indus-

try. I have been able to observe professional

actors and get great tips preparing for roles,

as well as receive amazing advice on how to get

started and succeed in this business. Right now

I am living my dream.” — Kristin Findley

“The ability to work on the world premiere of

a new play with the top theatre company in

L.A. is an unbelievable experience. Working

with professionals and completing a one-month

run is the kind of education you can’t really

get in a classroom. I am so grateful to the

School of Theatre for setting this up. Thank you

so much!” — Jimmy Fowlie

Tim Robbins,Christine Lahtiand David EdgarVisit SOTIn our ongoing effort to further enhance the

educational experience that our classes provide,

the School continues to invite a wide range of

visiting artists throughout the year, including

some of the most distinguished talents from

stage, film and television, to meet, interact and

work with our students. This past fall was no

exception as Academy Award-winning actor

Tim Robbins spoke to our MFA Acting and

Dramatic Writing students about breaking

into and maintaining a career in the entertain-

ment industry; Emmy Award-winning actress

Christine Lahti taught a master class in acting to

our undergraduates; and Tony Award-winning

playwright David Edgar presented a lecture on

“Free Speech, Censorship and Self-Censorship

in the Post-9/11 World” in Intellectual Commons

and worked with the cast of our production

of his play Pentecost at the Bing Theatre.

7

Clockwise from Back Left: Jimmy Fowlie, Patrick Gomez,Zach DeZon, Kristin Findley.

Clockwise from top left: Tim Robbins, David Edgar, Christine Lahti.

We’d like to hear from you, keep you informed and

share your news in an upcoming issue of Callboard.

Please mail this completed form to: USC School of Theatre,

Attn: Tony Sherwood, Childs Way, DRC 104, Los Angeles,

CA 90089-0791, or fax to (213) 821-4051.

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Los Angeles, CA 90089-0791

Callboard is published three timesa year by the USC School of Theatre foralumni, parents, students and friends.

DeanMadeline Puzo

Assistant Dean, CommunicationsTony Sherwood

DesignIE Design + Communications

Shiri Appleby (2001) can be seen in the Tom Hanks and Julia Roberts’ filmCharlie Wilson’s War.

John Ashton (BA, 1973) was recently seen in the Ben Affleck directed Gone BabyGone, playing opposite Casey Affleck, Morgan Freeman and Ed Harris.

Adam Blumenthal (BFA, 2007) is the Lighting Designer for the world premiereof the Milt Larsen/Dick Sherman musical Pazzazz! in Santa Barbara.

LeVar Burton (1976) appears in the upcoming Reach for Me with Seymour Casseland Alfre Woodard.

Gary Campbell (BA, 1961/MFA, 1991) recently retired as head of Design forArizona State University’s Opera and Musical Theatre Program. He was also named“Professor Emeritus” at ASU’s Herberger College of the Arts. He has joined theLos Angeles Philharmonic Orchestra’s “Speakers Bureau” and continues as acontributor to Arizona Opera’s website.

Tate Donovan (BFA, 1985) stars in the upcoming drama American Primitive.

Ryan Eggold (BFA, 2006) guest starred in multiple episodes of the FX TV show“Dirt” and Cartoon Network’s “Out of Jimmy’s Head.”

Shiloh Goodin (BA, 2006) recently joined the national tour of Camelot starringLou Diamond Phillips.

Michele Greene (1983) recently guest starred in an episode of “Cold Case.”

Marja Harmon (BA, 2005) plays the title role in the national tour of Elton John’smusical Aida.

Shannon Lucio (BA, 2002) recently filmed Fireflies in the Garden starring JuliaRoberts, Ryan Reynolds, Willem Dafoe and Hayden Panetierre.

Timothy Omundson (BFA, 1991) returned to the Los Angeles stage in the playGrand Delusion. Omundson is also a series regular on the USA TV show “Psych.”

Paulie Rojas (BFA, 2007) co-stars in the upcoming horror film The Last Resort.

Janine Salinas’ (MFA, 2007) play, Las Muejeres Del Mar, was recently featured inWatts Village Theater Company’s staged reading series “Black Words on White Pages.”

Stark Sands (BFA, 2001) stars in the thriller Day of the Dead with Nick Cannon,Mena Suvari and Ving Rhames.

Ally Sheedy (1984) just finished filming Harold starring opposite Nikki Blonskyand Cuba Gooding Jr.

Jonathan Silverman (1985) stars in the upcoming film Jekyll.

James Snyder (BFA, 2003) is currently on Broadway playing the title character in theJohn Waters film-based musical Cry-Baby, a role he originated at the La Jolla Playhouse.

Eric Stoltz (BA, 1981) directed episodes of the internet series “Quarterlife” whichwas recently picked up by NBC.

Andy Tennant (BA, 1977) directed the film Fool’s Gold starring Kate Hudson,Matthew McConaughey and Donald Sutherland.

T.J. Thyne (1977) co-stars with Jada Pinkett Smith in the upcoming filmThe Human Contract.

MARQUEE F O C U S O N F A C U LT Y

Angus FletcherAn Assistant Professor of Critical Studies, Angus Fletcher specializes intheatre history, particularly Shakespeare and the sixteenth and seven-teenth centuries. His research focuses on the impact of theatre uponpolitical science, psychology, ethics, and even biology. He has publishednearly a dozen articles in journals such asModern Philology, English

Literary History, Studies in English Literature and The Journal of the History of Ideas. Hismost recent article, forthcoming from Comparative Literature, argues that Machiavelli’s the-ory of democracy is indebted to his fascination with the slaves of Roman comedy. He is alsoworking on a book entitled The Ethics of Doubt: Skepticism, Tragedy, and Community in theAge of Hamlet. His research has been supported by grants from the Huntington, the ClarkMemorial Library, the Beinecke, and the Bodleian. Angus received his PhD from Yale andtaught for three years at Stanford before coming to USC. He has received teaching awardsfrom all three institutions. In addition to lectures on theatre history, he also teaches upper-level seminars on dramaturgy and script analysis. Since coming to USC, Angus has becomeinterested in the potential of theatrical approaches to plot and narrative to enrich cinemaand television. He has mentored several undergraduate collaborations between the Schoolof Theatre and the School of Cinematic Arts, and this summer, he received a Panavisiongrant to shoot a small feature film on the experience of U.S. aircrews serving in Saudi Arabia.

Natsuko OhamaA Lecturer teaching performance, Natsuko Ohama is one of thepremier voice teachers in the country. Trained under legendary MasterKristin Linklater at the Working Theatre, she is a founding memberand permanent faculty of Shakespeare & Company, Lenox, Mass., andsenior artist at Pan Asian Rep in New York. She has taught at numerous

institutions all over the country including the NYU Experimental Theater Wing, CalArts,Columbia University, the Sundance Institute, New Actors Workshop, the Stratford Festival,and was the Director of Training at the National Arts Center of Canada. She also has anextensive workshop and private teaching practice. A Drama Desk-nominated actress,she has portrayed roles ranging from Juliet to Lady Macbeth from Hamlet to Prospero(Los Angeles Women’s Shakespeare Company) from action films to the cult series “ForeverKnight” and American Playhouse on PBS. She has been seen on screen in Pirates of theCaribbean 2, and on stage at the Kirk Douglas Theatre in Dogeaters as Imelda Marcos.As a director, she and USC actress Chastity Dotson mounted Little Book of Battles at theNew York Hip Hop Theater Festival at the Public Theater, and Ms. Ohama’s play Geishaof the Gilded Age-Miyuki Morgan, was staged at the Ventford Theater in Massachusetts.Last year, she portrayed Angustias in The House of Bernarda Alba for NATTCO, directedby Chay Yew, had a recurring role on the television series “In Case of Emergency” andwas certified as a Joy of Phonetics teacher trained by Louis Colaianni in New York. Mostrecently, she directed the USC Visions and Voices presentation of The Press, in conjunctionwith playwright Professor David Lloyd and Brent Blair, co-directed Othello at Boston Courtin Pasadena for L.A. Women’s Shakespeare Company, and appeared on stage as Mom inLuis Alfaro’s Hero for Playwright’s Arena, where she will be honored on May 6th.

A L UMN I N EW S