The VASTA Voice

Volume 8, Issue 2
March 2013

Table of Contents:

A Message from the President
From the Editor
Embracing My Identity as an Academic
VASTA Vision
Member News



A MESSAGE FROM THE PRESIDENT

WHY WE NEED FIVE MINUTES OF EVERY MEMBER'S TIME

Mandy Rees

In this issue we get to read about some of the fascinating things our members have been up to. It’s a wonderful chance to share and learn about one another’s projects and successes. It is a small glimpse into who we are.

We have grown and changed much over the last twenty-five years. In the early days, when our numbers were small, it was easier to keep a pulse on the composition of our membership. A large percentage of the members gathered at our annual conferences and we were able to keep up with everyone’s careers. Now we are approximately 500 members strong and hail from over fifteen countries. This is exciting growth, but it means not everyone can travel to conferences and gather in a single room.


Someone asked me, hoping to make a case for tenure consideration at her university, how many of our members were tenured. I was unable to answer. We have not collected that data and we need it. When we want to advocate for our members getting credit at professional theatres, film and television studios, we want to be able to say the numbers we represent. Knowing whom we serve will also play a crucial role as we map out our goals for the next ten years.

Learning who we are is an important task.

And that’s why we need your five minutes. We have a short survey coming your way in the next month, with the intent to paint a picture of VASTA. In what arena you work (university, private practice, professional theatre, film or television, etc.), at what stage of your career you are in…just some basic facts to help us understand our membership. We hope to have a few more brief surveys on other topics following soon. Please help us collect this important data.

Relating to our growth, I am happy to report the formation of a new committee. We have moved from having one person serve as our International Liaison to a committee dedicated to our international presence. This committee is led by chair Gary Horner. I also want to welcome Michelle Lopez-Rios as our new Diversity Committee Chair. I look forward to the exciting contributions these committees will make.

With great appreciation,
Mandy Rees
VASTA President  (2012-2014)

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FROM THE EDITOR

Joe Alberti

Dear Fellow VASTAns,
Joe AlbertiI hope the new year is finding you all well.  This newsletter is the member news edition. Many of you have submitted updates of the wonderful things you are up to.  It is amazing to me the energy, creativity and passion I observe when I read your submissions.  I wish you the best in pursuing your goals, dreams and commitments in your work.

Best,
Joe

Editor, VASTA Voice
Assistant Professor of Theatre
University of New Mexico at Albuquerque

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FROM THE TEACHING & LEARNING COMMITTEE

EMBRACING MY IDENTITY AS AN ACADEMIC

Guy William Molnar

“I’m an artist!!!” – John Cusack as playwright David Shayne in Woody Allen’s Bullets Over Broadway, 1994

If you are what our organization sometimes calls a “Mid- to Late-career VASTAn” who teaches theatre students in a college, university, or conservatory, I’ll presume you’ve either faced and conquered this dilemma already or that you never had a problem with it in the first place.  But if you’re just starting out – or if you’re hoping to begin a teaching career soon – especially if you began your theatre training and/or your professional career as an actor, the following reflections might prove useful to you sooner or later.  In fact, I’m going to challenge you to take them to heart and embrace the idea of being an “academic” sooner rather than later.

It will make your journey in academia much, much easier.

I’m writing this midmorning on Thursday the 7th of February 2013, and we’re three weeks into the second semester.  My committee meeting went an hour and a half past our scheduled ending time this morning, and we reconvene at 1 this afternoon.  In order to make the 1 o’clock meeting I will have to end my Musical Theatre Scene Study class 15 minutes earlier than usual, and I’ll do the same again next Tuesday.  We’re conducting phone interviews with the semifinalists for one of two tenure-track positions in dance and choreography; after each conference-call conversation we have a detailed discussion of our responses to the candidate.  Tuesday’ll be our last such call, after which we’ll have to prune our list from six candidates to three finalists who will be invited to campus to interview and teach demo classes.
          
Guy MolnarThe job posting for the second position in dance goes out next week, and we’ll begin a brand new round of careful reading of cover letters, resumés, CVs, transcripts, and letters of recommendation.  Often the only time I have to do this reading is after dinner, at home, and since the packets are numerous and thick they can keep me up long past when I’d prefer to go to bed.
          
Next week the other search committee on which I’m serving will begin phone interviews with candidates for our position of Music Director and Vocal Coach.
          
The Merit Committee meets Tuesday at 4, and the committee to form a new BA in Humanities degree will meet for the first time on Wednesday at 1.
          
That’s four committees.  Not counting my class load and the production of “Hot L Baltimore” I’ll begin rehearsing in two weeks.  This is my thirteenth year in academia, my sixth as a Designated Linklater Teacher of vocal production, and my second in my current tenure-track position as Assistant Professor of Acting at Coastal Carolina University. But in some ways it’s my first as an academic.  Because I used to chafe and bristle anytime anyone used that label for me.  I am most decidedly not an academic, I used to respond.  I insisted, as did Mr. Allen’s naïve playwright, that I’m an artist – a theatre artist and educator.  That I could be those things and an academic was a concept I really didn’t want to entertain.  I’m a bit embarrassed about why I felt that way.

I made the choice to switch careers in my late 30’s and go to drama school for an MFA relatively late in life, making even more than the usual sacrifices, I cherished my “actor” identity as fought for and hard-won.  I worked steadily as an actor for several years after grad school but almost from the beginning I also spent time guest-teaching in conservatories, university programs, and at times in any educational programs in the LORT theatres where I was working.  In fact, I entered my MFA program knowing I wanted to be a teacher, a trainer of young actors.

So it’s not so much a “bit” embarrassing as it is deeply embarrassing to me that for so long I did all that aforementioned bristling and chafing. I say “embarrassing” because it shames me to recognize and to admit that my fragile actor’s ego was seriously threatened by the “academic” label. Made me feel, somehow, that I would be perceived as “less” of an actor than actors who support themselves solely through their acting.
          
All of this came up in conversation at a dinner with members of VASTA’s Teaching and Learning Committee at last summer’s Conference in Washington DC.  I was there in my capacity as Board Liaison to the Committee.  When asked what I had to contribute I was at a loss until I realized that all I really have to share consists of the same sorts of very personal reflections that I tried to share when I was the Editor of the Voice: my journey as a voice and acting teacher, moments of success but – usually far more valuable – moments of struggle.
          
And one of those struggles presented itself last year when I realized that I love my job.  By which I mean this job, my current one, as opposed to some others I’ve held that I did not love, and those others I loved but lost when devastating budget cuts meant the elimination of visiting or even junior tenure-track faculty.  And since I love this job, where I have colleagues whom I like and whose work I respect, and where I have students who are for the most part talented and hard-working, I want to keep it.  And to keep it I’ve had to face the fact that for more than a decade I’ve kept myself woefully ignorant of the ways of academia.  I’d heard horror stories about the long road to tenure (or – unspeakably worse – the denial of same), and I’d assumed they were exceptions rather than rules.  But now the very word has come to have Damoclean associations for me; it is there, hanging over my head, as I learn to juggle the three balls of teaching, continued professional development, and service.  And, thank God, I’ve had mentors both in and outside of VASTA who’ve told me flat-out to stop pretending that all this academic stuff doesn’t apply to me and embrace my identity as an academic.  Learn, they told me, to go with the flow.
          
I used to think, as I so often do, that it was just me.  That no one else could feel as insecure or fragile as I sometimes do.  But I’ve paid attention, I’ve looked around, and I’ve seen and heard a lot of theatre artists whose bristling is quite visible and very much audible when they are identified as academics.  I’ve learned I’m not alone at all.
          
I’ve also learned that I have to educate my colleagues and superiors.  I am fortunate to teach in a department that has two voice teachers on the faculty, and we share coaching duties for departmental productions.  The first time my colleague’s name failed to appear in the program of a play for which she had taught and coached six different dialects we both assumed it was an oversight.  But then my own name was left out of the program for the next show, which I had coached.  Our Chair is almost always incredibly supportive of us as colleagues, but when I asked that our contributions be recognized in the program he went out of his way to make sure I was coming across as a whining diva.  I went to the Head of Acting, who not only listened but offered to advocate for us with the Chair.  “We’re a young and growing program,” she said, “and we’ve never really had vocal coaching before, so we don’t know how to use vocal coaches and we certainly didn’t think to acknowledge your contributions.  You will have to educate us.”
          
I am, I’m sure it goes without saying, grateful that she was so open and so gracious.  A year later my colleague and I receive as much as a full class release for dialect- or vocal-coaching a play, depending on the amount of time and research required; our names are prominent in the program; and we are invited as artists who have been “integral” to the production to speak about our process at the talk-back which follows the close of every departmental production.  And we have shared with our department the invaluable guidelines available on VASTA’s website at https://www.vasta.org/promotion-tenure-hiring-resources - guidelines that assist them and us as we try to stumble down the path to what I hope will be tenure and promotion and (at last!) job security.
          
And did you notice the use of the word “artist” in that previous paragraph?  We as vocal coaches and teachers are recognized as artists who are integral to our students’ work in the studio, the rehearsal room, and onstage.  And I have come to embrace my dual identity of artist and – yes – academic.  I am a happier and healthier and more successful teacher as a result.
          
In fact, I have a lot more to say on the subject, but it’s time to get to class, after which I have, as you may recall from the beginning of this article, another committee meeting.

Guy William Molnar, VASTA Board of Directors
Board Liaison to the Teaching and Learning Committee
Assistant Professor of Acting,  Coastal Carolina University

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VASTA VISION

Claudia Anderson

VASTA Vision, a session facilitated by Michael Rohd
VASTA Annual Conference, 2012, Washington DC

The Annual Conference is the only in person “meeting of the whole” and generates community, ideas, excitement and learning. The final activity of the Conference was designed to creatively receive from the Conference attendees their Voices—their impressions of VASTA as an organization, their experience at the Conference and their dreams, visions and hopes for the future. Michael Rohd led through an active workshop, in small groups and in the larger whole, where we moved and spoke (and voted) for the values and ideas that are most important to each of us. As the organization moves forward, we need to constantly ask questions, assess, question and plan. The VASTA Board and Committees can then move forward, renewed and injected with energy from the membership.

Claudia AndersonFor those who weren’t able to attend the Conference in 2012, perhaps a list of highlights will serve to inform you of the spirit of the Conference, and stimulate you to offer your visions and your energies to initiatives that interest you.

In brainstorming on VASTA’s Core Values, attendees’ top choices were: Inclusivity, Research and Advocacy/Agency. In describing what we liked most about the organization, and what we would say to a person to convince him/her to join, we said: Passion of Members, Sense of Community, a Sense of Many Generations, Learning that Reinvigorates Teaching. When asked what we need from VASTA, attendees listed: Inspiration, Mentoring, Frolleagues (playful, joyful time with colleagues!), Continuing Education, Community, More Recognition in the Public for VASTA, International Outreach and Support.

When asked “What questions should the organization be thinking about?” attendees responded:

  • What can VASTA do for those in their mid to late career phase?
  • Can they fund small regional gatherings?
  • Can we have chapters on every continent?
  • Can we add private practice members?
  • What one outreach project should we pursue?
  • How can we be both critical and supportive of one another?
  • How can we stay more connected between conferences?
  • How can we get more money to fund quality research?
  • How can we shine the light on the fact that voice work makes humans healthier?
  • How can VASTAns become leaders in their own communities?
  • How do we bring in new members and how can we increase the diversity of our membership?
  • What is our action plan?
  • Can we use technology to connect with the world?
  • Can we embrace our history and move forward in a changing world?
  • How do we draw in the next generation?
  • How do we establish relationships with other communities?
  • How do we harness the energy from the Conference to move VASTA forward?

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MEMBER NEWS

INTERNATIONAL

Editor, Kirstie O'Sullivan


FLLOYD KENNEDY (Brisbane, Qld, Australia) Flloyd submitted her PhD thesis for examination in June 2012, and is still awaiting the results. She is about to begin teaching voice at the Film & TV Academy, Brisbane, and is presently in rehearsal with Full Circle Theatre (Brisbane) for Ben Power's "A Tender Thing" (playing Juliet), to be presented at the Visy Theatre, Brisbane Powerhouse in May 2013. She is also in the process of developing a mobile app for warming up the voice (speaking, rather than singing), due for release in a month or two.

ANNA MCCROSSIN-OWEN (Melbourne, Australia) has been continuing to teach Voice/ Dialects and Singing privately in Melbourne, as well as teaching Voice at the Victorian College of the Arts in the School of Performing Arts- Drama. In 2012 she coached documentary narration, animation, television drama, music theatre and theatre, including continuing her work as Voice/Dialect Coach for Melbourne Theatre Company, with a number of projects attracting industry awards and nominations.  Anna continues to work in Media and Presentation Training. In 2012 she was awarded a Victorian Green Room Special Award for 'Outstanding Contribution to the Melbourne Stage'.

DARON ORAM (London, UK) is in the second term of his post as Voice Lecturer on the BA Acting course at  The Royal Central School of Speech and Drama. He will also be providing teaching support to their MA/MFA Voice Studies course. Daron recently finished a six year post as Head of Voice in the Musical Theatre School at London's Arts Educational Schools. He has also continued to coach professional work and recently came to the end of a three year stint on the RSC's Matilda, seeing it from the initial workshop stage, through to it's West End transfer, where it won a record 7 Olivier Awards.

FIONA RAMSAY, BAHons (Cape Town University, SOUTH AFRICA) is writing her MA Dissertation on Accent Acquisition (University of Witwatersrand, SOUTH AFRICA). This is based on a case study of working as Dialogue Coach on the film Long Walk to Freedom - based on the autobiography of Nelson Mandela and played by Idris Elba. Just concluded working as Orlando Bloom's coach for Zulu also shot in SA, and currently working as Dialogue Coach on a Danish film being shot in SA - Salvation. Fiona works as the Professional Voice Consultant on the medical team at the Park Lane Voice and Swallowing Clinic in SOUTH AFRICA on a multi-disciplinary team with laryngologist and speech therapist. Fiona is writing a voice journal'Giving Voice to Souls' mapping her methodology.

CHRISTINA SHEWELL, MA (Bristol, UK and France), voice teacher and speech pathologist based in the UK, is currently taking a South of France sabbatical until September 2013. Her book, Voice Work: Art and Science in Changing Voices is internationally used as a core text in acting, singing and speech pathology courses. She co-taught with Catherine Fitzmaurice in New York last year, introducing her voice assessment and ways of working. In October she will teach at the Stratford Ontario Shakespeare Festival, followed by a two-day course in Chicago, and then a presentation/workshop at the Marion Woodman Foundation Conference entitled ‘Brain, Image, Voice, Heart and Soul’.

IVETT SANDOVAL TORRES, (Morelia, Michoacán, México) is on her 6th year as  Assistant Professor in the Theater program at the Dept. of Arts of Universidad Michoacana de San Nicolás de Hidalgo and just got promoted to Associate professor. This year she is Academic Associate Dean. She is also a lecturer at the Instituto de Investigaciones Cinematográficas y Humanísticas in the undergraduate Acting Program. At the latter, she directed Wicked for her voice class.

MARINA TYNDALL (London, United Kingdom) has become the first UK voice coach to certify as an Associate Teacher of Knight Thompson Speechwork. The first Certification program was held by Dudley Knight and Phil Thompson in July 2012 in New York City. She recently joined VASTA's International Liaison Committee, aimed at forging connections between VASTA and other voice organisations around the world. Marina is currently working as production Dialect Coach on two forthcoming ITV comedy drama series, Love and Marriage and The Job Lot.

CANADA

Editor, Dawn McCaughery

ALYSON CONNOLLY (Edmonton, Canada) is a Masters candidate in the Theatre Voice Pedagogy program at the University of Alberta. She is a graduate of the U of A’s BFA (Acting) program and has performed in theatres throughout Western Canada. Alyson taught for many years at the Citadel Theatre’s Foote Theatre school before setting out on her own.  Her company, Dramatic Learning, produces curriculum-based creative drama and musical theatre in schools throughout Alberta and has also performed musicals at the Edmonton International Fringe Festival. Another company, Improve This, works with businesses on building listening and improvisation skills. She also offers private lessons to children and adults in Speech Arts and Public Speaking. 

BETTY MOULTON (Edmonton, Alberta)will be the voice, speech and text coach in Edmonton this April on her third Catalyst Theatre production since 2008. The title is The Soul Collector. “It is a darkly whimsical and surreal musical tale about losing hope and finding it again in a frozen northern metropolis...”She is currently on a half sabbatical traveling around Florida, then to New Orleans and Phoenix while writing about the Catalyst process of creating new plays that use heightened language and an extended physical and vocal style. She is also beginning work on a book and website.

SHANNON VICKERS (Winnipeg, Manitoba) was over the summer among the first Trainers certified as an Associate Teacher of Knight Thompson Speechwork in NYC.  She enjoyed presenting at the VASTA conference in D.C. Recently she served as Accent Designer and Coach for Winnipeg Jewish Theatre's production of Dai (Enough) as well as for the world premiere of Gone With The Wind for Royal Manitoba Theatre Centre. A week after opening night, Shannon welcomed her

NEW YORK

Editor, Peter Jack Tkatch

LIZ CAPLAN (Liz Caplan Vocal Studios, LLC, New York, New York; NATS, VASTA, NYSTA, Voice Symposium, Drama League) is the Vocal Supervisor on the following Broadway Productions: Once (Tony Award for Best Musical, Grammy Award for Best Cast Recording); The Book of Mormon, North American Companies (Tony Award for Best Musical, Grammy Award for Best Cast Recording); Wicked, North American Companies; and the Tony Awards. Her film credits as Vocal Coach include Les Miserables and Shame. Her television credits include Vocal Supervisor for The Colbert Report and as a commentator on CNN and Reuters. Her studios are in residence at The New Studio on Broadway,
the Tisch School of the Arts at New York University.

JANE GUYER FUJITA (NYC) is in her third year teaching speech and dialects at the Yale School of Drama. She recently coached All in the Timing, by David Ives at Primary Stages, Hollow Roots, by Christina Anderson at the Public Theater's Under the Radar Festival, Temporalis for ABC family, Pit by Melisa Annis at Theater for the New City, and Hallmark Hall of Fame movie, The Makeover.  She is also teaching privately, and at ESPA, the school at Primary Stages.

ANDREA HARING is the Associate Director of The Linklater Center for Voice and Language in NYC.  She is also the Coordinator for Linklater Teacher Training and is on faculty at Columbia University MFA Theater Program, Fordham University undergraduate acting, and Circle in the Square Theater School.  Andrea coaches extensively on and off Broadway and for private clients. To contact email her at aharingvoice@aol.com or at mail@thelinklatercenter.com.

AMY JO JACKSON (NYC) is currently coaching dialects for the Broadway production of Kinky Boots, written by Cyndi Lauper and Harvey Fierstein, as well as the Off-Broadway production of Henry IV Part I at The Pearl. www.amyjojackson.com or amyjojacks@gmail.com

EVAMARII JOHNSON, PhD, (NYC) will again teach acting and voice & speech at the California State Summer School for the Arts.  Recent projects include voice, text, and dialect work on "Gleam" at Baltimore's CenterStage, "Flying Fables" for CCNY's New Haarlem ArtsTheatre, and "The Mountaintop" for the Philadelphia Theatre Co. eaej50@yahoo.com

KRISTIN LINKLATER (Professor of Theatre Arts, Columbia University)
Workshops 2012:Royal Central School of Speech & Drama; Drama Academy, Ramallah, Palestine; Cracow, Poland; Teacher-training, Germany - 14 Designated Teachers (German, Italian, Austrian); Freeing the Poet's Voice, Scotland; Shakespeare, Stromboli; Voice Conference, Mexico City; Shakespeare Intensive, Birmingham School of the Arts, UK; Teacher-training, USA - 16 Designated Teachers. Production: Joan of Arc: Voices in the Fire  --a devised Actors' Thesis, Columbia University School of the Arts. Building is underway for the Kristin Linklater Voice Centre in the Orkney Islands, Scotland where Kristin lives 6 months of the year. The Centre will open 2014 and all Kristin's international workshops will take place there.

JULIO AGUSTIN MATOS, JR., (NYC) recently began his first year as Assistant Professor of Theatre at the Western Connecticut State University, but continues to conduct his monthly Transition Workshop Studio www.TheTransitionWorkshop.com in New York City.  His production of Sweet Charity at the New Haarlem Arts Theatre was nominated for four Audelco Awards, including one for Best Direction of a Musical.  He also represented VASTA at the Region I Kennedy Center / American College Theatre Festival conference with a workshop entitled "Going Beyond the Words: Driving the Action through Phonetics."

JOAN MELTON, PhD, ADVS (NYC) will be Artist-in-Residence at the University of Tasmania, Launceston, April 7 – May 18, filming a project with actors entitled “Effects of Physical Shape and Movement on Vocal Function and Resonance.”  She’ll then go to Toi Whakaari, national drama school of NZ, to teach workshops for actors in several levels of the training program there. In June, Joan will be back in NYC to coach Shakespeare’s The Tempest for New York Classical Theatre in Battery Park; July 19 – 21, she’ll be at Shenandoah University, VA, teaching a three-day post-graduate course, “Speaking and Singing with the Same Voice,” at the CCM Institute; and July 25 – 30 (NYC) she’ll collaborate with osteopath Jennie Morton and other distinguished faculty in the first One Voice certificate program designed to prepare voice specialists to work in both theatre and music. Details at www.joanmelton.com.

KATHLEEN MULLIGAN (Ithaca College) returned in late January from the second of three visits to Islamabad, Pakistan, as a Fulbright Specialist (her first visit took place in August 2012). Kathleen and her husband David Studwell (also a Fulbright Specialist) co-led workshops on vocal production and acting, and worked with local actors on a staged reading of To Kill a Mockingbird. She and David plan to return to Islamabad in May of 2013.

PAUL RICCIARDI (Hudson, NY) is in his fourth year as Assistant Professor of Theater at Siena College. This past August he received his Linklater Teacher Designation at Shakespeare and Company in Lenox, MA.  Paul was recently appointed Resident Voice and Text Coach at Stageworks in Hudson, NY and he is currently serving as Co-Vice Chair for KCACTF in Region I.

LUCILLE S. RUBIN, PHD (Professionally Speaking, NYC, and  Voice Faculty at Circle in the Square Theatre School.)  She enjoyed coaching current and former stage performers in The Iceman Cometh, Gore Vidal's The Best Man, Leap of Faith, Other Desert Cities, Clybourne Park, Uncle Vanya at SoHo Rep, The Picture Box, The Broken Heart, Volpone, Golden Boy, Old Jews Telling Jokes, Warrior Class, Let's Kill Grandma This Christmas, Glengarry Glen Ross, A Christmas Story, The Musical; On TV: House of Lies, The Newsroom, Magic City, Animal Practice plus anchors and reporters on NBC,ABC, CNN, National Geographic and Optimum Cablevision; On Film: The Hunger Games, Seeking a Friend to the End of the World, Perception, Nobody Walks, Trouble with the Curve; On Radio: 1010 WINS and  Gateway Radio.  She has also enjoyed coaching corporate, legal and business clients and those needing interviewing, presenting and public speaking skills.

NANCY SAKLAD dialect coached for VoiceTheatre of Woodstock, NY for their production of Winners. She is currently working on Good People as a dialect coach for Half Moon Theatre of Poughkeepsie. Last semester she directed Cabaret at SUNY New Paltz and dialect coached Crimes of the Heart. She is looking forward to directing The Tempest in the fall. She continues to develop acting technique based on the Focusing work of Eugene Gendlin.

LESTER THOMAS SHANE (NY, NY) follows the success of the Norwegian translation and production of his one-man show, Mortal Coil, which he directed, by working with an Italian actor/ translator for a Roman production later this year.  He continues to teach at The American Academy of Dramatic Arts, The New York Film Academy and Pace University where he is dialect coaching their production of The Importance of Being Earnest. 

AMY STOLLER (Freelance Dialect Designer/Coach, New York City) Recent Off Broadway: Mint Theatre Co.: Katie Roche; Mary Broome (NY Times Critic’s Pick); Love Goes to Press; Rutherford and Son. Pearl Theatre: A Moon for the Misbegotten; The Bald Soprano. Regional: Anna Deavere Smith’s On Grace (premiere; Grace Cathedral, San Francisco). Presenter, VASTA Conference 2012: “Speech Stereotypes in Accent & Dialect Coaching: Good vs Evil.”  Guest instructor, NYU Performance Studies, Fall 2012 (by invitation, Professor Anna Deavere Smith).
@aol.com>

NORTHEAST

Editor, Peter Jack Tkatch

BRIDGET CONNORS, Professor, Head of Acting, Point Park University, a Designated Linklater Voice Teacher, is currently appearing as Gunhild Borkman in Quantum Theatre’s production of John Gabriel Borkman.

JANET MADELLE FEINDEL, MFA, Professor of Voice/Alexander, School of Drama, Carnegie University, recently co-coached Twelfth Night, directed by Robin Phillips, at the Birmingham Conservatory, Stratford Shakespeare Festival, Canada.  She also presented at the Alexander Technique International AGM, in Papenburg and taught at Alexander Alliance Deutschland, Germerode, both in Germany.

NANCY HOUFEK (American Repertory Theatre/Institute for Advanced Theater Training at Harvard University) coached Marie Antoinette directed by Rebecca Taichman , Pippin directed by Diane Paulus and Glass Menageriedirected by John Tiffany. Nancy continues to teach both undergraduate and graduate courses in voice, speech, text and dialects as well as lead the Institute’s M.F.A. program in Voice Pedagogy. She has been awarded a 6th consecutive award from Harvard for excellence in teaching.  Her public speaking workshops at the Derek Bok Center for Teaching & Learning, the Harvard School of Public Health, the Kennedy School of Government, and the Radcliffe Fellows program, as well as for universities, professional organizations and private sector companies throughout the country have expanded to include clients such as the Hoosier Fellows Program at the Tobias Center for Leadership in Indianapolis and theCenter on Budget and Policy Priorities in Washington, D.C.

DEBORAH KINGHORN (University of New Hampshire) is spending her Spring 2013 sabbatical teaching workshops in Pretoria and Capetown, South Africa, and will then travel as a Fulbright Scholar to Rijeka, Croatia to teach in the Acting, Media, and Culture Post-Graduate program at the University of Rijeka. She recently directed Macbeth for her department, and is finishing a new book, entitled The Precision of Feeling: Honoring the Familiar, to be published by RJM Donald, LLC.

NANCY KREBS (Baltimore, MD) presented the workshop: Structural NRG: Creating the Flexible Sound Box for the 8th Annual Lessac Conference in Hollywood, CA in January; and has a busy line up of dialect coaching productions coming up during the Spring. Currently working on Home,by Samm-Art Williams at Rep Stage in Columbia, MD, followed by Pride & Prejudice with Annapolis Shakespeare Company, Boeing-Boeing at Rep Stage, Look Homeward, Angel with the Baltimore School for the Arts Senior Acting Ensemble
The Real Thing at Studio Theatre in D.C., and Angel Street with Olney Theatre Center. She will be leading the 2013 Lessac Four Week Summer Intensive beginning in Mid-June through Mid-July.

BARRY KUR (Penn State School of Theatre) served as dialect and voice/speech coach for Love’s Labours Lost at Penn State Centre Stage directed by guest director Ed Stern.   He will be leading the “Lessac One Week Intro Workshop,” University of Mary Washington, Fredericksburg, VA and the “Lessac Institute Teacher Trainers Workshop,” DePauw University, Greencastle, Indiana (www.lessacinstitute.com) After 30 years, Barry will retire from his position as Professor and Associate Director of the Penn State School of Theatre, effective June 30, 2013.

MARYA LOWRY (Brandeis U/Actors’ Shakespeare Project) play the Duke (turned Duchess) and Lucetta in The Two Gentleman of Verona for Actors’ Shakespeare Project Dec/Jan in Boston. She created and directed, Hamlet in a Nutshell, an original, devised theatre production based on Hamlet with the 2nd year MFA actors at Brandeis.  Marya continues to provide narration for promotional videos for various Boston area universities and businesses. For those of you who know my two children, Colman and Micah, I’m delighted to share that both were married this past summer/fall (offering me a new and untried role: mother-in-law).

NATALIE MCMANUS, MA, SLP-CCC/ Designated Linklater Teacher/ Certified Forensics Coach (Potomac, MD - DC area) is working with private clients through her company, Professionally Speaking, www.professionallyspeaking.info and teaches voice workshops and presentation skills workshops at various locations.  She performed on the stage this past year as Lottie in Enchanted April (made the DCMetro TheatreArts list of best actresses in a play in 2012), and as the Narrator in A Christmas Carol.  She serves on the Board of Silver Spring Stage. Natalie thoroughly enjoyed participating in the VASTA conference this summer here in DC. 

ANTONIO OCAMPO-GUZMAN (Boston, MA) continues to serve as VASTA’s Treasurer and spent last summer teaching in Spain and Mexico, collaborating on CEUVOZ’s 5th Annual Voice Conference, with guest teacher Kristin Linklater. He just directed The Seagull at Northeastern University. Upcoming projects include directing Terrence McNally’s Master Class at New Repertory Theatre in Watertown, MA (with VASTA member Amelia Broome as Maria Callas) and Otto Nicolai’s Die Lustige Weiber von Windsor for Boston Midsummer Opera.

PAMELA PRATHER (Stamford,CT) is thrilled to be in her first year as Assistant Professor of Theatre at Purchase College (SUNY) teaching Voice and Speech in the BFA Conservatory.  She coached Death of a Salesman for the Alley Theatre in Houston in October and will be coaching Elephant Man for the Alley in April.  Pamela will be teaching a one-day intensive vocal/movement workshop in NYC in May with longtime collaborator Anna-Helena McLean from London. Details available on www.pamelaprather.com

RUTH ROOTBERG, (Amherst, Massachusetts) presented "Voice and the Alexander Technique," a half-day workshop, in November. This is the first in a series offered in Amherst. She collaborated with Missy Vineyard and Christine Stevens to offer a weekend workshop last July, "Experience, Explore, Enjoy the Alexander Technique," which will be offered again in 2013. During that workshop Ruth offered two classes on the whispered "ah" and voice. In January 2013 she offered: "The Show Must Go On," a workshop about performance anxiety, as part of the "Freedom to Act Conference" in New York City.

KAREN RYKER (University of Connecticut-Storrs) recently coached Romeo and Juliet, Punk Rock and HairSpray for Connecticut Repertory Theatre.  She collaborated with Australian installation artist, Sally Smart, as voiceover artist and scriptwriter on her new work, The Pedagogical Puppet Projects by Sally Smart which tours to NYC, London, China and on.   She collaborated with UConn’s Contemporary Art Gallery to create a performance of selections from Half the Sky and is currently doing the same with material from The Great Gatsby.  

PETER JACK TKATCH  (Associate Professor, University of Vermont, Department of Theatre) directed Bertolt Brecht’s The Good Woman of Setzuan at UVM’s Royall Tyler Theatre last year, and at present he is directing and vocal coaching The Heidi Chronicles there. At the Royall Tyler he also coached dialects for The Beaux’ Stratagem; and in July 2012 at St. Michael’s Playhouse, he coached dialects for Over The Pub directed by Kathryn Markey. He continues working with clients in the local media.
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LYNN WATSON (U. Maryland, Baltimore County) consulted on dialects for Parade at Ford’s Theatre for which actor Euan Morton won the 2012 Helen Hayes “Outstanding Lead Actor, Resident Musical” award. The production of Las Meninas by Lynn Nottage for which she consulted on dialects and text at Rep Stage in Maryland, received a “Helen Hayes Recommended” nod.  The production of The Basset Table—a rarely produced, late Restoration play by Susanna Centlivre—that she directed at UMBC brought the play to the attention of the Folger Theatre in Washington, DC. The Folger subsequently mounted a professional production of Centlivre’s comedy to popular and critical acclaim.In June she taught speech for the Fitzmaurice Voicework certification training program in New York. She is honored to begin a term serving as VASTA’s President Elect.

SOUTH

South Editor - This Editor position is open. Please contact Joe Alberti for for more information on volunteering as South editor.

AARON BLACK, MFA (Austin, TX) is continuing his role as Founding, Producing Co-Artistic Director of 7 Towers Theatre Company in Austin, TX. In late February and March of 2013, he will be playing either Richard or Bolingbroke (depending on a nightly coin toss immediately before the show each night) in Richard II at The Curtain Theatre, a 3/4 size Globe replica in West Austin. He has been asked to teach a guest workshop on performing Shakespeare at the University of Texas at Austin in April. Additionally he is slated to play a role in The Pillowman for 7 Towers in the summer. Aaron is on the market for a university-level teaching position in acting, voice, or movement, and also teaches as a private acting and voice teacher in Austin, Texas and online.

ROBIN CARR (Hattiesburg, MS) was recently elected onto the board for the Lessac Training and Research Institute. Carr also received the Aubrey Lucas and Ella Ginn Endowment for Faculty Excellence that will support her Lessac Practiced-Based Research with the Theatre Actors Guild in Manila, Philippines and at the National Institute for Dramatic Art in Sydney, Australia. Robin is directingAssassins this Spring at the University of Southern Mississippi and vocal coaching Dancing at Lughnasa.

ZACH HANKS (Nacogdoches, TX) is a Visiting Assistant Professor in Stephen F. Austin State University’s School of Theatre.  Since leaving Los Angeles, he has played the President in SFA’s The Madwoman of Chaillot, directed a radio play for broadcast, contributed voices to Epic Games’ Infinity Blade: Dungeons and the Eureka Suction Seal television campaign, taught a video game voice acting workshop for UC Irvine’s third year MFA Actors, and continues to coach voice actors in Texas and Los Angeles, in addition to serving on SAG-AFTRA’s National Voice-Over Committee.

CHRISTINA KEEFE (Houston, TX) has been promoted to Professor in the Practice at Rice University, where she is the Director of the Theatre Program. Christina is acting in the Houston Grand Opera’s production of Showboat this February.  This past semester she vocal coached Tartuffe for Rice’s Theatre Program 

ANDREW KIMBROUGH, PHD (Lexington, KY) published Dramatic Theories of Voice in the Twentieth Century with Cambria Press and the book has just received an excellent review in Theatre Journal, vol. 64, 2012. VASTA members are encouraged to check out this original and informative theoretical critique of the sound of the human voice in performance, and to have their university libraries purchase a copy.

ARTEMIS PREESHL, MFA (New Orleans, LA) coached RP and Cockney accents on Blithe Spirit this year. Her direction of the new adaptation and translation by Dr. Karen Rosenbecker of the Aristophanes' play, Wealth, premiered at Loyola University in January 2013. Artemis is one of two presenters on Shakespeare and Commedia dell'arte chosen for the International Conference in Commedia dell'Arte in Windsor, Canada in February 2013. She directed a staged reading of "The Fall of the Eiffel Tower" in French and performed in a radio broadcast and stage play of It's a Wonderful Life in New Orleans in December 2013.

KRISTA SCOTT (Fort Worth, TX) is in her fourth year as Assistant Professor of Voice and Acting at Texas Christian University.  She spent the early summer serving as the voice/text coach for The Merry Wives of Windsor at The Shakespeare Theatre Company in Washington, D.C., and returned in August for the VASTA conference where she was a member of a panel that addressed teaching in non-Western cultures.  In February she directed How I Learned to Drive at TCU, and is now in rehearsal in the role of Vivian Bearing in Wit at Theatre Arlington.  She looks forward to returning to the Illinois Shakespeare Festival for their 2013 summer season, and subsequently directing Exit, Pursued by a Bear at Circle Theatre in Fort Worth.

MATTHEW TOMLANOVICH (VoiceGeek Dallas) is working with Nouveau 47 Theatre (where Margo Jones began the regional theatre movement) as Director of Artistic Development and directing She Creatures. His VoiceGeek Dallas coaching company has recently added the Episcopal Diocese of Dallas and DFW Airport as clients and he continues his voice work with transgendered individuals by planning with GEAR on creating low cost options for that population. He also has a wicked garden going.

CENTRAL EAST

Editor, Wendy Saver

CLAUDIA ANDERSON (Chicago, IL) teaches at The Theatre School, DePaul University. This year, she coached dialects for The Dead at Court Theatre and Pirates of Penzance at Marriott Lincolnshire. Her first CD of original songs, in dreams i can fly, is available at CDBaby and Amazon.com. This past summer, she began performing with SongSisters, four women who sing original songs and provide harmony for each other in concert. Her book, Bringing Speech to Life, co-authored by Louis Colaianni, is still available at Amazon.com.

MICHAEL J. BARNES (Royal Oak, MI) was named the Artistic Director of the Maggie Allesee Department of Theatre and Dance at Wayne State University--learning the challenges of producing twenty shows in a season--and was able to produce the first production of Detroit after its Pulitzer nomination outside of NYC. At the Hilberry Theatre, he coached The Mouse Trap, Othello, Good Night Desdemona/Good Morning Juliet, & Detroit.  He also had the pleasure of working at Broadway Theatre Project with Ben Vereen last summer.

KATE DeVORE (Chicago, IL) continues to train voice and speech through Total Voice, Inc., The School at Steppenwolf, Columbia College Chicago, and Acting Studio Chicago.  She has recently coached shows at the Goodman Theatre (with Diane Lane), Steppenwolf Theatre, Piven Theatre, and A Red Orchid Theatre.  She recently presented at ASHA (American Speech-Language Hearing Association), Stanford University's Voice Course, and UIC (University of Illinois, Chicago.

TANERA MARSHALL (Chicago, IL) is Dialect Coach for NBC's new series "Chicago Fire" and is knee-deep in her second year as Chair of UIC's Dept of Theatre and Music. She'll spend a week this winter at the Heard Library in Phoenix, listening to their audio archive of Native American storytellers.

BETH McGEE (Associate Professor, Case Western Reserve University) voice and dialect coached for two NBC pilots last fall and voice coached The Misanthrope for the Case Western Reserve/Cleveland Play House MFA Acting Program at the Cleveland Play House.

WENDY SAVER (Associate Professor, Ball State University) taught a workshop that combined Patsy Rodenburg’s three circles with the forms of Mr. Suzuki and Mr. Ohta while in Pretoria, South Africa this past summer. This fall, she facilitated BSU’s involvement in the international reading scheme for Spark by Caridad Svich.

PHIL TIMBERLAKE (Chicago, IL) recently appeared as Mr. Collins in Lifeline Theatre’s adaptation of Pride & Prejudice. Last summer he traveled to France to complete the requirements for a Roy Hart Theatre Voice Teaching Diploma. Phil is an Associate Professor and Chair of Performance at DePaul University’s Theatre School.

DIANE TIMMERMAN (Indianapolis, IN) created a Soundscape in a Stairwell performance with her voice students at Butler University. The performance utilized Linklater and Roy Hart voice techniques in the acoustically live stairwell in the building where the Butler Department of Theatre is housed. Photographs from Diane's Indianapolis Arts Council Creative Renewal Fellowship supported the aurally unique performance. Next up, Diane directs a new play, Pigeons, by writer Dan Barden at Butler in February.

WEST CENTRAL

Editor, Holly Rocke

ADRIANO CABRAL (Phoenix, AZ) is finishing his MFA in Theatre Performance at Arizona State University. He has been Vocal Coaching and Dialect Directing for the ASU Mainstage while performing around the Phoenix area.  He spent the summer in Indiana at the Lessac Institute Summer Intensive and plans to return next year to receive his Certification as Lessac Practitioner.  He is currently working on a Solo Performance that explores the vocal development of gay men from different generations.

MICHA ESPINOSA, MFA (Tempe, AZ) is working toward tenure at the School of Theatre and Film at Arizona State University. She is the interim coordinator of the MFA in Performance and the vocal coach/advisor for the Galvin and Lyceum Playhouse. She is currently coaching Hamlet and the Tempest in repertory at Southwest Shakespeare in Mesa. She has enjoyed bringing to life the role of Maribel in Monica Palacio's Clocks for Teatro Bravo's New Play Series. Micha continues to focus her research and writing on the Latino/a experience. She looks forward to training Fitzmaurice Voicework candidates in the Eleventh and Twelfth certification programs in New York and Los Angeles. She invites you to visit her Facebook page Bali:Performance and the Art of Transformation. Along with Aole Miller and masters teachers of Bali, Micha, will be coordinating and leading study for students of voice, mask and movement at the Purnati Art Center – June 15-30, 2013. Please contact her for information for what is sure to be a transformative, fun, and enlightening intensive for yourself or your students.

KRISTEN LOREE, MFA (Albuquerque, NM) is an Assistant Professor in the Dept. of Theatre and Dance at the University of New Mexico.  Her newest one person musical premiered in July and is still in progress. She is currently working on an article “Moving Meditations” for the VASTA Journal and Assistant Director ofRoots Revival, a musical history of African Americans to open in February.

PAUL MEIER (University of Kansas), reports that the newly redesigned International Dialects of English Archive website has now been unveiled.   Its new address is http://www.dialectsarchive.com.  He thanks the many IDEA editors who assisted in the mammoth reformatting task, but gives particular thanks to Dylan Paul, its architect, who donated hundreds of hours to the project.  Paul’s dialect instruction publications have recently been released in digital format at http://www.paulmeier.com, alongside the traditional hard copy format.  Since his groundbreaking 2010 production of A Midsummer Night’s Dream in the original pronunciation, Paul has coached other productions in OP, notably Hamlet, starring Ben Crystal, at the University of Nevada, Reno; and is slated to assist the Stratford Festival in Ontario on this issue in spring 2013.  OP productions of Twelfth Night, King Lear, and The Crucible are also on his calendar.  Recent films include The Confession, based on the novel of the same name, a Hallmark Hall of Fame production.

CHERYL MOORE BRINKLEY, (Minneapolis, MN), as B. Vocal LLC, has just opened a
new private studio in downtown Minneapolis. Her DVD, The B. Vocal Four Guideposts of Voice & Speech, from a live workshop, will be released for sale on her website on 12-12-12.

ELIZABETH NASH, PHD (Minneapolis, MN). The second edition of Dr. Nash's book Geraldine Farrar, Opera’s Charismatic Innovator has been published by McFarland & Company, Publishers.

ANNE MARIE NEST (Iowa City, IA) is enjoying her first semester as Assistant Professor of Voice and Speech in the Department of Theatre at the University of Iowa.  Anne Marie owes a special thanks to VASTA, in particular the mentorship of Barbara Adrian and Jeff Morrison, for landing such an excellent position. This January, she will begin a certification in Fitzmaurice Voicework with an anticipated completion date of February 2014.

JOSEPH PAPKE (Minneapolis, MN) is currently a full time AEA actor at the Old Log Theater.  This past summer he was awarded am Artist Initiative grant from the MN State Arts Board to become certified in Knight-Thompson Speechwork.  He has been designated an Associate Teacher.  Joseph is also currently teaching small group classes in KT Speechwork and accents for actors.

HOLLY ROCKE, MFA (Eureka, IL) directed a production of The Man Who Came to Dinner at Eureka College.  This fall she has begun working with the men’s basketball team on incorporating elements of the Alexander Technique into their practice and games.  She currently sits on the 10 minute play selection committee for Heartland Theatre Company.

JEREMY SORTORE (Cape Girardeau, MO) spent the autumn at Southeast Missouri State University coaching voice, text, and vocal extremes for a student production of The Crucible, pursuing continuing education in communication disorders and speech science at the University Speech and Hearing Clinic, and teaching English grammar to international students. He is currently collaborating with the Southeast theatre faculty as a consultant and editor for a paper to be presented at the Lessac conference in January. His opera surtitles translations will be seen this spring with Opera Colorado, Utah Opera, Pacific Symphony, University of Colorado Opera, and Opera Theatre of the Rockies. In June, Jeremy will travel to New York to begin certification in Fitzmaurice Voicework, and he hopes to commence graduate study in theatre and voice in the fall of 2013.

GREG UNGAR, PHD(University of Denver) has just completed his first quarter as an Assistant Professor in the Dept. of Theatre at the University of Denver. Greg is currently writing two plays, teaching theatre history, voice, and dramatic literature. He is a certified Fitzmaurice Voice instructor, and has his MFA in Acting from the University of California, Irvine. Greg is seeking a publisher for his dissertation on Secrecy in Western Drama. Greg was vocal coach for a recent production of  Hamlet last fall and will be coaching dialects for Fiddler on the Roof in the winter of 2013.

SOUTHEAST

Editor, Daydrie Hague

JENNIFER BURKE (Miami, FL) is now an Associate Professor with tenure at the University of Miami, where in addition to teaching and coaching, she directs an interactive theatre ensemble which examines the issues that impact women and under-represented minorities in the STEM fields.  She recently served as dialect coach for the Royal Caribbean Cruise Line’s production of Saturday Night Fever.  This summer she will return to Kilgore, Texas where she has worked for several years as the vocal director for the Texas Shakespeare Festival.

DAYDRIE HAGUE (Auburn, AL) was recently promoted to Full Professor of Theatre at Auburn University. She was invited to presented this summer at the Vasta Conference on her work with  inter-active theatre for the National Science Foundations’s Advance Program. In New York this fall, she presented on her work in community engagement at the Imagining America, Scholars and Artists in Public Life Conference. She has vocal coached Cabaret, Sylvia, Nicked and Dimed and is preparing to direct She Loves Me this spring.

KATE INGRAM, (Orlando, FL) is in the midst of a busy year, not only teaching, but also performing roles in UCF productions of Good Boys and True, Dangerous Liaisons, and Spring Awakening.  As an Associate Professor, she continues to serve as Graduate Acting Coordinator @ Theatre UCF, and recently has coached various dialects for the Orlando Repertory Theatre.

ERICA TOBOLSKI (Columbia South Carolina) was Voice and Dialect Coach for Sweeney Todd at the Clarence Brown Theatre in Knoxville, TN and Voice and Dialect Coach for Compleat Female Stage Beauty at the University of South Carolina. In February she will conclude her term as Treasurer for the University/Resident Theatre Association (U/RTA) and continue her position on the Board for the Lessac Institute.

ELIZABETH WILEY (Williamsburg, VA) is an Associate Professor in the Dept. of Theatre, Speech and Dance at the College of William & Mary. She dialect coached Ruined by Lynn Nottage at W&M in Spring '12 under the inspired direction of Artisia Green. Liz considers the past year as the year she expanded into audiobooks, and now spends about half her time as an audiobook narrator and loves it! In other news, her rendition of "Witches' Reel" is featured on the recent Celtic rock digital release Coyote Run Bootleg (Live) http://www.cdbaby.com/cd/coyoterun4

WEST

Editor, Evelyn Carol Case

EVELYN CAROL CASE  (Fullerton, California) will perform at Divadlo Na Prádle as a part of the Prague Fringe Festival in Prague, CZ in June. This original production of Venus and Adonis is a collaboration between Shakespeare Orange County and The Prague Shakespeare Festival. This summer, Evelyn will perform Elizabeth in Richard III and Beatrice in Much Ado About Nothing with Shakespeare Orange County.

JOANNA CAZDEN, MFA, MS-CCC (Burbank, CA) celebrates acceptance of her revised text Everyday Voice Care: The Lifestyle Guide for Singers and Talkers by Hal Leonard Books; look for it at http://www.halleonard.com/index.jsp?subsiteid=27 starting September 2012. Joanna continues to work part-time at Cedars-Sinai Medical Center's outpatient voice clinic as well as privately, seeing a rich variety of artistic and medical clients.

JAN GIST (San Diego, California) Since January, Jan coached, for San Diego’s Old Globe Theatre: A Room with a View, and Anna Christie; and for University of San Diego’s Graduate Theatre Program: Twelfth Night, Turgenyev’s Fathers and Sons, and Pygmalion. She lead a workshop for The Center of Educational Excellence:  “Voice and Presentation Skills in the Classroom”.  She was pleased to have received a grant from USD for a student assistant who designed and built her new website: jangistspeaking.com.  She is gleefully anticipating time off on her first whole summer vacation ever, which will include attending the VASTA conference in August.

JOEL GOLDES  (Freelance) created and coached a "future" accent, combining common sounds of many world languages, for the Columbia  Pictures feature film After Earth, starring Will and Jaden Smith, premiering June, 2013.  He coached the NBC pilot After Hours and Chechen accents and language and a Russian accent for episodes of NCIS: Los Angeles.  Joel coached Lucky Stiff, a movie musical, with French and Italian accents and prepped Kevin Costner in a West Virginia accent for Hatfields & McCoys, for which Mr. Costner won the Emmy and Golden Globe Awards for Best Actor in a Mini-Series.  He prepped actor Shia Labeouf in an English accent for Nymphomaniac as well as prepping him for his Broadway debut in Orphans.  Joel is currently working with several hosts and correspondents on Entertainment Tonight and OMG! Insider, both nationally syndicated by CBS, and continues his association with the Orbit Gum brand.

LISSA T. RENAUD, PhD (Oakland, California) gave well-attended readings
in Berkeley from Yugoslavian writer, Milan Oklopdzic, of texts also published at www.Scene4.com. Her review of a Gertrude Stein opera in San Francisco appears at www.criticalstages.org, where her interview with director Robert Goldsby is also pending. She is now writing on Stanislavsky’s voice work for an international volume celebrating his 150th birthday. She attended a workshop on Sound, Deep Listening and Mind. Her private studio, Voice Training Project, currently includes students of broadcasting and voice-over. With the International Association of Theatre Critics, she is on her way to the Sibiu International Theatre Festival in Romania.

JUDITH SHAHN is thrilled to have been elected to the VASTA board and looks forward to meeting many of you in DC. Judith recently coached Oklahoma at The Fifth Avenue Theatre and Pygmalion at Seattle Shakespeare Company and will be coaching for Intiman's summer season, Romeo and Juliet. In addition, Judith and VASTA member, Kimberly white are teaching a voice intensive workshop of the Linklater voice method in Seattle for two weekends in July. Early registration ends June 15th. For more info, email jshahn@comcast.net

LISSA T. RENAUD, PhD (Oakland, California) gave well-attended readings
in Berkeley from Yugoslavian writer, Milan Oklopdzic, of texts also published at www.Scene4.com. Her review of a Gertrude Stein opera in San Francisco appears at www.criticalstages.org, where her interview with director Robert Goldsby is also pending. She is now writing on Stanislavsky’s voice work for an international volume celebrating his 150th birthday. She attended a workshop on Sound, Deep Listening and Mind. Her private studio, Voice Training Project, currently includes students of broadcasting and voice-over. With the International Association of Theatre Critics, she is on her way to the Sibiu International Theatre Festival in Romania.

JOAN SCHIRLE (Blue Lake, CA) was an invited presenter at the international conference in Windsor, Ontario, "Crossing Boundaries: Commedia  dell' Arte Across Gender, Genre,  And Geography" She taught a workshop on the women of commedia and gave a presentation on the role of Carlo Mazzone-Clementi, founder of Dell'Arte International (DAI), in spreading commedia in the USA after his arrival in 1958. In December she was invited to teach in the department of Musical Theatre at the Beijing Dance Academy in China, where she gave ten days of physical acting and voice work to both undergrads and masters students. She continues her work developing a voice curriculum for physical theatre training program at DAI.

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VASTA Board of Directors & Officers

Board of Directors

Mandy Rees
President 2009-2012

Patty Raun
Past President 2009-2012

Lynn Watson
President Elect 2009-2012

Directors

 

Krista Scott
2012-2015

Michael J. Barnes
2011-2014

Cynthia Bassham
2011-2014

Guy William Molnar
2011-2014

Judith Shahn
2012-2015

Anne Schilling
2010-2013

Judylee Vivier
2012-2015

Officers

Melissa Grogan  

Secretary

Antonio Ocampo-Guzman
Treasurer

 

Jeff Morrison
Editor, The Voice & Speech Review

Tara McAllister Viel
Associate Editor, The Voice & Speech Review

Joe Alberti
Newsletter Editor

Rebecca Root
Associate Newsletter Editor

 

Alison Vasquez
Director of Annual Conferences 2013

Open Position
Associate Conference Director 

Michael J. Barnes
Director of Technology/Internet Service

Adriano Cabral
Associate Director of Technology

Shannon Vickers
Membership Chair 2011-2013

Thrassos Petras
Associate Membership Chair, 2011-2013

 

​Kristen Loree
ATHE Conference Planner
2011-2013

John Graham
Associate ATHE Conference Planner
2011-2013

Associate Officers

Amy Stoller
Internet Resources Manager

Flloyd Kennedy
Officer for International Resources
2011-2013

Zachary Campion
VASTA Archive Catalogist
2011-2013

Brad Gibson
Bibliographer

Craig Ferre
ATHE Focus Group Representative

 

Committee Chairs

Joanna Cazden
Teaching and Learning 

Barry Kur
Awards and Grants

Michelle Lopez-Rios
Diversity

Scott Nice
Outreach

 

 

Contact Information Available at VASTA.ORG

 

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©2010, Voice and Speech Trainers Association