Misplaced Pages

#808191

51-571: South Coast Repertory was founded in 1964. It has three stages and presents plays from all eras. SCR producers new plays, Theatre for Young Audiences , and offers year-round programs in education and outreach. SCR is the home to the Pacific Playwrights Festival , an annual three-day new play festival. SCR's extensive new play development program, The Lab@SCR, consists of commissions, residencies , readings, and workshops, from which world premieres are produced each season. Among

102-580: A 161-seat Second Stage. SCR had reached its long-sought goal: a two-theatre complex, owned and operated by the company itself. During the 1980s, SCR's interest in new play development moved to the forefront. In 1985, the NEA awarded SCR a Challenge Grant, which helped finance the creation of the Collaboration Laboratory (Colab), which would support all play development in the future. The 1985-86 Season unveiled Colab's first two public programs:

153-622: A Los Angeles Drama Critics Circle Ted Schmitt Award for Best World Premiere of the Year, along with the prestigious Harold and Mimi Steinberg / American Theatre Critics Association New Play Award and a Lucille Lortel Award in New York for Outstanding Projection Design. It also was a finalist for the Edward M. Kennedy Prize for Drama Inspired by American History. In addition, SCR's 52nd season included world premieres by Sandra Tsing Loh ( The Madwoman in

204-670: A TYA production with child actors. Those are rarely, however, part of the companies’ main stage season. Many Theatre for Young Audiences productions still revolve around traditional child-friendly topics, such as fairy tales and magical quests. A number of theatre companies, such as Seattle Children’s Theatre , Imagination Stage , and the Minneapolis Children’s Theatre Company , have been working to create and produce plays and musicals for young audiences that are more intelligent and diverse. Recent work has explored themes that include parental abuse (e.g. An Afternoon of

255-466: A live interview with playwright Octavio Solis . With the pandemic leading to a cancelation of the spring productions in the 2019-20 season—and the suspension of a full 2020-21 season—SCR shifted to online offerings to engage with audiences. The Conservatory adapted its classes to be taught online. In 2021, a Spring/Summer season was offered, running April through August. The Pacific Playwrights Festival returned to its traditional live, in-person format in

306-432: A new board of community leaders to address the realities of funding, designing, and building Orange County's first resident theatre facility. The Segerstrom family gifted the land for the theatre's future site. In September 1978, the theatre opened with a production of William Saroyan 's The Time of Your Life . At first, there was only the 507-seat Mainstage. But by 1979, the large rehearsal hall had been converted into

357-625: A production of "Tartuffe.") The next step would be their own location. They chose to locate it in Orange County Calif., virgin territory for a major arts institution. For their Second Step, a two-story marine hardware store on Balboa Peninsula was rented and converted into a 75-seat proscenium stage. It opened on March 12, 1965, with a production of Waiting for Godot . Confident of their ability to continue, Emmes and Benson sought to convince their adopted community of SCR's future importance. They displayed an "Artistic Manifesto" in

408-430: A professional theater outside New York City . A regional theater may or may not be for profit or unionized . The term "playhouse" is often used to specifically denote this type of theater. Regional theaters often produce new plays and works that do not necessarily have the commercial appeal required of a Broadway production . Some regional theaters have a loyal and predictable base of audience members, which can give

459-638: A similar donation to the neighboring Orange County Performing Arts Center , established the Segerstrom Center for the Arts. Within weeks, SCR received its first gift of more than US$ 1 million, when Henry and Stacey Nicholas gave US$ 1.28 million (eventually doubling their gift to US$ 2.5 million to name the renovated Second Stage the Nicholas Studio) and launched "SCR: The Next Stage" Campaign, initially to raise US$ 40 million. Architect César Pelli

510-458: Is a branch of theatre arts that encompasses all forms of theatre that are attended by or created for younger audiences. It blankets many different forms of theatre methods and expressions, including plays, dance, music, puppetry, circus, physical theatre , and many others. It is globally practiced, takes many forms, both traditional and non-traditional, and explores a wide variety of themes ranging from fairy tales to parental abuse. Originating in

561-663: The American Theatre Wing gives a Regional Theatre Tony Award to one regional theater each year during the Tony Awards . This recipient is selected based on a recommendation by the American Theatre Critics Association and receives an award grant of $ 25,000. In the second and third decades of the twentieth century, there was a push to get away from the conservative, mainstream ideology of Broadway. The Little Theatre Movement

SECTION 10

#1732783211809

612-847: The Asolo Repertory Theatre is a member of LORT and partners with Florida State University in operating the Florida State University/Asolo Conservatory for Actor Training . The two major organizations that help to maintain the general welfare of resident theater in the United States are the League of Resident Theatres (LORT) and the Theatre Communications Group (TCG). These organizations encourage communication and good relations between their members and in

663-417: The League of Resident Theatres (LORT) and was able to contract for members of Actors' Equity . By 1977, the company was outgrowing its space again. The budget was more than US$ 250,000, a year later, there were more than 9,400 subscribers and capacity was pushing 99 percent. Emmes and Benson addressed the question of SCR's future and moved forward toward the long-anticipated Fourth Step Theatre. They formed

714-477: The 1999 Pulitzer Prize for Drama . Donald Margulies , whose Sight Unseen and Collected Stories originated at SCR before meeting with New York success, won the 2000 Pulitzer for Dinner With Friends . Other playwrights who had multiple premieres at SCR also became familiar names in theatres across America: Amy Freed , Craig Lucas , Howard Korder , Keith Reddin , Octavio Solis , and Richard Greenberg , who has had 10 commissioned world premieres at SCR. In

765-488: The 20th century, TYA takes on many functions in different settings and places around the world. In the US, for instance, it is often entertainment-centered, although its roots lie in education. Many writers and production companies have started catering specifically to TYA audiences, causing a continuous increase in theatrical material for children. In the present day, TYA production companies or groups can be found in most regions of

816-693: The Chicago company The Junior League, New York producer Clare Tree Major , The Children’s Theatre of Evanston, and many others. Today, TYA continues to thrive, with an increasing number of playwrights, performers, producers, and companies taking part in it. Most TYA productions in the US are plays, with a fast-growing number of musicals taking second place. However, most performing arts forms have been adapted and incorporated into Theatre for Young Audiences, including physical theatre, operas, puppetry, dance, street performance, and many others. Some companies specifically cater to non-traditional theatre forms, such as

867-617: The Elves by Janet Taylor Lisle ), divorce (e.g. Doors , by Suzan Zeder), death (e.g. Afflicted , by Laurie Brooks), and social barriers such as racism, xenophobia, and homophobia (e.g. The Transition of Doodle Pequeño , by Gabriel Jason Dean). Regional theatre in the United States A regional theater or resident theater in the United States is a professional or semi-professional theater company that produces its own seasons. The term regional theater most often refers to

918-563: The MainStreet Theatre Company and the Center for Puppetry Arts, Atlanta. Several major companies performing Theatre for Young Audiences exist across the US, including but not limited to Imagination Stage , Minneapolis Children’s Theatre Company , Seattle Children’s Theatre , Lexington Children’s Theatre, Adventure State Chicago, and Boston Children’s Theatre, all producing work specifically for younger audiences throughout

969-539: The Moscow Theatre for Children viewed its goal as representing childhood needs, separating the struggles of childhood from those of adult life. Similar TYA groups were established in England, the US, France, and Czechoslovakia between World War I and World War II. Education was the main purpose of TYA when it first arrived to the US. In 1903, Alice Minnie Herts founded The Children’s Educational Theatre, which

1020-642: The NewSCRipts play reading series and the Hispanic Playwrights Project. Also that season, ground was broken on a distinctive addition to the building called The Artists Wing. Then, in 1988, SCR earned the highest recognition in regional theatre: a Regional Theatre Tony Award for its achievements. During the 1990s, SCR solidified its national reputation for play development. Writers were discovered, nurtured, and then championed. Margaret Edson , whose Wit premiere at SCR in 1995, won

1071-636: The Off-Broadway Theatre in Long Beach, California . After that experience, Emmes and Benson were convinced there was a future for them in theatre and they sketched out a plan to create a theatre company. The first step would involve touring to rented stages. In November 1964, SCR's first production, Molière 's Tartuffe , opened at the Newport Beach Ebell Club. (SCR celebrated its 50th season in 2013-14 by including

SECTION 20

#1732783211809

1122-746: The Pacific Playwrights Festival, celebrated its 20th year. The 2017-18 season included the musical Once, as well as Shakespeare in Love, The Sisters Rosensweig by Wendy Wasserstein and Gem of the Ocean by August Wilson . The season featured five world premieres including Amos & Boris by Sofia Alvarez; Curve of Departure by Rachel Bonds; SHREW! by Amy Freed ; Little Black Shadows by Kemp Powers ; and Cambodian Rock Band by Lauren Yee , commissioned through SCR's CrossRoads Initiative. Yee's Cambodian Rock Band received

1173-540: The Pacific Playwrights Festival. The 2019–20 season, the first he programmed, included the musical She Loves Me by Joe Masteroff, Jerry Bock and Sheldon Harnick (directed by Ivers), American Mariachi by José Cruz González, Arcadia by Tom Stoppard , Outside Mullingar by John Patrick Shanley , Aubergine by Julia Cho and Fireflies by Donja R. Love. SCR's 56th season also had four world premieres scheduled: The Canadians by Adam Bock ; The Scarlet Letter by Kate Hamill ; I Get Restless by Caroline V. McGraw; and

1224-607: The Second Step lobby, which boasted a four-step model of growth: the first season of touring, the present location's 75-seat stage, and two more transformations leading to a major regional center for theatre arts and education. While the goal of running a nationally renowned arts institution spurred them on from the Second Step lobby wall, the young company went about the business of surviving. For years, everyone involved maintained full-time day jobs and worked nights and weekends without pay. They designed and built their scenery, sold

1275-562: The Theatre Center and that it be renamed the David Emmes/Martin Benson Theatre Center, to honor SCR's founders. The unveiling of the building's new name took place on January 22, 2014. The 2015-16 season brought the world premiere of Qui Nguyen 's Vietgone —in association with Manhattan Theatre Club. The production moved to Manhattan Theatre Club for its 2016–17 season. Vietgone earned

1326-605: The US and around the world. Theatre performed by or for children dates back hundreds of years. The first mention is seen in a 1784 entry in Madame de Genlis ’s Memoirs, in which she describes a performance by her two daughters to the Duke of Chartres . TYA became its own branch of theatre in the 20th century, first appearing in Moscow, when Russian actress Natalia Satz founded the Moscow Theatre for Children in 1918. In its early stages,

1377-491: The Volvo ), Bekah Brunstetter ( Going to a Place where you Already Are ) and Eliza Clark ( Future Thinking ). The 2016-17 season featured four world premieres: The Siegel by Michael Mitnick ; Yoga Play by Dipika Guha; Flora & Ulysses by John Glore; and A Doll's House, Part 2 by Lucas Hnath (an SCR commission), which had a nearly simultaneous second production on Broadway. SCR's annual showcase of new works,

1428-677: The campaign's largest gift — and the largest single gift ever to a regional theatre by an individual. It was from the Folino family, and at US$ 10 million, it became the complex's naming gift. The first season in the Folino Theatre Center earned rave reviews and introduced three plays — Greenberg's The Violet Hour , Lynn Nottage 's Intimate Apparel and Rolin Jones ' The Intelligent Design of Jenny Chow . All have since gone on to major productions in New York and elsewhere. With

1479-612: The community, as well as promoting a larger public interest and support of regional theater. There are currently 74 LORT theaters located in 29 states and the District of Columbia . LORT acts on behalf of its members in matters pertaining, but not limited to; collective bargaining with unions such as Actors’ Equity Association , United Scenic Artists , and the Stage Directors and Choreographers Society , representation before government agencies on problems of labor relations, and

1530-833: The company latitude to experiment with unknown or "non-commercial" works. In 2003, Time magazine praised regional theaters for their enrichment of the theater culture in the United States. Some regional theaters serve as the "out-of-town tryout" for Broadway-bound shows, and some will accept touring Broadway shows. Many regional theaters operate at least two stages : a main stage for shows requiring larger sets or cast, and one or more other stages (often studio theaters or black box theaters ) for smaller, more experimental productions. In addition to box-office revenue, regional theaters rely on donations from patrons and businesses, season ticket subscriptions, and grants from foundations and government. Some have criticized regional theaters for being conservative in their selection of shows to accommodate

1581-542: The country count on casts of professional adult actors to portray all roles. For instance, the Arvada Center ’s 2016 production of an adaptation of the novel Junie B. Jones was produced with adult actors, including Melissa Morris, Katie Jackson, and Rachelle Wood, portraying characters who are around the age of 12. A number children’s companies in the US have designated programs, in which the children engage with workshops and experimental rehearsals in order to create

South Coast Repertory - Misplaced Pages Continue

1632-542: The country, and material for younger audiences was both presented at these establishments and distributed to any interested groups. The Drama League was responsible for changing theatre for children from its originally purely educational intent into the broader Theatre for Young Audiences known today. Once the TYA movement started to gain traction, many different companies and playwrights chose to partake in this new branch of theatre. Some include early TYA playwright Constance Mackay,

1683-590: The country. Forty percent of the plays SCR has produced have been world, American or West Coast premieres. In 1988, SCR received the Regional Theatre Tony Award for Distinguished Achievement, particularly in the area of new play development. David Emmes and Martin Benson attended San Francisco State University . After graduation, Emmes and Benson gathered a few San Francisco friends in summer 1963 to stage Arthur Schnitzler 's La Ronde at

1734-529: The demographics of their subscribers and donors. Theaters that develop new work, like the Alley Theatre , Long Wharf Theatre , La Jolla Playhouse , McCarter Theatre , and Berkeley Repertory Theatre , often work to move their productions to Broadway venues in New York. They may also educate young audiences through educational outreach programs. Cooperative programs with nearby university theater programs are also common at regional theaters. For example,

1785-498: The expansion of its physical plant and endowment, and with additional support from the Whittier Family Foundations, SCR was ready for its biggest programmatic growth in two decades: the introduction of the three-play series "Theatre for Young Audiences ... and Their Families," which debuted in 2003 to tremendous response. The first major leadership transition for SCR occurred in 2011, when Marc Masterson became

1836-592: The handling of disputes between members and their employees or union representatives. The TCG’s mission is similar. TCG’s constituency has grown to encompass more than 700 members throughout the United States. They publish the American Theatre Magazine , the ARTSEARCH online employment bulletin, and dramatic literature. In recognition of the importance of regional theaters in America,

1887-694: The nation. The COVID-19 pandemic in March 2020 subsequently led SCR to cancel the final five productions of its 2019–20 season ( Outside Mullingar, The Scarlet Letter, I Get Restless, Arcadia and Dory Fantasmagory ) as well as cancel that year's Pacific Playwrights Festival. SCR's Theatre Conservatory classes (kids, teens and adults) moved online. While its stages went dark during the pandemic, SCR continued its work to deepen engagement with Orange County, Calif., communities through various avenues including SCR commUNITY, launched in August 2020. This new digital platform

1938-480: The new features of the theatre's renowned play development program was the creation of the Pinnacle Commission for major American playwrights. The inaugural commission—given in partnership with Playwrights Horizons (New York)—was $ 60,000. Award-winning playwright Branden Jacobs-Jenkins was named the inaugural recipient in 2023. The Pinnacle Commission is one of the largest theatre-granted commissions in

1989-482: The plays commissioned and introduced at SCR are Donald Margulies ' Sight Unseen , and Brooklyn Boy ; Richard Greenberg 's Three Days of Rain and The Violet Hour ; David Henry Hwang 's Golden Child ; and Amy Freed 's The Beard of Avon . These plays were commissioned and developed through the Pacific Playwrights Festival, an annual workshop and reading showcase for up to eight new plays, attended by artistic directors and literary staff members from across

2040-411: The prestigious Harold and Mimi Steinberg / American Theatre Critics Association Award in 2019. Masterson stepped down as Artistic Director at the end of the season. David Ivers was named as the theatre's Artistic Director on Sept. 20, 2018. In April 2019, he directed a concert-reading of Prelude to a Kiss: The Musical, with book by Craig Lucas , music by Daniel Messé an lyrics by Sean Hartley, during

2091-601: The spring of 2022, showcasing one full production, five readings and an excerpt of a new musical-in-progress. In July 2024, the theatre announced that Suzanne Appel would succeed Tomei as SCR’s next managing director—the second in the theatre’s six-decade history. Appel came to SCR from Off-Broadway’s Vineyard Theatre. 33°41′31.73″N 117°52′56.52″W  /  33.6921472°N 117.8823667°W  / 33.6921472; -117.8823667 Theatre for Young Audiences Theatre for Young Audiences (TYA), also youth theatre , theatre for children , and children's theatre

South Coast Repertory - Misplaced Pages Continue

2142-503: The summer of 1998, following its 35th anniversary season, SCR launched the Pacific Playwrights Festival , its most ambitious new play project to date. The Pacific Playwrights Festival incorporated the Hispanic Playwrights Project, two world premieres, and workshops or staged readings of seven more new plays. By the end of 1998, SCR began pursuing its long-held expansion goal when the Segerstrom family donated land. That land, along with

2193-563: The theatre’s new artistic director, with Managing Director Paula Tomei serving as co-CEO. Emmes and Benson moved into the roles of Founding Artistic Directors, from which they continue to share the wisdom and knowledge gained in their 47 years at the theatre's helm. Beginning in 2012, SCR launched "Studio SCR," a series that partnered the theatre with a variety of Southern Californian artists to create an eclectic, edgy and contemporary theatre experience. The series went on hiatus in 2016. In 2013, Paul Folino requested that his name be withdrawn from

2244-565: The tickets, ushered, and — of course — acted. Among the first acting company members were Don Took, Martha McFarland and Art Koustik, joined over the next seasons by Richard Doyle, Hal Landon Jr. and Ron Boussom. These were among the theatre's Founding Artists. Within two years, artistic and financial momentum had picked up and SCR looked toward its Third Step: a converted Sprouse-Reitz Variety Store on Newport Boulevard in Costa Mesa. The building, adapted to hold 217 seats, opened in 1967. It

2295-433: The year, offering performances both of new work and TYA classics. Most Theatre for Young Audiences plays are written by adult playwrights, although occasional projects are led and constructed by the younger audiences themselves. Different schools of thought within TYA argue whether or not younger characters should be portrayed by children or by adult actors. At the present, most TYA productions in children’s companies around

2346-468: The young audiences play Dory Fantasmagory, a play by John Glore adapted from the book by Abby Hanlon. In late 2019, SCR re-branded, expanded and deepened its new-play development program by launching The Lab@SCR. As part of The Lab@SCR, the theatre is developing Threshold by Amy Brenneman , Beatrice by Lauren Gunderson and the musical adaptation of Prelude to a Kiss, with book by Craig Lucas , music by Daniel Messé and lyrics by Sean Hartley. Among

2397-545: Was a precursor of the Regional Theater Movement; it was started by theater artists interested in experimentation and exploring social issues through the dramatic arts. The movement altered the face of the American stage and allowed room for new works and new audiences. When the first national organization of nonprofit theaters was formed in 1961, there were only 23 regional theaters in the U.S. By 2003,

2448-621: Was at the Third Step, 1967–1978, that SCR moved from a local group to a regional force, and matured both artistically and organizationally. Operating income went from US$ 20,000 to US$ 55,000 in the first two seasons. By the fifth season, paid staff had grown from one to five. A first grant from the National Endowment for the Arts helped expand the staff. The Los Angeles Drama Critics Circle gave SCR its first award in 1970 for "consistent achievement in production." In 1976, SCR joined

2499-483: Was dedicated to amplifying the artists and narratives of the region by producing stories inspired by or about the rich diversity of people living in Southern California. Using “virtual/digital” platforms, SCR commUNITY created free play readings, interviews, radio plays and original innovative content. The first three SCR commUNITY events included MASA, a live reading of works by four playwrights, as well

2550-534: Was enlisted for both the center's and SCR's expansion, with SCR's construction beginning first. The focal point of Pelli's expansion design was a 336-seat proscenium stage. In front of it would be the common lobby and behind it would be three stories of offices. At the ground breaking ceremony in July 2001, a US$ 5 million naming gift for the new stage was announced from George and Julianne Argyros. In April 2002, Board President and Campaign Chairman Paul Folino announced

2601-477: Was the first US company to produce theatrical work both with and for children. Although it did not last long, The Children’s Educational Theatre inspired both the birth of other companies around the country, as well as continuous growth in the writing and production of plays for younger audiences. The Drama League of America was another big influence in TYA within the US: children’s leagues were established in cities across

SECTION 50

#1732783211809
#808191