How to Apply for the 2008
Fellowship
2007 Finalists
Past Recipients (2004-06)
In 1996 ASSITEJ/USA created a fund to support career development opportunities for theatre artists and administrators committed to Theatre for Young Audiences. This program was renamed in 2003 as the Ann Shaw Fellowship in recognition of Ann Shaw's visionary leadership and tireless efforts to support individual career development of TYA professionals.
Since its
inception, the Ann Shaw Fellowship has provided
funds to assist more than 39 individuals with
travel to theatres and festivals throughout the
United States and abroad for viewing outstanding
work and exploring challenging questions related
to the field of TYA.
In addition to maintaining support for
attendance and participation in national and
regional festivals and events, fellowship
support may be requested to support:
- Extended visits with a single host theatre
- Mentorship opportunities
- Innovative collaborations
- Pursuit of a driving question or issue in the field of TYA
Ann Shaw
Fellowships are not limited to projects with TYA
companies. Applicants are encouraged to propose
projects and opportunities with any person,
institution or organization that will challenge,
support and enrich the applicant's own
professional development in the field of TYA.
Any member of the TYA or ASSITEJ community may
make a tax-deductible donation to the Ann Shaw
Fellowship to support the continuing artistic
education of ASSITEJ/USA members.
How to Apply for the 2008 Fellowship
Who is eligible to apply? All active ASSITEJ/USA members are eligible to apply for the Ann Shaw Fellowship. Priority is given to those applicants-at any stage of their TYA and theatre career-who state clear objectives for career development and thoughtfully describe a process for active participation with another person, institution or organization. Students and recent graduates are encouraged to apply for funding. Individuals may submit a proposal specifying a particular host or partner, or may request assistance matching their project proposal with a member organization. Fellowships rarely exceed $2,000.
Ann Shaw
Fellowships are not limited to projects with TYA
companies. Applicants are encouraged to propose
projects and opportunities with any person,
institution or organization that will challenge,
support and enrich the applicant's own
professional development in the field of TYA.
*Previous Observership Program recipients are
ineligible to apply for a period of three (3)
years from the date of their award notification.
Please note: These
fellowships are individual applications. Should
a group wish to work together, it’s recommended
that each person apply individually. However,
the Ann Shaw Fellowship is designed to assist an
individual in increasing their artistic
knowledge rather than facilitating a specific
and finite project. For individuals working at
theatres with development offices: we strongly
recommend that you complete the application
rather than the development office.
When are the
deadlines? Applications must be
postmarked December 15, 2007. Recipients will be
notified by January 15, 2008. A summary of all
applications will be posted on the TYA/USA
website so the TYA community may assist everyone
in achieving their artistic goals.
What are the
requirements? All applicants must
request an application from the Ann Shaw
Fellowship Committee Chair, Lenora Inez Brown.
Once an application has been given the applicant
should submit a one-page narrative, a budget,
letters of support, and a professional resume.
Applicants should articulate the purpose of the
project and how it relates to their personal
mission or the mission of the theatre. We also
recommend having the applicant consider how the
information will help transform the community
(either their audience or institution).
For more information or an application please
contact (and place ANN SHAW in the subject
line):
Lenora Inez Brown,
Co-Chair Ann Shaw Fellowship LBrown23@depaul.eduKassie Misiewicz ,
Co-Chair Ann Shaw Fellowship Kassie@theatresquared.org
The 2007 Ann Shaw Fellowship Finalists
The Ann Shaw Committee proudly announces the 2007 finalists. In addition, we have named three semi-finalists and listed the proposed projects for every applicant. We hope that the community will share our enthusiasm for the projects. We also hope that you will reach out to any of the applicants and assist them in achieving their goals in any way you can: a phone call, an email, an invitation to work with your theatre. The Ann Shaw Committee strongly believes in the mission of mentorship and encourages the field to assist them in their goal of nurturing the artistic mission of our members.
Lenora Inez Brown, Chair
Kassie Misiewicz
Jose Cruz Gonzalez
Joan Lazarus
David A. Miller
We are proud to announce the recipients of the 2007 Ann Shaw Fellowships. The four finalists were chosen from a total of 14 projects. Due to the field’s generosity, we had a total of $4,000 to distribute. The Ann Shaw Committee divided this year’s available funds evenly among the four finalists. Listed alphabetically, with a brief synopsis of their project, are the 2007 Ann Shaw Fellows:
Amy Dugas Brown
Associate Artistic Director and Education
Director, Arden Theatre
Her proposal is to seek and meet with mentors
who can assist her in moving the education
program she developed forward. She plans to
visit with South Coast Rep’s Managing Director
to discuss their general operating vision and
learn how their commissioning program works. She
will also travel to Seattle and meet with Linda
Hartzell and Andrea Allen of Seattle Children’s
Theatre and the Seattle Rep, respectively.
Ernie Nolan
Assistant Professor of Theatre, University
South Bend
Artistic Associate, Emerald City Theatre
Resident Artist, The Coterie Theatre
His application is for funds to assist with
research for two Hans Christian Andersen
projects, both of which are new plays in
development. He proposes traveling to Denmark to
attend the Danish Children’s Theatre Festival,
research Andersen’s life at the Andersen Museum,
and learn more about the Danish production
philosophy regarding Andersen’s work.
Jessica Simon
Freelance Artist
Her proposal is to study puppetry and the
physical language of this art form to aid in her
work with Manifest Theatre, a company that
produces free theatre for audiences throughout
Chicago. She has applied to attend the O’Neill
Puppetry Conference. Her alternate plan is to
attend Sandglass Theatre’s puppetry intensive.
Lauren Spear
Freelance Teaching Artist
Sabes Jewish Community Center
Her proposal is to receive funding for projects
that will help her become a more holistic
teaching artist. First, she requests funds to
defray the costs associated with a Sojourn
Theatre workshop led by Michael Rohd. Second,
she plans to use these newly-acquired skills
while working with the youth at Sabes Jewish
Community Center to create a piece about and for
the Jewish community in St. Louis.
The 2007 Ann Shaw Semi-Finalists
This year the committee recognized three semi-finalists, individuals who will receive funding in the event that any or all of the finalists are unable to complete their projects. The semi-finalists and their projects are:
Sara Simons
MA Student, Emerson College
Her proposal is for funds to defray travel costs
for research related to her thesis topic. She
plans to visit two theatres in San Francisco who
produce plays that address health and sex-ed
through theatre. She plans to meet with Kaiser
Permanente’s Education Theatre and New
Conservatory Theatre’s Youth Aware Program, both
present HIV plays for youth.
Richard Hitchler
Artistic Director, Stepping Stone Theatre for
Youth Development
His theatre is transitioning from a theatre that
rents space to one that owns its own. His
proposal is to travel to other TYA organizations
that have completed or are about to complete
major capital campaigns and learn about the
impact a permanent space has on the
organization. His current plans are to visit Ft.
Lauderdale’s Children’s Theatre and Nashville
Children’s Theatre.
Megan Alrutz
Asst. Professor of Theatre, University of
Central Florida
Her proposal is to study poetic staging/dance
and movement for the theatrical stage. She plans
to work with Metro Theatre on Moby Dick, study
with the Liz Lerman Dance Exchange, and observe
a Lookingglass Theatre production.
The 2007 Ann Shaw Fellowship Applicants
Below is a list of this year’s applicants and a brief description of their proposed projects. You, your theatre, or academic institution may not have funds to offer these applicants, but you can share your experiences or words of encouragement with the applicants.
Lisa Barker
Director of Education, Vittum Theater
Her proposal is to explore issues related to
leadership within TYA. She’s applying for funds
to attend AATE’s Theatre Leadership Institute
and AATE’s conference later this year. She is
eager to collaborate with other TYA education
directors and teachers of grades 3-8 to create
resources and materials educators value.
Donna Blumenfeld
Education Associate, Childsplay
Her proposal is to secure funds to travel and
meet two leading figures in creating theatre for
social change geared towards young people. She
plans to meet with Larry Silberman of Mexico
City’s Gruppo 55 and attend, at a later date,
Agusto Boal’s pre-conference workshop at the
2007 Pedagogy Theatre of the Oppressed.
Mark Lutwak
Freelance Director, Honolulu, HI
His proposal is for funds to defray travel costs
to the Bonderman in Indianapolis and First Stage
Milwaukee in Milwaukee. He has been invited to
direct readings at both institutions.
Nina Meehan
Graduate Student, University of San Francisco
Co-Founder of Active Arts Theatre for Young
Audiences
Her proposal is to meet with managing directors
of Seattle Children’s Theatre, Imagination Stage
and Honolulu Theatre for Youth to learn best
practices in season selection for children’s
theatre. This information will help her with her
thesis and create a calendar and step-by-step
plan for Active Arts Theatre.
Matthew J. Omasta
Graduate Student, Arizona State University,
School of Theatre & Film, Theatre for Youth
Program
He seeks assistance conducting a national survey
focused on contemporary views regarding TYA
audiences and work in professional and
university settings. The last survey of this
kind and magnitude, was conducted in 1968 by
Wesley Van Tassel. He also seeks funds to defray
his travel costs to national conferences where
he hopes to interview leaders within the TYA
field. His work will facilitate his doctoral
thesis.
Anne Poynter
Director of Development, City Center
Children’s Theatre
Her application is for funds to defray travel
costs. She plans to meet with First Stage
Milwaukee’s Managing Director, Rob Goodman, to
learn about development, operations with a focus
on school touring and main stage productions.
Karen Stucker
Education Director, Velma V. Morrison Center
for the Performing Arts
Her application is for funds to defray the costs
associated with attending this year’s AATE
conference in Vancouver. She proposes networking
with professionals in the field to help her
develop a strong arts program.
Past Ann Shaw Fellowship Recipients
2004-2006
2006
Elana Nightingale of Bethesda, MD
She is the Production Manager for Imagination Stage, Inc and will play a major role in mounting a festival of new TYA work at the theatre. Her junior status within the organization and position prompted her to apply for an Ann Shaw Fellowship. She traveled to Milk International Children’s Festival of the Arts to observe how the production and technical departments facilitate this large festival, which will help her during Imagination Stage’s inaugural festival.
Daniel Kelin, II of Honolulu, HI
His is the Director of Drama Education at Honolulu Theatre for Youth. He applied for funding to compliment a fellowship from the Sharma Center for Heritage Education of Tamil Hadu, India. He traveled to India to observe Dr. Velu Saravanan director of the Ashi Children’s Theatre of Pondicherry, India. Dr. Saravananos is known for creating theatre that blurs cultural and class lines in a country known for its strong caste system. Klein is exploring, “How can we develop alternative ways to bring together the culturally diverse, regionally divided youth populations of urban Honolulu?”non-western play development and storytelling techniques to use with the Hawaiian audiences Honolulu Theatre For Youth serves.
Emily Petkewich of St. Louis, MO
She is the Education Director/Artistic Associate at Metro Theatre Company. Her fellowship supported two observerships to help her enhance Metro Theatre’s play development process and program. She visited Cornerstone Theatre and People’s Light and Theater Company to explore the questions: “What are the most effective processes for gathering and staging stories with people who have little to no performing experience,” “What structures do other companies create to sustain community involvement,” and “How can theater artists successfully create community among people with extremely divergent backgrounds?”
2005
Steve Bianchi of Nashville, TN
He is the Marketing Director of Nashville Children’s Theatre and researched the marketing techniques of by visiting comparable theatre companies that have built and maintained a loyal audience base. He visited The Coterie and Children’s Theatre of Charlotte and spoke with the artistic and managing directors of these theatres to identify what they expect from their marketing director and the marketing plan.
Bonnie Johnston of San Diego, CA
She is the Director of Education at the Old Globe Theatre in San Diego and researched the question, “How can we as American arts educators best provide vibrant and meaningful connectiosn to the works of William Shakespeare for both teachers and students while simultaneously meeting the requirements of existing educational standards?” She worked with the Education Director of the Royal National Theatre of London and collaborated on projects between their two theatres.
Megan Sandberg-Zakian of Manhattan, NY
She is the Associate Artistic Director of the 52nd Street Project, a youth theatre company located in Hell’s Kitchen. She applied for funds to help her enhance her colleague’s appreciation for the cultural and artistic heritage of the 52nd Street Project’s surrounding community and a youth theatre program that encouraged this cultural exchange among urban youth in the US. She traveled to the Dominican Republic to work with Maria Ligia Grullon of 37 Por Las Tablas and other theatres on the island.
Scott Strode of North Manchester, IN
He is a producer and director of a touring children’s theatre company affiliated with Manchester College. His funding supported travel to Pristina, Kosovo, where he directed a TYA play produced by the Center for Children’s Theatre Development.
Ruth Mercado of Boston, MA
She is the Manager of Community Programs, Suskind Young At Arts at the Wang Center for the Performing Arts. She is also a co-editor of NEXT, the e-zine for emerging TYA professionals. Attending the ASSITEJ World Conference in Montreal, Canda would help NEXT achieve its goal of connecting with the international TYA community. As a representative for NEXT, she also helped organize a gathering of emerging TYA professionals in Montreal.
Joan Briccetti of St. Louis, MO
She is the Managing Director of Metro Theatre Company. She applied for funding to attend the 2005 ASSITEJ World Congress in Montreal, Canada. Attending this conference would aid in her transition from a manager in the music arts profession to a manager in the theatre profession.
2004
Rachel Briley of Greensboro, NC
She is the Asst. Professor of Theatre at the University of North Carolina/Greensboro and examined theatre from three perspectives: purely visual theatre, mixed spoken/signed theatre and signed only theatre. Her research focused on the question of what elements of visual theatre cross linguistic and cultural boundaries. She traveled to Stockhom, Swededn and participated in Tyst Teater in the pilot phase of their Uganda Project, in which tend deaf individuals from Uganda were to create an original visual theatre piece with Tyst directors.
Sharon DeMark of St. Paul, MN
She is the Director of Education at The Children’s Theatre of Minneapolis and researched information to support the development of new education programming for CTC’s expanding theatre facilities. Specifically she seeks answers to the question, “How can a major theatre create significant impact on a neighborhood, a region and the country. She conducted her research at The Center for Creative Arts in St. Louis, Bank Street College and Henry Street Settlement in New York.
Gillian McNally of Media, PA
She is the Resident Teaching Artist at People’s Light and Theatre Company and spent a week with Metro Theatre Company in St. Louis participating in their model professional development program for teachers: Reaching All the Learners Through the Arts. She examined the balance between practical application and reflective analysis and evaluated the impact of Metro Theatre Company’s program structure.
Janet Stanford of Brookeville, MD
She is the Artistic Director of Imagination Stage met with artistic directors of three major youth theatres—The Children’s Theatre of Minneapolis, Stages Theatre Company and Dallas Children’s Theatre—and examined how they balance programming in their facilities. Stanford’s theatre recently opened a state-of-the-art facility, which has more than doubled their organizational budget. The challenge of keeping pace with this growth is at the heart of Stanford’s research.
