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CREATING RESONANCE by Ed Herendeen, Founder and Producing Director

“We shall not cease from exploration and the end of all our exploring will be to arrive where we started and know the place for the first time.” —T. S. Eliot All the risk taking, creativity inducing, entrepreneurial flames that have ignited the Contemporary American Theater Festival since 1991 continue to burn strong. Opportunities abound for creative stimulation, and inspiration continues to flow even from the conflict and friction which we witnessed and experienced this past season. We embraced the controversy surrounding our 2007 repertory and focused on the vision, mission, and core values. We are united by our common purpose—to help people raise the standard of living meaningful lives by producing provocative contemporary works of art that help us to understand our world and ourselves. Our work empathizes with others because empathy lies at the heart of morality, and we are a theater company that embraces social responsibility. Our purpose drives our mission, which drives our vision, which is inspired by our core values. Creativity is the nucleus of our collective enterprise. We understand that the creative process is essential to the health and success of our organization. We have a board both willing and agile enough to adapt to the unpredictable rhythms of society. This means that our Theater Festival is alive with possibilities. We celebrate the power of ideas and we seek fresh opportunities for new thinking. We continue to rock-the-boat and shift the status quo of theater. Our playwrights function as master storytellers, while also sending activist tentacles into the world to bring about dialogue and positive change. They help us to leverage our collective influence as artists to affect social change. So here’s a question: What does the Contemporary American Theater Festival truly represent? How does the work we create relate to current social events and why does it really matter? Great theater moves us—it ignites our passion and inspires the best in us. When we try to explain why theater is so effective, we speak of strategy, vision, or powerful ideas. But the reality is much more primal. Great art works through the emotions. Our success depends on how we do this. Throughout history and in cultures everywhere, people look to the artists for assurance and clarity when facing uncertainty. Artists act as our emotional guides. They help us to become more self-aware by mirroring our behavior. Self-awareness plays a crucial role in empathy, or sensing how someone else sees a situation: If a person is perpetually oblivious to their own feelings, they will also be tuned out to how others feel. Being attuned to how others feel in the moment can create an atmosphere for social awareness and empathy. Empathy which includes listening and understanding other people’s stories creates resonance. The root of the word resonance is revealing: the Latin word resonare, to resound. Resonance, the Oxford dictionary states, refers to “the reinforcement or prolongation of sound by reflection,” or more specifically, “by synchrononous vibration.” This occurs in the theater when the audience is on the same wavelength emotionally with the actor and production—when they feel “in synch.” And true to the original meaning of resonance, this synchrony “resounds,” prolonging an “aha!” experience with the audience. The Contemporary American Theater Festival seeks new works that will inspire and create resonance . . . plays that will move our audience with our compelling vision and collective mission. We are attracted to contemporary writers who are attuned to our world and whose stories help us to define these tumultuous times. We did this last season, and with your continued support we will do so again.

RESOUNDING GRATITUDE

What it takes to produce new theater is often staggering. From choosing the best new plays for production to bringing in top artists; the budget for the Festival reached almost one million dollars this past Season. Income generated to meet expenses came from a variety of areas; approximately one third from ticket sales, one third from Shepherd University through in-kind services (mostly lodging for the 75 people who made up the Company), and one third from contributed income—including foundations, government agencies, businesses and generous individuals. Ed and the entire Company are grateful to everyone who participated in the development of new work in 2007 by coming to the Festival and making a donation to the future of new American plays. In 2007 we saw some of our highest number of ticket sales ever, as well as the greatest amount of individual contributions. Individuals gave a total of $197,500 to support the Season! It is so gratifying to have such dedicated and committed patrons. Now we are beginning a new Season. Ed is reading new plays and meeting with playwrights and agents. We are working on financial reporting, grant writing and developing marketing materials. We’re concentrating on raising money to support future programs and encouraging donations for the 2008 Season. We invite everyone to be a part of the excitement of birthing new work by making a donation for our 18th year. The general operations of the theater are covered by annual gifts which can be made as one donation. In addition we have special program areas for gift allocation. The following gives an overview of options: Commissioning Program

Having the time and resources to work on a new play is vital to a playwright. In 1997 CATF began this program to meet that need. Since then, ten new American plays have been created—with seven receiving full productions at CATF. Shirley A. Marinoff Fund

CATF supports 10 to 15 student interns and apprentices each year. The students work alongside professionals in every field of theater production. Not only do they learn the craft of professional theater but they make invaluable contacts and learn critical skills such as team work, time management and problem solving. The Fund assures the continuation of this essential program. CATF Endowment Fund An Endowment Fund has been established to assure the support of artistic initiatives over the years ahead. Making a gift to the Endowment Fund represents a tremendous investment in the future of the Theater Festival.For more information regarding the variety of ways to support CATF, including planned gifts, please call or email Catherine Irwin at 304-876-5240 or cirwin@shepherd.edu. The generosity of our patrons has made an enormous difference to the Festival every Season. We hope that we can count on your support again in 2008!


L to R: Lisa Younis, CATF Trustee, Ed Herendeen and Noah Mehrkam. Stanly Marinoff, CATF Trustee. Grant Davies, CATF Trustee, Suzanne Shipley, Shepherd University President and CATF Trustee.

SOUNDS OF THE SEASON

CATF introduces their first FALL BENEFIT PERFORMANCE! Please join The Contemporary American Theater Festival in welcoming playwright Richard Dresser performing scenes from his CATF repertory Rounding Third, Augusta, and The Pursuit of Happiness. Enjoy Dresser’s tales of INDUSTRY SECRETS, HUMOROUS ANECDOTES and the PERSONAL EXPERIENCES that inspire his writings. Meet the artist behind the words as we gift wrap the evening at a reception and script signing in Shepherd University’s newly renovated Reynolds Hall. Tickets are available at the super holiday price of only $20.00. Please call 304.876.3304 to purchase your tickets—call early, seating is limited! For more information please contact Lissa at lcobetto@shepherd.edu or Peggy at pmckowen@shepherd.edu.
6:00 PM | December 8th | Reynolds Hall | 109 N. king street | Shepherdstown, WV

A TEAM "IN SYNCH"

In any business it is important to find the right people—the people who share the dream with loyalty and commitment. In the arts it is even more challenging to find people that understand the business, revere the art and have the skills to keep everyone on the same page. CATF is proud to welcome two new members and we are delighted to announce that we have definitely created a team “in synch.” You may have met or seen these two wonderful additions as they completed their first summer season; however, you may not know much about their backgrounds. Please take a minute to officially meet our new Associate Producing Director, Peggy McKowen, and our new Business Manager, Lissa Cobetto.

Peggy McKowen | Associate Producing Director
Prior to joining the Festival staff in January 2007, Peggy spent five years as Chair of the Division of Theatre and Dance at West Virginia University. During that time she promoted and implemented commercial theatre internships, international performance exchanges, and professional development activities for students. She was an active participant with the University/Resident Theatre Association, the Kennedy Center American College Theatre Festival, and the National Association of Schools of Theater while continuing her work as a free-lance designer. Recent work: Phoenix Theatre Ensemble, Gateway Playhouse and Obie-award-winning Jean Cocteau Repertory (New York); Libby Larsen’s new opera, Every Man Jack (California). Regional theater: Arkansas Repertory Theatre, Tennessee Repertory Theatre, Texas Shakespeare Festival, and the Dallas Shakespeare Festival. Tours: Romeo and Juliet and Much Ado About Nothing for the NEA series: Shakespeare in the American Communities. CATF: Mr. Marmalade, Jazzland and 1001. International design: Berlin, Brazil, Bamberg, Italy, London, Scotland and China. Additional work: “Theatre: The Lively Art” and “The Theatre Experience” and The New York Public Library’s Theatre on Film and Tape Archive. Member: United Scenic Artists 829. MFA: University of Texas in Austin.

Lissa cobetto | Business Manager
Theater, film, multimedia, internet—Lissa has lived the convergence of entertainment, business and technology. From the Pittsburgh Public Theater to George Romero’s “Creepshow” to New York University’s Tisch School of the Arts to CDnow.com, Lissa has followed her passion to new experiences and a widening appreciation of all forms of self-expression. Never far from a computer, it is the interpersonal experience of live art that brought her back to theater in 2003, first to Loudoun County’s Franklin Park Performing and Visual Arts Center and its Very Special Arts program and now to CATF.

REFLECTIONS OF THE SEASON

Some call the upcoming holiday season a season of sharing. At CATF, every Festival Season encourages sharing. You shared a great deal with us this season. We heard from many of you in 2007—over the phone while ordering tickets, in person in the lobbies, via email after the shows, from your comments on our marketing survey. Constructive criticism is always welcome and the sharing of all opinions is greatly encouraged. We are truly impressed with the atmosphere of open dialogue that the Festival doesn’t just nurture, but almost demands. Please let us hear more from you. We want and need your contributions—financial, intellectual and emotional. We want and need you. Here. That said, let us share some of the comments from our 2007 Season:

I commend you for taking a stand against censorship - Orlando, FL | Rachel Corrie kept us away this year - patron | a great weekend of fine theatre. Have some reservations regarding the rationale for presenting My Name is Rachel Corrie but the acting was superb. Have already booked rooms for 2008. - Owings Mills, MD | very valuable post-play discussions - Kennewick, WA | Lonesome Hollow, to quote one of our breakfast table buddies, ‘had juice’. - patron | 1001 continues to knock around in my head - patron | We come up from Richmond. Every Festival has rewarded us with at least two plays worth the trip - patron | Box Office service was fantastic - Chevy Chase, MD | Love the CAT Festival – Appreciate the diversity, controversy, mind-tingling type of shows - Berkley Springs, WV | No where else can I find this kind of stimulation - patron | Coming to CATF has become one of our summer ‘musts’ - Alexandria, VA | I have seen better plays here than anywhere in my life. - Alexandria, VA | This is always a highlight of our summers - patron | Would enjoy more uplifting, inspiring, entertaining and humorous offerings. - patron | You might try a musical one year. - patron | You’re the best in contemporary theater. - patron | Heard it (Corrie) cost you some backing. When our opportunity comes in a few years . . . we will do our best to help fill that breach. - patron | We love the Festival and bring new people each year – it’s such a delightful surprise to those who are unaware of all the Festival has to offer! - patron |Really appreciate the early times on Sunday – get home early enough to get set up to go back to the real world on Monday. - patron | Very devisive. Art should bring unity. I will not come next year. - patron | We have enjoyed every year’s experience. - patron

Above, 2007 Season: from top—left to right: Lou Sumrall and Sheffield Chastain in Lonesome Hollow (LH) by Lee Blessing; Carman Lacivita and Zabryna Guevara in 1001 (1001) by Jason Grote; Marc Damon Johnson, Jonathan C. Kaplan and Carman Lacivita in 1001; Frank Deal and Sheffield Chastain in The Pursuit of Happiness (PH) by Richard Dresser; Anne Marie Nest in My Name is Rachel Corrie (RC) from the writings of Rachel Corrie, edited by Alan Rickman and Katharine Viner; Andrea Cirie and Lou Sumrall (LH); Jonathan C. Kaplan, Marc Damon Johnson and Reshma Shetty (1001); Carter Niles (PH); Anne Marie Nest (RC); Lou Sumrall and Sheffield Chastain (LH); Frank Deal, Carter Niles and Andrea Cirie (PH); Ariel Shafir and Carman Lacivita (1001); Anne Marie Nest (RC); Lou Sumrall and Andrea Cirie (PH). All production photos by Ron Blunt Photography. Other photos by Dennis Crosby/Slainte Images.



Contemporaneous is a publication of the Contemporary American Theater Festival, Inc. on the campus of Shepherd University | Ed Herendeen Founder & Producing Director | Peggy McKowen Associate Producing Director | Catherine Irwin Director, Casting the Future | Lissa Cobetto Business Manager | Patrick Wallace Production Manager | © 2007 Contemporary American Theater Festival | Design by Eden Design


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