February 11, 2017
Ten Minute Play Festival Stage Manager: Sierra Clay
Directing Mentors: Be Boyd and Genesis Garza
Board Operator: Chris Wilson
Technical Director: Sean Devine
By: Chip Miller (College of Charleston)
Directed by: Ginny Ives (University of South Carolina Aiken)
Dramaturg: Mary Flott (Georgia Southern University)
Stage Manager:Candace Shirley (Berry College)
Cecile Waters – Brianna Smart (Middle Tennessee State University)
Simon – Donovan Hughes (Middle Tennessee State University)
Fauntleroy Maulderbury- Robbie Ramirez (Middle Tennessee State University)
Chesterfield MacMillan- Jonathon Carter (Middle Tennessee State University)
The Duchess- Sarah Koop (Meredith College)
Stage Directions- Tyler Todd (Young Harris College)
The Brechtian Challenge
Direct your face towards the stage and take a good look. Do you see it? No, not that. I’m talking about the wall. The fourth wall to be exact. And just like that, it is broken, and you are now stepping into the world of Epic Theatre. Now that it has been shattered beyond repair, let’s play a game, neighbor against neighbor!
The Fourth Wall Game
- Look around you! Can you point out all the lighting instruments and set dressings?
-if a crew member is visible 20 points.
- Do you see those music stands sitting on stage? Those are not your average paper holders. How many uses can you imagine?
-5 points for each one.
- Quick scare your neighbor! Think of the creepiest song you can and quietly hum it in your neighbor’s ear.
– 10 points if you make them jump!
- You should keep score, take out your invisible pen and paper if you need to! Let’s see how many time this play makes you laugh.
-30 points if you don’t crack a smile.
- Follow closely and keep a watchful eye, for a crime has been committed and we need to know why.
-50 points for whoever guesses the ending.
Once the play is finished, tally your score and see if you won!
Mary Flott, Dramaturg (Georgia Southern University)
The Taming of the Zoo
By: Heather Harris (University of South Florida)
Directed by: Courtney Coppa (Middle Tennessee State University)
Dramaturg: Marianna Mata (Anderson University)
State Manager: Mary Helen Higgs (Georgia College & State University)
Hen – AnnaBeth Crittenden (Berry College)
Elephant – John Simmins (Pellissippi State Community College)
Donkey – Robert Patterson (Pellissippi State Community College)
Mule/Ensemble – James Kenyon (Belhaven University)
Stage Directions- Rusty Burton (Coastal Carolina Community College)
10 Things Every Politician Loves to Say
If you have a pulse and a TV, then you’ve heard a campaign speech, press conference or prime time address. And if you have been blessed enough to to witness such intellectualism you have realized that our elected officials possess a vocabulary resembling a mix between morse code and a children’s book. Here I will explain the top ten phrases used by politicians in this incredibly small vernacular.
- I’m worried about Main Street, not Wall Street.
I’m all about Main Street, until it’s time for my fancy fundraiser on Wall Street.
- Let me be clear…
Listen up, I’m about to repeat myself probably twice, but simply for the purpose of ambiguity.
- Make no mistake…
Yeah, I might have lied in the past but I promise I am telling the truth now.
- The people have spoken.
Hi. Hey. Hello. Remember when I won the election? ‘Cause I’m about to remind you.
- For me, the issue is personal.
I read a poll once.
- Government is the problem, not the solution.
Unless we are talking about regulation, The Gays, and vaginas.
- Where I’m from, people are hurting.
I live in Washington, I eat at high end vegan restaurants in Washington, but I have a vacation house in Maine so I understand the struggles of the middle class.
- Let’s make this campaign about changing the way D.C. does business.
I won’t take lobbyists’ money, unless my opponent does. Then maybe I will continue to take money from lobbyists.
- All the options on the table.
I am completely obtuse and have already made my mind up on this issue, but I assure you, I am completely open-minded. There is no one more open-minded than me.
- We need stronger leadership in D.C.
My portrait for the oval office is already painted.
Marianna Mata, Dramaturg (Anderson University)
Bits and Pieces
By: Lacey Alexander (Troy University)
Directed by: Stefen Suttles (Florida International University)
Dramaturg: Tommy Heller (University of Central Florida)
Stage Manager: Ariel McLendon (University of South Alabama)
Miley- Keeley Adkisson (Young Harris College)
Kyle- Gregory Pitts (Columbus State University)
Jane- Cailin Hurley (Pellississippi State Community College)
Colin- Andrew McDonald (Northwest Mississippi Community College)
Stage Directions- Diandra Sallee (Campbellsville University)
Can You Hear Me?
Let’s pretend for a moment that at birth your parents placed a pair of BEATS Over-the-Ear Noise Cancelling Headphones over your ears – and that these headphones get permanently stuck over your ears.
These headphones drown out the noise of the outside world with your favorite music and reduce the sound of a monster truck to a church mouse. With this feature, however, comes the inevitable day when your friend or parent calls your name, and you do not hear them. They suddenly become frustrated that you are not responding. They make comments about how you will go deaf if you keep the music too loud, or how you are not paying attention them, or how hard it is to communicate with someone who is not listening.
Eventually, people start giving up on you. You carry around a notepad and a pen, but people do not want to take the time to write down what they’re saying or wait for you to respond. You try lip reading but no one ensures they are facing you when they speak. You learn sign language, but others don’t want to take the time to learn. So you also retreat; you accept the fact that no one is going to try including you anymore. You feel isolated.
Deaf author Sally Sainsbury wrote in her book Deaf Worlds, “While the deaf are considered to be different from the rest of the community, there is a great reluctance to concede that such differences may create barriers to their integration into society at large.” This new, original work penned by student-playwright Lacey Alexander analyzes the treatment of disabled people in a predominantly able-bodied world and asks its audience to reflect how we regard those with disabilities, specifically the hearing impaired.
Tommy Heller, Dramaturg (University of Central Florida)
By: Nathan Maxwell (Troy University)
Directed by: David Jackson (Georgia Southern University)
Dramaturg: Collette Simkins (Catawba College)
Stage Manager: Kendall Yonko (University of Southern Mississippi)
Guard – Jalen Frasher (Georgia College)
Artist- Kate Leanne Jacoby (Columbus State University)
Stage Directions – Madison Parrott (Belhaven University)
Concept over Structure: The Infamous Untitled
The Modernism exhibit is one of the most popular and widely contested collections here at our museum. Critics of the movement take offense to a focus on an artist’s concept rather than attention to his execution. As you peruse the exhibit, you’ll find a range of work from early Modernists to more contemporary artists taking inspiration from their predecessors.
The work of Mark Rothko is prominent in this exhibit. Our curators boast one of the largest collections in the nation. Rothko once said, “It is a widely accepted notion among painters that it does not matter what is painted as long as it is painted well.” Known for his massive color-blocking pieces, Rothko created art that was as divisive as it was famous. Some loved his emotion driven, abstracted works, finding authenticity in the looming colors. Others despaired at his work’s reductionism, frustrated at its technical simplicity.
You’ll also find a significant body of work from Jackson Pollock, one of Rothko’s contemporaries. Sharing Rothko’s point of view, Pollock argued that “the modern artist is working with space and time and expressing his feelings, rather than illustrating.”
Our newest piece in the exhibit is entitled Unfinished. One of our more contemporary pieces, the artist asks us to consider whether we value content or structure more in our own lives.
If you have a virtual tour guide, press 9 now to begin.
Collette Simkins, Dramaturg (Catawba College)
By: Mario Alonso (Florida International University)
Directed by: Trey Irby (Catawba College)
Dramaturg: Kathryn Burrell (Georgia Southern University)
Stage Manager: Noah Parsons (University of Alabama Birmingham)
Hoyt – Coby Wester (Pellisippi State Community College)
Fulton – Ethan Hart (Berry College)
Stage Directions – DeAnna Gregory (University of South Carolina Aiken)
All The Feels
How do you experience college? What organizations are you active in? Did you go Greek? Are you an introvert? Do you party? Do you have a lot of sex? Like, a lot of sex? Ever fallen in or out of like with someone?
Ask yourself, “How am I experiencing the idea of college differently from someone else?” We all live differently than the preconceived notion of the “classic” college experience. That doesn’t mean you are doing “it,” the college experience, wrong. College is a time to explore life’s options and how they pertain to you.
How many times has someone’s opinion influenced you to think in a way you never thought you would think? Adopting one way of life doesn’t mean you fit that stereotype. Sure, you might have to work a little harder to separate yourself from that certain identity, but the core of our decisions should support our individual definitions of a fulfilled, happy life. The ideals we believe to be true go through a metamorphosis and become unique to ourselves. Suddenly wrong is right, up is down, hate is love, and prejudice is acceptance. The ambiguity of life is what makes life worth exploring.
Labels are not important. You are. What kind of experience do you want? This is the question Before Greece asks you to consider. Actually think about it because really, it’s all up to you.
Kathryn Burrell, Dramaturg (Georgia Southern University)
By: Skylar Grieco (Middle Tennessee State College)
Directed by: Leah Thomas (University of Central Florida)
Dramaturg: Rachel Pelgen (Morehead State University), Nathan Petty (Columbus State University)
Stage Manager: Natalie Andric (Young Harris College)
James – Cypress Wade (Pellissippi State College)
Iris – Victoria Mitchell (Meredith College)
Stage Directions- Carlee McClary (University of South Carolina-Aiken)
Waiting for a Show
“People talk about the guy that’s waiting on a girl.”—The Script
Stuck…cemented in one spot…waiting for something…something that may never come. You yourselves are waiting, waiting for a show, something you know will come within minutes. But what if it didn’t? You could be sitting here waiting, immovable, for who knows how long.
“The Man Who Can’t Be Moved” features a man who is waiting on the corner for a lost love. Determined to not let anything interfere with his plan, he stands through the rain and snow waiting for a girl that never comes. It is his dedication to the past that drives the song forward without ever giving a clear answer of where he will end up.
The Great Gatsby introduces readers to Jay Gatsby, the wealthy protagonist who stares nightly at a green light emanating from the end of Daisy’s dock. It is his hope to rekindle the connection they lost years ago. The green light gives him hope, but also leads to an obsession that holds him back in ways he could never realize.
The Green Light by Skylar Grieco is inspired by the pop song “The Man Who Can’t Be Moved” made famous by the Script, and F. Scott Fitzgerald’s novel The Great Gatsby. The show contextualizes these themes with a new significance that culminates in the connection that Iris and James form as they both look for something greater than themselves.
So as you sit here waiting for a show, I ask you, what’s worth moving for?
Rachel Pelgen, Dramaturg (Morehead State University)
Nathan Petty, Dramaturg (Columbus State University)