PLAY IT FORWARD: SAC-SCRIBE
PASSPORT FOR PERFORMING ARTS
A Project
Presented to the faculty of the Department of Humanities and Religious Studies
California State University, Sacramento
Submitted in partial satisfaction of
the requirements for the degree of
MASTER OF ARTS
in
Liberal Arts
by
Casey Louise Schell
FALL
2012
PLAY IT FORWARD: SAC-SCRIBE
PASSPORT FOR PERFORMING ARTS
A Project
by
Casey Louise Schell
Approved by:
__________________________________, Committee Chair
Victoria Shinbrot
____________________________
Date
ii
Student: Casey Louise Schell
I certify that this student has met the requirements for format contained in the University format
manual, and that this project is suitable for shelving in the Library and credit is to be awarded for
the project.
__________________________, Department Chair
Jeffrey Brodd
Department of Humanities and Religious Studies
iii
___________________
Date
Abstract
of
PLAY IT FORWARD: SAC-SCRIBE
PASSPORT FOR PERFORMING ARTS
by
Casey Louise Schell
This innovative pilot project advocates for audience development and a philanthropic attitude for
the arts in Sacramento among college students. It focuses on bridging the gap between students
at California State University Sacramento and local nonprofit art organizations to create a "towngown" initiative and cultivate the next generation of arts leaders in the community.
Statement of Problem
As funding for the arts has diminished over the last two decades, so has arts education.
Therefore, Generation Y is less involved in the arts and culturally literate which negatively
affects the long-term sustainability of our nonprofit cultural institutions.
Conclusions Reached
Arts participation is valuable for the well-being of our communities as it uniquely connects
people. Therefore, it is vital nonprofit arts organizations collaborate to improve access,
awareness, and cater to young adults as next generation of arts patrons and supporters.
_______________________, Committee Chair
Victoria Shinbrot
_______________________
Date
iv
DEDICATION
I dedicate this project to my dad, Timothy Wayne Schell, who inspires my wins, eases my losses,
and encourages me to keep swinging regardless of the count as Casey at the Bat. After all, life is
good. Your eternal optimism, profound spirit, and unconditional support have instilled in me a
deep passion for life, love, and adventure. Your vivacity moved me to learn more about the
resilience of the human spirit and translated into my pursuit of this graduate degree. In many
ways, you are my living legend. It is in your effortless art of living that I remain entirely
awestruck. It is because of your unique character that I am continually invigorated. It is through
your heartfelt vision that I seek beauty in the world. Ultimately, it is in your essence that I paint
my self-portrait. I love you, dad.
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ACKNOWLEDGEMENTS
There are many people that attributed to my success for this degree. First, I want
to thank my advisor Professor Victoria Shinbrot. Your wealth of knowledge and
enthusiasm for literature is sublime. It is a pleasure to share in your passions and I truly
appreciate your guidance over the last few years. I am a better person for completing
your reading lists and connecting to passages in a new and meaningful way.
I must also thank my mom and most prized educator, Donna Schell. Thank you
for being there every step of the way. Since my undergraduate degree, you have helped
me become a better writer. I simply could not have done it without you. You are my
soundboard for learning and ideas. You help me realize my voice and remind me that it
is a tool worthy of constant enhancement. My strength lies in your gumption.
On a similar note, I must thank my sister, Natalie Schell-Busey. Thank you for
listening to my woes and keeping me focused when it seemed like an extraordinary
effort. Thanks for being you and being there when I needed it the most. We are cut from
the same cloth, so I know you understand me with the slightest exchange. We share a
familiar melody that beats deeply within my heart. Basically, if you’re a bird, I’m a bird.
As my older sister, I have always admired you. But, it is as a professor, mom, and wife
that I see you shine the most and know the best is yet to come.
Finally, I would like to thank my kins, Bret Becker. Thank you for supporting me
through this degree and reminding me to always keep faith in myself. Your unwavering
vi
belief in me made it possible. The good news is I am done and join the 11% of
Americans with a graduate degree. The bad news is I am done and will be repaying
student loans for the rest of my life. You are my best friend, so more often than not; it
was the comfort in your care and embrace that I found my resilience. You encouraged
the small steps, fueled me with coffee and meals, and always celebrated my
accomplishments. You, at my side, were all the motivation I needed to succeed. I want
you to know from the bottom of my heart, it was your daily love and encouragement that
made my dream come true. For this, I will remain forever grateful and share this with
you. I love you.
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TABLE OF CONTENTS
Page
Dedication ................................................................................................................................. v
Acknowledgements .................................................................................................................. vi
Bridging the Gap ....................................................................................................................... 1
Role of Nonprofit Arts Sector ................................................................................................... 4
Support for the Arts ................................................................................................................. 7
Value of the Arts ....................................................................................................................... 9
Case Study: ALS 196 .............................................................................................................. 13
Student Testimonials............................................................................................................... 15
Master of Arts Project ............................................................................................................. 20
Participating Agencies ............................................................................................................ 31
Proposed Sample Schedule ..................................................................................................... 36
Work Cited .............................................................................................................................. 45
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1
Bridging the Gap
Locally, Sacramento maintains several cultural treasures that offer residents and
visitors rich experiences. Some institutions have existed over a century such as the
Crocker Art Museum in downtown Sacramento. As a capital city, Sacramento is also
home to many historical and political establishments. These establishments provide a
number of enriching benefits for the community including housing the state’s Art
Council, a government affiliated leading nonprofit and designated state partner of the
National Endowment for the Arts. Sacramento is the sixth largest city in the state and
boasts approximately 950 arts organizations that provide a rich cultural landscape for its
residents and visitors. As a university town, with a California State University campus
nearby, this liberal arts educational based institute is another draw to the community.
From the outside, Sacramento has all the components a city needs to maintain a young,
vibrant and healthy art scene. Yet, most local theatre audiences are composed of baby
boomers and Generation X. This generational trend is also a national norm as the decline
in arts education has negatively affected newer audiences. Local nonprofit arts
organizations must address the increasing age gap to diversify their audiences, or they
will face additional sustainability issues beyond the current economic downfall and
reduced funding.
My Master of Arts project proposal attempts to uniquely bridge the gap between
California State University’s energetic student body and the evolving arts scene in the
city of Sacramento through an example of theatre arts. While a focused initiative for the
arts began with Mayor Johnson’s “For Arts’ Sake” in 2010 with a blueprint to strengthen
2
and celebrate Sacramento’s creative industries, there remains a missing link. Many
marketing ideas such as “Sacramento 365”, a year-round online calendar and source for
the arts, came to fruition to highlight existing programs targeted for young adults like
“Second Saturday” art walk. Edward Inch, Dean of College of Arts and Letters, at
Sacramento State was the first “For Arts’ Sake” committee member to unite the
university with the Sacramento community, celebrate the arts, and promote education
through his onetime free event of “U-Nite” in collaboration with the Crocker Art
Museum and CSUS faculty. More recently, his newest effort is a course offered at
Sacramento State entitled “The Studio: Explorations in Arts and Letters” its aim is to
engage students in the local art scene through an exploration of the disciplines within the
college. These opportunities individually provide a step in the right direction for a
targeted town-gown exchange in Sacramento but only bandage the problem related to
audience development in the arts. They lack in crucial areas such as extensive
collaboration, audience development, and programmatic growth for long-term effects.
Whereas, my Master of Arts project proposal styled after a Detroit model, “Play it
Forward: Sac-Scribe: Passport for the Performing Arts” attempts to incorporate all the
vital elements of a beneficial town-gown arts program to foster communication,
participation, and engagement both now and in the future for individuals and
organizations alike. Currently, the opportunity to subscribe or become a member at
multiple arts organizations through one cohesive method does not exist. This uniquely
allows Generation Y to curate their personal experience of the arts scene with one
semester long passport, a desirable element for young adults who are enjoying more self-
3
guided cultural experiences with advancing technology like creating ipod playlists.
Additionally, it incorporates numerous local organizations with a range of small to large
sized budgets instead of focusing on the chief arts organization in town. By increasing
the number of participating organizations, it increases the diversity of the participant’s
experience while raising extensive collaboration within the arts community itself. Today,
nonprofit arts organizations are all competing for the same support. The only solution for
long-term communal success is in working together to illustrate the organizational
distinctions that characterize the city. That being said, the agreed upon town-gown
exchange is a useful method to develop an audience for the arts. These young adults are
at the peak of their exploration in identifying cultural routines, forming social circles, and
networking as the future workforce. Yet, the previous projects seem limited through
either a onetime publicity event or an undergraduate course with a capacity of a few
hundred. Why not open accessibility to more students in addition to more organizations
for the greatest impact? Programmatically speaking, the latest proposal has a better
chance at developing a larger audience up front because it widens the initial cast to an
entire department. Furthermore, it reaches future audiences because it offers more
measurable benefits for the individual as well as deeper levels of engagement to create a
long-term supporter of the arts both personally and professionally. Great strides need to
be taken immediately in assuring a future for the arts community in Sacramento as well
as investing in a future for students of the arts at Sacramento State. The ticket is in
creative collaboration, individual play, and exciting educational ties that provide real
4
world opportunities for our future leaders as detailed in my subsequent Master of Arts
project.
Role of Nonprofit Arts Sector
Defining the nonprofit arts sector will help identify the important role it plays in
creating a substantial, quality national and local socio-cultural experience, and it will also
serve to provide a clarifying description for this project. The nonprofit sector is a
collective term used to describe organizations and institutions in society that are neither
business nor governmental entities. Nonprofits are heavily mission-driven rather than
profit-motivated, separating them from strictly profit-oriented companies. Any surplus
revenue attained is used to achieve its social service goals and reinvest in the
organizational programming and the community it serves, rather than translating into
individual profit for owners or investors. Currently, a rising number of nonprofit
performing arts organizations charge fees for their services as a model to generate
revenue in addition to relying on volunteers and seeking government, corporate, and
individual donor support. The major subcategories of the nonprofit sector are charities,
foundations, social welfare organizations, and professional and trade organizations.
Charitable organizations also receive a tax-exempt status under code 501 (c)(3) of the
Internal Revenue Service.
The arts sector is one industry considered to offer a participatory experience and
engagement with the arts for audiences of all ages, ethnicities, and social spectrums. The
fundamental idea of this sector is to advance arts accessibility in order for the benefits to
reach more audiences. Similarly, other sectors improve health services, education, social
5
and legal services, civic and environmental advocacy, international relations and
development. According to the Independent Sector and Urban Institute in 2004, the arts
and culture sector is the smallest subsector in the nonprofit industry – accounting for only
two percent of the nonprofit sector's total funds. Yet, the arts and culture sector boosts its
diversity by including performing arts groups such as theaters, ballets, and symphony
orchestras; nonprofit radio and television; scientific, natural, art, and historical museums;
literary organizations; and various humanities oriented organizations. While the size of
the nonprofit arts sector may seem to diminish its worth, the arts are important in creating
a national identity and a basic cultural literacy in society, (Cherbo 212). The nonprofit
arts sector serves as a forum for the creation and dissemination of new ideas, an efficient
vehicle for delivering creativity, and a platform to share our cultural values and heritage.
The founding of federal organizations such as the National Endowment for the Arts
(NEA) and the National Endowment for the Humanities (NEH) in 1965 is emblematic of
the significance in creating an artistic identity in the United States. These institutions
gave birth to the rise of the nonprofit arts industry in the decades that followed with
Congress approving funds for the NEA for $170 million to disperse at local levels among
designated state arts agencies receiving partnership agreement funding. However, in
difficult economic times, the arts are typically the first sector designated for reduced
funding. In 1996, Congress cut the National Endowment for the Arts’ budget to $99
million. The past sixteen years, the National Endowment for the Arts has aggressively
advocated for increased funding and achieved a budget increase to a reported total of
6
$154 million in 2011. While this is a significant increase, it does not account for inflation
over the years. Thus, the national arts organization operates at a deficiency.
State art agencies collaborating with the National Endowment for the Arts and
other arts organizations modified their funding of the arts in communities throughout the
nation. This gave rise to a number of nonprofit arts organizations to bridge the funding
gap. The California Arts Council, located in the state capitol, remains plagued by budget
cuts sustained over the last two decades. While California is viewed as an arts mecca, its
leading arts agency is ranked second to last nationally in terms of budget size. The ill
effects of these cuts, over two decades ago, still affect local efforts for financial recovery,
audience development, and attitudes toward the arts. As a result, an extensive amount of
research has materialized in demonstrating the value of the nonprofit arts sector. For
example, numerous studies outlining the economic impact of the arts have become
available. An effort to justify their worth comparatively has resulted in quantitative
research numbers. Currently, the nonprofit arts industry generates $36.8 billion in
economic activity annually while supporting over 1.3 million jobs nationwide, according
to the most recent annual report of the National Endowment for the Arts. California Arts
Council’s 2010 annual report indicated that in California, approximately $5.4 billion in
economic activity generated by nonprofit arts organizations supported a workforce of
160,000. Moreover, nonprofit arts produce $300 million in state and local taxes in
California and attract 71.2 million people who contribute an additional $1 billion more to
the economy. Statewide in 2004, there were more arts-related businesses and nonprofit
organization (89,719) and more people employed (516,054) in the creative industries than
7
in any other state in the nation. These findings demonstrate that the creative industries
are a significant industry in California and that nonprofit arts contribute to California’s
ranking as the most visited state in the nation. According to Sacramento Metropolitan
Arts Commission’s 2011 annual report, the greater Sacramento area claims around 950
arts related organizations that produce over 4,700 jobs. Locally, the arts sector produces
$1.35 million in tax revenue and the economic impact currently generates $350 million
annually. These statistics attempt to translate the economic impact of the nonprofit arts
sector as a contributor to the market in our communities. Despite reduced funding, the
arts continue to drive economic activity even as the nonprofit arts sector struggles to
maintain consistent federal support.
Support for the Arts
The long-term sustainability of nonprofit arts has been increasingly threatened by
public funding cuts over the last two decade in times of economic recession or
conservative political control. Since then, industry growth has halted due to cutbacks in
federal government assistance. This inconsistent support reduces the creative potential of
the industry itself and forces the organizations to focus their efforts on rebuilding
financial stability. This financial dilemma causes blossoming agencies to maintain the
status quo instead of working toward authentic social change. Ironically, these funding
cuts are demobilizing their greatest asset – the liberal arts community. Government
officials are repeatedly discounting the resourcefulness of these cultural innovators.
Despite their continued efforts to displace funding, the cultural sectors refuse to accept
the status quo view from the public sphere and routinely express their discontentment
8
with these oversight committees against the marginalized ruling class. For centuries in
America and countries worldwide, artists, writers, poets, and philosophers have
demonstrated resilience and an aptitude in vocalizing the importance of their role in
society. Imagine if these efforts were encouraged financially in the United States today
as in other countries like France and Italy. Kivel states, “Historically, change happens
when people get together,” (10). Thus, collaboration is central for social progress and
forcing organizational and institutional change. Kivel continues, “It is only when we get
together with others, and see our work as that of helping people come together for power
that our social service work will lead to social change,” (14). Advocacy empowers social
change at the grassroots level and works its way up from there. In the case of the arts, it
also produces cultural relevant artifacts, job creation, and economic growth expressive of
changing societal values. The arts are a vehicle for nurturing a creative environment that
shapes the cultural character, expression, and artistic identifiers.
While an overwhelming number of individuals are in favor of federally funded
arts support, the policy makers remain uninspired by overall numbers. So, the question
remains, why should government support the arts? The answer is because the arts drive
the economy in a myriad of ways. Primarily, this sector creates jobs and produces tax
revenues. Even today, during a recession, more college students are opting for an arts
degree over other areas of study. Thus, the public interest in arts remains in demand.
Secondly, the arts sector stimulates business activity and attracts tourism dollars. Arts
organizations tend to collaborate with other businesses more often and inspire revenue
through new ideas. Creative thinking and a big picture mindset are at the core of the arts.
9
For example, a world-class museum has a higher return on investment through tourism
than any other nonprofit sector. The expansion of Crocker Art Museum in downtown
Sacramento, opened in October 2010, serves as a local illustration. Third, the arts instill
a high quality of life and simultaneously increase property values. Residents’ well-being
and home values increase due to an aesthetically attractive cultural monument built in the
area. The arts are a magnet for creating cultural landmarks in communities to create
identity among residents and attract new visitors. Lastly, the arts also statistically
revitalize rural and economically deprived areas. Many downtown areas have seen a
surge of vibrancy with the help of specific arts placing new projects there, and the
resultant financial boost due to arts patrons’ spending money in surrounding businesses.
B Street Theatre, a nonprofit theatre, currently located on the outskirts of town in a
residential area is in the middle of a capital campaign to relocate and build a new facility
in the heart of midtown Sacramento. The project estimates an economic impact of over
$40 million in the first five years alone. In conclusion, investing in the arts, spurs
economic activity while creating awareness and maintaining a quality of life in
neighborhoods throughout the nation.
The Value of the Arts
“The artifacts that have endured from the dawn of human existence remind us that
the arts have been a ubiquitous part of human life from its inception.” (Cherbo, 3). Its
purpose is as diverse as its practice – making art both a cultural identifier, yet universal in
spirit. “Clearly, while the arts are an integral part of human life, their expressions and
organizations within the social fabric are highly variable. There is no standard; each
10
society treats its arts and artists differently” (Cherbo, 5). Other key measurable results in
determining the benefits of the arts lie within education. Students engaged in the arts
have a higher academic performance rate than those without arts exposure. Studies
suggest arts education directly increases test scores in the areas of reading, writing, and
math. These core subject areas drastically improve students SAT scores, and ultimately,
lead to higher education opportunities among youth. Moreover, the arts build confidence
in young students that translates to stronger social skills, improved motivation to learn
and greater esteem for their peers. The arts instill an appreciation for cultural diversity
and tolerance. Arts education helps to create a positive school environment in which
learning and human development can coexist. Similarly, participation in the arts helps atrisk youth by providing an alternate outlet for expression and activity. The arts reduce
dropout rates among at-risk youth and increase the retention and engagement of students.
More recent polls shows arts education is the number one predictor for creative thinking
– a critical skill in the 21st century. In a global economy, business leaders desire
employees with innovative ideas awarding them with top dollar salaries. Students of the
arts hone perceptual, analytic and interpretive skills while developing creative thinking,
communication and problem-solving abilities. A recent study shows 85% of business
leaders say they cannot find enough job applicants possessing creativity and innovation
skills. These desired skills develop with arts education at a young age. Instilling arts
education early on in the K-12 grades enables success for future generations. The arts are
vital to a well-rounded education and foster student imagination.
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The arts promote a number of civic benefits as well. For example, the arts
contribute to community vitality and renewal. Arts engagement within a community
instills pride in one’s cultural heritage. In addition, public art brings public places to life.
Creative placement of artwork that belongs in our natural surroundings makes places
livable, attractive and distinctive. Additionally, art in public places increases its
accessibility for audiences because there is no charge for admittance. It is for everyone to
enjoy any time of day or night. The arts also contribute to wellness and health through
art therapy programs focused on the ill and elderly. New research shows impressive links
between culture and healthcare. According to an American for the Arts study, “In more
and more communities across the county, the arts humanize hospitals, treatment facilities,
senior care centers and rehabilitation programs, and provide an emotional outlet for
patients and families during illness and recovery” (Langan, 1). She continues, “Medical
research has shown physiological benefits to patients exposed to the arts, such as a
decrease in blood pressure, lowered anxiety and fear and elevated mood” (Langan, 2).
Theatre specifically has transformative and restorative effects on at-risk, ailing, and
special needs children. Recent studies also link children from lower socioeconomic
backgrounds as gaining confidence through arts education, specifically drama. These
fundamental introductions encourage creative thinking skills to enter into a competitive
marketplace and help facilitate higher professional opportunities. Similarly, it builds
audiences for the arts by exposing children early on to performance art that develops
literary skills, problem solving techniques, and artistic expression both inside and outside
of the classroom. The arts also inherently provide a sense of community and bring
12
people together whether it is a music concert or a pottery class. The arts facilitate an
understanding between people of diverse backgrounds and strengthen ties within a
community. Repeatedly, the arts connect people in a positive manner. Arts participation
is more often than not a communal activity, particularly performance art. Similarly, the
arts foster civic participation and a strong democracy through freedom of expression.
The arts inspire action and can draw attention to injustices. Since the beginning of time,
artists and works of art stimulate civic dialogue by giving voice to the joys and tragedies
or overall conscience of our communities.
Yet, the most impactful value of the arts is qualitative and thus, more difficult to
measure. The arts have a significant intrinsic value for the individual participant. The
experience of attending a play, reading a book, watching a movie or studying a painting
is an emotional exchange often with profound effects. Whether it is favorable or
unfavorable, the emotions it evokes and conversation it stimulates is undeniably part of
its unique appeal. Studies do suggest that an individual’s intrinsic value is dependent on
the amount and time of arts exposure. For example, as outlined above, exposure to arts
early on helps facilitate arts literacy as well as a desire to explore more art forms at a
deeper level. Cultural routines created in childhood have a significantly higher chance of
sustaining a lifelong result. Whereas, it is clear that creating a new cultural routine often
becomes more difficult later in life as extracurricular tastes tend to be pre-determined
early on.
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Case Study: ALS 196
My fellow university classmates will serve as my target audience and basis to
discover the average awareness, involvement, and education about their own art
community. Enrolling in “The Studio: Explorations in Arts and Letters” at California
State University, Sacramento (CSUS) designed by Dean Inch of the College of Arts and
Letters allowed me to merge my culminating experience project idea with this newly
offered undergraduate course. I intend to apply my first-hand experience as a graduate
student in the course and as an art professional in the community to analyze its value for
both identified groups. Furthermore, this example will serve as the prime case study, in
comparison to my own proposed initiative, “Play it Forward: Sac-Scribe” as a “towngown” approach to further develop an active new audience for the arts in Sacramento,
focusing on the next generation with local college students at CSUS.
The objective of the course described is - “Providing students with an opportunity
to explore the disciplines and programs in the College of Arts and Letters. Each
department in the college hosts a week or more exploring the insights and principles
associated with cultural and creative engagement in the community and on campus
through a series of presentations, question and discussion periods, and experiences.”
With one weekly lecture on campus and an equal amount of time allotted to online
discussion with classmates, it is a hybrid course. Additionally, the syllabus requires
students attend five cultural events accompanied by five cultural reviews consistent with
a writing rubric. Only one event must be on-campus, whereas the majority encourages
off-campus engagement for students. The weekly lectures tie in a multi-disciplinary
14
approach and scholarly perspective from each college under the umbrella of the College
of Arts and Letters including Philosophy, History, Humanities and Religious Studies,
Theatre and Dance, Art, Communication Studies, and English while relating principles to
the required cultural events. Online quizzes and discussion questions are a supplemental
method to measure what students have learned.
Upon discovering this course, I was delighted that others found the need directly
connect the college of arts and letters consisting of over 4,200 students to the larger arts
community of Sacramento with approximately 943 arts related businesses. A “towngown” collaboration will allow existing audiences to unite and allow for the greatest
audience impact and cultural exchange. This “town-gown” approach has proven
successful in other cities such as San Francisco, Austin, and Seattle. Simply, it is
collaborative effort between a university and its surrounding city to encourage an
exchange of on-campus and off-campus activities. There are approximately 115 students
enrolled in ALS: 196 the Studio, which provides an appropriate small group to become
the basis of my own research. The first discussion question of the semester framed a
relevant starting place. Dean Inch asked students, “Why do people attend cultural or
creative events?” An overwhelming majority of students cited some of the previous
values of art. Most young adults agreed on an intrinsic value and a sense of togetherness.
Some students mentioned cost and time as factors for not participating in community
events. However, I believe this boils down to lack of initiative and awareness because of
the change in dialogue and attitudes over the course of the semester. I have selected a
few answers that resonate with aforementioned scholarly studies.
15
Student Testimonials
“I believe people attend such events so that they can enrich their minds in
different cultures as well as different lifestyles. A lifestyle of an artist might be different
from that of a math teacher or a construction worker. I feel like these events are
community based and open for everyone because it does help enrich and open minds. Art
is something that can be appreciated and understood, and the only way to do that is first
hand.”
-Melanie Saecho
“The reason I like to attend live events is for the experience and the fact that it
might be a once in a lifetime opportunity. There is nothing like being present and
witnessing a live performance of my favorite band or sporting event. The instant you step
foot into the arena there is a connection with others. The socialization that takes place in
the events leads to a bond even making friends. You and the other fans form a
community that are there for a once in a lifetime event. Especially if you have front row
tickets and you are seeing your favorite singer you feel an instant connection. I still have
vivid images in my mind of attending concerts and sporting events and it is an experience
like no other, it is almost as if you escape reality and all your attention focuses on the
event. I also like the fact the interaction there is between the audience and the singer/band
it is much more personal, especially when I have had the opportunity to hear exclusive
songs and the performances are never the same so being able to witness the events is
amazing.”
-Alma Garibay
16
“I believe people attend cultural and creative events because they want to create
memories. The instructor mentioned in his lecture upon attending concerts or plays, you
do not really know anyone else in the event, but what does connect everyone is the event.
The moment creates a wonderful memory. For example, when I go to concerts I do not
necessarily know anyone, but the idea of hundreds of people that share the same interest
makes the concert memorable. Conceptually, the event connects hundreds of people with
different backgrounds, all joined together for the same purpose.”
-Rosa Rodriguez Sanchez
“There are many reasons people do attend cultural and creative events. I have been to a
few plays and a few gallery showings in the Sacramento area, and honestly, it was
because it was required for school. Although I enjoyed the events, I have not been back
since those particular classes have ended. My reasoning is that I have a small child and I
am extremely limited on the amount of time I can spend outside the home childless. My
husband and I do attend concerts. Rock concerts mostly. I love music and there is just
something about being in the audience of a live band. The energy of the crowd, the way
the music sounds live and unedited, and the general vibe of the other people attending all
play a big part in why I attend concerts. I am guessing most people have a similar
experience. I know my friends feel the same as I do. I do hope to attend more cultural
events when my child is older and I have more free time. An art museum or theatre art
not the best places to take a 3-year-old boy. I will, however, get and probably renew a
Crocker membership. As a painter, I have recently begun appreciating other artists work
and I am sure my interest will grow.”
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-Emily Powers
“I also think seeing a live cultural event is important because it brings people
together to enjoy something that they all have in common. When you go to a live cultural
event you experience a sense of a community. As a collective, the group might not have
the same experience during the event - some people may cry while others may laugh. But
that's the beauty of it all - while everyone is there for the same reason, the impact the
event has on each individual may be very different - giving each person a unique
experience, feeling and eventually a very personal memory. Therefore, I believe that
personally experiencing live events is crucial because it makes the event more
meaningful. We engage with what’s in front of us which creates a richer experience, thus
yielding unforgettable memories – and isn’t that what we live for?”
-Tia Summers
“I feel that as a culture, and as human beings, we crave connection to something
bigger than ourselves, and there is a connection that if formed not only with the
performers that we see live; but also with our peers at these performances. Even if we can
buy "perfect' copies, whether they are dvd’s, cd’s or itunes there is a feeling that can only
be recreated from seeing a performance live. It could be that you are so close to a
performer whose work you find particularly evocative, or it could simply be that the act
of caring enough to spend money to create a memory. I personally find that when I attend
a concert it's not necessarily the clarity of the music because sometimes there are
technical difficulties, or the singer doesn't have perfect pitch; it's the experience that I
create with the people that I are attending the show with me. It is the memory that we
18
have created together that is my reasoning behind spending money for an otherwise "not
perfect" show or performance. I also think that there is a certain feeling of togetherness
and community that people get when attending the same performance. It is the feeling
that the person next to you came to the same show because they also have a special
connection to some song by the same artist. Personally, I feel that people find solace in
the sense of community that comes with attending performances, whether it's an eclectic
desert experience like Burning Man, or a classy evening out for the last performance of
Phantom of the Opera; people enjoy feeling as though they are part of something bigger
than themselves. That is why I believe that people are willing to spend the extra time and
money to invest in live performances rather than purchasing "perfect" copies of these
performances. The imperfections and unpredictability of these performances make them
somehow more honest.”
-Amanda Poag
“Why do we attend cultural events? Simply because it is something new that we
know nothing about, and the fact of going to something new is entertaining for some.
Other's like to learn about new cultures, and there distinctive backgrounds that they come
from. Our gut interest tells us to go and check it out, because what you don’t know can’t
hurt you. Others like to have a fun time and there is no pain in going to concert, plus you
can meet new people at cultural events that you didn't take note to before. Today's society
is run by technology where you can watch and listen to music all on you computers or
iphones. Taking the time to go out and listen and watch something new could also be a
very fun learning experience for some!”
19
-Anthony Villarreal
The basis of these answers reinforces studies that the intrinsic value and benefits
of arts are realized. Yet, the awareness is a missing link that is a direct result of lack of
funding, and therefore, education. Also, generational differences do exist with the desire
and ability to curate your own artistic identity with new technologies such as social media
and itunes. Generation Y has grown up in a technologically advanced age, and therefore,
demands instant gratification and connection. Therefore, I propose to combine these
identified problems through a grant I wrote, entitled “Play it Forward: Sac-Scribe”. My
intent is to develop an audience for the arts through a natural exchange between the
California State University, Sacramento and the Sacramento art community.
20
Master of Arts Project
Executive Summary
The pilot program “Play it Forward: Sac-Scribe” is requesting a $100,000
operating grant to develop and implement a “town-gown” cultural exchange to educate
young adults about the local art scene, support engagement of a new arts audience, and
cultivate a philanthropic attitude toward the arts. The initiative will involve California
State University, Sacramento and five predominant nonprofit professional theatre
companies whose missions align to educate and enrich their community through diverse
and engaging methods in theatre arts. This unique partnership will offer a program that
encompasses a sampling of applied theatre arts experiences, special engagement
opportunities with campus faculty and local arts leaders, as well as hi-tech contribution
methods to cater to a younger college audience and the next generation of arts
participants. Program participants will become future advocates for social change in the
arts and leaders in the community who have experienced the transformative effects of
participating and investing in the arts.
Statement of Need
In the past decade, there has been a twenty percent decrease in the number of
adults participating in the arts according to the most recent Survey of Public Participation
in the Arts (SPPA), a survey commissioned by the National Endowment for the Arts
(NEA). Due to severe cuts in arts education over the last decade, coupled with the more
recent economic downturn, audiences for the arts are significantly dwindling nationwide.
In turn, this has led to a reduction in the number of arts-educated adults attending visual
21
and performing arts venues at large. Even California, a state with a commitment to
excellence in the arts with nationally recognized institutions like The J. Paul Getty
Museum and the new Los Angeles County Museum of Art in the southern part of the
state, and the internationally recognized San Francisco Museum of Modern Arts in the
north, cannot escape the consequences of the economic downturn throughout the United
States. According to a 2003 annual report by The California Arts Council, a government
agency for the advancement of arts and creativity statewide, in anticipation of a loss in
revenue suffered a devastating ninety-four percent drop in their budget from
approximately $83 million to $5 million. Currently, the state formerly celebrated as an
art mecca ranks last in funding and its status is now tarnished. Both the funding cuts to
the California Arts Council’s budget and to public education immediately reduced arts
education curriculum in K-12 schools throughout the state. While this gave rise to an
influx of local non-profit arts organizations collaborating with school districts in an
attempt to reconcile the artistic deficit, a majority could not thrive with the rough
economic climate and lowered public interest in the arts. Research suggests that arts
education and artistic experiences are not essential subject matter as compared to other
areas of study like math, reading and writing.
As a result, of the recent cuts in spending for arts and for arts in public education,
we may be seeing a generation of young people who are now less aware and less
educated in the arts than any previous generation in more than forty years. Without
public support for arts education curricula, arts literacy will most certainly diminish.
When arts literacy diminishes, individuals and groups may no longer benefit from the
22
potential transformative effects of engaging in theater, listening to music, or visiting
museums. For example, performance art increases social interaction among youth and
sparks creativity, a desirable skill for employers in a competitive marketplace. Moreover,
drama specifically increases reading and writing skills while music supplements
mathematic abilities. Overall, the arts provide tangible learning opportunities for youth
to engage in beyond traditional academic approaches. Eliminating arts education results
in not only a lack of well-rounded learning experiences for the 21st century, but also
negatively affects long-term participation in the arts. As summarized in the Survey of
Public Participation in the Arts, “arts education was the strongest predictor of almost all
types of arts participation,” (Rabkin, 13). Moreover, there may be a direct relationship
between lowered public value for the arts and donors tendency to give to other charitable
causes. For example, the Greater Sacramento Generosity Project cites the region’s
philanthropy in support of the arts as considerably lower than the national average,
particularly with comparably sized cities such as Portland and Seattle. The cultural
framework of our communities becomes at risk with lowered public interest and
investment in the arts.
The impacts of these reductions are felt throughout all levels of education,
including state universities. In a recent article in the student newspaper at California
State University, Sacramento, the chair of the art department, Daniel Frye, commented on
this dire situation. He noted that, “Leadership at public institutions and art organizations
should strengthen their commitment to the arts and encourage students to develop to their
full creative potential.” The relationship between education and support is vital to
23
maintaining a thriving art community. Furthermore, research suggests the arts are a
catalyst for cultivating philanthropic attitudes. Thus, bridging the generational gap
between campus-life and community culture through audience development in the arts,
fosters a city’s prosperity. The rising need to cultivate audiences for the arts as well as
arts leaders begins with education and experience. Participation in the arts develops an
appreciation for diversity, stimulates the economy, and creates a sense of civic pride.
This, in turn, cultivates future philanthropic practices for the upcoming workforce and
future community leaders. Furthermore, increased exposure of communal artistic
opportunities for university students can successfully advocate social change for the next
generation of Sacramentans.
Narrative
The purpose of this pilot project, “Play it Forward: Sac-Scribe” is to cultivate a
philanthropic attitude in young adults through cultural experiences and education to
become arts leaders in their community. Developing arts advocacy will create public
value for the arts and ultimately become a reinvestment in the community. Collaboration
will allow for a greater expansion of this fundamental enrichment through an engaging
project model with a “town-gown” approach by offering a unique model project designed
to benefit major public art agencies and the city at large. It is necessary to generate an
inspiring exchange between campus life and the artistic landscape of the city for students
to feel involved in their community and understand their crucial role in sustaining the
city’s culture. The cultural institutions are prominent local nonprofit arts organizations
24
and students currently enrolled in the Theatre Department at California State University
Sacramento will comprise the target audience.
Goals, Objectives and Outcomes
“Play it Forward: Sac-Scribe” project is a threefold developmental process to
transform both behavior in and attitude toward the arts. Program development and
implementation will be year round, but opportunities for event engagement with the new
arts audience from California State University, Sacramento, will coincide with a
proposed hypothetical semester. Marketing efforts will be strategically emphasized
quarterly and align with the university’s semester calendar. Students are provided a
unique community experience to network, learn, experience, volunteer, and support the
cultural experiences their city has to offer.
Goal 1: Develop skills to advocate for the arts through support of local philanthropy.
Objective A: Increase volunteers and interns in arts community both on and off campus
Activity A: Introduce a rotating volunteer and internship “reward miles” opportunities at
partnership theatres and within “Play it Forward: Sac-Scribe” program as viable support
opportunities for students to experience behind the scenes work at various organizations,
build relationships with art professionals, and mobilize young adults to become actively
involved in strengthening nonprofit arts organizations. One hour of volunteerism or an
internship will count as 60 reward miles. Every increment of 15 community service
hours or 900 miles will translate into various individual passport awards to be redeemed
within the semester or before their passport expires. Incentives for additional “travel”
within the arts program will result in well-rounded students, collaboration among arts
25
organizations, as well as create a sense of civic pride to bridge the gap between the
student body and local residents.
Objective B: Encourage donations onsite to practice philanthropic attitude and behavior
in the arts.
Activity B: At the end of each special engagement, students will be given the opportunity
to “Play it Forward” and text-to-donate an additional $5 or $10 as a way to rate their
experience, express their enjoyment, and reinvest in the program and arts community.
Students will be encouraged to specify what area they would like their money to be
allocated. For example, they could choose a specific organization either on campus or off
campus they would like to receive the funds. Or they can identify the contribution
toward the program which would reinvest the money in the program in order to increase
accessibility to special events. This would act as a qualitative measurement of students’
interest areas.
Objective C: Increase arts participation among student audience to develop an active,
playful arts scene appealing to Generation Y resulting in future job opportunities.
Activity C: Highlight “Play it Forward: Sac-Scribe” non-student rates as a way to
continue to support theatre arts community as well as increase their involvement from a
low level participatory experience as a single ticket buyer to deeper engagement as a
contemporary subscriber via the performing arts passport and lead to a volunteer, donor,
and job experience. The design of the passport program is intended to have students play
and curate their own cultural experiences. Students will be encouraged to advocate,
socialize, and network in any way that is valuable for them both personally and
26
professionally. The passport club is an imaginative manner to engage the upcoming work
force within the local community by highlighting the arts scene as a creative and healthy
connector.
Goal 2: Educate young adults about the theatre arts community in Sacramento
Objective A: Increase awareness of theatre arts scene and reach students who already
display an interest in theatre arts and limited or no exposure of theatre arts off-campus.
Activity A: Program coordinator will e-blast CSUS students enrolled in the Theatre
Department researching their personal engagement in the arts community at large.
Objective B: Inform CSUS students about collaborating theatre arts companies as well as
their programming and community outreach.
Activity B: Host a meet-and-greet on CSUS campus with collaborating nonprofit theatres
to highlight predominate programming and distinctions that comprise the artistic
landscape locally.
Goal 3: Support engagement of the newly acquired audience in the local theatre arts
scene
Objective A: Stimulate community collaboration and cross-promotion of production
calendars between CSUS theatre department and participating community theatres: B
Street Theatre, California Musical Theatre, Capital Stage, Sacramento Theatre Company,
and New Helvetia Theatre to increase attendance and access to the arts scene, attract a
younger crowd, and get students into the habit of subscribing, supporting, and
participating in the arts.
27
Activity A: Implement new “Sac-Scribe” passport for performing arts targeted at students
with valid CSUS ID to purchase along with textbooks at the start of the semester for a
discounted student rate. This onetime fee will provide admission to all on-campus and
off-campus productions for the semester. Semester long passport offers the flexibility to
attend a sampling of on-campus and off-campus cultural events in Sacramento in order
for students to curate their own artistic experiences.
Objective B: Encourage socialization inherent in theatre as an art form onsite and online
to promote awareness as students fill their passport and collect event “stamps/stubs” and
actively play and tour the local theatre arts scene.
Activity B: Provide a welcome reception, dialogue and networking opportunities among
students including applicable food and drink specials for Facebook and Twitter check-ins
as a “Sac-Scriber” and other social media interaction for ongoing discussion boards
online.
Objective C: Engage audience in deeper dialogue about their experience through “SacScribe” benefits.
Activity C: Offer special events for “Sac-Scribers” such as “Cultural Context Lectures”
from CSUS faculty in the College of Arts and Letters as well as local arts leaders and
meet the artists “Q&A” sessions with local playwrights, directors and actors among
faculty and artistic staff through an interdisciplinary lens as applicable.
Objective D: Provide a takeaway for students to reflect upon their experience post-show
and deepen their educational experience.
28
Activity D: Offer “Art To-Go” examples such as original scripts, photographs of acting
scenes, designs of sets, video of show, reviews, and other related materials to enhance
their understanding of the creative process through an interdisciplinary lens as applicable.
Objective E: Incorporate “Work Hard, Play Harder” ideas as possible artistic
collaboration with CSUS faculty to encourage amateur and professional creations as well
as an outlet to present an artistic expression of their experience.
Activity E: Encourage students to express their experience through poetry, playwriting,
lyrics, and performance to “Play It Forward” and utilize on-campus and off-campus
venues as a platform to tour and voice experience through participating venues to foster
emerging artists and artistic creativity. Selected winners will be judged, from each
category, by a panel of art professional from participating art organizations. Each
winning artist will work alongside relevant faculty to produce his/her work, culminating
in a display of work at the Festival of the Arts at the conclusion of the semester. This
event held on campus is free to “Sac-Scribers” as well as open to the public with
donations encouraged to support the program.
Staffing
“Play it Forward: Sac-Scribe” project manager will be Casey Schell,
Development Officer at B Street Theatre and graduate student working toward her
Masters in Liberal Arts with a concentration in Humanities. She will be a .50 FTE during
the semester. Schell has an extensive educational and professional background in the arts
over the past ten years and will be the sole lead of the project. She will oversee project
implementation and will include marketing and survey distribution, volunteer
29
recruitment, staff coordination, and act as liaison between participating agencies. The
project will use existing artistic staff at partnership agencies and various faculty members
at CSUS College of Arts and Letters.
Evaluation
Project evaluation will be determined both quantitatively and qualitatively
through a series of methods. First, the number of passport project participants, increased
number of full houses or average attendance in participating playhouses, and additional
spending on special event nights will determine the project’s initial success.
Furthermore, the “text-to-give” amounts based upon the number of participants will
demonstrate how effective the program was in engaging their “new audience” as well as
any new single ticket buyers, volunteers, Facebook fans, and subscribers. Also, a followup survey, select focus group, and online exchanges will qualitatively measure individual
feedback for future project “Play it Forward: Sac-Scribe” collaborators.
Sustainability
“Text-to-donate” monies will be reinvested in the “Play it Forward: Sac-Scribe”
initiative to sustain the project for future collaborations. Social media generates
Facebook “fans”, Tweeter “testimonials” and Kickstarter “fundraising” for expansion.
Project manager, Casey Schell, will continue efforts in pursuit of grant writing and
fundraising successes for this vital Sacramento art scene project. The James Irvine
Foundation’s “Exploring Engagement Fund” is a grant source whose objectives align
with the project. This grassroots project’s campaign strategy will align with other local
arts organizations for funding including Sacramento Arts and Business Council,
30
California Arts Council, Sacramento Metropolitan Arts Commission, and Sacramento
Generosity Project, to act as a conduit for cultural philanthropy in Sacramento. It will
also identify local corporate sponsors of the arts such as Wells Fargo, US Bank, and
Western Health Advantage as well as individual donors with various benefits and
marketing opportunities.
Conclusion
The pilot program, “Play it Forward: Sac-Scribe” is requesting a $100,000
operating grant to develop and implement a “town-gown” cultural exchange to educate
college-aged youth about the local art scene, support engagement of a new arts audience,
and cultivate a philanthropic attitude toward the arts. With lowered public funding for
the arts and art education in schools, public interest and participation in the arts has
significantly decreased. In conclusion, without the cultural framework to sustain value
for the arts, support will diminish and communities will lose their creative expression,
sense of unity, and appreciation of diversity.
This initiative will attempt to make up for the reduced audiences by examining
California State University, Sacramento identified predominant public agencies whose
missions are aligned to educate and enrich their community through diverse and engaging
methods through theatre arts. It will coincide with the semester schedule and involve a
proposed hypothetical semester worth of cultural experiences on-campus and off-campus
with participating theatre groups. This unique partnership will offer a program that
encompasses exposure of theatre arts experiences, special engagement opportunities and
hi-tech contribution methods to cater to a younger college audience and the next
31
generation of arts participants. Program participants will become future advocates for
social change in the arts and leaders in the community who have experienced the
transformative effects of participating and investing in the arts.
Participating Agencies
Town (City of Sacramento):
♦ B Street Theatre

History: founded in 1986

Mission: The mission of B Street Theatre is to promote education and
literacy, social interaction, and cultural enrichment by engaging
children and adults in the highest quality theatre arts and playwriting.

Distinction: Only Professional Children’s Theatre in Northern
California & New Works Theatre

Key Staff: Buck Busfield, Producing Artistic Director

Website: www.bstreettheatre.org
♦ California Musical Theatre

History: founded in 1951

Mission: To preserve and expand the American musical theatre as an
art form by educating new audiences and nurturing aspiring artists.

Distinction: Northern California’s premier producer and presenter of
musical theatre and Broadway shows

Key Staff: Richard Lewis, Executive Producer

Website: www.calmt.com
32
♦ New Helvetia Theatre

History: founded in 2009

Mission: New Helvetia is bringing the Sacramento region a broad
spectrum of American musicals from the country’s best-known artists
as well as emerging talents.

Distinction: Contemporary American musicals and plays

Key Staff: Connor Mickiewicz, Artistic Director

Website: www.newhelvetia.org
♦ Capital Stage

History: founded in 1999

Mission: Capital Stage Company's mission is to be a dynamic leader in
the evolution of the contemporary live theatre landscape in the Capital
region and to passionately engage audiences in the art of live
storytelling with bold, innovative plays performed by professional
artists, in an intimate, up close setting. With a strong commitment to
expanding the base of working artists in the greater Sacramento
region, we shall develop a company of actors, directors, writers,
designers, and technical staff who are dedicated to bringing bold,
lively productions of contemporary and classic plays to our
community.

Distinction: Contemporary and classic plays with a focus on societal
issues
33

Key Staff: Stephanie Gularte, Producing Artistic Director

Website: www.capstage.org
Gown (University):
♦ California State University, Sacramento, Theatre Department

Mission: The California State University, Sacramento Department of
Theatre and Dance provides a broad and thorough foundation of the
history, theory, literature and the practice of theatre and dance to
students who wish to pursue post graduate studies or join the
profession. The Department of Theatre and Dance offers an
imaginative and ambitious program of historical and contextual studies
supported by studio and production work. Our mission challenges our
students to be independent thinkers. Our department provides a
collaborative, artistic environment that reflects a richly complex and
diverse global perspective complimented by national and international
faculty and staff experience.

Key Faculty: Dr. Melinda Wilson, Chair

Website: www.csus.edu/dram
♦ California State University, College of Arts and Letters

Vision Statement: The College of Arts and Letters brings together
programs in the arts and humanities. The arts and humanities are
inherently worthwhile in that they seek to elucidate the human
condition and the rich variety of human expression, so they are
34
beneficial to our students and to the community at large. Values and
ideas should inform and drive social, political and economic agendas.
We seek to lead the university and the community with regard to the
content, approach and experience of a university education. Learning
involves inquiry, exploration and independent thinking. We teach
skills--including analytical and principled thinking, aesthetic
judgment, and cultural acumen--in service of ideas, creativity and
insightful discourse.

Key Faculty: Edward Inch, Dean

Website: www.csus.edu/al
Venues/Locations:
Town (City of Sacramento):
♦ B Street Theatre: Midtown Sacramento

Two Stages

Mainstage (Thrust)


Location: 2711 B Street, Sacramento, CA 95816
Children’s Theatre (Proscenium)

Location: 2727 B Street, Sacramento, CA 95816
♦ California Musical Theatre: Downtown Sacramento

Three Stages

Wells Fargo Pavilion (Theatre in the Round)

Location: 1419 H Street, Sacramento, CA 95814
35

Cosmopolitan Cabaret (Proscenium)


Location: 1000 K Street, Sacramento, CA 95814
Community Center Theatre (Auditorium)

Location: 1301 L Street, Sacramento, CA 95814
♦ New Helvetia Theatre: Downtown Sacramento

One Stage (Proscenium)

Location: 1028 R Street, Sacramento, CA 95811
♦ Capital Stage: Midtown Sacramento

One Stage: (Proscenium)

Location: 2215 J Street, Sacramento, CA 95816
Gown (University):
♦ California State University, Sacramento: East Sacramento

Three Stages

University Theatre (proscenium)

Location: 6000 J Street, Sacramento, CA 95819, Shasta
Hall

Playwright's Theatre (original and experimental productions)

Location: 6000 J Street, Sacramento, CA 95819, Shasta
Hall

Studio Theatre (student-directed productions)

Location: 6000 J Street, Sacramento, CA 95819,
Behind Outpost
36
Proposed Sample Schedule
Subject: Children’s Theatre
Curriculum Crossover: Theatre 118: Children’s Theatre
Instructor Mary Robinson
Course Objectives: For many students, this will be an introduction to theatre – concepts,
terminology, and experience. For all, it will explore ways to use theatre arts as an
enhancement of children’s development, education, expression and recreation. We will
use movement, vocal exercises, improvisation, script writing and scripted material to
increase knowledge of and comfort with theatre for children.
Course Outline: Emphasis will be two-fold: use of creative dramatics in a theatre sense,
and in a classroom curriculum context. Students will become familiar with VAPA
(Visual and Performing Arts) Standards, as used for teaching in California. Students will
create a resource guide by recording each game and activity, along with its uses in theatre
preparation and in curriculum.
Gown Offerings:
University Theatre, Shasta Hall
Robin Hood
January 28 - March 9, 2013
Written by Don Nigro
Directed by Michelle Felten
Synopsis: Finally, take a trip to Sherwood Forest for a different kind of “Robin Hood,”
written by Don Nigro and directed by Professor Michelle Felten. In this version, the
37
daring hero tries to keep wicked Prince John from building an arms manufactory, a
slaughterhouse and a tennis court. Supported by a cast of vivid and wacky characters, this
mixture of farce, physical comedy and bawdy humor is sure to tickle your funny bone.
Play It Forward: Sac-Scribe Special Events:

Cultural Context Lecture: by Dr. Kim Zarins, Assistant Professor, English
Department concentration in Medieval and Children’s Literature

Director Q&A: Professor Michelle Felten, California State University,
Sacramento

Art To-Go: B Street Theatre’s “B Sketchy” team highlights theatre games through
improvisation and audience participation and attend a stand-up comedy routine at
the Comedy Spot in Midtown Sacramento

Work Hard, Play Harder Idea: Create comedic “roast” of Robin Hood character
Town Offerings:
B Street Theatre
Finding Our Voice: Susan B. & the Women’s Suffrage Movement
By David Pierini
Recommended for Ages 8+.
Follow these brave women who, through perseverance, overcame opposition and brought
about social equality.
World Premiere
March 9- April 14, 2013
Play It Forward: Sac-Scribe Special Events:
38

Cultural Context Lecture: by Professor Vicki Hall, Women’s Studies Department,
concentration in Feminist Performance Movement

Playwriting Q&A: David Pierini, B Street Theatre playwright and company
member

Art To-Go: Review B Street’s accompanying study guide and practice VAPA
lessons and visit California Museum for Women, History and the Arts in
downtown Sacramento

Work Hard, Play Harder Idea: Create vignettes about the most influential women
in your life and play with different mediums such as poetry, photography,
playwriting
The Three Musketeers
Adapted by Dana Friedman based on the novel by Alexandre Dumas
Join Athos, Pathos, Aramis and their friend D’Artagnan for an intriguing swashbuckling
adventure! All for One and One for All!
World Premiere
April 27 – June 2, 2013
Play It Forward: Sac-Scribe Special Events:

Cultural Context Lecture: Victoria Shinbrot, Humanities Department,
concentration in 19th century European literature & interdisciplinary studies
39

Storytelling Q&A: Buck Busfield, Producing Artistic Director, B Street Theatre

Art To-Go: Read the novel by Alexandre Dumas and then the adapted script by
Dana Friedman and then rent one or more of the many film adaptations

Work Hard, Play Harder Idea: Recreate the plot in modern day and present using
modern technologies such as social media, blog, youtube, etc.
Subject: Musical Theatre
Curriculum Crossover: Theatre 109: Musical Theatre
Instructor Ed Brazo
Course Objectives: This course is designed to provide the singer/actor/dancer, (or in any
other specific order), training in singing, acting and performance techniques using
musical theatre literature research and material, emphasizing the coordination of
dialogue, melody, lyric, staging and choreography followed by a working presentation
and final performance.
Course Outline: To acquaint the student with the mechanics of the voice; develop a solid
basic technique in healthy singing production through the use of basic warm-up, practice
habits, and understanding of basic music and musical theatre terminology.
Gown Offerings:
Cabaret, University Theatre
April 11-21, 2013
Directed by Ed Brazo
Play It Forward: Sac-Scribe Special Events:
40

Cultural Context Lecture: Ed Brazo, Theatre Department, Associate Professor,
Musical Theatre

Auditions Q&A: Glenn Casale, Artistic Director, California Musical Theatre

Art To-Go: Take one of the musical scores and play or sing for practice

Work Hard, Play Harder Idea: Record a song in a local studio and submit online
to see how many views you get – start your own fan base and online portfolio
Town Offerings:
New Helvetia Theatre
Next to Normal
March 13-April 9, 2013
Music by Tom Kitt
Book & Lyrics by Brian Yorkey
Synposis: This Pulitzer Prize winning rock musical centers on the life of suburban
housewife Diana Goodman as she struggles with delusional bipolar depression. In this
powerhouse production, the Goodman family discovers what they will do keep their
family intact and asks themselves what is sane, healthy, and normal.
Play It Forward: Sac-Scribe Special Events:

Cultural Context Lecture: Bill Owen, Professor Philosophy & Communication
Studies, concentration in interpersonal and group communication

Actor Q & A: Melinda Parrett, Actors’ Equity Association Member
41

Art To-Go: Projection, public speaking, and musical scale warm-ups & tips

Work Hard, Play Harder Idea: Create a self-portrait using a variety of mediums
like drawing, collage, social media profile, lyrics, or sculpture
Community Center Theatre
Les Miserables
May 29-June 9, 2013
Synopsis: Cameron Mackintosh presents a brand new 25th anniversary production of
Boublil & Schönberg’s legendary musical, LES MISÉRABLES, with glorious new
staging and dazzlingly reimagined scenery inspired by the paintings of Victor Hugo. This
new production has been acclaimed by critics, fans and new audiences and is breaking
box office records wherever it goes.
Play It Forward: Sac-Scribe Special Events:

Cultural Context Lecture: Professor Catherine Turrill, Department of Art, Art
History concentration

Stage Production & Costume Design Q&A: Scott Klier, Associate Producer,
California Musical Theatre

Art To-Go: Take away stage & costume design coloring book & sketch book

Work Hard, Play Harder Idea: Become a fashion designer & sew together a new
outfit or create a diorama of one of your favorite scenes from a novel
Cosmopolitan Cabaret
Forbidden Broadway
JAN 27 – May 6, 2013
42
Synopsis: Parodying your favorite Broadway hits from shows like Wicked, The Phantom
of the Opera, Hello, Dolly! and Les Misérables, New York’s longest running musical
comedy revue, Forbidden Broadway, has been extended. Get ready to laugh all night long
as you sing along to your favorite show tunes – reinvented.
Play It Forward: Sac-Scribe Special Events:

Cultural Context Lecture: Professor Stephen Blumberg, Music Department,
concentration in music theory and composition

Musician Q&A: Larry Lunetta, Music Coordinator, California Musical Theatre

Art To-Go: Purchase a live recording of the play

Work Hard, Play Harder Idea: Curate your own musical theatre experience with a
list of contemporary songs to describe an event in your life or compose a song
Subject: American Theatre
Curriculum Crossover: Theatre 174: Multicultural Perspectives in American Theatre
Instructor Nicole Limon
Course Objectives: This course studies the historic and artistic contributions of
Chicanos/Latinos, African Americans, Asian Americans and Native Americans to
American Theatre. It focuses on a range of plays from various ethnic and racial groups,
forming a multicultural classroom experience; it specifically studies groups, from 1965 to
the present, and examines the cultural, sociological and political climate in which these
plays were created.
Course Outline: 1) identify key figures in American theatre, 2) compare and contrast
dramatic representations of different racial and ethnic groups, 3) trace the development
43
and concerns of American theatre as they relate to playwrights’ careers and artistic
agendas, 4) synthesize various understandings of American race relations and ethnic
experiences as presented in theatre and drama, and 5) apply the cultural and aesthetic
choices made in theatre and performance to your own experiences.
Gown Offerings:
Women of Juarez
Playwright’s Theatre
March 14-24, 2013
Directed by Manuel Pickett
Synopsis: A family copes with the disappearance of their favored daughter, who never
arrived home from work at one of the maquiladoras. She’s become one of the roughly
400 women abducted, raped and murdered in this border town, and her story is the
jumping-off point as the play tells the complicated and overwhelming story of the
murders of Juárez.
Play It Forward: Sac-Scribe Special Events:

Cultural Context Lecture: Professor Nicole Limon, Multicultural Perspectives in
Theatre

Director Q&A: Manuel Pickett, Character Development & Identity

Art To-Go: Take home and diagram a monologue from the script

Work Hard, Play Harder: Discover culinary dishes from Mexico at local
restaurants or by cooking at home & share results creatively
44
Town Offerings:
Capital Stage
The Mountaintop by Katori Hall
March 20-April 21, 2013
Sacramento Premiere
Synopsis: The Reverend Martin Luther King Jr.'s last night on earth unfolds in Room 306
of the Lorraine Motel on the eve of his assassination on April 4, 1968. In a breathtaking
journey beyond realism, this provocative London/Broadway hit imagines the night before
the tragedy, dramatizing a legend while revealing the flesh-and-blood man behind it.
Play It Forward: Sac-Scribe Special Events:

Cultural Context Lecture: Dr. Melinda Wilson Ramey, Theatre Department,
concentration in American theatre and civil rights movement

Director Q&A: Stephanie Gulatre, Producing Artistic Director, Capital Stage

Art To-Go: Take home a production poster

Work Hard, Play Harder: Graphic design your own cover art of the production
using other iconographic imagery
45
WORKS CITED
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Cherbo, Joni M., and Margaret J. Wyszomirski. The Public Life of the Arts in America.
New Brunswick: Rutgers UP, 2000. Print.
DeVita, Christine, and Andras Szanto. Arts for All: Connecting New Audiences.
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Kivel, Paul. "Social Service or Social Change?" Paulkivel.com. Paul Kivel, 2000. Web.
26 Nov. 2012.
Martin, Lawrence L., Hayden Smith, and Wende Phillips. "Bridging 'Town and Gown'
Through Innovative University-Commmunity Partnerships." The Public Sector
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the Muse: Reframing the Debate About Benefits of the Arts. Rep. Santa Monica:
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National Endowment for the Arts, 2011. Print.
Sherwood, Kay E. Engaging Audiences. Rep. Philadelphia: Wallace Foundation, 2009.
Print.
State Policy Briefs. Issue brief. Web. 26 Nov. 2012. <nasaa-arts.org>.
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Zakaras, Laura, and Julia F. Lowell. Cultivating Demand for the Arts: Arts Learning, Arts
Engagement, and State Arts Policy. Rep. Santa Monica: RAND Corporation,
2008. Print.