Production Collaboration in the Theatre

Rufus Bonds Jr. (AEA, SDC) is the resident director of The Lion King on Broadway and an an assistant professor for musical theatre performance in the Syracuse University Department of Drama. He is recognized nationally and internationally as a director, actor, and writer. Productions include: London – Porgy in Porgy and Bess at the Regent’s Park Open Air Theatre; baritone-soloist for Duke Ellington’s Sacred Music, Carnegie Hall; Broadway – Rent, Once on This Island , and Parade (Drama Desk nomination for Best Supporting Actor); national tours – The Color Purple as Mister, The Lion King as Mufasa, and Miss Saigon as John. Directing projects range from Lysistrata to Into the Woods. Rufus is a Eugene O’Neill semi-finalist for his play The Sisters of Rosewall High . "Have Faith" Maria Cominis (AEA, SAG-AFTRA, DG, NAAT), is an actor, playwright, author, and professor of acting at California State University Fullerton Department of Theatre and Dance. She is also a master teacher of the Uta Hagen and Michael Chekhov techniques. Her television credits include Desperate Housewives, New Girl, All My Children, and One Life to Live, and her theatre credits include Bernarda Alba, Diviners, Ivanov, and Knives are Silent. For more information, visit www.mariacominis.com. Mark Ramont is an associate artist at Ford’s Theatre. He worked professionally as a director and theatre administrator for over 25 years before becoming head of directing at California State University, Fullerton. He was associate artistic director at New York City’s Circle Rep, where he worked with professionals such as Anne Bogart, Paula Vogel, and Joe Mantello. He is the recipient of the Princess Grace Foundation – USA Statuette Award.

1. Challenges and Guiding Principles 2. Defining Roles 3. Putting the Guidelines into Practice on a Production Timeline 4. Case Studies: Spiderman, Turn Off the Dark and Ragtime 5. Boundaries: Theatre Intimacy Education and Safe Working Environments 6. Culture and Collaboration 7. Including Students in the Collaborative Process 8. Past, Present and Future of the Theatre