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Many elements must come together to create an effective theatre production. The stage manager is responsible for making these elements mesh. What tools does a student stage manager need not only to survive, but to thrive in this critical role?

Erwin, Tennessee is a small town located just outside of Johnson City. The town is beautiful and the people are kind, but it lacks one thing - a community theatre. In an effort to increase student interest in the local high school drama department, allow community members of all ages a chance to perform, and to provide entertainment to the small town, I have worked to form a community theatre named Second Story. Founding a nonprofit community theatre comes with many challenges. In this thesis I will walk through my efforts and what all went into this labor of love. I will speak on how I have worked alongside a few other community members to found this community theatre. To found a community theatre one must learn about nonprofit organizations and how to achieve that status, legality that goes along with hosting an event, financial responsibilities, and gauging and intriguing community interest. The work to found Second Story began in 2018 and in August of 2021 the community theatre produced its first production.

This thesis examines the portrayal of multiple roles in a production of Camelot, written by Alan Jay Lerner and Frederick Loewe. Performance and content analysis identifies and explores the difficulties and challenges in portraying multiple roles in this production, including the understudying of the leading role of Guenevere. A detailed historical analysis provides background into origin of the Arthurian legend and an examination of its historical development. A social analysis provides information on the role of women in medieval society with a discussion of the customs and laws that applied to them. Furthermore, a structural analysis of the script examines the plot and play structure. In addition, in individual sections is formal scene-by-scene analysis of the role of Nimue, Lady Anne, and Guenevere. A comprehensive rehearsal and performance journal also addresses the rehearsal and script development process and challenges faced as well as discoveries, adjustments, and choices made in performance from April 14 to May 30, 2004 at the Orlando Broadway Dinner Theatre. Specific entries include discussion of the challenges of playing minor roles while understudying the role of Guenevere, eventually played in one performance. Belinda Boyd and Christopher Niess, my thesis committee, have each provided a performance analysis of my portrayal of Nimue and Lady Anne. J.J. Ruscella, another committee member, has provided a performance analysis of my performance as Guenevere.

Constantin Stanislavski developed a method for actors in bringing to life characters for the stage. Even though Stanislavski developed his theories in response to the stage climate of the late nineteenth and early twentieth centuries, many of his ideas remain relevant today. In this study, parts of his system were applied to the roles performed in Moises Kaufman's The Laramie Project. Those roles were Moises Kaufman, Jonas Slonaker, Doug Laws, Anonymous, Detective Rob Debree, Governor Jim Geringer, Reverend Fred Phelps and Dennis Shepard. The purpose of this exploration was to create unique, believable characters and develop solutions for personal acting problems. Through this study, it was concluded that this method empowered me as I sought ways to personalize with the reality of the characters.

This thesis will examine the character of Mrs. Medlock in the Orlando Shakespeare Theatre's "Theatre for Young Audiences" stage production of The Secret Garden. While recording my preparation and performance of the role, I will be drawing on and integrating many of the skills I have been acquiring in my Master's Degree program at UCF, including not only acting, movement, and voice, but also theatre research. My goals are twofold: first, to document the method of creating a rich, multi-layered, remarkable character, and second, to try to solidify what I have learned about this process and thus prepare for future roles in my career.

In 1985, Christopher Durang created a master work titled The Marriage of Bette and Boo which was described by The New Yorker as a "brimming cornucopia of brilliant lines." Frank Rich of the New York Times called it "so speedy and chipper that it could almost be mistaken for a Bob Fosse musical." Douglas Watt of the New York Daily News referred to it as a "farcical study of a disastrous marriage, marked by still births, insanity in the family and divorce." These critical responses indicate the necessity to maintain the complexity of the character of Soot without allowing her to fall into the easy stereotypes that trap many artists. The play's focus on alcoholism, spousal abuse, and cancer make it difficult to reconcile the very serious circumstances with the overtly comical reactions created in the play. My challenge in portraying the character of Soot is to resolve these issues. I focused on the teaching of Konstantin Stanislavski as interpreted by Sonia Moore of the American Center for Stanislavski Theatre Art to navigate this challenge. Ms. Moore asserts: "Only after the actor has studied the play, the events, and the given circumstances will he be able to select the actions which will involve his emotions and other inner experiences." With this in mind, I began by studying the script and the playwright for clues about the given circumstances within the world of the play. "You're the dumbest white woman alive" is a line from the play used to describe Soot. This line of dialogue has been used in the past to justify stereotypical performances of this character which mask the complexity of a woman who has been seriously hurt by the man she loves. These types of simplified characterizations are flat and do not take into account the inner and outer forces that make Soot who she is. Olympia Dukakis played Soot at the Public/Newman Theatre in New York City in an Obie award-winning performance. She is quoted as saying, "This is a very forgiving play." Durang later agreed with this assessment saying, "I remember thinking that that sounded right." He further added that The Marriage of Bette and Boo is "based on my parents, it's more emotionally close to me than some of my more surreal plays...I like the balance of the comic and the sad. It should play as funny, but you should care about the characters and feel sad for them." Durang also confides that his own father was an alcoholic and that "in life, my mother lost three [children in childbirth]." Since the play, however humorous, is based on real events in the life of the playwright and his family, it is reasonable to search for playable and understandable motives for the character's action through research of real life given circumstances. To this end, I have been researching the behavior rationalizations inherent in the social interactions of alcoholic families. This has led me to discover a possible explanation for Soot's unusual responses to unpleasant comments and situations. The eGetgoing Online Addiction Treatment Alcohol and Drug Rehab Counseling web page explains that family members often choose enabling behavior to cope with the destructive choices of the alcoholic. Enablers "may have their own system of denial that is fed by the lies and deceptions." Further, it states, "We can think of denial as a way of telling the truth about a small part of reality as if it were all of reality." In this way, Soot is employing a rational tactic to cope with an irrational existence. I believe further research will also identify denial associated with personal tragedy. These understandable and human connections will provide me with the basis of my beginning explorations of this achingly beautiful and sympathetic woman because, as Sonia Moore states, "A person's psychological and physical behavior is subject to the external influence of his environment." Soot's environment includes the time period of the piece and is complicated by the memory play nature of the script, but it adds context for Soot's behavior as a subservient 1950's housewife who feels as if she has very little control over her own world. According to Elaine Tyler May in her book Homeward Bound, "If a woman was not satisfied being a homemaker she was supposed to keep that information hush-hush and go about her daily activities as though nothing was wrong." This information provides further justification and adds strength to the logic of Soot's actions as she deals with the dysfunctional world of her family. The work I have done researching Soot's motivations appears to be relevant to the execution of the play. I may now begin to apply that research to the creation of Soot. The role of Soot provides a wonderful opportunity to develop and grow as a performer. A thesis role needs to supply the MFA candidate with significant challenges. This role has already provided huge opportunities to connect my research skills with my stage work. I believe the role of Soot will force me to push myself and apply all the skills and training I have received during my studies in order to do justice to the richness of the character.

This study is based on the Vine Theater Company's production of "Steel Magnolias" performed in March of 2007 at the Garden Theater in Winter Park Florida, directed by Aradhana Tiwari. This document examines the directorial journey from vision to the stage. Specifically it will explore a.) The dynamics of the production process from a directorial lens. b.) Interpreting Harling's text for design and performance c.) The development of an artistic aesthetic through collaboration. In May of 2007, I mounted a production of "Steel Magnolias" for the Orlando International Fringe Festival. The show was performed in the Universal, a thrust space at the Orlando Repertory Theater. Soon after, Producers Stephanie Williams invited me to direct the same production again for her theater company, The Vine. This time the show will be mounted in a proscenium space called the Garden Theater, located in Winter Garden's Historical Preservation District. We will have three to four weeks of rehearsal. Two of those weeks will be in an alternate rehearsal space with one week on set prior to open. The show will run from March 7th through the 22nd with a few days in the dark. We will soon re-audition the show and open it up to professional actors. I am being paid a set sum for directorial responsibilities and an additional sum for sound design of the show. I'll be collaborating with Lighting Designer Erin Minor and Set Designer Tommy Mangieri, and costume designer Kelly VanDyke. We are all advised to stay within the parameters of a set budget. A tech crew will be provided by the Vine Theater Company. Everyone involved with the production is being compensated for their work, specific sums are at the producers discloser. My early vision for this production is romanticized realism. From the set, to lighting, costumes, sound and even blocking. My goal is to execute a "slice of life" in this salon located in a tiny Louisiana parish during the mid 1980's within a slightly romanticized portrait. One of the ways I'll go about doing this is to create a series of character building exercises tailored to the specific story. I aim to craft real characters with honest moments, but frame them inside a slightly romanticized set and proscenium blocking. Some of the challenges I'll be exploring in this study are how to adapt a thrust show to a proscenium, how to integrate old and new cast members into a unified process and progression, how to facilitate a collaborative process and lastly, how to achieve an artistic vision while sustaining the integrity of a small budget. The materials I'll be submitting is a collection of research, a log of technical needs and other printed information, reflections on every aspect of production such as set, sound, lighting, costumes, and a detailed rehearsal journal logging the production progression. These documents will track design ideas and archive any required changes that ensue. Finally, upon completion of the show I'll write a post -production summary. This will examine how close I got to my original goals, evaluate the process I implemented, highlight necessary modifications that were made along the way, and discus what I learned from the experience.

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