This study sought to investigate the relationship between safety voicing and employee turnover. A model of the safety exit interview process was developed, along with reasons why conducting a safety exit interview may help improve workplace safety. A generic safety exit survey template was developed and administered to a sample of workers previously employed in high safety risk occupations. 126 participants completed the study measures. The type of information which the safety exit survey elicited is described. Results found clear evidence that safety concerns had influenced participants to leave their previous job. It was also found participants wished to voice these safety concerns at exit, but for some reason they could not or chose not to do so. Results also support the predictions that management and co-worker trust and support for safety, would be negatively associated with voicing within the safety exit survey context. Support was also found for the prediction that management trust and support for safety, would be positively associated with the actual voicing of safety issues on the job. Overall, this study seeks to improve workplace safety through encouraging the use of a safety exit interview.

U.S. Theatre is often noted for its commitment to new play development. Since Eugene O’Neill, America has fostered a tradition of celebrating emerging playwrights and their bold, edgy new works through countless development programs such as festivals, new play readings, grant programs, workshops, and world premieres. Although in recent years new-play development has seen a steady decline in funding (Levitow 2), it remains a cornerstone of American identity and an essential medium for pushing boundaries in theatre, both culturally and artistically. New-play development is indispensable for keeping theatre relevant in our everchanging culture. For my thesis, I explore the process of developing a new play from an actor’s perspective. The role of the director, dramaturg and producer of a new play is often discussed; however the importance of the actor throughout the development process is sometimes overlooked. There are many configurations of artistic teams assembled to develop a new play; therefore, I do not suggest there is one type of team that is best or one type of role for the actor to play within the team. My aim was to collaborate with the playwright, director and fellow actors to discover what is required of an actor in all phases of new play development. I applied the principles learned to my own work in the World Premiere of The Exit Interview by William Missouri Downs at the Orlando Shakespeare Theatre in Partnership with The University of Central Florida. As I navigated my way through the artistic process of developing a new work, I discovered some ‘best practices’, which I employed throughout the rehearsal and performance iii process to further my own skills. I will discuss the development process I experienced, as objectively as possible, outlining the key best practices for an actor working in a collaborative team to develop a new play.