Equity | Diversity | Inclusion

Available online learning


While there are legitimate reasons whereby one person should rightfully earn more than another, gender should not be among them. And yet, a recent study of college graduates [1] found that, on average, 57 percent of identifying males negotiated contracts upon offer compared to only 8 percent of identifying females. As a former internationally-touring GSM turned Director of Operations and Producer, Terrence Williams brings a unique perspective, having sat on both sides of the negotiating table and having offered numerous contracts to crew members around the world. Join him as he takes you through some common deal structures, ways in which gender wage gaps form in the entertainment industry, and both common and uncommon negotiating strategies for employees. Attendees will learn to form their own personal strategy for wage growth, as well as gain an understanding of the behind-the-scene dynamics governing wages within the industry. [1] Study conducted by economists Linda Babcock and Sara Laschever in their book Women Don’t Ask: Negotiation and the Gender Divide.



Presenter: Terrence R. Williams is an internationally-touring General Stage Manager having worked with such distinguished productions as The Illusionists, Circus 1903, Absinthe and Illusionist David Copperfield, among others. Terrence has helmed four Australian National Tours as well as multiple tours through Japan, New Zealand, South Africa, Singapore, and various parts of the Middle East. His work has been seen on The Late Show with David Letterman, The Late Show with Stephen Colbert, The Late Late Show with James Corden, the Rachael Ray Show, the TODAY Show, and America's Got Talent. Currently overseeing 13 live touring productions worldwide, he has turned his focus towards stage management education and leadership training within the industry.


Freelance designers and individual artists have unique proximity to the heartbeat of the theatre field. They work at numerous venues each season, in many cases over multiple years and multiple visits, thus experiencing a variety of institutional cultures first hand. However, unlike Actors Equity, there are no industry-wide standards for engaging freelance artists. How can institutions incorporate the learning and experience of the freelance artists they hire more deeply into their organization’s fabric, acknowledging the invaluable nature of their vantage point? Especially during this time when the entire field is on a forced pause. In this session, we explore how guest artists are welcomed and valued by the institutions that invite them through their doors. We will discuss implementing industry-wide standards, creating sustainable feedback loops, recommended best practices sourced from the community at large, and how we can move forward as a community.




Porsche McGovern is a lighting designer. She designed Skeleton Crew and We Are Proud to Present... (Playmakers Repertory Company), A Single Shard (People's Light and Theatre Company), The Two Gentlemen of Verona (Oregon Shakespeare Festival). In New York, she designed Mothers (Playwrights Realm), Bureau of Missing Persons (Neighborhood Productions), Ghetto Babylon (Dramatic Question Theatre), many shows with Spookfish Theatre Company, among others. She has an MFA from California Institute for the Arts and a BA from St. Lawrence University. She is also a researcher, concentrating on designers in regional theatres.

Deb Sivigny: As a costume and scenic designer, Deb Sivigny has worked on over thirty world premieres with Woolly Mammoth Theatre Company, Theater J, Kennedy Center Theater for Young Audiences, Imagination Stage, The Source Festival, Young Playwrights Theatre, The Hub, Studio Theatre 2nd Stage, and Rorschach Theatre where she has been a company member since 2006. She has also designed for Round House Theatre, Olney Theatre Center, Everyman Theatre, Signature Theatre, Colorado Shakespeare Festival, Rep Stage, Adventure Theatre, Shakespeare Theater’s Academy for Classical Acting, 1stStage, Keegan Theatre, Baltimore Shakespeare Festival, Opera Vivente, WSC Avant Bard, Flying V, DC and Seattle Fringe Festivals, Peridance, Dance Elixir and Tia Nina, among others. She is a member of the second generation of The Welders, where she served as Lead Producing Playwright for her work Hello, My Name Is… Set in a house, she designed and created environments that channeled the lives of Korean adoptees.

David Bengali is a projection and lighting designer based in New York. He has designed theater, opera, and dance Off-Broadway, Regionally, and internationally, and has worked as an associate designer on Broadway, Off-Broadway, and Regionally. Recent design credits include: The Great Leap (Atlantic Theater Company); Van Gogh’s Ear (Ensemble for the Romantic Century - Drama Desk Nomination); Frankenstein (Dallas Theater Center); Rockin' Road To Dublin (National Tour); Assembled Identity (HERE); Uncommon Sense (Tectonic Theater Project); The Temple Bombing (Alliance Theatre); Conference of the Birds (Boston Center for the Arts); SPILL (Ensemble Studio Theatre); Anna Akhmatova (ERC/BAM), Jules Verne From The Earth To The Moon (ERC/BAM); Ring of Fire (Endstation Theatre); The Tempest (Classic Stage Company/The Young Company); Kill Me Like You Mean It (Stolen Chair); Two Point Oh (59E59); I Forgive You Ronald Reagan, The Sensational Josephine Baker (Theatre Row); The Orion Experience (XL).

Katherine Freer is a multimedia designer working in theater, installation, and film. Frequent collaborations include Liz Leman, Ping Chong, Ty Defoe, Carl Cofield, Tim Bond Kamilah Forbes, Talvin Wilks, Andrew Scoville, and Tamilla Woodard. Recent designs: Ajijaak on Turtle Island (New Victory, dir. Ty Defoe and Heather Henson), By the Way, Meet Vera Stark (Signature Theater, dir. Kamilah Forbes), the Convent (ArtNY, dir. Daniel Talbott), Antigone (Richard Rogers Amphitheater, dir. Carl Cofield), Cellular Songs (BAM Harvey, by Meredith Monk), Next to Normal (Syracuse Stage, dir. Bob Hupp), The Curious Incident of the Dog in the Night Time (Syracuse Stage, dir. Risa Brainin). Katherine is a proud member of USA829 and Wingspace Theatrical Design.


On June 11, 2013, a small niche Facebook Group was created by two members of the George Izenour Penn State project. The intent was to allow its participants to continue the conversations they started and share their discoveries post-project. Little did the creators realize that what was intended to be for a few people would turn into something much greater; something that would grow beyond the borders of its intention and become a worldwide meeting spot for artists, researchers, students, and teachers alike. Come join us as we discuss how an online approach can help you find information to old problems and listen as we share stories of how this group impacted our work and what the future may hold.




Wendy Waszut-Barrett is an historical consultant and artist, specializing in the restoration and replication of painted scenery for historic performance venues such as the Ancient and Accepted Scottish Rite of Freemasonry. Her passion, however, is the preservation of theatrical heritage and the continued training in historical scene painting techniques. Waszut-Barrett also works as a scenic art instructor across the country, sharing her knowledge of the dry pigment paint system and studio style that was used to create historical scenery during the turn-of-the-twentieth century.

R.W. (Rick) Boychuk has been a student, teacher, technical director, IA Stagehand, designer and recently inventor, and now an author. A graduate of University of Saskatchewan in technical theater, he has worked in the industry for over 40 years. Rick owns and operates Grid Well, Inc in Toronto, Ontario Canada.

Richard Bryant is the founder of the ATTH FB Group and an Assistant Professor at the University of Trinidad and Tobago's Academy for the Performing Arts. He holds a BFA (Theatre) for the University of Illinois Urbana Champaign and an MA (Drama) from Roosevelt University in Chicago. The interest into theatre production research began with a USITT sponsored project at Penn State on the George Izenour Collection and he hasn't looked back since. He serves as a member of the USITT Publications Committee and is currently the USITT representative to the OISTAT Publication and Communication Committee.


As a result of COVID-19, there are lots of questions you will find yourself asking for the first time. "I work back of house close to other people, so if I get sick, can I sue?" "Can our ushers eject a patron who stands too close to other people in line?" "Does someone who looks sick have a right to come in?" We will address these and many more practical legal questions about how to reopen in a reasonably safe and healthy way.



Presenter: Steven A. Adelman Sports and entertainment lawyer Steven A. Adelman is head of Adelman Law Group, PLLC in Scottsdale, Arizona, and Vice President of the Event Safety Alliance. His national law practice focuses on risk management, safety, and security at live events, and he serves as an expert witness in crowd-related lawsuits. With the Event Safety Alliance, he is one of the authors of the Event Safety Guide, he hosts the Event Safety Podcast and leads groups developing ANSI standards for Crowd Management and Event Security. He is on the faculty of Arizona State University’s Sports Law and Business Program, he writes the monthly "Adelman on Venues" newsletter on current issues in the live event industry, and he frequently appears in national and local media to provide analysis of sports and entertainment incidents. Steve Adelman graduated from Boston College Law School in 1994. He can be reached at sadelman@adelmanlawgroup.com.


Because education in the theatre arts is about access to experience, most universities and colleges view their stages as their laboratories, the place where experimentation in design and performance take place. The production schedule, however, usually limits student access to these spaces. Many schools also utilize shops and alternate spaces outfitted with scaled equipment for miniature mock-ups. This session will look at the benefits to a dedicated collaboratory space: a full-scale classroom outfitted for design performance design education and experimentation. The panel will examine the unique case-study of the new, innovative, half tension-wire-grid/half motorized rigging, two-story hybrid designer's “collab-lab” at Texas Tech University. Thanks to our exhibitor for bringing us this session.




Professor William Kenyon serves as Head of the Lighting Design Program at Penn State. An active professional designer with over 150 designs for theatre, dance, opera, and musicals to his credit. Prof. Kenyon has recently designed the lighting for several Penn State locations, including the 2013 re-creation of the iconic Nittany Lion Shrine, the Art Room in Schreyer House, and the new theatre space incorporated into the Tank 5 water tower adjacent to the SALA Building. Prof. Kenyon is also the author of the new textbook, Theatre & Stage Photography, and offers stage photo workshops around the world. Prof. Kenyon’s recent production work includes performances at The Kennedy Center, Lincoln Center, Wolftrap, and the Qatar International Arts Festival. He has also designed for The Hangar Theatre, The Metropolitan Playhouse, Opera Delaware, Ballet Theatre of Central Pennsylvania, Nebraska Rep, Russian Ballet Theatre of Delaware, Opera Omaha, University of Iowa, and MTI-Disney. Prof. Kenyon has been involved in Native American theatre and dance for over 15 years, serving as resident LD for the American Indian Dance Theatre, and was involved in the complete reimagining of “Unto These Hills”, a massive outdoor spectacle celebrating the history of the Cherokee. Prior to Penn State, William taught Lighting & Sound Design at the University of Nebraska-Lincoln. Prof. Kenyon received his BFA from the University of Connecticut, having studied with Jim Franklin, and his MFA from Brandeis University, having studied with Bob Moody, Dennis Parichy, and Karl Eigsti. Prof. Kenyon serves as Chair of a newly-created History & Heritage Committee with USITT, and was recently elected Chair of the OISTAT Education Commission. Member of USITT, OISTAT, IALD, IESNA, and USAA Local #829 in the areas of Lighting and Sound Design

Andrea Bilkey is an associate dean at the J.T. and Margaret Talkington College of Visual & Performing Arts and an associate professor of design at Texas Tech University School of Theatre & Dance, focusing on: lighting design, computer drafting and design, theatre planning, technology in the classroom, and technology in the design communication process. Research interests also include the history of lighting and she is an active participant in the Stage Lighting Archives at the Pennsylvania State University.

Jack Hagler has over 30 years experience as a designer, technician, contractor and consultant for a variety of assembly facilities. Jack's projects benefit greatly from his planning, design and project management services founded on broad experience and deep knowledge gained from working and designing a variety of assembly venues. Jack is continually broadening his knowledge of performing arts venue design and operation through his very active participation in the American Society of Theatre Consultants and the International Association of Venue Managers.


How do we foster a comprehensive cultural attitude in educational shops that promote inclusivity and equality in order to create the type of shop we hope for in the professional world? How does one balance the creation of a fun culture without sacrificing the personal welfare of our entire community? Presented by the Education Commission.




Todd Proffitt teaches Lighting Design, Sound Design and Computer Technologies for the Department of Theatre and Dance at the State University of New York at Fredonia. As well as creates lighting Designs for the Theatre of Youth Company in Buffalo NY.

DeMara Tamsel Cabrera is the Costume Designer and Instructor for the Theatre Arts Department at Oregon State University. She received her BA in Drama from Stanford University in 2004 and her MFA from Boston University in 2013. DeMara worked as an Assistant Professor at Central Connecticut State University for two years. She has also worked as an Instructor, Designer, and Costume Shop Manager at Linfield College (2007). Favorite credits include: Shakespeare in Love (OSU), Romeo and Juliet (Bard in the Quad), The Dialogues of the Carmelites (Huntington Theatre and Boston University Opera Institute), Angels in America and Hair (Playhouse on Park in West Hartford, CT), A Servant of Two Masters (CCSU), Women in Congress (Linfield College).

Demara Tamsel website, Demara Tamsel Facebook portfolio

Annmarie Duggan is a Professor and Chair of the Theatre Arts Department at the University of Pittsburgh. She holds an MFA from University of Arizona in Lighting Design. Annmarie is a freelance Lighting Designer and Production Manager. Her 12 years of New York based lighting design includes the Off Broadway shows: Jolson & Co. (Century Center) Syria America (Greenwich Street Theatre), Clue The Musical (Players Theatre). Regional Theatre includes: American Girl Place Theatre in Chicago, Los Angeles and New York, Orlando Repertory Theatre, Capital Repertory Theatre, Foothills Theatre, Maine State Music Theatre, Seaside Music Theatre, Cumberland County Playhouse, Utah Musical Theatre, Pittsburgh Playhouse, Florida Rep, Merrimack Repertory Theatre, Skylight Opera, Stoneham Theatre Company, Coconut Grove Playhouse, Alabama Shakespeare, and St. Michaels Playhouse. www.amddesignonline.com. Other credits include Production Manager for American Girl Place in both New York and Los Angeles.


Gene Flaharty, Makeup Artist/Instructor, covers some safety applications for makeup prep, show techniques for applying makeup in a class using zoom and remote learning tools, as well as illustrates the use of worksheets for design. Suggestions will be shared for making aging easy using the "Gene Technique," a concept the instructor developed and has taught for many years.



Presenter: Gene Flaharty, Makeup Artist/Instructor, has been doing professional makeup for TV, Film, print, and theatre for over 38 years. He enjoys teaching at a local college and doing makeup on celebrities like Martin Short, Dee Wallace Stone, and David Ogden Stiers. He has designed over 200 different theater productions. He enjoys makeup education as he does lecture/demonstrations across the country in his full-time position as Education, Theatrical Retail Specialist/Makeup Artist for Mehron Inc in New York. He has designed characters for Haunted Houses for theme packs across the country, worked on national and regional tours of Cats, Addams Family, Spamalot, Kinky Boots, and Shrek. Gene has been published with articles “Stretching Your Makeup”, “How Safe is Your Makeup”, and “How to Start Your First Makeup Kit.”