Rothrock Residencies 2011-2012

When we learned that a gift had been made to help support Performing Arts Series residencies, and ensure Middlebury students would have greater access to our visiting artists, we were thrilled!

The Rothrock Family Fund for Experiential Learning in the Performing Arts, established in 2011, supports opportunities that broaden the scope of Middlebury students’ experience in the performing arts.

Residencies for the 2011-12 seasons: (click on the photos to enlarge the images)

January 13, 2012
Pianist Rustem Hayroudinoff worked with students in Professor Su Lian Tan’s composition class and recorded their works. Scheduled for a 3 hour session, Hayroudinoff generously gave the entire day to provide feedback and recordings to the students participating.

February 16, 2012
Balla Kouyate and World Vision presented a lecture/demonstration for Professor Damascas Kafumbe’s Intro to World Music class.  After Kouyate spoke about his family’s musical legacy and demonstrated the ensemble’s various instruments, the students started a lively discussion with Kouyate about his music and culture. The students then spent informal time with Kouyate celebrating his birthday.

March 6-10, 2012
Cellist David Darling‘s visit to campus was the first “student-initiated” Rothrock Residency.  It was a jam-packed week, which included…

  • Music, Meditation, and Yoga with Russell Comstock and David Darling, co-sponsored with the Yoga Club
  • Open music jam with students, faculty, and staff
  • “Music and the Environment” lecture as part of the Spring 2012 Woodin Environmental Studies Colloquium Series
  • David Darling in Concert (free)
  • Improvising Together: Music and Dancing

A student violinist, who had not played for a while but found success playing in Darling’s more improvisational style, is again performing (thanks to Darling’s encouragement during his residency) and sent the following message…

“I had an excellent time this afternoon working with David Darling and I wanted to thank you so much for inviting me to be a part of that experience.  I really feel as though I took a lot from his teaching!”

March 15, 2012
Choreographer Kyle Abraham and his dance company Abraham.In.Motion led a vigorous master class in intermediate technique for our students, and also presented a lunchtime lecture/demonstration investigating Abraham’s creative process and introducing elements of their touring work, The Radio Show.

April 9-10, 2012
Dancer/filmmaker Erika Randall was in residence for two days, and along with presenting a lecture/demonstration about her experiences with choreography from both  dance performance and film perspectives, she taught a modern technique master class to our dance students, and offered a screening of her film, Leading Ladies.

All in all, a very successful first year.  Next year will also include theatre and jazz residencies as well.

Theatre Lunch with PTP/NYC

The Theatre department at Middlebury has a standing weekly lunch with their majors, and today alumni and performers from PTP/NYC joined the gathering. After brief introductions, students asked these professionals what their experience was after Midd; topics including grad school, acting classes and “day jobs.”

(click image for larger version)

Off-Broadway theatre company Potomac Theatre Project is operated in association with Middlebury College, was founded in 1987 by the artistic triumvirate of Cheryl Faraone, Jim Petosa and Richard Romagnoli. PTP is an outgrowth of The New York Theatre Studio, an Off-Off Broadway company founded by Richard Romagnoli and Cheryl Faraone which produced in Manhattan from 1977-1985. During its 20 seasons (1987-2006) in Washington, D.C. and Maryland, the company produced 75 main stage productions along with numerous new play readings and late night experimental productions.

In the summer of 2007, Potomac Theatre Project (now PTP/NYC) returned to New York, continuing to redefine political theatre for the 21st century with an annual month-long repertory season encompassing full productions, readings and a variety of ancillary events.

In its 25 seasons, the voices of PTP/NYC’s writers have addressed the necessity and difficulty of art, pornography, AIDS, homelessness, censorship, totalitarianism, apartheid and gender wars, always in passionate, deeply human terms.

PTP/NYC’s association with Middlebury College is the only such collaboration in the country between a professional theatre company and an undergraduate liberal arts college.
Alumni in attendance today, and/or participating in the MiddPAS performances this weekend include:
Alex Draper ’88
Adam Ludwig ’93
Megan Byrne ’96.5
Stephanie Janssen ’99
Tara Giordano ’02
Andrew Zox ’05
Cori Hundt ’11
plus London-based actress Nesba Crenshaw

Learn more about this weekend’s performances, celebrating PTP’s 25th anniversary, via the press release.

The 7 P’s of Presenting

I am proud to say I work in the field of “Arts Presenting.”  At its simplest, it means any person or organization presenting performances.  Overall, it means the design, contracting, marketing, production, and presentation of arts events.

I’ve had the opportunity on occasion to speak to one of our college classes on what arts presenting is, or as they often think of it, what happens “behind the curtain.” The lecture I’ve given is called the “The 7 P’s of Presenting: Prior Proper Planning Prevents Presenting Poor Performances.”

While this might be a skewed towards the work I do with the Middlebury’s Performing Arts Series, I’ve attached the checklist and resources I developed for this lecture, and encourage you to look it over if you’ve ever wondered what happens to make that concert/dance/theatre performance you are attending a success.

The 7 P’s of Presenting: Prior proper planning prevents presenting poor performances!

Curation & Contracts

  • Develop artistic vision for your season or series
  • Research artists and discuss possibilities with artist management agencies
  • Book artists: includes negotiation on fee, date, repertoire and other contractual terms (lodgings, travel, broadcast permissions, technical requests, commissions, etc.)
  • Review contract, make changes & addendums
  • Secure Tech rider & Tech director’s OK
  • Secure fully-executed contract
  • Distribute contact details to staff
  • Ensure visas and tax paperwork in order
  • Develop and manage artists’ local itinerary, including performances and outreach events

  • Consult with Tech Director on artist’s Technical Rider for feasibility and implied costs
  • Collect vendor estimates if needed
  • Cost/arrange for technical rentals
  • Convey Venue specifics to artists
  • Load-in/Load-out scheduling and concerns
  • Schedule necessary staffing or IATSE Union workers
  • Develop rehearsals schedules
  • Arrange any transport related to technical needs (freight trucks, etc.)
  • Arrange for piano tuners and page-turners

  • Consider, reserve & confirm appropriate venue for the performance
  • Consider technical/staging needs
  • Ensure venue properties acceptable to artist (i.e. a balcony-in-the-round, thrust stage, etc.) Confirm audience capacity.
  • Reserve/confirm green/dressing room(s)
  • Determine seating plan – Reserved works best for sell-out or piano shows, General Admission usually fine otherwise
  • Arrange/confirm custodial, security or catering needs
  • Ensure venue carries appropriate licenses (ASCAP/BMI)
  • Ensure venue and event meet ADA compliance standards

  • Develop event budget
  • Research/apply for additional funding sources (grants, foundations, etc.)
  • Ensure all potential costs and funding sources are identified:
  1. artistic fee
  2. technical needs
  3. staffing implications
  4. venue costs (rental fee, plus any required custodial or security services)
  5. artist lodgings (depends on contract terms)
  6. artist transportation (depends on contract terms)
  7. visa petitions (for foreign national artists)
  8. hospitality (green room and/or restaurant meals – might be specified needs in technical rider)
  9. piano tunings
  10. page turners
  11. programs (regular and large print)
  12. advertising
  13. posters and other promotional materials
  14. outreach costs / fees for lecturers / etc.
  15. receptions, ticketing fees (if any)

  • Arrange for box office services, if ticketing needed
  • Schedule legally-required crowd managers
  • Schedule additional usher staff, if needed
  • Coordinate concession or merchandise sales
  • Have a cancellation plan at the ready

  • Obtain artist bios, press kits, photos
  • Compose promotional texts
  • Ensure all contractually required text, logos and sponsorships listed in publicity
  • Develop marketing plan based on event. May include posters, radio, TV, press release, mailings, website(s), social media, etc.
  • Contact audiences/organizations that might have a specific interest in a performance
  • Work with community organizations on any cross-promotions or outreach needs
Program Books

  • Obtain program content, order, artist bios, etc.
  • Design program. Develop program notes, if needed.
  • Ensure inclusion of contractually required credits or logos
  • Design large print program
  • Submit & proof program with printers
Event Follow-up

  • Solicit feedback from partners, artists, audience, reviews
  • Archive attendance & revenue stats; archive publicity
  • Compile all receipts for payment, and complete grant report if any.


For more information on presenting performances, I recommend the following resources:

Presenting Performances: A Basic Handbook for the Twenty-first Century
by Thomas Wolf, Published by the Association of Performing Arts Presenters, 2000
ISBN 0-926517-10-4 273 pages, paperbound

Managing a Nonprofit Organization in the Twenty-First Century
by Thomas Wolf, Published by Simon & Schuster, 1999
ISBN 0-684-84990-9 368 pages, paperbound

Fundamentals of Arts Management FIFTH EDITION
Written and Compiled by Arts Extension Service, UMass Amherst, softcover, 400 pages
available at:

Arts Management: A Practical Guide
by Jennifer Radbourne, Publisher: Allen & Unwin; (March 1997)
ISBN: 1864480483, Paperback: 285 pages

Selected Arts Presenting Links:

National Endowment for the Arts
National Assembly of State Arts Agencies
Association of Performing Arts Presenters
International Society for the Performing Arts
Americans for the Arts
Center for Arts Management and Technology
Chamber Music America
UMass Arts Extension Svc.

Tweeting 88 Keys

Ross Common Heads Pavlos Sfyroeras and Maria Hatjigeorgiou, Professor Bettina Matthias and MCFA Events/Administrative Coordinator Shannon Bohler-Small organized a small post-concert reception following the Paul Lewis piano recital. This reception was exclusively for the students in Matthias’ first year seminar class “The Cultural History of the Piano.”

We tweeted a small amount of the conversation (below) that transpired between pianist Lewis and the students. What would YOU have liked to ask Paul Lewis?

Paul Lewis and Live Program Notes

Our colleagues at MusicaViva (Australia) presented Paul Lewis this summer, and produced a series of “live program notes” to accompany his recital. They offer great insight into the works he will be performing tonight.

Introducing Paul Lewis and his program

Mozart: Adagio in B minor K. 540

Schumann: Fantasie in C major op 17

Liszt: Vallée d\’Obermann

Piano Sonata no 21 in C major: op 53 \’Waldstein\’

And don’t forget to visit our event page for Paul’s bio and other concert information. See you tonight at 7:30!