Introduction
In the summer of 2012, I interned at Tulane Summer Lyric Theatre, focusing on box office operations and serving as the volunteer coordinator As a graduate student in Arts Administration, this experience was invaluable, allowing me to apply insights from my coursework at the University of New Orleans, particularly in Arts Development, Arts Law, Arts Marketing, and Theatre Overview My academic background provided a fresh perspective on the operations at Tulane Summer Lyric Theatre, enabling me to effectively compare and enhance the theatre's practices with the knowledge I gained during my studies.
To grasp the essence of the Tulane Summer Lyric Theatre (SLT), one must explore its rich history, mission, and organizational practices Established in the summer of 1968 with productions like Annie Get Your Gun, The Student Prince, and Carousel, SLT aimed to unite students, professionals, and community members in delivering top-quality local theatre Since its inception, Summer Lyric has consistently showcased musical theatre in New Orleans each summer, enriching the city's cultural landscape.
Tulane Summer Lyric Theatre has experienced only one major leadership change in its 44-year history Following the unexpected passing of founder Frank Monachino in 2003, B Michael Howard, a long-time performer and vocal instructor at Tulane University, stepped in as his successor Mr Howard has played a crucial role in the organization’s success, guiding it through various challenges over the years.
Summer Lyric Theatre, located on the Tulane University campus, is dedicated to preserving America's musical theatre heritage by delivering high-quality productions The organization supports and nurtures a diverse range of talents, including musicians, actors, singers, dancers, and technical artists, while also providing opportunities for promising students and established professionals alike By leveraging the university's resources and engaging with the community, Summer Lyric Theatre fosters a vibrant artistic environment.
Summer Lyric Theatre, established in 2012, engages over 200 paid and volunteer artists each season, including actors, singers, dancers, and technical artists Each year, hundreds audition for the Summer Lyric experience, recognized as one of the premier theatrical opportunities in the Gulf South This commitment to artistic excellence not only defines Summer Lyric but also provides emerging talents the chance to collaborate with seasoned professionals in a dynamic environment.
Summer Lyric Theatre stands out as a unique program under Tulane University, which is a non-profit organization Unlike typical theatrical organizations that function as either non-profits or for-profits, Summer Lyric benefits from the university's support, receiving essential services such as maintenance, electricity, and rent at no cost This collaboration allows Summer Lyric to focus on delivering quality theatrical performances while minimizing operational expenses.
Internship Description
During my time at Summer Lyric Theatre, I was an intern with two titles: Box Office Assistant and Volunteer Coordinator
My specific daily duties in the box office included:
• Helping patrons purchase tickets over the phone using Astor Street (ticketing software)
• Exchanging tickets for season subscribers
My duties as volunteer coordinator included:
• Sending reminders to volunteers as to when they were expected to show up at the theatre
• Assigning responsibilities to the volunteers
• Creating/maintaining spreadsheets that tracked volunteers and their assignments There were two main spreadsheets that had to be updated and cross referenced for
I was tasked with organizing and co-hosting the nightly performance patron parties at the theatre Each evening, donors were invited to the Music Chair's office to enjoy complimentary refreshments Alongside Charlie, I assisted in setting up the party and co-hosted the event every night.
Other various tasks during my internship involved preparing bulk season ticket mailers, filing, organizing, and improving the Summer Lyric Facebook page I made myself available to assist Charlie and James.
Revenue
Tulane Summer Lyric depends significantly on ticket sales to finance its productions, as emphasized by Operations Manager Charlie F Hayes and Steering Committee Chair Barbara Workman The budgets for SLT vary each season, typically around $350,000, although detailed budget breakdowns are not publicly accessible.
The theatre successfully raised $72,875 through patron donations, with ticket sales covering approximately 80% of the budget With a seating capacity of 970, the potential revenue from season ticket sales is nearly $400,000 Summer Lyric benefits from lower overhead costs compared to other theatres, allowing them to depend significantly on ticket sales for financial support.
In addition to ticket sales, Tulane accepts donations from prominent members of the New Orleans community There are five donor levels:
• Archangel o Gives $5,000 and receives the following in exchange:
10 Tickets to Wednesday Preview Nights
Reserved Parking at Dixon Hall
• Angel o Gives $800 and receives the following in exchange:
Reserved Parking at Dixon Hall
• Patron o Gives $525 and receives the following in exchange:
2 Tickets to Wednesday Preview Nights
• Donor o Gives $275 and receives the following in exchange:
• Sponsor o Gives $160 and receives the following in exchange:
During the 2012 SLT season, the program featured one Archangel, 44 Angels, 19 Patrons, 68 Donors, and 25 Sponsors, each receiving specific perks based on their support level Donors enjoy the added advantage of tax deductions on the portion of their contributions that exceeds the value of any benefits received, making their support for Summer Lyric both impactful and financially beneficial.
Tulane SLT enjoys significant financial advantages by not having to cover costs for its building, electricity, running water, or most maintenance services This allows the organization to allocate funds from donations and ticket sales towards hiring professional talent, including actors, directors, choreographers, designers, and production staff.
Outreach & Education
Summer Lyric Theatre has limited outreach programs and rarely applies for or receives grant funding However, during the 2009 season, they were awarded a $10,000 grant from the New Orleans City Council and Harrah’s Casino This grant required SLT to provide free admission to one performance for all Orleans Parish public school students, specifically those in high school and below The featured production that summer was "Oliver!"
The company received a grant that subsidized tickets for students, but Charlie deemed the show too mature for younger audiences, permitting only 9th graders and above to attend Students in 8th grade and below were restricted to viewing either "Oliver!" or "South Pacific." Since the summer season of 2009, no additional grants or outreach programs have been established.
Goals for the Future of SLT
Charlie F Hayes stated that SLT has operated smoothly for 44 years, with no current goals set for its future He expressed that there are no plans or considerations regarding the future of Tulane Summer Lyric.
B Michael Howard decides to retire, or step down from his reign as Artistic Director (Hayes)
Ms Workman highlights the absence of a suitable successor for Mr Howard, who has effectively managed the responsibilities of Summer Lyric Theatre for 15 years She notes that no one is willing to take on his workload, and suggests that the University might consider including the management of Summer Lyric Theatre in the job description for future music staff hires.
S.W.O.T Analysis
As a well-known theatre establishment, Tulane Summer Lyric Theatre has several strengths that have allowed it to be successful for 44 years These strengths include the following:
• A consistent group of annual donors
• A subscriber base that renew season tickets every year
• Great press reviews for most productions
• An outstanding creative team that provides o Costumes o Musical direction o Theatrical direction o Sets o Experienced company managers
Tulane Summer Lyric enjoys the support of dedicated donors who contribute annually, gaining early access to seat selection Depending on their donation levels, these patrons may also benefit from premium parking and exclusive invitations to intermission parties Many donors attend SLT not only to appreciate the performances but also to connect and socialize with fellow supporters.
Season subscribers can retain their chosen seats annually until a better option opens up, enhancing their chances for preferential seating the longer they remain subscribers In contrast, single ticket buyers can only choose their seats after all subscriber spots have been filled.
The incentive to volunteer at Tulane SLT is to see productions for free Rather than buying tickets to performances, volunteers can trade their services for a free seat
Elizabeth Argus has emerged as a local celebrity in New Orleans, captivating audiences with her leading roles in Summer Lyric productions each season With a dedicated fan base and admiration from theatre enthusiasts, she has become a beloved figure in the community The press frequently highlights her talent, offering glowing reviews of her performances and the productions she is a part of.
Tulane Summer Lyric Theatre performances take place in the historic Dixon Hall on the Uptown Tulane University campus, which serves as a hub for music students and faculty Built in 1929, this elegant venue features a stunning theatre space adorned with dark wooden panels, regal chandeliers, and inviting entryways The ornate design, highlighted by a proscenium arch framing the stage, complements the timeless red seating, creating a well-preserved atmosphere that enhances the summer productions.
SLT primarily sources its costumes from a Broadway rental company, with a dedicated costume team enhancing and tailoring these outfits for each production For costumes that can't be rented, Charlotte Lang and Linda Fried, seasoned costumers in the New Orleans community, lead the creation process They are committed to their craft, providing on-site support during performances to address any wardrobe issues Tulane is fortunate to have such devoted professionals ensuring high-quality costuming for its shows.
Leonard Raybon is a seasoned musical director for SLT shows, where he coaches actors during rehearsals and conducts the orchestra With years of active involvement in Summer Lyric productions, he also takes on roles in the cast when not directing Notable performances include playing Lil’ Abner in 2008 and Prince/Wolf in Into the Woods in 2011.
Diane Lala and B Michael Howard direct the Tulane Summer Lyric productions, often joined by talented guest directors During the academic year, Diane Lala teaches musical theatre at the Cincinnati Conservatory of Music, while spending her summers directing at SLT in her hometown of New Orleans B Michael Howard, noted for his contributions, plays a significant role in the artistic leadership of the productions.
Artistic Director of SLT He usually directs one show per season in addition to overseeing all operations
Rick Paul has designed sets for SLT since 1979 He executes his artistry through designing innovative, colorful, and functional sets for each Summer Lyric show
Charlie F Hayes oversees volunteer operations, payroll, box office management, donor relations, and front-of-house leadership at Tulane SLT Known for his reliability, friendliness, and intelligence, he has devoted over a decade of his time and energy to ensuring the organization's success.
Weaknesses accompany the strengths at Summer Lyric Theatre The following are some examples of organizational weaknesses:
• Out-dated ticketing system resulting in a long ticket purchase process
• A lack of presence in social media outlets (e.g Facebook, Twitter, and
• A lack of exciting incentives to become or remain patrons or donors
• Facility-related issues that need to be addressed with the University o Bathroom signage o Unsafe balcony o Inconvenient parking options
• Late arrival of promotion through the press
• Management complacency regarding customer service and systems modernization
SLT's management has developed a habit of complacency regarding its box office operations, relying on outdated ticketing software known as Astor Street This antiquated system makes patron searches time-consuming and inefficient, leading to potential chaos during peak hours if it fails The lack of urgency to update these operations poses a significant risk to the organization’s overall health and effectiveness.
RECORDING TICKET SALES (SYSTEM AND PROCESS)
The current software is outdated, complicating the ticketing process, as each assigned seat requires a foam board seating chart marked in pencil with the first letter of the corresponding show This system, which includes numerous small boxes filled with capital letters, creates tracking issues when patrons change seats, often leading to confusion as employees neglect to erase the previous markings Consequently, this can result in unused seats or double bookings, causing frustration for both patrons and staff.
Summer Lyric Theatre hosts each of its performances for only one weekend, leaving last-minute ticket buyers with limited options By the time they decide to attend, it's often too late to secure tickets Attendees must visit the box office in person or call, but many find it challenging to navigate SLT's phone system, as calls are frequently not returned the same day due to high volume The box office experiences a hectic atmosphere during show weeks, making it difficult for patrons to get timely assistance.
Upon entering the workspace, I noticed a significant internal weakness: the disorganization of the box office Clutter covered every surface, including items unrelated to box office operations Important order forms were frequently buried under piles of paperwork, making them difficult to locate when needed.
The process of handling phone ticket orders involves extensive paperwork, as each order requires a detailed 8 ½ x 11 form documenting the purchaser's name, address, phone number, email, performance night, number of tickets, credit card information, and seat assignment These forms are organized by the patron's last name but are not alphabetized within their folders, leading to inefficiencies Consequently, tracking down a specific paper—an activity that occurs 5-10 times daily—becomes a cumbersome task, often resulting in overlooked documents and wasted time.
Summer Lyric Theatre currently has a limited social media presence, with an underutilized Facebook page and no accounts on Twitter or Foursquare This oversight by the staff highlights a significant opportunity for SLT to enhance its visibility and engage with a broader audience By improving its social media strategy, SLT can effectively reach more potential customers and increase community involvement.
Tulane Summer Lyric Theatre, situated in the vibrant Uptown New Orleans, serves a community rich in culture and affluence However, the theatre has yet to engage a younger audience that resides nearby, missing an opportunity to attract potential patrons through an annual party or fundraiser Observations suggest that the current audience demographic may not sustain itself over the next 10-15 years, highlighting the need for strategic outreach to ensure the theatre's future viability.
UNIVERSITY ISSUES THAT EFFECT SLT- BATHROOM SIGNAGE
Best Practices
According to Tess Collins, author of How Theatre Managers Manage, there are generally
In a theatre office, there are three key managerial roles: the Head Usher/Usher Manager, the Head of Expenses, and the General Manager While Tulane SLT may not strictly adhere to Collins' framework, it successfully encompasses these essential positions in its unique approach.
Sharon Smehterman, the Head Usher at Tulane SLT, volunteers her time by arriving two hours before each performance to train fellow ushers During her sessions, she instructs them on ticket tearing, folding program inserts, distributing programs, and guiding patrons to their seats Additionally, Sharon ensures that her team has enough volunteer buttons and flashlights available for use once the performance starts.
Sharon is always prepared for every show, ready to resolve conflicts among patrons and volunteers as they arise She addresses common issues such as patrons arriving at the wrong performance, managing refreshments before entering the theatre, seating disputes, and concerns about their walkers Before the show begins, Sharon effectively handles any disruptions, ensuring a smooth experience for everyone Once the performance starts, she shifts her focus to the lobby to assist late arrivals.
Rather than two separate people serving as “Head of Expenses” and “General
Charlie Hayes, the Operations Manager, and Michael Batt, the Production Manager, share responsibilities for their respective roles Charlie focuses on financial reports and manages front-of-house operations, including box office management, photography orders, advertising, marketing, and patron events He also oversees house management, payroll, volunteer coordination, and budgeting Meanwhile, Michael Batt is responsible for financial reporting related to costume and scene shop management, as well as overseeing backstage operations, including set design, technician labor, and safety requirements Ultimately, Michael Howard, the Artistic Director and General Manager, supervises all operations and has the final decision-making authority.
Tess Collins emphasizes that one of the most misleading phrases in customer service is, “I’m sorry, it will never happen again,” which was often heard at SLT Customers typically become frustrated when certain issues arise.
• Their seat locations aren’t where they thought they’d be
• A staff member or volunteer is perceived as rude
• The sound volume is too loud
• The play isn’t what they expected
• They come on the wrong performance day
• They cannot see the stage the way they’d like to
• They want a refund for their experience
During my internship at the SLT box office, I encountered various issues primarily due to inadequate communication from Summer Lyric A frequent response to complaints was, “I’m so sorry, it won’t happen again,” highlighting our commitment to improving customer service.
Customers expect a lot in exchange for their ticket purchase In 1971, Broadway ticket prices were $3.00 on average In 2003, the average price for a Broadway theatre ticket was
Over the past 32 years, ticket prices for Tulane Theatre have skyrocketed by 3000%, with current prices significantly higher than those of the past Although exact records for Summer Lyric Theatre tickets from 1968 are unavailable, Doug Park, a long-time member since 1986, recalls that tickets were priced at $19.00 during that time Unfortunately, there is no indication that ticket prices will decrease in the future.
In today's theatre landscape, rising ticket prices elevate patron expectations significantly Attendees now seek a seamless experience that begins the moment they leave home, including hassle-free parking, quick access to restrooms, and the enjoyment of refreshments while socializing with friends They anticipate being treated with dignity and respect throughout this expensive outing When theatres fail to meet these expectations, it can lead to rude or irate behavior from patrons, creating a challenging environment for staff To ensure success, theatre personnel must deliver exceptional performances, maintain organized ticketing, and guarantee that guests can fully enjoy the show without disturbances Proactive measures should be in place to anticipate and mitigate potential issues, as dissatisfaction can escalate to confrontations, which is detrimental to the theatre experience.
Similar Organization
Shenandoah Summer Music Theatre at Shenandoah University is similar to Tulane
Summer Lyric Theatre offers a unique opportunity for university students to perform alongside professionals in a vibrant theatrical environment Operating on a university campus, this program provides valuable experience and exposure to aspiring artists While ticket prices for Shenandoah's performances are comparable to those of Summer Lyric Theatre, the latter has a longer-standing tradition in the community.
Shenandoah Summer Music Theatre (SSMT) has successfully completed its 29th season, establishing itself as a thriving company in the community and attracting audiences from up to 150 miles away.
In 1983, Harold Herman founded the Shenandoah Summer Music Theatre (SSMT) at Shenandoah University to provide the Winchester/Frederick County community with affordable access to Broadway musicals Each summer, SSMT stages four musicals at the Ohrstrom-Bryant Theatre, which accommodates 630 seats, offering thirteen performances of each show over two weeks The theatre attracts groups from as far away as Ohio and North Carolina, highlighting its regional appeal.
Based on my observations, SSMT targets a broader audience compared to SLT, as evidenced by its website indicating ticket purchases from groups in Ohio and North Carolina In contrast, my experience in the box office reveals that the majority of SLT's group ticket sales come from local patrons.
SSMT outperforms SLT by offering more performances and providing video clips of past shows on its website, allowing potential patrons to preview what they are paying for This engaging feature, assuming the video quality is high, serves as an effective sales tool The vibrant gold and burgundy color scheme of SSMT's website, along with upbeat photographs of dancing and smiling individuals, creates a fun and inviting atmosphere, suggesting an enjoyable experience for attendees In contrast, Tulane’s site features a more serious gray palette and photographs However, both websites could benefit from updates to enhance user-friendliness, as they currently fall short compared to other similar platforms.
The implementation of an online ticketing option at SSMT significantly enhances accessibility for patrons, allowing them to purchase tickets conveniently without the hassle of phone calls or waiting for callbacks As someone with box office experience, I recognize that the current ticket purchasing process for Summer Lyric Theatre can be unnecessarily complicated, which is neither fair nor efficient Making tickets easily accessible is crucial for improving the overall patron experience.
Recommendations for Improvement
Tulane SLT should focus on attracting a younger audience, as it has excelled in delivering high-quality traditional musical theatre for over 44 years While its productions are enjoyable and well-crafted, there is a growing concern that the organization may become overlooked as its primary patrons age To remain relevant and vibrant, SLT needs to diversify its repertoire by incorporating contemporary shows that resonate with younger viewers, such as "Seussical" and "Urinetown."
Tulane SLT has a rich history of producing classic shows like Carousel, My Fair Lady, Fiddler on the Roof, South Pacific, and The Music Man As an actor, patron, volunteer, and intern with Tulane SLT, I am eager to see a more diverse and contemporary selection of productions in the future.
Summer Lyric Theatre (SLT) currently promotes its season through email announcements and mailers to previous subscribers for renewal To enhance its marketing efforts, SLT should consider collaborating with local magazines like St Charles Avenue, New Orleans Magazine, and Lagniappe to feature its season in special interest columns, both in print and online Editors may be willing to provide coverage in exchange for performance tickets, allowing SLT to increase its visibility at no additional cost.
Summer Lyric Theatre (SLT) currently lacks an effective social media presence, with no Twitter account and minimal Facebook activity To enhance its marketing efforts, SLT should consider investing in Facebook advertisements and updating its page at least twice a week with engaging content about the upcoming season Additionally, establishing a regularly updated Twitter account that offers temporary discounted tickets could attract a younger audience in New Orleans' theatre scene.
To ensure the longevity of Summer Lyric, it is essential to engage the community more actively by organizing an annual event and enhancing patron parties Simply offering complimentary wine and candy is insufficient to encourage donations of $250 or more annually By hosting impressive fundraising events, Summer Lyric can inspire potential patrons to feel proud of their investment in the organization's growth.
To enhance the experience of attending Summer Lyric performances, I recommend organizing an annual cocktail season announcement party featuring a silent auction This event should be open to the public, with ticket prices covering the first two drinks, encouraging attendees to spend more at the bar, which is likely given the local culture To maximize fundraising, it is essential to secure donations for alcohol, food, and auction items The proceeds can be invested in improving the website, implementing a faster ticketing system, hiring paid ushers, providing shuttle services for distant parking, ensuring safer staircases, adding extra restrooms, and enhancing overall attendee enjoyment.
Summer Lyric Theatre does not pursue grant funding, but applying for grants could significantly improve its facilities These funds could be used to enhance the bathroom situation with better signage or portable restrooms, address safety concerns by adding railings to the balcony, and provide a shuttle service for patrons parking at a distance.
Upgrading the box office technology at Summer Lyric Theatre is essential for enhancing efficiency and customer experience Numerous affordable online ticketing solutions are available that can seamlessly integrate with existing databases and software systems.
To enhance the experience at Dixon Hall, three key improvements are necessary First and foremost, the installation of a safety railing on the balcony is crucial to prevent potential lawsuits and ensure patron safety Secondly, a reliable shuttle service should be established to transport audience members from the parking garage to the theatre, addressing the challenges posed by limited parking and the discomfort of walking long distances Lastly, it is essential for the staff of SLT to provide clear bathroom signage in the lobby for each show, even if temporary, to assist attendees in navigating the venue more easily.
Charlie F Hayes emphasizes that SLT is diligent in adhering to legal requirements, prioritizing rules, regulations, and compliance When engaging an Equity actor, SLT ensures all necessary provisions are met The organization refrains from selling DVDs to maintain compliance with production rights and avoids merchandise sales to sidestep complications with the Unrelated Business Income Tax Overall, there are no legal application suggestions for SLT.
COMMENTS ABOUT THE FUTURE OF SUMMER LYRIC THEATRE
SLT should proactively develop a strategy to engage future audiences and leadership, focusing on expanding its reach among the youth of New Orleans Today's entertainment landscape demands more than traditional musicals; modern audiences seek spectacular experiences As these high-production shows can be costly, SLT must find alternative revenue streams beyond ticket sales to sustain and elevate the quality of its future performances.
B Michael Howard's leadership of SLT will not last indefinitely, and with his retirement approaching, the organization currently lacks a designated successor It is crucial for SLT to prioritize the succession planning process to ensure a smooth transition in leadership.
I recommend that the SLT board establish a small, dedicated committee to address long-term strategic issues This proactive approach will ensure that Summer Lyric can maintain seamless operations when Howard retires, with a comprehensive plan already in place.
Tulane Summer Lyric Theatre (SLT) has been a beloved institution for 44 years, enriching the lives of musical theater enthusiasts, actors, musicians, directors, and choreographers in New Orleans, LA To continue its legacy of quality productions, SLT must embrace change and develop a forward-thinking strategy As it looks to the future, establishing a sustainable plan is crucial to ensure that this cherished organization remains impactful for years to come.
During my internship with this historic organization in 2012, I gained invaluable insights into front-of-house operations I am grateful for the knowledge I acquired, which I will carry forward into my future endeavors I look forward to applying these lessons to my work in the New Orleans performing arts community.
2012- Sunset Boulevard, Anything Goes, Fiddler on the Roof
2011 - Man of La Mancha, Into the Woods, The Drowsy Chaperone
2010 - Mame, A Funny Thing Happened on the Way to the Forum, The Music Man
2008 - Pal Joey, Li'l Abner, Oklahoma!
2007 - Little Me, Chicago, High Society
2006 - Show Boat, Bye Bye Birdie, Pippin
2005 - Candide, West Side Story, Wonderful Town
2004 - The Mikado, Camelot, Joseph and the Amazing Technicolor Dreamcoat
2003 - Pirates of Penzance, Guys and Dolls, Gypsy
2002 - Annie Get your Gun, Phantom, Victor/Victoria
2001 - My Fair Lady, Will Rogers Follies, Annie
2000 - Carousel, How Succeed in Business without Really Trying, Fiddler on the Roof
1999 - La Cage aux Folles, Sound of Music, Damn Yankees
1998 - Funny Girl, Meet Me St Louis, South Pacific
1997 - Peter Pan, Brigadoon, The Music Man
1996 - Kiss Me Kate, Kismet, Crazy for You
1995 - Man of La Mancha, A Little Night Music, Oliver
1994 - Sweeny Todd, On the Town, The King and I
1992 - Most Happy Fella, Big River, Company, Best Little Whorehouse in Texas
1991 - La Cage aux Folles, Pajama Game, Me and My Girl
1988 - Oklahoma, Chicago, A Funny Thing Happened on the way to the Forum
1987 - My Fair Lady, Little Mary Sunshine, Anything Goes
1986 - Hello Dolly, Jesus Christ Superstar, South Pacific
1985 - West Side Story, Shenandoah, Annie
1983 - The Music Man, The Merry Widow, Unsinkable Molly Brown
1981 - Sound of Music, Kiss Me Kate, Kismet
1980 - Damn Yankees, A Little Night Music, Annie Get Your Gun
1979 - Fiddler on the Roof, The King and I, Man of La Mancha
1978 - Girl Crazy, Die Fledermaus, Camelot
1977 - Gigi, The Student Prince, Oliver
1976 - My Fair Lady, Naughty Marietta, Oklahoma
1975 - Finian's Rainbow, Carousel, West Side Story
1974 - Guys and Dolls, Kiss me Kate, Gypsy Baron
1973 - Brigadoon, HMS Pinafore, Trial by Jury, New Moon
1972 - The Music Man, Gypsy, Kismet
1971 - South Pacific, Vagabond King, Die Fledermaus
1970 - The Sound of Music, Pirates of Penzance, The Merry Widow
1969 - Showboat, The King and I, The Mikado
1968 - Annie Get Your Gun, The Student Prince, Carousel
Tulane Summer Lyric Theatre Department Outline of Hierarchy
I Artistic Director- B Michael Howard a Organizational Manager- Charlie Farve Hayes i Musicians ii Actors iii Ushers iv Box Office b Production Manager- Michael Batt i Technical Crew ii Costumers
Examples of Volunteer Coordination Cross Reference Spreadsheets: a) Show assignments alphabetically organized by person:
Arguello Alan X b) Show assignments cross referenced by performance each person is assigned:
Wegmann Alexis Lapre Wilma Reed Pepper Curuso Joyce Ortego
Evelyn Comeaux Dominic Lloyd Faye Didier Laurie Goodell Krystyna Janice Musso Savannah Lloyd Claire Toups
Cristina Roe-Guerra Evelyn Leonard
"About Summer Lyric Theatre." Tulane Summer Lyric Theatre N.p., n.d Web 10 Oct 2012
Collins, Theresa How Theater Managers Manage Lanham, MD: Scarecrow, 2003 Print
"Dixon Hall." Tulane.edu Tulane University, n.d Web 13 Oct 2012
"Interview with Barbara Workman, Steering Committee Chair." Interview by Allison K Barron
"Interview with Charlie Hayes, SLT Operations Manager." Interview by Allison K Barron
Morris, Robert "Drainage Projects on Napoleon, Jefferson and Louisiana to Disrupt Streetcars for Several Months at a Time." UptownMessenger.com N.p., 2 Feb 2012 Web 13 Oct
2012
"Shenandoah Summer Music Theatre." Shenandoah Summer Music Theatre Shenandoah
University, n.d Web 16 Oct 2012
Allison Kate Barron Brandon was born in Lafayette, LA She grew up there, attending Comeaux High School and University of Louisiana at Lafayette She earned her BFA in