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Festival XLII


Hello theater friends,

Please join us February 9-14 in St. George, Utah at Dixie State University, February, 2015.


Matt Neves
Region VIII Chair
Artistic Director, Riverside Repertory Theatre

Festival XLVI Results - National Finalists

Dramaturgy: Heather Oberlander, Utah Valley University
Alternate: Kirsten Billingsley, Weber State University

Dramatic Criticism: Elaine Pazaski, Westmont College
Alternate: Amy Johnson, University of Hawaii at Manoa

Directing: Desiree York, California State University, Fullerton
Alternate: Katherine Hoevers, California State University, Fullerton

Ben Henderson, Utah Valley University
Jacob Swain, Brigham Young University
Alternate: Zoe Wilde Utah Valley University

Stage Management: Sophia Gizienski, California State University, Northridge

Design, Technology and Management (Costumes): Lindsey Halfhill, Mesa Community College

Design, Technology and Management (Scenery): Meg Hanna, University of Hawaii at Manoa

Design, Technology and Management (Sound): Jessica Thompson, Mesa Community College

Design, Technology and Management (Lighting): Steven Piechoki, Utah State University

Design, Technology and Management (Hair and Makeup): Natasha Hoffman, Utah Valley University

National Playwriting Program

One-Act Plays: Elizabeth Suzanne, Vanguard University, for “The Little Match Girl,” and Brian James Polak, University of Southern California, for “War Profits”

Ten-Minute Plays: Michael Yichao, California Institute of the Arts, for “Bread,” and Harrison Givens, Chapman University, for “Something Else”

Regional Awards

Stage Management: Emily Griffith, Utah Valley University

Best Partner: Topher Rasmussen, Utah Valley University

NAPAT Regional Classical Acting Award: Nathaniel Lewis, Mesa Community College

Devised Theater Program

Most Compelling & Strongest Connection to the Prompt: Without a Box

Carol Damgen with Garrett Botts, Chelsea Bishop, Brandon Marquez, T.J. Sloan, Suzi Green, Sarah Winney, John Harnetiaux, Bradley Peck, Shaquel McCoy, Isaiah DW and Branden Reyes.

Outstanding Ensemble Work: Subió, subió, subió
Alejandro Rodriguez with Chelsea Mundy, Mani Kham, Julianna S. Ojeda, Bradley Michael Abeyta, Bianca Morrison Dillard, Kayla Lardner, Jared Flores and Charles Lin

National Playwriting Program

National Partners of the American Theatre Award: Kirt Shineman, Arizona State University, for The Black Art

Best Of 10-Minute Playfest

Best Director: James Arrington, Utah Valley University

Best Actress: Suzi Green, California State University-San Bernardino, and Emily James, California State University-Fullerton

Best Actor: Ethan Mitchell, Glendale Community College, and Shawn Saunders, Utah Valley University

Design, Technology and Management

Design Projects: Katie Rogel, Weber State University, Danielle Lopez, Glendale Community College, Morgan Golightly Raddatz, Utah State University, and Hongji Zhu, Utah State University


If you would like to serve as a respondent, please email me at nevesmatt@hotmail.com and we'll get you started in the process. We are always on the lookout for quality respondents in our region!

If you need anything KCACTF related in the Southwest, please don't hesitate to ask!

Thanks so much,
Matt Neves
KCACTF Region VII, Chair


KCACTF News (link to the KCACTF Blog)


The Playwright's Bill of Rights

We’re excited about the increase of new plays and devised theatrical pieces in our region.  Some schools have re-imagined plays, or taken a new creative approach with an older play.  While we applaud the imagination and creativity that goes into such work, we remind you that any change to a playwright’s text must be approved by the playwright, and permission granted in writing.  We cannot cut or change lines, alter the structure of the play, or essential stage directions without permission.  Playwrights, agents and theatrical publishing companies are approachable and willing to work with us to obtain that permission.  We should start that negotiation well before rehearsals begin.  

In light of the fact that theatre is a collaborative art, we’re giving you access to “The Playwright’s Bill of Rights” discussed by Gary Garrison, an Executive Director of the Dramatists Guild of America, at our festival last year.  This document is not intended to limit your creative initiative, but to help make you aware of copyright issues, and to encourage you to invite the playwright as an active member of the collaborative team.  We’ve heard horror stories of playwrights being locked out of that process once the final draft is completed.  This document does not seek to give the playwright unreasonable control, but to encourage an active collaboration between the whole creative team.  

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