Conference Events

Click here to go to the “About Region 7 | ASPIRE Arts Leadership” page

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2025 ASPIRE Arts Leadership Participant Options

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THERE ARE TWO WAYS TO PARTICIPATE IN KCACTF/LORT ASPIRE ARTS LEADERSHIP:

In-person events for Region 7 in February 2026 during Festival 58 in Pasco, WA!

• ASPIRE orientation, workshops, and creative pitch presentations.
• An ASPIRE orientation Zoom session will also be offered before the conference.

Virtual/Zoom events after the Region 7 conference if you cannot attend in February.

• More information will be posted on the details page when available!

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LINKS

Region 7 ASPIRE Details (most up-to-date information)

Kennedy Center ASPIRE Information

LORT (League of Resident Theatres) Information

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QUESTIONS

If you have any questions, please email the program coordinator:

Tricia Rodley @ rodley@uoregon.edu
ASPIRE Arts Leadership Coordinator

WHY PARTICIPATE IN THE DTM EXPO?

The DTM Expo is a wonderful way to showcase your work to hundreds of festival participants, professional theatre practitioners, and schools. You will receive a response to your presentation from a professional designer or technician; potentially creating connections that will help you find future work opportunities. 

We want to showcase and celebrate the incredible work of our student designers, technologists, and stage managers!  Please join us by entering your project(s) and attending the response sessions during our conference (Feb 17-21, 2026).

ELIGIBILITY: All projects are eligible for regional and/or national awards. Projects may have been completed for course work or for productions that were or were not produced.  To qualify for awards you must have been a bonafide student in 2025 and registered for the 2026 conference.

Click here to go to the “About Region 7 | ITJA” page

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2025-2026 Institute for Theatre Journalism and Advocacy (ITJA) Sign-up Details

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The Institute for Theatre Journalism and Advocacy (ITJA) was established to assist in elevating the level of arts criticism and journalism and to provide writers the opportunity to grow at the same pace as the artists whose work they review, celebrate, and interpret.

Pursuing a career in arts journalism doesn’t necessarily mean becoming a theater critic, attending stage shows every night and submitting reviews on deadline the following morning. Thanks to the growing world of digital media, the opportunities available for arts journalists these days are limitless: writing magazine-style profiles of up-and-coming talent, chatting with Broadway legends on podcast shows, filming backstage walkthroughs on TikTok, analyzing works through compelling essays, holding power players accountable with investigative reports, and so much more. And as many theater artists also work in the film, TV and music industries, so do its journalists.

Regardless of their specialties and platforms, today’s top arts journalists work hard to serve theater audiences, creatives and the future of the theater itself. They help share the stories of the storytellers through interviews, research and other reporting techniques, and help to capture an ephemeral, performance-based art form. Though they aren’t onstage eight times a week, they’re a valuable part of the industry we love.

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LINKS

Click here to sign-up for ITJA

Kennedy Center ITJA Information

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QUESTIONS

If you have any questions, please email the program coordinator:

Christina Gutierrez-Dennehy @ Dennehc2@wwu.edu
ITJA Coordinator

Click here to go to the “About Region 7 | NPP” page

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2025-2026 National Playwriting Program (NPP) Submission Details

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If you would like to submit your script for consideration to move forward as an R7 representative playwright, please do by November 1, 2025. The scripts will be selected by readers from all over the country and the playwrights selected to move forward will be notified by January 15th, 2026.

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SUBMISSION INFORMATION & RESOURCES

Click here for Region 7 National Play Program Information & Resources

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QUESTIONS

If you have any questions, please email the program coordinators:

Carlos-Manuel Chavarria (Chair) & Kamarie Chapman (Vice Chair)
NPP Coordinators

Click here to go to the “About Region 7 | SDC Directing Initiative” page

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2025-2026 SDC Directing Initiative Submission Details

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HOW DO I PARTICIPATE IN SDC DIRECTING INITIATIVE IN REGION VII?

TO BE ELIGIBLE FOR THE SDC DIRECTING INITIATIVE PROGRAM, YOU MUST:

• Attend a school which has entered at least one production in the regional festival at either the associate or participating level.
• Be a bona fide student at the time of the regional festival.
• Be nominated by a faculty member at your school.

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WHAT IS THE PROCESS TO PARTICIPATE?

• Before the Festival
  • Student directors choose a scene from the list provided by the National KCACTF (link below), prepare a statement on their vision for their scene, and submit an initial vision statement (via video) as well as resume and faculty recommendation by December 1.
  • Those students selected to participate at the Festival will prepare a director’s book and will rehearse the scene with actors from their home institution. Director’s books will be submitted prior to attending the Festival.
    
• At the Festival
  • Student directors participate in an interview and feedback session during which they receive feedback on their pitch and director’s book from the respondents.
  • Student directors will have a scheduled rehearsal time during which the respondent will observe both their work in the rehearsal space and a run of the scene to offer feedback to each director.
  • Student directors will present their short scenes in a session open to all Festival attendees, followed by a response session.

Click here for the KCACTF provided scene list

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HOW DO I SUBMIT?

INITIAL ROUND (MATERIALS DUE DECEMBER 1; FINALIISTS NOTIFIED BY DECEMBER 10)

Click here to email materials (PDF format) to Region7SDCDirecting@gmail.com (Due December 1)

Please submit the following materials in pdf format to Region7SDCDirecting@gmail.com.

• Theatre Resume
• Director’s Statement of Interest: 1 page (maximum) statement that addresses the reasons for your interest in the SDC Directing Initiative.

Questions to consider: Have you directed in the past? What successes and challenges have you faced? How will participating in this program contribute to your growth as a director? If you haven’t directed in the past, why are you interested in directing and what do you hope to learn in the program? Please also affirm your ability to attend the festival.

• Pre-recorded Video “Pitch”: Please create an 8-10-minute video pitch for one of the 12 scenes identified by KCACTF.
  • In the first 4 minutes of your pitch, please address the following:
    • Who are you? (Please do not include information about which school you attend.)
    • What play & scene did you choose?
    • Why does this play need to be done RIGHT NOW?
    • What will you, specifically, bring to the production? Why are you the person to direct this play? How will you hold space in your rehearsal room?
    • What does your ideal production of this play look/feel/sound like?
    • Other questions to consider: What space might you want to do the play in? What is your big wish for the production? What impact do you hope your production will have? How can you succinctly tell the story of this play?
  • In the second 4-6 minutes:
    • Present your creative, visceral response to the play using images, music, collage, vision boards, mood boards, etc. – anything which helps you express your connection with and vision for the play. This section allows you to use your creativity to reflect the heart and soul of the piece and to further support and reflect your deep analysis of the whole play.
• Materials submission format: Please submit your documents in pdf format. Videos can be uploaded to YouTube or a similar video hosting service, and the link shared with us. (Please be sure to set the privacy settings to “Public – anyone can view” or “Unlisted – anyone with the link can view.”)

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SECOND ROUND | FESTIVAL PREPARATION & SHARING

If selected to move into the second round, you should:

Prepare the Scene (prior to Festival)

• Prior to the Festival, you will work with student actors from your school to rehearse and prepare the scene that you pitched. All participants must be registered for the Festival.
• Logistics and Technical Information to prepare for your sharing at Festival:
  • The only furniture items permitted and provided will be one table and two chairs.
  • Any hand props or costumes required for the scene should be provided by the director. The regional host and coordinators will not be able to provide props or costumes for the scenes.
  • Costumes may be used (but are not required).
  • Please note that there is no technical support in the way of lighting and sound.
  • Directors will be allowed a maximum of five minutes to set up for their scene.

Prepare a Director’s Book (prior to Festival)

• Prior to the Festival, please complete a Director’s Book for your scene. Books should be submitted by February 1 to Region7SDCDirecting@gmail.com. Your book will be shared with the respondents and the SDC Coordinator. 

Click here to email Director’s Book (PDF format) to Region7SDCDirecting@gmail.com (Due February 1)

 Present the Scene (at Festival)

• At the Festival, you will work with the SDC Directing Respondents to gain feedback on your pitch, your director’s book, and your directing skillset.
• Students participating in the SDC Initiative should plan to be part of the following events:
  • Individual interview with the SDC respondents and coordinator.

During the interview, your director’s book and approach to the scene will be discussed along with other your directing experiences and goals.

• • Initial sharing of the scene/in-space rehearsal session + feedback.

This rehearsal, which should include a run of the scene, will be observed by the SDC respondent and coordinator to offer feedback about the director’s communication with actors as well as the scene itself.

• • Public sharing of your scene
  • Closed feedback session with SDC respondents and all finalist SDC directors

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INFORMATION ABOUT DIRECTOR’S BOOK CONTENTS

Your Director’s Book details your analytical and creative framework for the selected scene. Your book should include script analysis, research, creativity, and your personal connection to the text. Within the Director’s Book you should address the themes, images, and specific lines of text that inspire the director’s work or connect them to the text. Your book is the director’s opportunity to showcase your level of research and knowledge of the scene selected.

Submit your Director’s Book as a single pdf document by February 1 to Region7SDCDirecting@gmail.com.

Director’s books should include:

• Director’s statement, which provides the personal, analytical and intuitive framework for the scene. It is a combination of script analysis, research, creativity and personal connection to the text. The statement should address the themes, images and specific lines of text that guide the director’s work, including the context of the scene and where/how the scene fits into the play. Please limit this statement to a single page (single space).
• Brief Play Overview & Dramatic Action Analysis – A clear, brief statement of the story or core action and conflict of the play. You might also include a metaphor which expresses the essence of the play, too.
• Given Circumstances Analysis, including (but not limited to):
  • Geographical location and climate
  • Date: year, season, time of day
  • Economic environment
  • Political environment
  • Social environment
  • Religious environment
• Character Analysis, including (but not limited to)
  • Characters’ objectives for the play overall and the scene specifically
  • Characters’ obstacles
  • What the character(s) learn (or how they change/evolve) in the play and scene
• Language – Consider how choice of words, images, phrases, sentence structures and the sound of the dialogue help to reveal character and provide meaning within the scene.
• Previous Action (to the scene and play)
• A copy of your script with your preparatory notes and marked units of action and beats.
• Any additional materials: Feel free to include any additional analysis (such as dramaturgical research material, props lists, etc.) that helped you find the core of the scene and/or the play and that informed your approach to staging it.

Click here to email Director’s Book (PDF format) to Region7SDCDirecting@gmail.com (Due February 1)

Click here to go to the “About Region 7 | The Devised Theatre Lab” page

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2025-2026 Devised Theatre Lab Prompts & Submission Details

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“A SEAT AT THE TABLE”

This prompt is intended to spark your creativity, not be prescriptive. Include what you like, how you like. Included below are additional visual and visceral inspirations.

Click here for Research Sparks

Devised Projects can include: Tableau/frozen pictures, Music – sung, played, spoken lyrics, silence, variations of speed, levels, an object is endowed, made important or something it doesn’t seem to be. With many projects, once you know the rule of the sandbox you feel inspired to play.

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IMPORTANT DATES

• Registration Deadline: January 9th, 2026
• Conference Dates: Tuesday, Feb 17th – Saturday, Feb 21st, 2026, workshops each day to build a new theatrical piece together.
  • New to devising? We recommend you attend devising workshops throughout the conference.
• Showcase Date: TBA

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PARTICIPATION AND REGISTRATION INFORMATION

The Devised Theatre laboratory in Region 7 welcomes ALL students interested in exploring collaborative creation. Whether you are an experienced deviser or interested in learning about this ensemble driven way of working, we hope you come play with us.

Together with the KCACTF Region 7 coordinators, Kathryn Stahl & Julianna Schultz, the ensemble will create an original piece which will be presented at the showcase.

For this lab you are welcome to devise moments beforehand (grab a small group of artists from your school and create!), but that is not required. There are times within the conference for us to work in cross-college collaborations to develop new moments.

Click here to complete the Intent to Participate form (deadline January 9th, 2026)

As an ensemble we will work to weave prepared material into the showcase. Program coordinators, in communication with the ensemble may determine that certain pieces do not fit as the flow of the story is woven together. This happens in theatre and devising all the time. It is not a moment to scrape the creation, it means its use is meant for another time.

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SUBMISSION CRITERIA

• Must be affiliated with a Region 7 college or university.
• Performances must be less than 5 mins long.
• Colleges and groups must provide their own scenic, props, costumes, and additional design elements (no lighting design integration opportunities this year. As this is part of a week-long conference, please keep these elements minimal for a fast set-up and strike).
• Size & parameters of stage are TBD.
• The conference will provide the space and speaker for sound.
• If devising with your school before, you are responsible for rehearsing on your own prior to and will receive feedback at the conference.

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QUESTIONS

If you have any questions, please email the program coordinators:

Kathryn Stahl & Julianna Schultz @ kcactfr7devising@gmail.com
Devising Lab Coordinators

Click here for full details of the Region 7 Dramaturgy Area and the KCACTF/LMDA Student Dramaturgy Award & Regional Recognition

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“Going in, I thought, if I had to explain dramaturgy to somebody who’s never heard of it before, has no context for what the role is, how would I boil it down in a way that would make sense for a broader audience? So I came up with a little script for what I was gonna say. I said that while the role can differ depending on whether you’re working on new-play development or in production, the role of a dramaturg, generally speaking, refers to someone who works in the capacity of a researcher or advisor on a theatrical production. My little line was: I’m there to ask questions and help answer them, which I think is really a useful way of thinking through ways to be useful in the room.” 
  –  Madison Mae Williams, a dramaturg who recently appeared on Jeopardy, as quoted in a profile in American Theatre Magazine, October 28, 2021

The contextual and research-based lifeblood of any production, the dramaturg’s work exists in any number of guises and functions, which include workshop support in new play development; pre-production research preparation; company enrichment; pre- and post-show audience engagement; data collection; and community outreach, amongst many others. Today, traditional modes of dramaturgy expand into and adapt technological innovation, new approaches to text, and fresh foundations for methods of production support, all based on a core value of seeking a deeper understanding of the work at hand.

If you have any questions on the application process or participation in the award process, please contact Region 7 Dramaturgy Coordinator Sarah Campbell (she/her) at sarahcampbell@uidaho.edu.

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Click here for the KCACTF Region 7 Dramaturgy Area Participation Guide

This document will be updated as new programming opportunities are added.

Click here to visit the Kenndy Center Dramaturgy information website

Click here to go to the “About Region 7 | Irene Ryan” page

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2025-2026 Irene Ryan Scholarship Auditions Information

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What’s New? Changes for Conference 58

The following changes have been enacted for Festival 58 (2026). 

• All rounds of the Ryans will be held in person at the regional conferences.
• All three rounds will be the same with a total package of 4 minutes to present one monologue and one scene. 
• Self-submissions are still allowed and there will be no difference between nominations and self-submissions.  In order to be guaranteed that your nomination or submission is seen you must complete the region-specific entry process by the date established in each region.  Individual regions may elect to enact a maximum number on entries that will be clearly communicated before submission deadlines.
• Ryan participants will still be able to partner with one other Ryan participant and must use a different scene for each package.

The Event Itself: How Does It Work?

Preliminary Round

Students will perform one scene and one monologue at the Regional Festival, not to exceed four minutes, total. 

Students (auditionee and partner) must have a paid registration to participate. The deadlines to register are set by each Region; check your Region’s website for more information. 

Semi-Final Round

The number of students advancing is determined by each Region.

Semi-finalists will perform their one-monologue, one scene package again and will receive feedback from the Semi-Final Round Selectors. 

Final Round

Finalists will be announced at the Regional Conference and perform their monologue and scene. Again, the time limit is four minutes, total. Finalists will receive feedback from the Final Round selectors.

Other Items

Irene Ryan Nominees can serve as a partner for one other Irene Ryan Nominee. The same scene cannot be used for each audition.

Singing will not be allowed; it is recommended that those interested in singing explore the musical theatre programs. 

Rules regarding Rights, Royalties, Slating, Timekeeping, and use of Props and Furniture will remain from previous years and can be found at the KCACTF Irene Ryan Tips & Suggestions link below.

What Kind of Material Should I Choose?

Student artists participating in the Irene Ryan auditions are encouraged to make material and artistic choices with consideration of the following criteria:

• Choosing material suited for the actor that reflects self-awareness, expressive emotional range, wide vocal range, and physical connectedness.
• Engaging in active objectives and tactics to affect how they are speaking to their real or imagined scene partner. (Acting is action: what is your objective? what/who is your obstacle?)
• Living truthfully in the moment of their given circumstances. (Who, what, where, when, why, and how?) 
• Expressing a compelling story with a clear arc from beginning to middle to end.
• Demonstrating a connection with a real or imagined scene partner (i.e., who you are speaking to?), projected imagery, and specific fourth wall focal points. 
• Making a Body/Voice Connection. (Are you filling the space vocally, energetically, and in connection with your body? Can we understand you?)

Who Is Eligible?

Only those performers who are bona fide students during the festival year are eligible. For the purpose of the scholarship auditions, a bona fide student is:

• An undergraduate student* registered for at least six semester or equivalent quarter hours;

• A graduate student* registered for at least three semester or equivalent quarter hours;

• Or a continuing part-time student* enrolled in a regular degree or certificate program.

*Undergraduate, graduate, and continuing part-time students must be matriculating and pursuing a degree at the time of the KCACTF official response. The chair of the theatre department (or their delegate) must verify the candidate and partner’s bona fide student status.

All scene partners must have been a bona fide student at the time of the initial KCACTF response or during the term in which the regional festival occurs (confirmed in writing as outlined above). Nominees and their partners need not be students at the same institution.

Questions?

If I’m in Region 7 and I am a Nominee, who should I contact with questions?

Jason Pasqua @ jpasqua@lccc.wy.edu

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KCACTF Irene Ryan Audition Tips and Suggestions

Click here to go to the “About Region 7 | MTI” page

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2025-2026 Musical Theatre Initiative (MTI) Audition Information

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Click the link above for full details and registration information for MTI.