Daniel Bayer, '06
- Theater Studies, 2006
- New York City
- Development Associate at Theater for a New Audience
I moved back to my home state of Connecticut where I had a job as the choreographer for the children's program at Music Theatre of CT. I also became more involved with local theater groups that I had been working with for many years. I worked as an Associate Dramaturg on a production at the Long Wharf Theater (The Blue Album with David Cale and Dale Orlandersmith), served as choreographer for several shows, and performed in a few more. I also joined the Board of the Brewster Theater Company, and in 2011 was named the Artistic Director.
I work as the Development Associate for Theatre for a New Audience, a non-profit Off-Broadway theater company dedicated to the performance and study of Shakespeare and classic drama. I have been fortunate to meet and work with talented artists such as Peter Brook, Bill Irwin, John Douglas Thompson, Bill Camp, and Julie Taymor, and scholars such as Jonathan Kalb and James Shapiro. The theater is currently building its first permanent home as part of the Downtown Brooklyn Cultural District, where it will be the first theater built in New York City for Shakespeare and classic drama since the Vivian Beaumont at Lincoln Center in the 1960s.
In addition, I also study with the renowned masters at the American Tap Dance Foundation, and teach dance (lyrical jazz, tap, and musical theater/Broadway) on a freelance basis. As the Artistic Director of the Brewster Theater Company, I co-adapted a new production of Molière's Tartuffe and served as the dramaturg for the production. I also started the Local Playwrights Series, a series of readings and workshops focused on getting feedback for local artists with the hope of one day seeing their productions fully staged and published. I still act and choreograph on occasion as well.
Highlights at Emory
Vice President of Alpha Psi Omega (Theater Honor Society). Participated in one way or another with every theater group on campus: lighting designer for AHANA; performer for Starving Artists and Theater Emory; performer, choreographer and board member for Ad Hoc, where I created their very first website; dramaturg for Theater Emory; and I wrote my senior honors thesis as the assistant dramaturg for Theater Emory's production of Thornton Wilder's The Skin of Our Teeth.
Training and experience in every aspect of theater production and administration. In particular, the Shakespeare in Performance class was invaluable not only for performing but for reading and interpreting Shakespeare. Being trained in everything from the history of theater to the literature of drama to the principles of design is invaluable to my work as a fundraiser, allowing me to interact intelligently with artists, board members and patrons at many different levels. Getting to perform and dramaturg new plays as part of Theater Emory's New Works Festival gave me the knowledge and, more importantly, courage to help local artists see their work come to fruition in an artistically satisfying, personally rewarding, and (hopefully) professional setting.
The Theater Studies department at Emory gives a top-to-bottom theatrical education unlike any other undergraduate program out there. It isn't just the classes, which are wonderful and taught by extremely knowledgeable professors, but the work of Theater Emory, a professional theater company, that really puts this program over the top. I was able to graduate with professional credits on my resume as both a performer and a dramaturg, and educational credits in just about everything else. The focus isn't just on one aspect of theater, such as acting or directing, but on THE theater as a whole. The goal is to produce graduates who are complete theatrical artists. And the professors aren't just intellectuals. These are actual working theater professionals, and students not only get to see their work, but work alongside them, creating a truly unique learning environment. I had so many invaluable experiences as part of Emory's Theater Studies Department and emerged a stronger theatrical artist and scholar able to do anything I wanted to do in the wonderful world of the theater.