Festival Events

What is the ASPIRE Arts Leadership Program?

The KCACTF/LORT ASPIRE Leadership Fellows Program is designed to cultivate a new generation of artistic and administrative leaders for the American Theatre with a focus of engaging Black, Indigenous, and People of Color (BIPOC) and members of other groups that are consistently underrepresented in the field. This diverse national cohort of fellows assembled from all of KCACTF’s eight regions will engage in topics concerning equity, diversity, inclusion, and anti-racism as well as leadership skills building, investigation of institutional challenges, and professional networking opportunities.

One student from each of KCACTF’s eight regions will be chosen to participate in a week-long fellowship that occurs as part of the annual national convening of the American College Theater Festival at the Kennedy Center in Washington, D.C. The curriculum is designed and led by professionals from LORT institutions in partnership with staff from the Kennedy Center and the American College Theater Festival Regional Chairs.

Applicants for the ASPIRE Leadership Fellows Program are evaluated based on potential and interest to:

• Create and articulate an artistic or administrative vision.
• Lead and inspire others.
• Collaborate with all members of a team.
• Engage within the community at large.
• Think outside the box and innovate.
• Articulate the theatre’s role and relevance in global diversity and current events.

2024 ASPIRE Arts Leadership Participant Options

In 2024, there are two ways to participate in KCACTF/LORT ASPIRE Arts Leadership:

• In-person events for Region 7 in February 2024 during Festival 56 in Spokane, WA!
• Virtual/Zoom events in March 2024 (if you cannot attend Region 7 events in February).

 In-Person Events for Region 7

• ASPIRE information sessions via Zoom will be offered before the Region 7 festival.
• ASPIRE in-person workshops (including individual final presentations to a guest LORT selector) will be offered during the Region 7 festival.

Virtual/Zoom Events (if you cannot attend in-person events for Region 7)

• The virtual ASPIRE Arts Leadership program will include seven hours of gatherings and workshops on Zoom (not counting time participants will spend creating their individual final presentations).
• Workshops will take place on Saturday, March 2 and Sunday, March 3, 2024 from 2:00-5:30 pm EST.
• Final presentations and feedback will occur in 30-minute time slots on March 8-9, 2024.
• A small number of participants from the virtual cohort will also be selected to join the week-long fellowship at the Kennedy Center in Washington, D.C.

Questions?

• See the Region 7 ASPIRE Arts Leadership updates for pre-festival information sessions and a workshop preview!
• Region 7 ASPIRE Arts Leadership Coordinator: Tricia Rodley, rodley@uoregon.edu

Click here for Kennedy Center ASPIRE Information

Click here for LORT (League of Resident Theatres) Information

DTM Registration is now open and has been extended thru February 16th, 2024!

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) into the DTM and attending the response sessions during our festival (Feb 18-23, 2024).

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 2022 and registered for the 2023 festival.

Click here for Region 7 DTM Information

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.

For additional information, contact Christina Gutierrez-Dennehy at Dennehc2@wwu.edu.

Click here for Kennedy Center ITJA Information

Click here for the ITJA Sign-up Form

Region 7 will not be hosting an in-person conference this year (Feb 2025). If you would like to submit your script for consideration to move forward as an R7 representative playwright, please do by November 1, 2024. 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, 2025.

We will update this site with many more resources over the next couple days so check in often and please don’t hesitate to contact us if you have any questions. Happy Writing!

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

Click here for Region 7 National Play Program Information & Resources

What is the SDC Directing Initiative?

The KCACTF SDC Directing Initiative is an opportunity for students to explore the craft of directing with professional directors, educators, and peers.

One student director from each region will be selected to participate in the National Kennedy Center American College Theatre Festival in Washington D.C. each April. This award includes travel, lodging and per diem expenses, as well as attendance at KCACTF National Festival workshops and performances. Unique educational opportunities will be planned for the award recipients at the National Festival.

In addition, finalists receive a one-year Associate Membership in SDC. SDC underwrites the National Award(s), which is the result of a unique collaboration between SDC and KCACTF. Associate Membership in SDC introduces each regional finalist to the national community of professional stage directors and choreographers. Additionally, they receive the monthly E-Newsletter, a subscription to SDC Journal (the Union’s quarterly magazine), free or discounted admission to SDC Foundation’s events, and specially negotiated discounts. For more information about SDC, please visit the website at SDCWeb.org.

More about the SDC Directing Initiative from the Kennedy Center:

Click here for Kennedy Center SDC Directing Initiative Information

Eligibility

To be eligible for the SDC Directing Fellowship 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 their school.

Submission & Participation Process

Step 1 – Initial Round (materials due January 20, finalists notified by January 27)

To participate in the Initial Round, please submit the following materials in pdf format to Region7SDCDirecting@gmail.com by 20 January 2023:

• Statement of Interest
  1 page (maximum) statement that addresses the reasons for your interest in the SDC Directing Initiative Program. Questions to consider include: 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 affirm your ability to attend the festival.
• Pre-recorded Video “Pitch”
  Please create a 10-minute video pitch for one of the 13 scenes identified by KCACTF.
  • In the first 5 minutes of your pitch, please address the following:
    • Who are you? (Please do not include information about which school you attend.)
    • What play 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 look/feel/sound like?
  • Other questions if you want to address: 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 5 minutes: Present your 5 minute creative, visceral response to the play using images, music, collage, vision boards, mood boards, etc – anything which will help 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.
  • Video submission format: Upload your video to YouTube or a similar video hosting service, and be sure to set the privacy settings to “Public – anyone can view” or “Unlisted – anyone with the link can view.” Share the link with us.
• Theatre Resume

Your submitted material should not include any information that identifies the school you attend.

Your materials will be reviewed by the SDC Initiative Coordinator and the SDC respondent to be considered to move into the second round. Those moving to the second round will be contacted on/before January 25.
If selected to move into the second round:

Step 2, Part A – Select & Prepare Your Scene

Prior to the Festival, student directors work with student actors from their school to rehearse and prepare the scene that they pitched for presentation at the Regional Festival. All participants must be registered for the Festival.

Logistics and Technical Information for performance 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 must 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.

Step 2, Part B – Prepare a Director’s Book

Prepare a completed Director’s Book for your scene and submit it as a single pdf document by February 18 to Region7SDCDirecting@gmail.com.

Step 3 – Present your scene at Festival

At the Festival, you will work with the SDC Directing Respondent to gain feedback on your pitch, your director’s book, and your directing skillset.

Students participating in the SDC Initiative should plan to participate in the following events:

• Individual interview with the SDC respondent 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.
• In-space rehearsal for your scene – this rehearsal will be observed by the SDC respondent and coordinator to offer feedback about the director’s communication with actors
• Public sharing of your scene
• Closed Feedback session with the SDC respondent and all finalist SDC Directors

Information about Director’s Book Contents

Your Director’s Book outlines in greater detail 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. Please submit your Director’s Book as a single pdf document to Region7SDCDirecting@gmail.com by February 18.

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, 12pt font).
• Brief Play Overview
  • A metaphor which expresses the essence of the play.
  • A simple, one sentence telling of the story of the play.
• Given Circumstances, including:
  • Geographical location and climate
  • Date: year, season, time of day
  • Economic environment
  • Political environment
  • Social environment
  • Religious environment
• Characters: provide the character’s objective for the play overall and the scene specifically. Please also address their obstacles, and discuss what the character learns (or how they change/evolve) in the scene.
• Language: discuss how choice of words, images, phrases, sentence structures and the sound of the dialogue help to reveal character and provide meaning within the scene.
• Dramatic Action: Include the following:
  • Provide a concise analysis of the scene’s basic conflict.
  • The previous action (to the scene)
• A copy of your script divided into units of action and beats. Give a nominative phrase as a title for each beat. Example: A entraps and B pleads.
• Additional materials: provide any additional dramaturgical research material, images, etc., that helped you find the core of the scene.

Your materials will be reviewed by the SDC Initiative Co-Coordinators and the SDC respondent.

Further questions?
Email SDC Initiative Coordinator Emily Rollie (she/her) at Region7SDCDirecting@gmail.com.

2023-2024 Devising Prompts

“Joy as Resistance”

These prompts are intended to inspire your creativity, not be prescriptive. Include what you like, how you like.

• Warshan Shire’s “What They Did Yesterday Afternoon”
• Andra Day’s “Rise Up”

Theatrical Ingredients:

• Tableau/frozen pictures
• Music – sung, played, spoken lyrics
• 10 seconds of silence
• Slow motion
• An object is endowed, made important or something it doesn’t seem to be.

Writing Prompts:

• Where do you find joy?
• Where do you participate in resistance?
• What does “resistance” mean to you?
• What is “joy as resistance”?

More about the SDC Devising Initiative from the Kennedy Center:

Click here for Kennedy Center SDC Devising Initiative Information

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

“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.

Awards and Recognition

If you worked as a dramaturg over the last year on a project at your institution, we encourage you to submit your work to the Dramaturgy area recognition and awards! You can submit any and all projects – whether those were part of coursework or part of a production.

There are two types of awards or recognition that we give in this region:

1. LMDA/KCACTF Student Dramaturgy Award (students receiving this award have the opportunity to participate in national level programming), for more information, see below. 
2. Other region-level recognition, as determined each year by the respondents.

If you would like to submit an application to be considered for the LMDA/KCACTF Student Dramaturgy Award or other regional-level recognition, you will need to apply at the following link: https://kcactf.submittable.com/submit/274623/lmda-kcactf-student-dramaturgy-award. Application Materials are due February 5, 2024*. Deadline has been extended.

*Note: the only way to be considered for the National KCACTF/LMDA Student Dramaturgy Award is by completing the application on Submittable. Students may opt to share their dramaturgy work at the regional level through other dramaturgy programming. Further information on this programming will be available very soon!

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.

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 apply for the Dramaturgy program in Region 7

Click here to visit the Kenndy Center Dramaturgy information website

Click here for full details of the KCACTF Irene Ryan Acting Scholarship Auditions

Preliminary Round

• Students will record themselves performing TWO contrasting monologues (time limit of three minutes, total) and submit via a private YouTube link.
• Students (auditionee and partner) must have a paid registration to participate.
• The deadline for preliminary round entries will be before the Regional Festival. Preliminary round entries will be due no later than February 9th at 11:59 pm.
• Selectors will review the preliminary round submissions and make their selections before the festival.

Semi-Final Round

• Semi-finalists will be announced at the in-person Regional Festival.
• Those not advancing to the semi-final round are encouraged to take advantage of the many festival activities including many workshops and performances.
• Semi-finalists will perform live at the Regional Festival, with one monologue (from the prelim round, student’s choice) and one scene (time limit of five minutes, total). This will take place on Tuesday February 20th.
• Semi-finalists will receive feedback from the Semi-Final Round Selectors after the semi-final round is complete.
• In addition to the auditions, the festival will feature workshops on auditioning/acting, etc.
• Students who do not advance to the semi-finals and are interested can participate with NPP in the Ten-Minute Play Festival, and a featured workshop track will be highlighted at the festival for these students.

Final Round

• Finalists will be announced at the Regional Festival and perform their two contrasting monologues (from the preliminary round) as well as their scene live. The time limit is six minutes, total. This will take place on Thursday February 22nd.
• Finalists will receive feedback from the Final Round selectors after the final round performance.

Other Items

• Irene Ryan Nominees can serve as a partner for up to two other Irene Ryan Nominees.
• 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 on the Additional Information page.

Irene Ryan Audition Tips and Suggestions

Eligibility

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.

If you have any further questions, please contact your regional Irene Ryan Coordinator at ryansregion7@gmail.com

REGIONAL—All KCACTF Region 7 Round-One MTI participants must be registered for the 2024 Festival in Spokane, WA (Feb. 18 – 23) and students must be at the Festival.  The details of your audition are listed below. If you have questions contact any member of the MTI Coordinator Team:

• Tracy Martin – MartinT@arc.losrios.edu
• Noah Racey – Noah.Racey@colostate.edu
• Corey Winfield – WinfieC@arc.losrios.edu

FIRST ROUND (Region 7)

Audition will take place live on Monday, Feb. 19, 2024 at Festival. You must register online in advance for a time slot. If all slots are taken, a waitlist will be started.  Please check the Region 7 Festival website after December 15 for slot sign-ups. Slots are limited.

Please prepare an audition cut that is 90 seconds or less. An audition with two contrasting pieces within the 90 seconds is recommended, but one piece is also fine and will not jeopardize your chances of advancing to the final round.  Timing of the cut(s) will begin when you begin the first (or only) song, and end when you and the accompanist stop.

Music may be from the musical theater canon or may be musical theater adjacent. (ie, You may select music of a style that appears in musical theater but is not from an actual musical).

Your audition must include a slate with the following information: Your full name, the name of your song, the musical it is from (if is from a musical), and the composer of the song.  Please do not included the name of your school in your slate. The slate will not count as part of your 90 seconds.

You will be provided live, piano accompaniment for your audition.*  The accompanist will be provided by the MTI team.  You must prepare sheet music to give the accompanist as you are called to the stage.  You will have a moment to communicate with the accompanist before beginning your slate and song.  (Directions on music preparation appear below, and a video will also be available by December demonstrating the preparation process). 

Following your audition you will receive brief feedback from one of the respondents in an area just outside the audition hall.

*PLEASE NOTE: The MTI Team may request scans of participants’ music the week before the festival begins to help our accompanists prepare  Participants will be notified by the email you use when signing up for a slot. In the event that your music changes between that date and February 19, you will have the opportunity to re-submit that music.  Wait-listed students will have the option of submitting music, but it will not be a requirement. (Accompanists will NOT be using scanned music at the Festival audition. Participants must still have physical sheet music for the accompanist).

FINAL ROUND (Region 7) 

Students advancing to the final round will perform live at Festival Wednesday, February 21, 2024.  The list of students advancing will be posted by noon Tuesday, February 20.  If there are any special instructions they will be provided by email and will also be posted with the Final Round list.

You should prepare an audition cut that is 3 minutes or less and may use the time to present one or two pieces, whatever you prefer.  The audition may be a longer version of your Round One audition or may new material.  Timing of the cut(s) will begin when you begin the first (or only) song, and end when you and the accompanist stop.

Music may be from the musical theater canon or may be musical theater adjacent. (ie, You may select music of a style that appears in musical theater but is not from an actual musical).

Your audition must include a slate with the following information: Your full name, the name of your song, the musical it is from (if is from a musical), and the composer of the song.  Please do not included the name of your school in your slate. The slate will not count as part of your 3 minutes.

You will be provided live, piano accompaniment for your audition. The accompanist will be provided by the MTI team.  You must prepare sheet music to give the accompanist as you are called to the stage.  You will have a moment to communicate with the accompanist before beginning your slate and song. 

Following your performance you will remain on stage for a brief ‘master class’ with one of the respondents.  This is part of the audition. You may be asked to perform parts of the song(s) again after receiving feedback or coaching and/or to discuss the song(s) with your respondent.

Final Round performers should be prepared to perform at the Region 7 Award Ceremony (being held before 1pm Friday, February 23).  At that ceremony an MTI winner and runner up will be announced. Both will perform their 3-minute audition after the announcement. The winner will go on to be part of the National Musical Theater Fellowship cohort.

CRITERIA FOR BOTH ROUNDS

Student artists participating in the Musical Theatre Initiative 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 imaginary 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, how) 
• Expressing a compelling story with a clear arc from beginning to middle to end.
• Demonstrating a connection with an imaginary scene partner (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?)
• Displaying Musical Technique – Effective use of breath, appropriate phrasing, clear vocal tone, correct notes/rhythms/lyrics.

PREPARING THE MUSIC FOR AN ACCOMPANIST

The MTI Team recommends you prepare your physical sheet music one or both of the following ways:

Version 1 – If your sheet music is 6 or more pages long

• Photocopy the music back-to-back on regular (bond) white paper
• Hole-punch the music and place it in a binder
• Double-check that the pages are in order
• Be sure to mark your music clearly with the beginning and ending of your cut. If there are other things in the music you need your accompanist to notice (tempo changes, places you need them to “hold” for a moment, etc.), mark them clearly as well.

Version 2 – If your sheet music is 5 or fewer pages long

(The goal of this approach is to have pages that will “accordion” out from your binder so that the accompanist may see all the pages at once.  This approach eliminates any need for page turns.)

• Photocopy the music onto white cardstock, one page per sheet. Copies should be one-sided.
• Lay the five (or fewer) pages out in front of you in order, left to right
• Lightly trim the left and right margins of pages 1, 2 & 5 to make those pages somewhat narrower. Be very careful not to trim off any part of the music your accompanist will need to read.
• Tape pages 1 and 2 together. (Connecting the right side of 1 to the left side of 2)
• Hole-punch this pair of pages on the far-right margin
• Tape pages 3, 4 & 5 together in the same fashion
• Hole-punch this trio of pages on the far-left margin
• Now put the music into your binder so that all the pages, fanned out, are in order
• Since you trimmed some of the pages a bit, it should fold up into the binder for easy travel.
• Be sure to mark your music clearly with the beginning and ending of your cut. If there are other things in the music you need your accompanist to notice (tempo changes, places you need them to “hold” for a moment, etc.), mark them clearly as well.

If feasible, it is recommended you prepare music BOTH of these ways and have them both in your binder for your accompanist to use whichever they prefer.

 Tips that will make your music as readable as possible

• Never have loose sheet music that could easily fall or fall out of order
• If your music is in a book, do not present the book to the accompanist. It may not stay open well. Please copy the music and prepare as recommended above.
• Do not have your music in sheet protectors. Some accompanists prefer to write notes on the music, and sheet protectors also make it hard to turn pages.
• Avoid taping music back-to-back. It can complicate page turns and visibility. (If doing Version 1 above, copy the pages back-to-back instead)
• Always include the first page of the song… even if only performing the end. Some of the info at the beginning may not occur elsewhere in the sheet music.
• Be very careful when copying the music to capture everything on the page. You need to make sure you do not cut off any notes at the bottom, key signatures, etc. — even page numbers are helpful sometimes. If your music is larger than 8.5 x 11, reduce it slightly so it fits well on a normal piece of paper.
• If you are ‘jumping over measures’ in your cut, draw a very clear line or “X” with a pencil through those measures. Do not black them out or scribble them out.
• If you are jumping over entire pages in your cut, have the full sheet music available somewhere in your binder just in case your accompanist needs to see them for clarity.
• If at all possible, show your music to a musician before the audition. There will also be an opportunity on the Sunday of the Festival to show your music to a member of the MTI team. The time and place for this opportunity will be in the schedule and will also be emailed to all signed-up participants.

FEBRUARY 12 DEADLINE FOR ALL CONFIRMED MTI COMPETITORS

The deadline to submit your music scans is midnight, Monday, February 12, 2024 (Pacific Standard Time). Students who do not submit their music by this time may be moved to the waiting list and lose their current slot in the MTI Auditions.

For full instructions, please be sure you read the email sent Feb. 4, 2024 (Subject: Time Sensitive Message for Region 7 MTI Competitors!) Once you have read that email, you may use the emailed link or this link below to submit your scanned, marked music as one file.

Submit Music Here

The MTI signups for the 2024 festival are now closed. If you are interested in being on the waitlist, please attend the MTI Orientation at 7pm Sunday, Feb. 18. If you have any questions, contact Tracy Martin at: MartinT@arc.losrios.edu.