Catherine A. Davy (Kate Davy)

Provost & Vice Chancellor for Academic Affairs


Ph.D.               Drama/Performance Studies              New York University
MA                   Drama                                                 New York University
BA                   Speech and Drama                             Clarke College 


2009-               University of Michigan–Dearborn          Provost and Vice Chancellor
                                                                                      for Academic Affairs

2002-2009       Arts and Sciences                                 Dean
                        Bentley University

1999-2000       Adelphi University                                 Provost and Vice President

1994-1999       Peck School of the Arts                        Dean
                        University of Wisconsin-Milwaukee

1990-1994       Clair Trevor School of the Arts              Associate Dean
                        University of California, Irvine

1986-1990       Fine Arts Division                                  Dean
                        Alverno College

1983-1986       Department of Performance Studies     Associate Chair
                        New York University

1976-1977      The Drama Review/TDR                        Managing Editor
                        New York University


2009-                    Joint appointment—Women
                             & Gender Studies, English                                  Professor
                             University of Michigan-Dearborn                                             

2002-2009            Department of English                                        Professor
                             Bentley University

Spring/2002          Yale School of Drama                                         Visiting Scholar
                             Yale University

1994-1999            Department of Theatre and Dance                     Professor
                             University of Wisconsin-Milwaukee

1990-1994            Department of Drama                                         Associate Professor
                             University of California, Irvine

1990-1994            Women’s Studies Program                                 Core Faculty
                             University of California, Irvine

Spring/1990         Interdisciplinary Ph.D. Program                           Visiting Scholar
                             Northwestern University

1986-1990            Arts & Humanities Division                                  Associate Professor
                             Alverno College

1983-1986            Performance Studies Department                       Assistant Professor
                             New York University

1978-1982            English Department                                             F/T Lecturer
                             University of Virginia

1977                     Undergraduate Drama Department                     Adjunct
                             New York University                                                      

1977                     Journalism Department                                        Adjunct
                             New York University



1988-1992            Theatre Journal                                             Theatre Review Editor

1978-1985            Theatre Design and Technology                    Co-editor
                              U.S. Institute for Theatre Technology

1983-1985            The Drama Review/TDR                                Associate Editor

1976-1977            The Drama Review/TDR                                Managing Editor

1976-1977            American Theatre Association                       Publications Consultant

1972-1976            The Drama Review/TDR                                Assistant Editor


$100K    Individual donors, Talent Gateway initiative, University of Michigan-Dearborn,

$  60K    Alumnus donor, Talent Gateway launch event (Twyla Tharp, Keynote),
              University of Michigan-Dearborn, 2016.

$500K    NEH Challenge Grant (requires $1.5M match) awarded for the Valente Center,
              Bentley University 2012.
              [Grant sought under my stewardship, awarded subsequently.]

$   1M    Individual donation to name the Valente Center for the Arts & Sciences,
              Bentley University, 2007.

$100K    (50K grant/50K match), John and Abigail Adams Foundation, in partnership with
              Massachusetts College of Art, to design an intensive mini-MBA for working artists,
              Bentley University, 2006.

$204K    Davis Foundation Grant, faculty development project entitled “Inspiring Intellectual
              and Civic Engagement: Integrating Liberal Learning Across the Business
              University,” Bentley University, 2004.

$500K    Individual donation in support of the newly established Center for the Arts and
              Sciences, Bentley University, 2004.

$  25K    Focus Grant from National Endowment for the Humanities (17% of proposals
              awarded) to develop a new Liberal Studies Major specifically designed as a
              double major to complement majors in the professions, Bentley University, 2003.

$7.5M   Capital campaign, Concert Hall, Peck School of the Arts, University of Wisconsin-
             Milwaukee, 1995-99 [See "Fundraising Experience" section below]. Secured
             internal grant to develop and administer a summer Gender Studies Institute,
             New York University, 1984.


2015                Leader of Change Award
                        Network for Change and Continuous Innovation in Higher Education (NCCI)

1996                Distinguished Alumni Award for Outstanding Achievement
                        Clarke College

1990-94           Annual $6K Research Award
                        University of California-Irvine

1993                Humanities Research Institute Resident Fellowship                Six-month 
                        University of California (system-wide)                                      Residency

1993                Accelerated Promotion
                        University of California-Irvine

1992-93           Irvine Faculty Research Fellowship, $10K

1992                Management Institute Residency (July 19-24)
                        University of California (system-wide)

1992                ORI/Organized Research Unit, $2K
                        University of California-Irvine

1971                Kappa Gamma Pi, National Honor Society


  • Books

    Lady Dicks and Lesbian Brothers: Staging the Unimaginable at the WOW Café Theatre,
    University of Michigan Press, 2010.

    Richard Foreman and the Ontological-Hysteric Theatre, Ann Arbor: UMI Research
                Press, 1981.

    Richard Foreman: Plays and Manifestos, edited volume and wrote introduction,
               New York: New York University Press, 1976.

  • Book Chapters

    “Cultural Memory and the Lesbian Archive,” in Beyond the Archives: Research as a
                  Lived Process

    Gesa Kirsch and Liz Rohan, eds. (Southern Illinois University Press, 2008): 128-135.

    “On Community and Singing to Women,” Interview with Peggy Shaw and Lois Weaver,
                  1985; “On Belle   Reprieve and Imitating Men,” Interview with Peggy Shaw,
                  1992; “On Training, Politics, and Class,” Interview with Lois Weaver, 1993,
                   in Modern Drama: Plays/Criticism/Theory, W.B.    Worthen, ed. (Fort Worth:
                   Harcourt Brace and Company, 1994): 1003-1008.

    From Lady Dick to Ladylike: The Work of Holly Hughes,” in Acting Out: Feminist
    , Lynda Hart and Peggy Phelan, eds. (Ann Arbor: University
                    of Michigan Press, 1993): 55-84.

    “Fe/male Impersonation: The Discourse of Camp,” in Critical Theory and Performance,
                   Joseph R. Roach and Janelle G. Reinelt, eds. (Ann Arbor: University of
                   Michigan Press, 1992): 231-247; (revised and reprinted 2007): 355-371.

  • Essays Reprinted as Book Chapters

    “Richard Foreman’s Vertical Mobility and PAIN(T),” in Re:Direction, Essays on 20th
                  Century Theatre
    , Gabrielle H. Cody and Rebecca Schneider, eds.
                  (London: Routledge, 2002): 165-171.

    “Kate Manheim as Foreman’s Rhoda,” in Richard Foreman, Gerald Rabkin, ed.
                  (Baltimore: Johns Hopkins University Press, 1999): 23-36.

    “Outing Whiteness: A Feminist/Lesbian Project,” in Whiteness: A Critical Reader, Mike
                  Hill, ed. (New York: New York University Press, 1997), 204-225.

    “Reading Past the Heterosexual Imperative: Dress Suits to Hire,” in A Sourcebook of
                 Feminist Theatre and Performance
    , Carol Martin, ed. (London: Routledge,
                 1996), 136-156.

    “Fe/male Impersonation: The Discourse of Camp,” in The Politics and Poetics of Camp,
                 Morris Meyer, ed. (London: Routledge, 1993): 130-151.

    The Heart of the Scorpion at the WOW Cafe,” in The Drama Review: An Anthology,
    , Brooks  McNamara and Jill Dolan, eds. (Ann Arbor: UMI Research
                Press, 1986):  339-343.

    “Richard Foreman’s Vertical Mobility and PAIN(T),” in The Drama Review: An Anthology,
    , Brooks McNamara and Jill Dolan, eds. (Ann Arbor: Research Press,
                1986): 209-224.

  • Essays & Articles

    “WOW, then . . . 1980-81,” Women and Performance: A Journal of Feminist Theory, 25th
                anniversary issue, submitted.

    “Outing Whiteness: A Feminist/Lesbian Project,” Theatre Journal (Johns Hopkins
                University Press, 47:2, May 1995): 189-205.

    “Visibility Troubles and Literate Perverts,” Women and Performance: A Journal of
                 Feminist Theory
    (7:1, 1994): 141-157.

    “Shifting Interrogations: A Feminist Interplay,” Theatre Topics:
                Dramaturgy/Performance Studies/Pedagogy
    (Johns Hopkins University
                Press, 3:1, March 1993): 95-100.

    (Re)Visions for the Arts in the ‘90s,” ART MUSCLE (5:4) January 15 – March 15, 1990.
               (Reprinted, Inside  Out, spring 1990.)

    “Reading Past the Heterosexual Imperative: Dress Suits to Hire,” The Drama
    /TDR (33:1, March 1989): 153-170.

    “Constructing the Spectator: Reception, Context, and Address in Lesbian Performance,”
               Performing Arts Journal (29: X/2, 1986): 43-52.

    “Debra Loewen: Choreographer,” Wisconsin Women Magazine, September 1986.

    “Buying and Selling the Look,” Parachute (Canadian arts journal, #40, Fall 1985): 21-24.

    “Women and Design,” Theatre Design and Technology (21:2, Summer 1985): 4-34.

    The Heart of the Scorpion at the WOW Cafe,” The Drama Review/TDR (29:1, March
                1985): 52-56.

    “Making a Magazine,” Creator (1:3, March/April 1982): 24-25.

    “Recreating Loie Fuller’s Fire Dance,” Theatre Design and Technology (7:1, March
               1981): 4-8.

    “Stati Uniti–Teatro di ricerca,” Enciclopedia del teatro del novecento (Milano, Feltrinelli,
                August 1980.)

    “Tanti padre di tanti teatri,” scena (Italy, IV: 5/6, December 1979): 21-25.

    “Staging the Ontological-Hysteric Theatre in a Soho Loft,” Theatre Crafts (12:4,
                May/June 1978): 30-33;  56-62.

    “Introduzione a Richard Foreman,” Teatrolte: La scrittura scenica (Italy, 17:1978): 43-54.

    “Gertrude Stein’s Theatrical Theory,” Twentieth Century Literature (24:1, February 1978):

    “The Ontological-Hysteric Theatre,” Studio International (London, 192:982, July/August
               1976): 26-30.

    “Kate Manheim as Foreman’s Rhoda,” The Drama Review/TDR (September 1976): 37-

    “An Interview with George Burns,” Theatre Journal (27:30, October 1975): 345-355.

    “Perlini’s Othello,” The Drama Review/TDR (December 1975): 19-26.

    “Richard Foreman’s Vertical Mobility and PAIN(T),” The Drama Review/TDR (18:2, June
               1974): 26-37.

  • Theatre & Book Reviews

    “Holly Hughes’ Dress Suits to Hire,” National Women’s Studies Association Journal
    (Winter 1988-89): 309-312.

    “Making a Spectacle,” Lynda Hart, ed., Theatre Journal (Fall 1989): 429-431.

    “David Van Tieghem: Musician and Video Artist,” The New Art Examiner, October 1988.

    Reverberation Machines: The Iconography of Dominant Discourse,” Theatre Journal,
                 February 1987.

    “Images of Women and Nature: A Video,” The New York Native, December 15, 1986.

    Images. . . A Lesbian Love Story,” OUT (Madison, Wisconsin), November 1986.

    A . . . My Name is Alice,” Women and Performance: A Journal of Feminist Theory,
                 October 1984.

    “Commanding Women: Spiderwoman’s I’ll Be Right Back,” The New York Native, May 7,

    “The Girls in the Band,” The New York Native, March 26, 1984.

    “An Emotional Ghetto,” Women in Theatre, Karen Malpede, ed., American Theatre
    (March 1984): 12.

    Book of Splendors in Paris,” Village Voice (accepted), November 1976.

    “Structuralist Theatre: Eight People,” Alternative Theatre, January/February 1976.

    “Foreman’s Pandering to the Masses,” The Drama Review/TDR,” March 1975.


“An Eccentric Subject: Well on Broadway,” panel on “Feminist Comedy,” Association for
            Theatre in Higher Education, annual conference, New Orleans, July 27, 2007.

“Born in the WOW Café: Remaking Women’s Theater,” guest speaker series, Jack and
            Stella Kerouac Center for American Studies, University of Massachusetts, Lowell,
            November 9, 2005.

“Introducing the WOW Café Theatre,” English Department Colloquium Series, Bentley
            University, October 25, 2005.

“Founding Moments: WTP and WOW in 1980,” 25th Annual Women and Theatre Program,
            annual preconference, “Making Waves: Bridging Activism, Feminism, and
            Performance for 25 Years,” San Francisco, July 26, 2005.

“Creating Feminist Space and a ‘System of Anarchy’,” Lesbian Lives XI Conference,
            University College Dublin, Ireland, February 2004.

“Looking for WOW in All the Wrong Places,” panel on “Challenges in Archival Research,”
            Association for Theatre in Higher Education, annual conference, Chicago,
            August 4, 2001.

“The Art and Politics of Charles Ludlam’s Theatre of the Ridiculous,” symposium entitled
            “Cross Gender/Cross Genre: Issues in Theatre, Theory, Film, and Performance
            Art in the Late 60’s and Early 70’s,” Steirischer Herbst 99, International Arts
            Festival, Graz, Austria, September 26, 1999.

“Exploring the Dynamics of Privilege,” workshop session on diversity, University of
            Wisconsin System Leadership Institute, Madison, July 22, 1999.

“Oppositional Administrators and the Culture Wars,” Association for Theatre in Higher
            Education, annual conference, San Antonio, August 1997.

“Leading a School of Fine Arts to Diversity,” Women and Theatre Program, annual
            preconference, New York City, August 7, 1995.

“Outing Whiteness: A Queer Project,” Sixth North American Lesbian, Gay, and Bisexual
            Studies Conference, University of Iowa, Iowa City, November 18, 1994.

“Outing Whiteness: A Feminist Project,” Association for Theatre in Higher Education, annual
            conference, Chicago, July 28, 1994.

“Interrogating Whiteness,” University of California Council of Women’s Programs
            Conference, Lake Arrowhead, November 20, 1993.

“Making (WOW) Girls: Communing with Culture,” Association for Theatre in Higher
            Education, annual conference, Philadelphia, August 7, 1993.

“From Lady Dick to Ladylike: The Work of Holly Hughes,” University of California
            Humanities Research Institute Minority Discourse Resident Research
            Group Colloquium, Irvine, September 15, 1992.

“Interrogating the Interrogators: A Feminist Interplay,” Women and Theatre Program,
            annual preconference, Atlanta, July 31, 1992.

“Fe/male Impersonation: The Discourse of Camp, “Women’s Studies Faculty Seminar,
            University of California-Irvine, February 28, 1992.

“Visibility Troubles and the Colonizing Tendencies of (Queer) Nations,” Association for
            Theatre in Higher Education, annual conference, Seattle, August 8, 1991.

“A Historicizing and Materialist Response to a Universalizing Psychoanalytic Analysis of
             Father/Daughter Relationships in Shakespeare’s Texts,” M/MLA: Midwest Modern
             Language Association, annual conference, Chicago, November 15, 1991.

“Camp: Signaling through the Flames/Fueling the Fire,” Association for Theatre in Higher
             Education, annual conference, Chicago, August 10, 1990.

“The Heterosexist Gaze and (the) Lesbian Look(s),” Women and Theatre Program, annual
             preconference, Chicago, August 6, 1990.

“Charles Ludlam’s Theatre of the Ridiculous: The Discourse of Camp,” guest lecture,
             Northwestern University, February 20, 1990.

“Reading Past Cultural Imperatives,” Association for Theatre in Higher Education, annual
             conference, San Diego, August 4, 1988.

“’Woman’: The Female Body in Representation,” guest lecture, Ripon College, March 21,

“Invisible Women,” Women in History Lecture Series, Clarke College, March 16, 1987.

“Laurie Anderson: The Musician as Inventor and Visual Artist,” Symposium on Women in
             Music, Mount Mary College, November 1, 1986.

“Constructing the Gendered Spectator: Women and East Village Performance,” American
             Theatre Association, annual conference, New York City, August 19, 1986.

“Dismantling Gender Constructions in the Performing Arts,” Interdisciplinary Arts Seminar,
             Arts and Society Program, New York University, June 24, 1986.

“Imaging the Body,” Body Image Symposium, School of Education, New York University,
             March 6, 1986.

“Performing a Look,” Popular Culture Association, annual conference, Lexington Kentucky,
             April 3, 1985.

“Gertrude Stein: The Myth of ‘Influence’ as a Criterion for Canonization in the Case of the
             Woman Author(ity),” guest lecture, Performance Studies Department, New York University,
             Fall 1985.

“Gender, Body Image, and Performance,” Department of Psychology, College of Medicine,
             University of Cincinnati, April 1984.

“Foreman’s Egyptology: The Directionality of Art and Consciousness,” American Theatre
              Association, annual conference, Minneapolis, 1983.

“Formalism in American Experimental Theatre,” American Theatre Association Conference,
             Los Angeles, 1976.


“Let’s Face It: The Promise and Tyrannies of Leadership in Higher Education,” Keynote
            address, Network for Change and Continuous Innovation in Higher Education
            (NCCI), annual conference, Seattle, July 17, 2014.

“Queer as Folk, The L Word, and Five Lesbian Brothers,” Keynote, Rainbow Breakfast,
             Bentley University, October 12, 2006.

“Management vs. Leadership: Challenges for Women in Administration,” Association for
             Theatre in Higher Education, annual conference, San Francisco, July 29, 2005.

“Arts-based Training in Business,” panel on “Poetry and Business,” New England Poetry
             Conference, University of Massachusetts, Lowell, April 7, 2005.

“Characteristics and Attributes for Success,” Deans’ Leadership Workshop, International
             Council of Fine Arts Deans, annual conference, Miami, October 24, 2000.

“Administrative Career Paths for Women,” University of Wisconsin System Leadership
             Institute, Madison, July 20, 1999.

“Public Showing,” opening remarks, Center for 20th Century Studies Conference, University
             of Wisconsin, Milwaukee, April 16, 1998.

Conference on Women and Aging, opening remarks, Center for 20th Century Studies,
             University of Wisconsin, Milwaukee, April 18, 1996.

“Why Women Artists,” Remarkable Women Exhibit opening, Peltz Gallery, Milwaukee,
             December 14, 1997.

“Leadership for Advancing Diversity: Strategies and Incentives,” International Council of
             Fine Arts Deans annual conference, San Antonio, Texas, November 7, 1997.

“Contributions the Arts Make to the Metropolitan Area’s Culture,” Sunrise Rotary Club,
             Milwaukee, March 6, 1996; and the Kiwanis Club, Shorewood, Wisconsin,
             April 6, 1995.

“New Ways of Looking at Post-Secondary Education in the Arts,” panel discussion,
             Wisconsin Alliance for Arts Education Conference, Madison, Wisconsin,
             February 15, 1996.

Address to Graduating Seniors, Honors Convocation, University of Wisconsin, Milwaukee,
             December 11, 1995.

“The Power of the Arts in Creating and Sustaining Values that Enrich and Strengthen the
             Community,” Community Brainstorming Conference, St. Matthew’s Church,
             Milwaukee, September 23, 1995.

“The Crisis in Feminist/Political Theatre,” panel coordinator and moderator, American
             Society for Theatre Research and the Theatre Library Association, annual
             meeting, New York City, November 19, 1994.

“University Roundtable,” monthly half-hour radio program on local arts and culture, WUWM
              (FM89.7), Public Radio station, Milwaukee, 1994-1999.

“Interrogating Whiteness: Challenges to White Womanhood,” Women and Theatre, annual
              conference closing session, Philadelphia, August 3, 1993.

“Intersections of Performance, Gender, Sexuality, and Race,” panel moderator, Minority
              Discourse II Conference, Humanities Research Institute, University of
              California System, June 12, 1993.

“Eve Kosofsky Sedgwick’s Epistemology of the Closet: A Critique,” ORI in Women and the
              Image, Reading/Discussion Session, University of California, Irvine,
              October 25, 1992.

“Diversity: The Student Admissions Dilemma,” Management Institute, University of
              California System, July 23, 1992.

Feminist Drama and Theatre,” guest lecture, Women’s Studies, University of California,
               Irvine, Fall 1992.

“Lesbian Representation in Theatre and Performance Art,” guest lecture, Women’s Studies,
              University of California, Irvine, May 16, 1991.

“Careers in the Fine Arts,” 1991 Discover Conference for Underrepresented Applicants,
              University of California-Irvine, February 9, 1991.

“The State and/of Women in the Arts,” Professional Dimensions Symposium, Milwaukee,
             October 25, 1989.

Panel discussion on “The Status of Women” with a state senator, a school board president,
             and head of a national nursing organization, Alverno College, April 13, 1988.

“’Woman’ in Art: A Crisis in Representation,” Faculty Institute, Alverno College, January 15,

“Aesthetic Perspectives on Music Video,” Conference on the Electronic Library, Alverno
             College, December 14, 1986.

“Writing for Theatre and Dance Journals,” Southeastern Theatre Conference, Charlotte,
             North Carolina, March 8, 1986.

“Women and Design,” panel presentation co-sponsored by New York University and Cornell
             University, New York City, November 10, 1984.

“Gender and Performance: Raising the Issues,” Sex and Gender Colloquium, New York
           University, December 1983.


Bentley University
            First Year Seminar

Yale University
            Yale School of Drama
                    Critical Theory and Performance (MFA seminar)

University of Wisconsin-Milwaukee
            Peck School of the Arts
                    Introduction to the Arts (Undergraduate)

University of California-Irvine
Department of Drama
                    Interrogating the Theatrical Apparatus: Feminist Perspectives (MFA seminar)
                    Sexuality, Gender, and Race in Performance (MFA seminar)
            Women’s Studies program
                    Issues in Lesbian and Gay Representation (Undergraduate)
            Drama and Women’s Studies
                    Directed Reading Seminar in Feminist Theory (Ph.D. student)

Northwestern University
            Interdisciplinary Ph.D. Program—Drama, English, and Performance Studies
                   Seminar in Critical Theory and Performance

Alverno College
            Undergraduate courses
                    Interdisciplinary Arts and Humanities Core Course: Music, Art, Poetry, Fiction
                    Modernism/Postmodernism: Images of the Other

New York University
            Performance Studies Department (Graduate seminars)
                    Issues in Gender and Performance: The Performer
                    The Discourse of the Body in Performance
                    Total Theatre: The Work of Richard Foreman
            Performance Studies Department (Graduate courses)
                    Resources and Methods for the Study of Performance
                    Sociology of New York Performance
                    American Experimental Performance
            Drama Department (Undergraduate courses)
                    Experimental Theatre 1959-1985
                    Writing Workshop
            Journalism Department (Undergraduate course)
                    Magazine Production

University of Virginia
            Department of English (Undergraduate courses)
                    Dramatic Literature
                    Contemporary Performance
                    Intermediate Composition


Brave Smiles . . . another lesbian tragedy, by The Five Lesbian Brothers, director,
         University of California-Irvine, 1994.

“Telesis XII,” original script for video production, Alverno College, 1989.

Pregnancy Fact and Fiction, performance art piece, author/performer, University of Virginia,

Recreation of Loie Fuller’s Fire Dance, director, University of Virginia Dance Concert, 1980.

Play It Again Sam, by Woody Allen, director, Act I Community Theatre, Virginia, 1980.

The Great Nebula in Orion, by Lanford Wilson, performer, University of Virginia, 1979.

India Song, by Marguerite Duras, performer, University of Virginia, 1977.

Slight, by Stuart Sherman, performer, Open Space Theatre, New York City, 1977.

Transportation: 10#, performance art piece, creator/performer, Structuralist Workshop,
          NYC, 1976.

Evidence, by Richard Foreman, director, Playwright’s Cooperative Theatre Festival, NYC,

Eight People, by Michael Kirby, co-director, Structuralist Workshop, NYC, 1975.

New York/Arizona Environmental Displacement, series of photographs that comprised a
          visual art piece, co-creator, exhibited at Interart Gallery, NYC, 1973.


Board of Directors, Starfish Family Services, Detroit, 2015-
Board of Directors, New Center Community Services, Detroit, 2014-
Board of Directors, Arts & Business Council of Greater Boston, Boston, 2007-2009.
Board of Directors, Center for New Words Center, Cambridge, MA, 2004-2009.
Chair, Workforce Development Committee, Creative Economy Council of the New England
          Council, 2003-2005.
Chair, Diversity and Inclusion in the Arts Committee, International Council of Fine Arts
          Deans, 1998-2000.
Co-chair, Leadership Institute Committee, Initiative on the Status of Women, University of
          Wisconsin (designed and implemented system-wide Summer Leadership Institute
          pilot, July 18-23, 1999), 1998-99.
Board of Directors (elected), International Council of Fine Arts Deans, 1998-99.
Educational Media Policy Committee, University of Wisconsin-Milwaukee, 1997-98.
Nominations Committee, International Council of Fine Arts Deans, 1997.
Grant Review Panel, City of Milwaukee Arts Board, 1997-98 Grant Program, April 1997.
Vice President of Research and Publications (elected), Association for Theatre in Higher
           Education, 1996-1998.
Developed and taught ongoing course (in six-week sessions) entitled “Reading Women:
           Writing Ourselves,” Milwaukee County Jail, 1996-97.
Academic Program and Curriculum Committee, University of Wisconsin-Milwaukee,
Rationales Task Force, Association for Theatre in Higher Education, 1995-96.
Chair, Deans Task Force on the Role of Department Chairs, University of
           Wisconsin-Milwaukee, 1995-96.
Education Trustees Committee, Milwaukee Art Museum, 1994-1999.
Executive Vice Chancellor Search Committee, University of California-Irvine, 1994.
Chair, Implementation Committee, Graduate Emphasis in Feminist Studies, University of
          California-Irvine 1993-94.
Founder and Academic Advisor, Resident Interdisciplinary Academic Theme Houses in Fine
          Arts, Women’s Studies,and Gay Lesbian Studies, University of California-Irvine,
Academic Freedom Committee (elected), University of California-Irvine, 1993-94.
Advisory Committee on University/Industry Research Relations (technology transfer
          committee), University of California-Irvine, 1993.
University Advancement Liaison Committee, University of California-Irvine, 1991-93.
Nominating Committee, (elected), Association for Theater in Higher Education, 1991-93.
Executive Committee, Women and Theatre Program, 1991-93.
Mentoring Program for Women Faculty, University of California-Irvine, 1991-94.
Chancellor’s Advisory Council on Diversity, University of California-Irvine, 1991-93.
Irvine Barclay Theatre Programming Committee, Irvine, 1990-94.
Affirmative Action Committee, School of Fine Arts, University of California, Irvine, 1990-94.
Council of Chief Academic Advisors, University of California-Irvine, 1990-94.
Chair, Performance and Production Committee, School of Fine Arts, University of California,
            Irvine, 1990-94.
Charitable Fund Board, Professional Dimensions, Milwaukee, 1990.
Board of Directors, Milwaukee Rep Stackner Cabaret, 1989-1990.
Board of Directors, Milwaukee Repertory Theatre, 1988-1990.
Board of Directors, Metropolitan Milwaukee Civic Alliance, 1988-1990.
Advisory Panel, Wisconsin Performing Arts Hall of Fame, 1988-1990.
Associate Member, Review Panel, United Performing Arts Fund, Milwaukee, 1988-90.
Chair, Campus Fundraising Campaign, Alverno College, Milwaukee, 1987-90.
President, Board of Directors, Wild Space Dance Company, Milwaukee, 1987-1990.
Artistic Advisory Board, Next Generation Theatre, Milwaukee, 1986-1990.
Funding Review Panel, Wisconsin Arts Board, Madison, 1986.
Board of Directors, Tisch School of the Arts Alumni Association, New York University,
Board of Directors (ex officio), U.S. Institute for Theatre Technology, 1977-1985.

FUNDRAISING EXPERIENCE [continued from "Fundraising" above]

When first offered the position of dean in UWM’s School of Fine Arts (1994), the school had virtually no record of consistent, successful fundraising and no infrastructure in place to accomplish its fundraising goals. I brought together several existing staff positions and formed an Office of Development and Marketing for the school, with a newly created Director of Development and Marketing position at its head. I then scheduled two focus groups made up of the city’s prominent community members. What we learned as a result of these focus groups informed our fundraising strategies from then on.

In four years of aggressive fundraising, we substantially increased scholarship funds available for students, while launching a major capital campaign (7.5 million) to purchase a synagogue across the street from the school and transform it into an 800-seat concert hall for dance and music. In the process of garnering desperately needed funds for the school, I was fortunate to have an excellent development director to teach me the ropes and manage the process. In the end, however, I learned that it is deans who raise funds with, of course, the help and guidance of development professionals. I also learned that I enjoy the challenges of fundraising; I wasn’t entirely sure I would.

Academic institutions – even publicly supported ones – have become ever more dependent on external fundraising to support current programs and realize future goals. When I left the school in the summer of 1999 to assume the position of provost and senior vice president at Adelphi University, a total of $6,718,370 had been raised for the project and the School of Fine Arts had been renamed the Peck School of the Arts. Within a year of my departure, the remaining funds were secured.

The amounts raised for this concert hall project during my tenure are as follows:






$   475,000


$     51,120




These figures do not represent other successful efforts in securing scholarship funds and donated equipment. For instance, I worked with Ameritech (local company) to secure $500K worth of editing equipment for the school’s Film Department. Ultimately, Ameritech donated their entire editing studio to the school.

Office of the Provost

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Administration Building (AB)
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