Last Update

2016-09-23T00:00:00.000Z

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Wrong Jere Hodgin?

Mr. Jere Lee Hodgin

Director and Chair

School of Theatre and Dance at The University of Montana

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School of Theatre and Dance at The University of Montana

Background Information

Employment History

Director and Chair of the School of Theatre and Dance

University of Montana

Producing Artistic Director

Mill Mountain Theatre

Affiliations

Member
The National Theatre Conference

Member
Society of Stage

Member
Actors' Equity Association

Member
Theatre Communications Group

Executive Board Member
Palouse Chapter

Vice President of the Board
National Alliance for Musical Theatre

Committee
Playwriting

Founder
Norfolk Southern Festival

Education

A MFA graduate

Acting

University of Georgia

MFA

Univ. of Georgia

Web References (89 Total References)


Castle Walk

www.castlewalkmusical.com [cached]

JERE LEE HODGIN (Additional Material By) A MFA graduate in Acting and Directing from the University of Georgia with over 30 years experience in academic and professional theatre. He has produced over 250 productions, many of which were new and premiere works, and his directing career includes more than 200 plays, operas, and musicals. He directed Mrs. Kemble's Tempest in Edinburgh, Scotland, St. Croix, VI, and at various theatres in this country including Walnut Street Theatre's production. Currently he serves as a member of and is Director/Chair of the School of Theatre and Dance at the University of Montana. For 20 years he was the Producing Artistic Director of Mill Mountain Theatre where he founded the nationally recognized Norfolk Southern New Play Festival. Jere served as Artistic Director and Co-Producer of Highlands Playhouse in NC and has directed at numerous professional theatres across the country including Walnut Street Theatre, The Fulton Theatre, The Barter Theatre, The Phoenix Theatre, The Montana Repertory Theatre, Idaho Repertory Theatre, and Wayside Theatre. He directed the national tour of Bus Stop for Montana Repertory Theatre. He has directed new works at Native Voices at the Autry/La Jolla Playhouse, Shenandoah Playwright's Retreat, Missoula Writer's Colony, Northwest Playwright's Alliance/Seattle Rep and The Phoenix Theatre New Play Festival. He has served as a National Endowment for the Arts site visitor and has been a member of the National Endowment for the Arts Creativity Panels for multiple years. He has also been a regional panelist for the Virginia Commission for the Arts, as well as theatre panelist for the ID, SC, and NC Arts Commissions. Jere is a past president of the Southeastern Theatre Conference where he also chaired the Playwriting Committee. He served as Vice-President of the board of The National Alliance for Musical Theatre for which he has been co-chair of New Works and a member of the Festival of New Works committee. He has been a reader and judge for numerous national new play contests and competitions. He is a member of the Society of Stage Directors and Choreographers, Actor's Equity Association, Theatre Communications Group, and The National Theatre Conference. Jere has served extensively as a consultant to non-profit arts organizations and boards of directors. He received the Perry F. Kendig Award in recognition of his efforts to champion the arts in Southwestern Virginia and was named the 1999 Citizen of the Year in Roanoke, Virginia.

Jere Lee Hodgin


Montana Rep: Montana Rep Missoula

www.montanarep.org [cached]

Happy will be directed by Jere Hodgin, director of the School of Theatre and Dance at The University of Montana and a long-time collaborator with Robert Caisley.


The Great Gatsby (2015) | Montana Repertory Theatre

montanarep.org [cached]

Directing Jere Hodgin has been carefully working with the actors and the design team to craft the Kellers' world, their backyard, and their kingdom. He continues to speak of Miller's play like it's a boxing match, reminding actors to stay at the ready, to perch on the balls of their feet, ready to pounce at any given moment; to encircle and to corner one another in order to get what they want from each other or to prevent the truth from being revealed.

...
CA: How has [director] Jere's [Hodgin] concept influenced your design?
MM: Jere and I seemed to be, more or less, on the same page from day one.
...
I put together a similar file for men, based mostly on advertisements from the period. [Director] Jere [Hodgin] and I looked at all of these files together and bounced ideas off of one another before making any firm decisions.
...
Director Jere Hodgin offers some opening remarks before the first reading of All My Sons
...
After the designers gave their presentations, Hodgin asked Assistant Director Joel Shura to read the opening stage directions and the first read through of the play began.
...
Either way, Hodgin's casting choices seemed to click together with a refreshing seamlessness and the first reading produced a wonderful sense of cohesiveness between the actors. In a truncated, two-week rehearsal process like the National Tour, many of the actors had already begun to memorize their lines, but only just enough to stay fresh and open to responding to the work of their collaborators. The reading gave Hodgin an opportunity to get a sense of each actor's energy - the qualities of their personality, physical, vocal, emotional, and intellectual - that they brought to their character.
...
The whole company joined in and as the applause subsided, Hodgin remarked with a broken voice that if the first reading could be so powerful, he was confident that they would have wonderful production to share with audiences around the country.
R2 Actors reading a scene from All My Sons
After a break, the company returned to discuss some reactions to the play. Hodgin and I gave some dramaturgical, historical, and contextual insights into the script itself, focusing mainly on the play's social and moral critiques, its structure, and its indebtedness to the influences of Aristotle and the the great Greek playwrights Aristophanes and Sophocles, as well as to Shakespeare and Henrik Ibsen.
...
A conversation with Jere Lee Hodgin on directing All My Sons
...
A few weeks ago, I sat down with the director of Montana Rep's 2016 National Tour of All My Sons, Jere Lee Hodgin.


The Great Gatsby (2015) | Montana Repertory Theatre

montanarep.org [cached]

Directing Jere Hodgin has been carefully working with the actors and the design team to craft the Kellers' world, their backyard, and their kingdom. He continues to speak of Miller's play like it's a boxing match, reminding actors to stay at the ready, to perch on the balls of their feet, ready to pounce at any given moment; to encircle and to corner one another in order to get what they want from each other or to prevent the truth from being revealed.

...
CA: How has [director] Jere's [Hodgin] concept influenced your design?
MM: Jere and I seemed to be, more or less, on the same page from day one.
...
I put together a similar file for men, based mostly on advertisements from the period. [Director] Jere [Hodgin] and I looked at all of these files together and bounced ideas off of one another before making any firm decisions.
...
Director Jere Hodgin offers some opening remarks before the first reading of All My Sons
...
After the designers gave their presentations, Hodgin asked Assistant Director Joel Shura to read the opening stage directions and the first read through of the play began.
...
Either way, Hodgin's casting choices seemed to click together with a refreshing seamlessness and the first reading produced a wonderful sense of cohesiveness between the actors. In a truncated, two-week rehearsal process like the National Tour, many of the actors had already begun to memorize their lines, but only just enough to stay fresh and open to responding to the work of their collaborators. The reading gave Hodgin an opportunity to get a sense of each actor's energy - the qualities of their personality, physical, vocal, emotional, and intellectual - that they brought to their character.
...
The whole company joined in and as the applause subsided, Hodgin remarked with a broken voice that if the first reading could be so powerful, he was confident that they would have wonderful production to share with audiences around the country.
R2 Actors reading a scene from All My Sons
After a break, the company returned to discuss some reactions to the play. Hodgin and I gave some dramaturgical, historical, and contextual insights into the script itself, focusing mainly on the play's social and moral critiques, its structure, and its indebtedness to the influences of Aristotle and the the great Greek playwrights Aristophanes and Sophocles, as well as to Shakespeare and Henrik Ibsen.
...
A conversation with Jere Lee Hodgin on directing All My Sons
...
A few weeks ago, I sat down with the director of Montana Rep's 2016 National Tour of All My Sons, Jere Lee Hodgin.


REP NEWS | Montana Repertory Theatre

montanarep.org [cached]

Directing Jere Hodgin has been carefully working with the actors and the design team to craft the Kellers' world, their backyard, and their kingdom. He continues to speak of Miller's play like it's a boxing match, reminding actors to stay at the ready, to perch on the balls of their feet, ready to pounce at any given moment; to encircle and to corner one another in order to get what they want from each other or to prevent the truth from being revealed.

...
Director Jere Hodgin discusses his process while directing All My Sons
...
I put together a similar file for men, based mostly on advertisements from the period. [Director] Jere [Hodgin] and I looked at all of these files together and bounced ideas off of one another before making any firm decisions.
...
Director Jere Hodgin offers some opening remarks before the first reading of All My Sons
...
After the designers gave their presentations, Hodgin asked Assistant Director Joel Shura to read the opening stage directions and the first read through of the play began.
...
Either way, Hodgin's casting choices seemed to click together with a refreshing seamlessness and the first reading produced a wonderful sense of cohesiveness between the actors. In a truncated, two-week rehearsal process like the National Tour, many of the actors had already begun to memorize their lines, but only just enough to stay fresh and open to responding to the work of their collaborators. The reading gave Hodgin an opportunity to get a sense of each actor's energy - the qualities of their personality, physical, vocal, emotional, and intellectual - that they brought to their character.
...
The whole company joined in and as the applause subsided, Hodgin remarked with a broken voice that if the first reading could be so powerful, he was confident that they would have wonderful production to share with audiences around the country.
R2 Actors reading a scene from All My Sons
After a break, the company returned to discuss some reactions to the play. Hodgin and I gave some dramaturgical, historical, and contextual insights into the script itself, focusing mainly on the play's social and moral critiques, its structure, and its indebtedness to the influences of Aristotle and the the great Greek playwrights Aristophanes and Sophocles, as well as to Shakespeare and Henrik Ibsen.

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