PHILADELPHIA (May 21, 2009) – After receiving an honorary doctorate of fine arts degree at the 131st commencement of the University of the Arts at the Academy of Music, three-time Tony Award-winning Broadway director James Lapine delivered a unique address to the nearly 500 graduates in attendance – in the form of a mini one-act play, "The Devil and Diane Feinstein or Her Imaginary Son," an allegory about the power of the arts, and a call for increased funding for them. Sean T. Buffington presided over his second Commencement as president of the University of the Arts.

Please Touch Museum founder Portia Hamilton Sperr also received an honorary doctorate, while the late illustrator Richard Amsel '69 and cult stop-action animators Timothy and Stephen Quay '69 received the University’s venerable Silver Star Alumni Award.

A Tony, Pulitzer Prize and Drama Desk Award winner, Lapine has been honored for "Sunday in the Park with George" (1984), "Into the Woods" (1988), "Falsettos" (1992), "Passion" (1994) and "The 25th Annual Putnam County Spelling Bee" (2005). Charles Gilbert, newly named director of the University's Ira Brind School of Theater Arts, presented Lapine with the award.

Sperr, a former University of the Arts faculty member and museum pioneer, was instrumental in creating the University's Museum Education program and spearheaded the innovative Philadelphia program "Museums in the Life of the City." She also founded the Center City Philadelphia's Greene Towne Montessori Preschool. Polly McKenna-Cress, Associate Professor of Museum Studies, presented Sperr with the award.

Though Amsel passed away in 1985, he was honored posthumously with the Silver Star Alumni Award, which his brother Michael Amsel accepted on his behalf. A Main Line native, Richard Amsel created some of the most recognizable, iconic show business-related imagery of the late 20th century, including movie posters for "Raiders of the Lost Ark" and more than 30 other major motion pictures, 37 cover portraits for TV Guide, and album covers and posters. Some of his subjects included Harrison Ford, Mel Gibson, Bette Midler, Elvis Presley, Lucille Ball, Johnny Carson and Katharine Hepburn. The University hosted a retrospective of Amsel's work this spring after receiving his more than 500-piece collection as a gift.

Natives of Norristown, Pa., the Quay Brothers received their Star Award Alumni Award in April when they were in Philadelphia to receive the Vision Award for extraordinary achievement in filmmaking in conjunction with Philadelphia CineFest. The brothers also participated in the closing celebration of "Dormitorium," an exhibition at the University's Rosenwald-Wolf Gallery of sets from their movies, including "Street of Crocodiles" (1986) and "The Piano Tuner of Earthquakes" (2006).

Faculty Award WinnersAssociate Professor of Media Arts (Photo/Film/Animation) Wendy Weinberg earned the Lindback Distinguished Teaching Award, which goes to a full or part-time faculty member who exemplifies excellence in teaching. This distinction allows a University of the Arts faculty member to join the ranks of Lindback recipients who represent 32 colleges and universities in Pennsylvania.

Graphic Design Professor Laurence Bach received the Mary Louise Beitzel Award for Distinguished Teaching, which recognizes outstanding faculty and aims to remind the University community of the importance of outstanding teaching in fulfilling the educational mission of the University.

The Richard C. von Hess Faculty Prize went to Book Arts/Printmaking Professor Susan Viguers. The von Hess Prize is awarded to a faculty member who shows an outstanding commitment as a teacher and mentor. In addition to a record of teaching excellence, the von Hess Prize acknowledges the positive influence faculty represent as role models for students.

President's Award Winners by College
The President’s Award is bestowed on one graduating senior from each college who, over the course of his or her time at the university, has demonstrated academic and artistic excellence of the highest order. The winning students presented work that was conceptually rigorous, artistically adventurous, collaborative and entrepreneurial.
College of Art and Design: Julia Mead, Media Arts (BFA – Photography)
College of Media and Communication: Tim Moyer (BFA – Multimedia)
College of Performing Arts: Bradley Greer (BFA – Theater Arts)

Highest Grade Point Averages by College
College of Art and Design: Leah Marie Hagan (BFA – Film/Digital Video)
College of Performing Arts: Gregory P. Guzevich (Bachelor of Music)
College of Media and Communication: Daniel Raymond Reilly (BFA – Writing for Film and Television)

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James Lapine's Commencement Remarks

It’s a great honor to be here with you today. I would like to thank President Buffington and the university for inviting me. I feel a little bit like a "wedding crasher." I get to join the celebration even though I don’t know the bride or the groom. Graduations are exciting. They mark the end of an important chapter for you, and celebrate your years of hard work and partying. My congratulations to all the graduates today. I applaud your accomplishment and envy the next blank page you face. I also applaud your teachers – accomplished professionals who have chosen to share their knowledge with you and help train a new generation of creative people. And hats off to your parents for footing the bill and supporting your attendance at an institution for the arts. Parents, just think, you won’t be facing a tuition bill in your mailbox this fall. That’s worth celebrating, too.

When I was asked to speak to you today, a slight panic set in. As a commencement speaker two things are generally expected: ONE: make some profound observation about the world that the graduates are about to enter; and TWO: offer a healthy dollop of pithy platitudes along the lines: “You are the face of the future. We pass the mantel to you. Go out and change the world!” So, let’s start with “One”: a few things have been on my mind the past several months with regard to the arts, but as I’m not all that great a prose writer, I have decided to write a short one act play for you today instead of a speech. So I hope you will indulge me as I read it. (Not that you have much choice.) My acting skills leave a lot to be desired. That said, I am going to do my best to infuse my characters with life and maybe briefly entertain us.

The title of this play is: THE DEVIL AND DIANE FEINSTEIN or HER IMAGINARY SON
Here we go:

Scene One

(Lights up on a serene kitchen table, somewhere in the likes of Georgetown, in our nation’s capitol.

Seated at the table is BOBBY, around 18 and a bit of a slacker. He sits waiting – and not for Godot. Finally, Senator Diane Feinstein, Democrat of California, rushes in. She is dressed for success with perfect helmet hair.)

DIANE: I’m sorry I’m late, dear. We had a last minute vote on the hill. Have you been waiting long?

BOBBY: Uh, like two hours.

DIANE: Oh, that’s not too bad. Now, why are we getting together again son?

BOBBY: Mom, you wanted to know about my plans for next year. You’ve been like bugging me about this forever. I thought it might be better not to discuss it in an email.

DIANE: Oh, that’s right. (suddenly concerned) So, is it going to be Stanford or Berkeley?

BOBBY: No, Mom. I’ve decided to go to the University of the Arts in Philadelphia.

DIANE: (stunned) Really? What exactly is that institution?

BOBBY: Just what it says, Mom: A school for the arts.

DIANE: (long pause; like a politician weighing the pros and cons of an issue before declaring an opinion) Bobby … you do know that we are in the midst of a “recession” don’t you?

BOBBY: Yeah, of course. But the government is like passing a 787 million dollar “stimulus package. You know that.

DIANE: Oh, Bobby, don’t be so naïve. You don’t actually think any of that money is going to the arts!

BOBBY: Why not?

DIANE: Well, for starters, Senator Coburn of Oklahoma included an amendment that said no stimulus money could go to “casinos, zoos, golf courses, and museums, theaters or arts centers!”

BOBBY: Why would he do that?

DIANE: (smirking) He’s a Republican, dear.

BOBBY: What does that have to do with it?

DIANE: You’ll have to ask Arlen Specter.

BOBBY: Well, you didn’t vote for it, right? You’re a Democrat.

DIANE: Sorry, dear, I did. But so did Schumer of New York and Casey of Pennsylvania, and they have lots of theaters and museums in their states, too. See, this is a jobs stimulus bill, honey.

BOBBY: So. So? In 1935, the last time this country created a large stimulus package, Mom, President Roosevelt created the WPA.  He created the Federal Writers Project; the Federal Theatre Project; the Federal Music Project and the Federal Art Project. He gave plenty of money to the arts.

DIANE: Bobby, you’ve been spending too much time online!
 
BOBBY: Roosevelt saw art as a means of bringing us together and like lifting our spirits and our national pride during a difficult time. He also knew that when people go to a theatre or a museum, they bring money into restaurants, into hotels, parking garages not to mention the tourist industry!

DIANE: (laughs) Oh Bobby, you do have a little of the politician in you. But sweetheart, you won’t win with that kind of idealism. We have television now. People are happy to sit home with their cable boxes. (she rises and begins to leave) Now you think about a liberal arts education. That’s a sound investment in our tough times.

BOBBY: You suck.

DIANE: (she stops dead in her tracks) Excuse me? Robert Joshua Feinstein, that is no way for a son to speak to his mother!

BOBBY: I was speaking to you as a constituent, Senator.

(Diane shakes her helmet-head and exits. Blackout.)

Scene Two

(Lights up on the same kitchen table a few weeks later. This time Diane sits and waits. Finally, Bobby enters carrying a sack full of papers.)

BOBBY: Sorry, I’m late, Mom. How long have you been waiting?

DIANE: You know how long I’ve been waiting. “Attention must be paid.”

BOBBY: Oh, that’s good, Mom. “Death of a Salesman”, right?

DIANE: Now, what is it that was so important that you needed to talk to me today?

BOBBY: Well, I did a little more research. (he pulls out reams of paper) Did you know that there are 28 million people employed in the arts? That the arts represent 4.5% of all businesses or like 2% of all jobs in this country. That we have 686,000 Arts Organizations?

DIANE: Yes, I know.

BOBBY: You do?

DIANE: Dear Bobby, you’ll be pleased to know we amended the Coburn amendment and have just extended the stimulus package to include $50 million dollars for the arts. That’s a one-third increase of the usual arts budget. Okay?

BOBBY: Wait – but $50 million out of $787 billion is like a crumb. And you’re saying that the National Endowment for the Arts now has only a $200 million dollar budget, like that’s a lot of money? Hell, if I –

DIANE: (sternly rebuking him) No! No swearing. Say “heck” if you must.

BOBBY: (shrugs) Whatever. Have you read the papers lately? That randy Prime Minister of Italy, Berlusconi, when he cut their national arts budget in half, people took to the streets to protest. Now their arts programs are getting $235 million. Hello! Even at half, Italy is still giving out more money than we are. Hello! Italy is like the size of Pennsylvania and only the 7th largest economy in the world and we’re like #1.

DIANE: All right, son. All right. You get an “A” for research. Now you’ll excuse me. I have to get back to the Hill and the “people’s” business. (she rises)

BOBBY: Mom?

DIANE: Yes?

BOBBY: You did vote for the revised amendment to give money to the arts, right?

DIANE: (beat; cold) No I didn’t, Bobby. You have to think of the big picture, dear. I’ll see you later. (she starts to exit) Oh, and have you made your decision about college?

BOBBY: Yes. I’m going to Philly. I’m going UArts.

DIANE: (she gives a big Jewish mother sigh) And just what do you think you’re going to study there?

BOBBY: Playwriting?

DIANE: (condescending) Un huh. And have you ever even written a play, son?

BOBBY: No, but I’m working on one now. Guess what the topic is, mom? It’s about you.

(Diane turns ashen. Fear and panic cross her face. Suddenly the power of the arts hits her where she lives. Bobby gives a sly smile and walks out of the room.)

BLACKOUT.

End of Play

I remember when I dropped the bomb on my parents that I wanted to get a graduate degree at an arts school. They were not college graduates and took great pride in the fact that my brothers and sister and I graduated from college. But why would I want to continue my education getting an art degree? Did that mean I wanted to teach or something? Well, they sucked it up and supported my decision, even though, to be perfectly honest, I wasn’t really quite sure what I’d ultimately do. I did get my graduate degree in design and photography. I moved to New York and proceeded to work as a tour guide at NBC; a secretary; many jobs as a waiter; a free-lance photographer and graphic designer; somehow, eventually, I was hired by the current nominee to the Chairmanship of the National Endowment for the Arts, Rocco Landesman, then a student at the Yale School of Drama, to design a theatre magazine he was editing. And somehow from there, I transitioned from being the design editor of a theatre magazine, to being a playwright and director. But I won’t bore you with those details.

I tell you this because this is the segue to part TWO, the “platitude ridden – go out into the world and make a change” part of my address. I am here to tell you, when you go out in the world tomorrow you may not be making a living doing exactly what you trained here to do. Be open to as many opportunities that present themselves. And yes, I count being a waiter as a seminal experience in my life. Being a waiter allowed me to observe people; cross paths with people I would never have otherwise met; it allowed me to observe their behavior and speech patterns which has become invaluable as a writer. And being a waiter gave me the spare time to take photographs and make art. So Mom and Dad, when your kid tells you they are going to work as a waiter after graduation today, don’t feel that all that money you have invested in this education has been for naught.

And let me interject a moment of reality here. Why did I go-on about funding for the arts? Well, I’m 60 years old, considered a success in my profession, and I have had three projects cancelled on me this past year because of theatre budget shortages. I have always had a delicate relationship with the issue of health insurance, because I am self-employed and this country offers no universal health coverage. I could go on, but when you choose a life in the arts, there are certain challenges. Some of you, like me, will not have the security of an employer or a 401K. But oh, what you get in exchange. You get to make people laugh and cry. You get to share with people what’s on your mind. You get to express yourself and if you’re lucky, touch the souls of the people around you. We are in the midst of another recession -- a spiritual recession. I say, let art elevate the human spirit and let’s do what we can to enlighten and improve this country through its culture as well as its financial institutions. Oh for the day when our government and politicians would occasionally take our souls into account.

And for my one pithy platitude, I say: “Go out and fail.” Yes, I know that may sound like less than inspiring advice. But take chances. Always be willing to make mistakes. Fall on your face sometimes. I would have to say the lessons I learned from my failed projects have made my successful ones possible.  So please: create news and advertisements and computers that make our everyday experiences a little more enlightened. Make art and sculpture and designs and illustrations and photographs and music and dance that bring beauty to our eyes and provoke the way we think. Give us films and videos and theatre that that help us see ourselves anew. Picasso said: “art is the lie that shows us the truth.” Class of 2009: Bring it on!

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