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Warren Egypt Franklin, who played both roles, is a Clevelander who is also a graduate of Baldwin Wallace's esteemed Musical Theatre program.
Victoria Bussert, Chair of the BW program states, "He graduated in May 2018 and landed "Hamilton" one month later. He actually did "What'd I Miss" for his senior showcase number!!!" (Side note: I was in NY with the BW students for that showcase and we were immediately made aware of the agents and casting director's interest in Warren Egypt, including the casting director of "Hamilton."). Besides "Hamilton," he is appearing on tv's "Grown-ish."
On media night the role or King George was delightfully played by Neil Haskell, but starting December 19, and for the rest of the run, Clevelander, Rory O'Malley, a St. Ignatius grad, who was nominated for a Tony Award for his portrayal of Elder McKinley in Broadway's "The Book of Mormon," will be playing the role.
Since 1959, Dobama Theatre has been dedicated to premiering important new plays by established and emerging playwrights in professional productions of the highest quality. THE LAND OF OZ, is a good selection for them to undertake.
Dobama’s multi-talented Artistic Director, Nathan Motta, has incorporated his training as a music composer, with his directing experience, to aid George Brant to undertake the development of THE LAND OF OZ, a musical intended to expose local audiences to yet another view of the L. Frank Baum’s world of enchantment. In this case, the plot is based on the second book in the “Oz” series, THE MARVELOUS LAND OF OZ.
As is the case with all of Baum’s books, its themes are both timeless and relevant to the modern world.
Motto’s score for THE LAND OF OZ features songs in a variety of American popular music styles.
Brandt, who is a member of the Dramatists Guild, has had his works produced internationally and nationally. Local stagings have been presented at the Cleveland Play House and Dobama.
The story of THE LAND OF OZ centers around a young orphan boy named Tip who is the ward of an evil witch. When he escapes, with the help of a magical new friend, Tip sets out on an adventure to the Emerald City. Along the way he encounters the Scarecrow, Tin Man, a woogle bug and a rebel army on their way to take over Oz! (No, there is no Dorothy, Toto, Aunt Em, or even the Wizard.)
The tale examines friendship, loneliness, good overcoming evil, discovering where one comes from and why they are where they are, and the wonder of finding help in a path to the future (whether one is on the yellow brick road, or not).
Dobama should be praised for undertaking the development of a new theatre piece. Such a task is daunting. Creating a musical is an awesome job. Not only does the writer have to select a source for the plot (a former play—think PYGMALION as it morphs into MY FAIR LADY), a film (THE LION KING as it is transformed into LION KING, THE MUSICAL), comic strips such as LITTLE ABNER and SUPERMAN being reinvented as musicals, or a writer or writers creating new stories, such as developing DEAR EVEN HANSEN or A CHORUS LINE.
The score has to be composed to develop the right mood, fit into the story and develop the characters. This is harder than it appears. The wrong music can curse a show. Several of the American musical theatre’s major hits were almost doomed by their opening songs.
FIDDLER ON THE ROOF found audiences walking out during its out-of-town tryouts. When Jerome Robbins replaced the original director/choreographer, he sat through the performances, called the writing team together and asked, “What’s the show about?” After comments such as, “Life in Europe in the early 20th century,” and “A milkman and his daughters,” someone suggested, the traditions of the people that allow them to exist and endure.
Robbins is purported to have said, “Then someone write a song to start the show that tells the audience what the show is about and gets the audience ready for that message.” Get rid of the present opening, “The Village Our Grandparents Grew Up In.” That theme won’t get and hold the attention. Thus, the song “Tradition” was written and the script and music were reformatted to fit that theme.
The opening number of FUNNY THING HAPPENED ON THE WAY TO THE FORUM, originally the pretty, but bland, “Love Is In the Air,” became the frothy, delightful, somewhat sexy, “Comedy Tonight.” Audiences knew they were going to see a funny show, were given the direction to enjoy themselves, and they did!
If not for the change, FIDDLER would never have been the first Broadway musical to run over 3000 performances and you wouldn’t even had heard of FORUM.
The first act to THE LAND OF OZ drags--lots of audience wiggling and lack of attention. Maybe the writing team should ask, “What’s this musical about?” and write an opening song that teases us into the tale and sets the emotional mood.
In a traditional musical, the central character, early in the show usually sings an “I want” song in which they tell the audience what they need. That wish is keystone to develop the plot. Think, “Maybe” in ANNIE—she wants parents or “I Hope I Get It” from CHORUS LINE—each dancer wants a job in the chorus.
Tip, does have such a song, but is it strong enough to let the audience know that this is going to be the theme of the show?
Sitting in a dark theatre can be tiresome. Usually about twenty minutes into each of the acts, in a two-act show, there is a “noisy number,” a show stopper, which wakes up the show and the audience. What are the noisy numbers in THE LAND OF OZ? I’m not sure. Maybe that is why the first act seemed to drag on and on.
The analysis could go on and on, but….
It is through the production team going through the writing and staging process---write, critique rewrite, read, critique, rewrite, stage, critique, restage, perform before a non-biased audience, gage their interest, perform again, and keep assessing and making appropriate changes.
The same can be said for the staging of any show.
The Dobama production features Jordyn Freetage (TIP), Lana Sugarman (GLINDA/ JELLIA/ LIEUTENANT), Trinidad Snider (MOMBI), Eric Fancher (JACK), Fabio Polanco (SCARECROW), Jason Eno (TIN MAN), Neely Gevaart (JINJUR), Dar’Jon Bentley (LION/ GUARDIAN), Trey Gilpin (WOGGLE BUG), Tim Keo (WINKIE/ DOOR/ THRONE).
They all should be proud of their efforts. Each night the show should get better as the performers acknowledge new insights into their characters. With the help of an attentive director and self-awareness on the part of the actors, they will grow as characters.
The creative team for the production includes Music Direction by Matthew Dolan, Choreography by Gregory Daniels, Scenic and Projection Design by T. Paul Lowry, Lighting Design by David Stoughton, Sound Design by Richard Ingraham, Costume Design by Tesia Benson, Props Design by Vanessa Cook, Puppet Design by Mike Horner, and Technical Direction by Marcus Dana. The band will consist of Rachel Woods (Keyboard), Justin Hart (Drums), Jesse Fishman (Guitar), Tim Keo (Bass), R.J. Rovito (Reed).
Developing a new musical is hard work. It is not for the sensitive, the egotistical, those who can’t admit that the show wasn’t perfect with the first effort, the second effort, or even the tenth redo.
Capsule judgment: Dobama’s THE LAND OF OZ should be seen as a work in progress. It is quite good, for a new piece. It will be a better experience for the audience after it is put through more tests.
The show which runs December 2- 31, 2022, runs time of two hours, including one 15-minute intermission. For tickets: www.dobama.com or call 216-932-3396.
Want to know more about how musicals are developed and staged? Read the delightful and eccentric Mark Steun’s BROADWAY BABIES SAY GOODNIGHT: MUSICALS THEN AND NOW.
THE GREAT LEAP at CPH is a slam dunk! |
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Nikkole Slater, BREAKOUT SESSION (OR FROGORSE), was commissioned in 2020 by CPT, with funding from the National New Play Network (NNPN). It was the intention of funding to have the author write a play that cast a spotlight on racism, bias and violence. Her goal was to ask, “Can a society legislate a change of heart?” It was “inspired by Cleveland’s Consent Decree with the U.S. Department of Justice, which required the Police Department to go through anti-bias training.”
It is as relevant today as it was several years ago. Maybe more, as the controversy over the Cleveland decree is still in the headlines.
Director Beth Wood, contended back then that “This play is about blind spots due to our unconscious bias.” She went on to state, “We all have blind spots and we must interrupt them—but how? How do we know when our automatic associations are hurting other people?”
Raymond Bobgan, the theatre’s Executive Artistic Director, at the original opening stated, “To believe another’s perspective, there must be trust. How can we build two-way bridges of trust between us with all of our history—with all that’s happening in the present? Can society legislate a change of heart? Can we mandate cultural change?”
He went on to state, “Theatre nurtures a hunger for connection and has the potential for greatness when it deals with complexity.”
Those views set high levels of anticipation for BREAKOUT SESSION (OR FROGORSE to be a mind-shattering, new and insightful experience.
As I said in my original review, “In spite of a nicely honed production, the over-all effect is unfortunately, not that impactful.”
I had hoped that the revival would be improved and be more meaningful than the original rendering.
In the play, we find ourselves in a training session with three Cleveland police people, an African American male and female and a Hispanic male. The session is conducted by a training firm that has hired a Caucasian, with an acting degree, who is supposed to follow a preset lecture/power point presentation. She fails to hold the attention of the trio, so she diverts from the research-oriented, statistic-centric format, much to the consternation of her female African American supervisor.
Conflicts over teaching style, experiential role-plays and activities, and interjections by a “bat scientist,” “mantis shrimp,” “crocodile magician” and “catfish comedian,” are intended to highlight the author’s “Bias Bubble” diagram.
The Bias Bubble concept centers on our conscious experiences leading us to social psychological perceptions that we make unconscious associations that lead to judgements, prejudices and beliefs, which evolve into ideas which evoke actions.
Frogorse centers on the concept that two people can see the same incident, or piece of art, and perceive different things. A drawing of a horse may be perceived as a turtle, depending on the angle at which we see it or our pre-conceived attitudes.
Nikkole Salter’s use of the concept source of bias is not unique. The idea is commonly espoused in social science literature and been musically expressed in “You’ve Got to Be Carefully Taught” in SOUTH PACIFIC and “Everyone’s a Little Bit Racist” in AVENUE Q.
I wish I could say that Salter has added some new dialogue to the stage in his edit of BREAKOUT SESSION (OR FROGORSE), but she hasn’t.
The use of real incidents that led to the consent decree, the showing clearly how the biases develop through actual examples, the effective use of the teaching model to make the audience think of their own experiences, and a plan of action to actually help the police, all would have helped make the experience more meaningful.
As for CPT’s production. The cast (Jess Moore, Nicole Sumlin, Joshua McElroy, Tina D. Stump, Joey Florez Jr. and Troian Soo) puts out full effort and are all very believable in their roles.
Beth Wood, doing double duty as director and actress, is outstanding as Sara, the well-meaning but ill-equipped trainer, the white workshop leader, with wonderful intentions, but poor understanding of the reality of prejudice.
As the director she keeps the action zipping along and gets all she can from the problematic script.
The technical aspects, especially the electronic media effects, are well-conceived. Inda Blatch-Gelb’s mantis shrimp costume is outstanding.
Capsule judgement: BREAKOUT SESSION (OR FROGORSE) has an important purpose with lofty goals. Unfortunately, the play’s format and development do not satisfy the need to truly explain, “something is not working, people” and teach the reality of the “Bias Bubble.” I wish that the director had taken the comments from reviews of the first staging and made the necessary changes to make the follow-up performance more meaningful. Both CPT and Salter wasted a marvelous opportunity to make this a really important play! So sad, such a wasted opportunity.
BREAKOUT SESSION (OR FROGORSE), runs through November 12, 2022. For tickets call 216-631-2727 or go on line to http://www.cptonline.org/.
INSURRECTION: HOLDING HISTORY less than it should be at Con-Con Roy Berko (Cleveland Critics Circle, American Theatre Critics Association) Is it true that in order to understand your present, you must understand your past? If you understand the past, and could insert yourself into the events happening, could you change your present? Could you actually change the course of history? Those and other esoteric questions are at the base of Robert O’Hara’s INSURRECION: HOLDING HISTORY, now on stage at convergence-continuum. The plot centers on Ron, a gay, black student, who attends a family reunion to celebrate his great-great-grandfather T.J.’s 189th birthday. Despite the fact that T.J. can’t move, hear, or speak, T.J., given voice by a spirit of a relative, long dead, convinces Ron to take him back to his old home in Virginia. Fracturing the space-time continuum, they arrive on the eve of Nat Turner’s doomed 1831 uprising. Encouraged by the facts of the historical rebellion, the desperation of the slaves that encouraged them to face certain death with little chance of success, and the historical pattern of being gay, Ron gains a grasp of his past. This leads him to an understanding of his present, and that how the authenticity of history unfolds depends on the perception of the storyteller. He realizes that his frustration with his thesis is based on the concept that his writing will only make sense when he accepts that he is the product of his history. Jeannine Gaskin, the director of the play, did not seem to grasp the concept of the satire in the script, and staged the show as a realistic drama. This was unfortunate as that approach eliminated the whimsy and creative writing that was described by one critic of a previous staging as “remarkably exciting, deeply provocative, [and] comically profound.” There was no humor in the cc production, thus fracturing much of O’Hara’s writing and seemingly confounding the audience, thus making for a long sit. The cast, which featured Andrew Pope, Chelsea Anderson, Isaiah Betts, Kadijah Wing, Laprise Johnson, Matthew Raybeam, Mike Frye, Sydney Smith, and Wesley Allen, put out full effort. Capsule judgment: Insurrection, will confound many, satisfy some, gets a less than effective production at con-con. Insurrection: Holding History opened Friday, October 14 and runs Thu-Sat at 8 p.m. through November 5, at convergence-continuum’s Liminis Theater, 2438 Scranton Rd., Cleveland. Tickets and information are available at www.convergence-continuum.org and 216-687-0074. | ||
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THE CURIOUS INCIDENT is well-conceived at Beck, but… The director states, “Working with this gifted Neuro-diverse actor, Maurice Kimball, has been an unfolding, surprising revelation for me, as a director. He continues, “Maurice quietly teaches me more and more each day of rehearsal. He informs the telling of this bountiful story. The rehearsal process challenges me every day and I'm as intimidated as I am excited to walk into that rehearsal tonight and learn how to tell this story of surviving life from his uniquely different, deeply human perspective.” | ||
Bruce Norris’s Clybourne Park is now on stage as the opening play in Ensemble Theatre’s debut year in its residency at Notre Dame College. The play highlights racial, sexual and gender attitudes. It won both the 2011 Pulitzer Prize for Drama and the 2012 Tony Award for Best Play. Clybourne Park is a follow-up to Lorraine Hansberry’s Raisin in the Sun, which looks at a house in a fictional Chicago urban area, before and after the Younger family moved in to it. Hansberry’s play, titled after Cleveland poet Langston Hughes’ “Dream Deferred,” was the first script by a Black woman to be produced on Broadway. It starred Sidney Poitier, Cleveland native Ruby Dee, Louis Gassett, and Claudia McNeil as Lena “Mama” Younger, the woman of the family, who decides to invest the payment from her dead husband’s insurance into the purchase of a house in Chicago’s all-white Clybourne Park neighborhood in order to allow the family to have a better life. The play won the 1969 Tony Award for best play. Raisin in the Sun was based, in part, on Hansberry v. Lee (1940), a real court case that centered on a class action suit by Lorraine’s father and the NAACP against Chicago’s restrictive covenants against Blacks living in certain areas of the city. Hansberry wrote of the situation and the lawsuit: “That fight also required our family to occupy disputed property in a hellishly hostile ‘white neighborhood’ in which literally howling mobs surrounded our house. ... My memories of this ‘correct’ way of fighting white supremacy in America include being spat at, cursed and pummeled in the daily trek to and from school. And I also remember my desperate and courageous mother, patrolling our household all night with a loaded German Luger (pistol), doggedly guarding her four children, while my father fought the respectable part of the battle in the Washington court." Norris, who is white, portrays fictional events, based on his imagination of what happened when, after the Clybourne Park neighborhood became almost all black due to white flight, and then later became an “in-place” for young white “liberal” families to buy and restore, or wreck and replace properties in the now gentrified area, complete with a Whole Foods. Clybourne Park introduces Bev and Russ, who are in the process of packing to move out of their recently sold home in Chicago’s Clybourne Park neighborhood in September, 1959. The house is filled with negative memories. Kenneth, their son, a depressed Korean War vet, who was accused of slaughtering civilians, hung himself in the home’s attic. The neighbors, rather than befriending the couple, shuns them. In Raisin in the Sun, when the neighborhood association finds out that the house at 406 Clybourne Street has been sold to “negroes,” in order to “save the community’s property values” because of extrapolated Black in-flight, the association sends Karl Lindner to attempt to bribe the Youngers to not move into “their” neighborhood. The pay-off is rejected. In Clybourne Park, about an hour after Lindner went to the Younger family’s apartment, he comes to the Clybourne Street house to plead with Bev and Russ to consider the neighbors and the property values and cancel the sale. Conversations reveal that Bev and Russ turned over the sale to a realty company, so they did not know anything about who bought the house. They refuse to revoke the sale to the Youngers. Arguments, the history of Bev and Russ’s conflicts with the neighbors and their need to move, ensue. Their black housekeeper and her husband, who has come to take her home from work, become involved, when a trunk containing Kenneth’s mementos, which was buried in the backyard, are unearthed. This lays the foundation for the riveting second act. The setting for the second act of the play is exactly fifty years later in the same 406 Clybourne Street house as the first act. Now it is dilapidated. Present are an African American couple, the wife, who we find out is the great niece of Lena “Mama” Younger, a young white couple who are planning to demolish the house and building a grand new house on the property, and several lawyers. There is underlying tension. The planned replacement house doesn’t fit the building code requirements, and there are problems over the wording of the deed, but, most importantly, there are unspoken issues. After much running around in verbal circles, racial, gender and sexual orientation issues emerge, full blast. Offensive jokes, accusations, and insults abound. What hasn’t been said, is now vividly addressed. During the mayhem, a workman, who is preparing the ground for the excavation for the new house’s foundation, enters. He brings in the buried trunk, which is eventually opened. The contents lead to the emotional climax of the play. The play’s humor and pathos are nicely refined. The cast (Brian Pedaci, Mary Werntz, Jailyn Sherell Harris, Christian Achkar, Nnamdi Okpala, Dan Zalevsky and Hannah Storch), except for some projection issues by several performers, are on target. They generally don’t act; they realistically are the person they are representing. In the past, Ensemble has been noted, and received awards for their use of electronic media to create proper illusions. It is too bad that they didn’t use their skills to better represent the house as it transforms from a nice facility in act one to a run-down hovel seen in act two. We needed to see the ripped wallpaper, boarded up windows and wooden floor streaked with water stains, not a map of the area. That visual effect would have helped complement and complete this strong production. CAPSULE JUDGMENT: Clybourne Park is a unique evening of theater. The Pulitzer Prize play is well written and relevant. The production is basically well-conceived by director Celeste Consentino. This is a go see production! Clybourne Park runs through October 9. For tickets call 216-321-2930 or go to https://www.ensembletheatrecle.org/ Special note: After many years in the former Coventry Elementary School in Cleveland Heights, has emerged from the pandemic as the resident theatre partner of Notre Dame College, located in the Performer Arts Center of the campus located at 4545 College Road in South Euclid. There is free parking in a lighted lot, adjacent to the theatre entrance. | ||
Acting: | |
The Wall | The Fifth Season |
Black Chiffon | The Sold Gold Cadillac |
The Torchbearers | You Can't Take it With You |
Cheaper by the Dozen | Snow White and The Seven Dwarfs |
Picnic (Twice) | This Property is Condemned |
Our Town (Twice) | The Cold Wind and the Warm |
Special Guest | Tony n' Tina's Wedding |
Directing: | |
Carousel (Twice) | Annie Get Your Gun (Twice) |
The Rape of the Belt | Thurber Carnival |
Special Guest (Twice) | The Owl and thr Pussycat |
The Apple Tree | Aria De Capa |
Subway Circus (Premiere) | Solid Gold Cadillac (Twice) |
Picnic | Fantastics (Twice) |
The Property is Condemned | You're a Good Man Charlie Brown |
Fiddler on the Roof | Godspell (Twice) |
Annie | Far From The Value of Green |
Pippin | Our Town |
Butterflies are Free | Vanities |
Music Man | Man in The Moon Marigolds |
Joseph and His Amazing Technicolor Dreamcoat | I Never Saw Another Butterfly |
Commercials and Print | |
Coca-Cola | Penney's |
Wyse men's Store | Pease for Congress |
First Alert | Gleem Toothpaste Hospice of the Western Reserve |
Cleveland Indians | |
Films: | |
The Christmas Story | American Splendor |
Media: •Broadwayworld.com--Theater reviewer | |
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Berko, Roy, Andrew Wolvin and Darlyn Wolvin. COMMUNICATING: A SOCIAL AND CAREER FOCUS, 1st, 2nd, 3rd, 4th, 5th, 6th, 7th, 8th, 9th, 10th eds. (Boston, MA: Houghton Mifflin).
Wolvin, Andrew, Roy Berko, Darlyn Wolvin, THE PUBLIC SPEAKER/THE PUBLIC LISTENER, 2ND EDITION (Los Angeles: Roxbury Press), 1999
Wolvin, Andrew, Roy Berko, Darlyn Wolvin, INSTRUCTOR’S MANUAL, THE PUBLIC SPEAKER/THE PUBLIC LISTENER, 2ND EDITION (Los Angeles: Roxbury Press), 1999
Berko, Roy and Linda Webster, “Assessment: What is it: Why do we need it? How do we use it?” Popular Measurement (Spring, 1998), pp. 43-44.
Berko, Roy, Sherwyn Morreale, Pamela Cooper and Carolyn Perry,”Communication Standards and Competencies for Kindergarten through Grade 12: The Role of the National Communication Association, Communication Education Volume 47, #2, April, 1998.
Berko, Roy and Linda Webster, “Assessment: What is it? Why do we need it? How do we use it?,” Popular Measurement, Journal of the Institute for Objective Measurement, Volume 1, #1, April 1998.
Roy Berko, Andrew Wolvin, Rebecca Ray, BUSINESS COMMUNICATION IN A CHANGING WORLD (New York: St. Martin’s Press), 1997.
Roy Berko and Joan Aitken, INSTRUCTOR’S MANUAL FOR BUSINESS COMMUNICATION IN A CHANGING WORLD (New York: St. Martin’s Press), 1997.
Roy Berko, Lawrence Rosenfeld, and Larry Samovar, CONNECTING: A CULTURE-SENSITIVE APPROACH TO INTERPERSONAL COMMUNICATION COMPETENCY 2nd ed., (Glenview, Illinois: Scott Foresman), 1997.
Joan Aitken and Roy Berko, INSTRUCTOR’S MANUAL FOR CONNECTING: A CULTURE SENSITIVE APPROACH TO INTERPERSONAL COMMUNICATION COMPETENCY 2nd ed., (Glenview, Illinois: Scott Foresman), 1997.
Berko, Roy and Megan Brooks, Pathways To Careers In Communication, 4th ed. (Annandale, VA: Speech Communication Association), 1995.
Berko, Roy, INCREASING ORAL COMMUNICATION (SPEAKING AND LISTENING) ACHIEVEMENT IN GRADES K-12 (Annandale, VA: Speech Communication Association), 1994.
Berko, Roy, Lawrence Rosenfeld and Larry Samovar, CONNECTING: A CULTURE-SENSITIVE APPROACH TO INTERPERSONAL COMMUNICATION COMPETENCY (Ft. Worth, TX: Harcourt Brace), 1994.
Aitken, Joan and Roy Berko, INSTRUCTOR’S MANUAL, CONNECTING: A CULTURE-SENSITIVE APPROACH TO INTERPERSONAL COMMUNICATION COMPETENCY (Ft. Worth, TX: Harcourt Brace), 1994
Berko, Roy, ed., SPEAKING AND LISTENING COMPETENCIES FOR ELEMENTARY THROUGH HIGH SCHOOLS (Annandale, VA: Speech Communication Association), 1994.
Berko, Roy and Megan Brooks, GRADUATE DIRECTORY OF SPEECH COMMUNICATION, (Annandale, VA: Speech Communication Association) , 1994.
Berko, Roy and Megan Brooks, eds., RATIONALE KIT: INFORMATION SUPPORTING THE SPEECH COMMUNICATION DISCIPLINE AND IT’S PROGRAMS, (Annandale, VA: Speech Communication Association), 1994.
Berko, Roy and Megan Brooks, ed., CONSULTING AND PROGRAM ASSESSMENT SERVICE (Annandale, VA: Speech Communication Association), 1994, 1993.
Berko Roy, Andrew Wolvin, Darlyn Wolvin, THE PUBLIC SPEAKER/THE PUBLIC LISTENER (Boston, MA: Houghton Mifflin), 1993.
Berko Roy, Andrew Wolvin, Darlyn Wolvin, INSTRUCTOR’S MANUAL, THE PUBLIC SPEAKER/THE PUBLIC LISTENER (Boston, MA: Houghton Mifflin), 1993.
Berko, Roy and Megan Brooks, eds., BOOKS AND SUPPLEMENTAL MATERIALS IN COMMUNICATION, (Annandale, VA: Speech Communication Association), 1993.
Rosenfeld, Lawrence and Roy Berko, COMMUNICATING WITH COMPETENCY (Glenview, Illinois: Scott Foresman), 1990.
Rosenfeld, Lawrence and Roy Berko, COMMUNICATING WITH COMPETENCY, Instructor's Manual and Test Bank (Glenview, Illinois: Scott Foresman), 1990.
Berko, Roy, Andrew Wolvin, Ray Curtis, THIS BUSINESS OF COMMUNICATING, 1st, 2nd, 3rd, 4th, 5th eds, (Dubuque, Iowa: Wm. C. Brown).
Berko, Roy, Andrew Wolvin, Ray Curtis, INSTRUCTOR'S MANUAL, THIS BUSINESS OF COMMUNICATING, 1st, 2nd, 3rd, 4th, 5th eds, (Dubuque, Iowa: Wm. C. Brown).
Berko, Roy, Fran Bostwick, Maria Miller. BASICALLY COMMUNICATING: AN ACTIVITY APPROACH, 1st, 2nd ed. (Dubuque, Iowa: William C. Brown, 1989).
EDUCATION IN THE 80'. (Washington, D. C.: National Education Association, 1981). "Chapter 3."
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