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Robb Pruitt, Chairman 1990 - 1991

I was the first chairman of the board of the Florida Project. Up until that point there
was a president -- and only one -- in the person of Marc Ashmore. The reorganization
of the Project came from growing pains and a need to involve more people in overseeing
the many projects that were going on. Back then, there wasn't only a newsletter and an annual party, but a showcase, a playreading series, and different casting and acting workshops. Therefore, we needed to put board members directly in charge of each
of the endeavors the Project was supporting. Up until then, it was solely up to the membership to form a committee to undertake them.

The scene showcase was probably the most important thing we did back then, as it
not only drew an average of a dozen agents and casting directors a year to see some
of our members perform, but it was at that time the only way we could produce a show
in New York and equitably represent the membership. The offer was that if you wanted
to be in the showcase you signed up, helped pay for it (never more than $75 per person when I was involved in it), and volunteered your services. No one was excluded as long
as they did his share. When scene showcases became out-of-vogue in the industry, there went our only producing opportunity.

Now, every year (and I'm sure every year since) there is someone in the membership
who wants to produce a play through the Florida Project, but how can you represent
all the dues payers by casting a play either here in New York or elsewhere? Someone
who is right for a part, equally talented and available to perform or work on the show
(or who wrote a show better than the one you want to do), who is a member in good standing and has paid his dues on time every year, will be excluded -- and this is
absolutely against why the Florida Project was founded and why it exists.

So, with the help of FP board members Richard Falklen and Paul Kassel, I drew up
a proposal for a Production Fund to which members of the Florida Project could apply
and receive money for a production in New York or elsewhere. The more Florida
Project members you had in the production, the more money you got. Then I went to Tallahassee and raised a little over $2,000 for it. That lasted a while and as far as I know,
no other concentrated appeal for funds, such as fund raiser, has been done to replenish it .
I do know that a number of theatre companies made up of Florida Project
members sprang up in the year or so after the Fund was established and took
advantage of the money.

Along with the re-structuring of the organization (which still exists), the re-writing of the
by-laws, and forcing Richard Falklen to run as my successor, the Production Fund is my proudest moment as a FP member.

Robb can be seen and heard on many TV and radio commercials, and currently runs his
own production company, Wolf Fang Productions.