Atlantic Foundation founder and director, Ruth Petrinovic, had been watching the Hall-Hill group for some time. Joyce and Allen were invited to create a Professional Training Theatre Division at the Atlantic Foundation within days of their departure from Dillard. The move was like a dream. There would be no more public school (school board) interference from administrators who truly knew NOTHING about training for the world of show business. The dream of a real professional training school for the theatre and music oriented student was coming true.

What was not yet understood was the move from school politics to 'social' politics. A private school like the Academy, although tuition based, was largely dependent on financial support from the community. If the choice between the two, public school politics or social politics, had to be made again, the social world would win hands down. At least the society involved in supporting the foundation was interested in the performing arts.

For the Theatre Academy (those students majoring in theatre and attending high school full time at the Foundation), the triple wammy (acting, singing, dance) was finally a reality. I think the dance majors and the theatre majors really enjoyed 'looking at each other'. By this time, the dynamics of the Hall-Hill dream had grown to a 'serious' level. The cost, commitment, etc. necessary (for both parents and students) to attend the Academy (theatre or dance) was great enough to all but eliminate the casual attendee. Another unique feature about the theatre program was the broad age mix. There were students attending the theatre training area both out of high school, and pre-high school. In spite of the occasional social conflict with such a diverse age group, the opportunities for growth were greatly expanded.