WINTER 2021
the
trinity square Includes 2019-20 Annual Report
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THE TRINITY SQUARE • WINTER 2021
THE TRINITY SQUARE is published quarterly and distributed free of charge by Trinity Repertory Company, 201 Washington St., Providence, RI, 02903.
the trinity
(401) 521-1100 • www.trinityrep.com TRINITY REPERTORY COMPANY Curt Columbus, The Arthur P. Solomon & Sally E. Lapides Artistic Director Tom Parrish, Executive Director Kate Brandt, Director of Marketing & Communications Angela Brazil, Director of Brown/Trinity Rep MFA Programs Jordan Butterfield, Director of Education & Accessibility Jen Canole, Director of Development Michelle Cruz, Director of Community Engagement Laura Smith, Production Director Gayle Ulrich, General Manager
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WINTER 2021
in this issue 2
Greetings from Artistic Director
Curt Columbus and Executive Director Tom Parrish 3
In Case You Missed It Highlights from Recent Activities
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Upcoming Events America Too, New Play Development, Write Here! Write Now!, Brown/Trinity Rep MFA Productions, and Spring Classes
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Looking Back at A Christmas Carol Online
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What Theater Means to Me: Laura Smith and Baron Pugh
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Bond Issue to Support the Arts in Rhode Island
Printed by Print Synergy Solutions
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More Masterpieces by Young Artists
Season Sponsors
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Digging Deeper: An Ancient Greek Play Illustrates Our Need for
Kate Brandt, Editor Michael Guy, Creative Director Photography by Michelle Cruz, Neil Dixon, Alberto Genao & Mark Turek
Dramaturgy
Southwest is the Official Airline of Trinity Rep
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Community Partner Spotlight: SOAR
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Trinity Rep’s 2019-20 Annual Report
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Meet the Staff: Costume Shop Director Amanda Downing Carney
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What We’re Viewing: Television and Films Our Staff Recommends
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Many Thanks to Our Generous Donors! ON THE COVER We asked kids to create art based on the prompt, “What Theater Means to Me.” See more great art on page 9. Shown here (l to r) are drawings by Olivia Gustafson, Norton, MA, Luther Elementary School; Philip Byrnes, Dighton, MA, Dighton-Rehoboth Regional HS; Noah Brandt, Auburn, MA, Swanson Rd. Intermediate School.
Your Home for Dramatic Discoveries TRINITY REPERTORY COMPANY www.trinityrep.com • (401) 521-1100 • Box Office (401) 351-4242 201 Washington Street, Providence, RI 02903 THE TRINITY SQUARE • WINTER 2021
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FROM THE EXECUTIVE DIRECTOR WHAT A BLOCKBUSTER holiday season it was this year with A Christmas Carol Online. We knew the free production, which was created and distributed digitally as a new media production, would be popular and carry on the 43-year tradition in the absence of in-person performances, but it far surpassed even our wildest expectations. A Christmas Carol Online registered nearly 200,000 viewers in all 50 states and around the world, including 37 countries on six continents. It was particularly special because over 140,000 students around the world viewed the production as a part of their curriculum through Project Discovery, complete with a digital study guide and virtual workshops. Thanks to our partnership with the Rhode Island Foundation and Ocean State Job Lot, the production also helped raise $120,000 for the Rhode Island Community Food Bank. Thank you to the over 5,000 donors that contributed to both support the production and Trinity Rep. It was truly heartwarming to experience such incredible generosity from around the world. As we move through winter and into spring, there are additional digital and community engagement projects in the works. You can watch and participate in our new play development process, as we work on the scripts that may be brought to life on our stages after the pandemic. The Brown/Trinity Rep MFA students will also be sharing some of their work. Additionally, our community engagement department will be developing America Too: Reckoning and Resilience, collecting community stories of the past year that will be shared during a public performance later this spring. With this work still ahead, Trinity Rep staff and leadership are already deep in planning for the resumption of in-person programming, as we watch the distribution of the vaccine with hope. The organizational planning work that began this fall in equity, diversity, inclusion, and anti-racism (EDIA); facility renovation and expansion (a state bond referendum that would help fund this transformational project will be on the ballot in March); and strategic planning will ensure that when we reach the other side of the pandemic we can build Trinity Rep back as a more equitable, inclusive, and just organization for our artists, employees, and community. As a part of our EDIA work, our Board of Trustees participated in Scaffolding Change workshops in November and December. During December, we invited broad participation in an EDIA assessment survey, which will help us take actions that will allow people of all backgrounds to thrive at every level of the organization. Our consultants are also reviewing and auditing our current and past practices, as we begin to develop our anti-racism action plan, which we expect to complete in June. We are moving forward with optimism and drive, and we cannot wait to welcome the public back into our theaters when it is safe to do so. I hope you and yours had a wonderful holiday season. All of us at Trinity Repertory Company offer you our best wishes for a happy, healthy, and prosperous New Year. Thank you for making Trinity Rep a part of it. We all remain ever grateful for your involvement, support, and patronage. Stay well,
Tom Parrish Executive Director
FROM THE ARTHUR P. SOLOMON AND SALLY E. LAPIDES ARTISTIC DIRECTOR FIRST OF ALL, I NEED TO say thanks to you, our loyal Trinity Rep audience. I have had so many emails, Zoom calls, and socially distant encounters with many of you over the last months. The passion for Trinity Rep and for live theater in general has been heartwarming and emboldening. In the face of the many challenges in the year that has just passed, your love and support was pure nourishment to me and the artists who work at your theater. So thank you. We were delighted by the worldwide response to our production of A Christmas Carol Online, and particularly thrilled by the response in our very own community. It was important to me that our A Christmas Carol this year celebrate our hometown of Providence, Rhode Island… especially with the whole world watching. We have a lot to be proud about, in a state whose motto is simply “HOPE.” My hope is that everyone who watched received the gift of joy, which is what we wanted to make for you. When I say that “we” wanted to bring joy, I want to call forward some of the folks you might not otherwise know, folks who worked tirelessly to bring our A Christmas Carol to life. You saw our brilliant actors onscreen, and they are the visible face of the production. But there are many, many people without whom we could never have brought the show into your homes in December. Some are longtime Trinity Rep family, while others are newer to us, but already feel like they are invaluable. I wish I could introduce you to each and every one of them, but space is limited, so here are a few shout outs. I would like you to know that our production director of more than 20 years, Laura Smith, was indispensable in making the film that you saw happen. She learned how to produce a movie AND deal with a brand new set of union rules, all in the face of the pandemic. She even became a COVID-19 compliance officer to keep our cast and crew safe. She has been making Christmas since the summer, and it would not have happened without her. I would want to introduce you to Kristen Gibbs, who has stage managed at Trinity Rep for the 15 years of my tenure as artistic director, only to take on the new role of assistant director for our film. I could not have begun the project without Kristen’s long-range planning and daily prodding, and I could not have made it through filming without her support. And I want you to know Alberto Genoa and his brilliant team from Genoa Films, who filmed while masked, 14 feet away from any actor, or sometimes watched while the actors set up their shots in their own homes on Zoom. Without Alberto’s tireless good humor and razor sharp vision, our project would have been impossible. Our production team of designers and artisans were incredibly resilient and flexible in the face of every crazy challenge (like mailing Danny DuqueEstrada’s costumes, props, camera, and sound equipment to his home in California). Our marketing folks worked tirelessly to ensure that the audience experience was excellent, and our development department started raising funds for A Christmas Carol’s production in July, when we first announced the project. All the while, our first priority was everyone’s safety. Just one, small example of the unexpected headwinds we faced will show you the commitment of Trinity Rep’s people to bringing this story to life. It was the final day of in-person filming, and we had two more scenes with Ebenezer Scrooge before we wrapped. On our lunch break, the brilliant Joe Wilson, Jr. went home to find his beloved dog, Stella, gravely ill. There was nothing to be done, and Stella passed away that afternoon. We shut down production that day, worried as we watched the COVID-19 cases rising in Rhode Island. That night, Kristen spoke with Joe, who agreed to come continued on next page
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Curt continued from page 2 in and film the following morning, in order to get the footage we needed. The whole crew showed up early in the morning, without complaint, and when Joe arrived (through his own special entrance, for safety reasons), he said, “I thought of [former acting company member] Barbara Meek, who would have said, just show up and do your job, no matter what is happening in your life.” And then, he climbed into a casket — a casket! — to film the Ghost of Christmas Yet to Come Stave of the story. Shortly after we finished, the mayor shut down all gatherings for groups over five people. We would have been shut down, too. We came in under the wire, that close. I wish I could introduce you, personally, to all of these remarkable folks. They wanted to bring you this story so badly that they spent hours in masks and plastic face shields, doing work that normally is very hands on and up close, at a safe distance. They stood in a rainy cemetery while we did multiple takes to get everything just right, for hours and hours without complaint. It took a lot to make A Christmas Carol happen this year. But this is your theater, your Trinity Rep, and nothing means more to us than making stories for you. I wish you all a safe and healthy New Year. May you find moments of surprising joy in the months to come. And of course, I look forward to seeing you in the theater again, as soon as we possibly can.
Curt Columbus The Arthur P. Solomon and Sally E. Lapides Artistic Director
In Case You Missed It Dia de Los Muertos
Trinity Rep partnered with Rhode Island Latino Arts (RILA) and the Providence Public Library (PPL) for a Dia de Los Muertos celebration at the library on November 2. The holiday originated with the native people of Mexico and is a celebration of the lives of people who have died. Families welcome back PHOTO BY NEIL DIXON, HISTORIC NEW ENGLAND the souls of their deceased relatives by creating colorful ofrendas (altars) with their photos, flowers, and favorite foods. Trinity Rep, RILA, and PPL created an altar outside the library entrance and invited members of the community to add names and photos of their loved ones. Some participants visited briefly to leave remembrances of their loved ones while others stayed for an evening ceremony that included speakers and music from the Extraordinary Rendition Band.
Your Half Hour Call
After 18 incredible episodes between April and December, Curt’s bi-weekly Facebook Live event, Your Half Hour Call with Curt has concluded (at least for now) so that the team can focus on new digital programming. This talk show-style show featured interviews with actors, staff, and community members with clips from past productions and questions taken from the Facebook audience. All episodes can be found on our website at trinityrep.com/theshowgoeson or YouTube channel (trinityrep). Episode list: Why We Do Musical Theater Why We Love Live Theater What Theater Does That Nothing Else Can Why We Do New Plays The Towering Women of Trinity Rep A Special Message from Joe Wilson, Jr. Looking Forward Company, Community, and Education
Three Scrooges How Do you Solve a Problem Like…Shakespeare How to Prepare an Actor How the Sausage Gets Made Checking In TRAIN (our work with the autism community) Our Friends at Rhode Island Latino Arts A Salute to our Veterans Inspired Acts Making Christmas
A Christmas Carol Bonus Content
In addition to A Christmas Carol Online, which was available for viewing December 17 – January 10 (see more on page 7), we also produced bonus content that is still available. The viewer guide included family activities like a word search, recipes, and coloring pages. Our Community Sing is a virtual sing-a-long featuring videos from people throughout our community. Mermaid Masterpieces generously provided a step-by-step video for a painting inspired by the Dickens classic. All of this can be found at trinityrep.com/carol.
Public Art
In June 2020, Trinity Rep commissioned artists to continue the public-art-as-activism that appeared on plywood-covered storefronts and businesses after the Black Lives Matter protests. The protests followed the murders of George Floyd, Breonna Taylor, and many others who have yet to receive justice. Local artists Jess Brown, Angela Gonzalez, and Kendel Joseph were selected, and their work is installed at Trinity Rep on Washington St. in Providence. Jess Brown painted both Harry Belafonte and Diahann Carroll (pictured below) because “I wanted to choose subjects that have a connection to both the theater and the Black community. Both icons were groundbreakers in their industry.” Kendel Joseph painted the late United States Congressman from Georgia, John Lewis because “we’re still fighting the same today. This is a tribute to that.” Angela Gonzalez selected
Trinity Rep acting company member Joe Wilson, Jr. as her subject and cited, “Joe has been someone whom many aspiring actors and actresses look up to in the theater industry here in Providence, RI.” More photos and information about the artists and their subjects can be found at trinityrep.com/publicart. LEFT: Curt Columbus, Stephen Berenson, Brian McEleney with
Sharon & Richard Jenkins discussing what theater does that nothing else can during Your Half Hour Call. THE TRINITY SQUARE • WINTER 2021
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Upcoming Events America Too: Reckoning and Resilience
This spring, Trinity Rep will bring together the elements of Context & Conversation (our public discussion series typically centered around themes in our mainstage work) with our America Too initiative (our annual staged reading of work devised from actual stories from our community). American Too began with Trinity Rep’s participation in the Every 28 Hours Plays in 2015, a theatrical response to the events in Ferguson, Missouri. In addition to the community’s relationship to policing and racism, America Too events have also looked at immigration, housing, and health care. The culminating event of America Too each year has been a staged reading of short or full-length plays that illuminate the topic, followed by a robust audience discussion, free and open to the public. America Too: Reckoning and Resilience will begin in January with the first in a series of monthly, hour-long discussion programs online, anchored by Michelle Cruz, Christina Bevilacqua, and Joe Wilson, Jr. For more information and to register to attend, visit trinityrep.com/americatoo2021. Key Dates: February 25: It’s Our Education March 25: It’s Our People April 22: It’s Our Health May 27: (culminating event) It’s Our Art All episodes premiere at 7:30 pm.
Write Here! Write Now!
SUBMISSION DEADLINE: MARCH 14, 2021 New England high school students are invited to submit ten-minute plays to our Write Here! Write Now! student playwriting competition. The competition is free to enter and winners will have their plays performed during the Write Here! Write Now! festival in the spring and receive free tickets for their school to a future Project Discovery student matinee performance. Submitted scripts are adjudicated through a blind evaluation process by Trinity Rep education, artistic, and literary staff. Each year, four winners are selected with at least one winner from a Providence, RI high school. Resources including a Study Guide are available for teachers or students to help them prepare. For more information, visit trinityrep. com/whwn. Above is a photo from the staged reading of a 2018 winning script.
Brown/Trinity Rep MFA Projects
Brown/Trinity Rep MFA students will be showcasing their work in April with an online presentation. Eddie DeHais ’21 will direct Fear No More, a new adaptation of Shakespeare’s Cymbeline featuring third-year acting students. For details, visit trinityrep.com/mfashows.
New Play Development
Get an inside look at the creation of several new plays as we open a window into the process this winter and spring with a new online series, The Writer’s Room. Each of the plays featured in this series is at a different stage in its development and each playwright takes a different approach to writing and workshopping their work. The lineup of plays and playwrights is currently being finalized but you can expect to get an early look at Don Quixote, which will be the next Teatro en El Verano production with director and creator Marcel Mascaró and the cast of the show. You may also see the work of Orlando Hernández, who will be working on his adaptation of Marta V. Martínez’s oral history project, Nuestras Raices, for the stage. Other projects will be added as we progress through the spring. Check out trinityrep.com/newplays for more information.
Spring Classes
Trinity Rep’s classes for adults and kids in grades K-12 offer the chance to stretch creative muscles, make connections with peers, and explore theater from an entirely new angle. Adult classes include play reading and discussion groups and an introduction to acting. Kids will explore the tools of an actor — using their voices, body, teamwork, and imagination. For details and registration, visit trinityrep. com/learn.
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rinity Rep’s production of A Christmas Carol Online this past December and January was a huge hit, embraced by viewers and educators around the world, with nearly 200,000 people watching in more than 30,000 homes or schools. Here are just some of the numbers and pictures that tell that story (more pictures on back cover).
round the World A 50 US States 3 US Territories 37 Countries 6 Continents
In Homes 27,284 Households 56,756 Viewers
In Schools 1,102 Schools 140,555 Viewers 45 US States 7 Countries 1,314 Views of workshop video 256 Project Discovery performances that would be necessary to accommodate those students
“Mr. Scrooge, how much can we put you down for?” 5,014 Total donors $120,000 Raised for RI Community Food Bank 3 WEEKS To meet matching goals for Food Bank
Bonus Content 60 Community Sing participants (pictured left) 589 Community Sing views 335 Sensory-Friendly introduction video views 2,654 Making Christmas video views PICTURED ABOVE, L TO R: Joe Wilson, Jr. as Ebenezer Scrooge;
Rebecca Gibel & Rachael Warren as Solicitors for the Poor; Alberto Genao, director of photography THE TRINITY SQUARE • WINTER 2021
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WHAT THEATER MEANS TO ME By Baron Pugh
I remember the first theatrical performance I ever saw. I was about 10 or 12, living in Virginia, and my middle school took us to see Little Shop of Horrors. And I remember sitting in that dark auditorium with the giant Audrey II puppet and all the actors bursting into song… I absolutely hated it; I didn’t understand it; I didn’t WANT to understand it. So of course, I would never step foot into a theater again, right? Well, since you are reading this in a theater company’s magazine, I’m sure you know the answer to that question. What I would come to learn is that theater is an experience, and one that you must be willing to fully give yourself into in order to enjoy. At such a young age, it was difficult for me to appreciate that experience, but as I got older, my appreciation for, and understanding of theater grew. I break the theatrical experience down into two elements: the audience and their reactions, and the play itself. The audience you are with will impact how you take in a performance. Of course, you tend to have the person who unwraps candy right behind you, or the person who didn’t turn off their phone, or even the person who keeps getting up to go to the bathroom. Those will generally color your experience and enjoyment in a negative way. But the ones that are exciting to me and worthwhile, are the moments where the entire audience gasps at the same time, applaud at the same time, and my personal favorite, when someone is so moved or impacted by a moment that they can’t help but to vocally respond. I know many may find that last one a distraction, but how is that any different from other collective responses you may have? For me, it says that that person is so connected with what is happening on stage, that they NEED to say something, like people who respond to the TV when their team’s quarterback gets sacked or when the wide receiver misses a perfectly good pass. The play itself, whether a drama, period piece, comedy, or musical, is just a story at its core. But the term ‘story’ can often lead people to think of it as fictional and irrelevant to their life experiences. Stories are much more than that, though. In the early ages of theater, plays explained history, tradition, creation. They were stories that revealed to the audience important life lessons. Today’s plays do the same. I often say that a play is a reflection of what is going on either in your life or the world around you. And though a play may have been written during an earlier time period, don’t assume that the life lessons will be dated. Instead, a story written in a different era takes on new and different meaning in the present. Take for example, Arthur Miller’s Death of a Salesman (1949). Through Willy Loman, the play addresses identity and the inability to accept change, and how that impacts a person and their relationships. 1940’s America is quite different from today, and though Miller’s story hasn’t changed, today’s audiences bring with them current events of a world pandemic, social injustice, and other global and economic impacts that change how we perceive the play and its characters. To explain what theater means to me, I felt it important to mention the above as it explains my simply written answer. To me, theater means, and is all about, life experiences. Theater allows us that peek under the rug, to look in the mirror and face the good and the bad within ourselves 8
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By Laura Smith
I was asked to write about what theater means or, more specifically, “what theater means to me.” As I sit and reflect on my career, I realize it has meant so many different things depending on my age and what was going on in my life at the time. At first, it was an escape; a place where I could leave the world behind and not have to be a certain way. I started getting serious about theater in college when I was struggling with my sexual identity. I grew up in the South, which was not an awesome place to realize you are gay. I loved how I could lose myself inside a theater. Once my professional career started, it became a job. As a young stage manager, I was constantly looking for the next gig in the next town in order to make money. During that time, my life, what there was of it, fit nicely in a large rolling duffel bag. It is truly amazing how much you can get into one bag! I could totally have a side business packing other people’s suitcases or car trunks before they leave on vacation. When I found my way to Trinity Repertory Company in 1996, theater became a career. A crazy, stress-filled, fabulous career of producing playafter-play-after-play all at one theater. A career in which you produced really good, not so great, and sometimes really bad theater mixed in with a couple of “I will never forget working on that” life-altering pieces of theater. A career that afforded me all those adult things. Health insurance. A car. A house. These things may seem basic, but trust me, these are things most people in the arts never have and that must change, and yes, that is for a whole other article. The most important thing that theater became for me was an outlet for empathy. The theater gives me a place to release it, to explore it, to grow from it, to empower it, and if we get it right, to gift it. You truly want to make the world a better place. How incredible might it be if experiencing theater, seeing plays written by August Wilson, Jackie Sibblies Drury, Larissa FastHorse, William S. Yellow Robe, Jr., Paula Vogel, Susan Lori-Parks were mandatory for school kids. How wonderful would it be to allow children to watch a play for two hours and see life from the eyes of someone who doesn’t look like them or speak like them. A play about a different kind of life, a different kind of culture, a different side of history, thus allowing them to open their eyes and to learn to be more accepting and empathetic towards others. What kind of world would it be if everyone could answer the question, “What has theater meant to you?” —Laura Smith has been at Trinity Rep since 1996 and currently serves as the director of production. and within society. It allows us to evaluate the choices we make in life and better the world we live in. By the way, Little Shop of Horrors grew to be one of my all-time favorite shows. —Baron Pugh is Trinity Rep’s box office manager and a scenic designer whose recent work includes productions at Trinity Rep (Radio Golf), and at theaters around the region and country.
WHAT Rhode Island Bond DOES Vote on March 2 on Question 6 will support THEATER Yes MEAN TO Trinity Rep, other arts organizations YOU? On March 2, 2021, Rhode Island voters will decide on seven bond issues. Question 6 would authorize the state to issue $7 million in bonds that would directly benefit arts, cultural, and historic preservation organizations in the state, including Trinity Rep, creating jobs and providing much needed support for capital improvement projects. Passage of the Rhode Island Cultural Arts and State Preservation Grant Programs Bond Measure will provide capital funding of $2.5 million to Trinity Rep, $1.5 million to the Rhode Island Philharmonic, $2 million for a competitive grant pool administered by the Rhode Island State Council on the Arts, and $1 million for a competitive grant pool administered by the Rhode Island Historical Preservation and Heritage Commission. Approval of this bond issue will allow the state to build on the successes of the Creative and Cultural Economy Bond, which was approved by Rhode Island voters in 2014. The $35 million in general obligation bonds funded 69 capital
improvement projects associated with public and nonprofit facilities, which benefitted 1.7 million individuals, including 408,261 children and 19,545 artists. In total, Rhode Island’s investment resulted in almost $90 million in project spending, a nearly 3:1 return on investment. Trinity Rep would use the $2.5 million from this bond measure toward a major renovation and expansion of its 100+ year old home, the Lederer Theater Center. The historic 1917 building (65,000 square feet) needs extensive renovations to transform from a World War I-era theater to a fully accessible 21st-century educational and community center. Renovating this space, which has been in the planning phase since 2017, will both support dynamic, world class dramatic experiences and add the flexibility to host even more diverse programs, events, classes, and convenings that are accessible to a broader community. The project would take Trinity Rep and the arts and educational community it supports to the next level: new revenue opportunities, enhanced artistic capabilities, physical accessibility, operational efficiencies, lower overhead, improved health and safety, added community and educational space, and new audience amenities. To check your voter registration, or find your polling place, information about early voting, or absentee voting, please visit vote.sos.ri.gov. To learn more about Question 6’s potential impact on the arts community, visit www.yeson6-ri.com.
WHAT THEATER MEANS TO ME 2
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More amazing drawings by young theatergoers from Southern New England 4
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6 1 Gavin Brillhart, Coventry, RI, The Greene School; 2 Harper Gray, Providence, RI, Gordon School; 3 Bella Brancato, Bellingham, MA, Benjamin Franklin Classical Charter Public School; 4 Gabriella DeFusco, Scituate, RI, No. Scituate Elementary School; 5 Briany Encarnacion, Providence, RI, PCTA High School; 6 Hazel Bradley, Bristol, RI, Kickemuit Middle School; 7 Cooper Brandt, Auburn, MA, Swanson Rd. Intermediate School; 8 Willa Nelson, Providence, RI, Gordon School; 9 Molly Rabinow, Cranston, RI, Moses Brown
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Digging Deeper: An Ancient Greek Play Illustrates Why We Need
Dramaturgy by Curt Columbus
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ne evening, late last fall, I sat in a virtual classroom full of military veterans. I had been asked to talk about Greek theater, as a part of our ongoing collaboration with the Providence Clemente Veterans’ Initiative. We were discussing scenes from Sophocles’ Ajax; a difficult play, even for seasoned theater makers, let alone for a group of folks who didn’t frequent Trinity Rep more than once a year. What could this 2,000-year-old play possibly have to say to people who had served in American wars for the last 50 years, from Vietnam to Afghanistan? What could I add that would deepen their 10
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experience of this play? In order to begin work on any play, we first need to understand its cultural context. Simply reading a play will give some important information, but to really understand what is actually happening, one needs to do extensive research into the world that gave birth to that play in the first place. Contemporary plays are informed by our lived context, and while we may need to do research into specific aspects of a particular play, we know the broader context intuitively. For example, we might need to research aspects of the movie industry for a production, but we still know what contemporary Los Angeles is like, or how people
PICTURED ABOVE: An Attic red-figure column krater, ca. 480 BCE, depicting a Greek chorus, Antikenmuseum und Sammlung Ludwig, Basel, Switzerland PICTURED ON PREVIOUS PAGE:
The theater at Epidauros, Greece, photo courtesy Fingalo/Creative Commons; a detail from the handle of the Francois Vase (570-565 BCE), an Attic black-figure vase depicting Ajax carrying the body of Achilles during the Trojan War, photo courtesy Archaeological Museum, Florence, Italy/Creative Commons
behave there, or what the broader social behaviors dictate for the actors creating characters. With a play that is centuries old, none of those easy assumptions are available to us. This research, called dramaturgy in the theater, is a fundamental part of the larger process that brings a play to the stage. Good dramaturgy informs choices for costume, scenery, and all of the many aspects of the physical production. It informs the process that actors undertake to uncover the actions and the motivations of the characters, as well as what is important for the audience to understand as they experience the play. It also tells us what is not useful in making the play come to life. So here are some of the things that the dramaturgy of Ajax, and Greek theater in general, illuminates for us: First of all, ancient Greek plays come from a cultural context that is utterly remote from our contemporary world. In addition, we often arrive at our reading of these plays with false preconceptions. For the last several centuries, the popular imagination has painted a picture of ancient Greece as an idyllic, civilized place, with people wandering through white columns in long, white togas. The period in which these plays were written was a far cry from that. Athens at the time was just emerging from a long, violent, tribal period, one that was marked by endless wars with other cities in Greece, as well as throughout the region. These plays were originally staged as a part of the festival of Dionysus, which lasted for days and was marked by intense debauchery and drunkenness. Dionysus is the god of wine, after all.
Dramaturgical research may allow us to enter the reading at a deeper level, but it is ultimately the audience and their willingness to take the journey of the play that brings it to life. We see plays today in quiet darkness, in small rooms of no more than a couple thousand people (and that is a big theater these days). Greek plays were staged in huge, outdoor auditoria that seated thousands of people, all of the male citizens of a particular city. And the Dionysian celebrations did not stop when the plays began; feasting, drinking, and other forms of, ahem, revelry took place while the plays were happening onstage. (The only women who were allowed to enter the theaters were prostitutes, who were there to work…) The plays were staged with few scenic elements, but with elaborate costumes. Actors wore huge cloth masks and thick soled sandals, called kothornoi, in order to be seen in such a
large space. They were truly larger than life, a detail we forget when we only read the text of the plays. In addition to the actors on the main part of the stage, there was also a chorus of young men (as I mentioned before, women were not allowed in the theaters) who performed in front of the stage. They danced and sang their roles, with choreographed movements and ritualistic gestures, often in bright, colorful costumes. In many ways, Greek plays in performance were much more like a halftime show at the Super Bowl than the theater we practice in our small, interior spaces today. This chorus acted as an intermediary for the large crowd, often helping focus their attention and deepening their experience of the story. What is fascinating about the chorus, is that they were drawn from young, local soldiers in the city’s standing army. Unlike the actors or the playwrights, they literally represented the citizens who were watching them. They were the “home team,” so to speak, whose presence increased the audience’s willingness to pay attention (like parents at a fourth grade play do these days). They also had served their city in its struggles, which added to their appeal. Indeed, the theater was filled with veterans in Athens of the fifth century. Aeschylus, the first, great Athenian playwright, had been a foot soldier in the Persian Wars. His play, The Persians, is remarkable in that it is written from the perspective of the vanquished Persians, not that of his victorious Greeks. Sophocles, the second great Athenian playwright, was a general in the city’s army. His depictions of military men and their conflicts are informed by real life experience, which is visible in the plays, even today. And that leads us back to the veterans in that virtual classroom…. While this historical backdrop may have confirmed what they had felt, the folks involved in this class felt the reality of Ajax and his struggles. For those who don’t know the play (and very few people do, it is almost never performed in our time), Ajax is one of the main heroes of the Trojan War. He is a towering linebacker of a figure who saves the Greeks time and again from defeat. He lays claim to Achilles’ armor, only to be tricked out of it by sly, silver-tongued Odysseus. As a result, Ajax “goes mad” and, in spite of the pleading of his concubine, Tecmessa, he commits suicide. As you might have guessed, the title character and his mental health struggles needed no explanation to these lifelong students. They talked about “moral injury” as a component of all armed conflict, and how Ajax had suffered these invisible wounds, not only as a soldier but through the questionable actions of his command. They brought forward the terrible impact on Tecmessa, the spouse who is damaged by the actions of the wounded soldier. They talked about so many nuances and complexities that anyone listening would have thought that we were reading a play written in the last six months, not 2,500 years ago. The cultural context of the play and its many differences from today presented no obstacle to this eager, experienced audience in the class. This, of course, is the potential of delving into a good play. Dramaturgical research may allow us to enter the reading at a deeper level, but it is ultimately the audience and their willingness to take the journey of the play that brings it to life. It is also the power of great drama that it can live for centuries and still feel present tense when it is unpacked and performed by diligent readers. It is why we go to the theater, why we crave it now when we can’t have it, and why it will survive as long as there are humans gathered around a good story. THE TRINITY SQUARE • WINTER 2021
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THE TRINITY SQUARE • WINTER 2021
MAGGIE MASON & BRIAN McELENEY, A CHRISTMAS CAROL, 2016 PHOTO BY MARK TUREK
COMMUNITY PARTNER SPOTLIGHT
W
e are proud to count among our community partners SOAR — Sisters Overcoming Abusive Relationships. This grassroots task force of the Rhode Island Coalition Against Domestic Violence was established in 1989 and is made up of more than 100 domestic violence survivors who are dedicated to using their voices and experiences to end domestic violence. They address the root causes of domestic violence and the systemic and societal issues that affect victims of domestic violence and their children. Their work includes legislative advocacy, raising public awareness, and working with individual members to develop their leadership skills. Trinity Rep first started working with SOAR in 2012 when they approached us about creating a play written and performed by their members. Trinity Rep education staff led 16 survivors using prompts and theater activities to write a play. Following a process of script development and rehearsal, their play was performed in the Dowling Theater. The following year, Director of Education Jordan Butterfield restaged the play with many of the original writers/survivors, plus a few new members. The play was also adapted into a four-person version that traveled to schools and colleges. Trinity Rep and SOAR continued to remount the play each October for Domestic Violence Awareness month through 2016. The stories shared in the play and the process of developing and staging it inspired the latest phase of our partnership. We are starting the process to create a multi-media tool, sharing the stories of survivors’ experiences to educate audiences. SOAR members also provided important perspective and consultation on A Lie of the Mind (2014) and Like Sheep to Water, or Fuente Ovejuna (2017), two productions that included elements of domestic violence, violence against women, and rape. The women of SOAR also brought great joy to our 2017 production of A
SOAR Christmas Carol which featured a different community group onstage as part of each performance. SOAR members and their children made up one of the largest groups of community performers that year! We applaud SOAR’s tremendous effort and results, and look forward to working with their members to continue telling these important stories so that there are fewer stories to tell in the future. More information about SOAR can be found at www.soarinri.org. PICTURED ABOVE:
A 2012-13 Season performance by SOAR at the University of
Rhode Island
Experience Amica: Auto, Home and Life Insurance Amica.com 866-51-Amica (26422)
Amica Mutual Insurance Company, Lincoln, Rhode Island
THE TRINITY SQUARE • WINTER 2021
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2020 ANNUAL REPORT
From the Chair of the Board Like all of you, I have missed going to Trinity Rep to see the wonderful plays that Trinity Rep produces. By this time each year we would have been treated to amazing theater that, true to our mission, “reinvents the public square with dramatic art that stimulates, educates, and engages our diverse community in a continuing dialogue.” Although COVID-19 has darkened our theater, Trinity Rep has continued its effort to understand our role in promoting a more just and equitable society. In 2017, we publicly committed to struggle for equity, diversity, and inclusion. In October, we issued a statement outlining specific steps that Trinity Rep is taking to fulfill that commitment. That included the establishment of an Anti-Racism Transformation Committee that will ultimately create a strategic plan that includes actions that Trinity Rep must take in its internal operations and how it relates to the broader community, particularly communities of color, to counter racism and be a more inclusive organization. The Committee, which has representation from staff, the resident acting company, the board, and members of the BIPOC community who have no direct connection to Trinity Rep, has engaged The Equity Institute to support its efforts to define the specific actions Trinity Rep must take to fulfill its commitment. I would be disingenuous if I didn’t tell you that the process has not been easy. To many, Trinity Rep has been a model of inclusion and equity in the plays we produce, the educational efforts we carry out, and in our internal operations. Others see us engaging in practices that reflect the broader currents of racism as reflected in governmental policies and lack of opportunity for Black and brown citizens. Sorting all this out is challenging and will take
time. Knowing Trinity Rep as I do, I am confident we will find a path forward, a vision for the future, that is a force for social justice. We move forward with this work from a position of strength. As you can see in the following 2019-20 Annual Report, the organization has been working diligently over the past few years to build a strong foundation. Most notably, thanks to the support and efforts of so many, last season we eliminated our accumulated deficit for likely the first time in organizational history and again achieved a 4-star rating from Charity Navigator, America’s largest independent charity evaluator, due to our commitment to financial stewardship, accountability, and transparency. I express my sincere appreciation to all of you for your continued support. Your support has meant that we’ll be around after the pandemic. I also want to thank the staff, the actors, the trustees and, of course, Curt Columbus and Tom Parrish, for their outstanding work in guiding Trinity Rep through this unprecedented time. I wish you all the best for the New Year. May you all be safe. Sincerely,
Lou Giancola Chair, Board of Trustees
PROUD TO SUPPORT
Trinity Rep Federally insured by NCUA
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THE TRINITY SQUARE • WINTER 2021
2020 ANNUAL REPORT
Curt Columbus, The Arthur P. Solomon & Sally E. Lapides Artistic Director
Tom Parrish, Executive Director
A CHRISTMAS CAROL
AT A GLANCE... 2019–20 SEASON MAINSTAGE SEASON
THE PRINCE OF PROVIDENCE
AUGUST WILSON’S RADIO GOLF FADE
BROWN/ TRINITY REP MFA PRODUCTIONS References to Salvador Dalí Make Me Hot by José Rivera Oct. 3–13, 2019 Marie Antoinette by David Adjmi Feb. 27 – Mar. 8, 2020 PICTURED FROM TOP, L TO R: Scott Aiello & Rebecca Gibel; Rachael Warren, Michael Rice, Henry Hetz & Jude Sandy; Elia Saldana & Daniel Duque-Estrada; Ricardo Pitts-Wiley, Joe Wilson, Jr. & Omar Robinson; Brian McEleney, Rebecca Gibel, Rachel Dulude, Daniel Duque-Estrada & Taavon Gamble. Photos by Mark Turek
The Prince of Providence* by George Brant, based on the book The Prince of Providence by Mike Stanton Sept. 12 – Oct. 27, 2019 A Christmas Carol by Charles Dickens original music by Richard Cumming Nov. 7 – Dec. 29, 2019 Fade by Tanya Saracho Dec. 5, 2019 – Jan. 5, 2020 August Wilson’s Radio Golf Jan. 30 – Mar. 1, 2020 A Tale of Two Cities by Brian McEleney, based on the novel by Charles Dickens Feb. 20 – Mar. 12, 2020 * World Premiere Commission
A TALE OF TWO CITIES
READINGS AND EVENTS Teatro en El Verano: Much Ado About Nothing/ Tanta Bulla… ¿Y Pa’ Qué? America Too: It’s Our Health Write Here! Write Now! Context & Conversation Series The Show Goes On
2020 Coronavirus Pandemic Based on the recommendations and policies of local and federal officials and our commitment to the health and well-being of our community, Trinity Rep made the difficult decision in mid-March 2020 to cancel all remaining performances in the 2019-20 Season, resulting in the cancellation of over 80 performances and multiple productions and events.
THE TRINITY SQUARE • WINTER 2021
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PROGRAMMATIC HIGHLIGHTS
PHOTO BY MARK TUREK
The season kicked off with the record-breaking, world premiere production of The Prince of Providence by George Brant, based on Mike Stanton’s bestselling book. Playing to 100% capacity, the show became the highest-grossing, non-holiday production in Trinity Rep’s 56-year history. Interest in this production helped drive a 24% increase in the number of subscribers to the season as a whole. Audiences came from 30 states, and included film, television, and stage producers from New York, London, Los Angeles, and regional theaters around the country. The 2019 production of A Christmas Carol was the second highest selling production in theater history. Director Kate Bergstrom’s production was notable for its gender- and color-conscious casting, which received a strong response from audience members. Many were inspired and empowered to see a broader definition of family on stage at Rhode Island’s State Theater. Trinity Rep’s engagement with Rhode Island’s growing Latinx community continued to deepen, with our commitment to inclusion and equity on stage, in the resident acting company, and among the staff and board, including a production of Tanya Saracho’s Fade, the 2019 Teatro en El Verano production of Much Ado About Nothing/Tanta Bulla… ¿Y Pá Qué? in partnership with Rhode Island Latino Arts, and developmental work for 2021’s Teatro en El Verano production of Don Quixote. Director Jude Sandy led a widely acclaimed and beautiful production of August Wilson’s Radio Golf, and a virtuosic ensemble brought to life an epic telling of A Tale of Two Cities on a Eugene Lee-designed set, inspired by the Providence Athenaeum. A Tale of Two Cities closed early due to the pandemic, and was available for limited digital streaming. Productions of Lynn Nottage’s Sweat and Stephen Sondheim’s Sweeney Todd were in different stages of rehearsal and production and sadly did not make it to the stage due to the pandemic. The organization pivoted to offering digital content through its The Show Goes On platform, including radio plays, archival production clips, and a talk show on Facebook Live. Trinity Rep’s landmark Project Discovery program brought in more than 9,000 students to experience live theater, before in-person performances stopped in March. Trinity Rep Active Imagination Network (TRAIN) served over 700 students on the autism spectrum or with physical or cognitive disabilities; and Creative Classrooms arts integration programming served nearly 400 students in Providence Public Schools. Many spring classes for young students and adults, including the Brown University/Trinity Rep MFA Programs in Acting and Directing, moved online in mid-March. New online classes were added to the schedule and continue to be popular. Director of Community Engagement Michelle Cruz joined the senior leadership team, growing existing programs like America Too and Context & Conversations and launching new partnerships and activities including Community Sing, Knitting Circle, and Public Art as Activism during the civil unrest in June 2020.
16
AWARDS AND RECOGNITION
Broadway World RI Awards: • Best Play – Professional: The Prince of Providence • Best Director (Musical) – Professional: Tyler Dobrowsky, Little Shop of Horrors (2019) • Best Director (Play) – Professional: Joe Wilson Jr. & Jude Sandy, black odyssey (2019) • Best Ensemble Cast (Play): The Prince of Providence • Best Actor (Musical), Supporting – Professional: Stephen Thorne, Little Shop of Horrors (2019) • Best Actor (Play), Lead – Professional: Scott Aiello, The Prince of Providence • Best Actor (Play), Supporting – Professional: Stephen Berenson, Macbeth (2019) • Best Actress (Musical), Supporting – Professional: Rachael Warren, Little Shop of Horrors (2019) • Best Actress (Play), Lead – Professional: Rebecca Gibel, Pride and Prejudice (2018) • Best Actress (Play), Supporting – Professional: Janice Duclos, Macbeth (2019) • Best Lighting Design – Professional: Dan Scully, Little Shop of Horrors (2019) Charity Navigator: 4-Star Charity
BY THE NUMBERS PRODUCTION AND ATTENDANCE Number of Productions Number of Public Readings and Events Total Number of Performances and Events Total Number of Tickets Number of Subscribers Digital Programming Views DONOR SUPPORT Number of Individual Donors Percentage of Subscriber Households Who Donate
THE TRINITY SQUARE • WINTER 2021
2,936 50%
EDUCATION PROGRAMMING Project Discovery Student Matinee Attendance 9,124 Pre- and Post-Show Discussion Participants 2,680 Young Actors Summer Institute Participants 166 Young Actors Studio Participants 322 Off-Site Residency and Workshop Participants 823 Creative Classrooms Arts Integration Participants 380 Internship/Lecture/Tour/Workshop Participants 400 TRAIN: Trinity Rep Active Imagination Network Participants 716 Arts Talk Students 225 Adult Class Participants 62 EMPLOYMENT AND ECONOMIC IMPACT Total Full-Time, Part-Time, and Seasonal Employees Number of Volunteers Estimated Economic Impact
YOUNG ACTORS SUMMER INSTITUTE (YASI)
8 6 176 62,583 4,688 44,393
357 228 $21MM
2020 ANNUAL REPORT
FINANCIAL HIGHLIGHTS
STATEMENTS FOR YEAR ENDED JUNE 30, 2020 STATEMENT OF FINANCIAL POSITION AS OF JUNE 30,
Without Donor
With Donor
Restrictions
Restrictions
Totals 2020
2019
ASSETS
Trinity Rep achieved an operating surplus for the third consecutive year. Unrestricted operating results, including non-cash depreciation expense, improved $237,600 to a surplus of $441,513 or 4.5% of functional expenses in FY2020. Due to the early effects of the pandemic, total operating revenue, support, and releases decreased 2.1%, while total operating expenses declined 4.5%. The accumulated operating deficit was eliminated for the first time, going from ($265,641) in FY2019 to a $680,731 accumulated surplus in FY2020. New endowment contributions of $99,909 and investment gains brought total endowment and quasiendowment assets to $3,221,920 on June 30, 2020. Capital contributions of $346,167, partly from the Rhode Island Cultural Facilities Bond, funded exterior architectural lighting, masonry cleaning and restoration, property acquisition, and technology. In FY2020, the organization secured a $1,230,200 Paycheck Protection Program loan, increasing loans payable. Total net assets increased $804,737 in FY2020, compared to an increase in total net assets of $816,183 in FY2019. Trinity Repertory Company’s improved financial health and commitment to accountability and transparency earned it a coveted 4-star rating from Charity Navigator, America’s largest independent charity evaluator, for the second year in a row.
Current Assets Cash and cash equivalents
$
5,081,518
$
342,459
$
5,423,977
$
Investments
$
171,933
$
—
$
171,933
$
167,814
Unconditional promises to give
$
40,600
$
230,603
$
271,203
$
902,053
Prepaid expenses and other current assets
$
59,516
$
—
$
59,516
$
119,454
$
5,353,567
$
573,062
$ 5,926,629
$
4,056,852
$
273,400
$
247,573
$ 5,592,496
$
5,618,390 3,159,895
Total Current Assets Unconditional promises to give
$
-
$
273,400
Property and equipment, Net
$
5,592,496
$
—
2,867,531
Assets held in Fund
$
97,875
$
3,124,045
$
3,221,920
$
Deposits
$
7,700
$
—
$
7,700
$
26,500
TOTAL ASSETS
$
11,051,638
$
3,970,507
$ 15,022,145
$
13,109,210
LIABILITIES Current Liabilities Accounts Payable and Accrued Expenses
$
151,076
$
—
$
151,076
$
87,882
Loans payable and capital lease obligation
$
1,477,582
$
—
$
1,477,582
$
237,444
Deferred Revenue
$
1,974,577
$
—
$
1,974,577
$
2,205,646
$
3,603,235
$
—
$ 3,603,235
$
2,530,972
Total Current Liabilities Rent Credit
$
18,447
$
—
$
18,447
$
17,868
Loans payable and capital lease obligation
$
2,579,163
$
—
$
2,579,163
$
2,543,807
TOTAL LIABILITIES
$
6,200,845
$
—
$ 6,200,845
$
5,092,647
NET ASSETS
$
4,850,793
$
3,970,507
$ 8,821,300
$
8,016,563
TOTAL LIABILITIES AND NET ASSETS
$
11,051,638
$
3,970,507
$ 15,022,145
$
13,109,210
STATEMENT OF ACTIVITIES Without Donor Restrictions FOR THE YEAR ENDED JUNE 30,
Operating Activity
Non-Operating/ Capital
Totals With Donor Restrictions
2020
2019
REVENUE & SUPPORT Earned Revenue
$
7,072,914
$
—
$
(35,706)
$
7,037,208
$
7,539,719
Contributions, grants and support
$ 2,649,397
$
153,705
$
706,484
$
3,509,586
$
3,474,230
Spending policy distribution
$
134,493
$
—
$
(134,493)
$
—
$
—
Net Assets Released from Restriction
$
326,766
$
192,462
$
(519,228)
$
—
$
—
TOTAL REVENUE, SUPPORT & RELEASES $ 10,183,570
$
346,167
$
17,057
$ 10,546,794
$ 11,013,949
EXPENSES Program Services
$ 8,519,073
$
—
$
—
$
8,519,073
$
Management & General
$
638,819
$
—
$
—
$
638,819
$
621,195
Fundraising
$
584,165
$
—
$
—
$
584,165
$
693,915
TOTAL EXPENSES
$ 9,742,057
$
—
$
—
$
9,742,057
CHANGE IN NET ASSETS
$
$
346,167
$
17,057
$
804,737
441,513
8,882,656
$ 10,197,766 $
816,183
Net Assets, Beginning of Year
$ 4,063,113
$ 3,953,450
$ 8,016,563
$ 7,200,380
Net Assets, End of Year
$4,850,793
$ 3,970,507
$ 8,821,300
$ 8,016,563
To obtain a copy of the complete audited financial statements, visit www.TrinityRep.com/about/financials or call (401) 521-1100.
Government 1% Corporate 9%
FY2020 Unrestricted Operating Revenue
FY2020 Operating Expenses
Individuals 13% Foundation 6% Events (Net) 1% Ticket Sales 31% Brown/Trinity Rep MFA 27%
Other Earned Income 12% Contributed Income 30%
Program Services 87% Management & General 7% Fundraising 6% THE TRINITY SQUARE • WINTER 2021
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2019-20 BOARD OF TRUSTEES
2020 ANNUAL REPORT
ABOUT TRINITY REPERTORY COMPANY Rhode Island’s Tony Awardwinning theater, Trinity Rep has created unparalleled professional theater for and with its community since its founding in 1963. Trinity Rep is committed to reinventing the public square and inspiring dialogue by creating emotionally-stimulating live productions and innovative education programs for all ages and abilities. Whether classical or contemporary, all of Trinity Rep’s productions connect audiences with the play in meaningful and sometimes surprising ways. Its annual production of A Christmas Carol has brought families together for 40+ years and made memories for over a million audience members. Trinity Rep strives to facilitate human connection through its commitment to exceptional customer service, diverse audience and community engagement programming, and connecting patrons with its resident company of artists. Trinity Rep shapes the future of the nation’s theater through the development and production of new plays, as well as the Brown University/ Trinity Rep MFA program — one of the leading programs for actor and director training in the world. Located in downtown Providence, Trinity Rep has long been a driving force behind the creativity that fuels and defines the region. Employing over 300 artists, educators, and administrators, the organization generates over $21 million in economic activity annually. It is one of 76 theaters nationwide with membership in LORT (the League of Resident Theaters), the organization representing America’s leading professional theater companies.
YOUR HOME FOR DRAMATIC DISCOVERIES 18
THE TRINITY SQUARE • WINTER 2021
Suzanne Magaziner, Chair* Barbara Schoenfeld, Vice-Chair* Art Solomon, Vice-Chair* John S. Lombardo, Treasurer* Jon Duffy, Secretary*
PHOTOS FROM TOP: Rudy Cabrera, José Ramirez & Lorraine Guerra in the fourth season of Teatro en El Verano production of Much Ado About Nothing/Tanta Bulla… ¿Y Pa’ Qué?, a bilingual production performed throughout Rhode Island during the summer of 2019. In its third season, America Too: It’s Our Health examined personal health and wellbeing in partnership with BIF’s Personalized Medicine by Design project, and featured the actual stories of our community, read by community members. Initially introduced as community involvement centerd on A Tale of Two Cities, our Knitting Circles have taken on a life of their own. A lively Context & Conversation for The Prince of Providence was held in the Aldermen Chambers in Providence City Hall with about 60 attendees discussing journalism’s place in democracy.
Hannah Bell-Lombardo Richard Beretta Paul Choquette Linda Cohen Curt Columbus, The Arthur P. Solomon & Sally E. Lapides Artistic Director* Judhadjit De Joseph Dowling, Jr. Lou Giancola* Rebecca Gibel, Acting Company Sergio Gonzalez* Philip Gould William F. Greene Laura Harris Sean Holley James Hurley Deb Imondi Larry La Sala Doris Licht Peter Lipman Joe Madden Sara Shea McConnell Brian McGuirk Theresa Moore* Tom Parrish, Executive Director* Clay Pell Jay Placencia Marisa Quinn Sean Redfern Kibbe Reilly* Kate Sabatini Ken Sigel Julia Anne Slom Alec Stais* Donna Vanderbeck Maribeth Q. Williamson *Executive Committee
MEET THE STAFF
by Caitlin Howle Caitlin Howle: How long have you been with Trinity Rep? Can you tell me about how you started here? Amanda Downing Carney: I started as a costume technician at Trinity Rep for the 2006-07 Season. I had been touring for three years, working on Fame: The Musical, Smokey Joe’s Cafe, and Will Roger’s Follies, and my fiancé (now husband) and I decided to take a break. He’d been traveling for six years, and we both wanted to stay put for a year or two and see what other adventures awaited us. I decided to send my resume blindly to the largest, most reputable theater in my home state, Trinity Repertory Company — “aim high,” I thought. I had an interesting first year. I made some lifelong friends and my stitching skills became superior — Sewing Boot Camp I call it now. We did two casts of A Christmas Carol each year back then, which meant we built twice as much in the same amount of time. There was a lot of growth and grace that I learned, but I left after that season. A year and a half later Bill Lane, the resident costume designer, called and asked me to be his assistant so I returned in January 2009, where I stayed and then left again after the birth of my second child in 2012. When the costume shop director position opened up in 2015, I submitted my resumé. I try every day to be the type of leader that I am proud of, and I hope my staff feels supported, respected, encouraged, and inspired by their work. I was lucky to inherit a great team and have hired some new folks with amazing spirit. We work hard and try to have fun, too. And my timing was right because at that same time the entire Trinity Rep culture was changing and a real emphasis on diversity and inclusion started happening. I am forever grateful I came back because it feels like home. CH: What has been your favorite production to work on in your time here? Which was the most complex?
ADC: I’ve loved working on so many shows here for so many different reasons. Some I love because the cast was inspiring like Ragtime and Little Shop of Horrors. Some I love because the director’s concept and tone was so amazing, like Angela Brazil and Stephen Thorne’s A Christmas Carol, designed by one of my favorite designers/friends, Toni Spadafora. Some I love for the creativity of a new work like the world premiere of The Hunchback of Seville designed by another favorite friend Olivera Gajic. But I’d have to say my favorite production was coincidentally also the most complex, black odyssey. It had an AMAZING ensemble cast, amazing director team of Jude Sandy and Joe Wilson, Jr., an amazing costume designer, Kara Harmon, who is a joy to work with. And the music, story, vision, all worked. We had a short build time and the costumes were complicated, nuanced, bold, historical, whimsical, sober, and ultimately EPIC. It was A LOT of work to accomplish that show but we were so proud of the end result. CH: What’s something you wish people knew about costuming? ADC: I like that our jobs are a bit mysterious. I think most people don’t understand how much work and time goes into every show and that every detail is thought about for the benefit of the story. I also often joke that my job should require a psychology degree — many personalities, opinions, ideas, and experiences go into the melting pot of collaboration for production on a show and the same is true in costuming. Another surprising aspect of costuming is the amount of organizational paperwork that we make: measurement continued on next page
PHOTOS BY MARK TUREK
Amanda Downing Carney COSTUME SHOP DIRECTOR
L TO R FROM TOP: Julia Lema & Jackie Davis; Cloteal L. Horne, Jackie Davis, Anwar Ali & Joe Wilson, Jr.; Jude Sandy, Julia Lema, Cloteal L. Horne & Anwar Ali in the 2018-19 Season production of black odyssey.
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sheets, sourcing lists, build charts, renderings and research, pieces lists, dressing lists, costume plots, checklists, alteration notes, fix lists, running sheets — so many lists! CH: How long does it take to make a set of costumes for a production? ADC: For a typical in-person production, we have between three to six weeks to build the costumes. Often, we begin our builds when the actors start rehearsing. Much of the planning for each show happens months beforehand but the practical work of pulling, shopping, building happens in that four-week period. All clothes, wigs, accessories, and shoes need to be wearable by dress rehearsal/first day of tech, and then we finesse, trim, rework, cut, etc. until opening night the next week. CH: What do you do for fun, or when you’re not at the theater? ADC: Under normal circumstances I often do costume design side gigs at other theaters in my spare time! Typically, many of my husband’s and my date nights involve opening nights for shows I’ve worked on, and we are acutely feeling the loss of gathering with our community. Since the pandemic started, we’ve kept busy with a lot of family hikes, bike rides, beach evenings — we live in South County so our outdoor adventure options are thankfully plentiful. I’ve also found the time to make close to 600 cloth masks, read, listen, and engage in the important work of various social justice movements, and recently I became a member of Trinity Rep’s Anti-Racism Transformation Committee, which has been incredibly meaningful and urgent. In addition to my wonderful work/theater family, my kids, my huge local extended family, and my mom-friends also all keep me grounded and laughing. I am so lucky, and my life is FULL!
The cast of the 2015-16 production of The Hunchback of Seville by Charise Castro Smith, directed by Taibi Magar. PHOTO BY MARK TUREK
Most recently, Amanda was the costume designer for Trinity Rep’s production of A Christmas Carol Online. Pictured here are Joe Wilson, Jr. as Scrooge and Rebecca Gibel as the Ghost of Christmas Past. DIRECTOR PHOTOGRAPHY ALBERTO GENAO
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What We’re Watching In our last issue, we featured suggestions for great books from our staff and artists. We are now sharing our favorites from the world of television and film. Stephen Berenson, resident acting company member: The Metropolitan Opera is offering free live streams every night, as well as its 24-hour on-demand subscription service, so I’ve been enjoying expanding my knowledge of the repertory. Aficionados can compare and contrast different productions. Newcomers have the opportunity to start with the ABCs of opera — Aida, La Boheme, and Carmen. Jordan Butterfield, director of education: I’m comfort re-watching The Good Place (Netflix). It ended last year with its fourth and final season and the series finale was perfect. The show made me cackle at times, but I really grew to love the characters and the messaging about how complex and fraught modern humans can be. It’s a great binge. Curt Columbus, artistic director: Nate and I have been watching old romance movies in different genres. Here are three that make for fun viewing with your romantic partner. First, Moonstruck is a perfect romantic comedy. If you’ve never seen it, it’s set in a romantic version of Brooklyn that didn’t ever exist but is really lovely. The performances are unbelievably great throughout. Olympia Dukakis, Cher, and Vincent Gardenia are stand outs, but everyone is hilarious and heartbreaking and ultimately satisfying. Next is Crouching Tiger, Hidden Dragon. People are going to be surprised that this is on my list of romances, because it is definitely an action film. But the real heart power of the film lies in the two couples at its center. It has a very sad ending, so it’s a tearjerker inside of an action film. Worth a watch or a re-watch. Finally, Her, which is a science fiction romance. I love this movie more than almost anything that has come out in the last decade. Scarlett Johansson is a wonder in it, even though all we have is her voice. Nate thinks the ending is sad, I think it’s incredibly hopeful and beautiful. We both loved it. Amanda Downing Carney, costume shop director: My husband and I recently discovered the series Barry (Amazon Prime) starring Bill Hader. It’s a very dark comedy with extraordinary acting. We also LOVED the reality series Love on the Spectrum (Netflix) about young adults with autism looking for love. Also Big Mouth (Netflix), an animated series about puberty. My sons are loving a series called The Astronauts (Netflix) and for family fun we like Somebody Feed Phil, Nailed It! (Netflix) and Songland (Hulu). Blake DeVaney, development associate: I recommend Feel Good (Netflix). This semi-autobiographical series written by and starring comedian Mae Martin is a hilarious and powerful exploration of sexuality, gender identity, and addiction. The cast is vulnerable and honest in their portrayal of heavy issues, but the backdrop of Mae’s career as a comedian lightens even the heaviest moments. The relationships between the characters are so real and nuanced you can’t help but root for them. I watched this show in one sitting and I can’t wait for next season!
Daniel Duque-Estrada, resident acting company member: My brother gave me a book as a Christmas present: Paul Thomas Anderson: Masterworks so I’ve been revisiting a lot of his films, including Magnolia, PunchDrunk Love and Phantom Thread. I’ve also been taking in The Muppet Christmas Carol (my favorite holiday film); Jodie Foster’s Home for the Holidays, Maborosi (by Hirokazu Koreeda, one of the greats), and even Bad Day at Black Rock. Michael Getz, props master: One of my favorite shows is Shameless (Showtime). The writing is brilliant, and just when you think they’re not gonna “go there”, they go there! And I always enjoy the reruns of Everybody Loves Raymond if I just want to laugh! The cast had such great rapport with one another by the later seasons. Michael Guy, creative director: The Forty-Year-Old Version (Netflix) written by, directed by, and starring Radha Blank, is a fantastic indie movie that covers a lot of bases — gender, sexuality, and racism in the theater! “Radha is a down-on-her-luck NY playwright, who is desperate for a breakthrough before 40 [and] vacillates between the worlds of Hip Hop and theater in order to find her true voice.” (IMDB) In the end, you cheer for the fact that she made a beautiful and funny movie about her predicament. Kate Kataja, assistant director of development: We loved The Queen’s Gambit and the perennial favorite The Great British Bake Off, and have recently been watching the new remake of The Stand, The Flight Attendant, and 15-year-old episodes of MTV’s The Challenge (incredibly fun to revisit mid-2000s fashion and references, and only 20 minutes long!). Over the winter, we’re planning to watch all of Mad Men. In addition, I watch a lot of lifestyle vlogs on YouTube — you can find everything from tiny living to sustainability to decorating and cooking tutorials. It’s become a really fun hobby for me over quarantine. Baron Pugh, box office manager: The Queen’s Gambit, Shameless, American Horror Story, Little Fires Everywhere, Big Little Lies, Mindhunter, Safe Ian Stillman, technical director: Manhunt: Deadly Games sucked me in. I’ve also been enjoying The Flay List (Netflix), which is about Bobby Flay and daughter eating around New York City. Jessica Toporoski, accounts payable/human resources assistant: Out of habit, every single afternoon when I finish work, I put on Friends. I think I have re-watched the series four times during the work-from-home order. It is just nice to have something that I know will make me have all the feels no matter what and I don’t have to pay 100% attention to it. I’ve also been watching Virgin River (Netflix) because it’s nice to wish that a world and a town like that could exist especially during the Coronavirus pandemic running wild. It’s lighthearted and brings out the teenage girl side of me that is hopeful for a better world where your neighbors all get along and the town doctor makes house calls. Bradly Widener, front of house manager: I LOVED The Queen’s Gambit (Netflix). It’s a compelling story with top-notch acting and beautiful cinematography. In a way, it feels very theatrical, even! Editor’s Note: Staff recommendations were submitted in early December. In conversations since then many have had great things to say about recent releases including The Prom, Ma Rainey’s Black Bottom, and Cobra Kai. PICTURED: Ebenezer Scrooge (Joe Wilson, Jr.)
spent his Christmas Eve watching a stack of TVs featuring the Ghost of Christmas Present (Daniel Duque-Estrada with Tristan & Leander Carney as Ignorance & Want) in A Christmas Carol Online. DIRECTOR PHOTOGRAPHY ALBERTO GENAO
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One Final Look…
L TO R FROM TOP: Joe Wilson, Jr. as Ebenezer Scrooge & Rebecca Gibel as The Ghost of Christmas Past; Stephen Thorne as the ghost of Jacob Marley; Taavon Gamble as Bob Cratchit; Scrooge listens in to Bob Cratchit with Evelyn Marote as Tiny Tim & Adam Crowe as Sam Cratchit; Christopher Lindsay as Topher, Jessica Natalie Smith as Lucy & Rodney Witherspoon, II as Nephew Fred; a young viewer has all their props ready to participate in A Christmas Carol Online ALBERTO GENAO, DIRECTOR OF PHOTOGRAPHY; ILLUSTRATION BY MICHAEL GUY
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