The North Carolina Black Repertory Company (NCBRC) recently sat down with Asabi (Stephanie Howard) to discuss the NCBRC, her role and the current production of Black Nativity. NCBRC: What is your background? Asabi: I am a graduate of North Carolina A&T State University (with a degree in performance) and Wake Forest University (with a master’s in theatre). I earned my doctorate at Regent University in Communication and Theatre. I started my academic profession by teaching at Norfolk State University. I continued at Bennett College, where I received The Board of Trustee’s Excellence in Teaching Award and The National Association of Bennett College Alumnae Faculty Service Award. I presently serve as the chairperson of the Department of Theatre and Dance at NC Central University (NCCU), where I am a tenured Associate Professor. As a performer, director, playwright and stage manager, I aspire to immerse herself in nearly every aspect of theatre. I have directed shows such as Leap of Faith; Don’t Bother Me, I Can’t Cope; The Color Purple; Black Mama Monologues; Ruined and Sarafina to name a few. I also authored God Spoke My Name – Maya Angelou; Slappin’ God in the Face; Reaching for God with Dirty Hands and Tainted Blood and Distorted Beauty. Among numerous stage credits, I have performed in Steal Away, Intimate Apparel, Proposals, for colored girls... and Having Our Say. I directed Soul Rhythm; Sistah’s Voices at the National Arts Festival in Grahamstown, South Africa and The Mis-Education of Hip Hop in Florence, Italy. NCBRC: What is your role with the NCBRC? Asabi: I serve as a contracted production manager for the company. I have been working with the company since 1991 as an intern in the role of assistant stage manager and have been working consistently with the company since that time having staged managed numerous NCBRC productions. I acquired the title of production manager (also called the stage production manager) as my duties expanded to often forming a production team, training management team members, working closely with the director, musical director, and technical director in reference to casting, lighting, and other aspects of other production; assisting in administrative duties beyond the production process; and helping to organize the many tour performances. Beyond working as stage/production manager, I have had the pleasure of performing in the company’s production of Ted Lange’s Four Queens and No Trump in the 2011 NBTF and in Samm-Art Williams’ The Last Class with the NCBRC Teen Theatre. Furthermore, I also directed my original drama, Reaching for God with Dirty Hands and Tainted Blood with the NCBRC Teen Theatre in 2009. Lastly, for the last two National Black Theatre Festivals, I have served as the coordinator for the National Youth Talent Show.
Additionally, I coordinated the Collegiate Playwriting Reading Marathon for NBTF 2011 & 2013. Moreover, two of my NCCU productions have been featured in the NBTF Collegiate Fringe - for colored girls… & for black boys (my original compilation) (2013) and The Bluest Eye (2015). I have served in a managerial capacity for Black Nativity since its opening season. NCBRC: Take us behind the scene and describe the preparation involved for the performance prior to opening weekend. Asabi: Ideally, production work from a management standpoint can be broken down into three main periods: pre-rehearsal, rehearsal, and production. Pre-rehearsal involves the script work, preparing for the audition process, communicating with the chosen cast, gathering essential information, organizing production meetings, establishing production deadlines, completing paperwork, and distributing the appropriate information. Next, when rehearsals begin, the ultimate goal of the management team is to ensure that the rehearsal process is progressive and runs as smoothly as soon. Specifics include recording blocking and taking notes for the director. This requires one being a right hand for the director – a personal duty to Ms. Robinson that I have enjoyed over the years. Afterward, comes the heart of production work – the performances. The week prior to opening is the most hectic because all of the elements must now integrate and effectively synergize. The stage/production manager is greatly responsible for this. Firstly, the cast is transitioned to the actual performance place and must adjust accordingly. Logistics of organizing the dressing rooms and back stage is important. Secondly, ensuring clear entrance and exits, easy costume changes, and the effective placing and handling of props become important. Then, the “calling” of the show takes priority. The production manager must intricately know the show in order to “call” each light, sound, and fly cue for the technical crew to execute. The task of bringing together the technical crew, the cast, and the director can be most challenging, especially for a “cue-to-cue” rehearsal, for example. A cue-to-cue rehearsal can be very long and tiring because the cast and crew (guided by the technical director and production manager) must go through each cue, which must be fixed if it is not right. This stop and go process can be very tedious. NCBRC: What are some of the challenges in bringing it all together? Asabi: There can be many challenges in bringing all of this together. Firstly, the limited time frame accelerates the execution and completion of all tasks. Secondly, is the managing of people – there’s a whole science to that in itself. One must learn how to deal with all personalities and be a liaison between the administration and the cast (the director and cast) and remain loyal to both. Thirdly, effective multitasking is a must –
the stage manager must be actively involved with or working on several tasks at any given time. Lastly, the production manager should always be working – thinking of a better solution to an existing fix, problem/issue and anticipating the next possible problem. NCBRC: Why do you do this work? Asabi: Creating a job description for a stage production manager in its entirety is nearly impossible because in the end, he or she is in charge of everything (directly or indirectly). So, I like being in charge of the artistic process (which is also one of the reasons I enjoy directing). It excites me to witness and have a hand at bringing all of the intricate elements together and create the wonder of theatre. Moreover, I think I do it well. Thus, I pride myself in any skill that I think I have mastered to a creditable extent. Likewise, since I enjoy every aspect of theatre, management ignites all of these interests and utilizes all of my skills. Ultimately, I do it because I love it or I’m a glutton for punishment - I prefer the former. NCBRC: What else would you like to share? Asabi: It has been my greatest joy to work with Ms. Robinson - to be by her side and at her feet (literally - sometimes… years ago… when I was younger, I used to sit on the floor beside her and take her directing notes). I appreciate her training and her trust. She ignited energy or a dynamic in me that one must have to be an artist. I attempt to rekindle my students’ innate creativity and ability in the same way. Her influence has certainly contributed to my success as an artist, an educator and a director (especially of musicals ☺). But equally important, she has remained my friend and mentor over the years. Secondly, I’m convinced that the NCBRC is one of a kind and the fruit of its labor is a testament to that - there is not a festival comparable to the NBTF. Thus, I will always be committed to the work and mission of the company.