Southern Theatre, Vol. 63, Issue 3 - Fall 2022

Volume LXIII Number 3 • Fall 2022 • $8.00

GETCHELL WINNER Exploring A Complicated Hope

ARTS FUNDRAISING Through the Lens of Six Rising Leaders

SEASON SELECTION How Colleges Choose Their Shows

PLAYWRITING IN THE PANDEMIC Much Was Lost, and Much Was Found

SEMESTER IN

PHYSICAL THEATRE 19 Jan - 22 April 2023

SEMESTER IN DANCE 19 Jan - 22 April 2023

SUMMER INTENSIVES

THEATRE & DANCE 25 June - 22 July 2023

Accademia dell'Arte is a performing arts school in Arezzo, Tuscany, Italy. Housed at Villa Godiola, a Renaissance era villa overlooking the city of Arezzo, the Accademia offers study abroad programs in Physical Theatre & Dance: Fall & Spring Se mester, One Year, Summer Intensives. Course credit is offered for all programs.

To apply/register online, or for more information, visit www.dellarte.it

Marin Theatre Company/The Catastrophist

Contents

Volume LXIII Number 3 l Fall 2022 l Southern Theatre – Magazine of the Southeastern Theatre Conference

Features Departments 4 Hot off the Press Plays About Obstacles

by Zackary Ross

6 Outside the Box: Design/Tech Solutions Stops on Stage: Searching for a Braking Breakthrough

by David Glenn

64 Words, Words, Words …

Review of Toward a Future Theatre: Conversations During a Pandemic,

by Caridad Svich review by Joseph R. D'Ambrosi

Cover Marie (right), played by Devon Grice, travels with her daughter Rose Marie, played by Maya Moreau, on a prospective college visit in the world premiere of A Complicated Hope by John Mabey, the 2022 winner of SETC’s Charles M. Getchell New Play Award. The play, directed

by Paul Truckey, was presented at the James A. Panowski Black Box Theatre at Northern Michigan University in Marquette, MI. See more, Page 58. (Photo by Fischer Genau; cover design

by Deanna Thompson)

8 The Future of Arts Fundraising

Viewed Through the Lens of Six Rising Leaders

by Tiffany Dupont Novak

26 A Play for All Seasons

Colleges Share the Key Factors They Consider in the Show Selection Process

by Tom Alsip

40 Playwriting in the Pandemic

Much Was Lost, and Much Was Found

by Laura King

2022 Charles M. Getchell New Play Award 58 The Playwright

2022 Getchell Award Winner John Mabey Explores the Link Between Celebrating a Person’s Life and Grieving Their Loss

interview by Laura King

60 The Play

Read an excerpt from A Complicated Hope, the 2022 winner of the Charles M. Getchell New Play Award, given by SETC to recognize a worthy new play.

Fall 2022 x Southern Theatre x 3

Plays About Obstacles Our regular column on plays that have recently become available for licensing focuses in this issue on works about characters working their way through an unanticipated turn of events.

by Zackary Ross

L

ife is full of curveballs and unexpected twists, yet we venture forward, learning more about ourselves and the people we surround ourselves with through the process of the journey. The plays featured in this column present their protagonists with unusual

circumstances and dramatize the resulting emotional and psychological journey they experience. To develop the following list of suggested titles, we surveyed major play publishers’ offerings during the last few years. Following each description, you’ll find information about the cast breakdown and a referral to the publisher who holds the rights.

Glory, by Tracey Power

Paris, by Eboni Booth

Simon’s landlord and other tenants in the

In the middle of the Great Depression,

Few Black people live in Paris, VT, a fact

building enter the story, Simon begins to

four Canadian women set out to form an

that is keenly felt by young Emmie, who

comprehend the complexity of the world’s

all-female hockey team. This heartfelt play

lies to get a job at a local superstore called

explores each character’s personal narrative

Berry’s. As is the case with the rest of the

and captures the social and political climate

employees, desperation for a paycheck

of the times in an imaginative piece of staging

has led Emmie to work for a corporation

that incorporates Jazz Age music and dance.

that regularly promotes the underpaid

true superheroes in this charming musical.

Cast breakdown: 3 women (any ethnicity); 5 men (any ethnicity) Publisher: Concord Theatricals www.concordtheatricals.com

The play is based on the real-life Preston

poor to slightly less-underpaid middle-

Rivulettes, which formed in the 1930s.

Cast breakdown: 4 women (any ethnicity); 1 man (any ethnicity) Publisher: Concord Theatricals www.concordtheatricals.com

management positions and asks them to

Horseshoes, by Mike Sockol It’s time for the Schuster family’s annual horseshoe tournament, but host Adam is unprepared to deal with the drama that ensues as he is confronted with his father’s declining health, a feud with his younger

help subjugate those under them to protect profits. This poignant drama explores the side hustles, unrealistic dreams and resignation felt by members of the working class.

Cast breakdown: 3 women (1 Black/ African descent, 2 white/European descent); 4 men (1 Black/African descent, 3 white/European descent) Publisher: Concord Theatricals www.concordtheatricals.com

brother, and problems in his marriage, all of Secrets emerge, family bonds are tested,

Superhero, book by John Logan, music and lyrics by Tom Kitt

and the family’s path forward is uncertain

Fifteen-year-old Simon sits on his fire

in this dark comedy.

Cast breakdown: 3 women (any ethnicity); 4 men (any ethnicity) Publisher: Dramatists Play Service www.dramatists.com

escape, dreaming up a superhero who

which complicate the fun summer outing.

will rescue him from the life of a teenager.

Simon’s father passed away and, rather than deal with his grief, Simon loses himself in his superhero fantasies, further distancing himself from his mother Charlotte. As

4 x Southern Theatre x Fall 2022

The Bookstore, by Adam Symkowicz When Rachel inherits her Great Aunt Ida’s beloved New England bookstore, she can’t fathom taking ownership of the business and managing it, so when the offer to buy it and turn it into an apartment complex comes around, Rachel is tempted to sell.

However, the more time she spends in the shop with its unusual employees and charming clientele, the more her resolve begins to waver.

Cast breakdown: 3 women (any ethnicity); 3 men (any ethnicity), expandable to 28 total actors Publisher: Playscripts, Inc. www.playscripts.com n Zackary Ross (he/him) is an associate professor of theatre and arts administration program director at Bellarmine University in Louisville, KY. He is a member of the Southern Theatre Editorial Board.

Theatre EDITOR

Deanna Thompson

From the SETC President

SETC EXECUTIVE DIRECTOR

Susie Prueter SETC EXECUTIVE DIRECTOR EMERITUS

Betsey Horth ADVERTISING

Clay Thornton, clay@setc.org BUSINESS & ADVERTISING OFFICE

Southeastern Theatre Conference 5710 W. Gate City Blvd., Suite K, Box 186 Greensboro, NC 27407 336-265-6148 PUBLICATIONS COMMITTEE

Laura King, Chair, Independent Theatre Artist (GA) Becky Becker, Clemson University (SC) Jennifer Goff, Centre College (KY) Gaye Jeffers, University of Tennessee at Chattanooga Ricky Ramón, Howard University (DC) Chalethia Williams, Miles College (AL) EDITORIAL BOARD

Tom Alsip, University of New Hampshire Keith Arthur Bolden, Spelman College (GA) Amy Cuomo, University of West Georgia F. Randy deCelle, University of Alabama Kristopher Geddie, Venice Theatre (FL) David Glenn, Samford University (AL) Scott Hayes, Liberty University (VA) Edward Journey, Independent Artist/Consultant (AL) Stefanie Maiya Lehmann, Lincoln Center (NY) Sarah McCarroll, Georgia Southern University Tiffany Dupont Novak, Actors Theatre of Louisville (KY) Thomas Rodman, Alabama State University Zackary Ross, Bellarmine University (KY) Jonathon Taylor, East Tennessee State University Chalethia Williams, Miles College (AL) Student Member: Chris Cates, Wake Forest University (NC) PROOFREADERS

Catherine Clifton, Freelance Copy Editor (NC) Denise Halbach, Independent Theatre Artist (MS) Philip G. Hill, Furman University (SC) PRINTING

Salem One, Inc., Winston-Salem, NC NOTE ON SUBMISSIONS

Southern Theatre welcomes submissions of articles pertaining to all aspects of theatre. Preference will be given to subject matter linked to theatre activity in the Southeastern United States. Articles are evaluated by the editor and members of the Editorial Board. Criteria for evalua­tion include: suitability, clarity, significance, depth of treatment and accuracy. Please query the editor via email before sending articles. Stories should not exceed 3,000 words. Color photos (300 dpi in .jpeg or .tiff format) and a brief identification of the author should accompany all articles. Send queries and stories to: deanna@setc.org.

Southern Theatre (ISSNL: 0584-4738) is published three times a year by the Southeastern Theatre Conference, Inc., a nonprofit organization, for its membership and others interested in theatre. Copyright © 2022 by Southeastern Theatre Conference, Inc., 5710 W. Gate City Blvd., Suite K, Box 186, Greensboro, NC 27407. All rights reserved.

Reproduction in whole or part without permission is prohibited.

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T

The desire to create theatre only feels more present with every step we take out of the lingering pandemic. As many of the stories in this Southern Theatre tell it, those makers who have decided that everything has changed are the ones who are making bold moves toward equity, justice, and accessibility in the theatre.

When COVID-19 shut down live theatre, playwrights wondered when their work might once again be seen on stage. More than two years after the pandemic began, writers continue to struggle, but many have carved new paths, creating online works and monologues, and some are seeing a return to onstage productions of their work. Laura King details the playwrights’ pandemic story.

One of the playwrights who saw doors open in 2022 was John Mabey, who won SETC’s Charles M. Getchell New Play Award with their new play A Complicated Hope. By August, Mabey’s play had not only had a reading at the SETC Convention, but also two productions onstage. Mabey discusses their work in an interview with Laura King, and we share an excerpt from the winning play.

The ongoing pandemic and calls for social justice have impacted theatres’ fundraising efforts, with many looking for new ways of approaching philanthropy that address systemic racism and inequity. Tiffany Dupont Novak interviews six rising leaders in the field who share insights on how arts leaders can redefine philanthropy in their organizations.

The impact of the pandemic is also the jumping-off point for the book featured in our “Words, Words, Words…” column. Joseph R. D’Ambrosi reviews Toward a Future Theatre: Conversations During a Pandemic, by Caridad Svich, which includes interviews with more than 50 theatre makers and performance artists about their pandemic lives and the future they see for theatre.

Every college or university does it, but there’s no set way they all do it. “It” is the annual season selection process. Using information gleaned from a survey of school representatives, Tom Alsip looks at how different schools build their seasons, what their key considerations are, and who typically is involved in the process.

In our regular “Hot off the Press” column, Zackary Ross shares some recently published plays that feature characters overcoming the unexpected obstacles that life has thrown in their path. Finally, in our “Outside the Box” column, which features innovative design/tech solutions, David Glenn details how to create a low-cost braking solution for use on rolling scenery wagons.

Embracing big change, relishing small miracles, and growing through reflection are key components to the forward progress of our industry. Let these stories inspire you to carry out change in your own ways, while caring for the community that is nearest to you.

Maegan McNerney Azar (she/her), SETC President Fall 2022 x Southern Theatre x 5

outside

the box DESIGN/ TECH SOLUTIONS

Stops on Stage: Searching for a Braking Breakthrough

by David Glenn

S

mooth scenic transitions often rely on rolling scenery wagons. The two

biggest factors in a seamless transition with wagons are the quality of the casters and the strength/surety of the brakes that make the unit static. The more easily that the wagons roll, the harder they are to make stationary, or brake. Braking solutions come in many forms, from complex pneumatic rigs to simple wedging of the platforms, but this problem of making dynamic moving units become perfectly still is a challenge on every production that attempts these transitions.

Specialized brakes are available through most scenic hardware distributors, but they are often expensive and noisy. A common

The need to create a large brake for the streetcar in this Samford University production of On the Town, with scenic design by Eric Olson, inspired the discovery of a low-cost solution.

substitute for these brakes is push/pull

bolt. The larger the clamp, the bigger the

previously faced – with the bolts backing

clamps, with the most common brand being

bolt size. While the adding of a plywood

themselves out – was solved. A simple lock

DeStaCo. These red-handled clamps are

plate to the brake allowed me to create a

washer was the only thing needed to ensure

often seen bolted to wagons in an attempt

larger contact surface, the plywood was

that the bolts stayed firmly in place.

to brake the rolling scenery.

constantly trying to turn, which would

While the wooden foot of the brake

Push/pull clamps offer consistent lifting

loosen the bolt. No amount of thread lock

was probably sufficient by itself, I looked

power that can be custom-ordered based on

or additional “keeper” nuts would stop this

for a rubber material that could be easily

the strength and stroke length needed for

turning.

attached to help provide increased friction.

a project. Their lifting strength can range

An answer appears

I chose rubber drawer lining commonly

from 100 pounds to 7,500 pounds, and their

The breakthrough (brakethrough?) for

found at Lowe’s or Home Depot near the

stroke (travel distance) can range from ¾"

me came when I attempted to make a larger

tool chest section. The material is very pli-

to 4".

brake for a streetcar wagon that was going

able, low-cost, and easily replaced when it

The biggest issue with using them in

to be carrying several actors in a produc-

has exceeded its life span.

this fashion is the small contact point with

tion of On the Town at Samford University.

For the brake, I chose the DeStaCo

the stage. On a larger wagon or one that is

I decided on a brake length of about 4' and

Model 610 with 800 pounds of lifting

going to have actors stepping on and off,

saw pretty quickly that I would need to add

strength and a 1 5/8" travel. At a minimum,

this contact point is most often insufficient

a second push/pull clamp for that large

I would recommend a set of clamps with

for the task. More brakes can be added,

of a contact point. After attaching the two

at least a 300-pound push/pull strength, as

but despite their strength, they struggle to

brakes to the piece of wood, I realized that

the metal frame on a smaller clamp might

secure the unit.

adding a piece of steel between the handles

bend under the stress. The Model 610 also

would allow the shift crew to drop a single

works well due to the unique shape of its

brake.

handle. The “T” at the end of the handle

I began experimenting with ways to address this problem. My first experiment was adding a plywood plate to the end of

After connecting the two clamps to the

helps facilitate the attaching of the metal

the linear clamps. The clamps have stan-

board, I noticed that each clamp kept the

that connects the clamp handles. However,

dard threading in the push rod that allows

other clamp from loosening its respec-

if you remove the red outer jacket from any

you to insert any type of standard threaded

tive bolts. The major problem that I had

DeStaCo clamp, the metal of the handle

6 x Southern Theatre x Fall 2022

Step-by-step instructions:

Step 3: Cut steel handle and drill out appropriate holes for small U bolts.

Step 1: Cut the board that will act as the contact point to desired length and countersink for bolt heads.

Step 5: Wrap the brake in rubber drawer lining to improve its traction.

Step 6: Attach the brake to the wagon, ensuring that the handle lifts the unit slightly.

Materials and Costs Step 2: Attach the DeStaCo clamps by tightening bolts into their threaded inserts.

Step 4: Attach the steel piece to the handles to pair the clamps.

inside can be easily bolted through.

it to have all swivel casters, then two brakes

In looking for a piece of hardware that

will need to be placed opposite of each

could connect the handle to the steel, I

other to truly lock down the movement of

found that the U bolt from a ¼" wire rope

the wagon.

clip fit perfectly over the Model 610 handle.

Brakes can be reused

With the drilling of two small holes for

After the show comes down, the brakes

each clamp through a piece of angle steel,

can be detached and added to your brake

the clamps were securely connected. The

inventory. You can create several sizes of

clamps can be spaced as far as 4' apart,

brakes, then pull them off the shelf when-

and additional clamps can be added if you

ever you need them. If a brake needs to

wish to make an even longer brake. With

be modified for a specific unit, the most

800 pounds of lifting strength per clamp,

expensive part – the clamps – can be pulled

1,600 pounds of down force is provided.

from an earlier brake and repurposed at a

That, combined with a 48" x 5.5" rubber-

very low cost.

wrapped contact point, provides a very effective brake for almost any size wagon.

Used in combination with straight casters at the opposite end of the wagon, a single large brake is all that is needed for a unit. If the movement of the wagon requires

DeStaCo clamps (Model 610, 2@$41/each)

$82.00 10.00

2x6x8' Spruce board

¼" wire rope clips (2@$2.25/each) 4.50 1.5"x1.5" angle steel (48" long)

20.00

Rubber drawer liner (whole roll)

20.00

Total Cost:

$136.50

David Glenn is the technical director/scenic designer at Samford University in Birmingham, AL. He is editor of the Outside the Box column and a member of the Southern Theatre Editorial Board.

Do you have a design/tech solution that would make a great Outside the Box column?

Send a brief summary of your idea to Outside the Box Editor David Glenn at djglenn@samford.edu.

Fall 2022 x Southern Theatre x 7

THE FUTURE OF ARTS FUNDRAISING Viewed Through the Lens of Six Rising Leaders

Thomas Brenner

by Tiffany Dupont Novak

Wideman Davis Dance, started by Tanya Wideman-Davis (above, right) and Thaddeus Davis in 2003, was among the arts organizations that received money from the Southern Power Fund, which was started during the pandemic by Alternate ROOTS and other organizations to raise funds and provide grant money to address immediate community needs in the South. The grant received by Wideman Davis Dance enabled the organization, with dual headquarters in Columbia, SC, and Chicago, IL, to move its dance residency programs to a hybrid environment.

8 x Southern Theatre x Fall 2022

A

“A period play, a costume drama, a fantasy of entitlement, altruism and superiority.”

That’s how author Edgar Villanueva describes philanthropy in his book Decolonizing Wealth: Indigenous Wisdom to Heal Divides and Restore Balance.

For theatre professionals, the “period play” of traditional fundraising is easy to imagine. It’s an exclusive dinner with the guest director, guaranteed VIP seating or a table at the annual gala – and it typically features a cast of wealthy white folks who are accustomed to the benefits provided by the roles in which they’ve been cast as a result of their social location.

And many theatres continue to put on this same philanthropy song and dance, even as traditional fundraising methods such as donor levels, benefit systems and naming opportunities produce the same, if not declining, results.

According to a 2019 report from SMU DataArts,

and how those systems can be reimagined to redefine

performing arts organizations consistently have the

what it means to be a philanthropist.

lowest return on fundraising when compared to

Communicating the social impact of the

other sectors, with the amount of money invested in

arts beyond entertainment

earning fundraising dollars generally closer to the

While giving to the arts declined in 2019-2020,

total funds raised than is the case in other sectors.

giving to sectors such as public/society benefit and

And while many nonprofits saw an increase in giving during the pandemic, research from the Arts Funders

DEMARCUS AKEEM SUGGS

Forum shows that out of nine sectors, giving to the arts had the largest overall decrease in 2019-2020 compared to 2018-2019, with a giving decline of 7.5%.

Director of Development Alternate ROOTSO

The fundraising sector’s resistance to change is deeply rooted in systemic racism, according to Vu Le, author of the popular blog Nonprofit AF and founding

Alternate ROOTS is an

member of the community-centric fundraising move-

Atlanta-based organization

ment, which emphasizes equity and social justice.

that supports the creation

“By centering the comfort of donors, most of

and presentation of original

whom are white, we perpetuate white saviorism,

art rooted in community,

poverty tourism and inequity,” Le says, “while allow-

place, tradition or spirit. (See

ing our donors to avoid confronting difficult realiza-

related photo, opposite page.)

tions like the fact that wealth is built on colonization, slavery and other forms of injustice.”

How did you make your way to arts fundraising? “My work

So, if the comfort of donors keeps arts fundraisers

in arts fundraising started while dancing professionally with Dayton

beholden to practices that perpetuate injustice and,

Contemporary Dance Company. During annual galas, I was often paired

additionally, these practices don’t produce revenue

with introverted dancers and seated at tables of current and potential

growth – isn’t it time for something new?

donors. Once I realized I never had to ask people for money but rather

Southern Theatre asked six rising field leaders, who represent a swath of arts fundraising experiences and

tell my story and personal connection to the organization’s mission, the spark was lit.”

perspectives, to share their thoughts on the future of arts fundraising. From innovative strategies to

NOTE: After research on this story was completed, Suggs moved to a new

the importance of equitable fundraising practice

position as director of development for Mid-America Arts Alliance, a nonprofit

and more, their insights paint an inspiring picture

based in Kansas City, MO, that supports artists, cultural organizations and

of what arts fundraising can be if we examine who

communities in the Mid-America region.

current fundraising practices were designed to serve Garrett Houston/BarterTheatre

Fall 2022 x Southern Theatre x 9

environment/animal benefit increased.

artists also shape and reflect culture.”

also using theatre as a platform to support

And although most might attribute this

Another strategy is to communicate

decline to the lack of in-person arts

theatre’s contribution to culture and the

For example, during the Black Lives

programming, the Arts Funders Forum

art form’s unique ability to be a conduit for

Matter protests that followed the killings

had a different conclusion: The arts just

empathy in a way that supports wellness,

of George Floyd and Breonna Taylor by

don’t do as good of a job communicating

said Olivia Custodio (she/her), associate

police, “many arts organizations shared

their societal benefit as other sectors do.

director of membership and annual fund

information about the movement, marches

at Oregon Shakespeare Festival (OSF).

and ways their communities could support

DeMarcus Akeem Suggs (he/him),

what the company believes in.

interviewed for this story while serving as

“If you can take what you see on that

development director at Alternate ROOTS

stage, ruminate on it and perhaps imple-

By holding a mirror up to society and

(ROOTS) until late June 2022, suggests

ment what you learned, you’re going to

supporting their communities through

that the best way to illustrate impact in

live on a heightened plane of awareness

relevant programming as well as social

a compelling way is via a message that

for your neighbors,” Custodio said.

justice work, theatres can operationalize

the movement,” Yancy said.

underlines an organization’s mission and

This heightened plane of awareness

values. One of the keys, he said, is to high-

reaches beyond the theatre space and

It’s safe to say that many development

light the work of artists and communicate

offers a tool for community members to

professionals are staring down the face

the deep value they bring to society as

better understand the world around them

of grant reports that find them quantify-

culture bearers.

through arts experiences.

ing their value through the number of

their values, she said.

“At ROOTS, we’ve focused on indi-

At St. Louis Black Repertory Com-

programs they’ve held and the number

vidual and community transformation

pany (The Black Rep), Christina Yancy

of people they’ve reached over the past

as a result of access and engagement

(she/her), who serves as acting fellow and

year, and those numbers are likely low in

in the arts,” Suggs said. “Artists move

development associate, notes that theatre

comparison to pre-pandemic data – for

us – emotionally and intellectually.

can demonstrate the arts’ social impact by

myriad reasons. And while there is certain-

As James Baldwin so brilliantly noted,

moving beyond just presenting theatre to

ly value in tracking the number of people

10 x Southern Theatre x Fall 2022

who have engaged with the organization,

(LCT) in Kentucky, recommends asking

considering how your programming has

individual donors what brought them joy

made an impact beyond those numbers is

over the past two years.

an invaluable exercise when communicating with funders, especially individual donors.

“They almost always mention forms of entertainment and art,” she said.

These comments can serve as a jump-

Ashlee Collins (she/her), development

ing-off point for conversations about the

director at Lexington Children’s Theatre

benefits of arts experiences for young

OLIVIA CUSTODIO Associate Director of Membership and Annual Fund Oregon Shakespeare Festival Oregon Shakespeare Festival is a Tony Award-winning theatre inspired by Shakespeare’s work and the cultural richness of the United States. It is among the oldest and largest professional nonprofit theatres in the nation.

How did you make your way to arts fundraising? “As with most of us in this profession, it sort of fell into my lap! I began as an actor at an Equity theatre in Salt Lake City, then got a job in their box office. The artistic director noticed how much the patrons enjoyed interacting with me, and when a development spot opened up, she asked if I was interested. She hired a development consultant to show me the ropes and help me refine my skills as a grant writer, donor event planner and front-line fundraiser.”

OSF Artistic Director Nataki Garrett (left) talks with donors at an event during OSF’s 2022 Change Makers donor weekend. The Change Makers program has re-envisioned benefits to bring donors closer to the vision and purpose of the organization.

Fall 2022 x Southern Theatre x 11

people and families, as well as a way to

ties for interaction, created together with

support for personalized video appeals

connect the donor’s positive arts experi-

the marketing team, such as artist video

that can be customized for each donor. Free

ences to LCT’s mission, Collins said. From

testimonials that were shared on social

tools are also available online, including

increased empathy to community building

media, virtual interview experiences for

QR code generators as well as resources

to shared family experiences and more –

donors with the production team on the-

like the Donor Participation Project, an

as donors, they are a partner in making a

atre making and cast reunion opportuni-

international community of fundraisers

meaningful impact.

ties. Brown also suggests introducing QR

engaged in knowledge sharing and lively

The evolution of fundraising during

codes and text-to-give options, making

dialogue around the evolution of the

the pandemic

giving easy and available via multiple

field.

For arts fundraisers, the pandemic

The fundraising strategy during the

platforms.

provided many challenges as well as many

After these efforts began, Brown found

pandemic at Pacific Northwest Ballet

opportunities to implement new strategies.

that not only were donors who would

(PNB), located in Seattle, WA, has included

“I was throwing out ideas, making

typically make one donation a year more

stating plainly to donors the importance of

videos and sharing them without truly

likely to make repeat donations, but that

supporting artists.

knowing it would result in donations,” said

new donors were attracted as well.

T h e r ol e t h at do n at io n s wou ld

Mercedes M. Brown (she/her), manager

A quick Google search of “Giving

play in “keeping dancers, musicians,

of individual giving and events at Dallas

Trends 2022” shows that the types of acces-

administrators, school faculty and other

Theater Center.

sible and flexible opportunities Brown

groups employed and medically insured

Brown soon realized that donors

mentions are high on many lists, making

during this time was important for us

were likely to give more than once over

them a pandemic giving trend that won’t

to communicate to donors,” said Jackson

the course of the season if the theatre

be going away anytime soon.

Cooper (he/him), PNB’s major gifts manager.

engaged with supporters directly via

Many Customer Relationship Manage-

various appeals that made donating easy.

ment (CRM) systems have text-to-give and

The pandemic found ROOTS harness-

These included a variety of opportuni-

email capabilities, with some even offering

ing the power of collective action and

THEATRE & DANCE in the Nation’s Capital STUDY ACTING, DANCE AND PRODUCTION DESIGN WITH A BACHELOR OF ARTS IN THEATRE OR DANCE 12 x Southern Theatre x Fall 2022

202.994.8072 WASHINGTON, DC ctad@gwu.edu

coalition building. An organization that

“First, we worked with our lntercul-

connects “artists who have a commitment

tural Leadership Institute partners at

to making work in, with, by, for and about

First Peoples Fund, National Association

their communities and those whose cultur-

of Latino Arts and Cultures (NALAC),

al work strives for social justice,” ROOTS

PA’I Foundation and SIPP Culture to raise

made transformative change during the

over $5 million for artists in our networks

pandemic through partnerships.

who were at risk of being overlooked by

CHRISTINA YANCY Acting Fellow and Development Associate St. Louis Black Repertory Company St. Louis Black Repertory Company is one of the largest nonprofit professional African American theatre companies in the nation, providing platforms for theatre, dance and other creative expressions from the African American perspective.

How did you make your way to arts fundraising? “After graduating from the University of Montevallo in 2019, I joined St. Louis Black Repertory Company (The Black Rep) as a professional acting fellow. Administrative work is a large part of the fellowship. During the company’s regular office hours, fellows are given tasks in various departments. I joined the Development Department as a part of my administrative duties. During this time, I worked closely under the development director learning the ropes.”

The Black Rep has moved beyond just presenting theatre to also using theatre as a platform to support what the company believes in. It presented Fannie Lou Hamer, Speak On It!, on Oct. 2, 2020, at the administrative office of The Black Rep as part of a voter registration event leading up to the 2020 Presidential election. The live production was streamed to a larger audience through social media and also toured to three St. Louis community events in the metro area that same weekend.

This production was also a continuation of The Black Rep’s collaboration with The Nebraska Repertory Theatre. The ongoing collaboration is entitled #realchange.

Fall 2022 x Southern Theatre x 13

traditional philanthropy in the height of

efited from the Southern Power Fund was

illustrates principles of community-centric

the pandemic,” said Suggs.

Wideman Davis Dance.

fundraising.

Community-centric fundraising

Funded through a partnership with

“We were on tour and had just arrived in

the Mellon Foundation, the lntercultural

Chicago for a short stay when the pandemic

Leadership Institute was able to distribute

hit,” said cofounder Thaddeus Davis (he/

The community-centric fundraising

Crisis Relief Grants ranging from $1,000

him). “With the no-travel ban, we needed

movement seeks to systemically advance

to $20,000 to artists and organizations

to find a way to continue our work from

the nonprofit fundraising sector by elimi-

and to provide financial and technologi-

Chicago. With support from the Southern

nating many of its traditional practices,

cal resources to lessen the impact of the

Power Fund, we created a hybrid work-

which have a variety of negative conse-

coronavirus pandemic on livelihoods and

space that allowed us to continue residency

quences, such as preventing important

the larger arts sector.

gains ground

work and community engagement activi-

conversations about race, inequity and

At the same time, ROOTS served as

ties. The Southern Power Fund allowed us

privilege; proliferating the “white savior

an anchor member of the Southern Power

to rent a workspace, purchase and install

complex” and perpetuating the “othering”

Fund, initiated during the pandemic to

cameras, microphones and lights, and

of people the arts serve; crowding out the

raise funds and provide grant money

continue our scheduled residency activi-

voices of people served; maintaining com-

to grassroots organizations in the South

ties and community work via Zoom. We

petition for survival; and further marginal-

to address immediate needs in the com-

continued working with residencies at

izing already marginalized communities.

the University of Southern Mississippi,

In contrast to the donor-centric fund-

“Working with visionary Southern

Clemson University, Allen University,

raising model popularized in the early

organizers, artists and leaders, we raised

Columbia Housing Authority, Historic

2000s that prioritizes the needs of donors,

over $16 million to disburse unrestricted

Columbia and Alabama Dance Festival,

community-centric fundraising supports

funds to frontline organizations and for-

and presented at several conferences.”

the needs of communities over individual

munity.

mations,” Suggs said.

One of those organizations that ben-

14 x Southern Theatre x Fall 2022

The collaborative work by ROOTS and its partner organizations beautifully

organizations’ missions and is grounded in equity and social justice.

For Custodio at OSF, this type of fundraising starts with an acknowledgment that without its community, OSF would not exist.

equity in our economic landscape here,” said Custodio.

Garrett has served as the artistic director at OSF since 2019 and, together with

“In OSF’s new chapter with Nataki

a cohort of Oregon arts leaders, secured

Garrett at the helm, we are turning toward

$8 million for the state’s performing arts

the social justice work in our community,

organizations from the federal relief fund

supporting other nonprofits and theatres

package that Oregon received. Within

in the region, uplifting voices and people

OSF itself, Garrett has demonstrated her

who have been silenced and fighting for

commitment to community, equity and

ASHLEE COLLINS Development Director Lexington Children’s Theatre Lexington Children’s Theatre is a Lexington, KY-based professional youth theatre that was founded in 1938 and is dedicated to creating imaginative and compelling theatre experiences for young people and families.

How did you make your way to arts fundraising? “I had a ‘try it all’ mentality when studying theatre at Morehead State University. When the arts administration program was starting, it felt like the avenue where my talents shined brightest. Then, as in all nonprofits, the road leads you to the question, ‘How do we get money to do that really great thing?’ ”

Lexington Children’s Theatre has worked to encourage small gifts as a way to promote equity and involve children in discussions about giving. After performances, Collins talks from the stage about how donations help the theatre and asks families to consider making a gift as they leave. Those who donate any amount can also receive a commemorative button (shown above) celebrating the show they just watched.

Fall 2022 x Southern Theatre x 15

uplifting voices through a variety of initia-

nonprofits to thrive – and this starts with a

not in some of the rooms where decisions

tives, including a dedication to producing

conversation. Instead of hoarding contacts

are made,” Suggs said. “We do the same!”

new work; directing and producing plays

and information, she recommends creating

This shift from a scarcity mindset to an

from luminary playwrights like Katori

a community of abundance by sharing

abundance mindset also allows for more

Hall, Branden Jacobs-Jenkins, Dominique

information and experiences with others

transparency and community support

Morisseau and Aziza Barnes; and open-

in the field.

when communicating needs.

ing OSF as a community place of refuge

“Many times, I have conversations with

“Partnering with other organizations

during the catastrophic Almeda fire that

others in the development field, and we

and sharing funding and resources will

destroyed numerous homes in the area.

brainstorm ideas with each other and share

foster help in the community,” Brown

Traditional fundraising models his-

experiences,” she said. “It always amazes

said.

torically limited nonprofit collaboration

me how many things we do similarly but

Making fundraising practices more

through what the blog Nonprofit AF calls

also how many ideas we can gain from each

equitable

the “Nonprofit Hunger Games.” This style

other.”

For Cooper, equitable fundraising

of operation, perpetuated by systemically

The aforementioned Donor Participa-

practice starts with having a solid under-

flawed fundraising dynamics and more,

tion Project offers a great example of

standing of your personal social location

promotes competition, scarcity and gate-

fundraisers coming together globally to

and relationship to wealth. Social location

keeping, with many nonprofits preferring

share resources for the benefit of the field.

encompasses a combination of factors,

to attain their singular piece of the funding

Additionally, many cities have formal and

including a person’s gender, race, social

pie rather than collaborate with others,

informal nonprofit meet-ups.

class, age, ability, religion, sexual orienta-

for fear that partnerships might lead to a smaller slice.

In her work at The Black Rep, Yancy

Brown and Suggs both echo the organizational, community and field-wide benefits of open dialogue.

tion and geographic location.

“You must be authentic with yourself,” Cooper said. “It is one thing to know your

has found that creating a united front

“ROOTS has a lot of great partners in

organization’s values, but ask yourself:

among organizations is essential for all

the field who amplify our work when we’re

Do you know your own values? Do you

16 x Southern Theatre x Fall 2022

lead with those in your every day? How

tion or community engagement programs

do you address equity in your practice as

or whom you label as the ‘under-served’

a fundraiser?”

cannot donate,” said Brown.

This work requires many fundraisers to reflect on their own biases.

“Do not assume participants in educa-

There are countless resources for confronting bias, which is a particularly necessary step for white arts fundraisers.

MERCEDES M. BROWN Manager of Individual Giving and Events Dallas Theater Center Dallas Theater Center, which was one of the first regional theatres in the country when it was founded in Texas in 1959, works to engage, entertain and inspire its diverse community by creating experiences that stimulate new ways of thinking and living.

How did you make your way to arts fundraising? ”I was fortunate to have exceptional arts programs in grade school. My parents deepened my interest with planned family outings to art museums and other cultural events during my childhood. I interned at an art gallery in college, which opened the door to various arts administrative roles, including arts fundraising. Originally, I went to graduate school to work with artists and museums but switched my focus to fundraising for nonprofit arts organizations.”

Above: When productions were canceled due to a COVID wave in the 2020-2021 season, Brown hosted a virtual happy hour for donors, titled Women of Color on Stage: Actresses Navigating the Theater Industry Roundtable.

Left: In its holiday message, Dallas Theater Center encouraged donors to give money via QR code to celebrate the return to live theatre.

Fall 2022 x Southern Theatre x 17

Two exceptional books that explore these

“Our donors’ contributions have always

topics through a fundraising lens are

been at the heart of making the change we

Decolonizing Wealth: Indigenous Wisdom to

want to inspire in the world,” Custodio

Heal Divides and Restore Balance by Edgar

said. “It [the new benefit structure] is a

Villanueva and The Revolution Will Not

much better reflection of our collective

Be Funded: Beyond the Non-Profit Indus-

values. Theatre belongs to everyone.”

trial Complex by INCITE! Women of Color Against Violence.

2023 SEASON

Visit us online at ogunquitplayhouse.org/ work-with-us or scan the QR code for more info.

in philanthropy and that benefits should

long practice of self-work, it’s important

be viewed as a symbol of gratitude rather

to reflect on your understanding of the

than the sole reason someone gives to a

mission of your organization: Do your

nonprofit.

fundraising practices reflect the mission,

“There is nothing wrong with offering

vision and values of your company? Are

donors tangibles and experiences,” she

you accepting donations from funders

said. “However, promoting membership

whose actions and intentions don’t align

levels can create an ‘us’ vs. ‘them’ environ-

with your mission? Who do your fund-

ment. This goes against ‘We See You White

raising practices actually serve?

American Theatre’ and community-centric

10 Main St • Ogunquit, ME 18 x Southern Theatre x Fall 2022

principles.”

the historic impact of systemic racism

At ROOTS, they are exploring ways

have come to understand that develop-

to center members in fundraising efforts

ment work often upholds white saviorism

through artist-led giving circles. According

and elitism through outdated benefits

to Philanthropy Together, giving circles are

structures, such as guaranteeing donors

made up of people who pool their time and

the best seats, access to decision­-making

money together to make a positive change.

power in the organization and opportuni-

This allows the artists involved in ROOTS

ties to meet artists, often with little agency

to have a direct say in how the money

being afforded to the actual artists in these

raised by the organization is impacting

scenarios.

other artists. The program is currently in

“We have trained donors to receive ‘treats’ for their good behavior and gra-

the design phase with plans to pilot the program sometime in the fall.

ciousness and, in turn, the system is

“The dream is that these circles will

drenched in white supremacy, capital-

make autonomous decisions around fund-

ism and transactional practices,” said

raising and fund disbursement for our

Custodio.

Solidarity Fund, an emergency assistance

Her major focus at OSF has been to reimagine their membership structure

Celebrating 90 years of world-class theatre.

models reinforce the hierarchical systems

After beginning the essential and life-

Many organizations grappling with

We’re Hiring!

Brown also said that older membership

fund launched during the height of the pandemic,” Suggs said.

through a new Change Makers program.

Equity in fundraising also means evalu-

While benefit levels remain a part of

ating the value placed on a donation and

the Change Makers program, the re-

how donors are treated based on the size

envisioned benefits are designed to bring

of their gift.

donors closer to the vision and purpose of

“Treating each donor with the same

the organization through opportunities

attention, stewardship and respect, no

that highlight the impact of the work – not

matter their giving level, is important for

how great free drink tickets are.

promoting equitable practices as fundrais-

Change Maker benefits include behind-

ers,” Cooper said.

the-scenes digital content, small group

It’s essential that gratitude is expressed

tours, first access to exciting news, oppor-

for all gifts to the organization, be they

tunities to sit in on dress rehearsals and

money, time or resources, and that the

more.

gratitude is authentically communicated,

JACKSON COOPER Major Gifts Manager Pacific Northwest Ballet Pacific Nor thwest Ballet, founded in Seattle, WA, in 1972, is one of the largest ballet companies in the United States. The company of nearly 50 dancers presents more than 100 performances each year in Seattle and on tour.

How did you make your way to arts fundraising? ”I attended my first professional theatre performance when I was 14. It was a pay-what-you-can night for North Carolina Theatre in Raleigh, and there were nearly 1,200 community members packed into the theatre. It was the most fun I have ever had in a performance.

When the night was over, I told my mom that that was what I wanted to do: bring a community of people in to experience the joy of live performances.”

LiLi Pigott (Text), Lia Chiarelli (Editing), Chad Kent (Design)

For 50 years, Pacific Northwest Ballet has inspired audiences locally, nationally, and around the world. At home in Seattle, PNB presents over 250 performances, conversations, and community education events each year, reaching over 200,000 people each year.

Did you know PNB is the largest employer of artists in our region? It’s true!

PNB is proud to employ nearly 600 people each year, including a Company of 46 dancers, our own Orchestra, a faculty of dance teachers and pianists, costume makers, set builders, painters, choreographers, photographers, videographer, administrators, and more. PNB is a leader in artistic, economic, social, and cultural vibrancy of the Puget Sound region.

After two years of pandemic adaptation—PNB has never been more committed to the artistry, innovation, and the joy we share when we gather for dance.

YO U R I N V E S T M E N T I S E S S E N T I A L I N O U R N E X T C H A P T E R .

Thank you for joining us for PNB’s bright future.

PNB.org/donate

Scan to donate From your device Or Detatch, fill card out, and mail it in

COUNT US IN!

I (we) wish to make a gift to PNB.

In its fundraising materials during the pandemic, Pacific Northwest Ballet has I (we) wish make a role donations emphasized thetoimportant play in keeping dancers, musicians and Name(s) in the following insured – and performing for their community. other gift artists employed, amount:

Address

$100

$200

City/State/Zip

$500

$1,000

Phone

Other

Email

Fall 2022 x Southern Theatre x 19

which is directly connected to the fund-

Collins will make her way onstage,

become anti-racist, but also for fundrais-

raiser’s understanding of their self, their

talk about how donations support the

ing, grants and administration across the

work and the work of their organization.

theatre’s mission, and ask families to

field.

According to Cooper, gratitude authenti-

consider a gift on their way out. For a dona-

As the development associate at The

cally expressed will promote long-term

tion of any size, audience members can

Black Rep, a 45-year-old legacy Black

stewardship among supporters.

also receive a commemorative button

arts organization, Yancy found that prior

celebrating the show.

to the country’s recent and long overdue

In addition, organizations should be mindful about how people are giving and

“Some people donate a quarter, some

racial reckoning and the simultaneous

on what platforms. Ask yourself: Is it easy

a $20 bill,” Collins said. “On average, we

global pandemic, BIPOC-led organiza-

for all people to give to your organization?

have received $250 per run of a show.

tions were not being properly recognized

How many clicks on your website does it

Overall, that’s over $2,000 a year!”

or funded.

take to make a gift? Are there options for

Arts fundraising changes amid the

“However, as the pandemic occurred

smaller, recurring donations? Brown has

global movement for racial justice

and theatres, specifically BIPOC-led

found that these paths to giving are more

In June 2020, a group of over 300 Black,

theatres, began closing or taking hiatus,

welcoming for donors, regardless of socio-

Indigenous and People of Color (BIPOC)

an influx of funders and donors realized

economic background.

theatre makers launched “We See You

how greatly impacted these organizations

“Start incorporating digital payment

White American Theatre” (We See You

were and funding was specifically geared

apps and text-to-give, making it easier for

WAT), which features a list of demands for

toward answering their call for assistance,”

anyone to give at any time,” she said.

historically white organizations, theatre

Yancy said. “Minority equity in funding

At LCT, creating a culture where

makers, funders and more, based on the

and fundraising has become a priority

small giving is incentivized is also a way

lived experiences of the BIPOC creators

rather than a passive occurrence.”

to promote equity and involve young

who came together to publish the list.

people in a conversation around phi-

The document encompasses not only

“I think that this global movement for

lanthropy. Following performances,

change needed for artistic practice to

justice has revealed gaping holes in access

In her work, Collins has seen the same.

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and resources,” Collins said. “And, in turn,

local buy-in and, even then, local funders

“I wa nt to s e e a r t s f u nd ra i si ng

granters and major funders are requiring

have made obtaining support even more

anchored by grassroots communities

more diversity in areas that count, which

stringent.”

and supplemented with funding from

allows for organizations who meet that criteria a clearer path to the dollar.”

While support for organizations that

local, regional and national philanthropic

serve diverse communities may be increas-

partners,” Suggs said. “Alvin Ailey often

The data backs up their beliefs. Accord-

ing, a recent national survey by The

said that ‘dance is for the people and should

ing to SMU DataArts, in 2020, organiza-

Chronicle of Philanthropy of 1,168 charity

be given back to the people.’ Imagine if arts

tions that primarily serve Black, Indig-

leaders identified significant discrepancies

organizations saw themselves as belonging

enous, Latinx, Arab and Asian American

in funding resources and opportunities

to the people and for the benefit of the

communities received foundation, govern-

when white-led organizations were com-

people.”

ment and corporate support that covered

pared to BIPOC-led organizations. For

Cooper also sees communicating the

more expenses over time, and growth far

example, 58% of BIPOC-led organizations

vitality of the arts as an important piece

exceeded inflation.

received corporate donations in 2021, com-

of the future.

Suggs has seen this evolution in priori-

pared to 71% of white-led groups, which

“I hope that arts fundraisers reckon

ties with his work at ROOTS but finds that

in many ways highlights the challenges

with the universal power of performance

more support on the regional and local

organizations like ROOTS are having with

and gathering to create a powerful message

levels is needed.

regard to local support.

to community members that the arts bring

Hopes for the future of arts

us closer together as people,” Cooper said.

“I think a lot of leaders in national philanthropy heard the call for systemic change and were moved to act,” he said.

fundraising

There is no doubt that the future of arts

Similarly, Collins works to amplify the importance of arts education for communities.

“However, that work hasn’t been as readily

fundraising is a complex and challenging

adopted by state and local philanthropy.

one, but for these field leaders, there’s hope

“I hope that in my daily work and inter-

BIPOC organizations in our region still

that the philanthropy period play of yore

actions I am able to share and communicate

need national or regional validation to get

is evolving.

just how fulfilling arts education can be

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22 x Southern Theatre x Fall 2022

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and inspire others to fight the good fight,”

us as organizations,” said Custodio. “We

she said.

cannot be afraid to release donors who

For Yancy, a hopeful future for arts fundraising relies not only on communication, but also on creativity.

points on solutions, but making an equitable change to arts fundraising is an uphill

we are able to remember and retain our

battle.”

creativity,” Yancy said. “It is because of

She sees a need for more BIPOC arts

creativity and innovation that many arts

fundraisers as well as greater use of

organizations were able to survive this

grassroots strategies, both of which will

period.”

require intentional and systemic change

strategies or focus on grassroots organiz-

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Brown notes that she hears “talking

“My greatest hope, especially as we rise

implementing innovative and equitable

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from the decline of this pandemic, is that

Whether organizations commit to

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don’t align with our current values and

throughout the field.

“It’s time to reinvent philanthropy,” Brown said.

ing and cutting ties with donors whose

The great news is, a growing number

values no longer align with the values of

of arts fundraisers are intent on doing just

the organization, the future of arts fund-

that. n

raising is ready for a reckoning.

“My hope is that the collective ‘we’ of arts fundraising continue to focus on the art and artists and move away from bending over backwards for the donors who aren’t interested in evolving with

Tiffany Dupont Novak (she/her) is the development manager at Actors Theatre of Louisville in Kentucky and a member of the Southern Theatre Editorial Board.

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A PLAY FOR ALL SEASONS Colleges Share the Key Factors They Consider in the Show Selection Process

I

b y To m A l s i p

It’s the day they’ve waited for all semester: time to announce the theatrical season for next year. Students, educators and audience members all wait with bated breath.

The reveal is here! They go to their preferred social media page to check it out, and they are left … confused.

Student 1: There are no roles for me.

Student 2: Why are we always playing the same types of roles?

Patron 1: I’ve never heard of any of these shows.

Patron 2: I’ve already seen these shows.

Patron 3: Can’t they do shows that appeal to others besides college students?

Educator 1: How am I going to have students write good papers on such a commercially focused season?

Educator 2: How am I going to get students excited to go watch a bunch of shows they have never heard of?

ALL: What were they thinking?

What indeed is the thinking that goes on in the

Season considerations

background of the season selection process? In the

One of the things that is abundantly clear from

vast corpus of published and unpublished plays, new

the responses is that colleges and universities have a

works and classics, dramas and comedies, musicals

lot to weigh when building a season. And they have

and Shakespeare, how does a college go about select-

different constituencies to satisfy that often have

ing a season that will be of interest and present good

different expectations.

educational opportunities to students, performers

“It’s often like a book that sort of writes itself,” said

and designers, while still appealing to a vast array

Scott Gagnon (he/him), the director of the Theatre

of patrons, parents and young people?

Arts Program at Emmanuel College in Boston. “It’s

It’s a tricky needle to thread, so Southern Theatre

a fascinating balancing act between where both the

reached out via an online survey to institutions in

students and I find ourselves artistically, what audi-

SETC’s database to learn how they make their selec-

ences want to see and what the students want to

tions. We received responses from 157 representatives

perform and design.”

of state universities, private colleges, community

Most surveyed schools shared the same primary

colleges and more from across the country, spanning

focus: choosing shows that support that department’s

from Wyoming to Massachusetts, from Oklahoma to

pedagogy. At Berea College, a small liberal arts work

Florida, from Alabama to Michigan.

college in Kentucky, Theatre & Film Department

OPPOSITE PAGE: A number of school representatives said they work to reflect diversity in their season choices. For example, Ball State University says nine of the 10 shows in its 2021-2022 season were created, directed and/or choreographed

by BIPOC, nonbinary, gender nonconforming, LGBTQ or female voices. The shows included (clockwise from top left): Everybody, by Branden JacobsJenkins; Skin and Bones, music and lyrics by Ben Clark, book by Andrew Kramer; Bring It On, music by Tom Kitt and Lin-Manuel Miranda, lyrics by Amanda Green and Lin-Manuel Miranda, libretto by Jeff Whitty; Significant Other,

by Joshua Harmon; Roe, by Lisa Loomer; and Coppélia, choreographed by Lisa Carter and Melanie Swihart.

Fall 2022 x Southern Theatre x 27

BA THEATRE Find us online:

UTC.EDU/THEATRE UTC Theatre Co. @utctheatrecompany

Scott Gagnon Emmanuel College Boston, MA

Adanma Onyedike Barton Berea College Berea, KY

who is right for that role, that show is often

said the top three considerations when

disregarded.

faculty choose shows are the pedagogical

Bart Williams (he/him), an asso-

relevance for the performers/designers,

ciate professor of acting, movement,

the opportunity to showcase student talent,

stage combat and directing at Southeast

and ensuring opportunities for students of

Missouri State University, summarizes the

color. They especially look for shows that

primary departmental focus on students

provide opportunities for students to work

well: “We want material that will best

in key roles.

equip our students (performers/designers)

Contact: Jordan-Hicks@utc.edu to schedule a tour of our facilities & to meet with our faculty.

And while student concerns make up

(costume, hair, makeup, lights, sound,

the vast majority of a school’s focus when

props) that help them move on profession-

they are planning their seasons, they are

ally after graduation,” Barton said.

also aware that selling tickets to family,

As educational institutions, colleges and

friends, other students and season ticket

universities see the training and education

holders is important or they won’t continue

of students as the primary focus. However,

to patronize the theatre.

with different students studying different

Joe Anderson (he/him), chair of the

things, even that is not a straightforward

Department of Theatre Arts at the Univer-

area to satisfy.

sity of Wisconsin-La Crosse, notes this is a

UTC is a comprehensive, community-engaged campus of the UT System. UTC is an EEO/AA/Titles VI and IX Section 504/ADA/ADEA institution.

28 x Southern Theatre x Fall 2022

lesson students need to learn as well.

print: lots of costumes, big sets, unique

“Clearly, we produce shows with the

lighting requirements. In some cases, that’s

hope and expectation that audiences will

a great challenge for design students. But

attend,” Anderson said. “The reality is that

sometimes it’s too much for a particular

our discipline can be very expensive and if

season’s budget or labor force to handle.

we’re modeling for our students, we want

Some shows have a huge cast, which is

to show them they can eventually earn a

exciting because that enables a school to

living in theatre. Revenue is an essential

give lots of performance students opportu-

part of that success.”

nities to be on stage. However, those large

At some institutions, ticket sales help

casts often have very specific requirements.

determine the theatre department’s fund-

And many schools struggle with fewer

ing, making season choices vital for the

male-identifying students than female. Or,

Accredited by National Association of Schools of Theatre

to get jobs when they graduate.”

and students have jobs they are paid for

Some shows have a heavy design foot-

UTC.EDU/APPLY

Joe Anderson University of Wisconsin-La Crosse La Crosse, WI

chair Adanma Onyedike Barton (she/her)

“We have a commitment to diversity,

Learn more and apply now at:

Bart Williams Southeast Missouri State University Cape Girardeau, MO

bottom line.

perhaps they have fewer students of color.

“Our production budgets are revenue-

If a show requires a role to be played by

based on box office, so selling tickets is

a performer of a specific race or ethnicity

important to maintain our standards for

and they don’t have a student currently

future production,” said Lee Blair (he/

We sing. we dance. we play. we design.

An amazing education is waiting for you at the

usf.edu/arts/theatre-and-dance

Lee Blair West Virginia University Morgantown, WV

Mark Harvey University of Minnesota Duluth Duluth, MN

Kim Shire Carroll College Helena, MT

him), head of performance at West Virginia

lowing year, but many schools have a

University.

long-term plan in mind.

Some other schools receive fund-

“We have a grid, so we touch on various

ing based on the number of students

styles throughout a four-year period:

that attend their productions, so they

for example, one Shakespeare, one rock

must ensure student-friendly program-

musical, one Golden Age, etc.,” said Penny

ming. Some institutions even go so far as

Maas (she/her), an associate professor of

to provide complimentary tickets for their

theatre at Texas Christian University.

students, with the department’s budget

For those four shows, most schools

influenced by how many students take

endeavor to produce at least one musical.

advantage of that offer.

Musical theatre is still the most popular

“All students at the university see our

form of theatre in this country, and many

productions free of charge,” said Mark

schools have a healthy interest in musicals

Harvey (he/him), head of the Theatre

from their student body, other students on

Department at the University of Minnesota

campus and independent patrons.

Duluth. “How our season is embraced by

Over half the schools in our survey also

students is critical since we are reimbursed

produce one classical and one contempo-

for each ticket given away.”

rary show. This enables students to get

There are a tremendous number of

experience on both ends of the theatrical

factors that go into season selection

spectrum and for audiences to see titles

because so many important elements are

they may be familiar with, as well as newer

tied to the success of these productions.

ones that they could be encountering for

This makes people approach season selec-

the first time.

tion in myriad ways.

30 x Southern Theatre x Fall 2022

Penny Maas Texas Christian University Fort Worth, TX

While there was no consensus on the

In our survey, we found that while

most popular type of fourth show, the

much of what schools look to do remains

statistics tell us that after presenting their

the same, their approaches to satisfy-

classical, contemporary and musical pro-

ing those contrasting demands are very

ductions, many schools put on a fourth

different.

show that can serve whatever areas they

Common practices

think their first three are not represent-

Almost every school that responded to

ing. The most common additional areas

the survey does at least four shows a year.

of focus we found after musicals, classical

Many do more, although after that fourth

and contemporary plays were new works

production, many of the shows are student-

and theatre for young audiences.

produced plays or shows in a smaller

Youth theatre is a wonderful training

theatre space. Some schools are just

ground for young actors, many of whom

focused on building a season for the fol-

break into the business working in that

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Notable Faculty Sanjit De Silva

Patrice Johnson

Stephen Karam

Marjan Neshat

Christopher Shinn

Cara Hagan

Learn more about the School of Drama, part of The New School’s College of Performing Arts. newschool.edu/drama

Editor: Scott Phillips

Global Languages and Theatre Arts Dan P. Hays Midland University Fremont, NE

Eve Graves Clark Atlanta University Atlanta, GA

ing the season may change from year to

dents are not as interested in paying for

year.

tickets for those shows. Additionally, edu-

“We believe it is important when choos-

cators who want to send their students to

ing our seasons to take into account every

see shows and write college-level papers

factor,” said Dan P. Hays (he/him), direc-

on the content struggle to meet student

tor of theatre at Midland University in

writing objectives with shows meant for

Fremont, NE. “Some years, budget might

children.

be more of a concern than others, or we

If schools go the academically chal-

might want to emphasize a certain style

lenging route with titles that are perhaps

of theatre that has not been featured for

less well-known or push the envelope,

a while. But ultimately, the final question

many patrons who don’t have theatri-

always is, ‘What is best for our students?’

cal backgrounds aren’t interested in

That helps us finalize our show selection.”

attending. And frequently, those patrons

While large universities generally produce

are the ones who stay in the area and sup-

four or more shows per season, some smaller

port the department over the long term,

schools produce fewer productions. For

not just over four-year stretches like many

example, Clark Atlanta University produces

undergraduates and their families. So, they

two shows each year. Eve Graves (she/her),

are an important part of the program’s

chair of the Department of Theatre and Com-

outreach.

munication Studies, said the primary focus

could satisfy diverse areas of focus, even

pedagogically engaging material.”

An historically Black college or univer-

based on budget, the makeup of the stu-

sity (HBCU), Clark Atlanta ranks providing

dent body, and pedagogical focuses from

opportunities for students of color as the

departments that differ in priorities.

top priority in choosing shows, with challenging students involved in the produc-

there are some family-friendly shows,

tion as a second priority.

some comedies, some dramas, a TYA piece,

Picking the material

female leads predominant in most shows,

Those who responded to the survey

at least eight characters, and one show that

described a variety of approaches to the

is certain to sell a lot of tickets, and one

season selection process. While it can seem

that probably won’t – it’s a very complex

like the stakes are high because a lot is

beast,” said Kim Shire (she/her), associate

potentially riding on the selections, most

professor of theatre at Carroll College in

universities say that it is not a contentious

Helena, MT.

process. It can be challenging and long,

Additionally, the key factors in decid32 x Southern Theatre x Fall 2022

when designing the season is “ensuring

then there are challenges to overcome

“We have a rubric for making sure

Murraystate.edu/theatre

David Haugen Ohio University Athens, OH

arena. But frequently, other college stu-

While you would hope a range of shows

BA/BS Theatre BA/BS Theatre/Film BA/BS Musical Theatre

Will Lowry Lehigh University Bethlehem, PA

but generally every department is aware

start a movement

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Southern Methodist University (SMU) will not discriminate in any employment practice, education program, education activity, or admissions on the basis of race, color, religion, national origin, sex, age, disability, genetic information, or veteran status. SMU’s commitment to equal opportunity includes nondiscrimination on the basis of sexual orientation and gender identity and expression. The Executive Director for Access and Equity/Title IX1 Coordinator is designated to handle inquiries regarding the nondiscrimination policies, including the prohibition of sex discrimination under Title IX. The Executive Director/Title IX Coordinator may be reached at the Perkins Administration Building, Room 204, 6425 Boaz Lane, Dallas, TX 75205, 214-768-3601, accessequity@smu.edu. Inquiries regarding the application of Title IX may also be directed to the Assistant Secretary for Civil Rights of the U.S. Department of Education. 1 Title IX of the Education Amendments of 1972, 20 U.S.C. §§ 1681-1688.

THE SCHOOL OF

THEATRE ARTS The Lightning Thief, 2022

of its goals, and all are working together to

for students. We are trying to find ways to

achieve them through their season selec-

simplify the process, so more students feel

tion process.

capable of joining.”

“I’ve led the season selection discussion

At East Tennessee State University

for the last four years,” said Will Lowry

(ETSU), one of the key considerations is

(he/him), associate professor of theatre at

whether a particular play will resonate at

Lehigh University. “It runs from roughly

this point in time.

August to January–February, as it’s built

“We ask ‘why this play?, why now?’

around consensus. It’s a multi-phase process

because we want our selections to be

that allows for input throughout from

relevant,” said Karen Brewster (she/her),

faculty, staff and students, and each year

chair of the Department of Theatre and

has led towards a collaboratively established

Dance at ETSU. “We want to be responsive

season garnering general enthusiasm.”

to societal situations, especially recently.

The biggest struggle departments have is making sure they are covering all of

We also listen closely to what our students say about the plays we are considering.”

their bases. Theatre is a collaborative art

There are certainly positives to get-

form. That means multiple people from

ting more voices involved in the process.

different disciplines work together to put

However, it can also make the process

on a show. Therefore, multiple people from

more complicated and longer. But for many

those diverse disciplines must have input

schools, it’s a necessary complication to

in how the season is selected.

make sure that the pieces selected are

Over 50% of the school representatives said they select the offerings for their next season between October and December of the previous year.

“It’s all about the students’ needs, bal-

Perform. Design. Create.

BA in Theatre Arts BFA in Music Theatre BFA in Acting BFA in Design & Technology

supported by the entire department.

ancing that with budget, not over-loading

A professor at one state university

tech, and getting the community to support

shared details about its entire process,

the shows,” said Williams of Southeast

highlighting its complexity but also show-

Missouri State University. “We depend on

ing how many voices have an opportunity

our box office.”

to share input.

Most schools have specific faculty mem-

“Our committee is made up of all areas

bers selected to direct the shows in their

within our department,” the professor

season. Many also have a committee whose

said. “In order to maintain transparency

job is to select titles that they think would

amongst the student body, we send the

Hands-on, conservatory-style training in a nationally-ranked liberal arts setting

be good fits for the department. Most of the

notes from each weekly meeting to all stu-

time, the directors of the shows in question

dents and faculty within the department.

are on the committee, and the group selects

Students are encouraged to contact their

www.iwu.edu/theatre

titles that are voted on by the rest of the

faculty representatives on the committee

department. Some schools include students

if they have ideas, thoughts or complaints.

A Midsummer Night’s Dream, 2019

34 x Southern Theatre x Fall 2022

on that committee, but most do not.

“Dramaturgy grad students and direct-

“Our Season Selection Committee has

ing grad students are also occasionally

been transitioning for the past seasons,”

brought into the process to either present

said David Haugen (he/him), head of per-

on the plays being considered or ‘pitch’

formance at the School of Theater at Ohio

what they would like to work on in their

University. “Currently, it consists of an even

thesis year.

number of faculty and students, with the

“We begin our process with all areas

school’s director being the final vote if one

submitting two to three plays or musicals

is needed. Being on the Season Selection

to be considered. The committee utilizes

Committee can be a burden, especially

a two-phase process, where each play

theatre arts program with concentrations in Acting or Musical Theatre

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Karen Brewster East Tennessee State University Johnson City, TN

Amy Cuomo University of West Georgia Carrollton, GA

Eva Patton Ball State University Muncie, IN

is first vetted on its pedagogical value

While many professional companies

within our department, and then phase

focus on a specific theme when building

two involves working down to a short

their seasons, that is not commonly the

list to consider the more practical side of

case in higher education. Broader themes

production, including needed resources,

or a focus on specific playwrights, eras

scheduling, casting, special considerations

or anything else take a back seat to more

such as fight choreography, intimacy

utilitarian concerns. Over 50% of those

direction, etc.”

who responded to the survey said their

Building the season

primary goal when building a season was

Over 50% of the school representatives

ensuring enough opportunities for their

we surveyed said they select the offerings

performers, designers and technicians.

for their next season that begins in August

Responding to further questions about the

more than eight months earlier – between

top elements that go into their decision-

October and December of the previous

making, over 50% chose pedagogical

year. Over 75% of the schools had the

relevance for performers and designers as

season selected by March, five months

the No. 1 consideration.

before the season begins.

Some schools, like the University of West Georgia (UWG), start the process earlier.

In addition, the current conversations across society and the world of theatre about the importance of representation

“We are almost always in the season

are having an impact as schools consider

selection process,” said Amy Cuomo (she/

which plays and playwrights to produce.

her), a professor of theatre at UWG. “Some-

Many schools noted that they place a pre-

times, we will select a play two years out.”

mium on highlighting diversity, equity and

Many professors note that they save

inclusion (DEI), either through a show’s

the work they put in each year so it can be recycled in future years to make the process run more smoothly.

36 x Southern Theatre x Fall 2022

Jonathon Taylor East Tennessee State University Johnson City, TN

content or its creators.

“We try to balance decisions with DEI initiatives,” said Jonathon Taylor (he/

“We keep a spreadsheet of all the shows

him), assistant professor of scenic design

discussed from year to year that rose to the

at ETSU. “So, in the past two seasons,

top of consideration,” said Anderson of the

we’ve done [the plays] Appropriate and

University of Wisconsin-La Crosse. “That

Straight White Men, specifically because

way, we can go back and look at shows

they deal with race, gender and equity

that may not have been selected in a given

issues.”

year, but we were interested in producing

Eva Patton (she/her) of Ball State Uni-

for one reason or another. That way, we’re

versity’s Department of Theatre and Dance

not starting from scratch each fall for the

said her department “has committed to

following year.”

at least 60% of our theatre productions

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Department of Theatre & Communication

Eric van Baars Retired from Kent State University Kent, OH

BFA Scriptwriting Theatre for Young Audiences

BA in Theatre

Concentrations Musical Theatre Performance Design A place to

Julia Matthews Albright College Reading, PA

Lisa Brenner Drew University Madison, NJ

Randall A. Enlow University of North Carolina Wilmington Wilmington, NC

being authored by BIPOC, nonbinary,

constituencies that want different things.

gender nonconforming, LGBTQ and female

And while the amount of information

voices. This has become a priority for us,

that is weighed can be daunting, it only

and we are guided by it and making it

underscores the profundity of this process

happen!” Last season, nine of Ball State’s

in higher education.

10 productions were created, directed

Randall A. Enlow (he/him), an associate

and/or choreographed by BIPOC, non-

professor of design and technology at the

binary, gender nonconforming, LGBTQ or

University of North Carolina Wilmington,

female voices.

encapsulates the primary aim: “The goal

Similarly, Eric van Baars (he/him),

is to train our students for grad school

who retired in summer 2022 after 20 years

studies and/or beginning their careers.

as a faculty member and eight years as

Play selection is first in support of linking

director of Kent State University’s School

curriculum and training with performance

of Theatre and Dance, said that the school’s

experience.”

emphasis has included “presenting materi-

Takeaways

als from underrepresented playwrights … expanding the canon.”

In their search for a play for all seasons, schools weigh a nearly limitless amount of

He also noted the importance of pre-

information. But their focus is always on

senting plays that address current issues.

presenting an array of ideas or themes in

“While ensuring appropriate engage-

a way that serves the pedagogical needs

ment for performers and technicians is

of a program while also endeavoring to

high focus, telling socially relevant stories

entertain audiences of varied backgrounds.

is also a main focus,” van Baars said.

The University of Wisconsin-La Crosse’s

DREAM

Julia Matthews (she/her), associate pro-

Joe Anderson sums it up well, stating,

EXPLORE

fessor of theatre at Albright College, also

“We try to choose a season that is diverse

said season considerations there include

and fulfills the needs of our students and

“current events, themes in the public dis-

faculty. We also try to choose a season

course,” as well as “connections to upcom-

that audiences will find engaging, chal-

ing exhibits.”

lenging, educational, enlightening and

INSPIRE

Lisa Brenner (she/her), a professor and

entertaining.” n

theatre chair at Drew University, cited the following as major considerations: “diversity of material but also of format/ genre; scaffolding learning for our student directors and designers; dedication to new play development.”

wmcarey.edu 38 x Southern Theatre x Fall 2022

Season selection has to satisfy varied

Tom Alsip (he/him), an assistant professor and director of musical theatre at the University of New Hampshire, has participated in the season selection process at three universties. He is a member of the Southern Theatre Editorial Board.

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PLAYWRITING IN THE PANDEMIC Much Was Lost, and Much Was Found

by Laura King

Courtesy of Marin Theatre Company

F

For more than two years, theatre artists have been reeling from the ramifications of the COVID-19 pandemic. In the early days, Broadway houses shuttered, regional theatre productions were canceled, production licensing came to a halt, and actors, designers, technicians and musicians found themselves suddenly out of work. For playwrights, the pandemic presented challenging questions that many still struggle to answer, such as, “Will my work ever be produced again?” “Once the pandemic ends, will my pandemic play still be relevant?” and “When will theatre be normal again?”

Although all theatre workers were hit hard by the COVID pandemic, the financial loss to playwrights in particular has been substantial, notes Ralph Sevush (he/him), executive director of business affairs and general counsel of the Dramatists Guild.

“Dramatists were uniquely battered by the pandemic,” he said. “Unlike everyone else who works on a theatrical production, writers are not deemed ‘employees’ and, therefore, were not ‘out of work’; their plays were simply not being licensed. And, in some instances, theatres that had canceled productions were demanding that

authors return their advances. There was also a spate of unlicensed digital presentations of ‘archival recordings’ and … even digital licenses were of little financial value to authors. So, there was a devastating loss of income for our community.”

Production licensing and the shift

postpone,” she said. “That was the first thing we

to streaming

saw. Because we were told that everything should

As the pandemic began in 2020, requests for

reopen by July 2020, many theatres just moved

production licensing quickly declined. During this

their productions to summer or early fall. Then

difficult time, playwrights and the companies that

the shutdown continued. We saw a combination of

license their works struggled to stay afloat. Although

canceled productions or postponing to 2021–2023.”

hard numbers are difficult to come by, many

However, with necessity being the mother of

publishing representatives have anecdotal evidence

invention, the playwriting community shifted

regarding the decline in production licensing.

quickly to the “new normal” of online performance.

Linda Habjan (she/her), vice president of

Rehearsals and productions moved to online plat-

acquisitions at Dramatic Publishing Company, said

forms, and theatres requested streaming rights

the drop in the number of requests for licensing at

for performances. By mid-2021, both Habjan and

her company was major.

Fernandez saw an uptick in licensing requests.

“We don’t have any statistics to share, but

“By the summer [of 2021], we were starting to

production requests pretty much came to a halt at

see requests for streaming permission and then

the beginning of the pandemic,” she said.

productions,” Fernandez said.

Melody Fernandez (she/her), former director of licensing at Stage Rights, a Broadway Licensing

Habjan said her company moved quickly to create opportunities for virtual production.

Imprint, noted in an interview prior to her departure

“In regard to streaming, we made a huge effort to

that many theatres tried to complete shows already

reach out to most of our authors and rights holders

in production as the pandemic began, but quickly

at the very beginning of the pandemic to obtain this

moved on to cancellations.

additional permission,” Habjan said. “Most of the

“By the end of March 2020, they either had to

authors and representatives were very cooperative,

cancel a closing weekend or a few performances or

and we created an additional streaming request form

Opposite page: William DeMeritt portrays renowned virologist Nathan Wolfe in The Catastrophist at Marin Theatre Company’s Boyer Theatre in San Francisco, CA. The play by Lauren Gunderson, who is married to Wolfe, is one of a number of works created by playwrights for online production while live theatre was shut down. The Catstrophist centers on Wolfe’s life and work as a virologist always on the alert for the next virus ... or pandemic.

A co-production with Round House Theatre in Bethesda, MD, it was filmed and originally made available for streaming from Jan. 26 to Feb. 28, 2021, via the Marin Theatre website, and then the run was extended to July 25, 2021, due to popular demand.

The show was commissioned by Marin Theatre Company and directed by Marin’s artistic director Jasson Minadakis.

Fall 2022 x Southern Theatre x 41

Ralph Sevush Dramatists Guild

42 x Southern Theatre x Fall 2022

Linda Habjan Dramatic Publishing Company

Melody Fernandez Formerly with Stage Rights

Lauren Gunderson Playwright

for our customers to fill out. As questions

during than before the pandemic, with

came in, we also added additional FAQs to

42% saying they received less money for

our website to explain the process.”

their work than in past years. In addition,

Cast into the world of online theatre,

only 33% of surveyed Dramatists Guild

both artists and audiences quickly had

members worked under a production

to educate themselves on the difference

contract.

between livestreaming and recording.

With the advent of virtual performance

According to the Dramatic Publishing web-

and livestreaming, contracts became more

site, livestreaming refers to performances

complicated. The Dramatists Guild created

that are streamed online simultaneously as

a “digital rights agreement,” which is a

the actors are performing, whereas record-

resource for writers to maintain their own

ing and streaming refers to performances

copyrights for digital theatre. The agree-

that are prerecorded or make use of an

ment is intended to be a model contract that

archival video and are then played back

will enable dramatists to grant a nonprofit

for an audience. Each performance type

producer the exclusive right to present

requires a different set of permissions, and

livestreamed productions.

not all plays are available for streaming.

The pandemic plays

Play licensing companies are continu-

With the necessary pivot to online

ing to add titles that are available for

productions came a whole new type of

livestreaming to their catalogs. Currently,

work, colloquially known as the pandemic

livestream rights are available for more

plays. These plays were works that could

than 1,200 titles at Dramatic Publish-

be performed virtually or works that

ing, more than 300 titles at Dramatists

addressed the effects of the COVID-19

Play Service and more than 160 titles at

pandemic.

Stage Rights. Concord Theatricals works

Lauren Gunderson (she/her), a popular

with playwright representatives to gain

playwright with Southern roots, wrote

livestreaming approval on a case-by-case

The Catastrophist, a play about a pandemic

basis.

specialist, written, staged (by Marin Theatre

Continuing to have their plays produced

Company in California) and filmed during

has been an urgent goal for playwrights

the height of the COVID-19 pandemic.

during the pandemic. Of the 466 Dramatists

Gunderson said The Catastrophist was born

Guild members who responded to a survey

out of the current pandemic, even though

by the Guild’s New Media Committee,

COVID is never mentioned in the play.

70% said they produced at least one work

“The play is all because of the pandem-

during the pandemic, with the remaining

ic,” Gunderson said. “I was at home, and

30% unable to find opportunities or

fresh ideas started to take root. Everything

adapt their work to virtual presentation.

I was working on before was thrown into

Compensation for work was much lower

question.”

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Quarantined in her home with her

time the play takes place over Zoom and

was streamed by Skylight Theatre in Los

family, Gunderson realized she had access

examines the family during their quaran-

Angeles. Schmidt’s play required only

to the perfect subject at the perfect time

tine.

minor changes to work as a streaming play.

– her husband, noted virologist Nathan Wolfe.

Radial Theatre Project, in association

She brainstormed with the original creative

with 18th and Union in Seattle, presented

team to adapt the circumstances for the characters.

“My husband is an expert in pandem-

The Pandemic Plays. Lower Depth Theatre

ics,” she said. “It was time to investigate

in Los Angeles produced a 10-minute short

his experiences and his fears.”

play festival called The Pandemic Plays.

“Instead of being in their shared living space, one character had left to visit his

Gunderson was determined to create a

Vanderbilt University Theatre in Nash-

family member right before the lockdown,”

work that was “of a moment” but would

ville premiered two commissioned plays

Schmidt said. “The play was about the

have a lasting impact post-pandemic. The

with themes inspired by the COVID-19

connection (or lack thereof) between the

play, set in 2016, explores the experience of

pandemic. Lake Erie College in Ohio

two, so the only changes from there were

a pandemic expert before a pandemic hits.

produced an original play, Tales from a

small moments . . . and a slightly different

She created a pandemic play but not specifi-

Pandemic, reflecting the effects of the

ending.”

cally a COVID pandemic play, ensuring a

COVID-19 pandemic.

future life for her work.

Ringplay Productions in Nassau,

An added benefit to adapting the work was that it inspired Schmidt to write a follow-up play.

Many other plays were created during

Bahamas, devised Competent Authority,

the current pandemic. Dubbed by The New

which documents the pandemic from the

“Something good that came from

York Times as the “first great original play

moment Bahamians noted its arrival up to

rewriting the play for streaming platforms

of quarantine,” Richard Nelson’s play What

the day of the performance.

was a sequel!” she said. “Our First Honest

Do We Need to Talk About? (commissioned

Some playwrights adapted previously

Conversation was produced on Zoom very

by The Public Theater in New York City)

written work to the times of COVID, as

early in the pandemic, and the audience

continues the story of the Apple family

Christine J. Schmidt (she/her) did with her

enjoyed it so much they wanted to con-

from Nelson’s Rhinebeck Panorama, but this

play Our First Honest Conversation, which

tinue living with these characters. I wrote

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Certificates in: New Play Dramaturgy

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For 21 seasons, Pollyanna Theatre Company developed new works for young audiences! Now, you can study and produce this collection of plays. Ideal for school or professional productions, many of these stories have flexible double casting to accommodate from 4 to 20 roles. For more information, see pollytheatre.org/publishing.

46 x Southern Theatre x Fall 2022

Christine J. Schmidt Playwright

Roland Tec Producer/Teacher

Jenny Millinger Book Editor

Gloria Bond Clunie Playwright

a second play, I Want to See You in Person

come out was Alone, Together, edited by

(Our Second Honest Conversation), that was

William Davies King and published by

also well-received, and one that I’m sure

Dramatic Publishing. This collection con-

wouldn’t exist if we hadn’t made the switch

tains 39 works commissioned by UC Santa

to streaming theatre.”

Barbara’s Launch Pad. During California’s

Other playwrights turned to creating

initial lockdown, 24 playwrights were

solo performance pieces, such as mono-

asked to create monologues and short plays

logues. Santa Ana’s Breath of Fire Latina

inspired by the prompt “Alone, Together”

Theater Ensemble put a call out to writers

and written to be performed live on Zoom.

to write living altar pieces for those who

Many pandemic plays were also

have died of COVID and published the

being created in the Theatre for Young

collection as The COVID Monologues. The 24

Audiences (TYA) field. YouthPLAYS

Hour Plays: Viral Monologues project has

published Disruption: A Pandemic

produced more than 400 new monologues

Decalogue by Randy Wyatt, which was

since the entertainment industry shut

written specifically for virtual performance

down in March 2020.

and was devised from a survey of students

In the summer of 2020, theatre artist,

at Union College in Schenectady, NY.

film producer and teacher Roland Tec

Pioneer Publishing licenses Laurie Allen’s

(he/him) created the Hear Me Out New

Quaran-Teens, which is a collection of 15

American Monologue Competition & Fes-

original monologues that explore a variety

tival. All American writers were invited to

of teen responses to the pandemic and the

submit a monologue on the theme of “Me

safer-at-home restrictions that come with it.

and My Masks.” Tec believes that these

I Have a Story: Plays from an Extra-

monologues will have a lasting effect on

ordinary Year was published by Dramatic

playwrights.

Publishing. The collection consists of

“Writers were able to create compel-

31 short plays written in collaboration

ling characters with the bare minimum:

between young people and TYA play-

one actor speaking and a group of people

wrights during 2020 and 2021 and was

gathered to bear witness,” Tec said. “This is

edited by Jenny Millinger and Julia Hogan

a skill that will pay dividends throughout a

Laurenson. According to Millinger (she/

writer’s career. Furthermore, writers’ work

her), the collection is important because it

was introduced to audiences throughout

centers the voices and experiences of young

the country again and again, winning them

people during the pandemic and addresses

new pools of fans for their unique gifts –

not only the specifics of the pandemic but

audiences they might otherwise have never

also what it means to be a young person at

encountered.”

this moment in time.

Pandemic plays were also quickly being

“That is why this and many other collec-

published. One of the first collections to

tions written during the pandemic will be

SIGN UP

AUDITION TOUR workshop and audition for scholarships

relevant for years to come,” Millinger said.

with a very personal awareness of police

“They reflect not just a heightened moment

violence, but also filled me with hope

in space and time – and the best drama

because Makenzie is an amazing individual

always comes from exceptional moments

who is and was propelled into action by this

– but also a truly transformative period in

tragedy.”

our lifetimes, one in which everything feels like it is being rewritten.”

The final lines of the play, “So, let’s make it a good day … Shall we get to work?”

One of the plays in the collection – A

are designed to, as Clunie states, “spring-

Good Day for Jordan, written by playwright

board an audience into conversation and

Gloria Bond Clunie (she/her) and high

action.”

school senior Makenzie Greer – was

Accessibility and inclusivity

Chelsea Marcantel The Kilroys

Stevevn Strafford Playwright

inspired by the life and death of Jason

Maybe it’s time that our stories are

Edwards, a talented African American

rewritten, as Millinger noted. This is what

with an eighth, Slave Play by Jeremy O.

athlete, honor roll student and friend of

seemed to be happening on Broadway

Harris, also returning after its pandemic

Makenzie’s. His death at the hands of a

during the pandemic. When Broadway

shutdown.

white police officer profoundly changed

reopened in fall 2021, a record seven

Voices that had long been muted were

Makenzie’s life and galvanized the Dallas

new plays written by Black playwrights

now beginning to be heard. However, the

community into action.

were scheduled: Pass Over by Antoinette

effects of COVID-19 wreaked havoc on

“Our stories help us navigate the current

Chinonye Nwandu, Chicken & Biscuits by

these shows, with some productions having

moment,” said Clunie, “but also provide a

Douglas Lyons, Lackawanna Blues by Ruben

to delay their premieres (Skeleton Crew)

window into our future. Though deeply

Santiago-Hudson, Thoughts of a Colored Man

and others having to close early (Chicken

tragic … the Pandemic Pause provided a

by Keenan Scott II, Trouble in Mind by Alice

& Biscuits and Thoughts of a Colored Man).

unique opportunity to reflect. Teaming with

Childress, Clyde’s by Lynn Nottage and

However, there were breakthroughs and

Makenzie to lift up Jason’s story graced me

Skeleton Crew by Dominique Morisseau,

innovations as well, with Trouble in Mind

48 x Southern Theatre x Fall 2022

MFA IN DESIGN • MFA IN ACTING • BA IN THEATRE Recruiting MFA Acting Students for FALL 2023

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Jade Arnold, Brenda Orellana, Aleah Vassell, Owen Squire Smith, and Brittany Marie Pirozzoli in People Where They Are, 2019; photo by Brynn Yeager

Semester-long credit-earning theater training at the Eugene O’Neill Theater Center, recipient of two Tony Awards and the National Medal of Arts

making its Broadway debut after first being

“When the pandemic hit, as an activist

staged more than 60 years ago and Clyde’s

collective, the Kilroys feared that when the

partnering with Assemble Stream to offer

industry got back to ‘normal,’ there would

simulcasts of the final 16 performances.

be a hard swing backward toward the safe,

With seven new plays by Black play-

tested plays and voices of the past, at just

wrights, four of whom were women, Broad-

the time when the world needed urgent

way seemed to finally be making progress

and immediate stories,” Marcantel said.

in inclusivity. Chelsea Marcantel (she/her),

“So, we created the 2020 List as a monu-

a member of The Kilroys, a collective of

ment to the season that wasn’t, to capture

playwrights, directors and producers who

how excited we were that so many plays

focus on gender parity and produce a yearly

by systemically underrepresented writers

list (The List) of excellent new plays by

had been poised to meet audiences. The

women, trans and nonbinary playwrights,

purpose was to both remind theatres of

initially had expected 2020 to be a time of

their commitments to these plays and to

increased inclusivity.

signal-boost the playwrights.”

“Going into 2020, season planning

With this new goal, the 2020 List (the

across the country seemed to be getting

most recently published list) was pre-

more ambitious and inclusive in a really

sented in a different format – as a timeline

exciting way,” Marcantel said.

noting dates of cancellations with the

However, when COVID-19 struck, the

names of plays, playwrights and theatres,

spring 2020 season became known as “the

highlighting the work of 135 playwrights

lost season” because of the number of new

whose works were cut short or sidelined

plays that were postponed or canceled due

by COVID-19 during 2020, including

to the pandemic.

Caridad Svich’s plays Ushuaia Blue, Town

GTCC

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Hall and Eva Luna; Inda Craig-Galván’s A

by the way theatres are coming back and

Hit Dog Will Holler and Black Super Hero

making things happen, even though it’s

Magic Mama; Madhuri Shekar’s Dhaba on

more difficult than it’s ever been. I think

Devon Avenue, Antigone, Presented by the

theatre artists are used to working under

Girls of St. Catherine’s and House of Joy; and

impossible conditions, so now, as the con-

Lia Romeo’s The Forest, The Agency and The

ditions have gotten even more impossible,

Lucky Ones.

they’re just still doing it.”

While five productions of Lia Romeo’s

In recent months, some of the Kilroys

plays were canceled in 2020, Romeo

playwrights have seen their canceled plays

(she/her) said some good came from the

finally make it on stage.

pandemic for her as a playwright.

“We are greatly encouraged because

“I also found other opportunities during

more than 50% of the plays on the 2020 List

the shutdown that I probably wouldn’t

have had or are going to have productions,

have had otherwise,” Romeo said. “I wrote

and more keep getting announced every

a play for Zoom that ended up getting

month,” said Marcantel, one of the Kilroys

a really beautiful production with some

playwrights.

actors who would probably not have been

Lia Romeo is one of the Kilroys play-

available otherwise, and that production

wrights who has had a canceled produc-

was streamed by theatres all around the

tion produced. Her play The Forest, which

country (and got me accepted to Juilliard,

had been scheduled for production in 2020,

where I’m now part of the playwriting fel-

had its long-awaited world premiere at

lowship program). I’ve been so impressed

the New Jersey Repertory Company in

photo: Peter Ringenberg

In the Heights South Bend Civic Theatre, South Bend, Indiana

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aact.org/23

aact.org 52 x Southern Theatre x Fall 2022

Left: Lia Romeo was one of the playwrights on the Kilroys’ The List who had several plays scheduled for production in 2020 canceled or delayed indefinitely as the COVID-19 pandemic shut down live theatre around the world.

Above: In March 2022, one of Romeo’s on-hold plays, The Forest, finally made it to the stage with its world premiere at the New Jersey Repertory Company in Long Branch, NJ. The play focuses on an elderly woman (portrayed above by Jenny O’Hara) in the beginning stages of dementia and her daughter, who is going through a divorce.

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March 2022. Romeo was grateful that The

of the virtual format, the geographic

Forest finally made it to the stage.

area served by a production is expanded

“I am so thankful to New Jersey Rep

exponentially, allowing theatres to reach

for staying committed to the play!” Romeo

audiences from around the globe. Anyone

said. “I think it’s one of the best plays I’ve

with online access can attend a theatrical

written, and so to see it still get a produc-

production. And this trend is likely to con-

tion – and a really beautiful one – was such

tinue. Digital streaming tickets are becom-

a joy.”

ing more common, with theatres producing

Challenges met

live shows and recording a performance for

Although much was lost during the

54 x Southern Theatre x Fall 2022

at-home viewing.

pandemic, most notably live performance

Offering new works online not only

for months on end, much was also found.

makes theatre more accessible globally but

Playwrights learned to adapt by revis-

also provides opportunities for people with

ing their plays for online performance,

disabilities (e.g., those who are immuno-

exploring new topics relevant during the

compromised, deaf or physically disabled)

pandemic, and finding ways to reach new

to enjoy performances. Smaller, indepen-

audiences.

dent theatres have been experimenting

According to the Dramatists Guild New

with ways to make their productions more

Media Committee survey, many members

accessible through streaming and subscrip-

(60 of more than 150 responding) found a

tion services, and Broadway is beginning

major benefit: accessibility. Because virtual

to follow suit, offering livestreams of their

productions are more affordable to both

live shows for a lower ticket price.

produce and attend, more productions are

Making shows available to view at home

possible in a season. In addition, because

gives playwrights the opportunity to reach

PIEDMONT IS FAMILY Britt Hensley ’12 DRAMA EDUCATION MAJOR

B

ritt Hensley is as grateful for the depth of knowledge she gained in theatre at Piedmont, including set design, lighting, and other technical aspects, as she is for the university’s signature “family” feeling.

Now a teacher, Hensley brings high school students to Piedmont for performances. They see more than a play. They see the personal relationships she still has with former professors, and they want that feeling of coming home for themselves.

Piedmont helped me become the teaching artist, the theatre artist that I try to be every day.

Britt Hensley as “Miss Tweed” in Something’s Afoot in 2011.

Britt Hensley portrayed “Katherine” in The Taming of the Shew in 2014.

Theatre Director East Paulding High School Dallas, Georgia

PIEDMONT.EDU/APPLY To learn more, visit piedmont.edu/program/drama-education/.

a whole new audience. According to a 2020

done in difficult situations, and COVID-19

JCA (Jacobson Consulting Applications)

is perhaps the biggest challenge yet. The

arts marketing survey that looked at sales

effects of the pandemic have reverberated

data from seven diverse performing arts

throughout the theatre community, with

organizations in the United States, 43% of

playwrights in particular struggling to have

digital ticket buyers had never purchased

their work seen and heard.

a ticket for an in-person performance, and

As they wait for live theatre produc-

an additional 14% of buyers had only ever

tion to return to pre-pandemic levels,

attended in person once.

playwrights have found other ways to get

This new mode of communication also

their work to audiences. They have adapted

makes it possible for playwrights to connect

previously written plays and created new

with other artists. Steven Strafford, winner

work for online consumption so that their

of the 2022 SETC/Stage Rights Ready to

plays will continue to be produced. They

Publish Award for his play Small Jokes About

have explored topics relevant to life during

Monsters, sees a benefit in this accessibility.

a pandemic and beyond to keep their work

“The biggest silver lining is the idea

timely. Finally, they have adapted to the

now that reading a play can be a bunch of

new normal – a more accessible, inclusive

people online from all over the country,”

theatre that hopefully will continue to grow

he said. “That has allowed me to meet

and reach new audiences. n

actors in multiple markets. I’m an actor’s playwright, so working with actors all over the country has been really great.”

Looking forward

As playwright Lia Romeo remarked, theatre artists are used to getting things

56 x Southern Theatre x Fall 2022

Laura King (she/her) is a professional playwright and the chair of the SETC Publications Committee.

UNIVERSITY OF WEST GEORGIA

THEATRE COMPANY DARING, DYNAMIC, DEFIANT: YOUR WORLD IS OUR STAGE.

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FOR MORE INFORMATION 678-839-4700 or theatre@westga.edu westga.edu/theatre

2022 SETC Getchell Award P L AY W R I G H T

2022 Getchell Award Winner John Mabey Explores the Link Between Celebrating a Person’s Life and Grieving Their Loss Interview by Laura King

J

ohn Mabey (they/he) is the 2022 winner of SETC’s Charles M. Getchell New Play Award for the play A Complicated Hope. Mabey is a writer and storyteller whose plays have been produced on stages throughout the United States and in seven other countries. Mabey lived internationally for a decade in London and Amsterdam before moving to Atlanta and continues to work with theatre companies around the globe, both virtually and in person. They are also a certified mental health counselor and published author on the topics of sexual identity and spirituality in academic books and journals. In 2021, Mabey was awarded the Panowski Playwriting Award and had work published by Smith & Kraus in Best 10-Minute Plays and Best Women’s Monologues. In 2022, Mabey’s work was again selected for those Smith & Kraus publications as well as for two others: Best Men’s Monologues and Best Monologues for Gender Minority Characters. When not writing, they enjoy teaching and performing improvised comedy and true storytelling around the world.

John Mabey A Complicated Hope received a reading, directed by Neil David Seibel, followed by a Q&A session with Todd Ristau of the Hollins Playwrights Lab, at the 2022 SETC Convention in Memphis, TN. The play went on to have its world premiere June 8, 2022, at the James A. Panowski Black Box Theatre at Northern Michigan University in Marquette, MI. (See photos on the magazine cover and on Page 60.)

It had its first professional production in August at the 2022 Essential Theatre Festival in Atlanta, GA. Below is an interview Laura King conducted via email with Mabey about their Getchell Award-winning play, their experience as a working playwright and their advice for other writers.

How did you come to playwriting?

remained my passion as I continued

emotional healing, and to sit with clients

I’ve been a storyteller since I was young,

to write plays but also book chapters

in a space, fully present and connected, is

staging one-act plays with my action

and journal articles about sexuality,

incredibly special.

figures. As I got older, what I loved most

spirituality, aging, and how we create a

In this work as a counselor, I also use

about playwriting was writing dialogue,

sense of belonging. I continually bring

active listening and try to see a more

giving voice to characters that changed from

these themes into my playwriting with

complete picture of what’s expressed

action figures to the imagined characters in

underrepresented characters who engage

nonverbally, what’s said aloud and what’s

my mind.

in messy confrontations (especially with

between the words. Incorporating all of this

themselves) about intersecting identities.

into my dialogue helps create fully realized

I had the chance to travel abroad and

Has your work as a mental health

characters who are sometimes truthful

became immersed in diverse cultures vastly

counselor informed your writing

but also deceive each other and themselves

different from my own. These experiences

in any way?

in fascinating manners. In a diagnostic way,

changed me in many ways, but especially

Yes, absolutely! I earned a master ’s in

I’ll endow my characters with attributes

in my sense of storytelling: what stories I

counseling, a three-year professional

of different psychological conditions

wanted to tell and how a story can be told.

program including original published

connected to their emotional states. And

Through an unexpected opportunity,

What I loved most about creating

research, practicums and internships.

even though the characters themselves

characters for the stage were their inner

I am also nationally certified and have

are mostly undiagnosed in my plays, I

lives and ways of viewing the world, and

experience working with individuals,

have a better sense in this way of how they

this led me to the study of psychology and

couples, families and groups. It’s an honor

might react and respond in different

earning a master’s in counseling. Writing

to be part of someone’s journey toward

situations.

58 x Southern Theatre x Fall 2022

As the playwright, it’s sometimes heartbreaking to purposefully place my characters in these situations, but it’s always to serve the overall story and their arc within. Although a happy ending

‘There isn’t any one correct way to write a play, and my advice is to just begin ... Start writing, even before you think you’re ready, and trust that the words will come.’ – John Mabey

is wonderful to write, I’ll follow each character down a path that doesn’t always lead to healthy outcomes. But even when

in a specific location for the story, I’ll create

my writing. I grew up in a very religious

the play ends (or therapy ends with a

notes and diagrams.

home and community, and I’ve always

client), their story still continues without

My process is very visual, and I’ll some-

had a fascination with spirituality beyond

me, and I always have hope for each of

times draw the structure of the play with

religion. This led to writing and publishing

them.

shapes and lines. I’ll also create separate

my graduate work on the topic of sexual-

How did you learn to be a

notes about the story itself with sample

ity and spirituality, exploring ways to lead

playwright?

dialogue. And lastly, on my phone, I’ll

a fully integrated life where all aspects of

In high school and college, I would write

use the notes function for ideas that occur

identity are unified and celebrated.

and share my work with family and friends

during the day when I don’t have access to

(even staging some “productions” as a child

the rest.

My work as a mental health counselor has been equally influential as I have a

Once I am ready to write the play itself,

deep understanding of emotions, trauma

during my time living in New York City,

I’ll put aside all of that and just write from

and behavior. All of these elements come

London and Amsterdam as an adult that

memory, consulting my notes as needed.

alive in my plays to create fully realized

my playwriting became more of a focus

I love the look of a blank page and all the

and complex characters.

and priority.

possibilities available to me as I begin. And

Who are your favorite living play-

In New York City, I left a career in

by that point, so many of the notes are now

wrights?

higher education to work in the arts full-

in my subconscious that it’s almost memo-

I’m someone who falls in love with every

time (literally working on Broadway and

rized already.

new play I read. So my heart is very, very

watching an incredible amount of theatre

What are your favorite and least

full. Some playwrights who have stayed

in the city and beyond).

favorite parts of playwriting?

with me because of their exceptional work

In London, I continued this work and

My favorite part of playwriting is the

are Lynn Nottage (and her characters who

met amazing playwrights who served as

beginning. Jumping inside a blank

are hauntingly and exquisitely real), Alice

mentors and collaborators. I also formed

page where the world is anything and

Birch (who taught me the most about

writers’ groups and held informal readings

everything, waiting to be discovered. And

structure and ways of telling a story that I

for different audiences.

my least favorite part is saying goodbye

never imagined), and Stephen Adly Guirgis

Later, in Amsterdam, I co-wrote a two-

to the characters when I know the play is

(with some of the most nuanced, beautiful

act play about Brexit, and that was my

over. Even after development, readings

dialogue I’ve read).

first produced play (commissioned by an

and edits, I still think of certain characters

Do you have a favorite play you

English-speaking theatre company in the

often and the conversations continue in a

have written?

city). It was an amazing experience and

different way.

They’re all special to me in different ways,

success, and I also learned an incredible

What types of plays do you write?

but a favorite short play of mine is called

amount about taking a full-length work

I write plays of different genres, but a

The Most Brave Girl in the Whole Wide World,

from the page to the stage. I know I will

common thread throughout are characters

exploring mental health and sexual identity

always be learning and feel so fortunate to

searching for connection. I’m also searching

while finding comfort in the least likely of

have these many experiences to watch my

for the lightheartedness and comedy even

places. And for full-lengths, my favorite is

work come alive.

in the darkest of times, and I put my char-

A Complicated Hope because it’s a world I’ll

What is your writing process? Do

acters through a lot to get there, too. But

still visit when I daydream.

you outline? Just jump in?

it’s how they find their way back to others

What was the inspiration for A

I’ll always begin with my characters, get-

and themselves that I find the most inter-

Complicated Hope?

ting a sense of the people I find most inter-

esting.

I wrote a version of the first scene as a

esting and improvising dialogue to get a

Any particular influences on your

stand-alone play, inspired by the many

sense of their speech patterns, vocabulary,

writing?

funerals of family and friends growing

etc. And once I have these characters ready

My childhood has been a huge influence on

with my handwritten work). But it was

(Continued on Page 62) Fall 2022 x Southern Theatre x 59

2022 SETC Getchell Award P L AY

A COMPLICATED HOPE

Fischer Genau

by John Mabey

Devon Grice (left) plays Marie and Adam Maslak is Arnie, the boyfriend of Marie’s late husband, in the June 2022 world premiere of A Complicated Hope at the James A. Panowski Black Box Theatre at Northern Michigan University in Marquette, MI.

SUMMARY

EXCERPT

Marie and daughter Rose Marie are left adrift after their husband/father Michael passes away, leaving behind boyfriend Arnie to discover a family of his own. Mirroring the erratic path of grief, A Complicated Hope flashes between the moments in time that changed them all. Their journeys explore the challenges of both finding a family of choice and letting yourself be found.

SCENE ONE A private room in a funeral home. There’s a table with an envelope on top.

MARIE stands on one side with a door leading to the viewing while ARNIE stands on the other side with a door leading to the street.

MARIE is dressed in expensive attire, wearing a necklace with a heart pendant. ARNIE is dressed in well-worn, mismatched, and wrinkled attire with a rag in his pocket.

ARNIE: Sounds like a lotta people in there.

How ’bout his Momma, she come?

MARIE doesn’t reply.

ARNIE: Dunno why they call these funeral “homes.” No one lives in ’em – that’s kinda the point.

MARIE doesn’t reply.

ARNIE: Your dress is real pretty. I know I don’t look how I should, but he liked this shirt. Said it made him think of a blanket – stuff you wanna wrap around yourself to feel safe.

MARIE: This was a mistake.

ARNIE: Maybe, but you always gotta follow

CAST OF CHARACTERS ARNIE: Male, white, 40s/50s MARIE: Female, Black, 40s/50s ROSE MARIE: Female, Black, early 20s

SETTING The South, USA

FOR PRODUCTION John Mabey johnemabey@gmail.com; mabeyplays.com © 2022 by John Mabey 60 x Southern Theatre x Fall 2022

through on people’s wills. It’s not right if we don’t.

MARIE: None of this is “right.”

ARNIE: Look, I just wanted to say – MARIE: My family is waiting for me in there, so this needs to be brief.

ARNIE: I wanna – I need to see him. Maybe I can go in, too – once everyone’s gone?

MARIE places herself in front of the doors leading to the viewing. She crosses her arms, glaring at him.

ARNIE: I hate when it’s quiet. I wanna hear out loud all the stuff people say with their eyes, even if it hurts. Better if it does. I miss him too, Marie.

MARIE: Twelve years of marriage doesn’t compare to a yearlong affair.

MARIE touches her necklace, holding the heart pendant between her fingers.

ARNIE: That what he told you?

MARIE grabs the envelope off the table.

She circles him and ARNIE retreats.

MARIE: I almost threw this away.

ARNIE: But you didn’t. That means somethin’.

You and me – MARIE: “You and me?” Arnie, you were part

of Michael’s disease – just another symptom, like the weight loss. Or the tears. (raising envelope) But having me endure this – today – is especially sick, even for him.

ARNIE: Nobody misses him like us.

MARIE: There’s no money for you here, I made sure of it. So stop batting those pretty little eyes and pretending to care. Won’t work on me.

ARNIE: Never asked for any.

MARIE: You will.

ARNIE: All I care about is what he wanted – for us to open this letter. Together. There’s a reason for that.

MARIE: Because he wasn’t in his right mind.

He wasn’t in his right mind for a long time. At best you were a delusion, at worst a predator.

ARNIE: Him ’n me were in love.

MARIE: Don’t!

ARNIE: You think I planned on this? I never even been with a guy before him.

MARIE: So he was your first con?

ARNIE: You don’t know how we tried to fight it. You think it was easy?

MARIE: I don’t think about you at all.

ARNIE: Well I thought about you a ton. I did – you and his baby girl. “Name like a flower but sharp as the thorns.”

MARIE: Rose Marie’s not a baby. And she’s mine.

ARNIE: Seen a lot for ten. It’s why I told him I’d go. If he wasn’t gonna be honest with y’all, I couldn’t see him no more.

MARIE: You’re a liar.

ARNIE: He loved us both, you and me. Just different.

MARIE: So where were you? As he floated away?

ARNIE goes to the table, cleaning dust that never seems to wipe away completely, at least to him.

MARIE observes.

ARNIE: The sad always lies to you with a smile. I tried to go – the same as him. Later.

MARIE: I am not your friend, Arnie. So don’t tell me any of – ARNIE: Okay.

Beat MARIE: Are you still – do you still want to hurt yourself?

ARNIE: No. Don’t think so.

MARIE: You “don’t think so” or you don’t intend to?

ARNIE: Sounds like you care.

MARIE: I’m not having you on my conscience, too.

Beat MARIE: She’s here – his mother. Sits herself in the front row, the seat clearly reserved for me.

So I sit behind, in the seat clearly reserved for her. No clapping, amens, or church hats at this one – by design. Left all the spectacle to her church service, but she still shows up to mine.

ARNIE: How was the church thing?

MARIE: I wouldn’t know. Although she did

bring Rose Marie home with a head full of nonsense even Michael rejected. Eventually.

ARNIE: She bring her cat to this one?

MARIE tries to hide her amusement.

MARIE: No. Thank God. ARNIE: Mickey said that cat of hers eats better than he ever did growin’ up.

MARIE: “Mickey.”

ARNIE: Yeah.

MARIE: Michael hated nicknames.

ARNIE: He liked “Mickey.”

MARIE: Called him “Mike” when we started dating and he gagged.

ARNIE: It probably made him think of his Daddy.

MARIE: Most people wouldn’t know that.

A moment between them over shared knowledge of MICHAEL. MARIE motions to the rag in ARNIE’S hand.

MARIE: I hated the shirt that came from.

ARNIE: He wore it all the time.

MARIE: Exactly.

ARNIE: Got worn-out, full of holes. Some things never get clean. I’m sorry, Marie.

She waves him away.

ARNIE: I just wanna say that to you.

MARIE: You weren’t the end of my marriage, Arnie. You were simply what came next. What I do blame you for is making him move out.

ARNIE shifts in demeanor.

MARIE notices.

MARIE: I always assumed it was because of you.

ARNIE shakes his head.

MARIE: Taking away reasons to hate you makes me hate you even more.

ARNIE: Why? MARIE: Because I need you to hurt. The giant ball-in-your-gut pain that throbs every time you wake up and only goes away when you close your eyes again. The pounding in your head when you – when I – think what to tell Rose Marie when she asks about her father one day.

Because living with an uncomfortable lie is so much better than a truth I don’t understand. And don’t you dare go killing yourself over that man in there because – look around you. Look what it’s worth. I can’t let go. The hurt. Who the hell knows what’s on the other side of it?

ARNIE approaches her closer.

ARNIE: I ripped up a picture of him ’n me,

a real nice one – then taped it back together.

Then tore it up again into bits so tiny I wouldn’t be able to save it. Now I just keep the bits in my pocket, even though I can’t tell what they used to be.

MARIE: Anger always needs a home.

ARNIE: It’s stupid, I know – I got no reason to be so mad.

MARIE considers ARNIE’S words, then approaches him even closer. This time not circling.

She hands him the envelope.

ARNIE opens it and looks inside.

ARNIE: Makes no sense.

MARIE takes the letter and looks for herself.

She laughs as ARNIE looks inside the envelope, too.

ARNIE: But it’s blank. Nothin’ else inside.

MARIE: Correct.

ARNIE: I don’t get it.

MARIE: Neither do I. ARNIE: Maybe he put the wrong paper in there? Or maybe we got the wrong envelope?

Or – MARIE tears the paper into bits.

MARIE: Or maybe it’s just blank.

ARNIE: But what’s that supposed to mean?

MARIE releases the bits of paper onto the floor.

MARIE: That it’s over.

Beat ARNIE starts exiting.

MARIE: Arnie?

ARNIE stops.

MARIE: Um, there’s some old things at the house. Michael’s things. I don’t want any of it, but maybe you – I was just going to donate what I could and throw out the rest.

ARNIE: Why? MARIE: Because it talks to me – from when it was bought, or used, or loved. Or thrown. And I need my house to be quiet again.

ARNIE: I mean why give any of that to me?

MARIE: It’s not a gift. It’s a haunting.

ARNIE: Not all ghosts are bad.

ARNIE exits to the street through the door on his side of the room.

MARIE then starts to exit through the door on her side of the room, leading back to the viewing, but stops.

She walks back to the torn bits of paper on the floor and puts them all in her pocket.

End of SCENE ONE

Are You a Future Getchell Award Winner?

SETC’s Charles M. Getchell New Play Award recognizes worthy new scripts written by individuals who live or go to school in the SETC region or by SETC members who live in or outside the region. Entries are accepted annually between March 1 and June 1.

The winner receives a $1,000 cash award and an all-expenses-paid trip to the SETC Convention, where both a critique and a reading of the winning play are held.

More info: Visit www.setc.org/getchell-new-play-contest

Fall 2022 x Southern Theatre x 61

(Continued from Page 59)

I also improvise conversations aloud

up. During viewings, there was always a

as I write, and this helps me to find the

room off to the side that was seldom used

different rhythms and speech patterns of

but visible. As a child, I’d imagine all the

each character.

conversations that could take place in that

You are also a photographer.

room, and that imagery stayed with me

What is the connection between

through adulthood.

the photographs you take and the

I began writing the full-length version

As I’m writing, I always try to imagine

father. There’s a powerful connection

the play I’m creating from the eyes of an

between celebrating a person’s life while

audience. Specifically, how the world and

also grieving their death, and those

structure of the play might be experienced

complex themes are woven throughout

from the seats, scene to scene. And as I’m

this play.

taking photographs, I engage in a similar

Similar to the characters, I’m still

process with arranging composition, light

learning a lot about my father after his

and depth to tell a story with images rather

death. But it’s how I reflected on his life

than words.

that was a great inspiration as I wrote A

My photography and my writing

Complicated Hope: the things I knew, the

have also informed each other, as I’ll take

things I forgot, and the things I never asked.

photographs as mood inspiration for

It’s been a joy to stay in conversation with

different scenes. And conversely, pictures

my characters as they consider each of these

I’ve taken have also served as inspiration

elements differently, too.

themselves for creating new one-act

You are a professional improv

plays.

and storytelling performer,

Are you working on anything new?

teacher and coach. How has

I’m working on a one-act audio play

your background as a performer

about queer joy for a theatre that’s already

influenced your playwriting?

secured me a spot in their next season.

I was living in London when I started doing

And I’ve started writing a new full-length

a solo improvised one-act play. Called

with lots of comedy, because making

Mabey Solo, it involves an audience member

an audience laugh is incredibly challenging

positioning my body in any posture. As

but also incredibly rewarding. And I

they leave the stage, I begin moving as that

think we all really need to laugh right

character, speaking and walking inspired

now.

by the position.

Any advice for emerging

I usually begin by delivering an

playwrights?

improvised monologue as that character

There isn’t any one correct way to write a

and then add characters to the scene,

play, and my advice is to just begin. Start

playing all the roles. It becomes very

telling your story now. If you think too long

physical and active with levels of both

about the process of what the play might

depth and humor.

become, your mind will also find all sorts of

Equal parts thrilling and terrifying, the

ways to convince you to not even begin. So,

experience of creating a spontaneous play

start writing, even before you think you’re

on stage for an audience has completely

ready, and trust that the words will come. n

revitalized my experience as a writer. I’m able to devise and explore new stories quickly because the “yes, and” approach of improvisation has helped me make decisive choices in my writing with less self-doubt along the way.

62 x Southern Theatre x Fall 2022

plays you write?

of the play in the week after losing my

Laura King (she/her) is a professional playwright and the chair of the SETC Publications Committee.

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WORDS, WORDS, WORDS . . .

Editor: Sarah McCarroll

Words, words, words … [Hamlet II,ii] reviews books on theatre that have a connection to the Southeast or may be of special interest to SETC members. Sarah McCarroll, an associate professor of theatre at Georgia Southern University, edits this regular column. If you have a book for review, please send to: SETC, Book Editor, 5710 W. Gate City Blvd., Suite K, Box 186, Greensboro, NC 27407.

Toward a Future Theatre: Conversations During a Pandemic

by Caridad Svich 2022, Methuen Drama, Bloomsbury Publishing, bloomsbury.com ISBN: 9781350241053 Price: $24.25 (paperback); $19.40 (E-book); $81 (hardback)

by Joseph R. D’Ambrosi

T

he COVID-19 pandemic has enforced

economically

• In times of crisis and profound multivalent traumas, how can theatre be a vector

just.

for healing and heal itself from damages

Toward a Future

that mostly white cishet [cisgender and

Theatre effec-

heterosexual] male-led dominant the-

tively connects

atres have incurred against Black, Indig-

theatre makers

enous, ethnically diverse people, people

who

of color, LGBTQIA+ folx, working-class

thrust out of an

and differently abled practitioners?

inherently com-

Svich separates the conversations into

munal field into

were

isolation. Yet,

five chapters:

upon theatre artists a reckoning with

In “R/evolution,” conversations con-

the book – which dreams of the future –

both the state and the future of the field.

sider how theatre can separate from and

is missing an important component: the

In Toward a Future Theatre: Conversations

fight against systems of injustice.

follow-up. This book was published in

During a Pandemic, award-winning play-

“Local and hyperlocal” contemplates

November 2021, when many theatres had

wright Caridad Svich begins this difficult,

nontraditional performance in specific

only just begun to reopen. Future editions,

necessary exploration in the first book-

communities, such as live art experiences

or even a second volume, would benefit

length discussion of the topic.

and escape rooms.

from discussion of how the world is reopen-

This collection uses conversations with

In “Virtuality,” contributors ponder

ing and theatre makers are redefining

more than 50 theatre makers and perfor-

how digital media disrupts or maintains

normalcy in the field. It would be of great

mance artists between July and December

liveness and the future of virtuality in

interest to hear about the plans that theatres

2020 to contemplate potential changes

theatrical creation, both live and remote.

have put in place to address the issues Svich discusses.

to the work that theatre artists produce,

The artists featured in “Resistance and

procedures within theatre companies and

faith” position theatre as a space to decon-

History has proven that theatre is both

theatre’s place within the cultural zeitgeist.

struct systems of racism, classism, ableism

fragile and resilient. For centuries, the art

Toward a Future Theatre challenges readers

and patriarchal injustice.

form has survived pandemics, political

to consider their roles in combating politi-

Finally, “Communion” situates theatre

coups and changing media, and yet it has

cal and socioeconomic complacency, and

as a place of togetherness where artists can

always survived and evolved. Toward a

to reimagine theatre and performance as

collaborate to determine the relationship

Future Theatre exposes the cracks in our

agents of change and community.

between art and audience now and moving

field and imagines a theatre that once again

forward.

survives and evolves to meet the needs of

Svich begins with an introduction in which she defines the sociopolitical

The structure of the book – featuring

our contemporary moment. This book is

impetuses for the book: In a locked-down

interviews with participants, predomi-

essential reading for theatre practitioners

world dominated by political divisiveness

nantly conducted over Zoom and email – is

who care about the longevity of the field

and systemic injustice, how might theatre

a reminder of the collective experience of

and who long to make a difference with

evolve to become a more inclusive, access-

isolation caused by the pandemic. Partici-

their work. n

ible and illuminating tool for social justice?

pants are artistic and managing directors,

The author introduces the four core ques-

actors, directors and playwrights, as well as

tions she asks every participant:

digital and performance artists. What con-

• How has lockdown been for you?

nects all subjects (and their readers) is that

• What advice do you have for people

each is forced to reimagine their place in

entering the field right now?

• What hopes and dreams do you have for theatre’s future?

64 x Southern Theatre x Fall 2022

the field and the field’s place in the world.

Contributors imagine a theatre that is more inclusive, uplifting of minority voices and

Joseph R. D’Ambrosi (he/him) is a theatre scholar, artist and teacher. He serves as fine and performing arts resource specialist for the school district of Osceola County, FL, and as graduate faculty scholar and adjunct professor of theatre at the University of Central Florida.

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