Southern Theatre, Vol. 60, Issue 3

Volume LX Number 3 • Summer 2019 • $8.00

TO TOUR OR NOT TO TOUR Life on the Road and Open Seas

DARE TO DREAM

Advice from Distinguished Designers

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BASED ON THE

Contents

Volume LX Number 3 l Summer 2019 l Southern Theatre – Quarterly Magazine of the Southeastern Theatre Conference

Features 8 To Tour or Not to Tour Is Life on the Road or Open Seas for You?

Departments 4 Hot off the Press

Plays By, For and About Women

by Zackary Ross

6 Outside the Box: Design/Tech Solutions

Mirror, Mirror on the Set: Which Is the Fairest Alternative to Standard Shrink Mirror Products?

by F. Randy deCelle

by Stefanie Maiya Lehmann

16 Dare to Dream as a Designer Advice from SETC’s 2019 Distinguished Designers

by Jonathon Taylor

24 Outdoor Theatre Historical Dramas, Shakespeare Festivals Weather a Changing Climate

by Tom DeTitta

Cover Lila Coogan (Anya) and company are shown in a scene from the national tour of Anastasia, with costume design by Linda Cho, one of the distinguished guest designers at the 2019 SETC Convention. See story, Page 16, with advice from Cho and the other designers. Learn the ins and outs of working on a tour, Page 8. (Photo by Evan Zimmerman, MurphyMade; cover design by Deanna Thompson)

Summer 2019 x Southern Theatre x 3

Plays By, For and About Women

by Zackary Ross

I

began writing this column during Women’s History Month, and I found myself thinking about both my favorite female playwrights and the common struggle I encounter as we begin planning our next theatrical season. My theatre program, like many across the country,

has many more women than men in the casting pool, and we often struggle to find material that addresses this disparity. While modern plays tend to be more equitable in their gender representation than their historical peers, I too often find myself struggling to find texts that not only feature enough roles for women but also present these characters in interesting, nuanced ways and offer a story told from a female perspective. What follows is a collection of newly-published plays from major play publishers that address these points. Following each description, you’ll find information about the cast breakdown and a referral to the publisher who holds the rights.

Hardball, by Victoria Stewart

coming to terms with their own biases and

ones. To her surprise, she is met with

Set in early 2005 just after George W.

the roles they are expected to play, offering

guardedness and hostility due to her

Bush won his second term in office,

a fresh perspective on teen angst, the

absence and the havoc that comes from

this play tracks the transformation of

feeling of rootlessness often tied to being

reawakening the past.

budding journalist Virginia Eames, who

a 30-something, and the sense of having

Cast breakdown: 4 females; 3 males

was recently fired from her newspaper

lost something as we slide into middle age.

Publisher: Broadway Play Publishing Inc.

job, into a celebrity pundit known for her

Cast breakdown: 3 females; 3 males

www.broadwayplaypub.com

provocative political views. Timely and

Publisher: Dramatists Play Service, Inc.

thought-provoking, Hardball examines the

www.dramatists.com

Scissoring, by Christina Quintana Hired by a conservative Catholic school,

sacrifices that follow when those entrusted to report the news turn their politics into a

Napoli, Brooklyn, by Meghan Kennedy

Abigail Bauer feels forced to hide her

vehicle for attaining stardom.

In Brooklyn in 1960, three Italian-American

sexuality, creating an intense conflict with

Cast breakdown: 4 females; 2 males

daughters of immigrant parents struggle

her longtime partner Josie. Throughout

Publisher: Broadway Play Publishing Inc.

against the patriarchal family structure.

the play, Abigail struggles to reconcile her

www.broadwayplaypub.com

When the unthinkable happens in the form

personal and public lives and ultimately is

of the infamous 1960 Park Slope plane

confronted with a series of hallucinations

Somebody’s Daughter,

crash, the secrets of the family bubble to the

that challenge her choices, including one

by Chisa Hutchinson

surface, some relationships form and some

featuring one of history’s most famous

Alex is a 15-year-old Asian American

crumble, and the women of the Muscolino

closeted pairings, Eleanor Roosevelt and

girl, model student and constant

family find their voice in the wreckage of

Lorena Hickok.

disappointment to her parents, who

what was once their lives.

Cast breakdown: 6 females; 1 male; 1 n/s

wanted a boy. Kate is a 30-something

Cast breakdown: 6 females; 2 males

Publisher: Dramatists Play Service, Inc.

Asian American guidance counselor whose

Publisher: Dramatists Play Service, Inc.

www.dramatists.com

frustration with her family’s judgment of

www.dramatists.com

her is now threatening the relationship she has built with her African American

Local Story, by Kristen Palmer

boyfriend Reggie. Structured around Alex

After walking away from her life several

and Kate’s college counseling sessions, the

years ago, D’Lady returns to her hometown

play depicts three generations of women

and tries to reconnect with her loved

4 x Southern Theatre x Summer 2019

Zackary Ross, an assistant professor of theatre at Bellarmine University in Louisville, KY, also works regularly as a director and a dramaturg.

Theatre s o u t h e r n

From the SETC President

EDITOR

Deanna Thompson

SETC EXECUTIVE DIRECTOR

Susie Prueter SETC EXECUTIVE DIRECTOR EMERITUS

Betsey Horth ADVERTISING

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

Southeastern Theatre Conference 1175 Revolution Mill Drive, Studio 14 Greensboro, NC 27405 336-272-3645 PUBLICATIONS COMMITTEE

J.K. Curry, Chair, Wake Forest University (NC) Becky Becker, Clemson University (SC) Gaye Jeffers, University of Tennessee at Chattanooga Laura King, Gordon State College (GA) EDITORIAL BOARD

Tom Alsip, Oklahoma State University Lamont Clegg, Osceola County School for the Arts (FL) Larry Cook, University of North Georgia Amy Cuomo, University of West Georgia F. Randy deCelle, University of Alabama Kristopher Geddie, Venice Theatre (FL) Bill Gelber, Texas Tech University Scott Hayes, Liberty University (VA) Edward Journey, Alabama A&M University Stefanie Maiya Lehmann, Lincoln Center (NY) Brooke Morgan, University of Montevallo (AL) Tiffany Dupont Novak, Lexington Children's Theatre (KY) Richard St. Peter, Northwestern State University (LA) Jonathon Taylor, East Tennessee State University PROOFREADERS

Kim Doty, SETC Communications Specialist Denise Halbach, Independent Theatre Artist (MS) Philip G. Hill, Furman University (SC) PRINTING

P

Pursuing dreams is the focus of this year’s summer issue. Whether you are thinking ahead to future career possibilities or reimagining your current work, this edition of Southern Theatre provides opportunities for inspiration.

To many, touring seems like a dream job. Maybe you’re one of those who have

wondered what it would be like to perform on a cruise ship or to go on tour with a Broadway musical or a Shakespeare play? Performers, crew members and the people who hire them take you inside the touring life and offer tips for making the most of life on the road in a story by Stefanie Maiya Lehmann.

The distinguished guest designers at this year’s SETC Convention shared many nuggets of advice in a Thursday night presentation, but one theme resonated across all of their keynotes: Dare to dream. For those who missed this year’s event, and for those who would just like to experience the designers’ collective wisdom again, we share highlights in a story by Jonathon Taylor.

For more than eight decades, outdoor historical dramas have celebrated the

dreamers among us – from adventurers who set off to settle distant lands, to Native Americans who struggled to hold on to the land they loved, to artists who saw music in the passage of everyday life. But today, outdoor historical dramas, as well as outdoor Shakespeare festivals, are facing dwindling audiences. Tom DeTitta shares some of the ways outdoor theatres are working to bring audiences back.

Returning to the design-tech side of theatre, Randy deCelle shares a costeffective alternative to standard shrink mirror products in this issue’s “Outside

Clinton Press, Greensboro, NC

the Box” column.

NOTE ON SUBMISSIONS

Finally, more and more theatres are making a point of including plays by

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 quarterly by the Southeastern Theatre Conference, Inc., a nonprofit organization, for its membership and others interested in theatre. Copyright © 2019 by Southeastern Theatre Conference, Inc., 1175 Revolution Mill Drive, Studio 14, Greensboro, NC 27405. All rights reserved. Reproduction in whole or part without permission is prohibited.

Subscription rates: $24.50 per year, U.S.; $30.50 per year, Canada; $47 per year, International. Single copies: $8, plus shipping.

women in their seasons. If your theatre is one of them (or if your theatre is just looking for a great new play), you’ll want to check out Zackary Ross’ list of notable and newly available scripts by, for and about women in our new plays column, “Hot off the Press.”

Now, sit back, relax and enjoy this collection of timely stories that just might

inspire you to “dream a little dream” of your own.

Jeff Gibson, SETC President

Summer 2019 x Southern Theatre x 5

outside

the box DESIGN/ TECH SOLUTIONS

Mirror, Mirror on the Set Which Is the Fairest Alternative to Standard Shrink Mirror Products?

b y F. R a n d y d e C e l l e

W

hen attempting to stage beloved Broadway favorites, producing

entities often face challenges because they lack the resources needed to recreate the iconic looks that audience members relish, such as the dance mirrors in A Chorus Line.

For a 2017 production at the University of Alabama, our goal was to restage the original Broadway production, using periaktoi (three-sided rotating scenic flat units arranged in a line) to perform the majority of the work for supporting the play scenically.

This was not the Department of Theatre

and Dance’s first time producing A Chorus Line in its traditional form. Our 2004 production also used periaktoi. For that production, we created the mirrored sides of the three-sided units from Broadwaystyle flats, which we covered with the standard shrink mirror material found at theatrical production suppliers. These flats performed well and are still in our stock, Photos by Porfirio Solorzano

seeing use in a variety of shows. However, for our 2017 production, the design of the periaktoi was changing slightly, as the show had to tour and we felt our existing flats were a little worn.

With the opportunity to create new mirror flats, I set out to find a different material for the mirror that would require less labor and be lower in cost than the traditional shrink mirror products. The process of creating them not only can be time-consuming, but also requires patience and a steady hand, especially for the 14-foot tall mirrors we needed. After

The mirrors in the 2017 (top) and 2004 (bottom) productions of A Chorus Line at the University of Alabama had very similar reflectivity and overall effectiveness onstage, despite the use of a less expensive material for the most recent production.

Challenges to Address

1

form a 14-foot-tall by 26-foot wide mirror

Your mirror shouldn’t be too perfect.

wall, unless you want the audience to

One thing that many people do not

be watching itself throughout the show.

understand is that, when using mirrors

Mirrors also can be problematic for lighting

products, which are a form of polyester

onstage for scenery, you don’t want perfect

and scenery, because those parts of the

film.

mirrors, especially when collectively they

audience that look up at the mirrors may

researching alternatives, I focused on Mylar

6 x Southern Theatre x Summer 2019

COST OF PRODUCTS TESTED MFG PRODUCT WIDTH (in) COST PER COST/FT Earth Start

Mylar Film, 2 sides, 2 mil

48

$23.90

100 ft.

$0.239

Hydrofarm

Mylar Film, 1 mil

48

$19.80

50 ft.

$0.396

Space Paper

Mylar Film, 2 mil

48

$42.99

100 ft.

$0.430

HTG Supply

Mylar with white poly back, 4 mil

48

$22.95

25 ft.

$0.918

HTG Supply

Mylar with black poly back, 6.7 mil

48

$31.95

25 ft.

$1.278

see lighting fixtures or into the backstage

off. At approximately $5.08 per foot, the

at the audience’s distance, which keeps

of the theatre.

entertainment-based shrink mirror product

the mirrors from being too distracting and

Size matters. Perhaps the biggest

is about 21 times more expensive than the

helps with lighting and scenic issues.

challenge with affordable polyester

least expensive Mylar film option.

Putting the Mirrors into Action

products is the more narrow product

While the film products looked very

Once we chose the mirror surface, the

width. Rolls of mirror products made for

similar at first pass, we soon discovered

next step was creating the base frame. We

the entertainment industry tend to be 50-60

distinct differences. The HTG Supply prod-

chose an open-frame, Broadway-style flat

inches wide, while the Mylar products tend

ucts with the polyvinyl backing seemed

that was a bit under four feet wide. We

to be in the 36-inch-wide range, with some

ideal due to their enhanced strength, until

stretched the material across the flat face,

around 48 inches wide.

we discovered that the mirror side of the

stapling it on the structure face, within ¾" of

Flammability is an issue. A significant

material was pitted. While it was reflec-

the edge of the flat frame. We then applied

consideration when using polyester

tive, it was not aesthetically appropriate.

black gaff tape along the edges, covering

film is the flammability of the product.

The Hydrofarm and Space Paper products

the staples, and wrapped it around the edge

The rolled mirror products made for the

seemed much too flimsy to be practical for

of the flat frame. This provided a clean edge

entertainment industry are listed by the

scenic use, especially for tour, and the mir-

to the mirror flats. By using this method

manufacturers as self-extinguishing. To

ror surface on both was not consistent.

instead of the traditional shrink mirror, we

protect general-purpose polyester film,

The Winning Choice

saved enough time and money to make a

however, you need to add a flame retardant

We chose the Earth Start Mylar. The

spare mirror flat, in case there was any

made for it, which is available through

consistency of the mirror surface was much

damage on the tour.

online suppliers.

better than the others and the material is

The final result was a mirror product

Our Product Tests

mirrored on both sides, adding thickness

that was much more economical and far

I identified five Mylar film products

and more strength, compared to the others.

easier to install than the traditional shrink

to test in comparison to the shrink mirror

It also helped that it was available in 100-

mirror. I was able to pull archive photos

product most often used. We fabricated test

foot rolls and was the cheapest product we

of our original 2004 A Chorus Line mirrors

flats using the products chosen, mounting

found in the minimum width we needed.

and compare the results with our 2017

the materials in a variety of ways. For

We compared the entertainment-based

production. While the staging and images

the traditional shrink mirror product, we

shrink mirror and the Earth Start Mylar

captured are different, the mirrors appear to

created a wooden flat frame according to

version, and the look achieved was very

be extremely similar in quality, reflectivity

the manufacturer’s recommendations. For

similar. The mirror surface created with

and overall effectiveness. n

the Mylar film products, we used standard

the Earth Start Mylar was not a perfectly

Broadway flats that were open-frame

reflective surface, which is what is desired.

or hard-covered. Most of the flats were

When performers are close to the surface,

Broadway-style, 2-foot-by-4-foot frames

there is a good deal of reflectivity that

that we use for our scenic art class.

more than adequately mimics a dance

mirror. However, the reflection is blurry

2

3

The five Mylar film products we chose

F. Randy deCelle is an associate professor and head of design and technical production at the University of Alabama. A member of the Southern Theatre Editorial Board, he is editor of the Outside the Box column.

met three main criteria: their width was the largest available, they came in a practical roll length for covering 14-foot flats, and their costs were reasonable. The table at the top of this page shows the costs of the final contestants in the Mylar shoot-

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 F. Randy deCelle at rdecelle@ua.edu.

Summer 2019 x Southern Theatre x 7

TO TOUR OR NOT TO TOUR Is Life on the Road or Open Seas for You?

by Stefanie Maiya Lehmann

E

Every year, thousands of theatre professionals pack up their suitcases and leave their homes behind to begin life on the road. For these professionals, the tour life can sometimes feel like a world filled with dichotomies. It is glamorous but grueling, repetitive yet constantly changing. For some young professionals, joining a touring production or cruise can be quite the boon to their financial situations. Some only tour while they’re young or will only take a tour when they need a reset to their city life, while others have thrived in this segment of the industry, becoming old “road dogs” or “road warriors.” Either way, cruise line, regional, national and international touring productions are a vital part of the theatre industry, filled with opportunities for young professionals to make a sustainable living.

“Touring isn’t for everybody, but it is such a great

opportunity for actors to really test their skills out on various audiences with wide arrays of experiences and opinions,” said Jason Styres, CSA, casting director for numerous touring productions, including A

Yael Reich LATEST ROLE:

Gentleman’s Guide to Love & Murder, The Lion King,

Eva Perón, Evita,

Fiddler on the Roof, Rogers + Hammerstein’s Cinderella

U.S. Tour, January-March 2019

and The King and I. “You can learn so much about how

PREVIOUS TOURS:

to be an adaptable, engaging artist simply by being

Mamma Mia!, Mamma Mia! Farewell

in these ever-shifting environments.”

Tour, Rent 20th Anniversary Tour

According to The Broadway League, the 700-plus

member national trade association for the Broadway industry, in the 2017-2018 season, the attendance for touring Equity Broadway productions alone reached

Opposite page: Yael Reich portrays Eva Perón in the 2019 U.S. tour of Evita. Photo courtesy of Plan-B Entertainment.

DEGREE: Bachelor of Fine Arts, Musical Theatre, University of Florida, 2015

17 million people. These tours grossed about $1.4 PRO SKILLS I HAVE DEVELOPED:

Add to that the numerous non-Equity, cruise ship,

I think I’ve really mastered cooking delicious meals on the road.

children’s company, and smaller regional company

You’d be surprised how creative one can get with a collapsible tea

tours, and the amount of work in the U.S. for those

kettle, a mini crock pot, and the hotel ice bucket! The one thing I

willing to live out of a suitcase is impressive.

have learned is that self-care is a must. Whether it’s hitting the gym

NATIONAL TOURS

every day, bringing along a yoga mat or an instrument, creating fa-

miliarity – in the midst of a lifestyle filled with variables ranging from

For many, snagging a spot on a national tour can

feel like a once-in-a-lifetime opportunity. Where else can you combine the pay of a touring contract, the cost savings of living on the road, and the opportunity to travel to major cities and perform for enthusiastic new audiences each night? Yael Reich, who played Eva Perón in the 2019 U.S. tour of Evita, found the opportunity to join the national tour irresistible.

“When that happens ever so rarely in someone’s career, it’s pretty much a no-brainer!” she said.

Like others who have been on national tours, Reich

said it’s a rewarding experience unlike any other.

“There is something truly magical about walking

out on a different stage in each city and sharing an exchange of energy with a new group of human beings every single night. It is truly intoxicating and

Tips from the Road

billion and visited 200 cities across the United States.

the weather to how each theatre is laid out – is key.

BIGGEST CHALLENGES: There were times we’d roll into a new city, and I’d realize I’m superallergic to something unique to that city. Getting accustomed to rolling with the variables is something I am still learning after four tours.

I NEVER FORGET TO PACK: I always have my yoga mat, my journal, my MyPurMist, my giant bag of vitamins, and one of my coffee mugs from home. Being an avid coffee drinker, I find so much joy in sipping my coffee from a familiar vessel. I also love having my essential oil diffuser and some of my crystals with me. Really, anything that gives me a sense of familiarity and grounding amidst the ever-shifting, yet overwhelmingly humbling and rewarding lifestyle that is touring!

Summer 2019 x Southern Theatre x 9

so rewarding to see the expressions on the audience’s

and there were two little girls waiting for us, greeting

faces change and shift as the show progresses. I

every member of the cast. They ran to me and started

remember there was one night I was on for Maureen

singing all of ‘Take Me or Leave Me.’ It was incredible!

on the Rent tour and I walked out of the stage door

We later received a video of that same girl doing the entirety of ‘Over the Moon.’ Moments like this,

Kersten Gavin CURRENT JOB: Crew Swing for Wardrobe/Hair and Make-up Departments,

knowing we’ve reached the heart and soul of another human being, are so sacred and rewarding.”

Performers aren’t the only ones drawn to touring.

Kersten Gavin, currently working as crew swing for the Wardrobe/Hair and Make-up Departments for The Lion King North American Tour, relishes the opportunity tours provide to travel the world and meet new people. “Those experiences are priceless.

I get to see the world in ways that most people only dream about,” Gavin said. “You get to see the world

The Lion King North American Tour

and give them your gift.”

PREVIOUS TOURS:

every minute of the day, Gavin cautions. “Touring is a

A Bronx Tale – The Musical Finding Neverland – The Musical

However, national tours are not a dream come true

complete lifestyle change,” she said. “It’s not a typical 9-to-5 job. You are constantly moving. The hours are

DEGREES:

sometimes very strenuous, especially during load-ins.

Bachelor of Fine Arts, Costume Design & Technology,

Life on the road is hard. It’s not easy.”

University of North Georgia, 2015

Those who are interested in touring need to

Master of Fine Arts, Wig and Makeup Design,

understand the challenges they will face, Gavin said.

Cincinnati Conservatory of Music, in progress

“I wish someone had warned me more about the hardships of this kind of life,” she said. “The sacrifices

Tips from the Road

you end up making. The challenge of being away from PRO SKILLS I HAVE DEVELOPED:

your support system. Being utterly alone sometimes.

I wouldn’t say that I am a pro at touring yet. I’m still trying to

I wish people hadn’t sugar-coated this job for me. I

figure out how to balance my life out here. I am amazing at

would have wanted to have known the good and the

packing my suitcases, never going over the weight limit. Going

bad parts.”

through airport security is such a breeze now. I can say I am a

better listener because of touring. Observing those around you

Theatre Caravan, which annually produces a national

and being self-aware are two pro skills that I have developed.

tour of A Christmas Carol that has performed in over

Working with new people in every city, having the job of training

600 cities in 49 states and four Canadian provinces,

them in how to run my show – that is a skill I have developed, but

also emphasizes the adjustments required of cast and

am still trying to not mess up every day.

crew members who are new to touring.

Kate Whitecotton, company manager for Nebraska

“Going from a controlled environment to perform-

BIGGEST CHALLENGES:

ing a six-week tour with stops all over the United

I live out of suitcases. I live in hotels. I travel by bus or plane

States always provides challenges to new company

every few weeks, or weekly or sometimes every few days. That is

members,” Whitecotton said. “Each venue is differ-

my biggest challenge.

ent, each city is different, and each day presents new

I NEVER FORGET TO PACK: My Roku Stick – got to watch that Netflix.

My hand luggage scale – never want to be over my weight limit.

My box of letters to write – I sit down and write letters to my family and friends as much as I can.

Pack things that will make your life easier and bring you a little extra joy on the road.

10 x Southern Theatre x Summer 2019

experiences that are unique only to a touring show.”

Casting notices for national tours can be found through the typical online casting notice boards such as Playbill, Backstage, Broadway World and the Actors’ Equity Casting Call website for union members. In addition, some companies cast at the SETC Professional Auditions. The large national tours often cast out of New York City. The casting and

callback process can be quick and condensed into a

These tours are often mission-driven, aiming to

short period of time.

reach out to underserved communities or schools.

Many of the major blockbuster tours are produced

Because of this, these kinds of tours often require

by the same companies that produced the original

actors and technicians to possess skills beyond pure

Broadway productions. However, there are some

talent. Dylan Wright, the tour communications

other major names you’ll see producing touring

associate for Missoula Children’s Theatre, the largest

productions such as NETworks Presentations,

international touring children’s theatre in the nation,

TROIKA Entertainment, Big League Theatricals,

notes that his theatre hires a particular type of person:

Work Light Productions and Phoenix Productions.

“We are looking for high-energy performers that are

These major names often manage several touring

strong singers but, most importantly, kind and patient

productions at the same time. Each contract is

individuals that want to make a difference and enjoy

different, depending on the individual production

working with children.”

and unique factors, such as the tour schedule,

These companies are especially reliant on their

locations, overall length of tour and type of travel.

touring members to maintain the production quality

REGIONAL AND EDUCATIONAL TOURS

and the theatre’s public image, Wright said. “Because

Major national tours aren’t the only way to take

we are not on the road with them, we put a lot of

your show on the road. There are numerous smaller

faith in our actor/directors to create high-quality

regional touring companies and educational tours

productions while upholding the values of the

that send out productions annually. The structure and

company,” he said. “Each team is essentially its own

contracting process for these tours can vary widely,

production company while out on the road. Because

depending on the company. Many productions travel

of this, candidates must be thoroughly vetted before

only within a state or limited region. Some may use

being offered any touring contract.”

vans instead of buses, traveling out to a venue for a

Cordell Cole, currently appearing as Witch/

performance before returning to a “home base.”

Macduff in Macbeth for the Utah Shakespeare Festival

CELEBRATING 91 YEARS OF EXCELLENCE IN ACTOR TRAINING

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Summer 2019 x Southern Theatre x 11

Shakespeare-in-the-Schools Tour, appreciates the

Vegas, view rock formations the likes of which I’ve

opportunity tours provide for him to see places he

never witnessed, hike down trails occupied by the

might not visit otherwise. “This year alone, I’ve been

ruins of Native American shelters, and stand amongst

able to see the Grand Canyon, walk the streets of

four states at one time, just for starters,” Cole said.

“That’s all thanks to tour.”

Cordell Cole

He also enjoys the opportunity that his touring work provides for him to connect the audience to major works. “One of my favorite parts of this job has been and remains that the work truly is bigger than us,” Cole said. “I feel so lucky every time I’m allowed to tell these stories.”

Sometimes, as the only African American on his

CURRENT ROLE:

tour, it “can feel lonely, but I know my purpose is

Witch/Macduff, Macbeth

for a greater cause,” he said. “After a show one day,

Utah Shakespeare Festival

during a talk-back, I kept catching eyes with a black

Shakespeare-in-the-Schools Tour

student, probably between 16 and 18. Every single

PREVIOUS TOURS: Two year-long tours with American Shakespeare Center

time, he smiled, like, ‘I see you brother.’ I wish I could more eloquently explain it. It wasn’t like any audience post-show interaction I’d ever had. He just wanted to be present with me for a moment. Eventually, he

DEGREES:

got up, sending me the ‘Wakanda forever’ sign. I

Bachelor of Fine Arts, Acting

obliged him, sending it back. Then he went on his way.

Brenau University, expected 2019

Another young black man once said he saw himself when seeing me.”

Tips from the Road

CRUISIN’ FOR A LIVING

PRO SKILLS I HAVE DEVELOPED:

Perhaps, instead of traveling cross-country on

I think the art of discernment is crucial. Arriving at every venue,

airplanes or buses, you prefer a life on the open seas.

there are always a ton of questions and answers that will

The cruise industry is continually growing, with new

either need to be confirmed, asked or worked out. It’s in those

ships continuously on order and shipyards that cannot

moments that this skill is especially necessary. I hope I’ve

keep up with the demands for new or upgraded

gotten very good at asking myself those three classic questions:

vessels, according to the Cruise Lines International

Does what I have to say need to be said? Does it need to be

Association, an industry trade association. These

said right now? Does it need to be said right now, by me? I find

ships fill with thousands of passengers eager to

myself most successful, discernment-wise, when asking those,

enjoy their vacations and pass the sailing hours being

especially in load-ins and load-outs.

entertained. The cruise ship performing industry has evolved from the cheesy talent shows and solo

BIGGEST CHALLENGES:

performers of yesteryear to major Broadway-level

On this tour, life is fluid. One day, our call may be 5 o’clock in the

musicals and Vegas-style reviews, opening up a world

morning. The next day, perhaps it’s 11 in the morning. That can

of job opportunities to actors and technicians willing

take just a bit to get used to.

to test out their sea legs.

I NEVER FORGET TO PACK: Phone charger, hair brush, toothbrush and toothpaste, and so many pairs of undergarments/socks for when laundry seems impossible to do. I also keep souvenir stickers from every memorable place I’ve been. Someday I’ll find a place to put them all. It’s amazing how much being able to bring along those little things that make the road feel like home will help. Having the option to pack a bag for comics, pictures and as many pairs of shoes or socks as I want feels good for the soul.

12 x Southern Theatre x Summer 2019

Nicole Pietrangelo, who recently completed a six-month tour as a vocalist with Norwegian Cruise Line, said one of the highlights of touring for her was the lasting connections she made with her fellow performers.

“I was lucky enough to meet some incredible people from all over the world who quickly became my support system during those six months on board,” she said. “I seriously would not have made it to the other side without them, and I know these

people will be friends for life. Befriending these

and employee experiences. Although some principal

people was without a doubt the most rewarding

performers may only be expected to perform, other

aspect for me.”

members of the production team may be required to

Like those who tour on land, Pietrangelo also

handle minor additional ship duties, such as cleaning

relished the opportunity her cruise job opened for

the theatre, teaching workshops or running passenger

her to see new places.

safety drills.

“The highlight for me was exploring Havana,

CASTING DIRECTORS SHARE ADVICE

Cuba,” she said. “It truly is so beautiful there, the

people are lovely, and the food is fantastic.”

show in a theatre. You will be with the same small

Many cruise ship productions rehearse in Florida,

group of players, traveling for long stretches of time,

as opposed to touring productions that start in New

away from your typical comforts, and often under

York City. The major cruise lines are Norwegian,

pressure and in very close quarters. Because of those

Carnival, Royal Caribbean, Disney, Princess and

challenges, casting directors pay particular attention

Holland America. Standard contracts run from four to

to how well their auditionees “play” with others.

nine months. Upcoming opportunities can be found

through each company’s website or postings on the

people,” said Katie Proctor, a casting director at

Playbill or Backstage online job boards. Auditions and

RWS Entertainment Group, whose clients include

interviews are held at various locations year-round,

major cruise lines and theme parks. Because these

including the SETC Professional Auditions and the

individuals must not only work together but also in

SETC Theatre Job Fair.

close quarters, “If someone comes across as difficult

Touring is very different from performing a

“We are not just casting performers, we are casting

When looking for work on a cruise ship, be sure

to work with [in the casting room], it’s tough for me

to familiarize yourself with the individual cruise

to give a callback, no matter how talented they are.”

line, paying particular attention to its history, hiring

requirements (e.g., age), typical room and board,

Rep on Tour, Virginia Repertory Theatre’s touring

Similarly, Gordon Bass, tour manager for Virginia

SETC 2019 Fall Professional Unified

Auditions

> When: August 25-26, 2019 > Where: Sheraton Charlotte Hotel, in Uptown Charlotte, NC > Registration is Now Open! setc.org/auditions/fall-professional SETC Professional Unified Auditions by the Numbers from Aug. 2018 Participating companies were looking to fill 2,103 roles 36 casting reps from 23 theatre companies participated 231 actors, singers and dancers auditioned Theatres represented: repertory, regional and stock companies, single show venues, cruise lines, dinner theatres, entertainment agencies, seasonal shows and more!

Summer 2019 x Southern Theatre x 13

company for young audiences which

friendly folk” and “no-divas … no B.S.”

presents more than 2,000 performances

Some of the biggest frustrations for tour

of children’s classics each year, said his

performers, Bass said, are simple things

company looks for “honest, true, kind,

such as getting along in the confines of long

Nicole Pietrangelo RECENT CRUISE JOB: Vocalist, Rock You Tonight and Showdown, Norwegian Cruise Line, 6-month tour, 2018 OTHER CRUISE JOBS: None. Has worked in regional theatre and OffBroadway productions.

DEGREES: Bachelor of Music in Vocal Performance, University of Alabama, 2014 2-Year Professional Musical Theatre Training Program, CAP21, 2016

PRO SKILLS I HAVE DEVELOPED: Learn the value of a proper warm-up! And I’ve figured out what specific exercises work best for me. On the ship, we were belting our faces off every single day, and it would undoubtedly get tiring after a while. I definitely would not have made it through without a good warm-up to get me on the right track every day. I wish someone had told me to make sure I was pacing myself throughout the course of the contract. There are times when it is okay to mark [spare the voice during rehearsal] and not tire yourself out. Be smart about when those times are. You don’t have to feel like you constantly have to prove yourself. In the end, the most

Tips from the Sea

important thing is to do what’s best for you and your health.

14 x Southern Theatre x Summer 2019

BIGGEST CHALLENGES: The biggest challenge is maintaining contact with your family, friends and significant other. On a cruise ship, there is no such thing as consistent Wi-Fi. Sometimes you have it, and sometimes you don’t. You really do feel disconnected to the outside world at times, which is why it’s so important to find your “ship family.”

I NEVER FORGET TO PACK: Makeup wipes. Nonperishable snacks. A Polaroid camera for decorations.

I hung up countless pictures, bought blankets and pillows to make my bed more comfy, hung twinkle lights, etc. You have to make your space cozy, or it’ll never feel like home. Sunscreen, especially with my Caribbean itinerary. We were in the sun constantly, and we weren’t allowed to have any visible tan lines in our shows.

Theatre & Dance within the Liberal Arts

Katie Proctor Casting Director, RWS Entertainment Group

Gordon Bass Tour Manager, Virginia Rep on Tour

Dylan Wright Kate Whitecotton Tour Communications Company Manager, Associate, Nebraska Theatre Missoula Children’s Caravan Theatre

van rides and reaching agreement on places

long way in keeping up your performances

to eat on the road.

every day and will help you to enjoy your

life on the road (or sea)!”

Nebraska Theatre Caravan finds that it

helps to prepare their casts and crews for

the challenges of tour life before they set

professionals can take, Styres said, is to

off. “We take time to train the company to

focus on enjoying the act of touring. “From

work longer than usual hours and [let them

my perspective, most of my tour casts have

know that] they have the most pressure

a really great sense of understanding that

to put on their best performance after

this is also a great opportunity to see places

sitting through long bus rides, early calls,

they may never have visited, getting to

media appearances in each city, and hectic

meet new people along the way. It is easy

schedules,” Whitecotton said.

to get lost in homesickness if you aren’t

Performers in touring and cruise ship

appreciating your current surroundings.”

productions also face personal challenges.

If you are interested in entering

“You have to find ways of keeping a show

the world of touring and cruise ship

and character fresh, not to mention keeping

productions, consider all details before

your own mind-set clear and focused and

signing a contract, recommends Styres:

happy,” Styres said.

“Look at the dates. Look at the itinerary.

Proctor notes that mental self-care is

Look at who you are auditioning for. Know

critical for touring artists: “The performers

the parameters of what you’re getting into.”

who are most successful living on the road

BOTTOM LINE

are those who can find their own inner calm

as well as finding something to work on

invest in a new suitcase, make sure touring

while traveling – a hobby, craft, personal

is a good fit for you as a person and a

goal, etc.”

performer.

In addition to dealing with mental

“Have an honest talk with yourself

wellness, those travelling the road or

before heading in that direction,” Proctor

the sea also need to pay extra attention

said. “Personally, I think there is nothing

to their health and physical care to cope

better than working and living on the

with changing climates, high-bacteria

road or sea, but it’s certainly not for

travel centers, different food options, new

everyone.” n

time zones and general exhaustion. Being prepared is critical, Proctor said.

“Don’t forget to get enough sleep,” advises Proctor. “Find a way to get in a workout. Treat yourself to some really good food. Taking care of yourself will go a

Highly Competitive Academically Rigorous Nationally Ranked

One of the most important steps touring

Before you sublet your apartment and

Stefanie Maiya Lehmann is business manager of Lincoln Center Concert Halls and Production in New York City and a member of the Southern Theatre Editorial Board.

10 Reasons to study Theatre & Dance at Wake Forest!

1. Small, individualized classes, integrated with production and performance 2. Beginning to advanced study in all aspects of theatre 3. Opportunities to double major/minor 4. 4 major productions and 2 dance concerts yearly 5. Two well-equipped spaces: proscenium and thrust 6. Faculty and student directed productions; multiple student producing groups 7. Talent-based scholarships for performance and production 8. Both merit and need based financial aid 9. Funding opportunities for student projects, summer study and travel 10. Over 400 approved study abroad programs in 70 countries

For information contact: Department of Theatre and Dance P.O. Box 7264, Reynolda Station Winston-Salem, NC 27109 336-758-5294 ◆ theatre@wfu.edu college.wfu.edu/theatre Summer 2019 x Southern Theatre x 15

Dare to Dream Advice from SETC’s 2019

by J o n a t h o n Tay l o r

The guest designers who adjudicate entries each year in SETC’s annual Design Competition also provide important career insights and advice during a Thursday night keynote.

On the pages that follow, we share highlights of the wisdom imparted by the 2019 distinguished designers: scenic designer Riccardo Hernández, costume designer Linda Cho, lighting designer

as a Designer Distinguished Designers

Jonathan Spencer and sound designer Victoria Deiorio.

We also present examples of their design work, starting with Hernández’s set (featuring an onstage 4-foot-deep swimming pool) for Red Speedo, Lucas Hnath’s play about a swimmer facing an ethical dilemma, presented at the New York Theatre Workshop.

RICCARDO HERNÁNDEZ on Scenic Design Let your imagination soar.

Riccardo Hernández has designed more than 250 productions at leading theatres and operas in the U.S. and around the world. His numerous awards include the 2017 OBIE Award for Sustained Excellence in Scenic Design, the 2015 Henry Hewes Design Award, the Princess Grace Statue Award, the Tony Award and multiple Drama Desk Awards. This summer, his set design is being seen on Broadway in Frankie and Johnny at the Claire de Lune. Born in Cuba and raised

Caitie McMekin

in Buenos Aires, Hernández was introduced to the arts by his father, an opera singer. At age 7, “I saw my very first opera, Lucia di Lammermoor, with the great Beverly Sills and the legendary Spanish tenor Alfredo Kraus,” Hernández told his keynote audience. The production, he said, was designed by Ming Cho Lee, who would become his teacher 17 years later when Riccardo Hernández studies an entry in the Design Competition at the 2019 SETC Convention.

Pages 16-17: Hernández, whose design credo includes using “real” materials, created an actual swimming pool for the play Red Speedo, with plexiglass at the front providing a window to the action.

Photo by Joan Marcus.

Hernández earned his MFA at the Yale School of Drama.

In his keynote, Hernández shared highlights from his long career and urged his audience to view theatre

as a means of and space for exploration, growth and understanding.

1

Develop strong relationships with fellow artists to fuel your development.

From his first professional job on Suzan Lori Parks’ The Death of the Last Black Man in the Whole Entire

World at the Yale Repertory Theater, Hernández moved on to work at American Repertory Theater and The Public Theater in New York, theatres where he says he developed the first of many “life-changing working relationships” over the years with directors, playwrights and others in theatre.

“All these great theatre artists made me see stage design and theatre as something completely different from

what I envisaged as a young man,” he said. “They taught me about theatrical spaces that are not descriptive or plainly two-dimensional but spaces that invite our imagination to soar.”

“In the same way an actor is real, the materials I began to use have to be real: wood, steel, aluminum, plywood, glass, plexiglass, dirt, rocks, leaves, water. All were used in their natural beauty so that truthfulness was achieved, a truthfulness was achieved in the service of a play, opera or musical. Granted, all of these require more funding, but I learned to fight for the materials because I knew this was crucial and critical for the poetic reality we were all in search of.”

Ten years ago, Hernández said, he made a commitment to teach as well as to design – a move that “made

me rethink so much how to approach not just scene design, but theatre as a whole.” Noting “these sad times we live in today have deeply affected our youth,” Hernández said he finds students “have so much to say, so, so much, and we need to listen more than ever.”

He also noted that he has come to recognize how “our individual journeys are interconnected, all of us,

including teachers and students, how all the great artists we grow with are all part of an amazing life tapestry.”

Every interaction, every relationship, has the potential to spur growth and development, and each one is an opportunity for strengthening one another’s voices.

“I encourage you to seek out the new, the unknown, and sometimes uncomfortable discussions and

discoveries that help us to capture and present, for a brief moment, the very essence of humanity,” he said.

2

Support the contributions of other artists, past and present.

Addressing artists and educators, Hernández strongly emphasized that “we must continue to build

upon the foundations of artists like George C. Wolfe [playwright, director and former Public Theater artistic 18 x Southern Theatre x Summer 2019

director] and Diane Paulus [American Repertory Theater artistic director] and a new wave of artistic directors” in American theatre. Specifically, Hernández pointed to Stephanie Ybarra at Baltimore Center Stage in Maryland, Jacob Padron at the Long Wharf Theatre in Connecticut, Pam MacKinnon at American Conservatory Theater in San Francisco, and Melia Bensussen at Hartford Stage in Connecticut. He urged the audience to know these artists and understand their impact on theatre: “Let us celebrate this diverse leadership as they embark on nurturing a more inclusive and dynamic stage like we have never seen before.”

3

Dare to dream and seek out the improbable.

In an impassioned dénouement to his keynote address, Mr. Hernández continued his call for daring

and for a new and diverse future for American theatre. “Be a dreamer,” he said. “Go against all that seems probable.” Later, he continued, “Flow with the flux of change and chance … Discipline yourself in the liberal

MORE INFO: setc.org/riccardohernandez

arts so that you can learn from literature and poetry, history, philosophy, music, film, and from all the great theatre makers, past and present, from Antonin Artaud to Ingmar Bergman, from Angelica Liddell to Romeo Castellucci, from María Irene Fornés to Suzan-Lori Parks.”

4

Broaden your sense of what theatre is and what it can do.

During the Q&A session following the keynotes, the designers were asked about burnout and methods

for keeping their work fresh and as original as possible. Hernández went a different direction from the others on the panel of designers, suggesting that burnout can be addressed by opening our eyes to innovations in theatre elsewhere. “You should look at what’s happening in the rest of the globe, and I don’t mean just Europe,” he said. “I’m talking about the rest of the globe. It’s just different … The minute you see what others are daring to do out there, it’s deeply inspiring.”

LINDA CHO on Costume Design Find your community.

Linda Cho won a Tony Award for costume design in 2014 for A Gentleman’s Guide to Love & Murder, which also earned her the Henry Hewes Design Award. Nominated in 2017 for the Tony Award, the Outer Critic’s Circle and Drama Desk Awards for Best Costume Design of a Musical for Anastasia, she also designed the costumes for Anastasia’s U.S. tour (pictured on the magazine cover and on Page 20). In 2018, she was a member of Broadway’s first all-female and raised in Canada, Cho told her audience that she grew up with “tiger parents” who initially pushed her toward a career in the sciences. She loved a theatre class she took while earning an undergraduate degree in psychology and, as she struggled with what to do

Caitie McMekin

creative team for The Lifespan of a Fact. Born in Korea

after graduation, her mother finally said, “Why don’t you do this theatre thing? You seem to love it.” She went on to earn her MFA in design from the Yale School of Drama.

In addition to discussing her career in costume design, Cho shared her experience as a working theatre

artist, a mom and a woman of color working in theatre.

1

Linda Cho examines a costume that was part of an entry in the Design Competition at the 2019 SETC Convention.

Nurture creative partnerships with your peers.

She urged early-career designers and technicians working in regional theatre to be alert for co-workers

who are at a similar experience level. Those individuals, she said, will join with them to create a ready-made community of artists who know each other’s work and strengths, which can be invaluable in landing jobs going Summer 2019 x Southern Theatre x 19

forward. “It’s not the famous director who’s going to hire the unknown,” she said.

Cho said she discovered her ready-made group as

a happy accident, but their bond became something she and her peers nurtured. One collaborator she mentioned in particular is director Darko Tresnjak, “who I’ve now done 56 shows with.” They met early in their careers at the Williamstown Theatre Festival.

“You meet the people that are your level, and

you’re going to grow with them and you’re going

Evan Zimmerman, MurphyMade

to run into them throughout your career,” she said.

Cho, who received multiple Best Costume Award nominations for Broadway’s Anastasia, which closed in March, also designed the costumes for the musical’s current U.S. tour (anastasiathemusical. com/tour), pictured on the cover of this magazine and above.

In the photo on this page, Victoria Bingham is Little Anastasia and Joy Franz is Dowager Empress in the national tour of Anastasia.

“Those are the people that will support you and develop with you.”

2

Be true to yourself through the work you do.

Since the election of President Donald Trump, Cho

said, “I’ve been asked more often about what it means to be a woman and a woman of color in this business.”

In reflecting on that question, she harkened back to a conversation she had with well-known designer Ming Cho Lee, one of her teachers at Yale School of

Drama. “I asked him, ‘Why aren’t we doing more plays by women? ... What about Asian plays? What about characters that are Asian?’ and ‘Don’t we need to represent who we are?’ ”

His advice, Cho said, was: “You doing great work as an individual will promote your culture – who you

are – and open the door for others.”

That advice, she said, factored into her decision to come to the SETC Convention to share her story as a

woman of color. Her decision “to be here and talk to you and to represent” was rooted in an understanding that “this is how doors open. This is how minds open,” she said. She encouraged young designers and technicians of color to represent in similar ways – to take advantage of opportunities to do good work and help pave the way for future artists and stories.

3

Make decisions about graduate study that are rooted in your personal experiences.

During the Q&A session, the designers were asked for advice on when to pursue graduate study.

Essentially, should a student go straight from undergraduate school to graduate school, or is it preferable to take time between the two experiences?

Cho noted that the best timing for graduate school isn’t the same for everyone. “For me, it was important to

go to grad school right away because I didn’t know anything [about costume design] and I needed somewhere to begin,” she said.

MORE INFO: lindacho.com

The student who asked the question – a recent theatre graduate still finding a career path in design-tech

– might benefit from a different route, she said. That person might want to “go and work for a little bit and see whether it’s the more technical stream you want to go in or design, because they’re two very different concentrated disciplines and you want to make sure that you know which path you want to go on.”

4

Having a family can impact the creative process positively.

Cho, who had her two children after she was well into her career, recommends the experience highly.

“I think it’s important to have work and personal balance,” she said. “I think the children give me that. They

put things into perspective.”

She also credits them with helping her grow and retain her equilibrium as an artist. “I’m often told in design

situations, ‘You’re so calm,’ ” she said. “And in my own mind, it’s like, ‘This is nothing compared to ... my children getting a head injury tobogganing.’ ”

Cho continued this thought later: “There’s nothing like the love and the extreme emotions that you get to

experience with children. So, if you’re thinking about it, I highly recommend it. It’s a wonderful life.”

20 x Southern Theatre x Summer 2019

JONATHAN SPENCER on Lighting Design Believe in yourself as a designer.

Jonathan Spencer is a lighting and scenic designer who works principally on touring productions, in regional theatre and on Off-Broadway productions.

He is the lighting designer for the 20th anniversary tour of the musical Rent. In addition to creating his own designs, he is an associate to Broadway designers such as Peggy Eisenhauer, Ken Posner and Ken Billington. A professor of lighting design at the University of Colorado Boulder and Southern Oregon University’s summer master of theatre studies York City.

He described sharing the stage with the other keynote speakers as a humbling experience. Calling their contributions to the field of design “profound,”

Caitie McMekin

program, Spencer is based in Colorado and New

he used his feelings of humility and gratefulness as a Jonathan Spencer prepares to adjudicate an entry in the Design Competition at the 2019 SETC Convention.

springboard for his advice to young designers.

1

Confront your feelings of being less than others and work through them.

Spencer noted that, like many people, he had a sense when he was starting his career that he was less prepared, less sophisticated and less educated than

Left: Spencer is the lighting designer for the 20th anniversary tour of Rent, now playing across the U.S. (rentontour.net) Shown at left (front) are Kaleb Wells as Roger and Skyler Volpe as Mimi.

other people. He had “this disproportionate belief that I am not enough,” Spencer told his keynote audience.

“And I’m sharing it with you today because I can go into stage doors on Broadway and it seems normal.”

Spencer urged young designers to vigorously fight against any sense of inadequacy they may feel – to “go forward in spite of it.”

2

Don’t fail yourself.

Spencer related a story about one of his first

professional jobs in theatre after finishing graduate school. He suspected that his position was in jeopardy because he was not learning the job fast enough and

MORE INFO: jspencerdesign.com

his suspicions were correct.) At the time, he was determined to work as hard as was necessary to meet the challenge. Even though he felt like he was out of his depth, he told himself, “If I was going to get fired, they were going to have to fire me. If it was going to

Carol Rosegg

wasn’t meeting expectations. (Years later, he learned

be determined that I failed, they would have to be the ones to fail me.”

In the end, despite his doubts, he finished the job and, in the process, created “a lifelong relationship with

half the people in that room, and I ended up doing that very production in three different cities around the world.” Spencer finished the story by emphasizing, “Don’t fail yourself. Just do your best. Ask questions… and try hard to be a human.”

Summer 2019 x Southern Theatre x 21

3

Make it personal.

Technical mastery is essential for lighting, but bringing personal experience and nuance to the work

can help designers more effectively convey specific design ideas and images, Spencer believes. “I have to go into my own experience, my own life, and I need to mine my own experiences and memories in order to bring them generously to the collaborators with whom I’m doing a play,” he said.

Understand that there’s no one right answer to many design questions, Spencer said. He used the example

of a young lighting designer who asks another lighting designer about a particular color choice, such as the color he uses for sunrise. When a designer doesn’t provide an answer, it isn’t that the designer doesn’t want to share the answer to the question. “They just don’t know what the answer is for you,” Spencer said. “They don’t know what your 7 a.m. on the day that you’re about to fall in love looks like. They don’t know what the first time you ever danced with a girl in the seventh grade felt like for you. They don’t know what it’s like to be in your skin and watch the world.”

When he came to understand the importance of making it personal, design changed for Spencer: “The answer

was in me. The answer didn’t lie in some mysterious other, some thing I wasn’t good enough to make.”

4

Know who to ask for help when you are new.

Responding to a question during the Q&A session about career mistakes, Spencer said “one of the

apparently largest mistakes I ever made” was to ask a senior member of the production staff to help him find toner cartridges for the printer. Spencer said it quickly became clear that he was asking the wrong person for help “at the wrong time on the wrong day.” As a newcomer with questions, “I should have asked the other assistants first,” he said. Echoing advice offered by Cho, Spencer suggested that early-career artists seek out their peers when they need help. “Ask around on your level, and then people will help you find the friendly avenues up the chain,” he said.

VICTORIA DEIORIO on Sound Design The goal is to unite, not divide.

Victoria Deiorio is an acclaimed composer and sound designer. She is the chair of the Design/ Tech Department of the Theatre School at DePaul University and was co-chair of the Theatrical Sound Designers and Composers Association (TSDCA) for four years. She has won seven Jeff Awards and two After Dark Awards for her work in the Chicago area.

Her book, The Art of Theatrical Sound Design: A Practical Guide, was published in September 2018 by Methuen Drama. Deiorio began her keynote by discussing Caitie McMekin

her background and trajectory, “because,” she said, “context is everything, especially in sound design and in theatre.” She noted that she is the “daughter of an immigrant, so therefore I am an overachiever.”

In addition to working as a sound designer, she has worked as a dancer, a singer and an actor, directed Victoria Deiorio listens to a sound design entry in SETC’s 2019 Design Competition.

and produced theatre – and left theatre for a while to perform in a rock band. “If you ever have the chance to do that, I highly recommend it,” she said. “It was probably the most fun I’ve ever had in my life.”

In her keynote, Deiorio discussed topics from the current focus on identity to the importance of theatre in

uniting people and the value of compassion in dealing with your fellow artists.

1

22 x Southern Theatre x Summer 2019

Defend your place in the process and the business.

When the Tony Awards decided to eliminate the award for sound design in 2014, Deiorio says those in

the sound design community “realized that sound designers were all having the same struggles” with issues such as contract negotiations, but also in the realm of “identity and advocacy.” Her response – in concert with her fellow sound designers – was to create an organization, TSDCA, to advocate for sound design and unite designers in this area of theatrical production.

She also discussed being a female sound designer

in “a time when identity is at the forefront.” Although a woman was the co-designer on the first recorded sound design job in 1959, she said, many people today think it’s a newer field for women. Identity was not a focus when she started in the industry, Deiorio said.

“And I have to say, in my career now, 30 years later, I’m not offended by it, but I’m always surprised and though I’m new.” She and other women in the sound design field now are trying to change the narrative, she said, making it clear “that we’ve actually been here for a while.”

2

Marisa KM

kind of taken aback when somebody looks at me as

Embrace diversity and inclusion.

Theatre, Deiorio said, brings together a collection of diverse people from diverse backgrounds in what

often feels like a divided world.

“I really hope that, as the next generation of theatre artists, you keep this in mind: that the goal is not to

divide but to unite, to tell your story to someone who’s never heard it before, to open the minds of audiences, to think and talk about what is important as human beings interacting with each other, no matter what culture you live within,” she said.

3

Don’t think competitively.

Like Cho, Deiorio emphasized the importance of creating collaborative working relationships that last

beyond a single production, as well as having respect and patience for fellow artists as they make their careers.

In a passionate and poetic declaration, Deiorio pointed to the interconnectedness of our worlds. “The actions

that I’m bringing forth right now are not isolated from the infrastructure of this place, ... of this city, of this nation, this world, of all of its structures, the history of it, and the narratives ... most importantly, the narratives, the

Victoria Deiorio created the sound design for Lizzie, presented in 2017

by Firebrand Theatre, a feminist musical theatre in Chicago. Cast members shown above (clockwise from left) are Camille Robinson, Leah Davis, Jacquelyne Jones and Liz Chidester.

stories. All of it is a dynamic state of relativeness, a living set of relations. So, thus, we are actually responsible for our own actions, but we’re also responsible for each other. And this is only possible with care, trust and safety.” Later, she continued, “Everyone has high points and low points in their career, and this ebb and flow comes at completely different times.” In dealing with others, she said, “I think what’s most important is to have compassion.”

4

Highlights from a designer’s list of how to act in the theatre.

MORE INFO: victoria-sounddesign.com

Tweaking a list of duties and responsibilities originally created as chef’s rules for the kitchen, Deiorio

closed her keynote with a roster of quick rules for theatre artists. Some of the highlights:

“Show respect for your collaborators on how things are done at each venue.”

“Admit when you’re wrong, and never point out when others are wrong.”

“Expect to have to work your way out of really difficult situations.”

“Show up early.”

“Be coachable at every age.”

“Know about theatre, but be eager to learn more.” n

Jonathon Taylor is an assistant professor at East Tennessee State University, where he teaches scenic and costume design, stage management, and theatre design basics.

He is a member of the Southern Theatre Editorial Board.

Summer 2019 x Southern Theatre x 23

OUTDOOR THEATRE Historical Dramas, Shakespeare Festivals Weather a Changing Climate

by To m D e T i tt a

A

As you travel due east from Chapel Hill, NC, along the coastal plain, the land increasingly gives way to the sky above as it approaches the Outer Banks, where one final gasp of terra firma spills out into the ocean. With the sound on one side and the Atlantic Ocean on the other, the sky above reigns supreme.

It was in this area in 1937 that the tradition of putting theatre under the stars began with the first production of Pulitzer Prize winner Paul Green’s play The Lost Colony, which has been performed in Manteo, NC, every summer since, except for a brief period during World War II. The play, about the first colony of English settlers on Roanoke Island who mysteriously disappeared, began a national historical drama movement.

As historical dramas opened on outdoor stages across the country, Shakespeare festivals also multiplied in parks and under tents. Religious pageants, such as the Hill Cumorah Pageant in upstate New York and Shepherd of the Hills in the Ozark Mountains, also presented their stories outdoors where the heavens seemed most present. Other organizations also embraced the draw of nature, presenting musicals and other shows outdoors. While their missions and audiences differed, all shared a common experience.

“There’s always that part of outdoor drama when you’re standing in the rain, you don’t know if you need to cancel, you’re wet, and you think ‘Why am I doing this?’ ” said Melissa Nicholson, a former cast member of The Lost Colony who went on to co-found Shakespeare in the Park, now part of Gamut Theatre Group, in Harrisburg, PA. “Then, you have those perfect nights under the stars with perfect weather, and it’s magic. When those good nights happen, it’s unlike anything else, and all the actors who have ever done outdoor theatre will tell you that, too.”

But today, some of the footlights that fought

Atlanta. Serenbe Playhouse is winning acclaim for

back against the dark of night have begun to dim.

its outdoor productions that engage audiences with

Historical dramas and religious pageants, once as

a degree of spectacle that is impossible to achieve in

prolific along the Southeastern American landscape

an indoor theatre and with its immersive experiences

as Waffle House and Winn-Dixie, are struggling to

that put audiences squarely in the play’s environment.

keep afloat or closing shop altogether.

Its success is just one of many factors giving hope

“Among the historical dramas, there has been, over

to traditional outdoor theatres that, with innovation

the past 20 years, a significant decline in attendance

front and center, the power of live theatre under the

of the older productions, and a number of them have

stars can draw crowds once again, overcoming the

closed,” said Michael Hardy, former director of the

magnetic pull of television, computer and phone

Institute of Outdoor Theatre, an umbrella group

screens.

serving organizations that present shows outdoors,

which became part of SETC in 2017.

said Marina Hunley-Graham, artistic director at Unto

Michael Hardy, Former Director, Institute of Outdoor Theatre

Marina Hunley-Graham, Artistic Director, Unto These Hills

“We’re at a time when we all have to be creative,”

While not experiencing the same steep attendance

These Hills, the outdoor drama that tells the story of

decreases as the outdoor historical dramas, the

the Cherokee in North Carolina before and after the

Shakespeare festivals that report their attendance to

Trail of Tears. “The more unique we can make things,

SETC’s outdoor theatre division also saw an overall

the better.”

15 percent downturn last year.

Bitten by technology and bugs

But even as the traditional forms of outdoor drama

Melissa Nicholson, Co-founder, Shakespeare in the Park, Harrisburg, PA

Opposite page: Unto These Hills in Cherokee, NC, which recounts the story of the Cherokee in the Eastern region, was first performed in 1950.

Why did audiences and artists once happy to be

have faced audience declines, a site-specific outdoor

exposed to the elements begin running for cover?

theatre is drawing crowds to a rural area outside

What led to the changing outdoor theatre landscape?

Summer 2019 x Southern Theatre x 25

Another issue for the outdoor historical dramas has been stagnation. From the 1980s to the early 2000s, more than 60 communities in the U.S. explored the prospect of creating a historical drama with the Institute of Outdoor Theatre – but less than a handful of shows resulted, and those that opened didn’t last long. The lack of new initiatives can be traced in part to a belief that communities who wanted to start an outdoor historical play needed to do what had been done successfully at shows like The Lost Colony. This included following certain guidelines and coming up with millions of dollars upfront to build an amphitheatre, like those found at the outdoor productions which had been operating for years.

Shakespeare festivals, on the other hand, often started in a park with lawn chairs and portable toilets.

“Unfortunately, the notion was that there was a formula for creating an outdoor [historical] drama that was very specific, and if you followed that The Lost Colony, which has been presented since 1937 in Manteo, NC, has boosted its revenue by partnering with a winery that shares the name of one of the show’s characters, Virginia Dare.

formula – down to very specific theatre design mandates, even – you could have a successful outdoor drama,” said Hardy. “That turned out not to be the case.”

Bill Coleman, CEO, The Lost Colony

Because that formula limited the development of

“We are being challenged by a number of things,”

new works, the genre of outdoor historical theatre

said Johnny Warren, the managing artistic director of

also missed the wave of new ideas that was sweeping

The Stephen Foster Story, a Paul Green play that has

historical drama – such as the Broadway musical

been staged for 61 seasons outside of Bardstown, KY,

Hamilton, the hip-hop production about the founding

celebrating the life and songs of the famed American

fathers, and the Oregon Shakespeare Festival’s All

composer. “There were changes in tourism behavior,

the Way about Lyndon Johnson’s efforts to pass Civil

changes in the motor coach industry [and] more and

Rights reform.

more entertainment opportunities from technology,

[in addition to an increasing] societal addiction to air

impression of historical dramas as an old and

conditioning.

outdated form of artistic expression that, according

to Hunley-Graham at Unto These Hills, was no longer

“Public school calendars grew shorter during the

This lack of innovation contributed to the overall

summer, which cut into our seasons by as many as

cool.

four weeks,” Warren continued. “There seems to be

an increasing fear of bugs, as well as a fear of being

“But by the 2000s, we had become kind of passé.”

outdoors in the summer, which is driven by the way

local weather stations talk about heat indexes, when

theatres are fighting back by adopting a variety of

the truth is, at 8 p.m., with a cool drink in hand, you’re

new perks and new philosophies designed to attract

perfectly comfortable outdoors pretty much anytime

audiences.

during the summer.”

Chasing new revenue streams

Bill Coleman, CEO at The Lost Colony, which draws

One of the key strategies that has helped

most of its audience from weekly beach rentals along

the surviving historical outdoor dramas is the

the Outer Banks, notes the many new features these

development of new income sources.

homes are now outfitted with, from surround-sound

televisions to rooftop hot tubs.

including VIP passes, backstage tours, dinners and

rain insurance. In addition, many have expanded

“It’s become a whole lot easier to just stay home,”

he said.

26 x Southern Theatre x Summer 2019

“We were super cool in the ‘50s and ‘60s,” she said.

What is being done to reverse the trend? Outdoor

Theatres have added to the value of the ticket by

their budgets by adding educational programs

throughout the year based on the main production.

Some, too, have added other year-round revenue sources, such as online gift stores.

Alcohol sales also have helped generate additional

income at some venues. A staple at the Shakespeare festivals and other theatrical events geared more toward an adult theatre-going audience, beer, wine and mixed drink sales have slid in under the radar at the family-oriented historical dramas and made up for some of the lost ticket revenue.

“We’re right here in the midst of a bourbon tourism

state, so we follow suit in our own way,” Warren said.

Story is faith-based, so we’re not as in your face about promoting liquor [at its performances] as we are at the concerts and musicals we also present.”

The Lost Colony has gone so far as to partner with

the Virginia Dare Winery, a Francis Ford Coppola establishment in California that shares the name of a character in the show and markets wines with names such as The Lost Colony and Manteo. Coleman realized he had the perfect location for the winery

Andy Henderson

“A big part of our audience for The Stephen Foster

The Stephen Foster Story in Bardstown, KY, touches on the injustices of slavery, featuring songs such as “My Old Kentucky Home,” inspired by the abolitionist book Uncle Tom’s Cabin.

to hold a wine festival – a realization that netted his company $75,000 in one day from ticket and sponsor revenue. The event, which featured wine tastings, a

Montford Park Players in Asheville, NC, noted an

Vintner’s Dinner and a live auction, was so successful

increase in younger audiences, particularly parents,

it will return for a third year in September 2019.

after adding a children’s show, Peter Pan, in 2017.

Expanding the season

Outdoor Shakespeare festivals and outdoor

in 2018, and that nearly doubled our attendance,” said

historical dramas also have expanded their repertoires

John Russell, executive director of the Montford Park

in search of new audiences. The Shakespeare festivals

Players.

have several opportunities that historical dramas

While most Shakespeare festivals attract

lack. First, Shakespeare festivals are not committed

predominantly local audiences, (exceptions being

to the same plays year in and year out, so they

larger operations like the Oregon Shakespeare

can vary their core offerings. In fact, many are not

Festival in Ashland or the Stratford Festival in

even fully committed to Shakespeare. Patrick Flick,

Ontario, Canada), the majority of the audience for

executive director of the 125-member Shakespeare

historical dramas is tourists drawn from outside the

Theatre Association, which includes both outdoor

area. During their heyday, it was a common adage

festivals and indoor companies, notes that many

in the industry that 80 percent of a show’s audience

of its members present non-Shakespeare shows

came from beyond a 60-mile radius of the show,

as well as plays by the Bard. The imprimatur of

as people from other places were attracted to see a

Shakespeare offers a form of legitimacy for whatever

production that could only happen authentically in

they do.

the place where it is performed. As such, outdoor

historical dramas often brought people to small, rural

“Shakespeare is the most produced playwright in

“We added Robin Hood and James and the Giant Peach

the world and has a certain reputation for quality,”

towns they otherwise would never have visited.

Flick said. “Having his name associated with their

work suggests that the other shows these companies

increase their local audiences by offering other shows

do will also have quality.”

in addition to their original production. At The Stephen

Some Shakespeare festivals have created spikes

Foster Story, Warren has added musicals and concerts

in attendance by adding new types of performances.

throughout the year.

Johnny Warren, Managing Artistic Director, The Stephen Foster Story

Now, some of the historical dramas are trying to

Summer 2019 x Southern Theatre x 27

the new events at his outdoor theatre are intended to complement, not compete with or replace, productions of their main show.

“We have not reduced our regular schedule with

Tecumseh!,” he said. “We have added other offerings including a bluegrass concert series, which has been very effective, a yearly Shakespeare performance, a Halloween event that runs the month of October, a St. Patrick’s Day fundraiser and other events from time to time. But this company was founded – and continues to exist – to create and foster economic development in our region through the arts, and to tell the story of Tecumseh and promote the important role that our area played in the development of the United States.

We cannot do one while ignoring the other. The story is our master. Without it, the company doesn’t need to be here.”

Snow Camp Outdoor Theatre in rural Alamance

County, NC, is an example of a historical drama that closed after trying to increase revenue through the addition of shows and events not directly tied to its Christopher McAlister

mission. Elijah Chester, who grew up within earshot

Tecumseh!, which tells the story of the legendary Shawnee leader during the late 1700s, remains the theatre’s core show even as other events have been added to bring in additional audiences.

of the theatre and is now its general manager/ executive artistic director, says the addition of a Broadway musical, a children’s musical and a drama camp “diluted our mission and our focus on telling our stories well.”

“If you start doing whatever you can to bring people into the seats to make money, then the organization’s vision becomes: Do whatever we have to do to make money,” he said.

Chester, an internationally noted actor and singer

who made his debut at the Metropolitan Opera at 23, now is helping Snow Camp resurrect the outdoor

Brandon Smith, CEO, Tecumseh!

“Stephen Foster appeals to tourists while the

drama Pathway to Freedom, which tells the story of

concerts and the Broadway musicals appeal to the

the Underground Railroad and the role that Quakers

locals,” he said. “We don’t market the Broadway

played in helping slaves to freedom. For decades,

musicals to an outside audience.”

Snow Camp also produced a second outdoor drama,

Similarly, Tecumseh!, produced in Chillicothe, OH,

The Sword of Peace, about local Quakers during the

by the Scioto Society, has added additional shows

Revolutionary War.

designed to attract new and repeat local patrons.

Retaining their identity

round programming, but believes it is important to

One of the key challenges for historical dramas

present just one of the historical dramas, Pathway to

as they add new works is to ensure that their other

Freedom, “and let the entire campus reflect it,” he said.

offerings, usually designed for local audiences,

With that singular focus, he believes Snow Camp

don’t encroach on their tourist market or dilute their

can become a tourist destination for those interested

mission. Historical dramas rely on a clear and easy

in African American history and specifically in the

association in the tourist’s mind: If I am in Cherokee

Underground Railroad. He expects to begin restaging

and it is summertime, I can see Unto These Hills.

the production in 2023, the 50th anniversary of Snow

Brandon Smith, CEO of Tecumseh!, notes that

Camp Outdoor Theatre’s founding.

28 x Southern Theatre x Summer 2019

Going forward, Chester plans to offer some year-

A stage takes precedence over a theatre

The historical dramas that have survived continue

to rethink their productions with a modern eye, cutting running times for a more restless audience, adding technology and special effects, and even, in one case, inviting the audience onstage for a square dance at intermission. In addition, they are examining their productions in much the same way as Shakespeare companies, which are continually trying to revitalize the work of even older plays by an even older playwright to suit modern sensibilities. specialized in directing to take very old words and strive for ways to make them relevant to today’s audience,” Hardy said. “We don’t always see that as much as we should in some of the traditional outdoor dramas that are struggling.”

As outdoor theatres look for ways to resonate with today’s audiences, they may find some ideas in the experience of Serenbe Playhouse outside of Atlanta. Founder and executive/artistic director Brian

Sebastian Michaels

“The Shakespeare festivals are using people

In addition to presenting Shakespeare plays such as Troilus and Cressida (above), Montford Park Players has added children’s shows, which have attracted younger audiences to the Ashevillle, NC, theatre.

Clowdus has received national recognition for taking popular plays traditionally performed indoors and presenting them outside in unexpected ways. When

goers, and this is how art survives – by bringing in

staging Miss Saigon, Serenbe created a temporary

new audiences.”

stage and a theatre in a field that was large enough

A decade after starting Serenbe Playhouse,

to land a helicopter. When staging Titanic, Clowdus

Clowdus now has launched a company called Brian

placed four stories of scaffolding over a lake, thus

Clowdus Experiences to take his site-specific theatre

allowing actors to plunge into the water when fleeing

concept to other areas of the country. In September

the sinking ship.

2019, his company will present a production of

But it isn’t just the increased spectacle that makes

The Sound of Music in the hills surrounding the

these productions interesting. Clowdus’ experience

Wintergreen Resort in West Virginia, with guests

also demonstrates that an expensive theatre is

riding chairlifts to their seats in a remote location on

not an essential ingredient of outdoor drama.

the resort grounds.

Serenbe doesn’t have an outdoor amphitheatre,

or even a space where the company repeatedly

one adopted by those attempting to revolutionize

performs its plays. Rather, Clowdus chooses spots

historical theatre: “I love standard theatre, but more

on the sprawling campus to build a temporary

and more the average person does not, and so we

stage that best realizes the spectacle he hopes to

have to acknowledge that and find ways that theatre

achieve. With a generator to power lights and sound,

can be more exciting than Netflix,” Clowdus said.

Clowdus develops a makeshift theatre around

that stage, complete with risers, plastic seats,

also stages environmental pieces, such as The Legend

portable toilets and newly constructed concession

of Sleepy Hollow, that engage the audience on a

stands.

variety of fronts by surrounding them with actors

“When I make an outdoor location the actual set, I

and musicians as they walk through the woods from

can do shows for a fraction of what they would cost in

makeshift stage to makeshift stage. This production

a standard theatrical setting, and who the hell wants

– reprised at SETC’s 2017 National Conference on

to sit in a dark theatre when you can be on your feet

Outdoor Theatre, which was hosted by Serenbe –

experiencing theatre and looking up at the stars?”

inspired Hunley-Graham to rethink how Unto These

Clowdus said. “This work is attracting non-theatre-

Hills presents its show.

John Russell, Executive Director, Montford Park Players

His credo for reinventing theatre is similar to the

In addition to its spectacle-driven plays, Serenbe

Patrick Flick, Executive Director, Shakespeare Theatre Association

Summer 2019 x Southern Theatre x 29

BreeAnne Clowdus

Sell tickets & classes, manage marketing & members, and everything in between.

Above: Titanic, presented in 2018 by Serenbe Playhouse, was set on an actual lake, with four stories of scaffolding representing the ship. Actors jumped into the water and into lifeboats to escape the sinking ship as the audience watched from the shore. Serenbe has achieved critical and audience acclaim with its site-specific shows presented in varying outdoor locations in the Serenbe community near Atlanta – demonstrating that an expensive theatre is not an essential ingredient of outdoor drama.

Left: Brian Clowdus, Founder and Executive/Artistic Director, Serenbe Playhouse

30 x Southern Theatre x Summer 2019

The artistic staff at Unto These Hills is

dollar amphitheatre in a location tied to the

looking for ways to make audiences feel

show’s story. The minimalist theatres of the

a part of that play, such as piping music

Serenbe model demonstrate a way to make

from the show along the walk to it, and

the connection between audience and loca-

instructing front-of-house staff that they

tion more cost-effective – and potentially

are as important as the actors in creating

more immediate and intimate.

the environment for the audience.

“People can’t just watch a show for

financial risk because they don’t have to put

three hours and go home,” Hunley-Graham

concrete in the ground,” said Hardy. “It’s

said. “People are looking to be part of an

cheaper, but it requires more imagination.

experience. The more we can do that, the

I think if people can do it and do it with

more successful we can be.”

the imagination required for the audience

to have a successful theatrical experience,

One of the revelations that the Serenbe

“It presumably doesn’t entail as much

experience has provided to organizations

that’s great.”

presenting outdoor theatre is that the audi-

The future

ence will forgive – and perhaps even see as

Although some outdoor historical

part of the outdoor adventure – temporary

dramas have disappeared and attendance

and minimalist infrastructure if what is

at others has dropped over the last two

onstage is sufficiently captivating. This is

decades, a significant number are still being

an important lesson for people interested in

performed throughout the country – telling

creating new historical dramas but lacking

basically the same story, week in and week

the money needed to build a multi-million-

out, throughout the summer months, year

after year. It may be that the biggest story of these shows is less that they are struggling and more that they still exist. Then, the question becomes why?

“We tell powerful stories, and it’s a history lesson at the same time,” said Christopher Hornaday

Hunley-Graham.

Hunley-Graham’s Unto These Hills keeps alive the plight of the nation’s first inhabitants, while The Lost Colony reminds us of the precarious steps taken by those who crossed an ocean to call America home. The Stephen Foster Story touches on

Left: A scene from Pathway to Freedom.

Above: Elijah Chester, Artistic Director, Snow Camp Outdoor Theatre

the injustices of slavery, with songs such as My Old Kentucky Home, inspired by the

have lessons to learn from it.”

are poised to see increased interest in their

abolitionist book Uncle Tom’s Cabin.

Elsewhere, outdoor historical dramas

productions as people grow increasingly

“Stephen Foster is the celebrity, but the

recount tales of heroic pioneer settlers,

screen-weary.

heroes of the story are the people he wrote

histories of states and communities,

music about – the relationship between

and legends that have been passed on,

real people acting, breathing and sweating

music and enslaved people in the U.S.,”

reminding us of who we are and from

in front of you,” Warren said. “It is now

Warren said. “The conversation of how

where we came.

especially exciting to see real people, to be

we tell that story is as relevant as it was

Because they dramatize compelling

in touch with the trees, the stars and the

60 years ago. Our story still matters. We

stories in a way that is up-close and personal,

relevant and important drama unfolding

still need to tell it, replay it, because we still

Warren believes outdoor historical dramas

before your very eyes. I think we’re primed

“There is no screen big enough to replace

2019 National Conference on Outdoor Theatre Where Theatre Leaders Share Their Experience and Explore New Concepts

Oct. 1-3, 2019 | Santa Fe Opera | New Mexico Registration opens July 8 outdoor-theatre.org/conference setc.org/iot

Summer 2019 x Southern Theatre x 31

right now to sell how really different we are

With the right steps, Hunley-Graham

from your Netflix or iPad.”

said, “We can be cool again.” n

Still, outdoor theatres realize they

Tom DeTitta is the author of 11 historical and human rights plays seen by more than a quarter of a million people. He also is the director of World Communities Theater: www. worldcommunities.org.

must continue taking steps to make their shows resonate with today’s audiences. As Chester told his board at Snow Camp: “We need to radically rethink everything we did and have a rebirth.”

Opera Under the Stars Attracts Crowds in Santa Fe While many outdoor theatres are struggling, an outdoor opera in Santa Fe, NM, is in its 63rd season, drawing Kate Russell

audiences of 85,000 annually.

The Santa Fe Opera presents a summer season of opera in a setting complemented by mountain vistas and desert Audiences can see mountains and the sky behind sunsets. The open-air theatre the set for Don Giovanni at the Santa Fe Opera. has a roof over all seating areas, with a capacity of 2,126 nightly for its shows.

The Santa Fe Opera will host SETC’s National Conference on Outdoor Theatre Oct. 1-3, 2019, providing attendees with an opportunity to tour the theatre and learn about its operations. The conference is open to all, not just those involved in outdoor theatre. For more information, visit outdoor-theatre.org/conference.

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