Southern Theatre, Vol. 61, Issue 2

Volume LXI Number 2 • Spring 2020 • $8.00

SETC 2020: INSPIRATION FOR TRYING TIMES NC Black Repertory: Sharing the Gospel of Black Theatre

Matthew Aaron Stern: Stage Management Can Change the World

Ashlee Latimer: Building Connections Is Key in Social Media and Career

The sky is not the limit.

It’s just the beginning.

Michael Clossey in Theatre UCF’s black box theatre during tech for Water by the Spoonful. Michael was the scenic designer.

Michael Clossey, pictured above during tech of his final academic project at the University of Central Florida, is a 2019 graduate with a BFA in Theatre: Design and Technology. UCF is an SETC member school.

More to the point, though, it’s important to show the students how their learning translates to real jobs throughout the industry.”

When speaking of his real-world experience at IA Stage, Clossey Our participation at Born and raised in Orlando, says, “I’ve really been able to SETC each year is Michael interned at IA Stage put the things they teach in my with the project management degree into perspective. As an investment in our department while completing his with any degree, a concept is a future as a company. studies at UCF. concept is a concept, but when you get to apply those skills IA Stage is a regular supporter of SETC and during an installation or in the fabrication stage, exhibits at the conference each year. Company those concepts become whole.” president and owner, Mark T. Black says, “We see the time and money we devote to SETC each SETC’s mission statement is “Connecting You to year as an investment in our future as a company Opportunities in Theatre Nationwide.” IA Stage and in the entertainment industry as a whole. intends to support that mission for as long as Yes, it’s important to showcase your product. there are students ready to enter the industry.

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Contents

Volume LXI Number 2 l Spring 2020 l Southern Theatre – Quarterly Magazine of the Southeastern Theatre Conference

Features

8 NC Black Repertory Company

Departments 4 Hot off the Press

Plays Featuring Large Casts

by Zackary Ross

6 Outside the Box: Design/Tech Solutions

From Sawdust to Sky: Creating Clouds on a Backdrop

by Christopher Crews

Producers of the National Black Theatre Festival

Sharing the Gospel of Black Theatre

by J. K. Curry

18 Celebrating SETC’s 71st in Louisville Photos by Mark Mahan

20 Matthew Aaron Stern

How Stage Management Can Change the World

by Laura King

26 Ashlee Latimer

Building Connections Is Key in Social Media and Career

by Amy Cuomo

Cover

31 John E.R. ‘Jerf’ Friedenberg Receives SETC’s 2020 Suzanne M. Davis Memorial Award

Lauryn Jones appears in Prideland, a dance adaptation of The Lion King, at the 2019 National Black Theatre Festival in Winston-Salem, NC. The show was presented

by The Pointe! Studio of Dance, located in Greensboro, NC. (Photo by Toni Shaw; Photoshop work by Garland Gooden; cover design by Deanna Thompson)

Presentation by Jeff Gibson

32 Moment Work

Embracing a ‘Tectonic Shift’ in the Creation of Theatre

by Gaye Jeffers

36 2020 SETC Young Scholars Award Winners Abstracts by Teresa Simone and Falan Buie-Madden

Spring 2020 x Southern Theatre x 3

Plays Featuring Large Casts

by Zackary Ross

W

ith the current theatre season on hold due to the COVID-19 crisis, those of us who work in academic theatre have an opportunity to look ahead to our next season and find dramatic material that addresses our perennial challenge: finding shows that offer

numerous roles for our students. When I am planning shows at my school, I don’t always have the financial or human resources to stage a musical. Here, I offer a handful of straight plays featuring large casts, each of which was published in the past year by a major play publisher. Following each description, you’ll find information about the cast breakdown and a referral to the publisher who holds the rights.

Airness, by Chelsea Marcantel

Publisher: Playscripts, Inc.

but also between fiction and reality itself

Set against the hard-core, quirky world

www.playscripts.com

as the romantic stories of the past collide

of air guitar competitions, Airness is the

with modern ideas of love and courtship.

coming- of-age story of Nina, a charismatic

Lost Girl, by Kimberly Belflower

Cast breakdown: 7 females; 7 males

and overly confident musician who thinks

After her incredible adventures in Never-

Publisher: Dramatists Play Service, Inc.

her skills with a real guitar make winning

land, Wendy Darling returns to her quiet

www.dramatists.com

a sure thing. Following a disastrous first

life at home but finds herself unable to let

performance, Nina finds herself immersed

go of the memory of Peter and the adven-

The Wind-Up Bird Chronicle, based on

in a group of misfits who have escaped

ture they shared. Despite insisting that she

the novel by Haruki Murakami, conceived

the real world to lose themselves in the

only gives herself eight minutes a day to

by Stephen Earnhart, written by Greg

fantasy world they create on stage. Joyful

indulge in her fantastic memories, it’s clear

Pierce and Stephen Earnhart

and full of high-octane energy, the play is

that Wendy’s thoughts turn back to Peter

Based on the international best-selling

a wonderfully welcome take on the classic

at every turn, making it impossible for her

novel of the same name, the play follows

underdog story.

to move on and open her heart up to new

Toru Okada as he abandons his mundane

Cast breakdown: 2-10 females; 4-13 males

experiences. Ultimately, she must decide to

existence in Tokyo and descends into the

Publisher: Playscripts, Inc.

find Peter again, reclaim the kiss she gave

unknown in search of his missing wife.

www.playscripts.com

him and write a story all her own.

Equal parts marital drama, detective story

Cast breakdown: 6 females; 6 males

and hallucinatory thriller, the play is styled

Badger, by Don Zolidis

Publisher: Concord Theatricals

in surrealism and artfully incorporates

Set in 1944 during the bleakest days of

www.concordtheatricals.com

multimedia elements, bunraku puppets

World War II, Badger explores the intercon-

and all manner of theatrical devices to

nected lives of the women of the Badger

You on the Moors Now, by Jaclyn Backhaus

create an astounding sensory experience.

Ordnance Works munitions factory in

Four favorite literary heroines – Jo March

Cast breakdown: 6 females; 8 males

Baraboo, WI. These women, many of

from Little Women, Elizabeth Bennet from

Publisher: Dramatists Play Service, Inc.

whom have entered the workforce for the

Pride and Prejudice, Cathy from Wuthering

www.dramatists.com n

first time, form lasting friendships in the

Heights and the eponymous Jane Eyre – flee

face of workplace dangers, sexual harass-

from their marriage proposals and further

ment, homophobia, domestic violence and

buck the restrictive social codes of their

heartbreak in this wonderfully evocative

respective stories. This imaginative play

ensemble drama.

bridges the gaps not only between the

Cast breakdown: 9-40 females; 5-36 males

fictional worlds of the four literary classics,

4 x Southern Theatre x Spring 2020

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

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) Gaye Jeffers, University of Tennessee at Chattanooga Laura King, Gordon State College (GA) Scott Phillips, Auburn University (AL) Derrick Vanmeter, Clayton State University (GA) EDITORIAL BOARD

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

Chris Bailey, SETC Communications Specialist Denise Halbach, Independent Theatre Artist (MS) Clay Thornton, SETC Marketing Manager PRINTING

Clinton Press, Greensboro, 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 quarterly by the Southeastern Theatre Conference, Inc., a nonprofit organization, for its membership and others interested in theatre. Copyright © 2020 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; $188 per year, International. Single copies: $8, plus shipping.

From the SETC President

W

We are living in challenging times, and no one could have foreseen this shock to our theatrical systems when we met for the SETC Convention in February. But I am heartened by the fact that theatre has survived for generations, and the stories we share about our common experiences will allow our art form to survive the COVID-19 pandemic. That power of theatre is found in the inspirational stories shared by our 2020 keynotes in this issue of Southern Theatre.

We start with the “marvtastic” story of the North Carolina Black Repertory Company, producers of the National Black Theatre Festival, and SETC’s 2020 Distinguished Career Award winner. Join J. K. Curry as she explores how founder Larry Leon Hamlin created an event that attracts folks from around the world – and how others, including Saturday keynote Jackie Alexander, have carried his dream forward.

Friday keynote Matthew Aaron COVID-19 Stern had a message for all of RESOURCES us: Stage managers are the calm, SETC has compiled a resource motivated leaders that everyone needs offstage. Laura King outlines list to help our members navigate Stern’s perspective on how little the coronavirus crisis. To view the things the stage manager does resources or to add a listing that can have big results, changing the may be helpful to others, visit world for a person – or an audience. www.setc.org/covid-resources.

Connect with others, be kind, follow your dreams – all of these are inspiring words and part of the story of Thursday keynote Ashlee Latimer.

Amy Cuomo provides advice from Latimer, a brand strategist and Tony Award winner, on achieving success via social media and in your career.

This year’s SETC Teachers Institute featuring Tectonic Theater Project’s Moment Work gave inspiration to educators eager to share stories. Gaye Jeffers, a professor who took part, shares key components and takeaways from the interactive presentation.

Also in this issue, we celebrate the 2020 winner of the Suzanne M. Davis Memorial Award, John E.R. “Jerf” Friedenberg. We provide new play options with large casts in our regular “Hot Off the Press” column. And we outline an innovative way to create clouds using sawdust in the “Outside the Box” column.

Finally, we share abstracts from the winners of SETC’s Young Scholars Award.

As you enjoy the wisdom shared in these pages, I hope you take heart in the knowledge that – whether we are meeting at the convention or engaging in theatre individually – all of us who are involved in SETC are here for each other.

One community, standing strong together.

Maegan McNerney Azar, SETC President Spring 2020 x Southern Theatre x 5

outside

the box DESIGN/ TECH SOLUTIONS

From Sawdust to Sky

Creating Clouds on a Backdrop

by Christopher Crews

W

hen scenic artists need to create clouds, they often turn to airbrush-

ing, a technique that can replicate the wispy and soft qualities that make clouds appear realistic. However, most shops are not equipped to attempt airbrushing on the scale necessary for a full-stage sky drop.

Faced with this challenge on a recent production of Ella Enchanted at Samford University, I decided to try a method shared by a friend. His simple solution for painting the clouds utilized a familiar and easily accessible substance – sawdust – and gave me a great deal of control over the shape of the clouds I was painting. I was able to finish the large backdrop in a short amount of time.

Getting started

The sky backdrop for Ella Enchanted, presented in October 2019 at Samford University in Birmingham, AL, was created using this sawdust technique.

You will need a seamless, bleached-

project are the high-pigment acrylic paint,

provided just the hue we were trying to

white soft good for the backdrop. This

Argo brand sizing, carpet tack strips and a

achieve. The concentrated pigment in the

type of cloth makes the clouds “pop” when

high-quality pump sprayer. The final and

Super Saturate paint thins down well to

backlit and provides a natural diffusion of

most crucial component is probably found

keep the drop light and translucent. If the

light and color.

in great quantities around your shop –

cloud drop does become a stock inventory

For our production, I was able to use

sawdust. The sawdust, in combination with

item, the thin paint job will also allow the

an older cyclorama curtain that had been

a steady hand holding a pump sprayer, is

soft good to be folded and re-hung with

retired a few years earlier. If you need to

what creates the feather-like edges and

minimal wrinkling.

purchase one, the size of the venue and the

voids that make the clouds appear light

necessary size of the backdrop needed for

and delicate.

be of high quality and in good working

it will directly affect the cost of the piece,

For our sawdust, we used a mix of

condition. A sprayer that leaves drips or

with larger venues paying a great deal

small particles from a table saw and larger

large blobs will potentially ruin the cloud

more for a suitable backdrop. However,

sawdust debris from a router. The sawdust

drop. Buying a new sprayer specifically

a well-made cloud drop can be re-used

will block some of the paint spray and also

for this project will add minimal expense

several times over the life of the muslin.

will absorb some of the paint. This helps to

and ensure the best possible results. I

Also, as a stock or inventory investment,

soften the edges of the clouds as the blue

purchased a Chapin industrial sprayer for

the initial cost is easier to justify, and

sky is being painted around them.

$149 from Amazon.

a well-executed cloud drop can even

Painting the backdrop

Laying out the muslin drop

recoup its cost with income generated as a

For the Ella Enchanted cloud drop,

rental good. The cost of a white seamless

we used the Rosco Super Saturate color

tack strips to the dimensions of the finished

backdrop varies, but a reasonable estimate

Cerulean Blue to tint the sky. Some scenic

good. This allowed the drop to be stretched

is as follows:

artists may prefer to add additional blues

evenly and guaranteed that the painted

20’ x 40’ = $1,500 - $1,700

for depth, gradient or texture. However, we

piece would be perfectly square when

30’ x 58’ = $3,900 - $4,200

found that spraying the drop with an even

completed. The tack strips hold the muslin

mist of a very watered-down Cerulean Blue

continuously around the edge, which

The other costs associated with this 6 x Southern Theatre x Spring 2020

The sprayer used on this project must

The crew started by nailing down carpet

eliminates the scalloping that can occur

CREATING THE CLOUDS

Step 4:

on a drop that has been stapled. When the

Step 1:

Hang the soft good, and light the backdrop

drop is ready to come off the floor, it lifts

Stretch the soft good to the tack strips and

to complement the production.

easily off the tack strips without the labor

size with starch.

typically needed to remove staples on a large project like this one. The tack strips can then be quickly removed with a flat pry bar and a hammer.

After attaching the backdrop to the tack

strips, we starched the piece with a mixture of hot water and Argo laundry starch using an older pump sprayer. Heating multiple gallons of water can be tricky, but starching

Step 5:

the muslin is an important step that will

The finished Ella Enchanted backdrop

help the finished piece hold its shape. Argo

is shown with different lighting effects

brand starch recommends that you let the

Step 2:

starch mixture cool before straining it and

Apply the sawdust to create the shape and

spraying it onto a drop that is expected to

density of the clouds. Spray with thinned-

be translucent.

down, high-pigment blue paint.

below and on opposite page.

Creating clouds with sawdust

Once the canvas is stretched and sized,

the shaping of the clouds with the sawdust can begin. This step requires an artistic eye and the ability to visualize the negative space that will eventually be the blue sky.

Christopher Crews, the owner of Specialty Props, Inc., is also a scenic artist and an adjunct instructor at Samford University in Birmingham, AL.

After shaking the sawdust thickly where the clouds need to be the fullest, the scenic artist can drag or even blow the edges to soften the fringes of the clouds. The paint will find its way through the thinned-out

Materials

sawdust, giving the clouds a feather-like

Step 3:

quality.

Adjust the sawdust and add other nec-

essary masking to create the shadowed

For 20’ x 40’ cloud backdrop

undersides of the clouds.

Pre-sewn 20’ x 40’ seamless bleached muslin drop $1,700 Rosco Super Saturated Cerulean Blue (2 pints at $40/each)

80 Argo brand starch (2 boxes at $4/each) 8 Carpet tack strips (1 box) 27 Chapin industrial sprayer 149 Sawdust 0 Total $1,964

The final painting detail before hanging

the drop is the shading of the underside of the clouds to give them depth. At this point, the sawdust can be moved around, creating negative space around the areas that need to be shaded. Laying down drop cloths or paper to help mask the blue sky will allow the painter to focus on individual clouds and shade the darker underbelly of them, giving them depth and realism.

After you clean off any sawdust residue,

the drop is ready to go into the air. The lighting designer can begin creating dynamic looks by lighting the seamless piece from the front and behind. The crispness of the bleached-white muslin and the translucence of the blue paint will create a bright, beautiful sky backdrop. n

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.

Spring 2020 x Southern Theatre x 7

NC BLACK REPERTORY COMPANY Producers Of The National Black Theatre Festival

Sharing the Gospel of Black Theatre

Mark Mahan

Jackie Alexander, NC Black Rep artistic director, delivers the Saturday keynote at the 2020 SETC Convention as Sylvia Sprinkle-Hamlin listens.

A

by J. K. Curry

A little over 40 years ago, Larry Leon Hamlin returned to his home state of North Carolina from the Northeast and was disappointed by what he saw: a lack of theatre about, and created by, African Americans.

Taking matters into his own hands, he started the North Carolina Black Repertory Company – North Carolina’s first professional black theatre – in 1979 in Winston-Salem. Ten years later, he took another giant step, creating the first National Black Theatre Festival (NBTF).

8 x Southern Theatre x Spring 2020

SETC Distinguished Career Award

Although Hamlin passed away in 2007, both organizations survive today – and the NBTF has become a must-attend event, attracting more than

COVID-19 Update

60,000 people every two years from around the

As Southern Theatre went to press, the

country to what has become known as “Black Theatre

North Carolina Black Repertory Company

Holy Ground.”

announced it would be rescheduling the

“The great thing about the festival is that it brings

world premiere of Cynthia Robinson’s

theatre people from all over to one town,” said Ted

Freedom Summer, originally planned for

Lange, an actor best known for his portrayal of Isaac

March 2020, to its 2020-2021 season and

Washington on the television show The Love Boat, who

pushing back the world premiere of Nambi

has attended every NBTF since its inception. “If you

‘The great thing

Kelley’s Phenomenal Woman: Maya Angelou to

can’t get to New York or Houston or L.A., you can get

about the festival

to Winston-Salem and see what black theatre artists

Aug. 1-16, 2020. Plans for the next National

are doing. It’s a crossroads of black ideas, black artists

Black Theatre Festival, which is scheduled for

is that it brings

and black execution.”

Aug. 2-7, 2021, remain unchanged.

theatre people

As the producer of the NBTF, NC Black Rep has

from all over

steered the festival for 30 years, in addition to produc-

to one town. If

ing its own season for 40 years – an accomplishment that earned the company SETC’s Distinguished

Hamlin invited further community involve-

Career Award at the 2020 SETC Convention in Louis-

ment and financial support through the formation

ville, KY.

in 1981 of the NC Black Rep Theatre Guild, made

up of supporters who paid a fee to join and were

Jackie Alexander, artistic director of NC Black Rep,

shared the organization’s story in a Saturday keynote at the SETC Convention, followed by a Q&A session that included Sylvia Sprinkle-Hamlin, the founder’s widow and current executive producer of the NBTF. Hamlin sees a need and never looks back

“I’m here today to spread the gospel of NC Black

Rep,” Alexander announced, in opening his keynote.

He detailed the company’s remarkable history, its recent initiatives and future plans, and invited everyone to attend the next National Black Theatre Festival in 2021.

When the late Larry Leon Hamlin started NC Black Rep, he called on a background that included training in business and theatre. He earned a business degree at Johnson and Wales University in Rhode Island before going on to study theatre with the Rites and Reasons Theatre at Brown University.

NC Black Rep’s first three years were the most crucial, Hamlin has said, because they were its formative

expected to sell tickets and encourage others to become members. Additional support came in 1984, when NC Black Rep was the first African American group to become a funded member of the Winston-

you can’t get to New York or Houston or L.A., you can get to Winston-Salem

Salem/Forsyth County Arts Council (founded in

and see what

1949).

black theatre

“The company would prosper in the coming years

producing classic plays like For Colored Girls, The

artists are doing.

Amen Corner, Day of Absence, A Soldier’s Play, Ceremo-

It’s a crossroads

nies in Dark Old Men and Home, to name a few, all to sold-out houses and an adoring and appreciative

of black ideas,

African American community,” Alexander said. “You

black artists and

see, Mr. Hamlin was telling their stories. No one had bothered to do that before.”

black execution.’

- Ted Lange,

It took a great deal of effort to establish NC Black

Rep, but the energetic and determined Hamlin did not stop there. He realized that African American

actor/director

theatre companies across the country were struggling to survive. “[Hamlin’s] answer to the problem, his dream,

years. To involve people in the new theatre, Hamlin

was an event where companies would be able to

created a project he called Living Room Theatre.

perform before the general public, troubleshoot

“The program had two objectives: introduce the

challenges faced by all, share resources, and raise

public to the company and expose disadvantaged

awareness of the quality and importance of their

families to theatre,” Alexander said. “For $150, NC

work, a National Black Theatre Festival,” Alexander

Black Rep would perform for 90 minutes at the host

said.

home and then do another free performance at a disadvantaged home.”

The inaugural festival was held in Winston-Salem,

NC, on August 14 -20, 1989.

Spring 2020 x Southern Theatre x 9

An idea becomes a hit

up the hotels, the restaurants, and so people started

seeing that. They started seeing the dollars, and they

Raising funds for the initial festival was challeng-

ing, and community support was initially limited,

said, ‘Well, hmm, this festival is not so bad after all.’”

due in part to negative racial stereotypes.

Much of the festival’s success can be traced to

“I’m told that when Mr. Hamlin started the festival

Hamlin’s vision. For the first event in 1989, with a

in 1989, there was a large portion of the Winston-

theme of “A Celebration and Reunion of Spirit,”

Salem community that was very concerned with that

Hamlin enlisted the support of the renowned writer

many black people descending on the city all at one

Maya Angelou, then Reynolds Professor of American

time: ‘Wouldn’t there be fights, crimes, drugs?’” Alex-

Studies at Wake Forest University and a resident of

ander said. “Thirty years later, it seems that every

Winston-Salem. Angelou not only agreed to serve as

resident of Winston-Salem I encounter, regardless of

the chairperson of the festival but also tapped her

race, speaks of the festival with an infectious pride.

friends to join her in Winston-Salem. Soon, major

Why? Because the festival so beautifully redefined

celebrities from Broadway, television and film were

a false narrative.”

lining up to attend the first National Black Theatre

The economic impact of the festival also influ-

Festival.

enced local perception. According to Alexander,

the NBTF “has generated over $230 million to the

the 1989 festival. “A time when we can show each

economy of Winston-Salem.” Hamlin’s widow, Sylvia

other the new projects we are daring to dream, and

Sprinkle-Hamlin, notes that the festival’s visitors “fill

a time to dream even greater dreams.”

“This is a time of great joy,” Angelou wrote about

North Carolina Black Repertory Company: History and Highlights TIMELINE:

Mark Mahan

1979: Larry Leon Hamlin founds North Carolina Black Repertory Company.

1989: Hamlin’s dream of a National Black Theatre Festival comes to

fruition, as NC Black Rep produces the first festival in Winston-

Salem, NC, on August 14-20, with writer Maya Angelou as chair.

Those attending include Oprah Winfrey and playwright August Wilson.

2007: Hamlin, the dynamic founder and face of the festival, passes away,

but others, including his wife Sylvia Sprinkle-Hamlin, step up to

keep the festival and the theatre going. Mabel Robinson is named

artistic director.

2016: Jackie Alexander, former artistic director of the Billie Holiday

Theatre in NYC, becomes NC Black Rep’s artistic director.

2019: The 16th biennial National Black Theatre Festival attracts an

estimated 64,000 people.

CELEBRITY HONOREES AT NBTF: Those who have chaired or have been honored at the festival include: Actors - Ruby Dee, Ossie Davis, Denzel Washington, Esther Rolle, Beah Richards, Danny Glover, Sidney Poitier, Billy Dee Williams, Debbie Allen, Leslie Uggams, André DeShields, Louis Gossett Jr., Harry Belafonte, Della Reese, Hattie Wilson, Melba Moore, Malcolm-Jamal Warner, Ted Lange and Tonya Pinkins. Playwrights - August Wilson, George C. Wolfe, Laurence Holder, Amiri Baraka, Lynn Nottage, Katori Hall and Dominique Morisseau. Directors - Lloyd Richards, Kenny Leon, Seret Scott, Lou Bellamy and Ed Smith. Producers - Woodie King Jr., Ashton Springer, Barbara Ann Teer, Marjorie Moon, Jackie Taylor and Eileen J. Morris.

More info: ncblackrep.org

10 x Southern Theatre x Spring 2020

Above: Sylvia SprinkleHamlin and Jackie Alexander accept SETC’s Distinguished Career Award.

Left: Larry Leon Hamlin, the late founder of the North Carolina Black Repertory Company and the National Black Theatre Festival.

Oprah Winfrey and August Wilson were guests of

honor at the opening gala, which was followed by the NC Black Rep performance of Don’t Bother Me, I Can’t Cope. Angelou, who had starred in a highly successful off-Broadway production of Jean Genet’s The Blacks in 1961, also invited co-stars from that production to the festival, including James Earl Jones, Cicely Tyson, Courtesy of National Black Theatre Festival

Roscoe Lee Browne and Lou Gossett Jr. All of these prominent figures were honored at post-performance receptions on different nights of the festival, as were Ruby Dee and Ossie Davis.

In addition to NC Black Rep, 16 other professional theatres were selected to present shows at the first NBTF, including such notable companies as Crossroads Theatre (New Jersey), Negro Ensemble Company (New York), Penumbra Theatre (Minnesota), Carpetbag Theatre (Tennessee), Just Us Theatre (Georgia) and the Philadelphia Freedom Theatre.

Representatives from other black theatres and independent theatre artists traveled to WinstonSalem in 1989 to take advantage of the opportunity

Beah Richards and Danny Glover. The use of celeb-

to see a large number of black theatre productions

rity chairs or co-chairs to attract public interest has

in one week, as well as to network, share advice and

continued through the years. Celebrity chairs for later

gain inspiration. Venues throughout Winston-Salem

festivals included well-known names from theatre

were pressed into service, including theatres at

and film such as Sidney Poitier, Billy Dee Williams,

Winston-Salem State University, the North Carolina

Debbie Allen, Harry Belafonte, Della Reese, Hal

School of the Arts and Wake Forest University. Local

Williams, Leslie Uggams, André De Shields, Hattie

audiences also turned out for the festival, drawn by

Wilson, Melba Moore, Malcolm-Jamal Warner, Ted

the opportunity to see celebrities and to view perfor-

Lange and Tonya Pinkins.

mances by companies from around the country.

Major media organizations, including The New

country were – and remain today – the centerpiece of

York Times, covered the first NBTF. Wilson, the Pulit-

the NBTF, but the event also provides an opportunity

zer Prize-winning author of Fences, raved about the

for attendees to make professional connections and

event in a Times story published Aug. 17, 1989.

take inspiration, noted Lange, who has been involved

‘’This is the kind of thing that I’ve sat around

in the festival as an actor, a playwright and a director.

for the last 10 years saying should happen,’’ Wilson

“At the festival, you can go see 10 or 15 plays,”

Professional theatre productions from around the

told the Times. ‘’That all the people involved in black

Lange said. “You can see so many black actors,

theatre in America should get together, simply to

playwrights, directors, etc. You go to matinees and to

understand that we’re not working in a vacuum, that

evening performances and then back to the Marriott

there are other companies out there and that they’re

for networking late at night. It gives you heart. You

doing the same thing you’re doing. And out of that,

know you are in the right game.”

gradually, should evolve some artistic agenda of

where black theatre should be going.’’

include many components in addition to professional

The first National Black Theatre Festival was such

productions. In 1991, a Reader’s Theatre series of New

a big hit that plans were made immediately to repeat

Plays was added. Later additions included a New

the event two years later.

Performance in Black Theatre series, NBTF Fringe

Festival takes root and grows

(showcasing college theatre productions), the Larry

For the second NBTF in 1991, actors Ruby Dee and

Leon Hamlin Solo Performance series, a Hip Hop

Ossie Davis served as chairpersons, with celebrity

Theatre series, a film festival, a youth talent showcase,

honorees including Denzel Washington, Esther Rolle,

a storytelling festival, a midnight poetry jam and

Roz White and Enoch King appear in Anne and Emmett, a play by Janet Langhart Cohen that was presented at the 2019 National Black Theatre Festival.

The play focuses on an imaginary conversation between Emmett Till, the African American boy whose brutal murder in Mississippi helped ignite the civil rights movement, and Anne Frank, the young Jewish girl whose diary explored life during the Holocaust.

Over the years, the festival has grown in scope to

Spring 2020 x Southern Theatre x 11

Courtesy of NBTF

an international vendor’s market. The Black Theatre

Courtesy of Ted Lange

Writer Maya Angelou, who passed away in 2014, helped make the first National Black Theatre Festival in 1989 a success, serving as chair of the event and recruiting many of her friends from film and theatre to attend.

Actor/director Ted Lange has attended every National Black Theatre Festival since its inception. At the 2019 NBTF, he directed Twelfth Night, or What You Will, Mon, his adaptation of the play set in Jamaica, as part of a new program, Shakespeare at Sunset, presented free to the public outdoors.

away on June 6, 2007, and the NBTF was held as

Network, a scholarly association, and Winston-Salem

scheduled on July 30 through August 4 of that year.

State University regularly co-host an International

Sprinkle-Hamlin is credited with providing

Colloquium with the NBTF. A conference theme of

important guidance to both NC Black Rep and the

“Black Theatre: Holy Ground” was introduced in

NBTF over the years before and since then. She is

2001 and continues to be associated with the NBTF.

“the one constant for all of NC Black Rep’s 40-year

The NBTF also presents a number of awards

and NBTF’s 30-year existence,” Alexander said. He

recognizing outstanding artists. At the 1991 festival,

noted the she was “a woman who, after the death

George C. Wolfe was honored as the first recipient of

of her husband … picked up the reins and was

the Garland Anderson Playwright Award (renamed

determined to take NC Black Rep and NBTF to even

the August Wilson Playwright Award in 1997). Other

greater heights, no matter the sacrifice, a woman who

awards added to the festival over the years include

has the sweetest, most genteel voice you will ever

the Sidney Poitier Lifelong Achievement Award

hear but possesses an iron will that will not accept

(first recipient Sidney Poitier), the Lloyd Richards

failure, a woman who is the single most important

Director’s Award (first recipient Lloyd Richards), the

reason both the company and the festival are thriving

Larry Leon Hamlin Producer’s Award (first recipients

today.”

Woodie King Jr. and Ashton Springer). Starting in

1991, the NBTF began a tradition of honoring “living

of the board of directors of NC Black Rep, as well

legends,” men and women who had made significant

as executive producer of the NBTF. For more than a

contributions to African American theatre. Nearly

decade after her husband’s death, her contributions

100 living legends have been recognized by the NBTF.

to the NBTF came on top of her challenging day job

“Other institutions don’t honor black artists,”

as director of the Forsyth County Public Library, a

Lange said. “The awards for a lifetime of work in

position she retired from at the end of 2019.

theatre are important. These go to artists who might

not be recognized by the Tony Awards or the Obie

going on top of her full-time job, Sprinkle-Hamlin

Awards.”

said, “I realized how hard he (her husband) worked

Recognizing successful black theatre artists is

to get to 2007. Then he was dealing with his illness,

important not just for the legendary recipients but

and he still kept pushing it. He had worked too hard.

also for the younger people in attendance, Lange said.

We couldn’t let the festival die.”

“It’s inspirational for younger artists to meet the old-

Sprinkle-Hamlin was quick to point out that

timers,” he said. “They see how they might make a

many other people helped to make sure the NBTF

life in the theatre. They might pick up a tidbit here

would survive and flourish. That includes Hamlin’s

and there about making it as an artist.”

mother, Annie Hamlin Johnson, a supporter of NC

Crisis of Hamlin’s illness and passing

Black Rep from the beginning, and the artistic direc-

As the NBTF became a well-established event

tors who followed in Hamlin’s footsteps. In October

attracting thousands of attendees to Winston-

2007, Mabel Robinson, who had choreographed

Salem (and offers from other cities to relocate), it

and directed many productions for NC Black Rep

continued to be closely associated with its dynamic

following her Broadway career, took on the role of

founder Larry Leon Hamlin. Known for his striking

artistic director. Following Robinson’s retirement,

purple and black wardrobe and for enthusiastically

Jackie Alexander – who had directed productions at

declaring events “marvtastic” (a combination of the

the NBTF and was the former artistic director of the

words marvelous and fantastic), Hamlin could be

Billie Holiday Theatre in New York City – became

seen everywhere, attending so much of the festival

NC Black Rep’s artistic director in 2016.

that he appeared not to sleep at all. When Hamlin

became seriously ill late in 2006, many wondered if

an army of volunteers, including a large number

the NBTF could survive without him.

who return year after year. Many of the hundreds

Sprinkle-Hamlin continues to serve as president

Asked what gave her the drive to keep the festival

Also key to the festival’s continued success is

A board member, Cheryl Oliver, was appointed as

of volunteers are local but some come from other

interim executive director of the NC Black Rep to help

states, including Ohio and New York. Sprinkle-

produce the 2007 festival, with Sprinkle-Hamlin as

Hamlin reported that the festival relies on “60

the festival’s interim artistic director. Hamlin passed

assistant coordinators of volunteers in various

12 x Southern Theatre x Spring 2020

and state arts councils, the city of Winston-Salem, Forsyth County, the National Endowment for the Arts and individual donations. The NBTF’s attendance remained strong in 2019 at an estimated 64,000.

“As our slogan says, the National Black Theatre

Festival is an international celebration and reunion of spirit,” Alexander said. “People come for the theatre, but they also come to visit with old friends who have become family over the years. I think this is the key Owens Daniels

to the festival’s consistently strong attendance.”

He says that NC Black Rep has faced more of a challenge when it comes to attracting audiences.

“Over the past few years, we’ve worked to forge a

similar bond between audiences and NC Black Rep Actress/singer Leslie Uggums (left) receives the Sidney Poitier Lifetime Achievement Award from 2019 Tony Award winner André De Shields at the 2019 NBTF.

areas – ushers, transportation, vendors, etc.” Volun-

that audiences share with the NBTF,” Alexander said.

teer training begins in May before the festival,

“In short, we’ve reached out, inviting audiences to be

with remote training for out-of-town volunteers.

a part of the NC Black Rep family by giving back to

Alexander recalled meeting a volunteer during his

the community.”

first year at the festival. The man, who was driving

Harkening back to the Living Room Theatre

people to the airport, said he used his one week of

Hamlin created, NC Black Rep has started producing

annual vacation to volunteer every festival year.

staged readings of plays in locations around Winston-

Looking ahead: Outreach, new initiatives

Salem, such as libraries and parks.

Today, the NBTF operates on a $2-million budget,

“We choose plays that address issues such as

with funding provided by local corporations, local

voting rights, the Black Lives Matter movement,

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veterans’ benefits, LGBTQ rights, teen parenting and the right to choose, in hopes of sparking debate and allowing diverse viewpoints on these hot-button topics,” Alexander said. “The readings are free to the public and target underserved members of the community, such as the elderly, low-income residents and others who might not otherwise have access or the means to enjoy live theatre and whose stories are often marginalized by society.”

Owens Daniels

Resources and services are often provided in conjunction with the readings, such as “voter registration drives, a veterans’ benefits fair, and a talkback with the mayor, police officers and a mental health expert on community policing and social justice,” Alexander said. Other community events have

breast cancer death, included post-show discus-

included free mammogram screenings for low-

sions with a panel of oncologists. A production of

income residents and a yearly Martin Luther King

Maid’s Door by Cheryl Davis included talkbacks with

Jr. birthday celebration that doubles as a local talent

members of the Wake Forest University Sticht Center

show and food drive for the local food bank.

for Aging and Alzheimer’s Awareness.

NC Black Rep has developed similar community

“I believe our responsibility as artistic leaders is

partnerships in conjunction with many of its fully

not only to entertain but to engage and enrich the

staged productions. For example, at the 2017 NBTF,

lives of our audience members and community,”

NC Black Rep’s production of Angelica Chari’s The

Alexander said. “Engage, enrich, entertain – those

Sting of White Roses, about a family dealing with a

three words have become a mantra at NC Black Rep

LG Williams, Sidney Wilson, Asha Duniani, Dewitt Fleming Jr., Brandon Woods, Jontavious Johnson and J. Andrew Speas appear in Jelly’s Last Jam, the opening production at the 2019 NBTF, presented by NC Black Rep and directed

by Jackie Alexander.

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theatre classic that had been previously performed at the festival,” Alexander said. “Over a 48-hour period, the plays were cast, rehearsed and produced as an evening of shorts.”

Black theatre is for everyone

Across NC Black Rep, from its outreach programs

to its production of the NBTF, Alexander sees a common purpose. “Using theatre to introduce audiences to people, places and stories they didn’t know and may even fear has served as a bridge to bring the community residents together,” Alexander said.

He went on to share a story from his own child-

Larente Hamlin

hood growing up in a small town outside of New Orleans. His town did not have any Jewish residents, and he fell into the trap of defining the Jewish community based on the words and opinions of others. That all changed when, at age 12 or 13, he saw NC Black Rep has worked to develop stronger connections with audiences by providing resources in conjunction with performances and staged readings.

Above, Perri Gaffney and Brandon Jones appear in a production of Angelica Chari’s The Sting of White Roses, about a family dealing with a breast cancer death, which included post-show discussions with a panel of oncologists.

that define what I believe to be a very honorable

a production of The Diary of Anne Frank.

mission as an artist.”

“That’s what the arts can do: it can remove the fear

NC Black Rep is also focused on producing work

of the unknown, instill the desire to learn, remind

that catches the attention of the theatre world on a

us of the shared struggles we face, and introduce us

national level, Alexander said, noting as an example

to people and places we may never encounter in our

the theatre’s upcoming world premiere production of

daily lives,” Alexander said. “And in a world that is

Phenomenal Woman: Maya Angelou by Nambi Kelley.

seemingly becoming more intolerant by the day, a

The play was commissioned by NC Black Rep and

lesson that we must all learn to accept is that engag-

inspired by the life of Angelou, who passed away

ing in the arts is not only crucial to our community

in 2014. Originally scheduled to open at NC Black

but to the world at large.”

Rep in April 2020, the play has been pushed back to

Aug. 1-16, 2020, due to the COVID-19 virus.

crew was there to shoot footage for a new initiative at

The play will have a national rollout following

NC Black Rep: a documentary film about the festival,

its premiere at NC Black Rep, as a result of receiving

Holy Ground: The Legacy of the National Black Theatre

the inaugural Sylvia Sprinkle-Hamlin Rolling World

Festival. For his SETC audience, Alexander screened

Premiere Award, an initiative unveiled at the 2019

a trailer of the film, which will preview at the 2021

NBTF that is designed to promote new voices.

festival. The goal is for it to have a wider distribution

that will attract more people to the festival.

“This award will be presented at each festival and

While Alexander was at the SETC Convention, a

guarantees the winning playwright at least three

regional premieres over the two years following the

festival. … They should get to Winston-Salem every

festival,” Alexander said.

other year,” said Lange. “It will lead to more work and

In addition to NC Black Rep, Hattiloo Theatre

to being informed and literate about black theatre.”

in Memphis and The Ensemble Theatre in Houston

will present productions of Phenomenal Woman: Maya

artist to attend. As Sprinkle-Hamlin noted, “Black

Angelou.

theatre is for everyone to come and enjoy.” The next

NBTF will be held in Winston-Salem in August 2021,

Another new addition to the festival in 2019 was

48 Hours in...™ Holy Ground, produced with the OBIE

“Young black theatre artists really need to get to the

Of course, you do not have to be a black theatre

and you are invited. n

Award-winning Harlem9, which provided playwrights with writing opportunities and gave young actors attending the festival a chance to perform in sold-out performances.

“We invited six playwrights to each write one 15-minute play reimagining an African American 16 x Southern Theatre x Spring 2020

J. K. Curry is an associate professor of theatre at Wake Forest University in Winston-Salem, NC, and the chair of SETC’s Publications Committee.

Spring 2020 x Southern Theatre x 17

Celebrating SETC’s Jeff Gibson, the outgoing SETC president, presents the traditional gavel and Robert’s Rules of Order (above) to the new president, Maegan McNerney Azar, during the Saturday business meeting at the 2020 SETC Convention. On these pages, we revisit scenes from the 71st annual convention in attended by more than 4,500 theatre artists, managers, teachers, students and volunteers.

The convention provided members with an opportunity to audition, find a job, perform, hear keynote speakers, learn new techniques, network, view exhibits, hire employees, watch top-notch theatre and much more.

Photos by Mark Mahan 18 x Southern Theatre x Spring 2020

David Hawkins

Louisville, KY, which was

71st in Louisville

Spring 2020 x Southern Theatre x 19

MATTHEW AARON STERN How Stage Management Can Change the World

Mark Mahan

T

by Laura King

To the rocking sounds of Queen’s song “One Vision,” Matthew Aaron Stern took the stage at SETC 2020 to

Above: Matthew Aaron Stern holds a headphonewearing duck from the Stage Managers’ Association’s “Adopt a Duck” program as he speaks to a Friday keynote audience at the 2020 SETC Convention in Louisville, KY.

share his vision of the important and wide-ranging role that stage managers play in the world of theatre.

Enthusiastic and energetic, Stern offered the audience a glimpse of his career as a Broadway and corporate stage manager and founder of the Broadway Stage Management Symposium. He reminded the audience that 2020 has been designated the year of the stage manager because, 100 years ago, Actors’ Equity Association approved a change in its contractual language to include stage managers and assistant stage managers.

Throughout his Friday keynote, Stern encouraged his audience to expand their image of the stage manager

beyond the stereotype of a person wearing a headset, calling cues and creating paperwork. “That’s just the 10 percent that you see; there’s 90 percent that you don’t see,” he said. “And that 90 percent, that’s the really, really important stuff.” The main job of the stage manager, he said, is communication: “We work with members of the company, we support them, we communicate information.”

As a stage manager, he said, “You can change the world of the people that you’re working with, and that

goes on and on, and it creates ripples. The little things that you do, that little puddle that you drop, those 20 x Southern Theatre x Spring 2020

SETC Friday Keynote Speaker

ripples expand and expand and grow and grow and

He earned his Actors’ Equity Association card

change people in ways you don’t even know.”

working on Randy Newman’s Faust at La Jolla Play-

From actor to stage manager

house. After a detour to the Midwest, where he served

Like many in the field, Stern didn’t set out to be

as the resident stage manager for Ballet Iowa, Stern

a stage manager. Born in Brooklyn in the 1970s, he

returned to San Diego to work on a new musical, Play

moved to the San Fernando Valley/Los Angeles area

On! When Play On! transferred to Broadway, Stern

as a preschooler. He likens his upbringing to the film

moved to New York City as a production assistant

Fast Times at Ridgemont High; during his teen years,

with the show, thus launching his Broadway career.

he spent time at the same movie theatres and food

Since then, Stern has worked on more than 20 Broad-

courts featured in the iconic movie. He went on to

way productions.

study theatre at the University of California, San

Small things, big results

manager,

Diego (UCSD).

‘You can change

he said, is to be a leader, supporting the company and

“ I started college as an actor, as many people do,”

One of the stage manager’s most important roles,

Stern said in an interview. “That was all I knew.”

proactively solving problems. The small things the

Soon, he discovered there was much more to

stage manager does can have a major impact, he said.

theatre. While in college, he worked as a lightboard

operator for school projects, as a stage manager for a

Stern said. “It’s about actively listening and figuring

small local theatre and then as an electrician for La

out what does this person need me to do to take care

Jolla Playhouse, which shares facilities with UCSD.

of them?”

“Then La Jolla Playhouse asked me if I wanted

What they need doesn’t always fall under the

to be an assistant lighting designer on an upcoming

umbrella of a stage manager’s traditional responsi-

show, or a production assistant,” he said. “I chose the

bilities. One evening, when Stern was working as a

PA job and that set me on the path towards a career

production stage manager on An Evening with Patti

and a life in stage management.”

LuPone and Mandy Patinkin, LuPone became frustrated

“It’s not just about anticipating someone’s needs,”

As a stage

the world of the people that you’re working with, and that goes on and on, and it creates ripples. The little things that you do, that

MATTHEW AARON STERN: Bio and Career Highlights

little puddle that you drop, those

EDUCATION: BA, Theatre, University of California, San Diego SELECTED BROADWAY CREDITS: Finding Neverland, Stage Manager Doctor Zhivago, Assistant Stage Manager Side Show, Stage Manager On the Town, Production Stage Manager Hands on a Hardbody, Stage Manager Death of a Salesman, Stage Manager An Evening with Patti LuPone and Mandy Patinkin, Production Stage Manager Spider-Man: Turn Off the Dark, Assistant Stage Manager Baby It’s You!, Stage Manager The Little Mermaid, Assistant Stage Manager Fiddler on the Roof, Assistant Stage Manager Oldest Living Confederate Widow Tells All, Stage Manager Wicked, Assistant Stage Manager Enchanted April, Stage Manager

The Full Monty, Assistant Stage Manager Play On!, Stage Manager Grease, Assistant Stage Manager

ripples expand

SELECTED CORPORATE STAGE MANAGEMENT CLIENTS: Google Samsung Facebook Lenovo Lexus Volkswagen

grow and grow

and expand and

and change people in ways you don’t even know.’

- Matthew

TEACHING CREDITS/MEMBERSHIPS: SUNY Purchase, Instructor Broadway Stage Management Symposium, Founder Stage Managers’ Association USA, Board Member Actors’ Equity Association, Member American Guild of Variety Artists, Member

Aaron Stern

More information: www.broadwaysymposium.com/about

Spring 2020 x Southern Theatre x 21

22 x Southern Theatre x Spring 2020

with the audience for leaving playbills

(the understudy of the ensemble) would

onstage and complained to Stern. His quick

come into the show. This gave ensemble

response: “I’ll call the house manager.

members a chance to reconnect with the

We’ll take care of it right away.”

show as audience members and gave the

When Stern worked on Finding Never-

swings a chance to perform.

land, there were strict rules about which

When Stern was working on The Full

understudies were allowed to perform.

Monty, the production stage manager,

However, one of the emergency understud-

Nancy Harrington, bought 50 boxes of Girl

ies was working hard and performing well

Scout cookies and then distributed them

in understudy rehearsals, so the produc-

sporadically as treats to keep energy up

tion stage manager went to bat for her

and keep the team excited.

by scheduling a rehearsal where director

During Fiddler on the Roof, the produc-

Diane Paulus could see her perform. After

tion team decided to have a Seder for the

the run-through, Paulus gave approval for

members of the company, Jewish or not,

the understudy to go on, and the performer

in the lobby of the Minskoff Theatre. So,

eventually became the primary under-

between shows on Passover, they ordered

study.

chicken and matzo and had a potluck

“That opportunity never would have

dinner, which valued not only the tradi-

happened without the stage manager going

tions represented in the show but also the

to bat, not just following the rules,” Stern

members of the company.

said. “Now she gets seen by more people.

This tradition of breaking bread and

… That could change the trajectory of her

sharing experiences has been a part of

career, right? Small thing, big results.”

many of the shows Stern has worked on.

A similar situation occurred with The

In addition, most Broadway shows partake

Little Mermaid. The show had been running

in SNOB (Saturday Night on Broadway),

a while, actors were coming and going,

a social media event in which company

and the production team was figuring out

members celebrate their shows from back-

coverages and leaves of absence. The show

stage or the dressing rooms.

needed a new Prince Eric understudy, and

Avoiding, responding to accidents

the production team liked one of the actors

Along with making the workplace an

who was working as a swing. Although

enjoyable environment, stage managers are

swings don’t traditionally serve as under-

responsible for protecting the physical and

studies because they have to be available

mental states of the company members.

to cover for the ensemble, the production

When Stern was working on the revival

team decided that the policy should be

of Fiddler on the Roof, Sally Murphy, the

changed to give this actor an opportunity.

actress playing Tzeitel, was nervous about

“We did that, and he went on and he

having to fly 40 feet in the air in the dream

was great,” Stern said “So, again, going to

sequence. Stern and the production team

bat, figuring out a creative solution. Small

worked to build Murphy’s confidence.

things make big things.”

While working on Spider-Man: Turn Off

Creating engagement

the Dark, Stern was told by the production

Noting that working on a long-running

stage manager that there was so much

show can take its toll, Stern highlighted

complicated technology in the show

some ways that stage managers can make

that it wasn’t a question of what to do if

the long days more enjoyable for everyone.

something goes wrong but rather what

While Stern was on the successful tour of

to do when something goes wrong and

Les Misérables, the production team instated

minimizing the consequences of that:

something called “swing outs” in which

“Unfortunately, with Spider-Man, there

members of the ensemble would sit in the

were some serious accidents, none of them

house and watch the show and the swing

when I was there, just for the record.”

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Stern’s worst day at work ever, he said,

defibrillate her in front of the audience.

Small things can make a difference for

occurred during The Little Mermaid, when

Once the woman was revived and taken to

stage managers, just as they can for the rest

an actor fell 30 feet right before curtain.

the hospital, the show was set to begin, but

of the cast and crew, he noted, giving an

After the actor was rushed to the hospital,

Annie Golden, the actress playing Georgie

example from the high-stress environment

the company had to decide what to do next.

Bukatinsky, was distraught and at a loss for

of Spider-Man: Turn Off the Dark.

“This is a moment, as a stage manager,

how to start the show. Stern gave Golden

when I ask, ‘Do I step up and say, “The

the time she needed to compose herself,

the building goes into laser focus,” he said.

show must go on. This is what we have

while reminding her that she would serve

“Everyone in the building knows that every

to do”?’ That’s an option. But … in this

the audience by letting them escape into

second for the next three and a half minutes

instance what was successful was just step-

the show and share what the company had

has to be done exactly the way it’s designed

ping back, taking the time, not rushing the

created on stage.

to be done or everything falls apart and bad

company, letting everyone be together, and

“It took some time for her to breathe and

things happen. So, in the stage manager’s

letting one of the acting members of the

feel that way, but being there, supporting

office, they had a little hula doll that shook

company step up [and make the decision

her, understanding the challenges she was

its hips and played music, and when things

to proceed]. Allowing ourselves to step

going through and how to communicate

got really stressful, they’d turn it on. Every-

back and not charge through it was the best

them well to her was really important to

one in the stage manager’s office would be

thing for that company, to be able to take

be able to launch the show with the right

dancing just to blow off steam and let it out.

a moment to collect themselves, reconnect,

energy and passion that Jack O’Brien [the

This was a great way for us to detox a little

and let them lead us. Sometimes just doing

director] wanted,” Stern said.

bit.”

that little thing makes a big difference.”

Taking care of yourself

This need for self-care is one of the

Stern also worked on the entire run of

Much of the stage manager’s time is

reasons Stern founded the Broadway

The Full Monty on Broadway. One evening,

spent tending to the needs of others, but

Stage Management Symposium. While

a woman in the front row had a cardiac

Stern emphasized that stage managers

he applauds organizations such as SETC

event. The EMTs were called and had to

need to take care of themselves as well.

and the United States Institute for Theatre

“There are a couple of sequences where

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24 x Southern Theatre x Spring 2020

Technology (USITT) for creating space for stage managers, he also believes that stage managers benefit from gathering together as a group. The Broadway Stage Management Symposium is a yearly weekend gathering of Broadway stage managers that offers panels, seminars and lectures by professional stage managers from all over the world. Stern likens the event to a gym.

“This is where we can exercise,” he said.

“We can do our reps. We can build those muscles. Because that’s what we need.”

Stage managers need to keep their skills

sharp, and the Broadway Stage Management Symposium offers them the chance to do that, he said. More information about the symposium can be found at www. broadwaysymposium.com.

Artists, as well as managers

Stern strongly believes that stage managers play an important role in the overall creative vision of the show. More than just facilitators managing time, resources and people, they are also part of the artistic team, supporting the welfare of the company. A happier company, he believes, leads to a better production.

“Whether they’re actors or stagehands,

whether they’re the musicians in the building [or] the front house staff, by creating this engagement, people like being at work,” Stern said.

COVID-19 Update Matthew Aaron Stern’s next Broadway Stage Management Symposium, scheduled for May 30-31, 2020, in New York City, will proceed as scheduled but will move to an online format, he announced as Southern Theatre went to press. “We’re partnering with a great event company to create a highly interactive and robust experience online,” Stern said.

More info: www.broadwaysymposium.com

He reminded his keynote audience that

most people in theatre have worked on

can move to the 10 percent of the job that

shows they couldn’t wait to end.

requires facilitation. That’s when you put

“How would you like to never have to

on the headset, call the show and facilitate

feel that way again and for all the people

the production. That’s when everyone

in your company to never have to feel that

comes together – the actors, the musi-

way again, to feel appreciated, supported,

cians, the stagehands, the stage manager

which in turn affects their lives?” he asked.

and the audience – to create the world of

Stern then outlined simple ways that

the play. That artistic creation then offers

stage managers can create that environ-

a transformative experience to everyone

ment: Go visit dressing rooms, build

involved. And that, Stern said, is how stage

personal connections, be proactive about

management can change the world. n

helping people.

All of these things, these “soft skills,” the part of your job that involves communication, support and empathy, constitute the 90 percent of what stage managers do, Stern

Laura King is a professional playwright, a member of the SETC Publications Committee and the chair of the SETC Playwriting Committee.

said. After you’ve accomplished them, you Spring 2020 x Southern Theatre x 25

ASHLEE LATIMER Building Connections Is Key in Social Media and Career

Mark Mahan

W

by Amy Cuomo

When Ashlee Latimer arrived at the SETC Convention in 2013, she had no idea that a connection she would make at this event would start her on the path to becoming a social media strategist and Tony Award-winning producer. Latimer – then a student looking for work, who had originally planned to attend the entire 2013 convention in Louisville, KY – was just glad to have made it to the convention before it ended.

“Through a series of unfortunate events, including a semi-truck catching fire on the highway, I didn’t get

here until the last 45 minutes of the job fair on Saturday,” Latimer told her keynote audience at the 2020 SETC Above: Ashlee Latimer delivers the Thursday keynote during the 2020 SETC Convention.

Convention, also in Louisville. “And then I found out that my professor hadn’t signed my paperwork correctly.

So, I literally pleaded my way in, and I thought, “I have 40 minutes, and I have to get a job this summer.”

Many people would have given up at that point, but Latimer strategically revised her game plan.

“I saw that there was one theatre that had the longest line, and I [thought] well, if it’s like a restaurant that

means it’s probably the best place to work, so I’ll just hop in line there,” she said. “I was the last person to get in line for the Berkshire Theatre Group, and I ended up working in their marketing department that summer, which is how I first started working on social media. … Basically every career move that I’ve made since then can kind of be traced back to that first stab that I got at social media.”

26 x Southern Theatre x Spring 2020

SETC Thursday Keynote Speaker

From the Berkshires to Broadway, Ashlee Latim-

corner and listen to opera and read. … As I got older,

er’s success can be attributed to the same grit, deter-

she was very supportive but also very ‘Can we just

mination and willingness to seize opportunities that

throw you in a pool?’ – in a positive way. And so I

she exhibited at the 2013 SETC Convention. Still in her

quickly learned that I was going to need to forge my

20s, she has already achieved remarkable success. Her

own path.”

recent projects include co-producing The Inheritance,

Be More Chill and the popular revival of Once on This

year and found a job at the Knoxville Children’s

Island, for which she won a Tony Award, becoming

Theatre. She worked on numerous productions there

the first gender-fluid person to win the prestigious

before beginning college at Pellissippi State Commu-

honor. Latimer was also the brand strategist for The

nity College and then moving on to the University of

Lightning Thief: The Percy Jackson Musical. While work-

Tennessee, Knoxville. As she studied directing, she

ing on that show, she cultivated more than 50,000

realized she would need New York connections to

Twitter fans under the handle Mx. Thief.

pursue her dreams. Knowing that she wouldn’t be

I acquired a

In a Thursday keynote and a Wednesday master-

able to make a lot of trips to, or spend a lot of time

class for high school students at the 2020 SETC

in, New York, she had to “figure out a way to make

producing

Convention, she emphasized the importance of

connections in a different way. So I started getting

partner, my dear friend Jenna

After high school, Latimer decided to take a gap

‘In six weeks,

making connections and building relationships.

involved with social media. My best friend actually

A circuitous road

talked me into getting Twitter.”

Ashlee Latimer’s path to successful social media

While working at the Berkshire Theatre Group

Ushkowitz,

brand strategist and Broadway producer started

in the summer of 2013, she dabbled in social media,

and we raised

in her hometown of Knoxville, TN. Nothing in her

producing content such as “did-you-know fun facts

background there would suggest a theatre career

about BTG history.”

could be a viable option.

“I come from a long line of homemakers and coal

jump-start her career through Twitter. A fan of the

miners and waitresses, a couple teachers and one

show Smash, she began following a Twitter group,

engineer,” she said. “And my mom was a jock in high

Annoying Actor Friend, that parodied Broadway and

school; she ran track and swam. So, when she got me,

the theatre industry, and posted recaps of Smash.

she wondered, ‘What do we do?’ Because I was like

“One day, as a joke, I tweeted, ‘Career goals:

a pet rock two-year-old who just wanted to sit in the

interning for Annoying Actor Friend.’“ To her

Later, Latimer got an unexpected opportunity to

$100,000, even though neither of us had ever raised money before, and we became co-producers

Ashlee Latimer: Bio and Career Highlights

[for Once on This Island].

EDUCATION: BA, Theatre, University of Tennessee, Knoxville, 2016 BROADWAY CREDITS: Brand Strategist, Martian Entertainment and TheaterWorks USA, The Lightning Thief: The Percy Jackson Musical (January 2017 – January 2020) Co-producer (with Jenna Ushkowitz), Once on This Island (Dec. 3, 2017 – Jan. 6, 2019)

And it all started on Twitter.’

- Ashlee Latimer

Co-producer (with Jenna Ushkowitz), Be More Chill (March 10, 2019 – Aug. 11, 2019) Co-producer, The Inheritance (Nov. 17, 2019 – March 15, 2020) WEST END CREDITS: Co-producer, The Jungle (May 2018 – December 2018) AWARDS: 2018 Tony Award for Best Revival of a Musical, Once on This Island (first openly gender-fluid person to win a Tony Award) More Info: www.linkedin.com/in/ashlee-latimer

Spring 2020 x Southern Theatre x 27

28 x Southern Theatre x Spring 2020

surprise, they not on ly replied but

working with children. This will be fun,’”

also gave her an assignment: “Your first task

Latimer said.

as a potential intern, should you accept it, is

Then the tweets back to her account

to create a Wikipedia page for us.”

streamed in: “We hate you. Go away. We

Latimer overcame several hurdles to

didn’t ask for a musical.”

post that page, including teaching herself

to code, but she accomplished her mission.

them know “we can’t do business as usual.

As a result, Annoying Actor Friend pro-

We have to create a space that lets the fans

vided her with an intern account called

know we are on their side, we also were

“Blessedterns.” Here, she created an anony-

disappointed in the movies, we have read

mous character that, she says, “was also a

the books, and we’re here for them. … That

loving parody of Broadway fan and intern

was and continues to be a pretty atypical

culture.” Her experience at Annoying

approach to traditional marketing.”

Actor Friends proved to be pivotal: “What

Instead of working toward filling the

that gave me the opportunity to do was to

show’s seats by hard-selling the musi-

start building relationships with people in

cal, Latimer created a community. She

Latimer went to the producers and let

the community.”

described it as “this space where kids

Creating connections

logged on every day not just to see memes

The relationships Latimer built via

… but also to encourage each other and to

social media linked her with others work-

build friendships with one another and to

ing in theatre in New York – and eventually

learn about current events.”

she moved there at a contact’s urging. Soon

Rather than focusing on immediate

she had a position as brand strategist for

profits, she concentrated on creating a

the Broadway musical The Lightning Thief:

community. Her tweets were not, “Come to

The Percy Jackson Musical. Her experience

the show and then we forget who you are.”

there provides a glimpse into her approach

Instead she focused on learning about Mx.

to social media.

Thief’s Twitter followers and providing

“Social media is one of those aspects of

them with helpful content. They responded

the industry that feels so confusing and so

in kind. When two college students set out

big, and I want to try to demystify it a little

to raise money for people who had tweeted

bit for you,” she said.

they couldn’t afford to see the show, fans

Successful social media, she said, is

all over the world helped. After another

about creating connections and relation-

Twitter follower revealed her daughter

ships – as illustrated by her work for Percy

was bullied at school, hundreds of Percy

Jackson.

Jackson fans sent words of encouragement.

“If you’re not familiar with Percy Jackson,

Then, when they discovered mother and

it’s a series of middle-grade books that are

daughter had never seen a musical, they

modernizations of Greek myths, and it’s

raised money to buy plane tickets for them

got a huge fan base,” Latimer said, “ranging

to see the show. Latimer believes these acts

from people who are in sixth grade now, up

of kindness occurred “because we put

to people who are in their 30s, who were in

relationship over data.”

sixth grade when the books first came out.”

From strategist to producer

Broadway was not the first to capitalize on

these popular books, which Latimer soon

Latimer’s social media campaign for Percy

found was a hurdle to success with her

Jackson, they also have been an important

own efforts. Fans had not liked the movie

factor in her career success. Today, in addi-

adaptations of the series and were skeptical

tion to her work in social media, she also

of a musical as well.

handles creative development for TBD

“So, my first experience of starting the

Theatricals, the production company of

account – I was, ‘Oh, great, children! I love

Tony Award-winning producer Hunter

Just as relationships were the focus in

Joan Marcus

Ashlee Latimer (right) holds the Tony Award she received as co-producer of the revival of Once on This Island on Broadway (above).

Casey Perfetto via Knoxville Style Magazine

Arnold. Her work as a Broadway producer came through UpLift, which is Arnold’s under-represented producers initiative.

Social media was the key to opening that door, Latimer said. While working as a brand strategist, she realized she missed being involved in the shows themselves.

Conversations with a colleague on Twitter led to a gig producing a concert at 54 Below, a cabaret venue. While there, she met an intern who was working for the venue.

“Then, a few months later, she was interning in Hunter Arnold’s office, and he was getting ready to start this new produc-

shared the 2018 Tony Award for Best Musi-

ing initiative to help increase the number

cal Revival with Arnold and Ken Daven-

of under-represented producers,” Latimer

port, the lead producers.

said. “And she told them to put my name on

Be kind as you follow your dreams

a list for people to reach out to because she

The key to successful networking via

was like, ‘She was nice to me when I was an

social media, Latimer said, is to deter-

intern.’ So always be nice to the interns.”

mine the type of community you want

Latimer was brought in for a meeting

to build and then to find ways to engage

about Once on This Island and was offered

with people in that community. It’s not

the opportunity.

important which social media platform

“So, in six weeks, I acquired a producing

you use, but rather that you choose one

partner, my dear friend Jenna Ushkow-

that you like to use and on which you can

itz, and we raised $100,000, even though

post consistent content. Similarly, it’s not

neither of us had ever raised money before,

the number of followers you have, but the

and we became co-producers. And it all

type of followers that you cultivate that’s

started on Twitter.”

critical, she said.

Latimer and Ushkowitz were among

20 Once on This Island co-producers who

excited about and start following them and

“If you find people whose work you’re

Spring 2020 x Southern Theatre x 29

engaging with them, that can turn into a

… say, ‘No!’ And sometimes that negative

person or you’re poor or you’re disabled

long-term relationship,” Latimer said.

self-talk is so strong that I have to actively

or you live at an intersection of two or

In addition to connections, Latimer

say, ‘No!’”

more of those things,” Latimer said. “It

places a strong emphasis on kindness,

But these strategies aren’t always

can be so hard to stick with it, but I hope

which allows her to envision a new model

enough, she said. Sometimes thinking of

that you know that every single minute

for a successful career, one that is caring

others is the secret ingredient that helps

that you choose to stay in the industry

and personal and emphasizes our common

you build confidence.

and keep working on your craft, whether

humanity. Sometimes, we can lose sight

“I ask myself, what if there’s someone

it is full-time or after your kids have gone

of the fact that we’re working with indi-

out there who really needs today to see

to sleep, or in the early Saturday morning

viduals who have their own wants, dreams,

a queer, fat person, who grew up poor,

hours before you go clock in at Starbucks,

desires and struggles. Latimer suggests

living vibrantly, and I’m their only chance

that is one minute closer for someone else

that acknowledging other people’s accom-

to see that? What if somebody needs to see

who really needs to see your story getting

plishments – such as a simple email

me doing this because they’re feeling that

to see themselves reflected in you.” n

saying, “This is so exciting for you; keep

they’re alone too?”

on keeping on” – goes a long way when

developing relationships. Establishing

– but them as well – to succeed, she said.

long-term connections with people takes

“This industry is so joyful but it is so

time. Latimer encouraged her audience to

tough, especially if you are a person of

“play the long game, keep it focused on

color or you’re a woman or an LGBTQ

Amy Cuomo is a professor of theatre at the University of West Georgia. Her short plays have been produced in several states and her play Happy was a finalist for the Heideman Award.

Thinking of others can help not just you

treating people like people.”

At the same time, she recommended that people not be afraid to ask for what

Advice for High School Students from Ashlee Latimer

they want: “I truly don’t know what my

On Wednesday of convention week,

life would look like right now if I hadn’t

Ashlee Latimer presented a master-

tweeted, ‘Career goals: interning for

class for high school students (left).

Annoying Actor Friend.’”

Below are highlights from the advice

Urging her audience to put their dreams

she shared:

out there, Latimer told the story of Matthew

You Are the Now

Cherry, who, eight years ago, tweeted,

What you think, what you believe in,

’One day I’m going to be nominated for

what you are working on right now

an Oscar.” He “just put that out into the

matters. You can post mini-reviews

universe,” she said. “And I’m sure that,

right now of plays that you’ve seen.

at the time, there were probably people

Even when no one is paying attention,

who were thinking, ‘Okay, Matthew.’”

you can keep making art. You’re going

Fast forward to February 2020. Matthew

to forge your own path, and where you

Cherry won an Academy Award for his

are right now is part of that path.

short animated film Hair Love.

You Deserve to Get Paid

In closing her keynote, Latimer recount-

Internships and entry-level positions

ed a question that a student asked the

need to be paid. Even if the internship

previous evening at her masterclass for

is advertised as unpaid, you can ask to

high school students: “How do you build

be paid. It’s time to shift the narrative!

up confidence?” She shared several strat-

Understand that there’s no shame in

egies that have worked for her. One is to

working a 9-5 job while you’re pursuing

adopt a “superhero stance” so you will feel

your own creative work! (Remember

more confident.

that Lin-Manuel Miranda was a sub-

A second is to sternly banish negative

self-talk when it pops up: “I think of it like when you see a kid, reaching out to touch a hot stove. And you’re not thinking, ‘Well, if they burn their fingers, it’s on them.’ You 30 x Southern Theatre x Spring 2020

stitute teacher!)

Find Your People

Putting yourself out there is scary. You get to decide who to take notes from. Some advice isn’t helpful, so don’t listen to everyone’s opinion.

Photos by Mark Mahan

John E.R. “Jerf” Friedenberg peeks out from behind the curtain at the Secondary School Theatre Festival during the 2020 SETC Convention (left) as past President Tiza Garland approaches to help present SETC’s Suzanne M. Davis Memorial Award to him (center). At right, Friedenberg holds the Suzanne M. Davis Memorial Award after President Jeff Gibson announced him as the 2020 winner. Heavily involved in SETC for many years, Friedenberg is a life member and served on the SETC Board of Directors from 2011 to 2019.

John E.R. Friedenberg Receives SETC’s 2020 Suzanne M. Davis Memorial Award This award is traditionally presented at the SETC Awards Banquet. When this year’s exceptionally modest and introverted recipient could not be tricked or cajoled into attending the Awards Banquet, outgoing President Jeff Gibson and past President Tiza Garland surprised him where he was working – at the SETC Secondary School Theatre Festival. Following are Gibson’s remarks.

T

he Suzan ne M. Davis Memorial

the boards of several other theatre and arts

ence, he has organized and run the under-

Award was established to honor

organizations, and he is an adjudicator

graduate and graduate school auditions.

one individual for distinguished service

for Kennedy Center American College

He also served for many years as the North

to SETC over a number of years and

Theatre Festival and for state and thespian

Carolina representative to SETC. And now

is presented during the annual SETC

organizations.

he assists in coordinating the Secondary

Convention. It is recognized as one of

School Theatre Festival.

SETC’s highest honors.

theatre and associate teaching professor

Please join me in recognizing the

at Wake Forest University, where he has

2020 Suzanne M. Davis Memorial Award

dedicated himself to SETC for many years

taught for over 25 years.

recipient – Mr. John E.R. Friedenberg,

and in many ways. He has also served on

For the Southeastern Theatre Confer-

known to most of us as “Jerf.” n

This year’s award recipient has certainly

In his daily life, he works as director of

RESPONSE FROM ‘JERF’ FRIEDENBERG I’m not quite sure what I said upon receiving this award.

I think it was something along the line of, “If I had known about this, I would have arranged a family emergency!” I am an introvert who can be “on” when necessary, but being the center of attention is not my cup of tea. I’m the one who hangs out at the sound mixer at a concert or with the caterers at a party.

I have volunteered at many things, but none have approached the scope and length of my involvement with SETC. I have long felt that theatre is an ideal liberal art, as its lessons are about people and relationships, and perception and truth. I have always felt that using theatre as a vehicle for education can help each individual become a capable, aware, thinking contributor to life and society. I am happy to have had (and to still have!) the opportunity to contribute to this through SETC. I thank you for this honor and especially for giving up on your efforts to get me to the banquet!

ABOUT THE AWARD This prestigious award was established following the death in 1964 of SETC member Suzanne M. Davis, costume designer for Unto These Hills and wife of SETC’s 10th president, Harry Davis.

Alvin Cohen, then owner of Paramount Theatrical Supplies in New York, approached the SETC president and said he wanted to sponsor an annual award in Suzanne’s name to honor her, as well as an individual who had given outstanding service to SETC. The board accepted the offer, and the Suzanne M. Davis Memorial Award was born.

Spring 2020 x Southern Theatre x 31

MOMENT WORK Embracing a ‘Tectonic Shift’ in the Creation of Theatre

Chris Bailey

B

by Gaye Jeffers

Before the hustle and bustle of the 2020 SETC Convention got into full swing, a group of educators gathered for the 15th annual Teachers Institute, featuring Tectonic Theater Project’s Moment Work training. Led by company members Barbara Pitts McAdams and Grant James Varjas, the Moment Work Level 1 session welcomed participants ranging from middle school teachers, to college students majoring in education, to professors.

Several remarked that productions of Tectonic’s play, The Laramie Project, were break-through moments in

their theatre programs for both students and audience members, in terms of form and content. The techniques used to create the play – about the town of Laramie, WY, in the aftermath of the murder of Matthew Shepard – remained both a topic of conversation and an example that helped provide an introduction to Moment Work training.

Founded in 1991 by Moises Kaufman and Jeffrey LaHoste, Tectonic Theater Project is a New York-based

company whose work focuses on the development of new plays. Tectonic’s perspective on devising is centered Instructors lead participants in Moment Work at the 2020 SETC Teachers Institute in Louisville, KY.

on what Kaufman calls “writing performance as opposed to writing text.” The idea that a play script is only one element of theatre makes space for other theatrical elements to bring narrative possibilities into the rehearsal room. Moment Work can help theatre move “beyond language” as the first step in creating theatrical narratives, McAdams said.

From script to organic development

Inspired by Samuel Beckett’s statement that “form is content,” Tectonic created devising processes in plays

such as The Laramie Project and Gross Indecency: The Three Trials of Oscar Wilde that were later codified into a method known as Moment Work.

32 x Southern Theatre x Spring 2020

SETC Teachers Institute

McAdams described Moment Work as a “tectonic

shift” away from creating theatre with a dependence on the written word – instead embracing other theatrical elements, such as props, sound, acting, lighting, costumes and scenic design, as equal partners with text. Without a script to define how a rehearsal process will begin or what the end result will be, the origin of a play becomes a more open and organic process. Inviting designers, stage managers and technicians into the creative process from day

‘We choose

one, instead of just before technical rehearsals, is an opportunity to use props, costumes and other design elements as inspiration to explore theatricality in different ways.

when the

Barbara Pitts McAdams (left) and Grant James Varjas of Tectonic Theater Project led the Moment Work training at the 2020 SETC Teachers Institute in Louisville, KY.

audience begins an experience,

Moment Work was defined by McAdams as “theatrical units of time instead of literal moments

Institute participants were asked to bring the

of time passing.” Moments are improvisations with

following items to the Teachers Institute: a small

theatrical elements that build blocks of ideas instead

prop, a piece of clothing, something that makes

of obeying ticks from a clock. Rehearsals become

sound, and a portable light source. In the workshop,

laboratories of experimentation instead of sessions

participants gave these common items new signifi-

of interpretation.

cance, not by assigning these objects meaning, but by

“We make our own moments, because we decide

looking first at their structure and how each might

when time begins and when it ends by simply stating:

be used outside of purpose or function to create

I begin. Something happens. I end,” McAdams said.

moments.

“We choose when the audience begins an experi-

ence, what they experience and when the experience

and factually in front of you before laying narrative

ends.”

or emotional layers on top,” Varjas instructed

participants. “We are defining a difference between

The two phrases, “I begin” and “I end” and what

“Start Moment Work by seeing what is actually

structural analysis and interpretive analysis.”

Moment Work. This framing device can be used as

See the space with no interpretation

a rehearsal technique, addressing questions in the

Beginning with what McAdams described as

creative process by providing a method to experi-

“architecture moments,” the group explored the

ment and examine all theatrical elements in search

room, looking for corners, patterns, structures in the

of narrative.

space that are not usually used or seen. Participants

TEACHER

Takeaways

happens between them, is the central construct of

what they experience and when the experience ends.’

- Barbara Pitts McAdams

“I thought the way they built the instruction was particularly helpful – starting with small simple activities and building to more complex ones.”

“I was able to implement Moment Work with light sources directly into my middle school Jr. Director class.”

“I love the fact that Moment Work engages actors as active collaborators in the devising/creation of performance. I will be integrating Moment Work into my classroom through scene work.”

- Melanie Leach, Theatre Instructor Paideia Academy Knoxville, TN

- Matthew Belopavlovich Theatre Department Artistic Director Patel Conservatory @ Straz Center, Tampa, FL

- Anne K. Swedberg, Assistant Professor University of Tennessee at Chattanooga Chattanooga, TN

Spring 2020 x Southern Theatre x 33

noticed patterns in the carpet, a hidden

the air, twisted to create an eddy, used as

Moments are created, shaped

niche in a wall of folding panels and the

a tug-of-war rope, and utilized as a woven

placement of lights in the ceiling. As they

filter for light to creep through – became

wall, moments were created, given a title

ignited the tool of observation, the space

moments that participants noted and

and written down. Documenting ideas that

itself began to speak, offering ideas based

named.

have been explored allows the process to

in fact, before a story begins. Redefining

“Create structure and let metaphor

build as more moments are created. As

the space in terms of structure versus

emerge,“ Varjas urged participants. This

Moment Work starts, everyone is explor-

interpreting the space in terms of mean-

phrase became a guiding mantra for the

ing and everyone is contributing. When

ing challenged the participants to see the

training.

McAdams was asked about the hierarchy

space without story or metaphor. These

By using the “I begin/I end” frame-

of this type of devising, she responded

“architecture moments” moved quickly

work, participants created moments

with the image of a funnel.

into improvisation with the props, costume

that were focused on analysis based in

“In the beginning of the process, all

pieces, items that create sound, and light

structure and not interpretation. This

ideas are welcome, but as we funnel the

sources they had brought with them.

method can be adapted for use in a vari-

ideas through the process, the pathway gets

Using butcherblock paper taped to the

Choosing a prop or a costume piece and

ety of scenarios, ranging from interviews

smaller, meaning that fewer people have

exploring it in terms of its qualities and its

with people, as in The Laramie Project, to

input,” she said. “At the end of the rehearsal

structure without regard for use or func-

look i ng at h istor ical docu ments or

process, when the funnel narrows, one

tion created moments that were inspired

objects. Letting interaction occur between

person becomes the decision maker,

and surprising. Setting a goal to discover

whatever source material is being explored

allowing only a few moments to make it

the structure of the object and not its

and the collaborators can often bring a

through the small end. Moment Work is

story is the opposite of how theatre artists

more organic and personal response to

not a democratic system. In the end there

usually respond in the creative process.

what McAdams calls the “organizing

is one decision maker. Some devised work

Exploring a scarf in terms of its ability to

principle” of a performance in develop-

is so democratic it’s unwatchable. We work

be used in different ways – thrown into

ment.

with one person who shapes the final piece

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setc.org/link & usitt.org/link online registration opens August, 2020

34 x Southern Theatre x Spring 2020

TEACHER

Takeaways

Work can be used for any problem you have “[My favorite takeaway is] the reminder that we can take the same processes and apply them to various levels of understanding or age/ grade group and allow a student to create. Creating doesn’t get ‘old,’ and having the chance to create with fellow educators spurs new possibilities for teachers with their students.”

- Jane Dewey Director of Arts Education Danville Independent School District, Danville, KY

“Moment Work perfectly goes hand in hand with the curiosity of my middle school students.

They’re in that stage where they can still find the wonder and magic by focusing on the individual moment. It engages that wonder but also teaches them how to start devising and creating.”

in the theatre.,”McAdams said. “Often we

- Kyle Dusina, Theatre Teacher Johnnie R. Carr Middle School Montgomery, AL

Tectonic utilizes protocols and exercises

are trained to be interpretive theatre artists.

As actors, we work to develop a neutral body and speak with “received pronunciation” instead of our native dialect. This is a passive approach. We can’t forget who we are. We can be more generative. Sometimes the work can be the healing.”

and community. A return to an experience that serves and replenishes both the artist and the audience. In a climate that often places product above process, the work of that encourage research and creativity that is spontaneous and personal. n

and brings selected moments together to

philosophy is more inclusive and chal-

create the performance.”

lenges the traditional notion that theatre

is created by one writer alone in a room.

Moment Work creates a more egalitar-

Moment Work is a reminder of theatre’s

ancient beginnings – in ritual, storytelling

ian theatre process because more minds

Because it opens the process to more

contribute in the rehearsal room. This

voices and more idea-makers, “Moment

Gaye Jeffers is a professor of directing, theatre history and playwriting at the University of Tennessee at Chattanooga. She has worked with the Goodman Theatre, Chicago Dramatists and Victory Gardens Theatre.

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Spring 2020 x Southern Theatre x 35

2020 SETC Young Scholars Award Winners GRADUATE WINNER: TERESA SIMONE Performing Monkeys in Rococo France Teresa Simone is a

about Arlecchino giving birth to a baby

second-year PhD

monkey. There were several similar

student in theatre

figurines made, all linking Arlecchino

at F lor id a St at e

to mon keys. W hat creates t he l i n k

University. She is

between Arlecchino and monkeys? It

a graduate of the

was fashionable to depict performing and

Dell’Arte Interna-

performative monkeys in art. For example,

tional School for

there are paintings from the time period

Physical Theat re

that depict monkeys walking tightrope.

and has an MA in gender studies with a

Singerie was a trend in décor of painting

concentration in performance studies from

monkeys in clothing, “aping” human

the University of Arizona. She has trained

behaviors. These art representations

with Augusto Boal, the San Francisco

illustrated the fact that in populist theatre,

Mime Troupe and Cornerstone Theatre.

performing monkeys were very popular.

Abstract: This essay looks at art objects

I compare the representations to art

to examine representations of performing

evidence documenting Turco, a very

and performative monkeys in Rococo-era

popular performing monkey from the

France. I begin looking at a chinoiserie

time period. I discuss how these visual

figurine of Arlecchino, holding a baby

representations of performing monkeys

monkey. The figurine alludes to a story

exhibit Orientalist aesthetics. n

UNDERGRADUATE WINNER: FALAN BUIE-MADDEN Desdemona: A Play About a Handkerchief, Materialist Feminism and Female Spaces

36 x Southern Theatre x Spring 2020

Falan Buie-Madden

context and the original text Othello, we

i s a s e n ior BFA

can trace the progression of how female-

mu s i c a l t h e at r e

only spaces are regarded. The materialist

student at Auburn

feminist lens accentuates the role social

Un i ve r s it y w h o

status and class play within such a liminal

plans to pursue a

space and faults the pervasiveness of

master’s degree in

masculine tendencies for much of the

directing or applied

conflict within the piece. We are given

theatre studies this

an insider look to a new part of Cyprus,

fall. Her current projects include Ladies

without ever forgetting the reason these

Room, a devised piece based on the

women cannot always behave this way.

intricacies of social interaction within

Class tensions and violence seep through

public female restrooms, and Sex Education,

the walls of what, to them, is a sacred space.

a solo performance art piece about the

Meanwhile, this “back room” is likely

failings and fallacies of sex education

not well regarded to the rest of the castle.

curriculums, particularly in the South.

Desdemona, with the help of materialist

A b s t r a c t : T h is paper ser ves as a

feminism, shows the value of narrative

materialist feminist analysis of Paula

through female spaces – how they add to

Vogel’s Desdemona and the semantics

or completely change an existing story and

behind the portrayal and perception of

how, most times, they add their own new

female inhabited spaces. Using historical

story altogether. n

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