Southern Theatre Fall/Winter 25-26

Volume LXVII Number 1 • Fall/Winter 2025-26 • $12.00

A.I. ANXIETY Navigating the intersection of tech and education

BEING BLACK IN MUSICAL THEATRE Coping with inequity & isolation in the conservatory classroom

NAVIGATING THE NEW STAGE Advice from Recent Grads on Life in Professional Theatre

plus the

2025-26 COLLEGE, UNIVERSITY & TRAINING PROGRAM DIRECTORY Fall/Winter 2025-26 | Southern Theatre | 101

Lydia Melka-White combines her BA in Theatre and her BS in Business in her work as an Associate Consultant with Bain & Company, Atlanta. Part of her journey (pictured here) was an internship in artistic programming at the Kennedy Center for the Performing Arts in Washington, D.C. Lydia’s one of eight young theatre professionals who offer their advice to recent grads, p. 22.

Contents

Columns 6

Outside the Box:

Recycling wood: a sustainable option

by David Glenn

Design & Tech Solutions

Volume LXVII Number 1 | Fall/Winter 2025-26 | Southern Theatre – Magazine of the Southeastern Theatre Conference

Features 12 A.I. Anxiety Navigating the waters at the intersection of tech and education

by Thomas Rodman

22 Navigating the New Stage Advice from Recent Grads on Life in Professional Theatre

by Ricky Ramón

8

What’s On Your Mind?

Dealing with rejection

by Jonathan Mathias Lassiter, PhD

10

H@ndle Your Business

Coping with the cost of the biz

by Frederick Marte

2025-26 SETC College, University & Training Program Directory

54

Theatre on the Page

page 29

Mental Wellness & the Artist

Book Review

46 From the Conservatory to Broadway Being Black in Musical Theatre

by Kenzi James

Building Embodiment

by Kathryn Tkel

On the cover

The University of Southern Mississippi’s 2022 production As It Is in Heaven

by Arlene Hutton directed by Blake Waters. Shown in the photo are Noell Prince (left) as Fanny and Delaney Bird (right) as Hannah. Costume design

by Rebecca Earehart. Lighting Design by Andrew Bledsoe. Scenic design

by Izzy Christensen. Sound design by Chance Beck. Production Stage Manager, Anna Pierce. Photo taken by David Coley.

Fall/Winter 2025-26 | Southern Theatre | 3

FROM THE

EDITOR

Lean into new beginnings this fall. Fall brings about a change of the seasons, the opportunity to vet various institutions for those headed to college, and a time to reflect on all that has been accomplished this year. Living with a sense of joy is paramount to continued growth as an artist. Stay in awe of the universe’s unending gifts and nurturing---for it will help propel you to new heights.

In this issue, the contributors remain steadfast about reflecting on past experiences in the theatre to forge a better future. Within these pages you can learn from myriad voices about their experiences in the theatre, providing you with tools and tips to help you succeed in your chosen sub-fields. We’ve also included the popular College Directory to help prospective students narrow down their choices for continued education. As SETC continues to flourish, we always welcome you along for the ride. Grab your coffee or tea and enjoy.

Onwards,

Sharrell aka Dr. L. Editor-in-Chief @sdluckett

4 | Southern Theatre | Fall/Winter 2025-26

From the SETC President Setting the Stage Set for Creativity, Collaboration, and Connection EDITOR-IN-CHIEF

Sharrell D. Luckett, PhD SETC PRESIDENT

Jeremy Kisling

SETC ACTING EXECUTIVE DIRECTOR

Jack Benjamin

ADVERTISING

Thomas Pinckney, thomas@setc.org BUSINESS & ADVERTISING OFFICE

Southern Theatre Conference 5710 W. Gate City Blvd., Suite K, Box 186 Greensboro, NC 27407 info@setc.org PUBLICATIONS COMMITTEE

Becky Becker, Clemson University (SC) Ricky Ramón, Howard University (DC) EDITORIAL BOARD

Maisha Akbar, Fort Valley State University (GA) Tom Alsip, University of New Hampshire Carlton V. Bell II, SETC VP of Finance Keith Arthur Bolden, Spelman College (GA) Amy Cuomo, University of West Georgia Caroline Jane Davis, Furman University (SC) David Glenn, Sanford University (AL) Iris Goode-Middleton, PhD, Hampton University (VA) Kenzi James, NYC Secondary Educator & Artist-Scholar Kylta Kazuschyk, Louisiana State University Sarah McCarroll, Georgia Southern University Tiffany Dupont Novak, Actors Theatre of Louisville (KY) Thomas Rodman, Alabama State University Jonathon Taylor, East Tennessee State University Chalethia Williams, Miles College (AL) OUTSIDE THE BOX EDITOR

David Glenn, Samford University (AL) THEATRE ON THE PAGE EDITOR

Sarah McCarroll, Georgia Southern University (GA) COLUMNISTS

Jonathan M. Lassiter, PhD, Lassiter Health Initiatives Frederick Marte, B.A.M. Studio Ambassador LAYOUT EDITOR

Scott Snyder, Muhlenberg College (PA) ASSISTANT TO THE EDITOR-IN-CHIEF

Nikki Baldwin

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 nikki@setc.org Southern Theatre (ISSNL: 0584-4738) is published two times a year by the Southeastern Theatre Conference, Inc., a nonprofit organization, for its membership and others interested in theatre.

Copyright © 2025 by Southeastern Theatre Conference, Inc., 5710 W. Gate City Blvd., Suite K, Box 186, Greensboro, NC 27407.

All rights reserved. Reproductions in whole or part without permission is prohibited.

Subscription: Included in SETC membership. Join at setc.org Single copies: $12 plus shipping EIC Photo: Tracie Jean Photography

As winter approaches, SETC is buzzing with activity and forward momentum. One of our most important initiatives this season is the search for our next Executive Director. With the application process now closed, we are moving into the next phase: interviewing and vetting candidates. We’re excited about the leadership possibilities ahead.

In parallel, we’re making significant progress on our Governance Restructuring Project. Over the past few months, we’ve hosted several town hall meetings to introduce the proposed structure to SETC’s leadership and committees. These conversations have been vital in shaping a more transparent and effective organizational framework. Next, we’ll be reviewing SETC’s bylaws and rules to ensure alignment with nonprofit standards and best practices. This step sets the stage for a stronger future.

We are working hard to make our March conference in Chattanooga one of the best conferences SETC has ever hosted. If you have time, please take a moment to send a “thank you” to the Central Office staff and Jack Benjamin to express your appreciation for all the hard work they do for the organization every day.

Jeremy Kisling SETC President 2024-25

From the SETC Acting Executive Director I have met and continue to meet remarkable theatre professionals and forged lasting friendships.

It has been my privilege to dedicate many chapters of my professional journey to SETC, serving not only across four presidential terms but in a tapestry of governance roles that have shaped both the organization and me. Most recently, in December of 2024, I was entrusted with the position of Interim Executive Director, guiding SETC through an important period of transition as we searched for new leadership. This responsibility stands out a highlight I will carry with me always.

Now, as SETC looks toward securing a new permanent Executive Director and refines its governance structure for a brighter future, my heart is full of gratitude. I wish to extend my sincerest thanks to every colleague and collaborator who has shared in this work; together, we have built more than an organization—we have fostered a community. I am especially indebted to the extraordinary central office staff, whose unwavering commitment ensures SETC’s operations are as smooth and vibrant as the organization itself.

As SETC prepares for new leadership, I raise a toast to each of you — past, present, and future — for your energy, dedication, and your vision. Here’s to all we have achieved, and all that lies ahead.

Cheers!

Jack Benjamin

Fall/Winter 2025-26 | Southern Theatre | 5

OUTSIDE OUTSIDE THE THE BOX

D ee snitganl W M & eTe l l ncehs sS o&l utthi oe nAs r t i s t

by D JT ohanevaoi dt hMG aenltezM n na t h i a s L a s s i t e r, P h D

Recycling Wood: ATech Sustainable Option Troubleshooting in Theatre

A problem that all theatres face is the temporary nature of our construction, and the effort and expense required to dispose of the scenery. With the price of materials increasing, theatres have looked for more reusable materials and are looking to build live for theatre can betoone in Tech a wayweek that in allows materials be of the most However, challenging phases the for conany repurposed. sometimes sound designer.

Constantly shifting cues, struction materials must be discarded after a show, and that can alsoand be athe considerable unexpected changes, need for expense. rapid adjustments make troubleshooting a A 40-yard can cost daunting task. dumpster Over the years, I’vebetween learned $500noand $800 depending area, that show adheres strictlyon to your the script, material of goes straight into and the no amount preparation cana landfully fill. Whilethe it is common forrequired metal such as anticipate audio changes during steel and aluminum be recycled, it has rehearsals.

My early to method of managing alwayschanges been standard practice to throw out these using “scenes” mute and wooden microphones materials. Thisbecame practice has always unmute cumbersome seemed wasteful and has tough and inefficient during techalways week,been leading me to search justifyfor as aour industry moves towards better solution. more sustainability.

As I was riding around Birmingham, Alabama, one day, I passed by a facility that advertised itself as a wood recycler. Having never seen onestarted before,inI theatrical called them as When I first sound soon as IIrelied had gotten backfor to precise my shop.

This design, on scenes control particular recycler focused mostly on tree over muting and unmuting microphones. and landscape debriswas from storm damage, While this approach more efficient than but theymuting had anand areamore where theythan accepted manual precise mute construction debris andoverwhelming. wood pallets.I groups, it quickly became However, unlike metal recyclers, wood often found myself scrambling to create new recyclers chargethem you between based onexisting the weight scenes, inserting ones, of the material youchanges—hoping are dumping. I didn’t and documenting This company hadcrucial. never This had aadded theoverwrite something atre bring their scenery, but they quickly unnecessary stress, and I frequently stayed agreed torehearsals, let me dump my debris.

The only late after manually programming requirements wereI’dthat it be wood only the adjustments jotted down during (no foam, plastic, or veneer laminated to it) and that it not have any metal pieces in it larger than a screw or nail (no bolts, hinges, or other hardware). Because I was going to be dropping off the scenery in a full-sized pickup truck, the manager of the facility set

How MIDI Simplified My Sound Cue Workflow

The Limitations of Scene-Based Audio Control

Mute

Unmute

2024-25 6 | Southern SouthernTheatre Theatre| Fall/Winter | Fall/Winter 2025-26

the day. It was clear that the traditional

designers tackled similar challenges. That’s

scene-based approach wasn’t sustainable for

when I stumbled upon the idea of using MIDI

large-scale productions.

to control all my muting and unmuting. MIDI,

That realization hit hardest in 2018 while

or Musical Instrument Digital Interface, is a

working on the sound design for Children of

communication protocol developed in the

sidered this a challengefeaturing to see how few trips massive undertaking, 32 lavaliers, by piling themonitoring, scenery as stage high aI could full pitmake orchestra, in-ear as I could,choir safelymics, to secure monitors, soundit.effects on QLab,

Astime, you itmight have noticed, used the Over was adapted for useI in digital

the rate at $15 per load. OfThe course, con-a Eden at Samford University. showIwas

and a guest performance by American

Cheaper than a Dumpster

songwriter David Phelps. The complexity of

on a larger the number of the Even production made show, programming scenes trips to the recycling facility usually capped on the console a monumental task. I needed between 4 to way 6 loads.

Findingthea facility aatmore efficient to manage show’s that could recycle all of my wooden refuse intricate audio requirements. for under $100 per show helped ease my conscious and helped me to feel less guilty about the often-wasteful the temDetermined to find anature betterof workflow, Iporary beganconstruction. researching how other sound The facility used a giant mulcher to grind the wood scrap into a pulp, and the mulcher utilized large magnets to pull the fasteners out of the pulp. The pulp was later sold to paper mills, pressboard furniture makers, or to coal plants to burn as an

Discovering MIDI as a Solution

alternative to coal.

1980s to control parameters on synthesizers. past tense to describe that systems, wood recycler. audio workstations, lighting sound

They closed business a short time ago, consoles, andthe video systems.

Despite having and I am again searching recycling worked with digital consolesfor for ayears, I had

option.

However, after 15 years recycling never given much thought to theof MIDI ports

mythe construction I amI determined to on back of thewaste, console. assumed they

continue. of the most common queswere just One another feature manufacturers tions that I get is, product “What do you do with added to pad their specs.

all However, of this when the show closes?”

I quickly realized that Being MIDI able to that you recycle what you can’t was thesay solution I had been looking for. repurpose feels much better than explainEvery digital audio console manual includes that it on goes into awhich landfill. aing section MIDI, details how the protocol can control various parameters.

Where to Look

Locating a facility that will take your scenery may be difficult, but the satisfaction that comes from finding one is worth the effort. In larger markets that have a lot of construction and demolition, you may

find a facility that advertises as a C&D (construction and demolition) recycler. In markets that don’t have large C&D facilities, you can still find companies that state that they recycle construction materials.

Businesses that repurpose architectural materials may advertise with the similar verbiage, so you may need to call to verify the exact nature of their operation.

Finding where your local municipality or tree cleanup services drop their storm debris can lead you to a large wood mulcher. Not all facilities that mulch storm damage trees will process construction waste with fasteners, but a quick survey of a facility can reveal construction debris piles or used and broken pallets. Contacting a pallet recycler can also lead you to an operation that will take your wooden debris.

Businesses that advertise that they recycle wooden pallets are often repairing them for re-use; however, many of them end up broken beyond repair. Contacting a local pallet supplier can lead to a recycling operation.

In Atlanta, Georgia, the Metro Green facility on Pleasantdale Road accepts construction waste at a rate of $100 per ton.

If you are in the area and take two tons of debris to that facility in a rented stake bed truck, your cost would probably be less that $400. That is still a considerable savings over the cost of a dumpster. Every state has an environmental department that would be more than happy to connect you to recycling resources if they are available.

The Broadway Green Alliance is also an incredible resource for all things dealing with sustainability.

Other Rewarding Options

What to do if there just isn’t a recycling option: In the time that I have been without a recycling option, I have switched from pneumatic fasteners to screws to allow more deconstruction, and I reduced the amount of wood glue that I am using which results in cleaner boards for re-use. I spend a little more time deconstructing, and I end up with a variety of board-lengths in my rack. On the plus side, I am saving money on future shows. I have also made some of the show-specific pieces that would have been tossed available to local theatres and high school theatres.

A custom-built platform that would just take up space in my shop could be the central scenic piece for a high school production operating on a low budget. A Facebook group made up of local theatre people has given me the best results when trying to re-home used scenic pieces and construction supplies, as well as older lighting and sound gear. It helps to also have the phone numbers of a few theatre teachers or schools that are always in need of donations. This type of recycling is exciting because you get to see the positive impact it can have on others.

Theatre production and sustainability haven’t always been aligned, but on a

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.

Loaded Up A typical theatrical set will fit in as few as four to six pickup loads, if you pile it high enough.

Ground Up A mulching machine like this one grinds the wood to pulp, using magnets to remove metal fasteners.

Piled Up From the mulcher, the wood travels up the conveyor belt to the pile outside. This pulp will be used for everything from fuel to paper to pressboard furniture. personal level, it feels so much better to recycle wood scrap than to throw it into a dumpster. Efforts to share more and more of our custom-built pieces and excess material with others have also been rewarding.

Search your local area for “C&D recycling” or “construction waste recycling” and try a few of the other previously stated methods for locating a recycler in your area. It just might save you some money and help ease your conscience about the temporary nature of our work. n

David Glenn (he/him) is the editor for Outside the Box and the Technical Director/Scenic Designer for Samford University. He has an MFA in Technical Direction from the University of Arizona and a BFA in Production Design/Tech from Auburn University.

Fall/Winter 2025-26 | Southern Theatre | 7

WHAT'S ON YOUR MIND?

Mental Wellness & the Artist b y J o n a t h a n M a t h i a s L a s s i t e r, P h D

Dealing with Rejection Submit your mental wellness questions for Dr. Lassiter. Questions from students, theatre professionals, and educators are all welcome, and you can request to remain anonymous or not, it's up to you. Follow the link at solo.to/setc.

Dear Dr. Lassiter, Lately, I am having a hard time dealing with rejection. I have been auditioning for many roles, and it seems like I can't land anything. I know rejection is a part of the business of acting, but any advice on how I can deal with rejection better?

Hi, Reader — Thank you for writing in with this question. First, I want to affirm how hard it is to encounter rejection repeatedly. The life of the artist is indeed a hard one. However, there are several tools from psychology that can help you cope better with rejection. My tips are below.

Tip #1: Allow yourself to feel your emotions related to rejection. A helpful way to do that is to use the STOP technique.

S — Stop and take a time out. You may find that you need to leave the space where the rejection was communicated. That is okay.

T — Take a deep breath. Take several breaths, if you need.

O — Observe what you are feeling. See if you can name the sensations in your body. For example, does your face feel hot? Is your stomach churning? Are your shoulders raised? Are you scrunching or tensing your face? Allow yourself to identify the emotions you feel. Is it anger? Sadness? Disappointment? Observe what you are saying to yourself. Maybe you 8 | Southern Theatre | Fall/Winter 2025-26

are being mean to yourself. “See, this proves you can’t act.” “You should just give up.”

Whatever you observe, don’t judge or try to change it. Just allow it to be.

P — Proceed mindfully. Move forward understanding that you are feeling a lot. You are feeling things in your body. Emotions may feel intense. Your thoughts may be unhelpful. That’s okay.

These things will pass.

Allow yourself to move forward without acting in reaction to what you are feeling. Instead seek emotional support.

Take a nap. Journal about your emotions.

Choose your response with intention, not out of trying to avoid your distress.

The STOP technique will help you get in touch with your body, emotions, and thoughts. It is designed to slow you down and impede unhealthy reactions to distressful experiences. It can be useful for emotional regulation – effectively managing one’s emotions.

Tip #2: Reframe your why. For some actors, all that matters is booking the gig. If this is true for

you, the career will be very unsatisfying and distressing as rejection is built into the job.

Most actors experience more nos than yeses.

If you consider these auditions as sharing your gift without an expectation of landing the role, it might take the pressure off.

Consider that your job as an actor is to audition, not to book your first or third or twentieth audition. It’s a numbers game. The more you audition, the more you increase your chance of booking. Shift your why and have fun in the process.

Tip #3: Remind yourself that you don’t know why you didn’t book the role and that’s okay.

There are a multitude of reasons people don’t book a role. It could be your acting skill. More likely it’s that you weren’t the type they had in mind for the role. Maybe, they wanted someone with a bigger profile? Don’t turn on yourself and immediately doubt your abilities. You can’t mindread – believe you know what someone else is thinking in their head.

You will likely be wrong. What you do know is that acting is a competitive field and rejection is a given. And know that it is likely not personal. The director or casting agent is not personally against you or thinking bad about you.

These are just a few tips that I hope are helpful as you navigate your career. The low moments – such as rejection – are painful.

That is okay. But you don’t have to suffer.

Indigenous psychologists believe that suffering comes from refusing to accept life as it is. So, reduce your suffering by accepting the low points as part of the process. n

Dr. Jonathan M. Lassiter (he/him) is a licensed clinical psychologist in private practice in New York City, certified in Optimal Conceptual Theory/Belief Systems Analysis — an African-centered psychotherapy. His book, How I Know White People Are Crazy and Other Stories, will be published on November 4, 2025,

by Legacy Lit Books.

H@NDLE YOUR BUSINESS

written & curated

by Frederick Marte, LMSW

The Cost of the Biz In each edition of H@ndle Your Business, Frederick will tell you about online resources that performers and theatre professionals need, and showcase theatre companies and organizations that want to connect wit YOU online.

Saludo, buenas! I’m back again to make sure you h@ndle your business. To recap, we’ve discussed areas in the theatre field having to do with values, professionalism, and other opportunities, but we have yet to talk about something really important—being an artist costs money. You are responsible for classes, workshops, equipment for self-tapes, travel, headshots, union fees, costs of a production, and that’s not even half of it! Sometimes it can feel like your bank account goes through more ups and downs than you do during an extensive monologue.

The cost of some of the necessities of pursuing this career can be daunting.

However, there are organizations that can assist you in funding your theatre education and artistry. Opportunities for grants, fellowships, scholarships, or even direct support through cash assistance are available to you as long as you know where to look for them. It might feel counterintuitive to need so much financial backing to participate in necessary aspects of just learning or applying to a program, but you don’t have to wait until you have everything figured out. The resources to support you in this journey do exist right now!

For this segment, I’m spotlighting two 10 | Southern Theatre | Fall/Winter 2025-26

handles, @creativecapital and @nyfacurrent, that will lead you to the coins that can fund your artistic experiences and provide insight on opportunities such as networking events that can open doors to the room where it happens.

So, no dejes que por falta de dinero no cumplas tus sueños.* Go out and look for ways to fund your artistry! Because once you have more financial resources, you’ll be able to start doing more art rather than thinking about it.

Creative Capital Instagram: @creativecapital Website: www.creative-capital.org

Creative Capital is a support for artists who have bold and innovative ideas by providing unrestricted project grants, professional development, and community-building services to foster thriving careers. They have awarded more than $50 million in project funding and offered an array of professional development programs to thousands of artists since 1999. On their page you can see previous awardees discussing their stories that can provide some insight to opportunities that can reduce financial burdens. However, they don’t just

provide money but also mentorship so that what you decide to do with the funding is sustainable.

New York Foundation for the Arts (NYFA) Instagram: @nyfacurrent Website: www.nyfa.org

NYFA is widely known for its unwavering commitment and support of artists for more than 50 years. They offer fellowships, emergency grants, and resources across all disciplines, which includes theatre.

The New York Foundation for the Arts is not just a funding mechanism. They are also a network that allows access to a job board, artistic/educational opportunities, and more so that you can become a wellrounded artist capable of understanding the intricacies of owning a business. You are the business! If you want to be well informed on the most lucrative funding programs that can provide support or connect you with other artists, you have to follow them. n *Don't let a lack of money stop you from fulfilling your dreams.

Frederick Marte, LMSW (he/ him) is an Official Ambassador for the Black Acting Methods Studio. He teaches theatre in NYC, and was the 2022 Programming Intern with the Black Theatre Network. He holds a Master of Social Work degree from Touro University and is currently working toward his PhD in Social Welfare from Yeshiva University. @fredericktalks

AI Anxiety Navigating the waters at the intersection of tech and education

by Thomas Rodman

Image by Thomas Rodman & ChatGPT

Artificial intelligence (AI) is technology that enables computers and machines to simulate basic comprehension, problem solving, decision making, creativity and autonomy. AI functions by using algorithms to learn patterns and make predictions from vast amounts of data, rather than being explicitly programmed for every task.

This process, often through neural networks, allows AI to perform tasks such as understanding language, recognizing images, and solving problems by identifying trends in the data it processes.

These capabilities started by powering practical tools like search engines, fraud detection systems, and voice assistants, but they also opened the door to something even more groundbreaking: Generative AI. Unlike earlier applications that mainly analyzed or categorized information, Generative AI uses what it learns to create new content—text, images, music, and more.

In the past 40 years, advancements in computer power and required technologies have allowed AI to come into its own. When ChatGPT launched publicly in late 2022, it became the first major introduction many people had to Generative AI — AI that can “create” content. This release raised awareness and demonstrated the capabilities of Generative AI to a wide audience.

Since then, Generative AI has become mainstream, with a significant surge in popularity and adoption. The widespread use of AI in everyday tools and technologies has literally exploded over the past couple of years, and one would be hard-pressed to find any sector that hasn’t been touched by it. Every day we are bombarded by

AI from our phones, smart devices, social media, and streaming ads. “AI Powered” has quickly become a marketing catchphrase for many companies and products.

These factors have converged to create fertile ground for the rapid progress and widespread adoption of Generative AI, leading to the current revolution in almost all industries.

For many, its current state is both exciting and terrifying, especially for educators.

The Impact of Generative AI in Education In the classroom, educators previously worried about simple plagiarism and strove to teach students to correctly research, use, and cite sources for their projects and papers. Now, with Generative AI, students can create a simple prompt and have a completed project or paper provided to them after a few moments including cited sources. So, where does that leave education?

Many schools and educators have embraced AI, but some remain confused and unsure how to proceed. Their institutions have enthusiastically adopted AI in the classroom without creating the infrastructure needed to support faculty, students, and staff. Many educators have not or feel as if they have not received any guidance from their schools on just how to properly embrace AI and teach with it. How do you educate your students (and faculty) on how to use AI effectively, responsibly, and ethically?

The following interviews shed some light on how AI first appeared on the horizon and how we are thinking about it and dealing with it now.

“,,

AI is everywhere.

The concept of Artificial Intelligence (AI) has been around for decades.

It has been popularized in science fiction and fantasy, where we encounter interactive computers and autonomous robots. Although there was considerable excitement—and a fair amount of research—practical applications remained limited due to a lack of technological infrastructure and computing power.

But what really is AI?

A significant majority (83%) of faculty members expressed concern about student ability to critically evaluate AI-generated output.

“,, - Educator Survey, Digital Education Council

14 | Southern Theatre | Fall/Winter 2025-26

Interview with Darren Hudson Hick Associate Professor of Philosophy at Furman University, Greenville, South Carolina.

What has been your experience with AI? I have the wonderful honor of being, one of the first professors, at least, to announce catching somebody’s cheating using ChatGPT in December 2022, which is so long ago now.

I confirmed that this was indeed AI and I had to learn a lot of stuff really quickly. And I thought, I know a lot of professors who would probably like to know about the super tool that has suddenly appeared, and how good it is.

So I wrote a long Facebook message, explaining everything. Right? From what triggered my spidey sense, to what sort of research I had to do, to what I have learned along the way and finally to what the outcome was. So, I posted all of that on Facebook, and I got an email or a Facebook message a short time later from some journalist in Chicago who wanted to interview me.

And I thought that was just weird. So I said, no, thanks. Anyway, then I got an email from the Australian Broadcasting Corporation who wanted to put me on the radio, and I said, okay.

I mean, apparently this is going to be a thing, so fine. And that’s what started the media blitz.

So that Facebook message got shared 17,000 times. Wow. Which doesn’t happen a lot with Facebook. And then, yeah, I’d say for the first few months after that, I would get, 2 to 3 media requests a week. I was on NBC, PBS, CBS, and Fox News, and I don’t know how many radio stations. And this was just the early days. This was a Paul Revere moment, Right? That AI is coming, and I think I did a good job, but mostly they just wanted a face that they could use saying AI is coming. Here’s a guy to confirm it.

After that they started pivoting to questions that were more productive than alarmist: ‘So how are we going to use this?’

What’s your take on AI now?

Darren Hudson Hick I stayed pessimistic. Now, nearly three years later, I’d say I was actually a little too optimistic. Almost all cheating now is AI cheating.

I’ve been on the academic disciplinary committee for the past three years, so I’ve seen every case that’s come through. These days, when you catch what I’d call “internet plagiarism”—like a student just ripping something off Wikipedia—it almost feels quaint.

Back in December 2022, my big concern was that we had no policies for this. Institutions simply weren’t prepared, and everyone was scrambling for answers. At Furman, I dug into our policies and realized we were covered— mainly because of how we happened to phrase our definition of plagiarism. But at other schools, with just slightly different wording, they weren’t covered and had to rewrite their policies.

We’re better than we were, both at Furman and collectively in terms of figuring out how to handle AI. But we’ve had to work at the institutional level to accommodate both ends of the spectrum: faculty who are strongly opposed to AI in the classroom, and those who are at least open to creative uses. Furman’s solution has been a blanket policy: students aren’t allowed to use AI on assignments unless the instructor explicitly says they can.

Where do you think this is going?

Remember when the internet happened, like 30 years ago? Everyone was super excited, Fall/Winter 2025-26 | Southern Theatre | 15

but no one really knew what it was. We were just playing Six Degrees of Kevin Bacon. But we all knew it was going to be something.

There were the alarmists, warning about plagiarism everywhere, and then there were people saying, “We really need to figure out how to use this in classrooms.” And it was the latter group who were right.

This is inevitable.

I know faculty now who barely use the internet except when they have to—like submitting grades online. If you’re not using the internet productively in your classroom today, you’re a dinosaur. That’s just the reality. In ten years, anyone not using it productively will be extinct in the academic sense. The big question now is what counts as “productive

use.” We’re still figuring that out. And, honestly, whatever universities decide to use will mostly be guided by what makes the most money. Some tools will be productive, some won’t. Time will tell.

I spent a lot of time thinking about this, and then I realized: ‘Why am I teaching philosophy this way?’

What am I training students for? Memorizing arguments? Sure, that happens at the intro level, but philosophy is more than that.

The real point is to go home, wrestle with a problem, engage with it fully—from coming up with something to write about, to decoding poorly written, obtuse texts, to figuring out your own position, crafting an argument, and then actually writing it in a way another human could

“,,

Ask yourself: why are you using this tool? Are you trying to skip a step? That’s exactly what AI is good at. But don’t let skipping the steps replace the thinking.

“,,

understand.

AI can do all of those steps, but every single one of them is a step away from being human. That’s where my general stance on AI comes in. Nearly three years in, I see AI as an excellent tool for many things—particularly tasks where the goal is producing a final product efficiently.

For example, I had a senior working on a thesis. After writing and passing the prospectus, he needed an abstract for his record. I said, “That’s a job for ChatGPT.” We fed it the prospectus, asked for a 50-word description, and it did it, and it was great. Why struggle through writing abstracts for things we’ve already written? That’s a perfect use of AI. Checking my syllabus to make sure I didn’t get dates wrong? Another great use.

The key, and what I tell my students, is to be deliberate. Ask yourself: why are you using this tool? Are you trying to skip a step?

That’s exactly what AI is good at. But don’t let skipping the steps replace the thinking. Use it intentionally. n

Fall/Winter 2025-26 | Southern Theatre | 17

Interview with Kenley H. Obas, Ed.D Assistant Professor of Technology and the Coordinator for the Applied Technology Program at Alabama State University, Montgomery, Alabama.

What is your take on the pace at which AI is being introduced into our everyday lives?

I think the pace has been pretty rapid— probably faster than most people expected.

The speed of it is really astonishing. At the same time, AI has been around us for a while.

I think back to things like Siri, and even earlier applications. Those have been part of our lives for years.

But when OpenAI came onto the scene a few years ago, that’s when things really shifted. It was a huge leap from asking Siri to set a 10-minute timer to what AI can do now.

That’s probably the best way to answer your question: the pace was somewhat expected, but it’s also incredibly fast.

AI is now showing up everywhere—education, government, even in vehicles with autonomous driving. The spread and speed of it all feel really rapid.

What about in the classroom? Do you have an opinion? Is it coming too fast?

That’s a great question, and it really depends on who you ask. From the faculty perspective, many feel like things are moving too quickly—they can’t keep up. Students are submitting work that uses generative AI, and professors are telling me, “I can’t always tell what the student actually created versus what came from AI. I can’t design new assignments fast enough to make them AI-proof.”

On the flip side, students seem to be adapting to it much more quickly. From their side, it’s moving at a steady, even exciting pace. But for faculty—especially in higher education—the sense is that it’s overwhelming. And this isn’t just at Alabama State; I hear the same thing from colleagues across the country.

The analogy I hear most often is that 18 | Southern Theatre | Fall/Winter 2025-26

Kenley H. Obas, Ed.D. faculty feel like they’re trying to plug holes in a dam. Just when they think they’ve figured something out, another challenge appears— like suddenly AI can generate images. Then it’s, “Okay, now I have to plug this hole too.”

What is your overall sense of how educators are viewing AI? If you had to throw out some numbers, what rough percentage of educators look at AI as being a positive thing or look at it as being too fast, too quick?

From surveys I’ve seen, around 40% of faculty felt that AI was a real disruptor that could shake up their entire classroom. But when asked whether it was ultimately a good or bad thing, the responses were harder to pin down.

From my own perspective, I see a wide range of reactions. Some faculty members are ready and enthusiastic—they tend to be the early adopters of technology who usually embrace new tools right away. On the other hand, the faculty who’ve historically been more hesitant about technology are the ones struggling the most now. They’re the ones saying, “I don’t know what’s going on with this.”

If I had to break it down, I’d estimate maybe 20% of faculty are excited and fully on board with AI, while about 80% feel overwhelmed or negative about it, saying it’s moving too fast.

Right now, I think we’re in that transition period—moving out of the early adopter phase and into the broader adoption by the masses. Eventually, of course, there will be the late adopters, and probably the last 20%—the laggards—who may never really adopt it at all.

now, there’s the possibility that, in the future, systems could cross-reference that information and reattach it to individuals. That’s the kind of gap our current policy doesn’t yet account for.

What steps are ASU taking to teach students how to use AI appropriately, effectively and ethically?

What are the guidelines that ASU may have right now about ethically using AI, or about AI use in general?

We have an Artificial Intelligence Use Policy that was approved by the Board of Trustees. It’s very basic—just a general outline of how faculty, students, and staff are expected to use AI. I co-chair our campus AI committee, and one of the things we’re doing now is analyzing that policy. For example, something it doesn’t address is what happens if a faculty or staff member is preparing a report for a federal agency about student achievement, classroom outcomes, or retention—and they use their personal ChatGPT account to analyze that data.

In doing so, they might upload student information into the system. Is that okay?

Technically, that’s private campus data being entered into a public domain.

Our current policy doesn’t cover that.

It doesn’t say, “You can’t use ChatGPT to analyze student records or information.”

What we’re realizing is that this isn’t just an AI issue, it’s really a privacy issue that should be addressed at a higher level. FERPA, for example, allows data to be uploaded as long as students can’t be personally identified.

That’s fine in theory, but what happens down the line?

AI is designed to find patterns and make connections. Even if the data is anonymous

On the AI Committee I’m on, one of the things we’re working on is a class for students about the ethical use of AI. The goal is to cover standards like citation, responsible use, and how to use AI to enhance your work, not replace it.

The plan is for it to be a required zerocredit course. In it, students would talk about ethical use, proper citation, best practices, and learn about the university’s policy and stance on AI. I’d describe my own approach as cautiously optimistic.

I’ve seen some people jump in headfirst, and they’re swimming in it, they’re not drowning, they’re using all the tools and making it work. But I think there’s also something to be said for slowing down a little, analyzing, reading up, and figuring out what’s most effective. That way you can really understand the best practices and the full implications of the whole suite of AI applications. n

“,,

AI is designed to find patterns and make connections. Even if the data is anonymous now, there’s the possibility that, in the future, systems could crossreference that information and reattach it to individuals. That’s the kind of gap our current policy doesn’t yet account for.

“,,

Thomas Rodman (he/him) is a professional lighting designer and an associate professor of lighting and sound at Alabama State University in Montgomery, Alabama.

Fall/Winter 2025-26 | Southern Theatre | 19

Global AI Faculty Survey Digital Education Council Global AI Faculty Survey of 2025 How do educators currently view and use AI in a broader view? The following results come from the Digital Education Council Global AI Faculty Survey of 2025. This survey polled educators from around the world.

(1,681 responses, from faculty members of 52 participating institutions across 28 countries.)

What do these numbers show us? In general, based on this survey, and other sources, here are the pros and cons: Perceived Benefits: • Time-saving: Many educators appreciate AI’s potential to automate tedious tasks like lesson planning, generating activities, and providing feedback, freeing up time for more direct student interaction and relationship building.

• Enhanced personalization: AI can help personalize learning experiences by

20 | Southern Theatre | Fall/Winter 2025-26

tailoring content and instruction to individual student needs and learning styles, especially students with special needs.

• Improved student engagement: AI-powered tools like educational games and interactive learning materials can make learning more engaging and enjoyable for students.

• Professional development support: AI can provide educators with resources and feedback to improve their teaching methods and create more effective lesson plans.

• Improved feedback process: AI can provide instant and detailed feedback on student work, helping them understand their strengths and weaknesses more effectively.

Significant Concerns: • Academic integrity and cheating: A major concern is the potential for students to

misuse AI for plagiarism and cheating.

• Reduced human interaction: Some Educators worry that increased reliance on AI could diminish teacher-student interaction and the development of important social skills.

• Bias and inaccuracies: AI algorithms can perpetuate biases present in their training data, potentially leading to unfair or discriminatory outcomes. AI can also hallucinate information.

• Lack of teacher training and support: Many educators feel they lack the necessary training and support to effectively and ethically integrate AI into their teaching practices.

• Ethical implications: Educators are

grappling with ethical questions around data privacy, transparency, and accountability when using AI tools.

• Potential for over-reliance: Concerns exist that students may become overly dependent on AI, hindering the development of their critical thinking and problem-solving skills.

Overall, educators seem to be cautiously optimistic about the potential of generative AI to enhance education but also recognize the need for careful consideration of its challenges and ethical implications. It is important to remember that AI is a tool that should complement, rather than replace, human educators. Effective implementation requires

Faculty Perception on the Clarity Provided by Their Institution Regarding AI Use in Teaching

Faculty Sentiment on AI's Necessity in Preparing Students for the Workforce

Faculty Sentiment on AI in Education

addressing teacher training, developing clear guidelines, and fostering a culture of responsible AI use in the classroom.

Is there an easy answer to AI and its use?

No. As in most things, it involves going in with eyes wide open, researching the pros and cons and being mindful of how we are using it. As Darren Hick said, be deliberate with how you use it. Above all, any ongoing debates about AI must not lose sight of the central concern: its impact on people, their learning, their growth, and their privacy, and their well-being. n

Please Note: ChatGPT was used as a tool to help rewrite and proofread this article.

Top AI Use Cases in Teaching

Top 5 Reasons Why Faculty Don't Use AI in Teaching

Concerned About Student Ability to Critically Evaluate AI Output

Faculty Usage of AI in Teaching Concerned About Student Becoming Too Reliant on AI

Extent to Which Faculty Use AI in Teaching

The Digital Education Council (and Survey) can be accessed here: https://www.digitaleducationcouncil.com Fall/Winter 2025-26 | Southern Theatre | 21

T

he transition from the structured environment of a college theatre program to the dynamic, often unpredictable, professional world can be daunting. For recent graduates, it's akin to stepping onto a new stage without a full script. To shed light on this pivotal journey, Southern Theatre spoke with a cohort of young theatre professionals—actors, directors, producers, and stage managers—about their experiences, challenges, and the invaluable lessons learned in their first few years post-graduation.

Their collective wisdom offers a compelling guide for aspiring artists preparing to make their own entrance into the industry.

The Journey from Campus to Career

• Jade Scott described her biggest transition as “going from a century-plus old institution with structures and tradition to essentially building a plane while it’s flying. It’s a really good time, let me tell you.”

• Aaliyah Jordan highlighted the profound impact of “the loss of convenient and immediate community.” She elaborated: “I hadn’t realized how much I took for granted having my main support system move miles away from me after graduation.

I learned that having a community in my city was now my responsibility and something I had to actively work on improving.”

• Lydia Melka-White noted that moving back to her hometown of Atlanta after college was “a strange mix of familiarity and newness,” as she “quickly discovered that returning to the same place doesn’t mean you’ll have the same experience.”

• Levi Starr shared his expectation that “the process of getting an agent, booking work in a city, etc. would be easier,” a reality quickly challenged by graduating during Covid-19 when “the majority of production houses were closed.”

• Jade Scott’s biggest concern was “how I was going to financially sustain myself and my company.” In reality, she “just had to get a food service job,” which was “a real benefit to my work because it let me meet and connect with people in the community.”

• Aaliyah Jordan’s biggest concern was “being prepared technique-wise.” She decided to apply to MFA Acting programs, and now, “As I am now one year away from graduating with my MFA, I feel confident in saying that there will never be enough training when it comes to acting. There will always be other techniques to learn and more ways to improve. This will be a lifelong journey of improvement that I am happy to take.”

• Gabrielle Rice’s biggest concern was “not knowing how I’d make money when not in a show.”

She “felt unsure of what other actors did for their ‘day jobs’,” and ultimately “ended up getting a job as a substitute teacher, which offered me the flexibility I needed.”

• Arielle Hightower’s biggest concern was “having to start from scratch” after leaving her close-knit college cohort. However, she found that “in reality, this concern was nothing but doubt!

Everyone was warm, welcoming, and happy to have me.”

• Levi Starr’s biggest concern was “navigating the transition from theatre to TV/film.” He explained, “I grew up doing theatre so relearning the acting medium of the camera was my biggest concern.”

Thinking back to your final year of college, what was your biggest concern about entering the professional theatre world? How did that concern play out in reality?

What specific skills or knowledge from your college program have you found to be most valuable in your professional work? What are some things you wish you had learned more about?

Graduates found the initial leap into the professional theatre world to be a significant adjustment, often differing from their expectations.

What was the most significant transition you experienced after graduation, and how did it differ from what you expected?

“

A big misconception is that you need to have everything figured out right away … but the reality is that your career unfolds gradually.

”

- Arielle Hightower

“

There are opportunities in your field, no matter what it is. Do not let fear mongers discourage you from pursuing your Plan A at full force.

”

- Autumn Angelettie

• Autumn Angelettie emphasized the unique value of her education: “Howard University’s Theatre Department gave me bountiful knowledge about Black theatrical history, traditions, plays, and artists that are often excluded from conversations about the American theatrical canon. This knowledge has given me a leg up in many settings. I’m glad I entered the workforce knowing what made my training special and unique.”

• Gabrielle Rice echoed the sentiment about networking, stating, “The most valuable knowledge I received from Howard was that ‘Your network is your net worth’.” She also credited her HBCU training for teaching her “what was acceptable in terms of treatment in the room” and how to advocate for herself.

• Aaliyah Jordan learned from her university that “my experience is what I make it. If I am out-experienced or out-trained, I can still take it upon myself to make a new connection.

Networking has gotten me everywhere in my career so far. I am so appreciative of the work ethic that my university cultivated within me.”

• Arielle Hightower valued her program’s emphasis on “timely communication and the ability to lead as well as follow.” She said, “I am grateful my college program alternated its stage management students’ roles.” She wished for more knowledge on “contract negotiation and navigating different employment classifications, such as the difference between W-2s and 1099s.”

• Lydia Melka-White, from a small program,

Jade Madison Scott BFA in Theatre Arts Administration, 2021, Howard University.

Founder, WGC Productions; podcaster, writer & director Autumn Angelettie BFA in Theatre Arts, 2021, Howard University.

Associate Director, John Proctor Is the Villain on Broadway.

24 | Southern Theatre | Fall/Winter 2025-26

felt her “hands were in all the buckets,” fostering a “can-do, I’ll figure it out attitude.” She also felt that “George Washington University grows you up in a helpful way.”

In the professional world, what has surprised you the most about your specific field?

• Autumn Angelettie (director) was particularly struck by how “directing theatre has very few accessible entry points.” She noted that opportunities typically arise “from nurturing relationships with playwrights... and with theatrical leadership.”

• Jade Scott (independent producer) was surprised by “how large the international market is” in the independent audio fiction space, noting her English-speaking company has “a large following in France, Brazil, and India.”

• Arielle Hightower (stage manager) was surprised by “how much emotional intelligence is required” in stage management, realizing, “In college I thought stage management was mostly about scheduling and calling cues but in the professional world I learned it’s equally about managing people with compassion.”

How did you approach your job search or networking in the first few months after graduation?

What were the most effective strategies for you?

• Autumn Angelettie: “In my first few months working professionally, I accepted all

Lydia Melka-White BA in Theatre & BS Business, 2024, George Washington University.

Associate Consultant, Bain & Company.

Travis Xavier Brown MFA in Acting, Shakespeare Theatre Company’s Academy for Classical Acting; BFA Acting, Howard University.

Founder & Artistic Director, P.A.R.T. Productions & Theatre Professor

nature of gigs to be in the room and build relationships. I am very good at becoming memorable by doing my absolute best work in any workplace setting.” She added that “Staying connected with these folks via social media and email allowed many of these artists to think of me later.”

• Jade Scott: “I used my Howard Connections to the fullest extent when I first graduated.

From there a lot of my connections knew

other people and their connections knew other people. It’s sort of like a giant web with Howard in the center.”

• Lydia Melka-White: “Invest in networking and establishing new connections as frequently as a weekly basis, especially because of how relationship-focused theatre is. It also helps to never start your first interaction with an ask. If you know you need a job in six months, reach out to say ‘hi’ now.”

Navigating the Professional Landscape Beyond initial adjustments, graduates shared insights on managing the ongoing realities of a theatre career.

How have you handled the financial realities of being a young theatre professional? Are there any financial lessons you’ve learned the hard way?

• Autumn Angelettie described the industry as having “weeks or months where you feel richer than you ever have before, and stretches of time where you can only eat dollar pizza.”

Her advice: “When you are in a period of abundance, set aside as big a chunk of it as you can in a separate checking account.”

• Jade Scott: “It’s a lot of saving,” as her shows, while low-cost, “still eats into the company funds,” forcing them “to become more creative.”

• Travis Xavier Brown: “You’re going to have jobs that simply pay the bills. So, unless Aaliyah Alexis Jordan MFA in Acting & Directing, 2026, Pace University; BA in Theatre Performance 2023, Hampton University.

Resource Specialist, SETC Leviticus Starr BFA in Theatre Arts, 2017, Howard University.

Actor & Photographer.

you have replenishing reserve funds, you will need to balance your fun and your work.

Acting is life, and everything you do will feed your artistry. Also, be nice and kind; you never know who else is an undercover artist working another job!”

• Arielle Hightower: “The importance of budgeting between contracts and being proactive about saving during the busy seasons.”

She also wisely noted, “It’s okay to decline jobs that are underpaid, and commit your time elsewhere. Another important financial lesson I’ve learned is to keep track of all the gigs I’ve done during the year.”

• Levi Starr: Shared a hard-learned financial lesson: “I’ve finally reached the point where I feel as though I’m starting to understand my monthly expenses and what it looks like to budget for everyday life. One of the biggest lessons I learned way too late is that I should’ve Gabrielle Rice BFA in Acting, 2024 Howard University.

Actor, A Wrinkle In Time (Ensemble, Beast/Mother U/S), Arena Stage.

Arielle Hightower BA in Theatre/Theatre Arts Management, 2023, California State University, Fullerton.Stage Manager, South Coast Rep, Outside In Theatre, et al.

Fall/Winter 2025-26 | Southern Theatre | 25

Arielle Hightower (center) has worked as a stage manager at Seaworld Orlando (pictured) South Coast Rep, and Edinburgh Fringe Festival, among others.

saved every single dollar I spent in college and either used it to pay off any debt I have or put it towards a high-yield savings account so my money can make money.”

How have you learned to manage your time, stay motivated, and continue developing your craft without the guidance of professors?

• Jade Scott: “Working in 30-minute chunks really works for me,” and that “the best motivator

Craft-Specific Questions Graduates offered specialized insights relevant to their individual theatre disciplines.

For Directors/Playwrights: What are the most important elements you consider when choosing a project to work on? How have you found opportunities to direct or get your work produced? How has your artistic voice evolved since leaving school?

• Autumn Angelettie highlighted the “vibrant community of indie theatre-makers” as “the best place to get your feet wet as a playwright and a director.” She explained, “I accumulated an abundance of credits in this community, which established my resume, 26 | Southern Theatre | Fall/Winter 2025-26

is seeing the fruits of your work. Once you finish something once you realize that you can do it again and that keeps me going.”

• Gabrielle Rice admitted that managing time has been “a difficult transition” because college was so focused on short-term goals. Her solution: “My biggest motivator has become wanting to be prepared for any audition that might come my way. I had to trick my brain into thinking that I had auditions coming up, even when I didn’t.”

• Levi Starr maintains his skills by “forcing myself to stay in somebody’s class,” and “in my own spare time I often collaborate with other actors and producers that are local and work on indie projects to stay sharp.”

What’s the biggest misconception you think students have about life after graduation?

• Jade Scott: “I think a lot of people think life has to look one way.” She stresses the importance of defining personal success to “make the strides to get it.”

• Arielle Hightower: “A big misconception is that you need to have everything figured out right away. There’s also a lot of pressure to land a dream job immediately, but the reality is that your career unfolds gradually.”

• Levi Starr: “Don’t be surprised if your

work samples, and name recognition.”

• Jade Scott, as a producer, focuses on “the strength of the characters” when choosing projects, and noted that her work has “gotten very metatextual since I’ve left college.”

expectations are met, and don’t be surprised if they aren’t. Anything can and will happen.”

How important has it been to find a creative community outside your college friends and network?

How did you build that community?

• Travis Xavier Brown: “Make sure to have an artistic community. I encourage students to produce their own work as much as possible instead of being dependent on outside opportunities. Hollywood and NYC are just a bunch of friends giving their friends jobs. Get some good friends! Always show up and do your best on any project because your name will go farther than you ever will. This will open doors for you.”

• Gabrielle Rice emphasized that it’s “beyond important” to build this community because “those are the people who are going to know exactly what you’re going through when other people in your life don’t.” She specifically mentioned her castmates from A Wrinkle in Time as a source of industry advice.

• Jade Scott found her local community simply by “going outside and doing things you like,” citing an example where a conversation at the library led to an invitation to join the board of Theater Tampa Bay. “Honestly, just going outside and doing things you like is a great way to find that local community.”

hours. Theater will always be the place where an actor goes to work out and sharpen their craft.”

For Actors: What’s the biggest difference between auditioning in college and auditioning for professional productions? How do you stay sharp between gigs?

For Stage Managers: What’s the biggest difference between managing a college show and a professional one? What’s an unexpected challenge you’ve faced that was not covered in your training? How do you balance the artistic and administrative demands of the job?

• Levi Starr: “The biggest difference would be recognizing that there is no standard way of auditioning. Every theater, casting director, and project is going to have their own process and it forces artists to become adaptable quickly.” He also shared, “I had to develop a process for building a character and being able to pick it up with lines memorized within 24

• Arielle Hightower: “The biggest difference is the scale and pace.” She explained, “In college, the environment is a bit more forgiving, and you have more time to prep. Professionally, you often walk into a process where you’re expected to hit the ground running.” An “unexpected challenge has been managing fatigue on long runs or tight tech schedules.”

Looking Forward & Offering Advice The graduates offered poignant advice for their past selves and current students, emphasizing resilience, community, and a deep, evolving passion for the craft.

What’s one piece of advice you would give your college self?

• Travis Xavier Brown: “Remember why you loved the work to begin with. Hold onto that!”

• Autumn Angelettie: “Write down the name of the director” for every play she enjoyed and research their career paths, as “every director’s path is different, but it is so useful to begin building a map now of all the possible routes you can pursue.”

• Gabrielle Rice: “You’re not behind in your career or life. You are exactly where you should be. What is for you will not pass you, and what does, is not for you.

Rejection is simply redirection.”

• Arielle Hightower: “Trust that you belong in the room, even if you’re the youngest person there. Your voice and ideas are valid, and asking questions doesn’t make you look weak, it makes you look engaged and invested.”

• Lydia Melka-White: “Take a beat and recognize that while you have been the incubator of college, you’re so busy going through the motions that you don’t even realize how much you’ve changed and places have changed.” She added, “After graduation, take a beat and take stock of everything: who was I? Who have I become?”

If you could go back and change one thing about your college experience to better prepare you for the real world, what would it be?

• Autumn Angelettie wished she had created “a better personal archive of the plays I was assigned to read and work on.” She advised, save everything “on your personal Google Drive (not your school email! you will eventually lose access to this!), and

create a folder with as many PDFs as you obtain in school.”

• Arielle Hightower would have “sought out more opportunities to shadow or chat with professional stage managers about their career during school breaks.”

She felt, “I think being in a professional theatre environment would have given me a better sense of what was to come.”

• Levi Starr would have “focused on networking more within the DC theaters and I would’ve invested into more TV and film work prior to the world shutting down.

I would’ve invested into any and every medium.”

What’s one final message you’d like to share with theatre students who are about to graduate?

• Travis Xavier Brown: “Lastly, remember to keep God first, and know that what is FOR YOU will never pass you by. Stay ready, be prepared for opportunities, and know that your career should be spent helping others and showing love with and through your art. If you do it for the money, you’ll probably end up disappointed; if you do it for the love, you will be appointed!”

• Autumn Angelettie: “There are opportunities in your field, no matter what it is.

Do not let fear mongers discourage you from pursuing your Plan A at full force.

There are special programs for early career designers, technicians, stage managers, company managers, directors, playwrights, actors, all across the country and the world.”

• Gabrielle Rice offered a crucial piece of personal advice: “Go to therapy. It’s so easy to feel lost and spiral in the lack of control post-graduation. Invest in yourself and go to a licensed professional! Therapy has been the absolute best decision I could have made for my personal growth.”

• Lydia Melka-White: “Dream big and dream weird. Whatever story you need to tell, whatever way you want to see the theatre go further, higher, stronger, embrace

Gabrielle Rice (seated) was part of the cast of A Wrinkle in Time, at Arena Stage, Washington, D.C.

the challenge of putting yourself out there over and over again until it happens. For me, that’s showing that engaging the technological landscape as artists is not an ‘if ’ responsibility but a ‘when’ responsibility.”

The journey from campus to career in theatre is undoubtedly multifaceted, marked by both exhilarating successes and unexpected hurdles. Yet, the collective wisdom of these recent graduates paints a picture not of insurmountable obstacles, but of a vibrant, evolving industry ready to embrace those with passion, resilience, and a willingness to adapt.

Their stories underscore the enduring power of community, the importance of self-advocacy, and the profound fulfillment found in pursuing one’s artistic calling. As the curtain rises on your own professional life, remember their words: embrace the unexpected, lean into your network, and let your unwavering love for the art guide your path forward. The stage is yours. n

Ricky Ramón (he/him) is a director, stage manager, and VP of Equity & Inclusion at SETC. With master’s degrees from Harvard, Texas Tech and NYU, he’s directed and stage managed over 60 productions at renowned theatres across the US.

Fall/Winter 2025-26 | Southern Theatre | 27

From the

Conservatory to Broadway

Being Black in Musical Theater

by Kenzi James

B

eing a “musical theater kid” is serious business. Most of us begin our study long before we enter the conservatory classroom and we deem ourselves experts of the American musical. In many ways we are. We listen to cast albums incessantly, we know the current Broadway stars, we have our favorite and least favorite shows while offering a dissertation of our critique of them. We hold Tony Awards watch parties, and we dream of life in New York City performing under bright lights to thunderous applause. When I reflect on my own experience, I fell in love with the American musical in middle school and by high school I had several CD albums full of musical soundtracks. Anyone who rode in my burgundy Toyota Corolla understood that there were three genres of music that one would hear: Trap (US South rap music), gospel and showtunes. An odd amalgamation of genres to some, but a solid representation of my first two loves, respectively; Blackness and theater.

Like other musical theater kids, I started my training at a very young age; I was nine. At the same age, I booked my first professional gig. At an early age I understood that I would be the only Black child in most performance spaces. In the 8th grade I saw what I still call today the greatest production of Dreamgirls, at Tri-Cities High School, produced by their Visual & Performing Arts magnet program. The now defunct program, located in East Point, Georgia, was an elite African American performing arts program, and also the school in which I was zoned to enroll.

However, my parents, born in the Civil Rights South, wanted me to continue my education at the predominately white schools I had attended since the first grade for “better opportunities.”

A Brief History Musical theater is a uniquely American art form, one that should reflect the full spectrum of U.S. voices. Its history is vast, but the inception of Black voices in the discipline is fraught.

In his book Showtime: A History of the Broadway Musical Larry Stempel describes the early development of musical theater as a “coming together of cultural conditions in an age touched in various ways by the spirit of the Enlightenment — a worldly outlook, a time for recreation, a sense of the ‘public sphere’ and of a marketplace not

only of ideas but of entertainments.” This would suggest that the world of musical theater is conscious of social identities, a reflection of society, and open to reform according to the dynamics of political and social exchange. This is such a confusing declaration for the past and present.

Stempel is noting the nascent years of American Musical Theater, which can be traced to as early as the 18th century. The cultural condition of Black bodies at that time was riddled with violence, bondage, and a marred identity of subhuman status.

In the early 19th century, we would see these subhuman images come to life theatrically with the proliferation of blackface performance in variety shows, initially performed by white actors, and later with Black performers in the artform known as minstrelsy; performing demeaning stereotypes that Black actors still attempt to defy today. Although Blackness in musical theater has evolved to a more politically correct representation, the visibility and storytelling is critically limited. If we take a closer look at the Black Broadway musicals of the 21st century we will discover that the majority of the shows produced are either jukebox musicals celebrating Black icons that are palatable for white audiences or adaptations from previously released films. These shows include Ain’t 2 Proud: The Life & Times of the Temptations

“

‘Me’ needed to be left at the front door even though ‘me’ is what got me in there.

”

- Viola Davis

Joniece Abbott-Pratt and Yvette Freeman in The Huntington Theatre Company production of August Wilson’s Ma Rainey’s Black Bottom. Photo: T. Charles Erickson, The Huntington Theatre Company, Boston

Youth performance programs are often the first place where young Black performers encounter either affirmation of their Blackness or resistance to it. Photo: Dance Mission Theater, San Francisco

(2019), Hell’s Kitchen (2024), Tina, the Musical (2019), Fela! (2009), MJ the Musical (2022), Motown the Musical (2013), The Color Purple (2004 & 2014), and Lady Day at Emerson’s Bar & Grill (2014). In the past 25 years there have been few original Black musicals to premiere on Broadway. During this time only four truly original Broadway musical productions have been produced, including Passing Strange (2008), The Scottsboro Boys (2010), and Shuffle Along, or, the Making of the Musical Sensation of 1921 and all that Followed (2016); with The Scottsboro Boys being questionably identified as a Black musical. Roughly, from 2000-2025, on Broadway, only one inventive Black musical production has been produced each decade. Why is there such a dearth of innovative Black stories in musical form on Broadway stages? Why are Black actors beholden to the musical revue or historical narrative as it relates to Black musicals?

As students of musical theater we experience this limitation instantly. We know this to be true as evidenced by the 2020 manifesto released by the Tony Award-winning organization Broadway Advocacy Coalition, entitled We See You White American Theater (weseeyouwat.com). This list of demands was created after the heinous murder of

George Floyd as organizations across the country reckoned with inequities within their own networks. This document includes several demands, including the Academic and Professional Training section. The introduction of this section reads, “The final section addresses antiracist protections, BIPOC student enrollment and faculty retention, the decentering of whiteness in curricula and pedagogies, conditions for student productions, and the removal of stereotypical images of Native peoples in institutions of higher learning.” The declaration continues for several pages demanding anti-racist core values and advocacy for both students and faculty of color in theatrical programs and conservatories.

Being accepted into a top-tier conservatory is an extraordinary feat, one complicated by systemic inequities that begin long before the college application. Black students who wish to study in this field often enter theater spaces longing to acclimate while being true to themselves. Even in ensemble-based settings, the scripts, songs, and narratives being explored often privilege whiteness, erasing the depth and richness of Black musical and dramatic traditions. To train in such a space requires a dual consciousness: performing to

meet the expectations of the institution while holding onto the integrity of one’s Blackness.

Many arrive at conservatories with resumes already filled with regional credits, professional voice coaches, dance lessons, and elite connections. The competition is steep, but it is also unequal. If you are Black, you are used to being one of few, if not the only. This isolation is not merely demographic — it seeps into pedagogy, curriculum, casting choices, and informal social dynamics. There is an unspoken cultural code in conservatories, one steeped in Eurocentric artistic traditions and expectations that often overlook or undervalue Black aesthetics and identity. This is not just a statistic; it is a lived, daily experience of difference. It means being hyper-visible and invisible at the same time.

It means your success or failure can be read as representative of your entire race. It means facing microaggressions that others dismiss as minor, but which compound over time to become a psychological weight that white classmates may never understand. Even in programs that claim to value diversity, Black students often find themselves battling stereotypes — oftentimes by being told they are “too urban,” “not Black enough,” or “not classical enough.” These judgments are often coded, but the message is clear: whiteness is still the default.

The conservatory is an environment devoted to excellence in artistry while it often neglects the cultural context and identity of Black students within its walls. Musical theater conservatories — institutions such as Carnegie Mellon, NYU’s Tisch, Boston Conservatory, University of Michigan, and the University of Cincinnati CollegeConservatory of Music (CCM) — are the gatekeepers to Broadway and beyond. They attract the most talented young performers in the country. Yet, while the stage seems like a place where any story can be told and any voice heard, the reality is more nuanced for students of color. For Black students in particular, conservatory training can be both a crucible and a calling — a space where one is trained to perform but seldom taught how to exist authentically.

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The Journey of Julius In the world of musical theater, the experience becomes more than just about learning to sing, dance, or act. It becomes a fight for visibility, survival, and identity. This was the case for Julius Chase, a professional actor from New Orleans whose journey through CCM was shaped not only by his artistry but by the realities of race, displacement, and cultural dissonance.

Julius was introduced to the arts by his father, an early influence who recognized his son’s passion for performance and encouraged him to explore it fully. Growing up in New Orleans, Julius experienced a rich, vibrant culture — a blend of traditions, music, and spirituality that shaped his identity and his early perception of inclusivity.

As a young performer, he described feeling so welcomed and celebrated that race never seemed to factor into his love for the stage.

“I felt so included that I didn’t have to worry about my race,” he said. In his formative years, art was a space of freedom and possibility, not yet stained by the harsh scrutiny of institutional gatekeeping. That changed in his senior year of high school when Hurricane Katrina devastated New Orleans. Julius and his family were displaced, forced to rebuild their lives in unfamiliar territory while still grappling with the trauma of loss. It was during this time, amid confusion and instability, that Julius was accepted into CCM. The transition was jarring. First-year conservatory life is difficult for any student, but for Julius, who was still reeling from the loss of his home and sense of place, it was overwhelming. At just 18 years old, he was thrown into an environment dominated by aggressive competition, cultural isolation, and little to no support. The cutthroat nature of the program revealed itself quickly: out of the 21 students who started in his class, only 13 would finish. The attrition was brutal, and the emotional toll even greater.

Julius was the only Black man in his cohort. In the daily grind of classes, rehearsals, and critique, Julius had to navigate a landscape where few shared his background or understood his struggle. “Being displaced,” 34 | Southern Theatre | Fall/Winter 2025-26

he said, “figuring out life at that age,” and then being surrounded by “Southerners, New Yorkers, and Jewish guys calling you out of your name” — this was the gauntlet he had to walk each day. The conservatory did little to prepare students for the emotional trauma of being the only one, and even less to support Black students through that experience.

He had hoped to find mentorship or at least solidarity in older students. Instead, his assigned senior mentor, who shared his home state of Texas, refused to even speak to him.

The program was implicitly coded in whiteness. What was praised, rewarded, and validated often had little to do with authenticity and more to do with fitting a narrow mold of acceptability. “I had to become this cookie-cutter robot by senior year,” Julius recalled.

That transformation was both physical and emotional.

Struggles with body image became another layer of pain. Julius gained 30 pounds prior to his freshman year which he felt denied his place in the advanced dance classes. The message was clear: if you don’t conform to their standards, you don’t get the same opportunities. After his freshman year, Julius lost the weight, returned to school, and was finally accepted into advanced classes.

“Being a dancer and being put down,” he said, “put my confidence down.” His triumph came not from being supported, but from sheer force of will. He had to beat the system at its own game.

Financial hardship only added to the pressure. There were moments Julius didn’t know if he’d be able to finish his education.

Fortunately, in a rare act of advocacy, the head of the program and the Dean stepped in to help him find the funding to complete his degree. That gesture was significant — but it also highlighted how inconsistent and unpredictable support for Black students could be.

This environment did not allow Black students to explore or affirm their identity. “A lot of us didn’t find ourselves — our Blackness — until we left CCM,” Julius said. It wasn’t until he stepped away from the conservatory’s restrictive, Eurocentric framework that he began to reclaim the joy and cultural specificity that first drew him to performance. As

Ashari Harper as Esmerelda and Scott Mitchell as Quasimoto in The Hunchback of Notre Dame, at the Sullivan Theatre, Central, Louisiana. “I can relate to her a lot,” Harper said. “Not only when it comes to being a minority as a woman, and just as a Black woman in general. I understand what it feels like to be, for the sake of the show, an outcast.” Photo by Brian Craig.

a senior, he took time off to join a regional production of Sophisticated Ladies, a Black musical revue that allowed him to channel his artistry into something that felt meaningful, grounded, and culturally relevant.

One of Julius’s most poignant reflections came after passing his boards one particular quarter in his second year. Boards are quarterly assessments in which students select audition materials so that they can remain in the program. These “exams” are intense and stressful, particularly with the possibility of losing your place in this program. Although he passed, Julius was overcome with emotion. “I know you didn’t cut me,” he once told a faculty member, “but there are girls who are crying, and I know they don’t come from where I’m from. You don’t know what it took to get here.” That statement is a quiet indictment of a system where the demands and returns for Black students are often imbalanced.

Julius’s story is a microcosm of a larger struggle. Being Black at the conservatory is not just about being exceptional — it’s about surviving institutions that simultaneously demand and erase your identity. It’s about making yourself small to fit into roles

written by people who never imagined you.

It’s about reclaiming your power after being told for years that your body, your voice, and your spirit were too much or not enough.

Today he is thriving while securing roles in the Broadway show Tina: The Musical, the national tours of Mamma Mia! and Disney’s High School Musical, as well as a host of regional credits.

The future of conservatory training must include a reckoning with its past and a reimagining of its purpose. It is not enough to merely admit more Black students; institutions must change the culture that makes those students feel like outsiders. That means hiring more Black faculty, diversifying the curriculum, challenging problematic casting traditions, and creating space for honest conversations about race, power and representation. In August 2024, the University of Cincinnati College-Conservatory of Music held an event to honor alum Dorian Harewood, who was then starring in The Notebook on Broadway. The event celebrated his birthday and conferred his BFA in musical theater — a long overdue acknowledgment of a man who has made significant contributions to the field.

Fall/Winter 2025-26 | Southern Theatre | 35

36 | Southern Theatre | Fall/Winter 2025-26

I hadn’t realized Harewood was an alum of CCM, but I was deeply moved to learn this because he had been a foundational figure in my understanding of performance as a child.

Harewood’s performance in Polly, the 1989 musical television film directed by the legendary Debbie Allen, left an indelible mark on me. Polly is a reimagined version of Disney’s Pollyanna, infused with Black Southern culture, gospel music, and choreography that celebrates Black joy and resilience. In particular, the church scene in which the ensemble performs “Stand Up” remains, in my opinion, the greatest musical church scene in performance history. The scene captures the spirit, improvisation, and electrifying joy of Black charismatic worship through Allen’s choreography and Harewood’s smooth, powerful voice. As a child, I watched that scene over and over, attempting to mimic the moves and the tone, dreaming of a future where I too could embody such musical excellence.

Visibility is important, and on August 8, 2024, at Bond 45, a restaurant in the Broadway district, I was elated to shake this man’s hand and express my gratitude for his artistry and share its impact on my own.

While we chatted, Harewood looked at me and asked, “How was your experience there?”

The subtext for me was quite stark; I felt his question was grounded in questioning any racial inequity. Reluctantly, I told him it was fine, that I secured two leading roles, and that I really didn’t have any problems. That was mostly true.

Yet, after reflecting on that brief exchange I wished I would’ve shared how in my junior year, in the production of Boys from Syracuse, I was choreographed to tap dance in a gorilla suit. While I expressed my disdain to the head of the department, who was not directing the production, I accepted their gaslighting and performed the scene as directed every night with anger and regret. I wish I could’ve expressed to Harewood how that same department head suggested I perform Nina Simone’s protest song, “Mississippi Goddamn,” a song I brilliantly performed in class, but I elected not to because I witnessed disgruntled dispositions from some classmates and I also feared being labeled

an “angry Black man.” Generally, I disregard being palatable for the sake of white comfort, but I believe because my performance aesthetics weren’t affirmed I was not empowered to show up with authenticity. While I have given myself grace for losing a firm grasp of my core values, I implore any “othered” reader to always advocate for yourself and redirect any hint of discrimination in any theater space. As Zora Neale Hurston forewarned us, “If you are silent about your pain, they will kill you and say you enjoyed it.”

Being Black at the conservatory is not just about surviving — it’s about insisting on belonging. It’s about demanding space not only on the stage but in the classroom, the faculty lounge, and also backstage. It’s about ensuring that the next generation of Black musical theater kids can dream without limits and create without compromise. Being Black at the conservatory is a test of endurance, but in surviving it, artists like Julius are forging a new path — one where Blackness is not a question, but a source of power. His story reminds us that inclusion is not about fitting in, but about transforming the very spaces that once excluded them.

In reflecting on his experience, Julius offers this advice: “Before you trust what anyone says about you, trust your instinct and the world you come from”. While the conservatory may refine your technique, build your musical theater knowledge and prepare you for Broadway and beyond, it is your culture, identity, and sense of self that will be the foundation to lead you to your wildest dreams.

To any musical theater kid reading this, Black or otherwise: “Believe in yourself right from the start. Believe in the magic right there in your heart. Believe all these things not because I told you too. Believe in yourself!” n

Kenzi James (he/him) is a cultural critic, NYC school educator, and performing artist. He holds a BFA (Cincinnati Conservatory Music) and MA (Cornell University). He is a two-time Audelco Award nominee and award-winning dramaturg. @theekenzijames Fall/Winter 2025-26 | Southern Theatre | 37

THEATRE ON THE PAGE

B oeonkt aRl eWvei el lwn e s s & t h e A r t i s t M

by K J oant ha rt yh na nT kMeal t h i a s L a s s i t e r, P h D

Acting and Teaching Embodiment Theatre on the Page reviews books on theatre that have a connection to the Southeast or may be of special interest to SETC members. Sarah McCarroll (she/her), a professor of theatre at Georgia Southern University, edits this regular column. If you have a book for review, please send to: SETC, Book Editor, 5710 W. Gate City Blvd., Suite K, Box 186, Greensboro, NC, 27407.

Building Embodiment: Integrating Acting, Voice and Movement to Illuminate Poetic Text edited by Baron Kelly & Karen Kopryanski Routledge, 2023; ISBN: 978-10320-68312 18 pages. Price $39.19 (paperback)

Building Embodiment: Integrating Acting, Voice, and Movement to Illuminate Poetic Text is a book for actors and instructors looking to expand their approach and deepen their relationship with heightened text. With a focus on Shakespeare, Greek Tragedy and Restoration/Comedy of Manners, editors Baron Kelly and Karen Kopryanski have compiled a collection of essays from respected teachers and practitioners that offer a variety of strategies for analyzing and activating poetic language. The book is full of creative exercises, rehearsal strategies, personal anecdotes, and activities all drawn from the varying experiences of the contributors.

The result is a resource that is approachable, practical and flexible enough that there is something for everyone no matter their comfort level with elevated text styles.

The book is organized into two sections: Acting and Teaching. Each section has seven chapters that are ordered in the same way.

Initial chapters take a wider, broader view and then chapters narrow in scope with later ones focusing on specific problems or solutions. In the Acting section, the essays are meant to be “in direct conversation with the actor.” These writings offer a perspective that feels immediate and visceral. The Teaching section shifts the perspective to the instructor, or director, and the aim is to guide others to a deeper level of understanding and connection. Here, you’ll find activities for the classroom, ideas 38 | Southern Theatre | Fall/Winter 2025-26

for the rehearsal space, and at times entire recounts of specific production experiences all detailing the varying steps to embodiment.

Though these two sections differ in focus, Kelly and Kopryanski encourage a more fluid approach from the reader. They acknowledge that some chapters may fit easily into either section and they stress that the book need not be read in an order or even in its entirety. The reader is encouraged to select chapters as they see fit, personalizing their reading experience and their absorption of material. For this reason, I found Building Embodiment to be incredibly friendly and enjoyable. Though I certainly responded to certain chapters more than others, it is clear to me that the reason for that is timing and not content. I anticipate returning to this book when I need to reinvigorate my own practice or, more likely, when my staple methods begin to feel stale, and I

am in need of a new lesson.

During this particular read I was especially taken with two chapters. In Louis Fantasia’s “(3” x 5”) x 40: A Journey to Embodiment” we’re given access to Fantasia’s personal method for tackling Shakespeare. I found his system to be detailed and effective as it ultimately gets the actor to be as specific and as personal as possible. In “Sculpting and Imaging the Text: An Equitable and Inclusive Approach to Speaking Heightened Language,” by Peter Zazzali, we’re asked to recognize how culture and identity shapes a student’s experience of poetic text. Drawn from his experience teaching classical acting techniques in Singapore, Peter offers us a way to explore and physicalize language that doesn’t erase identity and instead “invites actors to claim ownership of their speaking in ways that account for who they are, how they sound, and where they are from.” This chapter is insightful and valuable, especially to those of us who wish to continue teaching the joy of performing elevated language, but who wish to do it in an inclusive manner.

Ultimately, this is a book you want to have in your library if you care about the truthful performance of elevated language.

Embodying poetic text in a contemporary landscape has its own set of challenges, but the contributors that Baron Kelly and Karen Kopryanski have selected offer a number of avenues to combating those challenges.

Building Embodiment is a resource that is practical, illuminating, enjoyable, and well-organized. It will serve you well. n Kathryn Tkel (she/her) is an actor and Assistant Professor of Theatre at Southern Utah University, where she teaches courses in acting and voice. www.kathryntkel.com

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