Southern Theatre Magazine 75th Anniversary Issue

Volume LXV Number 2 • Spring/Summer 2024 • $12.00

FULL SETC CONVENTION KEYNOTE COVERAGE DESIGNING INCLUSIVITY — ON STAGE & IN YOUR COMMUNITY TACKLING CONTROVERSY • DO YOU NEED A MENTAL HEALTH DAY? (MAYBE NOT)

Distinguished Career Award recipient S. Epatha Merkerson shares her stories of challenge and success at the 75th SETC Convention in Mobile, Alabama. Photo by David Dixon.

CONTENTS Volume LXV Number 2 l Spring/Summer 2024 l Southern Theatre – Magazine of the Southeastern Theatre Conference

Features 12

Columns 6

Outside the Box:

Design & Tech Solutions

Rubber Doormat Railings

by Will Ragland

8

What’s On Your Mind?

Mental Wellness & the Artist

Know Your Worth

Keynote speaker and Distinguished Career Award recipient S. Epatha Merkerson remembers the challenges on the way to becoming an icon

by Michael Dinwiddie

16

Building Inclusive Communities

Advice and Insights from SETC’s 2024 Distinguished Designers

by Jonathon Taylor

20

Words of Wisdom

Reflections on three SETC guest artists at the 75th Anniversary Convention

Do you need a mental health day?

by Jonathan Mathias Lassiter, PhD

10

H@ndle Your Business

Theatre with Impact

by Frederick Marte

Teachers Institute presenter Howard Sherman offers suggestions for theatre educators who face censorship

36

Theatre on the Page

by Amy Cuomo

29

Suzanne M. Davis Award

Presented to Marci J. Duncan

by Steven H. Butler

31

Charles M. Getchell Award

Book Review

Footnotes: The Black Artists Who Rewrote the Rules of the Great White Way

by Khalid Y. Long

On the cover

Moments from the 75th Anniversary Convention of the Southeastern Theatre Conference, held March 13-17, 2024, in Mobile, Alabama. Photos by David Dixon and Dennis Langley.

by Keith Arthur Bolden

26

Tackling Controversy

2023 Getchell Award winner D.W. Gregory discusses her new comedy, A Thing of Beauty

by Lauren Brooke Ellis

34

Excerpt from A Thing of Beauty

by D.W. Gregory

Spring/Summer 2024 | Southern Theatre | 3

FROM THE

EDITOR

Happy 75th Anniversary SETC! This year’s Convention was fruitful and expansive as I witnessed networking, community, and

From the SETC President

collaboration throughout the week. What was most striking to me was that the organization is beginning, albeit slowly, to reflect the demographics of the US—a country representative of diverse peoples and cultures. This feat is in part due to the dynamic leadership of our Executive Director and SETC co-conspirators who share the same values of equity and inclusion. For this, SETC should be most proud.

As an attendee I also witnessed workshops, conversations, and keynotes that reflected on the current landscape of our evolving industry and how SETC goers might be generative participants.

As Toni Simmons Henson reminds us, “SETC is an incubator for talent and empowerment,” and I have no doubt that the hundreds of attendees took advantage of all SETC had to offer through the week. From overhearing phrases such as “That was so fun” to “Wow” to “I hope they offer that again next year,” it is clear that SETC is firmly rooted in the present while planting and watering seeds for the future. I’m thrilled that the Editorial Board and I can be a part of the magic in a way that documented much of what occurred.

In t h is issue, you’re able to read about all of the fabulous, distinguished keynotes from celebrities such as S. Epatha Merkerson and Beowulf Borritt. You’ll get to catch up on views of censorship from Howard Sherman who presented at the Teachers Institute, and you can read an excerpt from D.W. Gregory’s new play—while enjoying all of the wonderful photos captured at the Convention. Enjoy.

SETC Strong!

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

EDITOR-IN-CHIEF

Sharrell D. Luckett, PhD SETC PRESIDENT

Jeremy Kisling

SETC EXECUTIVE DIRECTOR

Toni Simmons Henson

ADVERTISING Thomas Pinckney, thomas@setc.org BUSINESS & ADVERTISING OFFICE Southeastern 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 Tom Alsip, University of New Hampshire Keith Arthur Bolden, Spelman College (GA) Amy Cuomo, University of West Georgia Caroline Jane Davis, Furman University (SC) David Glenn, Samford University (AL) Kyla 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 © 2023 by Southeastern Theatre Conference, Inc., 5710 W. Gate City Blvd., Suite K, Box 186, Greensboro, NC 27407. All rights reserved.

Reproduction in whole or part without permission is prohibited.

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

I have only a few words to describe the conference in Mobile, Alabama, in March. Wowie, Wowie, wow, wow! What a fantastic convocation to see such talented, committed, and inspiring theatre artists. The marvelous performances, the informative workshops, the inspiring keynote speakers, and the opportunity to connect with other theatre artists left me excited and refreshed as we work together to keep theatre a vibrant part of the cultural fabric of our country.

For me, theatre is where communities are built, where empathy occurs, and humanity resides. That is why it is important for us as theatre artists to continue to band together and support each other. I am honored to be the President of SETC. It is an honor and a privilege to be asked to serve and I hope to continue the conversations and work of the organization in the areas of diversity, inclusion, accessibility, and belonging. I am excited for the organization as it continues to find pathways that lead to meaningful growth as both an industry and an art form. But it will take the whole community of artists to do so. I am looking forward to conversations about moving SETC forward, and how our industry adjusts to our current world and the opportunities of the future.

We are moving forward! That is our mantra!

Jeremy Kisling (he/him), SETC President Producing Artistic Director, Lexington Children’s Theatre

From the SETC Executive Director As we convened at the 2024 Convention in Mobile, we celebrated not just the days of events but reflected on an incredible history — the 75th anniversary of SETC (Southeastern Theatre Conference). As a woman and African American artist and arts administrator, I’m reminded of the organization’s journey since 1949 and the broader narrative of American history. Born into the first generation to receive the full rights of U.S. citizenship, I’ve witnessed both progressive and disturbing residuals. From the Jim Crow era (named for an exaggerated, highly stereotypical Black character) to the pivotal rulings of segregation, the Voting Rights Movement, the Civil Rights Movement, the Feminist Movement, the Black Arts Movement, the LGBTQ+ Social Movements, the Anti-War Movement, the Disability Movement, Black Lives Matter, and the Me-Too Movement. These are just a few historical milestones close to our creative collective memory that has shaped our artistic world stage.

SETC is an incubator for talent and empowerment, encouraging all artists to pursue their passions during challenging and good times, regardless. This energy fuels my determination to develop an organization that thrives artistically, provides a safe, supportive community, and delivers top-tier professional opportunities. We’re building a broader foundation set by those who came before us. It’s an endeavor worth every obstacle, sweat, and effort.

In celebrating our 75th anniversary, we recognize the historical landmarks that have shaped our journey—to this present time, where we strive for equity and inclusion at every stage of performance. My heartfelt thanks goes out to everyone who has contributed to this progressive legacy. Let us collectively continue to shape SETC’s future together.

I am SETC. You are SETC. We are SETC! Your Arts Advocate, Toni Simmons Henson (she/her), SETC Executive Director

Spring/Summer 2024 | Southern Theatre | 5

OUTSIDE THE BOX

D e s i g n & Te c h S o l u t i o n s

by Will Ragland

Rubber Doormat Railings

1

2

3

Create a Cast Iron Balcony on a Budget O

1: Paper scale model. 2: The original doormats. 3: Tin snips proved to be the best tool for the job. 4: Decorative borders, to be used as stair facings.

5: Constructed railing unit, ready for the application of texture and paint.

5

nce in a while, a show comes along that

4

is not only a scenic designer’s dream,

but also one that could easily become a nightmare. A Streetcar Named Desire by Tennessee Williams is one of those shows, and one that I first attempted to hand off to someone else as my respect for (and fear of) the scenic requirements of the play seemed just a little too daunting for me. Try as you might, it’s hard to escape Williams’s very specific and detailed setting descriptions.

BUDGET

With limited time and resources, my task was to recreate a run-down apartment in the New Orleans French Quarter in the 1940s and somehow add a second story on our small stage. Of course, our director asked specifically for the cast iron railing that is typical of New Orleans architecture, and

Total . . . . . . . . . . . . . . . . . . . . . . . . . . . . $ 580

this is where I found myself completely stumped.

rusty texture. That was fun to try out. It also gave the railings a little extra

How in the world was I supposed to do that? I searched online, called all of my

My design process to plan out the

I built the structure of the railings out

design mentors, and became distraught at

railings was pretty simple. I saved the

of scrap lumber. I love to save all sorts of

finding zero solutions. The problem was

pictures of the doormats I ordered off the

“sticks” for projects exactly like this and

that I had limited time, so the elaborate and

website, printed them out to scale through

rarely throw anything away. I chose to

tedious ideas that I was initially drawn to

trial and error, then just cut them out into

build these railings in a modular way,

just wouldn’t work.

little puzzle pieces (the same way I’d chop

so that each piece (railings and columns)

One late night as I was becoming

up the mats when they arrived), and glued

could stand independently of each other

increasingly desperate for an answer, I

them into the arrangement that I thought

and be reused in the future in the same or

played some 1940s jazz, sipped on some

would work.

different ways, much like big puzzle pieces.

bourbon, and closed my eyes, searching

The doormats that I ordered were

I used little L-brackets to attach these pieces

through the Rolodex of images in my mind

conveniently sectioned off into decorative

together. I attached the rubber mat sections

of something, anything, that I could recall

blocks of rectangles and squares, easily

to the fronts of these wood frame structures

seeing somewhere in my life that I could use

making the creation of the pieces I needed.

using construction adhesive and pneumatic

that already looked like a cast iron railing.

Cutting the mats is not at all difficult

Then it hit me! DOORMATS! They

(when you use the right tool). I first started

I did a little extra online research to

make rubber doormats that look like cast

off by using a utility knife, but soon realized

see what I could do to create an authentic

iron! And wouldn’t you know, I jumped

that tin snips were the way to go. I used

looking surface to these railings. One

on Amazon and found a variety of options

pieces of the decorative border to create

technique that I found used by haunted

that could be on my front porch in 2 days.

fake iron facing for the steps going up to

houses to create fake iron fences was to

the second-floor balcony.

mix sand into black paint to create a rough,

Bingo!

6 | Southern Theatre | Spring/Summer 2024

Rubber doormats . . . . . . . . . . . . . . . . . . . . $ 500 Black paint . . . . . . . . . . . . . . . . . . . . . . . . . . $ 60 Play sand . . . . . . . . . . . . . . . . . . . . . . . . . . . $ 10 Small L-brackets . . . . . . . . . . . . . . . . . . . . . $ 10 Scrap lumber & screws . . . . . . . . . . . . . . Stock

staples.

weight and cut down on the floppiness of the rubber pieces. After installing them, our scenic artist added a little watered down, rusty orange over the surface to give it the final look.

This project was incredibly enjoyable, not all that difficult, and truly packed a punch in the end. The railings took lighting very well, especially with all the interesting negative space created by the decorative, ornate designs found in the rubber mats. I chuckled when a group of high school students were looking at the finished set and asked me where I found the iron railings. When I told them it was all just rubber doormats, one of the students said, “Prove it!” When I poked the front of one and they saw it wobble, their minds were blown! n

Production photos: The Mill Town Players’ production of A Streetcar Named Desire, February 2023. Photo credit: Escobar Photography 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.

Will Ragland (he/him) serves as Executive Artistic Director of Mill Town Players in Pelzer, SC, is a past president of the SC Theatre Association, and has been designing sets in Upstate SC over the past 18 years.

Spring/Summer 2024 | 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

Do you need a mental health day?

Dear Dr. Lassiter: What are effective ways to “take a mental health day” for theatre students? Rather than staying in bed or taking a day off from their classes or production, are there things students can practice day-to-day which can allow them to stay functional as a member of a collaborative team?

Dear Reader: The idea of taking “a mental health day” has become more popular in recent years as awareness of the importance of mental health grows among the general population.

The Mayo Clinic defines a mental health day as “limited time away from your usual responsibilities with the intention of recharging and rejuvenating your mental health. It is an intentional act to alleviate distress and poor mood and motivation, while improving attitude, morale, functioning, efficiency, and overall well-being.”

According to their definition, a mental health day may be one day or several days away from one’s responsibilities. It could also be an hour or a half-day. Although we say mental health day, the time that we take to recharge and improve our mental health will vary significantly depending on our needs.

Ta k i n g t i m e a w a y f r o m o n e ’s responsibilities to recharge has been found to contribute to the following benefits: • Reduced feeling of burnout • Improved morale and attitude • Reduced isolation and loneliness • Improved resiliency • Improved physical health • Prevention of a mental health crisis Clearly, taking a mental health day can greatly improve theatre students’ lives.

However, taking a mental health day is not the only way or — depending on who you’re

asking — the best way to care for one’s mental health. Alongside the benefits can come disconnection from one’s community and responsibilities to others in that community, including one’s collaborative team.

Although mental health days may have emotional benefits, they are usually taken when one is already highly distressed. Thus, I recommend cultivating mental health from moment to moment in everyday life in all that we do. Thus, mental health is not a destination, it is a state of being that we can cultivate at any time.

This reframing may allow theatre students to think less of taking time off from responsibilities and focus more on shared responsibilities and humanity. For example, instead of retreating to one’s room and bingewatching Netflix to disengage, imagine the mental health effects of disclosing one’s distressing emotions to a trusted classmate or through a work of art.

The practice of living the principles of Ma’at may also help theatre students

Submit your mental wellness questions for Dr. Lassiter. Questions from students, theatre professionals, and educators are welcome, and you can request to remain anonymous if you prefer. Follow the link at solo.to/setc.

8 | Southern Theatre | Spring/Summer 2024

cultivate mental health while approaching and not avoiding their responsibilities and the stressors that my come along with them.

The seven principles of Ma’at include: truth, justice, harmony, balance, order, reciprocity, and propriety. Living these principles will look different for each person. For example, living the principle of truth may look like a student speaking up in the face of injustice in the classroom or at rehearsal. Living harmoniously may look like working in collaboration, instead of competition, with one’s classmates. Living orderly may look like rearranging one’s life so that it is free of physical and psychological clutter. One may cultivate order by limiting social media use, removing people with negative energy from one’s life, and keeping a schedule so that one knows what to expect that day. Living the principles of Ma’at helps one structure their life in a way that is conducive to peace and deeper connections with others, which are all related to better mental health.

Mental health days are sometimes necessary. However, theatre students may find that they are able to achieve better and more consistent well-being when they refocus their efforts on nurturing their mental health in each moment. Connecting with one’s community — whether classmates, castmates, or other support systems — and living the principles of Ma’at have the potential to fortify theatre students’ mental health and lessen the need for mental health days by preventing psychological crises in the first place. n

Dr. Jonathan M. Lassiter (he/him) is a licensed clinical psychologist in private practice, certified in Optimal Conceptual Theory/Belief Systems Analysis — an African-centered psychotherapy. His memoir, How I Know White People Are Crazy, will be published in 2025. @lassiterhealth Spring/Summer 2024 | Southern Theatre | 9

H@NDLE YOUR BUSINESS

written & curated

by Frederick Marte

the world and its social issues. Theatre of the Oppressed NYC is based on Augusto Boal’s work, who was inspired by Paulo Freire’s work and book Pedagogy of the Oppressed (1970s). Theatre is meant to cause the audience to engage in activity or think deeply about a topic, so connecting with @ tonyc_action will expose you to innovative ways of incorporating aspects of the “real” world within your craft and how to enact change.

Theatre with Impact S

by @bodycourage & @lanisafrederick Instagram: @hashtagbooked www.hashtagbooked.com

aludo, buenas! Time to h@ndle your

humana habla y grita, llora y se desespera.”

“Hashtag Booked, featuring LaNisa Frederick

business. Since you’re an artist and

— Federico García Lorca *

and Danielle Pinnock, is a groundbreaking

you’re serious about your craft, you should connect with h@ndles that will add value to what your goals and aspirations are.

What brings you joy? What are your values within the theatre world? When you know what your values are, you’ll be able to quickly identify your needs without being

Theatre of the Oppressed Instagram posts

Hashtag Booked

online series examining the joys and

Theatre of the Oppressed NYC Instagram: @tonyc_action X: @tonyc_action www.tonyc.nyc

misfortunes of being an actress of color in the entertainment industry” (Hashtagbooked, 2019). These two creatives are essentially using their platform to provide space to give consumers the ins and outs of the industry as it pertains to being Black and a Woman. You’ll

influenced by what others think or impose

“ T h e a t r e o f t h e O p p r e s s e d N YC

find sketches that are relatable and extremely

on you. Whether it’s performing, directing,

part ners wit h commun it y members

funny as well as information and resources on

arts administration, seeing musicals and

at local organizations to form theatre

getting involved in relevant causes. Although

plays, and/or devising pieces, there is an

t roupes. T hese t roupes dev ise a nd

you will have a good time watching this duo,

entire world of opportunities in the social

perform plays based on their challenges

the goal of being connected to them is to see

media realm.

confronting economic inequality, racism,

how loving yourself and walking in your

With that said, the two h@ndles that’ll

and other social, health and human

truth can help create opportunities for you

be showcased are of an organization that

rights injustices. After each performance,

that you may not have thought of. Sometimes

engages with Theatre of the Oppressed

actors and audiences engage in theatrical

the goal is to be in the industry, but the dream

and a pair of individuals who have become

brainstorming – called Forum Theatre –

becomes something more satisfying once it

wildly popular entertaining film and theatre

with the aim of catalyzing creative change

aligns with who you are at your core. n

makers about the foibles (and sometimes

on the individual, community, and political

absurd aspects) of the entertainment life.

levels” (Theatre of the Oppressed NYC,

These social media accounts showcase what

2019). Aside from providing resources

theatre can do besides entertain someone.

to promote social change, you can also

They help you understand the benefits of

find information about relevant issues

knowing yourself within this industry.

within the theatre field to help shape you

Remember, “El teatro es poesía que se sale

into a multifaceted performer invested

del libro para hacerse humana. Y al hacerse

in the craft, but also how it connects to

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 with YOU online.

10 | Southern Theatre | Spring/Summer 2024

* Theatre lets you express yourself fully and you can only do that once you truly know who you are and what you want!

Frederick Marte (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. @fredericktalks

CONVENTION KEYNOTES For those who were fortunate enough to attend the SETC conference, Epatha mapped some of the highlights of her career through a slide-show presentation that she created especially for the occasion. NYU professor and playwright Michael Dinwiddie, who had the honor of interviewing her, shared their history together beginning as students in the BFA acting program at Detroit’s Wayne State University, where they met in the 1970s.

A native of Detroit, Epatha is the youngest of five children in a family that is nurturing, artistic and musical. “My father gave me the name Epatha,” she explains, “which is what I prefer to be called. He was influenced by a school teacher who inspired him to continue his studies.” Her mother Anna, who passed away recently, spent decades singing in her church choir. “My sister Linda was a dancer in high

Keynote Speaker S. Epatha Merkerson chats with moderator Michael Dinwiddie and an appreciative audience. Photo by David Dixon.

Know Your Worth

by Michael Dinwiddie

Keynote Speaker and Distinguished Career Award Recipient S. Epatha Merkerson remembers the challenges on the way to becoming an icon

school, and I remember my mother taking me to see

While working her way through college as a

her in a concert. It was amazing to watch her float

waitress, a co-worker convinced her to take a theatre

across the stage. My brother Barrie is a lawyer in

elective with her. As a result, she was assigned to

Detroit, but as a teenager he played in a band called

stage-manage a college production, where “it soon

the Soul Busters. My sister Debbie was in a doo

became apparent that the lead actress was not

wop group.” Of her childhood, she recalls, “They

working and was about to be replaced. So I told the

thought I was crazy! I was always dancing around

director that I thought I could do the role and I was

the house!” But no one in her family expected her to

given the opportunity.” That was Epatha’s first stage

pursue a career in the theatre, least of all her mother.

role, and the experience convinced her that theatre

“She refused to pay for my schooling because she

was a place where she could thrive.

didn’t think it was wise for me to major in.” But

Early frustrations and successes

Epatha was determined to follow her dream. “So I said, okay — and I decided that I would work and

At Wayne State University, Epatha studied under

pay for college myself, which I did.”

Martin Molson, the only African American theatre

‘I tried very hard’

faculty member there. “Marty cast me in a studio production of Jean Genet’s play The Blacks, and he

Even from her high school days, Epatha knew

would use me for demonstrations in his master

that she would have a career on the stage. “I credit

classes.” She also sang and danced in mainstage

my teachers as role models and mentors. I wasn’t

musicals such as George M! and Purlie. She recalls,

When S. Epatha Merkerson encounters a fan, she can instantly tell which of her roles

a great student, but I tried very hard.” She recalls

“I was asked not to audition for the role of Lutiebelle

they are most familiar with. If they are fans of Reba the Mail Lady from Pee-wee’s

with fondness Carolyn Hardy, a junior high school

in Purlie, since the role was already promised to a

Playhouse, they expect a disarming smile and easy friendliness. After all, she spent

dance and gym teacher. “She was the first woman

senior.” So Epatha choreographed the show and

six years delivering laughs and jokes with Paul Reubens, Mr. Pee-wee himself. But

I knew who had an Afro!”

found opportunities working with her classmates.

if they have encountered her as Lt. Anita Van Buren on Law and Order, a role she

There was one special event that Epatha recalls

“This was the era before non-traditional casting, so

played for 17 consecutive seasons from 1993 to 2010, she might get a cooler reception.

fondly to this day. “It was a poetry slam, with the

nearly all of my work was in student productions

“[They] think that I’ll be cut and dry,” she explains, “to the point, all business.”

artists on the stage in a circle. And each poet would

and recitals.”

In a career that has spanned Broadway, film, and television, she has been honored

start their poem. And Miss Hardy told me to go into

After graduating from college, Epatha admits,

with numerous awards including a Golden Globe, an Emmy, a Screen Actors Guild

the middle of the circle and improvise, just start

“I didn’t have the confidence to go straight to New

Award, two Obie Awards, four NAACP Image Awards, Black Theatre Network’s

dancing. I said okay. And it was so wonderful!”

York City, so I went to Albany and worked with a

Pioneer Award, four honorary doctorates, and most recently a 2024 Distinguished

Epatha received a special lesson from that experi-

children’s theatre company. They were producing

Career Award, which was bestowed at SETC’s 75th Anniversary Conference in

ence. “I understood the freedom that you need to

The Miracle Worker, and I was excited by the possi-

Mobile, Alabama, on Saturday, March 16, by SETC Executive Director Toni Simmons

have as an artist. I also learned the importance of

bility of tackling a meaty role like Annie Sullivan.

Henson.

mentors.”

Instead I was cast as Viney, the Keller family

S. Epatha Merkerson takes a photo with an SETC Convention attendee.

Photo: Dennis Langley

“

I understood the freedom that you need to have as an artist.

”

— S. Epatha Merkerson 2024 Distinguished Career Award Recipient

Spring/Summer 2024 | Southern Theatre | 13

S. Epatha Merkerson in two of her biggest TV roles: as Reba the Mail Lady on Pee-wee’s Playhouse (with Paul Reubens), and as Lt. Anita Van Buren on Law & Order.

servant, and later assigned to dance in

Epatha was nominated for a Tony Award

musical revues… Can we just say, to date

as Best Featured Actress in a Play.

gained momentum, Epatha did a number

it was the worst job I’ve ever had?”

TV success

of pilots and films before landing on

Soon after, Epatha got a call invit-

an episode in the first season of Law &

person to hire me was George Faison, the

ing her to audition for a new TV show,

Order in which I played a mother whose

Tony Award-winning director of The Wiz.”

Pee-wee’s Playhouse. “I was on my way out

11-month-old child is killed.” Two years

Later, Epatha was Lonette McKee’s under-

the door, so I picked up all my mail and

later when they were bringing women

my roles to be focused in a positive light,

study in the one-woman show Lady Day at

stuffed it in my satchel.” She arrived at

into the precinct, “executive producer Dick

a truthful light.” She was able to have an

Emerson’s Bar and Grill. When Lonette left

the audition and asked for “sides,” pages

Wolf remembered me and called me in for

impact on the show as it evolved. “I was a

the show, Epatha stepped into the role.

pulled from a script to see how actors

a meeting.” The word came back that “I

voice at the roundtable,” she states. “We

“Before I went on, I had to learn 15 songs

would read for various roles. “I was told

was ‘saturated’ on television because I had

had Jews and Gentiles, males and females,

and 48 pages of words in six days. I had

that there were no sides, and I should just

done so many projects with my natural

Blacks and Whites, young and old. It was

never seen Lonette’s performance, so I had

go in and improvise.”

hair. So I went home, took the twists out

literally a microcosm of the world. The writ-

Frustrated, Epatha took the leap and moved to New York in 1978. “The first

As an actress whose career slowly

the show that made her famous. “I did

to create from what I knew of Billie’s life.

All she could learn about the role was

of my hair, brushed it back into a ponytail,

ers were men who had spent years working

And the director and I did not see eye to

that it was for a mail lady. So Epatha quickly

put on a bow, and walked into the meeting.

in district attorney offices and knew the

eye. But by the time we finished, we had

opened her satchel filled with her personal

When I showed up, Dick Wolf took one

law inside and out. But none of them were

states, “It was a beautiful play, and I was

connected.” One evening, casting agent

mail and started peeling out the pieces.

look at me and started laughing. ‘That’s

women, and none of them were Black. I

honored to create the role.”

Meg Simon saw the play.

“Here’s the utility bill,” she ad-libbed, “and

her,’ he exclaimed, ‘that’s Van Buren!”’

brought that perspective to the show.”

‘Make sure you have fun’

One of her most fulfilling experiences

Epatha splits her time between New

Impressed by Epatha’s performance,

here’s the phone bill, and here’s something

Epatha did not know at the time that Wolf’s

In one telling episode, she invited some

was creating the role of Rachel “Nanny”

York and Chicago. She offers encourage-

Simon recommended her to director

from the Museum of Natural History — and

children had been big fans of her character

of her friends to attend a taping of the show.

Cro sby i n Rub e n Sa nt iago­ Hud s on’s

ment to young artists who are striving

Lloyd Richards, who was touring August

I started singing ‘Dem Bones.’” She was

Reba the Mail Lady on Pee-wee’s Playhouse.

“Fran Lebowitz, Toni Morrison, and Sonia

Lackawanna Blues. “I saw it when Ruben

to have careers — on stage, on film, or

Wilson’s The Piano Lesson at the time. The

stopped by the casting agent, who was not

was doing it as a one-man show at the

behind the scenes as directors, designers

lead actress was leaving to do a movie,

amused. She was told to play it straight. But

Toni Morrison glanced at the wall of the TV

Public Theater, filling up the stage with all

and technicians. An advocate for self-care,

and “I was brought in with just nine

Epatha was having fun, so she kept pulling

Bringing an important perspective

Sanchez came and hung out all day.” When

In doing her research for Anita Van

set with pictures of criminals, she asked,

these amazing people from his childhood

she is open about the health challenges she

days to learn the role of Berniece before

out her mail and comically pulling open

Buren, Epat ha lear ned, “There were

“Why are all of the perpetrators Black?”

in Buffalo.” Ruben mentioned that HBO had

has faced. On Feb. 4, 1996, she quit smoking

bought the rights and there might be a part

after 23 years. And in 2003 she was diag-

we opened at the Goodman Theatre in

the envelopes, adding sound effects and

only four women lieutenants in all the

Within minutes, several people were scur-

Chicago.” She goes on to say, “The other

crazy moves.

boroughs.” She was fortunate to meet

rying towards the board and making a

for her. Once she finished her audition, the

nosed with type two diabetes, which she

Two weeks later, when she had not heard

Lt. Barbara Sicilia, head of the New York

more multi-cultural display of New York

director George C. Wolfe gave her the heads

carefully manages with diet and exercise.

actors had been working together for quite

from the casting agent, she thought, “I

City Midtown North Precinct. Her first

criminality. Epatha and Toni looked at each

up: “This is your part.” She was elated.

When she rises to acknowledge the

They also enjoyed pulling stunts that

messed that up.” But she did receive a call

impression of Sicilia, who met her outside

other, pleased at the impact of Toni’s words.

“I knew that I could really bring the role

applause at the end of her SETC keynote

would send her into laughing fits during

back from the casting department shortly

the precinct, was “that she had short black

interview — is it Reba the Mail Lady or

rehearsal. Luckily, lead actor Charles

after she had given up. “This time I was

hair, wore a shirtwaist dress, and had

Black woman who becomes the stable figure

Nanny or Anita Van Buren or Sharon

Dutton pulled Epatha aside when Lloyd

introduced to the director, the producer,

a pleasant smile.” But the minute they

Roots in the theatre

of Nanny alive.” Playing an independent

As an actor, Epatha believes, “The

for a young Ruben in a boarding house,

Goodwin we see? No. It is S. Epatha

Richards expressed his displeasure at her

and this bearded guy named Paul who

walked through the door, “Everything

theatre is really the basis for me. Every

Epatha had the opportunity to bring all her

Merkerson in the flesh, inviting her audi-

seeming lack of concentration. “I know

looked like a hippie.” She and Pee-wee’s

changed. You could see the men straighten

other year I try to go back to the stage,

strength and passion to that meaty role she

ence to “take care of your instrument

had always been searching for. Aside from

and k now your worth!” Her parting

awhile, so I had to prove myself.”

you guys can deliver,” Lloyd stated, “but

Playhouse star Paul Reubens were paired

up as we walked by. I knew that this was

because there’s something about being

I don’t know about her.” Epatha realized

together to audition, and his antics had her

Van Buren! She had to be strong. Miss

onstage that you don’t get when you’re

the critical acclaim, she earned numerous

message to SETC members of all ages who

that her job was on the line. “That night I

in stitches. She pulled him aside and quietly

Thing was fierce!”

doing film or television.” She met Billy

awards and accolades for her outstanding

embark on this wondrous journey of a life

concentrated and the cast was behind me,”

said, “Stop making me laugh. You’re gonna

W hen t hey stepped i nto Barbara’s

Porter, the Tony Award-winning star of

performance in Lackawanna Blues.

enriched by the arts: “Make sure that all

she says. “No more jokes and the show

make me lose this job.” He smirked and

private office, she looked at Epatha and

Kinky Boots, when they both appeared

Today, the veteran actress continues to entertain audiences as she enters her

started giggling. “You have to tell me what

Richards was impressed and Epatha

Epatha wasn’t convinced. So he continued,

just happened,” Epatha implored. And

told me, ‘I’m writing this play about my

tenth season on Chicago Med, where she

went on tour to San Diego and Houston,

“You can’t lose this job, because the show is

Barbara Sicilia answered, “I’m their lieuten-

life, and I want you to play my mother.”’

plays Sharon Goodwin, the Director of

all the while with August Wilson revising

called Pee-wee’s Playhouse.” He modulated

ant. This is between you and me. But when

Then Billy presented the play. “I was

Patient and Medical Services at Gaffney

the script. “We were on and off the road for

his voice to a high-pitched squeak as he

I walk out of this door, there’s no playing

thrilled to play Maxine, a woman who

Chicago Medical Center. Epatha has had

around. They know I’m the lieutenant!”

must deal with physical challenges and

the unique experience of playing the

went very well.”

three years before we went to Broadway.

proclaimed, “I’m Pee-wee!” Epatha was

The whole end of the first act changed two

shocked and pleased. But she learned from

Epatha appeared on 395 episodes of Law

the emotional upheaval caused in her

Sharon Goodwin character in three differ-

days before we opened in New York.” The

that experience “to always know who I am

& Order. “As a Black person, and as a Black

life when she learns that her son is gay.”

ent series: Chicago Fire (2012), Chicago P.O.

play went on to win the Pulitzer Prize, and

auditioning for — and with!”

woman, I know how important it is for

Fondly recalling the journey, Epatha

(2014) and Chicago Med (2015).

14 | Southern Theatre | Spring/Summer 2024

along the way, you have fun!” n

Photo: D’Ambrose Boyd

said, “I don’t think so.” But he realized that

in Cheryl West’s play Birdie Blue. “Billy

Michael Dinwiddie (he/him) is a tenured full professor of dramatic writing at the NYU Gallatin School of Individualized Study. An awardwinning playwright/composer, his memberships include the Dramatists Guild, the Writers Guild of America, and the National Association of Black Journalists.

Spring/Summer 2024 | Southern Theatre | 15

CONVENTION KEYNOTES Prior to the conference, Boritt was eager to talk about the 1/52 Project. Citing the influence of the #metoo movement and #weseeyouWAT as indicators of the “need for more equity across the industry,” Boritt acknowledged that these social movements were integral in pushing him to want to give back from his position within the industry.

“We give $15,000 grants to young designers to help them along in the early years of their careers, and one of our recipients from the very first year had her Broadway debut last year. So there’s some evidence that it’s helping.”

“When the room is more mixed both with gender and ethnicity you just get a wider perspective. One of the magical things about theater is that it’s all these people putting their heads together to create something on stage, and the more diverse those heads are, the stronger, more interesting, and richer the product is going to be.”

Boritt’s work with the 1/52 Project continues,

time and be willing to put in the time,” something

supported by the contributions of other Broadway

he admits may seem to go against the grain of the

designers, artists, and professionals — another

younger generation’s desire for work/life balance.

example of theatre artists putting their heads together to create something magical.

Building Inclusive Communities

Boritt said he was ambitious when he entered

has not been in my experience. I want assistants

the field, and conceded that the industry is

who are willing to put in a long day when that’s

Advice and Insights from the 2024 Distinguished Keynote Designers

competitive and that success comes as the result of

what’s needed, but when the show is going well

a lot of work. However, he cautioned early career

and everything’s fine I’ll send them home early.”

designers against setting artificial deadlines. “You

Boritt also encourages early career designers

don’t need to conquer the world by the time you’re

to keep up with current technology. “The more

25 or 30 or 35 or whatever. Life doesn’t really work

you know, the more you know—and the more

that way… Some people think that those kind

marketable you are.” Understanding current

Three designers were featured as part of the 2024 Panel of Distinguished

of markers are important but I would say give

model-building techniques, CAD programs, 3D

Designers at the SETC Annual Convention in Mobile, Alabama. Each designer

yourself a break and don’t put artificial deadlines

printing, and laser-cutting are just a few of the

brought their unique stories and experiences to the Design Keynote on

on yourself.”

specific skills he mentioned.

Thursday evening, sharing hopes for the future of theatre, insights into the

Boritt emphasizes the importance of commu-

state of the industry, and advice for students who will soon enter the field.

nication and making connections with people.

Scenic Designer Beowulf Boritt Gets a Wider Perspective

“We’re a social species, and if you know how to

Beowulf Boritt is the Tony Award-winning set designer for James Lapine’s One Act. His design for Susan Stroman’s production of New York, New York also won a Tony as well as Drama Desk and Outer Critic’s Circle Awards. Several of Boritt’s other designs have been nominated for the Tony Award including POTUS, Flying Over Sunset, and Therese Raquin. Boritt also founded and manages the 1/52 Project, which aims to diversify the Broadway design community by providing financial support for early career designers from historically marginalized or excluded groups. His book, Transforming Space Over Time, is available on

by Jonathon Ta y l o r

“We all need to find that [balance] for ourselves, but I don’t think the theater is a nine-to-five job. It

Amazon and through Bookshop.org.

deal with people and show up and network… you will do better at whatever you do, but particularly

“The broader your skillset, the better.”

Costume Designer Erik Teague Thinks Getting in the Room Is Crucial

as a freelancer. [Making connections with people]

Er i k Teag ue is a f reela nce

is your lifeblood. It is the only way you’re going to

cost ume desig ner based in

keep working” in the commercial theatre.

Washington, D.C., who is origi-

“Be a pleasant person, and [don’t] be a jerk.”

nally from Georgia. Previous

Boritt advises early career designers who are

works include A Midsummer

interested in working as assistants or associates to

Night’s Dream, As One, T he

be “self-starters, somebody who has enough sense

Threepenny Opera and Cabaret

of how fast they can work and what they’re doing”

(The Atlanta Opera); The Cunning Little Vixen,

so that deadlines can be met.

La Bohéme, Ariadne in Naxos, The Jungle Book,

“You can’t be flaky. You’ve got to show up on

Above: Erik Teague, Rachael Blackwell and Beowulf Boritt, SETC 2024 Distinguished Designers.

Photo by Dennis Langley.

Opposite, Beowulf Boritt’s scenic design for the 2023 Broadway production of New York, New York, directed by Susan Stroman, at the Saint James Theatre.

Photo by Paul Kolnik.

Individual photos

by David Dixon.

Odyssey, Wilde Tales, Trouble in Tahiti, The Flying Spring/Summer 2024 | Southern Theatre | 17

Dutchman (The Glimmerglass Festival);

shop, but emphasized the impact of work-

e ncou raged ea rly c a r e er de sig ner s

Net work (BTN). I n 2021, Blac kwel l

and Lohengrin (Opera Southwest). In

ing closely with a faculty mentor. “In my

to c u lt ivate com mu n ic at ion sk i l l s.

received an Off Broadway nomination

addition, episodes from Teague’s podcast

freshman year, I started assisting one of

Acknowledging that public speaking

for her New York lighting design of the

series that center LGBTQ+ opera artists,

my professors with his off-campus work.

can often feel terrifying, Teague says

new musical Rathskeller: A Musical Elixir.

Come As You Are, are still available on The

I’d go to class all day, go to the shop in

that “sometimes the difference between

Blackwell currently works full-time at

Atlanta Opera Podcast.

the afternoon, and then get in the car and

getting a project greenlit or ignored is a

the Alliance Theatre in Atlanta as their

go downtown.”

good pitch, and that pitch is never going

Lighting & Projections Director.

Teague is the winner of one Helen Hayes Award and two Suzi Bass Awards for excellence in costume design.

Teague admits that sometimes the

to happen in a formal setting. It’s usually

When asked about advice for early

assistance he provided didn’t seem

going to happen in a random conversa-

career designers, Blackwell immediately

During the keynote presentation on

very important. “I might not be doing

tion somewhere on the street, at a bar,

underscored the importance of expo-

Thursday evening, Teague encouraged

anything more important than taking

at a party, or in an elevator. So, just be

sure—of putting oneself out there—but

early career designers to “[be] present in

shoes up three flights of stairs and

ready for a moment’s notice and practice”

advised that it wasn’t necessarily the

the moment and ready to accept the “yes,

taking notes, but I was there and I was

communication skills.

most important factor.

and” when presented with an opportu-

listening and I was watching the interac-

Underscoring the importance of colle-

“I think just as important [as expo-

nity—whether that’s an internship, a job,

tions in those fittings and seeing how

giality and self awareness, Teague says,

sure] is not letting anybody put you in

or just a conversation.”

performers lit up when they both had a

“Be kind and compassionate to everyone

a box… If you’re fresh out of college

shared idea.”

you work with.”

— undergrad or graduate — and you

By way of introducing himself, Teague underscored the importance of develop-

“Being a fly on the wall is an impor-

“Be true to yourself. We are storytell-

consider yourself a designer and that’s

ing his craft. “When I got into school I

tant part of the early business. Getting in

ers and our life experiences influence our

all you want to do — great. But if not—if

was a voracious devourer of all kinds of

the room is crucial.”

work. It is crucial that we all tell different

you’re a designer or if you’re an artist or

art — anything that piqued an interest.”

After suffering a personal loss that

stories. Otherwise it gets really boring.

creative in general — I think you should

Teague described taking classes in his

nearly derailed h is career before it

So you can be a meaningful part of this

go out and do what makes you happy. Do

field of study and working in the costume

began, Teague told the story of his uncle,

industry while being honest and open

what makes you feel fulfilled.”

who supported his d r ea m of work i ng a s a t heat re a r t i st and pushed him to c o nt i nu e wo rk i n g

about who you are.

“Passion projects may not always be what you studied in school [or in] class.

Blackwell lists drafting, program-

pandemic forced us all to reevaluate the

If you’re a designer you may find fulfill-

ming, and knowledge of current tech-

importance of mental health and physical

ment assisting a director or working in

nology as some of the hard skills she

health. [It forced us to] be as intentional

the scene shop. I think exposure is just

finds important, but soft skills are just

about those pauses as we are with our

Rachael N. Blackwell

important as [doing] the work that you

as important for early career designers

work.”

went to school” to study.

Lighting Designer Rachael Blackwell Wants to Get Back to Theatre

toward his goals.

“Everybody needs

i s or ig i na l ly f rom

and potential associates and assistants.

If Blackwell has a wish for future

somebody like that in

Vi rg i n ia a nd now

Blackwell emphasized the importance

“I’m looking for somebody who’s just

designers and theatre artists, it’s that

their corner. Whether

resides in Atlanta,

of making and maintaining connections

willing — willing to learn, willing to

they return theatre to some of its roots.

it’s chosen family or

GA. She desc r ibes

wit h mentors. She names a number

ask questions, and who is willing to get

“People are trying to create staged films

blood family doesn’t

herself as a creative

of mentors she’s met throughout her

a little dirty if we’re on a lower budget

instead of theatre...We have film for a

m a t t e r. S u r r o u n d

who is interested in

career, but describes Kathy Perkins as

show and we’re wearing multiple hats in

reason. We have TV for a reason. We

yourself with people

work i ng col laborat ively w it h ot her

her “biggest mentor.” Perkins is a black

the lighting realm. I’m looking for...some-

have theater for a reason. And I think

who are goi ng to

creatives across different art mediums.

female lighting designer that Blackwell

body who can work well with others, who

people are losing sight of what theater is

help you [and] who

Blackwell enjoys working on original

met the first time she attended USITT

can listen and take directions and pays

supposed to do because of all of the frills

believe in you — who

and new works, particularly those that

in 2012. “[Perkins] has just poured so

attention to detail. All those things.”

and the bells and whistles.”

believe in your goals

allow her to stay connected to her African

much into me over the years—whether

Recalling the pandemic pause and

— and can help you

American roots.

it’s experiences like allowing me to assist

its resulting effects on the industry and

keep moving, even

In 2020, Blackwell received the Gilbert

her or handing me work that she was

creatives, Blackwell found some good in

when you can’t see

Hemsley Lighting Internship and won

unable to do — and now I feel like we’re

the midst of the closures necessitated by

the way.”

the Judy Dearing Design Competition for

just really good friends. I can call her and

the COVID-19 outbreak.

Lighting, presented by the Black Theatre

talk to her about anything whether it’s

Te a g u e

also

lighting-related or life-related.”

Erik Teague’s costume design for A Midsummer Night’s Dream, directed by Tomer Zvulun, at The Atlanta Opera, 2024. Photo by Raftermen.

18 | Southern Theatre | Spring/Summer 2024

Rachael Blackwell’s lighting design for Volume IV at the University of Cincinnati’s College-Conservatory of Music, 2018, choreographed by Hope Friedman. Photo courtesy of the designer.

“In general, the pandemic allowed artists to just take a pause. A lot of us

When thinking about skills needed for

(and I’m specifically referencing myself)

new artists entering the field of design,

can be workaholics or go nonstop, espe-

Blackwell didn’t hesitate. “There’s soft

cially if you’re in the freelance lifestyle.

skills and there’s hard skills.”

It can be a bit of a grind, and I think the

“I’m hoping that in the future we get back to theatre.” n

Jonathon Taylor (he/him) is an assistant professor at East Tennessee State University where he teaches scenic and costume design, stage management and theatre design basics. He is a member of the Southern Theatre Editorial Board.

Spring/Summer 2024 | Southern Theatre | 19

CONVENTION KEYNOTES It was a far cry from where I was originally reared, which is South Central Los Angeles, California.

What I found and continue to find comforting about living in Atlanta, Georgia, is that it feels like home, like Natchitoches. Atlanta feels familiar. I know the people and the food. I know the music and the rhythms. I know the shared history of the Civil Rights Movement. Atlanta and the South have always felt like home. In many ways, this year’s SETC Convention also felt like home — and in all honesty, after attending several previous SETC conferences, this is the first time that I felt at home. I saw an SETC community in celebration of a future they aren’t so sure of, but they still felt good to be in the moment without judgement or agenda.

I have always had an exciting time at SETC. I am like my mother, in that I have never met a stranger.

I will find a tribe in any setting, but that isn’t

point and that everyone is encouraged to celebrate

SETC is great at creating affinity spaces for the

… seeing? That was achieved this year. At this year’s

varying groups that attend each year. This year

Convention I had the agency to be involved. I had

saw the largest number of African Americans to

Freddie Hendricks speaks to HBCU grant participants at the SETC Convention.

agency to not stand on the sidelines, but to come in

attend the conference, in large part because of the

and join the mechanism that is SETC. How did SETC

HBCU (Historically Black College and Universities)

Photo by Dennis Langley.

accomplish this? One way was by inviting artists

grant initiative to help underserved performing arts

into the space whose likeness has traditionally been

students attend the event. In the HBCU affinity

under-represented at past Conventions. This year, I

space Freddie was introduced and it was apparent

had the pleasure to witness three African-American

that he was on fire with energy from the first night

artists partake in a new era at SETC. They are Freddie

of the conference. He entered that room with a song

Hendricks, S. Epatha Merkerson, and Sharrell D.

in his heart and a message in his speech. Most of

Luckett. What follows are my thoughts on their

the over 75 students in attendance were not aware

“History doesn’t feel like history. It’s just hard work and engagement on an

presence and their impact which I hope highlights

of who he was, and by the end of his call to action,

ordinary day.” —Toni Simmons Henson

how important it is for SETC to continue diversifying

his call to craft, his call for community, they could

their pool of invited guest artists.

not get enough of him. There were exchanges of

Keynote Speaker Dr. Sharrell D. Luckett and drummer Rahbi Hines. Photo by David Dixon.

Words of Wisdom

by Keith Arthur Bolden

Reflections on three SETC guest artists at the 75th Anniversary Convention Some say the South is the new East Coast; that there is a renaissance of artistic expression happening and its energy is coming from the South. Well, if this year’s 75th celebration of SETC is any indication, we are in full swing of

everyone’s strength. How do you create an event,

right time to have him welcomed and honored at the

a convention, where everyone feels seen at some

annual gathering.

Freddie Hendricks

photos and contact information, and with that SETC did what it does best: provides a platform to artists

Freddie Hendricks is a legend in and around

who may never have one, to recognize artists that

uncharted and new, signaling fertile ground for the creation of wonderful work

Atlanta. His influence can be felt on stages and

we may be unaware of, and to give flowers to the

and beautiful collaborations.

that renaissance. SETC’s Convention looked and felt different than before, it felt

screens all over the world. He has helped to shape

artists while they are still with us pouring into the

I attended my first SETC Convention as a volunteer 10 years ago. I volunteered

and launch some of the careers of the most talented

next generation. That is what Freddie Hendricks is

so that I could get a “lay of the land” and discover the inner workings of the

artists you will see on stage and screen. Some

all about.

largest theatre conference in the country. The difference in the 2024 Convention

of them include Enoch King, Christine Horn,

Freddie co-founded the Freddie Hendricks Youth

was palpable, not in a negative way, but in a way that made room for more people

Dr. Sharrell Luckett, Kerwin Thompson, Saycon

Ensemble of Atlanta in 1990. Now just known as the

with varying entry points to the work, the art, how it’s made and why. This new

Sengbloh, Omar Dorsey, D. Woods, and Kenan

Youth Ensemble of Atlanta (YEA), YEA has become

era of SETC is truly exciting.

Thompson, to name a few. This was Freddie’s first

the south’s premiere African American youth theatre

If someone had told me that I would be living in the South as an adult, I think

SETC Convention and without the leadership of Toni

company. YEA has helped countless young people

I would have been just fine with that. The reason: my parents always kept their

Simmons Henson, I do not think he would have ever

to better their worlds using the arts. The organiza-

connection to their hometown of Natchitoches, Louisiana — the oldest Parrish in

attended. His influence is undeniable in the Black

tion has fostered the personal growth of hundreds

the state. I would visit during my childhood, sometimes spending months there.

artistic community and SETC felt that this was the

of young people from childhood to adulthood.

“

History doesn’t feel like history.

It’s just hard work and engagement on an ordinary day.

”

— Toni Simmons Henson SETC Executive Director

Spring/Summer 2024 | Southern Theatre | 21

Attendees at the session for members of Historically Black Colleges and Universities. This year saw the largest number of African Americans ever to attend the SETC Convention. Photo by David Dixon.

YEA has helped talented and dedicated

that the elegant and tasteful ensemble she

Repertory and the other at Huntington

performers develop critical communica-

was wearing, was indeed from wardrobe

Stage Company. And on the 10th day she

tion and life skills, raise cultural aware-

and the character she portrays on Chicago

was on stage at the Goodman Theatre,

ness, pledge commitment to excellence

Med, Sharon Goodwin. S. Epatha jokingly

working with Lloyd Richards, who was

and community service, and appreciate

shared that she hasn’t bought clothing in

the director of the production and was

diversity. Inspiration is always welcome

nine years, because, “Why should I? When

one of the most influential artists that

at SETC and it is even more inspiring

you go on set, you

Aug u st Wi l son

when it comes from something or someone

are taking off your

ever worked with.

familiar. That is the power and necessity

clothes to put on

She finally had the

of affinity spaces.

you r c ha rac ter ’s

chance to collabo-

S. Epatha Merkerson

c lot he s. S o why

rate with Richards,

buy clothes when

a n oppor t u n it y

SETC saw several firsts in its 75th

you are going to

t hat seemed to

year. My dear friend Michael Dinwiddie

take them off?”

evade her for

Epatha

yea rs. S. Epat h a

liant professor at NYU’s Gallatin School

Merkerson has

exclaimed “[for a

and an award-winning playwright (from

been a professional

time] I couldn’t get

Detroit) who was in attendance to inter-

actor on stages and

arrested by Lloyd

view the Distinguished Career Keynote

sc reen s for over

Richards.”

Speaker, S. Epatha Merkerson (also from

four decades. She

S. Epat h a h a s

Detroit), who was also attending her first

has made her

also made her

SETC gathering. Those in attendance

indelible mark on

mark on the screen

were treated to a delightful and engaging

Broadway, bei ng

conversation between old friends, which

nom i nated for a

in turn made us feel like old friends and

Tony Award twice,

not simply audience members. It was

one of them being

truly like sitting and listening to two

for a role in August Wilson’s The Piano

Lackawanna Blues, directed by George C.

friends talk over their shared histories

Lesson, which she took over from another

Wolfe for HBO, for which she won an

and inside jokes. Dinwiddie’s interview

actor who was shooting a film during the

Emmy, Golden Globe, and several other

approach was conversational, which made

play’s trial run in the regional theatres.

awards. Lackawanna Blues is a film that

the already extremely comfortable in her

She recalled that she had nine days to

began as a one man show by Santiago-

own skin, S. Epatha, even more open. So

learn the play with actors who had already

Hudson and an ode to his dear Rachel

much so that she even shared with us

completed two extended runs, one at Yale

“Nanny” Crosby, the mother figure who

attended his first Convention. He is a bril-

22 | Southern Theatre | Spring/Summer 2024

S.

Keynote Speaker S. Epatha Merkerson with SETC Executive Director Toni Simmons Henson. Photo by David Dixon.

by embodying the central charac ter i n Ruben Santiago-Hudson’s

Spring/Summer 2024 | Southern Theatre | 23

Artistic intersections in the theatre world are far reaching. The Luckett Paradigm

alternatives to the Eurocentric perfor-

is influenced by the work of Freddie

mance styles that many actors find them-

Hendricks (b.1954) who is “an African

selves working with on stages and screens

American theatre director and teacher

across the country. These alternative

who creates full-length mu sic a l s a nd d ra ma s with youth and young adults, often without a script. Hendricks trained st udent s pr i ma r i ly at the esteemed Tri-Cities High School in Atlanta, Georgia, and in his t heat r e c ompa ny, t he Freddie Hendricks Yo ut h

Ensemble

o f A t l a n t a .” ( w w w.

Bl ac k Ac t i ng Me t ho d s.

Keynote address by Dr. Sharrell D. Luckett. Photo by David Dixon

com)

approaches are rooted in

“

a critical framework that allows Afrocentric sensibilities and experiences

This year saw the largest number of African Americans ever to attend the conference.

”

to excite and invigorate approaches to performative scholarship.” (Black Acting Methods, publisher description).

What is exciting about Sharrell and what she has created and continues to develop was born out of a need, a necessity due to an abundance of lack.

At SETC I had the privilege of having

She is a scholar, practitioner, and visionary

raised him and the cast of characters who

are guided by four overlapping, inter-

a conversation with Sharrell as she was

whose eyes are on the future of the way

resided in the boarding house that she

secting Afrocentric dimensions: Core-

one of the conferences Distinguished

that art is made in the theatre.

owned in Buffalo, New York. Upon hearing

creation, Orientation, Dialogic Devising

Keynote speakers. Sharrell spoke candidly

of the upcoming film, Ruben told S. Epatha

and Resuscitation. The Paradigm involves

about the popular acting methods and

that he thought there may be something

empowered authorship, musical sensi-

its teachers and how we, collectively, are

Inclusive and Productive

in it for her. She never imagined that she

bilities, spirituality, activism, ensemble

all too familiar with their work (Sanford

nity to witness these three invited guests

would be the main character for which

building, reverence of Black culture, and

Meisner, Uta Hagen, Jerzy Grotowski,

and their offerings. The 75th Anniversary

she would be lauded for embodying and

creation without a script. In addition to

etc.) in contrast to the people of color

Convention was the most inclusive and

ultimately sweeping the awards season.

focusing on the breath, the body, confi-

who have also had significant impact in

productive SETC that I have attended.

Ultimately, S. Epatha Merkerson shared

dence, mental health, and imagination,

their communities through their artistry

During my last night at the Convention,

The Luckett Paradigm also:

life lessons of doing the work and not

I am delighted that I had the opportu-

and methods, such as Freddie Hendricks,

I sat around a piano with an amazing

fighting every battle. She also cherishes her

• develops culturally grounded, and

Cristal C. Truscott, Justin Emeka, Daniel

pianist and sang Motown songs with all

engagement with theatre. Every few years

versatile actors who can work and

Banks, Kashi Johnson, etc.) — and most

the guest speakers. If someone had told me

create with or without scripts.

she does something on the stage because

have never heard of them. The lack of

years ago that I would grow up and sing

it keeps her grounded and she emphasized

• is trans-medium, making it applicable

awareness and curiosity is what prompted

Motown songs with S. Epatha Merkerson,

that the stage is the best training ground

to performance in theatre, television,

Dr. Luckett to embark on the journey of

in the south at the largest theatre confer-

to learn to build character and learn how

and film.

co-editing the book, Black Acting Methods:

ence in the country, not only would I not be

Critical Approaches. The pandemic and the

mad at that, I would have made it happen

effect it had on the industry was a primary

much sooner. n

to create an arc for that character.

• nurt ures spirit ual aspects of t he

Dr. Sharrell D. Luckett

• assists actors in developing and apply-

catalyst for the book becoming a #1 best

creative process.

The brilliant Sharrell D. Luckett is

ing psychological tools for cultural

seller in the field of theatre. The popular

making her impact on the theatre world

affirmation and resilience in the

book stayed at the top of the Amazon best

by influencing the way actors learn, how

audition rooms and acting studios.

seller list for at least eight weeks. Around

they learn it, what they are learning and

• encourages activist and social justice

this same time, Luckett began training

who is teaching. She is the lead editor of

24 | Southern Theatre | Spring/Summer 2024

Acting Methods: Critical Approaches “offers

work in and with performance.

actors and educators virtually through her

Black Acting Methods: Critical Approaches

• values the complexities and chal-

acclaimed institution: The Black Acting

and the founder and creator of the Luckett

lenges of what it means to be a work-

Methods Studio. When the book shot to #1

Pa rad ig m, wh ic h is a “perfor ma nce

ing Black actor in America.” (www.

there was a sudden huge demand for her

methodology where practice and theory

BlackActingMethods.com)

to teach what she had written about. Black

Keith Arthur Bolden (he/him) a native of Los Angeles, California, earned his MFA in Acting from the University of Illinois and is currently an Associate Professor of Theatre and Performance at Spelman College in Atlanta, Georgia.

Spring/Summer 2024 | Southern Theatre | 25

photo by Dennis Langley

Tackling Controversy

Teachers Institute presenter Howard Sherman offers suggestions for theatre educators who face censorship

by Amy Cuomo

know about these situations. It snowballed

to contextualize them so that audiences can

board with the production. One way to start

emotionally able to handle the show, and you

in ways I never expected.” So, the incident in

understand the importance of the work.

this process is to collaborate. In an exercise,

give them the ammunition they need.”

Waterbury, along with several other incidents,

In the workshop, Sherman drew a series

teachers brainstormed strategies for building

Sherman went on to say that when one

encouraged Sherman to develop a workshop

of concentric circles on a flip chart. From

context for a show. A few of the ideas were:

is preparing their materials in defense of a

to help educators prepare for and react to the

the center outward, the text read: Students

• Work collaboratively with students and

show, they should ask for help. For example,

possible censoring of a theatre production.

involved in the show; other students in the

parent groups, such as booster clubs, to

there’s a Facebook group, High School Theatre

select and promote the production.

Directors and Teachers, that can provide

Sherman insists that he’s not an expert, but

school; parents; other family of students; and

he does have a special set of skills. He noted, “I

finally community. Nowhere on the circle

know a lot of people in the theatre. I know a

were the words teacher or administrator.

lot of shows, and I worked as a publicist, and I

Sherman stipulated that the reason to produce

have a big mouth.” In addition, Sherman has a

a work is primarily for the students involved.

• Work with the students to talk about potential risks of the show.

• Send out a parental agreement regarding content.

useful information.

For those who are reading about a show cancellation, there are ways to lend support: • Reach out to the teacher and make sure

wealth of experience in the theatre world and

When selecting a play to produce, the

• Develop dramaturgy so that it provides a

in dealing with incidents of censorship. He

questions to ask are: Why this show? Why

thoughtful context for the play and find

stated, “One thing I bring to the table is that

now? What is it about this show that you

ways to share this information before the

this is not my first time. When [censorship]

believe has value? Even if there isn’t an official

happens to people, it blindsides them.”

approval process required by the school, it’s

• Build alliances and partnerships with

Approach

good to have developed your rationale. This

community organizations that would be

process allows you to have your defense at the

interested in the play’s message.

Sherman’s approach to arts advocacy empha-

ready should you need it. Sherman quipped,

sizes collaboration, networking and treating

the rationale for a show is not, “I have a couple

article about the show’s significance.

space.

each case as unique. He maintains that he is

of senior girls who can pull this off.” Rather,

• Share t he message of t he show wit h

not the only person working on problems of

the rationale includes the values found in the

community members and administrators

censorship. The Dramatist Guild, the American

play that can provide its best defense.

in a video; lay the groundwork. There’s no

Conclusion

production.

• Create a website where you include an

that they feel supported; let them know that they are not alone.

• As long as it doesn’t put you at risk, share information about those in trouble; on social media the more you click “like,” the more the story spreads.

• Contribute to a GoFundMe that allows students to produce the show in another

Arts advocate Howard Sherman does this

Civil Liberties Union, the National Coalition

Ironically, it is the film of any given show

Against Censorship, and The Foundation for

(if it exists) that can be most detrimental to

Individual Rights and Expression (FIRE) all

its eventual production. Sherman explained,

Sherman concluded the exercise by saying, “If

shows in high schools, but that when students

need for this video to be polished, but it

work because it’s important. He believes that

does need to be sincere.

there is a place for so-called family friendly

strive to protect artists ability to express their

“Often, people who make these decisions

someone decides they are going to get in a snit,

also engage with plays and musicals that

On March 13, the Southeastern Theatre

been a labor of love. In the past, he has served

ideas. The “how” of restoring a show that

don’t know the difference between a script

they’re going to get into a snit. None of this

contain important modern themes, it allows

Conference’s Teachers Institute introduced

as executive director of the American Theatre

has been canceled takes a variety of forms.

and a production. They look at Wikipedia or

guarantees that someone’s not going to object;

them to grow as people and as artists.

arts advocate Howard Sherman, who began

Wing, managing director of Geva Theatre,

“Sometimes what is needed is a big public

read a synopsis or watch a film of the musical;

but if you have done a lot of these things then

“It’s important to give students an array

his workshop with a series of questions.

general manager of Goodspeed Musicals, and

campaign,” Sherman explained. “Sometimes

what they see in that movie is what they think

you already have in place tools to create the

of theatrical experiences at a formative age,”

• “Have you ever had the experience of

public relations director of Hartford Stage.

what is required is a conversation behind

you are going to do.” In preparing to mount

content you need to defend your show.”

Sherman said. “Students who want to pursue

having a show canceled over content?”

Sherman has spent over 40 years at the heart

closed doors that no one will know about.”

a show, you need to be prepared to head off

of the industry. Ironically, he fell into arts

Through it all, however, Sherman insisted, “It

potential problems.

advocacy by accident.

is of paramount importance that a teacher isn’t

Sherman exemplified the problem by

What to do when Censorship Hits

a career in theatre will find a way. What I

• “Have you proposed a show to the admin-

While Saturday’s workshop at the Teachers

range of theatre and then become doctors,

Arts Advocacy

put at risk.” When working on restoring a show

discussing the musical Sweeney Todd: “If an

Institute emphasized the steps to take to try to

lawyers, engineers and programmers and

that has been closed, Sherman says, “when

administrator were to watch the Tim Burton

prevent problems, Sherman did provide advice

go on to be our next audiences for all kinds

Thirteen years ago, Sherman wrote a blog

things go public, it is only because people want

movie, they will see geysers of blood; when

on what to do when you have a show canceled

of theatre.” SETC 2024 Teachers Institute

post about a production of Joe Turner’s Come

it to be public. You don’t always have to make

it’s on stage, I’ve never seen it with that

and how to support teachers who have had

ultimately provided teachers with rich ideas

• Hands raised and discussion regarding

and Gone that was canceled in Waterbury,

a public fight; the people come first.”

much blood!” The key is to identify and talk

plays or musicals pulled from production.

and tools to allow students to grow as they

censorship of high school and college

Connecticut. He knew August Wilson’s work

“When this hits, the one person who

productions began.

and had attended the production in New Haven

Preparing for Controversy

through possible moments of controversy, or what Sherman refers to as “flashpoints” in the

usually can’t speak is the teacher,” Sherman

Howard Sherman’s dedication to assisting

script. Howard reminded his listeners that

explained. “Most teachers are not allowed

istration, and had it shot down?”

• “Are there shows that you know are right for your students, but you don’t suggest them because they will draw an unfavorable response?”

Shows such as Mean Girls, She Kills Monsters,

when it premiered at Yale Repertory Theatre.

Sister Act, and Oedipus Rex made the list.

In an unlikely turn of events, Sherman, along

students and teachers was at the forefront of

they’re working with people who aren’t expe-

to talk to the media without permission.”

Sherman noted that the most remarkable

with folks at the Yale School of Drama, worked

Saturday’s workshop. The plan was to work

rienced in analyzing a script or producing a

However, there is something teachers can and

thing about censorship is that it could happen

successfully to have the show restored.

with teachers to prepare for the possibility

play. Teachers need to walk them through it.

should do. Let students know: “If you choose

Contextualize

to speak about this, you must do it profession-

In addition to developing a rationale for a

insult administrators or the school board,

show, it is often important to get everyone on

you prove their argument that you aren’t

to any show. Because of his vast experience

Sherman explained how his work evolved.

of a show being censored in any phase of

in the theatre, Sherman found himself in a

“There had been enough attention to the Joe

the production process. To get ahead of the

unique position to help with the problem.

Turner situation that I started getting calls.

problem, Sherman asked teachers to inter-

Social media makes it possible for people to

rogate the scripts they plan to produce and

Howard Sherman’s career in theatre has 26 | Southern Theatre | Spring/Summer 2024

ally and without anger. If you lash out and

want is for students to be exposed to a wide

practice their art.

Amy Cuomo (she/her) is a Professor of Theatre at the University of West Georgia, where she recently directed David Lindsay-Abaire’s Fuddy Meers.

Her short play Happy was a finalist for the Heideman Award. She is a member of the Southern Theatre Editorial Board.

Spring/Summer 2024 | Southern Theatre | 27

SUZANNE M. DAVIS AWARD

by Steven H. Butler

Suzanne M. Davis Memorial Award recipient Marci J. Duncan, with award presenter Steven H. Butler, SETC Vice President of Administration

28 | Southern Theatre | Spring/Summer 2024

T he Suza n ne M. Davis Memorial

knowledge of SETC history was inspir-

To me, Marci J. Duncan is a self-

Award was created in memory of Suzie

ing. It was then that I knew I had found

actualized person: a wife, a mother, a

Davis, wife of Harry Davis, one of the

my tribe and SETC became my new home.

professor, an actor, a director, and a

founders of SETC and its 10th president.

Time passed before our paths would

playwright. She has served on the SETC

The award recognizes an individual who,

c r o s s aga i n . T h i s t i me, SETC h ad

Board for over 10 years and is currently

over an extended number of years, has

convened upon Greensboro, NC. I was

serving as the Auditions Coordinator

been outstanding in service to SETC. It is

even more impressed because this time

for SETC Administration. She is also the

the highest award that SETC can bestow

Marci was expecting a child. However,

Immediate Past President of the Florida

upon one of its own members.

she never missed a beat and poured forth

Theatre Conference. She graduated from

When I think of the recipient of the

the same beautiful warmth and southern

Florida A&M University and completed

2024 Suzanne M. Davis Memorial Award,

hospitality. What impressed me the most

her M.F.A. degree at the University of

I cannot help but think of how Marci J.

was how she covered every square inch

Florida.

Duncan embodies all the good qualities of

of that exhibit hall with gusto. Jokingly,

Marci J. Duncan is truly a “Super

southern-ness and what it means to be an

I was convinced she was trying to walk

Woman” to me and many others. It is an

integral part of SETC. When I attended my

that baby out of her.

honor to present the 2024 Suzanne M.

first SETC event, it was in Chattanooga,

When you see someone only once a

TN and I had the honor to interact with

year, sometimes it can be difficult to see

three phenomenal people, Pearl Cleage,

how that person truly operates. In 2019, I

Ben Vereen, and Marci J. Duncan.

began working closely with Marci and I

It was my first time at SETC and I

was able to see that her beautiful warmth

attended the conference alone; however,

and hospitality was truly genuine. I also

when I met Marci, I immediately felt

found out that she does not take kindly

warmth and southern hospitality. All it

to ill intentions and when meeting them

took was a smile and hello, and the next

head on, she takes no prisoners. However,

thing I knew I was being schooled on

she always addresses tough situations

what SETC was all about. Her personal

with such grace and professionalism.

Davis Memorial Award to Mrs. Marci J. Duncan. n

Steven Butler (he/him) is the Artistic Director for the Sarasota Players, Florida, and has served as the Executive Director for the Florida Theatre Conference. He is the Founder of Actors’ Warehouse in Gainesville, and serves on the board of directors for the American Association of Community Theatres.

Spring/Summer 2024 | Southern Theatre | 29

2023 GETCHELL AWARD INTERVIEW

by Lauren Brooke Ellis

Charles M. Getchell Award winner D.W. Gregory discusses her new comedy, A Thing of Beauty D

.W. Gregory (right) won the 2023 Charles M. Getchell New Play Award for her play A Thing of Beauty. Gregory

is an award-winning writer whose plays frequently explore political issues through a personal lens and with

a comedic twist. The New York Times called her “a playwright with a talent to enlighten and provoke” for her most produced work, Radium Girls, which has received more than 1,800 productions in the U.S. and abroad. Other plays include Memoirs of a Forgotten Man, a National New Play Network rolling world premiere (Contemporary American Theater Festival, Shadowland Stages, and New Jersey Rep); Molumby’s Million (Iron Age Theatre), nominated for a Barrymore Award by Philadelphia Theatre Alliance; The Good Daughter and October 1962 (New Jersey Rep). The Yellow Stocking Play, a new musical comedy created with composer Steven M. Alper and lyricist Sarah Knapp, recently won Best Musical and Best Book of a Musical in CreateTheater’s New Play Festival on Theatre Row. The following is an interview with the playwright conducted by Lauren Brooke Ellis, SETC’s Chair of Playwriting.

D.W. Gregory is an award-winning writer whose plays frequently explore political issues through a personal lens and with a comedic twist.

The New York Times called her “a playwright with a talent to enlighten and provoke” for her most produced work, Radium Girls, which has received more than 1,800 productions in the U.S. and abroad. More information at dwgregory.com.

Lauren Brooke Ellis (LBE): Your award-winning

these stories? It is to share in that story-telling

tension, it was just people talking. But after

work has been produced all over the world.

collectively.

a couple of years, I stumbled onto a good

Your stories strike universal chords that explore all sides of humanity and are suitable

story and suddenly had a play that worked.

LBE: What was your route to playwriting?

for any and all mediums. So ultimately, why did you choose the theatre?

Winning that competition, for me, was a signal that said, “Okay, I’m on the right track.”

DWG: Indirect. At 18, I felt I couldn’t really go into theatre or study acting, which I wanted

D.W. Gregory (DWG): I remember vividly

LBE: Was it hard for you to claim the title of

to do; I wasn’t encouraged to do that. [When

“playwright”?

a production of 1776 that I saw with my

I was living in Rochester] I saw that Writers

mother at The Fulton Opera House when

& Books offered a workshop in playwriting,

DWG: It was hard at first, starting to think

I was 17. “Mama Look Sharp” is one of

so I signed up. It was run by a retired theatre

of myself as a playwright… It’s funny.

the most moving songs in that play, and it

professor named Bruce Sweet, who was a

When I was still living in Rochester, one of

brought her to tears — and she was not the

great teacher and mentor, and he instilled

the community theatres sponsored a play

kind to cry easily. I saw first-hand how this

everybody with this sense of, “You can do

contest and I entered a script. They picked

form of storytelling could trigger such a

this. You haven’t done it yet, but you can do it.”

three plays to perform, and it caused a little

strong response — sometimes a passionate

I stayed three years, and somewhere in

bit of a stink that all the plays were written

response — in its audiences. So I was always

this process, something clicked. I wrote a

by men. A few actresses came up to me after

intrigued by it. And once I got into writing

play for young audiences and I sent it off to

the performance to tell me how offended they

plays, it simply felt more natural to me than

a competition. It won — and the prize was

were that my play hadn’t been chosen, even

other forms. I had dabbled in poetry — I’m

a staged reading. And that was the turning

though they had lobbied hard for it.

a terrible poet, by the way — and in short

point. If you’re used to writing narrative

It was stunning to me that someone was

fiction. But those are solitary pursuits. The

prose, [writing for the stage is] not intuitive

passionate enough about a play of mine that

collaborative nature of theatre is that you are

at all. You have to be able to tell the story

they wanted to advocate for it. It took me

telling stories in a community setting; the

through active dialogue.

a long time to get to where I had enough

community of the artists involved and the

I made all of the classic mistakes new

confidence to be my own advocate. Early

community created around the event. Why

playwrights can make. The plays were flat,

on, I could be talked out of things. I thought

come together as an audience to see and hear

they weren’t dramatic, there wasn’t really

everyone else knew more than I did.

Spring/Summer 2024 | Southern Theatre | 31

LBE: I think that lack of confidence is

how power is wielded differently by the

some theatre companies are simply not going

When I went back to it, I started thinking

something early-career artists of all mediums

genders and the disparities that emerge from

to survive. But some will, and the ones that

about the other characters in the play. Who

experience. If you were going to give a young

that, and the distortions it brings. So that’s

can connect with their audiences and create

won the prize? Who are the other judges? This

artist some concrete steps to take to make a

always been something that’s a part of my

community with their audiences, whoever

was 2019, so a lot of stuff in the air, you know,

life or career in the arts, what are three things

consciousness. It has to do with, “Well, what’s

that audience is, are the ones that will survive.

in the zeitgeist. And all of the conversations

you would tell them to do?

the cause in the first place?” And are we going to apply solutions that don’t actually address

LBE: I think one of the things that’s striking me

so I thought, all of this sort of rolls into this

DWG: Well I think the first order of business

the root issue? Why is there this disparity in

is talking about this balance of the levity of

story, but this is really about class, the issue

for anybody, whatever you’re doing, whether

the first place? What’s the cause of it?

entertainment and compelling them to come to

of access to art, and who can really break into

you’re a photographer, a playwright, a

There’s a pipeline problem, there are

theatre and revealing to them this lens on the

these rarified worlds, who the gatekeepers are,

painter, dancer, or performer is to perfect

barriers to entry. A lot of it has to do with

culture, which goes back to your play, A Thing of

and the barriers to somebody who’s just trying

your craft. Playwriting is a craft. When I

economic disparities. Who’s going to be

Beauty, which was this year’s Getchell winner.

to get by in the world.

go to see a play, I want to feel like I’m in the

able to take advantage of prestigious theatre

I feel this play strikes that balance really well,

hands of a really skilled craftsperson who

internships if those internships don’t pay?

and so I would love to ask you where the play

LBE: A Thing of Beauty had a reading at the Barter

knows what they’re doing. It’s not slapdash or

The same is true of M.F.A. programs. The

came from in terms of inspiration and process,

Theatre’s Appalachian Festival of Plays and

arbitrary. So you have to invest in your craft,

whole structure of the industry skews against

and what ideas you were exploring with it.

Playwrights and then a week later at SETC for

and that means investing in yourself. That

people from working class families. The

means giving yourself the time to develop.

obvious answer is we need more money and

DWG: Well, there’s a couple of triggers. One was

Then you have to learn the business, and

public support for the arts. I really just wonder

that I had come across this photograph of a

then you have to figure out where you want

if what’s being kicked around is a solution

proper looking matron looking through a shop

DWG: That it was really funny, that was the

to work and how to connect with people

disparity and trying a top-down fix that doesn’t

window, and what she’s looking at is a nude

main thing. When we got to the reading at

who will be able to help you move your work

address the underlying structural problem.

portrait of a woman with her bare backside

the Barter, we had a week of rehearsal so I

sticking up. She’s bending over, her butt in the

got to work with the actors and made some

a position to help you, but figuring out what

LBE: That makes a lot of sense. We’re slapping

air, and the woman who’s looking at it has eyes

adjustments to the script and it played really

you have to offer them… But all theatres have

band-aids on things that need deeper, surgical

popping in horror. It’s a really funny picture.

well. We had a panel of reviewers who got up

the same issue — they’re looking for plays that

solutions.

And this reminded me of [an outdoor art show

after the reading and offered their critiques.

forward. But it’s not just about them being in

the Getchell. In those processes, what did you discover about the play?

that happened in my hometown when I was a

One of them likened it to Oscar Wilde — and

And those audiences vary from one theatre to

DWG: It’s a real challenge, but I have a firm

kid.] I would say 90% of it is what I would call

that’s the second person who has done that.

the next. It’s not homogenous. So, it’s on you as

conviction that theatre is entertainment. It’s a

postcard art, the sort of thing you’d see on a

It’s really kind of Oscar Wilde meets the Marx

a writer to get to know these performing arts

mistake to lose sight of that. We’re not here to

tourist postcard. It was all very benign, very

Brothers, because it involves a bit of physical

organizations and the audiences they serve.

solve all of the problems of our culture, we’re

mainstream realism. You didn’t feel like you

comedy as well as social satire.

are going to be of interest to their audiences.

here to reveal the culture. We’re here to reveal

were looking at that subject matter through

So my discovery was that it held up. When

LBE: I think it’s so interesting to talk about

the problems and create a conversation around

an eye that is critical or an eye that has a fresh

we got to SETC, I thought, well, now we’ll

audiences and what kinds of seasons are

them. But we have to do it in an entertaining

new perspective. It was just straight on, “This

see how it plays with a different cast, and is it

being made right now. Since 2020, theatres

way. When I say, “entertaining,” I don’t mean

is a barn, isn’t that a pretty scene? Let’s hang

inherently funny or did a lot of it have to do

have faced such a huge upheaval. First with

we have to do a musical comedy about income

this up in the bathroom.”

with the actors? But it was funny consistently.

the pandemic and then with the reckonings

inequality, but it has to be engaging. It has to be

So I thought about that art show and

So I came out of it with a lot more confidence in

happening around the lack of equity and

dramatic and it has to be put together in a way

the kind of art it championed and how that

the play. My theory is that if you can deal with

inclusion. Your work has always seemed to

that pulls audiences into the story. And some

painting of a lady’s bare backside would go

serious questions in a really humorous way, it

address these issues. So my question is, how

of the resistance we’re seeing in the changes

over with the judges. And when I wrote that

makes it easier for people to sit with it and get

are these shifts in conversations landing on

in programming around the country is either

first scene, I just riffed, and all of a sudden this

a conversation going. n

you as a playwright?

because audiences don’t want to hear it or

character came to me — thinking about the arts

because what you’re putting in front of them

matrons, and I think every town has someone

isn’t engaging them.

like that, wealthy women who sponsor the

DWG: I don’t know if I can say exactly. I don’t

32 | Southern Theatre | Spring/Summer 2024

happening about representation in art, and

think of my work necessarily as “feminist”

It’s delicate, it’s dicey, because I think it’s a

prizes and hold the teas and fundraisers.

— because “feminism” has an undeserved

little bit of both. But the bottom line is that you

They’re trying to support the arts in their

connotation of being strident. But I have been

cannot hold a gun to the head of the audience

community and God bless them for that, but

wrestling with power relationships between

and make them come see the shows. You have

they have certain, stifling sensibility — and

men and women, and it’s a recurring theme

to put something out there that is going to

suddenly Mrs. Bouffant appeared with her

in a lot of my plays. A lot of them are about

appeal to them. I think it’s a big shake-out and

secretary.

Lauren Brooke Ellis (she/ her) is a director, stage manager, playwright, and arts educator from Aiken, South Carolina. Her passion is new works and empowering artists.

She currently serves as the Chair of Playwriting and runs the Short Play Festival for SETC. @waitingwinterlong Spring/Summer 2024 | Southern Theatre | 33

GETCHELL AWARD EXCERPT MRS. TWINKLE: Bare behind. Oh yes.

A Thing of Beauty

(with pride) A nude.

MRS. BOUFFANT: It’s more than a nude, Mrs. Twinkle. It’s an insult.

MRS. TWINKLE: An insult?

MRS. BOUFFANT: Look at how she’s holding her — herself. As if she’s daring us to … As if she’s saying …

MRS. TWINKLE: Kiss my arse?

by D.W. Gregory

Cast of Characters:

MRS. BOUFFANT, a woman of means and exquisite taste, if not in art, then certainly in furniture. Somewhere between 45 and 60.

MRS. TWINKLE, her neighbor and toady, of indeterminate age, less worldly but more agreeable.

MISS IMELDA MARRS, Mrs. Bouffant’s

Time:

The early 1950s.

Place:

A small seafront town in New England

For Production: Elaine Devlin

Excerpt 1:

Mrs. Twinkle, one of the judges for the first annual Leonard C. Bouffant Community Art Competition, proudly displays the three finalists for the competition sponsor, Mrs. Bouffant, who — to her shock — takes umbrage at the first prize winner.

MRS. TWINKLE: And now … To second place.

secretary, 30-something, ambitious and

Elaine Devlin Literary Agency

anxious, in love with Mr. Buckle, but more

1115 Broadway, 12th floor

As before, she places the picture where she and

practical than he.

New York, NY 10010

Mrs. Bouffant can see it, but the audience does

Tel: 212-842-9030

not.

Email: elaine@edevlinlit.com

MRS. TWINKLE: This one is… uh…

GEORGE BUCKLE, early 30s or so, a mailman and amateur painter, in love with Imelda; annoyingly earnest, he’s a romantic with a capital R. CA P TAIN BILGEWAT ER, somewhere

Synopsis:

What is the purpose of art? Is it to elevate our

between 45 and 60, an admirer of fine art

lives or shatter our assumptions? That’s the

and fine women, but more interested in

question facing the leading citizens of a sleepy

market value than aesthetics.

New England resort when an anonymous

MRS. BOUFFANT: Pen and ink?

MRS. TWINKLE: … surrealism.

MRS. BOUFFANT: Ah. (with concern) And the subject?

MRS. TWINKLE: The dump behind the high school.

MAYFIELD FORTNITE, anywhere between

nude takes first prize in their community art

MRS. BOUFFANT: A trash heap.

40 and 60, a modern realist painter and art

competition. As local gossips speculate about

MRS. TWINKLE: Mrs. Murray says it’s a

critic. Revels in her gender ambiguity.

exactly whose bare butt is depicted in that

gritty kind of surrealism. But we all agreed

painting, the competition’s wealthy sponsor,

the subject matter is not quite elevated

For 3 W, 2 M – the intention is that Mrs. Twinkle

Mrs. Bouffant, is horrified and lobbies the

enough to merit first place.

and Mayfield Fortnite are played by the same

judges for a more “appropriate” winner —

MRS. BOUFFANT: I should think not. If

actress. However, the play could be performed

“something involving daisies or an old barn.”

we do nothing else, we must champion art

without doubling. Casting, however, is wide

Horror turns to outrage, however, when

open. Use the best comedic actors you can find,

she learns the winning artist is the mailman

regardless of race or ethnicity. In fact, there may

who keeps losing her deliveries. What she

be mileage to be gained in casting Mrs. Bouffant

doesn’t know is that her own secretary is the

As Mrs. Twinkle, unwraps the first prize

and the Captain with actors who do not fit the

muse who inspired his work. Just as Mrs.

winner:

WASP stereotype — but can certainly parody

Bouffant doubles down on her campaign

MRS. BOUFFANT: I see it’s a portrait,

it. It is also possible that Mrs. Bouffant is — as

for public decency, an influential New York

one friend of mine suggested — the “perfect

art critic arrives on the scene, determined

drag role.” Though I am reluctant to yank such

to shake up the big city art scene by cham-

a rich part away from a woman of a certain age,

pioning an unknown artist of “the working

it might be interesting to see.

classes.”

34 | Southern Theatre | Spring/Summer 2024

that is elevating.

MRS. TWINKLE: Indeed we must. So without further ado …

but — MRS. TWINKLE: In oil. American naturalism, Mrs. Murray says.

MRS. BOUFFANT: That’s a woman’s — uh — bare — bare buh — buh —

MRS. BOUFFANT: Who is responsible for this?

Stunned surprise.

Lex! We have a date tonight.

CAPTAIN: Goodness!

CAPTAIN: Indeed we do.

MRS. BOUFFANT: Show him in.

FORTNITE: Put ‘er there. (extending her hand)

Imelda goes out again.

At last!

CAPTAIN: I had no idea you were already

MRS. BOUFFANT: You’ve not met?

acquainted with Mayfield Fortnite.

CAPTAIN: We’ve corresponded.

MRS. BOUFFANT: I am the founder of the arts festival.

MRS. BOUFFANT: Pen pals? I was under the impression you were intimate friends.

Fortnite sweeps in, followed by Imelda. Mayfield

FORTNITE: Sure feels that way! Don’t it

is not a man -- but a woman with an Edith

Lex? (elbow to the Captain) I’m framing

Head haircut and taste in tweedy clothing,

some of those letters.

MRS. TWINKLE: We all agreed.

wearing horn-rimmed glasses and speaking

CAPTAIN: (without delight) How delightful.

MRS. BOUFFANT: I know you, Mrs.

with a powerful, honking Long Island accent.

FORTNITE: And lemme say: Lex. You are a

This is not someone who blends in. Nor does

helluva lot better lookin’ in person than I

Twinkle. You don’t have an original idea in your head. If someone told you a bowl of popcorn ought to win, you’d agree!

MRS. TWINKLE: There’s no need to get testy.

MRS. BOUFFANT: Someone swayed your vote. Who was it? Mrs. Murray? Or Captain Bilgewater?

MRS. TWINKLE: Captain Bilgewater was particularly impressed-MRS. BOUFFANT: I might have known!

MRS. TWINKLE: But Mrs. Murray is also a strong advocate. She says the skill on display is undeniable.

MRS. BOUFFANT: What does she know?

MRS. TWINKLE: She’s the art teacher.

she care to.

FORTNITE: Mrs. Bouffant?

She pronounces it ‘Boo-FANT.’ Extends her hand.

FORTNITE: Mayfield Fortnite.

MRS. BOUFFANT: Ah! (stunned at the sight) How nice to see you.

FORTNITE: I hope you’ll excuse the intrusion-MRS. BOUFFANT: Not at all. I’m just, uh -- that is-FORTNITE: But I’ve been eager to meet you, Mrs. Bouffant.

MRS. BOUFFANT: It’s (confidentially, in the French pronunciation) Bouffant.

FORTNITE: Ah bouffant! (pronounces it

expected. (Another raucous laugh.)

CAPTAIN: Thank you. And, uh, you are — uh — FORTNITE: Not what you expected? (pleased) Nah, I never am! (seeing Imelda) and who — might I ask — is this charming creature?

MRS. BOUFFANT: My secretary. Imelda Marrs.

FORTNITE: Miss Marrs! A pleasure.

IMELDA: Likewise. (beat) May I take your coat?

FORTNITE: Thank you, my dear.

Imelda goes out with Fortnite’s coat.

FORTNITE: I hope you don’t mind my stop-

BOO-fint) any relation to the Long Island

ping by unannounced, Mrs. Bouffant (pro-

MRS. BOUFFANT: Expertise isn’t every-

Bouffants? Theodore Bouffant?

nounces it BOO-fint) — but you’re famous

thing it’s cracked up to be, Mrs. Twinkle.

MRS. BOUFFANT: I don’t think so.

In some cases, it’s an impediment to

FORTNITE: That’s probably a good thing.

MRS. BOUFFANT: Am I?

common sense.

He’s in the slammer for wire fraud.

Fortnite laughs a loud honking laugh.

FORTNITE: At the coffee shop this morning.

MRS. BOUFFANT: You know Captain

this arts festival — like there always is —

She’s the most informed.

MRS. TWINKLE: I’m no expert, myself.

But I rather like that we can’t see the woman’s face. Lends a mystique to it.

And the flesh tones are so lifelike … while

Bilgewater.

FORTNITE: Captain Bilgewater? What a riot!

in these parts.

I said: I understand there’s a lady behind they directed me here. A woman knows how to make things happen, am I right? n

the proportions are perfect. Some women really do have such large … uh. Well.

MRS. BOUFFANT: This is a real person?

Excerpt 2:

Mrs. Bouffant’s efforts to seduce the competition’s chief judge, Captain Bilgewater, into changing his vote for first prize are interrupted by a surprise visit from Mayfield Fortnite, chief critic for Art World International.

IMELDA: Mrs. Bouffant — a Mayfield

Are You a Future Getchell Award Winner?

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

The winner receives a $1,000 cash award and an all-expenses-paid trip to the SETC Convention, where both a critique and a staged reading of the winning play are held. More info: setc.org/getchell-new-play-contest

Fortnite to see you.

Spring/Summer 2024 | Southern Theatre | 35

THEATRE ON THE PAGE

b y K h a l i d Y. L o n g

Black Artists Who Rewrote the Rules 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.

is that not all Black people celebrated Shuffle Along, subsequently illustrating that some, namely scholar William H. Ferris, “cautioned against the show painting a simplistic view of

Footnotes: The Black Artists Who Rewrote the Rules of the Great White Way

by Caseen Gaines Sourcebooks, 2021; ISBN: 978-1492688815; 448 pages.

Price: $26.99 (hardback)

W

essential point on which Gaines sheds light

Black life and setting an unbreakable precedent that would limit the types of representation African American folks would have on the stage in future productions” (179). Gaines is to be commended for presenting varying perspectives about Shuffle Along; however,

hen Shuffle Along opened on Broadway

the book falls short by not offering a more

in 1921, the all-Black creative team

robust analysis of such a crucial element

probably did not imagine a musical that

of the musical’s history, particularly where

would remain forever stitched in the social

it concerns the intersection of race and

fabric of American arts and culture. It is also

performance. Although the book is not a strict

unlikely that the quartet, which consisted

academic text, an analytical assessment is

of Eubie Blake, Noble Sissle, Flournoy

necessary to offer readers some form of critical

Miller, and Aubrey Lyles — envisioned that

interpretation, so they are not left to derive a

their tour de force would contribute to the

conclusion without full context.

commencing of the Harlem Renaissance,

The chapters in Part Three take up

usher in jazz music for a widespread

Shuffle Along after its life on Broadway, thus

audience, and launch the careers of several

demonstrating that as “the show celebrated

Black entertainers who would go on to

and highlighted Black artistry,” it also ignited

become legends in the performing arts. To be

role in the early phase of American theatrical

“an interest that would last in New York

sure, these are just a few of the notable feats

performance. This includes figures such

throughout the remainder of the decade”

achieved by the team that brought audiences

as ragtime musician James Reese Europe

(182). As Gaines brings Footnotes to a close

the groundbreaking musical Shuffle Along.

and singer Sissieretta Jones. Gaines also

with his epilogue, aptly titled “Encore,” he considers African Americans’ legacy in theatre,

With Footnotes: The Black Artists Who

reintroduces more familiar Black performers,

Rewrote the Rules of the Great White Way,

such as Josephine Baker and Paul Robeson,

contending that Shuffle Along is a pioneer of

Caseen Gaines captures the story of Shuffle

whose careers in the entertainment industry

Black culture and performance. Immediately

Along while delving deeply into the social

were ignited by their roles in Shuffle Along.

following the epilogue, Gaines gifts readers

history of the book’s characters. Meticulously

Gaines organizes the monograph into three

— namely educators — with questions that can

researched, Gaines’s book provides an

parts, essentially underscoring a period of the

inspire robust discussion. In doing so, Gaines

intimate portrait of four Black theatre artists

four artists’ lives coupled with the evolution of

models for future authors how to make this

(Eubie Blake, Noble Sissle, Flournoy Miller,

the musical. For example, the chapters in Part I,

work actively accessible for anyone interested

and Aubrey Lyles) and their intervention

“The Way There,” cover the years between 1885

in American history and culture. n

into the pinnacle of mainstream American

and 1921. By starting in 1885, Gaines delves

theatre. Gaines depicts a significant moment

into the personal histories of the musical’s

in American history, namely the post-

creators, thus detailing their lives before their

reconstruction era, as it undoubtedly shifted

artistic partnerships were formed. Part Two,

the racial politics of the time. Additionally,

“Making It,” chronicles the birth of Shuffle

Gaines introduces readers to various under-

Along, with specific attention paid to the trials

discussed Black figures who played a pivotal

and tribulations of producing the musical. An

36 | Southern Theatre | Spring/Summer 2024

Khalid Y. Long (he/him) is an Associate Professor of Theatre Arts at Howard University. He is the co-editor of Contemporary Black Theatre and Performance: Acts of Rebellion, Activism, and Solidarity.

Southeastern Theatre Conference 5710 W. Gate City Blvd., Suite K, Box 186 Greensboro, NC 27407 www.setc.org

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