DESIGNED FOR THE SOUL Passion and Purpose with SETC Convention Keynote Designers
DECOLONIZING FASHION HISTORY & PERIOD STYLES Book Review CREATING THE NORTHERN LIGHTS Design & Tech Solutions
Photo by Lia Chang
An iconic actor is “breaking the Methuselah code” with resilience, gratitude, and the joy he finds along the way. by Carlton V. Bell II and David H. Parker
The Passion and Purpose of the 2025 SETC Design Keynotes by Ricky Ramón
on Theatre,
and the Power of Storytelling by Caroline Jane Davis
Teachers’ Institute presenter Rosiland Cauthen encourages theatre teachers to advocate for the resources they need by Keith Arthur Bolden
from the 2025 Convention
Augustine and David Dixon
Photo by Lia Chang
FROM THE EDITOR
As the curtain fell on this year’s SETC Convention, I was filled with immense pride and gratitude for what has been a truly extraordinary gathering of creative minds, passionate performers, and visionary leaders. On behalf of Southern Theatre, I want to extend heartfelt congratulations to every guest artist, technician, producer, student, educator, and volunteer who contributed to making the Convention such an inspiring and unforgettable success.
From the moment the first keynote lit up the stage to the final standing ovation, this convention celebrated everything we love about theatre — its power to connect, to challenge, and to transform. Whether you shared new work, led a workshop, performed a monologue, or simply soaked in the brilliance of your peers, your presence added depth and richness to this shared experience.
“Connecting Dreams to Excellence” came alive in every corner of the Convention. We witnessed a community leaning into the future of theatre with open minds and open hearts.
This issue of Southern Theatre highlights key moments, honors standout contributors, and reflects on the conversations sparked at the Convention in Baltimore. As we reflect together, thank you for your artistry, your spirit, and your belief in the magic of live performance. Here’s to carrying the momentum forward.
Onward,
Sharrell aka Dr. L. Editor-in-Chief @sdluckett
EDITOR-IN-CHIEF
Sharrell D. Luckett, PhD
SETC PRESIDENT
Jeremy Kisling
SETC ACTING EXECUTIVE DIRECTOR
Jack Benjamin
ADVERTISING
Thomas Pinckney, thomas@setc.org
BUSINESS & ADVERTISING OFFICE
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
Maisha Akbar, Fort Valley State University (GA)
Tom Alsip, University of New Hampshire
Carlton V. Bell II, SETC VP of Finance
Keith Arthur Bolden, Spelman College (GA)
Amy Cuomo, University of West Georgia
Caroline Jane Davis, Furman University (SC)
David Glenn, Samford University (AL)
Iris Goode-Middleton, PhD, Hampton University (VA)
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.
We aspire for SETC to be a vibrant community of belonging! We are proud of our recent conference in the city of Baltimore, where the air buzzed with creativity as we gathered with a diverse group of theatre artists. The high school and community theatre festival shows were spectacular, showcasing an array of outstanding productions that left attendees inspired and entertained. The workshops offered a wealth of knowledge, providing educational and thought-provoking experiences for all participants. One of the highlights was hearing from the remarkable Mr. André De Shields, whose words resonated deeply, inspiring us to chase our dreams with passion and determination.
Looking ahead, I am optimistic about the exciting journey SETC is embarking upon. This year, we are dedicated to refining our governance structure and seeking a visionary Executive Director who will help cultivate our commitment to community and growth. Our mission, “Connecting you to opportunities in theatre,” fuels our efforts; and your energy, engagement, and vision are vital in making our organization not just strong, but truly exceptional. We deeply value your insights and contributions as we navigate the future together. Please consider stepping forward to serve SETC in any way you can. For it is because of you that our organization continues to thrive and flourish.
Jeremy Kisling (he/him), SETC President 2024-25 Producing Artistic Director, Lexington Children’s Theatre
From the SETC Acting Executive Director
Each year, I eagerly look forward to the month of March, when the Southeastern Theatre Conference holds its annual convention for theatre practitioners.
This year Baltimore hosted over 3,300 attendees for a week filled with comprehensive workshops and auditions targeting undergraduate, graduate, and professional opportunities across the nation. The Secondary School Festival showcased 18 regional productions, while eight dynamic shows were presented in the Community Theatre Festival. Additionally, the Fringe and Short Play Festivals attracted significant interest among convention participants.
Since 1987, I have had the privilege of attending SETC and listening to notable keynote presentations by distinguished individuals such as Dixie Carter, Julie Harris, Norm Lewis, William Ivy Long, and Christopher Durang. This year, we were honored to welcome Alma Davenport and the esteemed André De Shields, among others.
Ms. Davenport encouraged attendees to remain committed to their artistic pursuits despite any challenges they might encounter. Mr. De Shields delivered an exceptionally compelling and moving talk on keeping our personal integrity even when external circumstances suggest otherwise. He expressed that this week he has witnessed a revolution in the making due to the passion exhibited by those in attendance.
SETC continues to illuminate all aspects of theatre and its contributions to our society, and I am consistently amazed by our theatre community. Thank you for yet another incredible week in March!
Jack Benjamin,SETC Acting Executive Director
OUTSIDE THE BOX
by Kyle Spitler
Creating the ‘Northern Lights’
They say you borrow from those you like but steal from those you love. I have spent my 10 years of teaching theater taking the ideas of one man and trying to recreate it in my own way. That man was the late Paul Bridgman. Paul was the set designer and my mentor at Grand Canyon University and to say he was a genius when it came to design would be an understatement. Now, I know that stealing others’ designs is wrong and I have actually never recreated a set that Paul made, but his little ideas, his little flair always inspired me. So, when I decided to tackle the wildly popular show, Almost Maine, I had to reach into my bag of Paul flair to try to make it unique. The script is very clear in that the northern lights are the main character or the life force of the show. I bought the novel that goes even deeper into each story and the novel also made it very clear that the lights need to be the center of attention.
CD Light Shows
First, I started looking at the projections that were available. Easy, clean, and animated. The cost was reasonable and since the show itself was not going to run me much it would make sense. I got the purchase order and even put a student in charge of projection. Just as we were about to hold auditions, politics happened. Anyone who has done the show knows what I am talking about, and in my district it was a volatile time as the discussion of going back to school or staying virtual seemed to be tearing the town apart. I was asked to postpone the show for three months since it was in the middle of an election and adding anything that might be controversial was something my administration wanted to avoid. So, I put all purchase orders on hold and started to rethink.
The lights kept coming back up in my thoughts and how important they were. I wanted them to feel like they were everywhere and let everyone in the audience
feel the magic. So, I wondered how could I reflect the light for everyone to see? And that’s when Paul came to my mind once again. In 2002, I was in my junior year of college and we were producing Joseph and the Amazing Technicolor Dreamcoat. Paul had this idea of the Pharaoh being dropped down onto stage like a Las Vegas show entrance that would make Elvis proud. And behind him was a huge pyramid of light reflecting all types of colors created by AOL CDs. Us teens of the ’90s remember that AOL used to give out free CDs everywhere that allowed you to download it, and by 2002 they were useless, so we created a lightshow with them.
This memory enabled me to create prototype one. After getting a bunch of burning CDs, I drilled little holes in them and used fishing wire and connected them. This is what Paul had done many years ago. I then grabbed one of my small spotlights to see what would happen. What happened was a cool effect but nowhere near what I needed. I discovered that drilling cracked the CDs which made the light uneven, and that the CDs needed to be much closer.
Next, I looked around my shop. After the pandemic I really didn’t want to spend
too much on wood, especially considering I knew I was about to spend a lot on Newsies in the spring. I pulled out as much scrap as I could and thought if I could get CDs on these scraps of plywood and hang them from the fly system maybe that would work. We have a local store called Treasure 4 Teachers where teachers can get reused material and donated items. But they also have a $5 bag deal, and whatever you can fit into the bag only costs $5. So $15 later I had about 500 CDs. The next day we started gluing.
Collective Thinking
Glue is an interesting thing. It is supposed to work, but you also need to know what surface works with what. After about a week of creating multiple different CD structures we started to move them. CDs were falling off with every step. I started to get worried, because the idea was to hang them 25 feet in the air, and all I could think of were the CDs possibly falling and students dodging them. I had come to an impasse. I had already spent way too much time on this project, and I still didn’t even know if my CD idea for the Northern Lights would work.
My stage manager tried her best to be supportive, but also reminded me that I already had a P.O. open and a person ready to run projections. I fought the urge to just go that route, because I knew there was a solution. It was at this moment that I sought solutions in a Facebook group for technical theatre teachers. I sent a few pictures of what I was trying to do, and the community jumped at the idea. Every type of glue was suggested, different rigging techniques, and outside-the-box thinking.
Someone in the group mentioned how they bounced the light off the backside of a car sun visor, and that got me thinking. I grabbed one of my tech students and told him to bring in one of the CD flats, and I grabbed a Leko that had an Edison plug on it and we went into the backroom with my SM and ASM. I had my student stand on a ladder about 5 feet up and shine the light on the CDs while I angled it to the back wall. And there it was, a near perfect looking Northern Light display. After that and a little bragging to my stage manager, who couldn’t believe it worked, we had to redesign not only the lights, but the set as well.
Putting It All Together
Everything started to fall into place after that. We determined how much of the stage we had to section off in order to bounce lights onto the cyclorama. One problem was that all the glue that we put on the CDs that fell off was creating a weird look so we spent time cleaning them. We also added stick-on
StepbyStepInstructionstocreate“NorthernLights”
1. Locate up to 500-1000 used CDs. Donations can be found just about anywhere. I got a lot from a goodwill store for teachers.
2. Create a surface that will work with your set. We used curved recycled plywood and added white butcher to make a small hill.
3. Using both wood glue and E6000 glue, put the CDs on the plywood. Wood glue is cheaper but will only work on the CDs attached to the Plywood. E6000 is for the CDs that are on top of other CDs.
5. After CDs have been glued, place them under the lights and begin to adjust the angle. Then attach the legs and secure.
6. Focus lights: Using Source Fours to make a sharp focus so that blurring does not occur on the cyclorama. We used 3 hitting it at different spots. Angles might need to be readjusted at this time as well.
7. Finally, using 2-4 LD fresnels, experiment with color to fill in the light.
8. Optional: Use starry night projections on the cyclorama.
4. Place CDs on top of each other to cover the middle circle of the CD. The circle part will reflect onto the cyclorama. Cutting the CDs causes cracks which can also be seen.
rhinestones from Walmart that turned out to have absolutely no effect whatsoever (I’m still finding them in my room). We then found out that we had to focus the lights and angle the CDs for it to be clear and crisp. Three Lekos with green gels and a few LED fresnels with purple made for a great look.
Finally, knowing that the Northern Lights showed up in the sky, I decided to use the projections after all of the stars were flickering. I went to YouTube and found one that ran for 10 hours. Standing there with the tech students who kept trying to find a solution instead of taking an easy route when we put the whole set together was a moment I’ll remember. I thought of Paul every night. The set was relatively easy. We
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
asked churches to borrow their Christmas trees to create a forest, and used an old house from a past show of Oklahoma!, and a lot of white cotton. But sometimes those easy sets are the time to really try and experiment. Paul Bridgman always could add a little something to make sets so breathtaking. I hope he doesn’t mind me continuing to steal his brilliance. n
Kyle Spitler (he/him) is a dedicated theater educator with 13 years of experience in Arizona’s East Valley, where he has directed over 25 productions and earned Best Director awards from National Youth Arts, ASU Gammage, and the Musical Theater Competition of America. He leads a nationally recognized Stagecraft Tech Challenge team and is a proud husband to Megan and father to two boys and a baby girl.
WHAT’S ON YOUR MIND?
Mental Wellness & the Artist
by Jonathan Mathias Lassiter, PhD
African-centered coping tools
Submit your mental wellness questions for Dr. Lassiter. Questions from students, theatre professionals, and educators are all welcome, and you can request to remain anonymous or not, it’s up to you. Follow the link at solo.to/setc
Dear Dr. Lassiter,
I am one of a few BIPOC students in my voice class. During class, my instructor told me that I didn’t sound “like myself.” They insinuated that I was talking like “white people.” I was very hurt. What advice can you provide that will help me get through the rest of the class this semester?
Hi, Reader —
Thank you for writing in with this question. First, I want to say that you did not deserve that. You are allowed to express yourself in whatever voice feels authentic to you. This comment says more about your teacher than you.
Second, it sounds like you may be suffering from racism-related stress. Racismrelated stress is mental health discomfort, psychological pain, and unpleasant emotional experiences in response to being subjected to prejudiced comments and discrimination based on one’s racial or ethnic background. Racism-related stress negatively affects the victim’s mental
and physical health, leading to unhealthy changes in the brain, premature aging and chronic disease, and early death. Unfortunately, experiencing racism-related stress is not uncommon for people from minoritized racial and ethnic backgrounds. Fortunately, there are several research supported coping strategies to lessen the impact of racism-related stress. Africancentered coping is one effective approach that can help minoritized people with many racial and ethnic heritages. African-centered coping strategies are coping techniques that are grounded in African culture (i.e., the root of all culture, given that all of humanity can trace its genetic and cultural roots back to the continent of Africa). These strategies
include:
1. Enjoying the present and using humor;
2. Harnessing spirituality;
3. Relying on social support and extended family members; and
4. Using rituals.
Enjoying the present and using humor may look like reading books or watching movies that make you laugh. Harnessing spirituality could include listening to music that connects you with an energy greater than yourself. Examples of relying on social support and extended family members could include (a) enlisting classmates as co-conspirators to call out the teacher on your behalf when the teacher make comments that insinuate you are talking like “white people,” and (b) asking your friends to help you brainstorm potential solutions. Engaging in rituals may look like (a) lighting a scented candle and lying in the dark while affirming your cultural strengths (i.e., “I am not talking white. I am allowed to speak in any way that feels authentic”); and (b) calling a deceased ancestor’s name and asking them to work out the situation in your favor.
In addition to these African-centered coping strategies, seeking out culturally affirming therapy could also help you manage your distress and come up with ways to “get through the rest of the class this semester.”
Remember that you didn’t deserve that treatment, and there are African-centered coping tools available to help you heal and thrive. I hope that you find these strategies helpful. n
Dr. Jonathan M. Lassiter (he/him) is a licensed clinical psychologist in private practice in New York City, certified in Optimal Conceptual Theory/Belief Systems Analysis — an African-centered psychotherapy. His memoir, How I Know White People Are Crazy and Other Stories, will be published in November 2025. @lassiterhealth
written &
curated
by Frederick Marte, LMSW
In theatre, professionalism is key
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.
Saludo, buenas! We know that the theatre profession is driven by passion, creativity, and memorable experiences, but it’s also about professionalism and respect. In this field, how you conduct yourself can make all the difference, especially in situations that may not be ideal. So, when should you be professional? Before you arrive? When you arrive? Or when you leave a theatrical space or community of artists? To put it simply, you must be professional at all times. Yes, you read that right! This doesn’t mean you can’t be yourself or have fun, but it does mean you should approach every moment with the mindset that every interaction matters, and every opportunity deserves your respect.
One piece of advice you’ll likely hear on your journey is: “You need to be okay with people telling you no.” This can be tough, even for the most confident artist, as it enforces the belief that we might not be “good enough.” But even when it’s hard to hear, you must stay grounded and maintain your professionalism because, in this industry, almost everyone knows everyone. A bad reputation can follow you longer than any glowing review ever will.
To navigate this, connecting with social media platforms can be incredibly helpful in learning the nuances of professionalism in the theatre world. If you’re just starting
your career, now is the perfect time to engage with established professionals. Or, as your high school Drama teacher might say, “Fake it till you make it.” The most effective way to learn new concepts is to relate them to something familiar. In other words, follow experienced artists who are known for their professionalism, and contrast them with others who may not embody the same standards. From there, you can decide what aligns best with your long-term career goals.
It’s important to maintain a can-do attitude, even when you may not fully believe in it. Stay involved in the theatre world by keeping up with current events, trends, and influential figures. Two social media handles that can help you along the way are @blackactingmethods and @theatermania
The Black Acting Methods ® Studio is a mobile and online training institute where actors of all heritages can gain in-depth knowledge about acting processes, methodologies, and philosophical underpinnings rooted in Black American culture and tradition. Through my participation in their programming, I learned that it not only provides strategies for making the theatre classroom more culturally accessible but also teaches actors how to
embody confidence during challenging times by developing what’s called the “hyper-ego.” By doing so, you can tackle opportunities that others may shy away from due to unresolved insecurities. This ability will establish you as a professional who can navigate most, if not all, situations with ease.
TheaterMania
Instagram: @theatermania theatermania.com
TheaterMania, since its founding in 1999, has been the go-to digital platform for Broadway and off-Broadway news, reviews, and insights. For those invested in the theatre world, TheaterMania is essential. It provides up-to-the-minute news, reviews, eye-catching videos, thought-provoking opinion pieces, and more. Staying connected with this platform will keep you informed about the latest occurrences in the industry while also helping you connect with other artists who have already refined their professional practices. These connections could lead to mentorship or valuable advice on what’s worked for them.
As an artist, tu representas a tu comunidad y a ti también. So, hold yourself to the same standards as any other professional. Learn, grow, hone your craft, and adapt to improve both yourself and the industry. n
* tu representas a tu comunidad y a ti también: You represent your community and yourself too.
Theatre Network. @fredericktalks
Frederick Marte, LMSW (he/ him) is an Official Ambassador for the Black Acting Methods Studio. He teaches theatre in NYC, and was the 2022 Programming Intern with the Black
André De Shields: An American Griot
An iconic actor is “breaking the Methuselah code” with resilience, gratitude, and the joy he finds along the way.
by Carlton V. Bell II and David H. Parker
A note: Carlton and David will switch in and out as voices in this article to offer different perspectives, which will mostly be denoted by “David:” or “Carlton:” or “David and Carlton:” followed by text. We will also denote live quotes from our interview with the legendary André De Shields.
Introduction
“I think the greatest legacy we can leave our children is the knowledge of who they are and what they are capable of doing.” —August Wilson
Carlton: How do we define our legacies? If culture (art) is a key to our freedom, should preserving, supporting, and rightfully honoring the people who keep our culture alive be a vital part of the liberation process? The rich tapestry of Black theatre legacy is woven deeply into the American Theatre Canon. At the intersections of these sophisticated knots are the storytellers whose bodies carry out the ancient tradition of how we, as a people, broadcast cultural memories, aka “keep our recipes.” We must also acknowledge that those same bodies whose very existence, voices, ideas, souls create(d) what we know as “Broadway” / “The Great White Way” stands on the broken bones of The African Grove Theatre.
David: Since celebrity was invented as a concept, “never meet your idols” has been remedially stitched onto tear-stained pillows and whispered over wine glasses, ad nauseum. I couldn’t agree less as the air carried the endlessly enigmatic André De Shields into his hometown of Baltimore for the 2025 Southeastern Theatre Conference (SETC).
Some longtime fans might recognize Mr. De Shields from his Broadway debut in Warp! (1973) from its 1971 Chicago debut — from which Mr. De Shields shares during our interview with a childlike gleam in his eye that his favorite costume was something the room around us could only describe in 2025 as “Atlantis meets Vogue ball.”
André continues on this playful game with us: “The man who’s known for a bald head, Michael Jordan, is probably seven years old. But [I] was shaving [my] head and left a four-inch loc, to which we had an 18-inch fall [ponytail] — like a sew-in. What else do you expect?”
The unmatched, laser-focused energy of Mr. De Shields would ultimately launch him from the streets of Baltimore to the glitzy marquees and limelight of the New York City scene.
This would prove to simply open the channel for André’s electric turn as the titular character in The Wiz two years later that firmly etched him into the cultural canon. A self-described “Triple Capricorn,”
De Shields recently touched down in his hometown of Baltimore, fresh off a triumphant return to the West End as the omniscient griot Hermes with the original Broadway cast of Hadestown (2019), where they filmed the proshot as the show prepares to celebrate six years of universal aplomb. Just days later, he would accept the Distinguished Career Award — the highest honor bestowed by SETC — with the same quiet regality he brings to the stage. To call De Shields a living legend is almost too easy. With over five decades of performances that shimmer with precision, wit, and soul, his artistry has redefined what it means to command a stage.
Yet André is more than a résumé — he is a presence, a style icon, and a spiritual force who continues to shape the American theatre landscape with a bold grace that invites everyone to know their viscera intimately. “Those are the two engines of our existence.” He gestures deftly to his head and to his abdomen. Mirroring his gesture, which he first portrayed for us during his electric keynote speech for hundreds of students, teachers, and artists alike, I begin to understand where those feelings churn. We’re taking some creative liberties here to stop and collectively define “viscera.” When you think back to a moment when something felt intuitive or came completely naturally to you, perhaps when a truth crystallized and that realization felt akin to a gut-punch. That visceral feeling? “That’s where it’s like a battery. The two polar opposite ends are connecting with each other.”
Morning Arrival: The Journey Begins
David: A quiet thrill rises in our throats as we eagerly await the appearance of Mr. De Shields. Baltimore is draped in overcast, but the thin slate gray veneer proves
That tension has to be resolved so that you can take part in the joythat already exists in the universe. “ ”
—
Opposite & above: André De Shields receives the SETC Distinguished CareerAwardfrom Steven H. Butler, SETC’s Director of Convention Services.
Photos bySorchaAugustine
André De Shields
Recipient of the SETC Distinguished Career Award
no match to a conference buzzing with the excitable needles of brave auditioners with doe-eyed dreams, wisened panelists with skills and hopes to share, and a building anticipation for the legend himself to appear atop skyscraping porcelain go-go boots.
The truth about his arrival is as run-of-the-mill as the mere minutes granted to him between public appearances: we meet his car just beyond the Sheraton’s sliding glass doors, he is helped out of the back of his chariot (some would call it a popular rideshare), and so begins our day of service and partnership with a living oracle. Mr. De Shield’s return to Baltimore is more like a homecoming. From the moment he steps into the hotel, the room responds with an urgent expectancy.
Regal, yet unassumingly clad in earth tones; not sporting the go-go boots we were all expecting but instead rocking red, white, and black platform Balenciagas; and tinted shades that somehow both obscure and illuminate him. Even in silence, Mr. De Shields commands attention. He requests a refreshing beverage — “colder than the coldest” water — and his early hours are kept sacred as we walk him to his penthouse. His spirit begins to settle when describing the paradox of Baltimore. “It gave me some very hard knocks. But with each knock, there was growth.”
The Art of Presence:
of deliberate poise one only acquires after a lifetime of paying attention, of listening more than speaking. “I don’t look for joy,” he muses as we stroll toward the Convention Center, the newly-spring light catching the glint of his rings. We
Reflections from the Keynote
David and Carlton: Once Mr. De Shields has beautified himself and stepped into his full power, entering the hallway together is like walking onto a film set already in progress. The conversation has a rhythm. He walks with a convicted, steady purpose. He speaks with the kind
are experiencing the fallout of the vernal equinox, which feels strikingly appropriate given the nature of his message about hope and empowering the self. “I create [joy]. Like beauty, like calm, like peace — it isn’t something to find, it is something to be.” He carries himself like someone who has cracked the code. When asked how he does it all, he responds without pause: “I’m not talking about invincibility, but I must be unbelievably resilient, strong, self-determining. Consistent. Structured. Disciplined. That’s where the rewards come from.”
We move in a collective, protective huddle down football field length hallways
from the hotel to the ballroom where the Keynote will be held. I know our fellow Southern readers will appreciate the reference. Mr. De Shields is safely brought to soundcheck, and we sit in the first row to receive the moment everyone has been refreshing their Whova apps to double, triple, quadruple check they’re waiting outside the right room. In fact, it may be impossible to miss the function, because the line waiting outside stretches farther than a picture can do justice. As the room fills to the brim, and just moments before Michael Dinwiddie and Yolanda Williams, Co-Chair of the Black Theatre Committee, are to accompany Mr. De Shields on-stage, our distinguished guest makes a pivotal choice: not to speak from the stage, but from the audience. I ask during the interview if this moment of grabbing the mic to walk in, around, and with the audience (crammed jubilantly and gratefully in this ballroom) was on a whim. “The podium was too formal, too distant. I needed to be with my people.” This choice set the tone. He opened not with a scripted speech, but with presence. This was vulnerable. Responsive. Real.
He wove the fire of generations’ worth of experience and philosophy, calling forth the spirit of the griot, the preacher, the “well-derly,” the revolutionary. “I feel a security that I can risk all that I am to be my authentic self.” No ideas or anecdotes were shared in jest; each time Mr. De Shields shared a piece of him, it came tethered to an earnest urging for each of us to find ourselves in the mirror every day and empower ourselves.
Calling upon an ancient Chinese proverb, he invited us to repeat to ourselves: “I will do to you what the spring does to
André De Shields originated the title role in The Wiz in 1974, first in Detroit and then on Broadway. Photo by Martha Swope
the cherry tree.” Hermes might include, “everyone knows the walls have ears,” and in Mr. De Shields’ nearly 40-minute speech, it is true. The room bends its ear without question. We absorb him. “I grew up all by myself. Nothing happens in nature without purpose. That’s power. To be by yourself, to calm yourself well enough to do things quietly in a dark place all by yourself.” We cling to each syllable.
“I am not your slave. I’m not your f*cking slave,” he declared. Applause. Louder — before quickly correcting the framing. “But neither is anyone. We are nobody’s slave.” Perhaps the most resonant singular moment of response from a room poised precariously, dangerously, on the edges of our seats. “People were looking for a homily, a ministry, a sermon,” he reflects later on his intentions in the heat of the moment. “So, I delivered what could be received as scripture — but tight.”
The SETC Spotlight: A Personal Interview
There’s a very organic, intentional way he moves through space and time that’s hard to capture into words, but I believe comes from a learned intelligence that’s built on true curiosity and genuine love for humanity… which is rare in these times.
and then Steven gestured for me to come up to the stage. And that’s when I pointed to the mic. And said, no, let me, let me have the mic. I… this is, this is where I should be, with my people. Absolutely. That’s all. Yeah. I love that. Right. ’Cause when we get to do the thing that we call art and playing right, and creating, sometimes there’s this relationship to the thing that we’re creating that almost takes us out of being with people. Right, exactly. And playing into that. Yeah. I’ve done some teaching in my life.
And what I learned, which is essential to the discipline, the art, and the responsibility of teaching, is that if the teacher isn’t also a student mm-hmm. Then there’s a huge error being made in the process of education. So, I have to learn. From all of those folks that were in that auditorium as I’m speaking to them. Mm-hmm. Obviously, I didn’t write a speech. Mm-hmm. I had no notes, so I had to be as vulnerable as available.
Carlton: If the keynote was his fire, the afternoon with the Keynote Emerging Artists of Promise students was his heart. He met each young artist with eye contact, stillness, and a gravity that reassured, “I see you.” He instructs them that, “We are taught that we are inferior, spiritually, emotionally, intellectually. But we are the abyss. And they — they are perched capriciously on the precipice of us.” These weren’t lessons. They were revelations.
In a private room tucked behind the bustle of the conference, we sit down with Mr. De Shields to talk about joy, legacy, artistry, and the South. If I have to describe him in words, I think I would use erudite.
André: … I’m aware of the love. I felt it, I continue to feel it. Mm-hmm. I responded to it, which is why I spoke the way I did, as opposed to going up on the stage to the lectern, to the podium. That was much too formal, much too distant. Although I was, I would still be close to the audience. The perspective was not intimate, so I thought, let me stay here. Right. The people. Mm-hmm. Did I make that decision on a whim? I wouldn’t call it a whim, no. But I… but when I was sitting in the, mm-hmm, first row.
Mm-hmm. And Steven spoke from the podium and then what’s the lady’s name? Yolanda. Yolanda spoke from the podium,
David: Hmm. And as unknowing as the people in the audience, I thought it was very clear that you really just led with, how is the room responding right now?
André: Exactly.
David: And what’s it asking of you?
André: Exactly.
Carlton: As a Millennial who often sits at the intersection of the “wise elders” and our equally wise younger community members, it’s always remarkable to see that we exist across generations, in all frequencies, as Black theatre makers. Something clicked as I looked back on the interview, from David to André and back to my own notes. I continue a bit trepidatiously about the next question, but it’s the one I’m transparently most anxious to ask.
A promo photo for Ain’t Misbehavin’, circa 1978. De Shields appeared in the original cast, alongside Nell Carter.
I am really interested, in like, what’s bringing you joy? Transparently as another Black queer person who’s living with HIV; I’m always trying to find what those are for, like the people in the world that are really coded as quote-“successful”-unquote. Right.
And I’m like, how are they able to (cultivate joy), ’cause it’s not just your success, like your Tony speech, right? Like you’re embodying joy in your life, right? And I’m interested in how you’re prioritizing that and what brings it to you.
André: I’m prioritizing joy by recognizing that I have lived for three-quarters of a century, which is why I talk about, mm-hmm, breaking the Methuselah Code. And at age 79 my life continues to expand. Mm-hmm. It’s not easy, nor do I expect it to be easy, but in terms of the tools that I need to have at my immediate disposal, I must, I’m not talking about invincibility, but I must be unbelievably resilient. Strong selfdetermining. Mm-hmm. Um, consistent,
structured, disciplined, because that’s where the rewards come from. Mm-hmm.
David: Do you feel like you find joy in things that don’t even give you a reward? Do you find that joy is the reward that sort of supersedes all other things? I’m just in this space of really trying to figure out what that is for everybody.
André: Joy — like beauty, like calm, like peace — is not to be found. Hmm. It is to be, as I… when I talked about the purpose of life, it is not to find yourself, it is to create yourself. Absolutely. That’s the same thing with joy. Don’t look for joy. Mm. Don’t seek joy.
Carlton: Create it . . . just conjure it on up?
André: Yeah. Mm-hmm. Conjure it up… and I’m glad you mentioned that because another lesson that I continue to learn is that there is such a thing as balance. And that balance is the, the fuel, if you will, of the universe. Gratitude and generosity. The universe is generous. We
André De Shields played the title role in Frederick Douglass: Mine Eyes Have Seen the Glory, a show he conceived, wrote and performed forthe inauguration of Barack Obama in 2009. Photo by Lia Chang
Celebrating ‘Miss Edwards’
*Before I had the rich opportunity to meet the legendary André De Shields, I had the privilege to be in community with a friend of his, actress of stage and screen Annie Joe Edwards.
Throughout her career, Miss Edwards also shared the stage and screen with legendary figures such as Carol Channing, Ruby Dee, and Diahann Carrol. Born Sept. 15, 1949, in Birmingham, Miss Edwards’ journey in theater began with her Broadway debut in Doctor Jazz (1975), where she played Georgia’s Girl and Singer, while also serving as the understudy for Georgia Sheridan.
In her early career, as a Black girl from Birmingham, Alabama, she joined the legendary cast of Ain’t Misbehavin’ (1978) as a standby performer, in a cast with Mr. De Shields. Her theatrical success extended beyond Broadway, with performances in London’s West End production of Ain’t Misbehavin’ (1979) and the Broadway and Los Angeles touring productions of The Wiz (19761978). Like Mr. De Shields, her contributions to theatre extended beyond performance; she was deeply involved in the arts community, mentoring young theatre makers while championing cultural representation in the performing arts. Miss Edwards returned to the stage for her final theatrical performance as the Radio Announcer in Steel Magnolias (2022) at Birmingham’s Encore Theatre and Gallery and later the voice of the judge in the classic production of 12 Angry Jurors (2023).
I first met Annie Joe Edwards while I was an associate director on the aforementioned Steel Magnolias alongside Artistic Director Marc Raby. She was, in my own words, a firecracker of a person, with such a child-like energy. This woman was “doing the splits in her 70s” kinda fire. A joy to be around, and chock-FULL of stories of her time on Broadway, in Europe, and traveling across the globe. She would go on about her experiences, the incredible people she met in the cast and crews of all of the productions she had been a part of. I want to be careful with my next words because Annie Joe was an opinionated, proud woman who deeply cared and showed
up for her community, but it’s important to reflect the reality that Annie Joe’s life ended earlier than it should have. I believe it is a testament to the question that is posed at the start of this article: If culture (art) is a key to our freedom, should preserving, supporting, and rightfully honoring the people who keep our culture alive be a vital part of the liberation process?
“Annie Joe Edwards carried her love for her fellow artists like a sacred fire — steady, warm, unwavering. Her admiration for her co-stars like Mr. De Shields was not nostalgia, it was reverence. These weren’t just colleagues; they were her chosen kin, her lifelong tribe. And in every story she told, every memory she shared, you felt that love— fierce, rooted, and true. At Encore Theatre and Gallery, we honor not only her talent, but the legacy of friendship and artistry she held so dear.” — Marc Raby, Artistic Director, Encore Theatre and Gallery
These common threads, these intersections or “knots,” create pathways that artistic lineage, legacy, and memory hold. Not in an esoteric sense, but in the sense that these remarkable griots from the net in real time. They hold cultural memory and magic in their very bodies, which is the first word I will describe the experience of spending a day with “Hermes” himself as he dubbed us “his peeps.” n
—Carlton V. Bell II
must be grateful, and that’s what keeps the abundance of the cornucopia flowing. Hmm, hmm. Hands out hard open. I was about to say, because well, it, it brings an awareness to what you’re doing, so you’re not flippant about any of the things that do come to us.
Right, exactly. Through that generosity. Exactly. And I’m glad you use that metaphor, because many of us live like this. Mm-hmm. Tight, tight, clenched, afraid completely. Envious, jealous, coveting, covetous. Now, there are two things you cannot do if you’re living your life like this. Mm-hmm. You can’t give and you can’t receive. So that tension has to be resolved so that you can take part in the joy that already exists in the universe. Mm-hmm. It’s like the little voice inside each of us I was speaking about. It’s never gonna shout and say, David, do this, or Carlton do this. It’s simply going to say, this is true and this is not, hmm. This is real. And this is not that way.”
Conclusion: A Legacy of Humanity, Artistry and Mentorship
Carlton: As the conference winds down and the lights dim, Mr. De Shields is calm. A different kind of energy surrounded him—soft, reflective, sacred. He reflects on balance, the gift of aging, and the importance of solitude. Perhaps most memorably, he shares a metaphor: “Problems are clouds. As long as you avoid them, they will seem solid, but if you walk into them—and you learn they are porous. You can walk right through.”
One of the most moving moments came in a bittersweet wrapper. The sweet: I approach Mr. De Shields at our gala reception table to show him a Playbill from his past, and kindly ask him if he remembers my friend Annie Joe Edwards*. I’m nervous to share the news that Annie Joe Edwards, a Birmingham-born actress, composer, musician, known for Bullets Over Broadway (1994), The Purple Rose of Cairo (1985) and Colors (1988), had passed
Photo courtesy of Encore Theatre and Gallery
away just a month ago. She was 75. He isn’t aware, the bitterness.
It’s such an extraordinary thing to see the way that Mr. De Shields conjures memories in real time, almost like he experiences the moment, for just a moment, then comes back to share what he saw. De Shields reflects on his longtime friend and collaborator, with whom we both share memories. What feels like a true moment of time travel bridges a generational gap.
There is something very mercurial and emotional about the entire situation, sharing this news after hearing stories about Mr. De Shields from Annie Joe years ago. She loved talking about her experiences from her career and was just as eager to listen. Even though Miss Edwards took her craft around the world, she never forgot her hometown. In a moment I can only recall as majestical and melancholy, De Shields fondly remembered Miss Edwards as a remarkable talent who graced the stage and screen alongside legends, leaving an indelible mark on the landscape of theater and entertainment whose extraordinary career took her around the world. What stood out the most was how he remembered her hugs, mentioning that Annie Jo would literally pick him and spin him around in their youth when they worked together.
Carlton: Griots like André De Shields, like Annie Joe Edwards, are proof that Southern Black theatre makers are the lifeblood of American Theatre. The SETC gala sparkled, but nothing shone brighter than André De Shields. Draped in a rich, tailored ensemble, he moved through the room like a living archive. Artists of all generations greeted him. Some with reverence. Some with tears. All with love. He smiled, danced, and left one final benediction: “Create the model. Don’t look for one. We are all seekers, yes. But what matters is that we keep seeking. Keep dreaming. Keep climbing.” To spend a day with André De Shields is to walk through time, art, and spirit. It is to confront your own reflection and ask: Am I being honest? Am I being generous? Am I living in joy? He
reminds us that theatre is not just performance, but also prophecy. That artists are not merely entertainers, but vessels. That legacy is not built in accolades, but in how we love, how we teach, and how we listen. At SETC, we didn’t just honor a legend; we learned from a griot, and in doing so, we were transformed.
Behind the Byline: A Note From the Authors
This interview is dedicated to our ancestors who dedicated their lives to telling stories, and to our friend Annie Joe Edwards. We would like to extend our deepest thanks to those who helped make this moment possible: the indomitable André De Shields for his trust and presence; Ken Melamed for his care; Dr. Sharrell D. Luckett for her leadership and service as SETC Magazine Editor; Birmingham Black Repertory Theatre Collective; The Tank NYC; Ricky Ramón; Miesha Dennis; Steven Butler; Michael Dinwiddie & Vincent Phram; and Marc Raby at Encore Theatre & Gallery. n With gratitude, Carlton V. Bell II and David H. Parker.
Carlton V. Bell II (“cj”) (they/them) is a Southern producer, director, and cultural organizer who’s raised over $2.5M for artists / arts organizations led by folx living within the margins of the margins. Current roles include: SETC’s VP of Finance, Program Associate at Third Wave Fund, Director of Development for Write It Out, and Producing Fellow at The Tank. They are also the Co-Founder of Birmingham Black Repertory Theatre Collective.
David H. Parker (they/them) is a New York City-based director, playwright, producer, and UCLA MFA graduate. As the Co-Artistic Director of the Birmingham Black Repertory Theatre Collective, they have collaborated with Emmy, Grammy, and Tony Awardwinning artists. Their work centers intersectionality, HIV, gender, and Black, Queer, Southern identity.
Designed for the Soul
The Passion and Purpose of the 2025 SETC Design Keynotes
The Southeastern Theatre Conference (SETC) celebrates the power of design to move and inspire, recognizing that at its heart, great design is “Designed for the Soul.” A key event at SETC’s annual convention is the presentation of the Designers’ Keynote Awards. In 2025, SETC honored four exceptional designers whose work resonates on a deeply human level: Kathy A. Perkins for lighting design, Daniel Pinha for scenic design, Justin Schmitz for sound design, and Danielle Preston for costume design. This article explores the achievements, artistic philosophies, and insightful perspectives of these visionary artists, drawing from their keynote addresses and interviews, revealing how their designs are truly “Designed for the Soul.”
by Ricky Ramón
Illuminating the Stage: Kathy A. Perkins
Kathy A. Perkins has dedicated her career to illuminating the stage, demonstrating a mastery of light and shadow that shapes mood, reveals form, and guides the audience’s emotional journey. Her career is marked by groundbreaking work, a deep commitment to mentorship, and passionate advocacy for greater diversity within the field of lighting design.
Perkins’s path to lighting design began unconventionally during her undergraduate years at Howard University in Washington, D.C., where she initially intended to pursue a Bachelor of Fine Arts degree in acting. As part of her freshman curriculum, she had to take a production course that introduced her to various technical aspects of theatre. For one production, she was assigned to the properties and the lighting crew, working under the supervision of a sophomore student whose concentration was lighting design.
This formative experience proved to be a pivotal turning point in Perkins’s career. Her supervisor, observing her aptitude for hanging and focusing lights, questioned her plans to pursue a career as a Broadway actress. He bluntly informed her that opportunities for Black women on Broadway were scarce. Instead, he encouraged her to consider switching her major to lighting design, emphasizing the greater availability of work for Black designers behind the scenes.
He also presented her with a practical opportunity: to join the tech crew at a major touring house on campus. This venue was run by a prominent officer of the International Alliance of Theatrical Stage Employees (IATSE) who was dedicated to teaching students the professional business of theatre. The position offered good pay and valuable hands-on experience. Moreover, as the sophomore told Perkins, “… My acting was mediocre.”
Despite the initial sting to her ego, Perkins recognized the wisdom in his advice and decided to change her major. She soon discovered a genuine passion for lighting design, relishing the opportunity to design both plays within the theatre department and concerts at the touring house. Perkins credits her time at Howard with providing her with invaluable mentors who offered unwavering support and guidance. “I had amazing mentors during my time at Howard,” she says. “When I decided to attend grad
school, I had tremendous support preparing me. The rest is history.”
In her keynote address at the SETC convention, Perkins shared insights gained from her extensive international experiences, highlighting the importance of cultural sensitivity and adaptability in the global theatre community. She recounted her first international job in 1978, designing a production in Switzerland. Faced with a last-minute opportunity and lacking a passport, she had to rush to Washington, D.C., to obtain one. This experience instilled in her the crucial advice she now gives to all aspiring designers: “First of all, you need to have a passport.”
Perkins also emphasized the importance of understanding diverse theatrical practices and cultural norms. She noted that “learning about new cultures and ways of seeing theatre different from the way we do here” has been a significant takeaway from her international work. She pointed out that theatre funding models vary across countries, with many theatres outside the United States being state-funded, which affects production pressures and artistic priorities.
Perkins also shared anecdotes about navigating cultural differences, such as varying perceptions of time, where punctuality can have different meanings. She expressed her appreciation for the resources available to designers in the United States, acknowledging that access to training and equipment is not universal.
Perkins often teaches the fundamentals of lighting, starting with “natural lighting” before moving on to equipment and techniques. She emphasizes collabora-
Above: Scenic design by Daniel Pinha, for The Adventures of Peter Pan at SyneticTheatre, Arlington,Va., 2017, directed by Paata Tsikurishvili.
Opposite: Lighting design by KathyA. Perkins, for Skeleton Crew at People’s LightTheatre, Malvern, Pa., 2018, directed by Steve H. Broadnax III.
Photo by KathyA. Perkins
Convention photos by David Dixon.
tion and problem-solving, often assigning group projects with limited resources to encourage creativity and resourcefulness.
Perkins finds artistic inspiration in compelling narratives. “I am inspired by wonderful stories,” Perkins explains. “Since I am a historian and editor of plays, women often send me new works to read. I often get called to design new plays, which allows me the opportunity to work with the playwright. I love realism and stories about history.”
Looking ahead, Perkins offers candid advice to aspiring designers, acknowledging the demanding nature of the profession.
“You have to love what you’re doing,” she emphasizes. “It’s a tough business, particularly if you exclusively freelance.” She strongly recommends that designers diversify their skill sets to ensure financial stability, drawing on the lessons learned during the COVID-19 pandemic, which significantly impacted live performances. While many designers teach, as Perkins did, she also points to other potential career avenues where lighting expertise is valuable, including museums, architecture, corporate events, theme parks, and international opportunities. Above all, Perkins stresses the importance of networking and cultivating strong relationships with directors, playwrights, and production managers, as these connections can be instrumental in securing design work. “It is also important to develop relationships with directors, playwrights and production managers — people who can assist with getting shows,” she advises.
Kathy A. Perkins’s extraordinary talent and significant contributions to the field have been recognized with numerous accolades throughout her distinguished career. Her selection as a 2025 SETC Designers’ Keynote Award winner for lighting design is a fitting tribute to her exceptional artistry, her dedication to education and mentorship, and her unwavering advocacy for a more inclusive and equitable theatre community. Her keynote address at the SETC convention undoubtedly provided invaluable insights
into her creative process, her rich experiences in the industry, and her vision for the future of lighting design.
Crafting Worlds of Wonder: Daniel Pinha
Daniel Pinha is a scenic designer renowned for his imaginative and visually stunning creations that transport audiences to captivating theatrical worlds. His designs are characterized by their bold concepts, meticulous attention to detail, and a profound understanding of how physical space can shape narrative and evoke emotion. Pinha’s work spans a wide spectrum of theatrical productions, from classical dramas to avant-garde performances, demonstrating his versatility and artistic range.
Pinha’s journey into scenic design began with a lifelong fascination with visual storytelling. He cultivated his artistic talents from a young age, spending countless hours drawing with pencils and experimenting with acrylic and oil paints. This early immersion in visual arts laid the foundation for his future career in design.
Pinha pursued his formal education in scenography at the Federal University of Rio de Janeiro, where he honed his skills in set design. He later earned a Master of Fine Arts degree in Scenic Design from the University of Maryland, further deepening his knowledge of theatrical design principles and techniques.
Reflecting on his early experiences, Pinha recalls that his path to set design felt almost instinctive. He recounts, “I think it came to me naturally. I’ve always been drawn to visual communication, even as a kid. I used to spend hours just drawing, first with pencil, then moving on to acrylics and oils.” As he grew older, that “organic instinct” evolved into a professional pursuit. Pinha remembers joining an amateur theatre group and naturally
becoming the set designer, a decision that “just felt right.” “Sometimes, you just have to listen to yourself and let your instincts take the lead,” he advises.
Pinha’s artistic philosophy centers on the idea that designers are, at their core, “visual storytellers.” He believes that a designer’s skill set transcends specific mediums and can be effectively applied across various formats. This versatility is evident in his own career, which includes not only extensive work in theatre but also forays into television, film, exhibitions, events, art installations, and even graphic design. “As designers, we have the skill set to tell stories visually, and the medium just becomes the frame where those skills can adapt,” he says. “I like to think we’re more than our job titles, we’re visual storytellers who can move across different formats.”
In his keynote address, Pinha emphasized the importance of human connection in theatre. “I think this kind of moment reminds us and makes us reflect about what theater means when we are really in person, connecting in responding to the person right there, especially in times where it feels like we’re more and more connected by device,” he stated. He underscored the idea that “theater still survives, in a sense, because that’s where people still meet. We’re still meeting each other. There’s a humanity behind that.”
Pinha finds ongoing inspiration in the collaborative nature of theatre and the diverse individuals he encounters through his projects. He values the exchange of ideas, creative dialogue, and the shared commitment to creating something meaningful. “Mostly, it’s the people I meet through the projects I work on, their stories, backgrounds, and unique skills,” he explains. “As our interactions become increasingly virtual and technology takes on a larger role in our daily routines, I find that true inspiration comes from collaboration. It’s in the exchange of ideas, the creative dialogue, and the shared commitment to making something meaningful that I feel most energized.” He adds, “The collaborative
process, the experience of building something together and the relationships that grow from that work is what truly inspires me. At the end of the day, we’re all human, and theatre remains one of the few spaces where we can still genuinely meet.”
Pinha’s work reflects this collaborative spirit. He spoke with admiration about his long-term partnership with Synetic Theater in Washington, D.C., highlighting the shared artistic language and understanding he has developed with the company’s founders. He also discussed his experience collaborating with renowned photographer Carrie Mae Weems on a multimedia art installation at the Park Avenue Armory in New York, showcasing his ability to apply his theatrical design skills to other artistic mediums.
Pinha also shared insights into his design process, emphasizing the importance of both artistic vision and technical proficiency. He acknowledged the less glamorous but essential aspects of set design, such as drafting, while also highlighting the joy and artistry involved in model-making. “Even like a set, very simple like this, literally was a desk and a chair and little things on the table. I still design for myself and for the director and for the actress, still, so, it doesn’t just become a tactical thing. The sharing is the jewelry piece that you deliver to somebody that’s working with you,” he explained.
Pinha offers thoughtful advice to future designers, urging them to maintain a balance between embracing technology and prioritizing human connection. He cautions against becoming overwhelmed by the “constant stimulation and pressure of our digital world,” emphasizing that “technology should serve us, not dominate our time and space.” Pinha advocates for the importance of pausing, breathing, and unplugging, recognizing that creativity requires space and that “silence, stillness, and presence are essential for deep, meaningful work.”
“My advice is simple,” he says. “Pause. Breathe. Give yourself the permission to
unplug. Creativity needs space to unfold. Silence, stillness, and presence are essential for deep, meaningful work. Sometimes, turning off the noise is what allows you to dive into deeper layers of your imagination, layers that can’t be accessed when you’re constantly distracted.” He encourages designers to “trust that stepping away is not a waste of time, it’s a vital part of the process” and to regularly check in with their physical and emotional well-being, asking themselves, “Are you breathing? Are you present?”
The Architect of Atmosphere: Justin Schmitz
Justin Schmitz is an accomplished sound designer and composer who crafts evocative and immersive sonic landscapes that shape the emotional experience of theatrical productions. His work demonstrates a mastery of audio technology, a keen understanding of dramatic storytelling, and a talent for creating soundscapes that are both subtle and powerful. Schmitz’s passion for sound design grew
from his early involvement with music and performance. He developed his musical skills by playing piano and singing, and his interest in sound technology was sparked in high school when he served as an alternate for his vocal jazz ensemble. “Originally I started out playing piano and doing voice,” Schmitz recalls. “In high school, I started to notice the lighting and sound techs and became an alternate for our vocal jazz ensemble. That meant I got to do a lot of mixing with our singing group, and attend incredible jazz festivals in high school around the Midwest.”
At the University of Wisconsin–La Crosse, his advisor, Ron Stoffregen, recognized Schmitz’s potential to combine his musical talents with his interest in theatre. He suggested that sound design offered a unique opportunity to merge these passions. “Once I got into college at The University of Wisconsin–La Crosse, my advisor told me I could do theatre and music in one job — and that was a sound designer. I was hooked!” Schmitz says. He designed many productions for the university’s theatre department. He then pursued a Master of Fine Arts in Sound Design and Composing for Theatre at The University of North Carolina School of the
Musicians and Foley artists perform in Frankenstein: A Radio Play, with sound design byJustin Schmitz. Produced bythe ChatauquaTheaterCompany, written and directed by Sarah Hartmann, 2013.
Arts, further honing his skills and solidifying his commitment to the field.
Schmitz’s professional career began in 2011, and he has since established himself as a freelance sound designer working with numerous theatre companies and universities across the country. His credits include sound design for a wide range of productions, from plays and musicals to opera and dance. He also has experience as a freelance stage manager and, interestingly, as drag queen “Mama Shirley Naytch.” Additionally, Schmitz’s versatility extends to audio technology, as demonstrated by his work as an audio technician for various events and lectures.
Schmitz’s artistic philosophy is deeply rooted in the power of theatre to provide escapism and emotional release. He believes that theatre offers a unique opportunity for audiences to “escape from the current climates we find ourselves in” and to be transported to another world, “if even for a few moments or hours.” “I think the biggest inspiration for me,” Schmitz says, “is when we have the opportunity to produce work that allows everyone to escape from the current climates we find ourselves in. Theatre does what theatre has done forever — allow escapism for a while, to transport us to another world, if even for a few moments or hours.”
Beyond escapism, Schmitz is also inspired by the potential of theatre to foster empathy and promote positive change in the world. “Along with that escapism, I think seeing folks really leaning into empathy and trying to make the world and lives better for each other … as cheesy as ‘world peace’ sounds, it really does inspire me to wake up every morning and ask, ‘How can I help the world be a bit better today?’” he says. “It may be simple, it may be minuscule, but sometimes those little things really can add up for someone we may not know.”
Schmitz acknowledges the challenges facing the theatre industry in the digital age. He spoke of the “war against immediate gratification in the digital sphere” and its impact on audience engagement. “Future
designers will be battling the war against immediate gratification in the digital sphere. We currently are seeing the uptick of that in sales for theatre seats, and events — tomorrow’s battle will be crafting and creating art that inspires and calls people back to the performing arts in general,” Schmitz explains.
To address this challenge, he encourages designers to embrace spectacle and “dream big and bold,” pushing the boundaries of theatrical experience. While acknowledging the beauty and power of simplicity, he also emphasizes the difficulty of achieving “simply wonderful” design. “My best advice,” says Schmitz, “do not be afraid of spectacle. Do not be afraid to dream big and bold. Simple is often the most difficult to create, but simply wonderful is even harder. I’d say — live, dream, and be BOLD!”
Weaving Character Through Form and Fabric: Danielle Preston
Danielle Preston is a costume designer who uses clothing to tell stories, reveal character, and enhance the visual impact of theatrical productions. Her designs are known for their meticulous attention to detail, her insightful character development, and their seamless integration with the overall aesthetic of a production.
Preston’s passion for costume design was ignited during her undergraduate studies at Meredith College, where she took a stagecraft class. In this class, she discovered a creative and inspiring space that resonated deeply with her artistic sensibilities.
“I fell in love with costume design through my stagecraft class during my undergraduate years,” Preson recalls. “I found a space that felt inspiring and creative. I designed my first show at University of North Carolina School of the Arts. It was euphoric to see my drawings being built by a room full of the most amaz-
Costume design by Danielle Preston, for A Nice Indian Boy at the OlneyTheatre Center, Olney, Maryland, 2023, directed by Zi Alikhan.
ing and skilled artists. I knew this was what I was meant to do. Fabric shopping, drawing, collaborating with other designers, and fitting actors, etc. It feeds my soul in a way that I can only describe as nirvana.”
Preston’s artistic inspiration stems from collaborative environments and meaningful storytelling. She is particularly drawn to working with artists who create a “welcoming environment for ideas and thought,” valuing open communication and shared creativity. Furthermore, Preston is inspired by “stories and projects that provoke thoughtful conversation, change, and/or reflection,” highlighting her commitment to using costume design as a tool for meaningful artistic expression. “I find myself inspired by working with collaborative artists that create a welcoming environment for ideas and thought,” Preston says.
Preston offers practical and honest advice to aspiring costume designers, acknowledging the demanding nature of the industry. “Be prepared to work really, really hard,” she emphasizes, highlighting the need for dedication and perseverance to succeed. She advises young designers to be “willing to take any job or opportunity,” even if it’s not their ideal position, recognizing the value of gaining experience and networking. Preston stresses that these opportunities can lead to collaborations with future artistic partners or involvement in “an amazing project.” Finally, she underscores the importance of cultivating a strong support system and pursuing activities beyond the work, providing a necessary opportunity for maintaining well-being in a demanding profession. “Be prepared to work really, really hard,” she says. “This industry is very rewarding if you love it, but you will have to hustle to make it. Be willing to take any job or opportunity even if it is not the ultimate end goal. If it provides the opportunity to be in the room with a
future collaborator or work on an amazing project, do it. Find a support system or something that gives you joy outside of the theatre walls, a place to go when you need to recharge.”
Celebrating Design Excellence: A Tapestry of the Soul
Kathy A. Perkins, Daniel Pinha, Justin Schmitz, and Danielle Preston are more than just skilled craftspeople; they are artists who design for the soul. Their extraordinary talent, unwavering artistry, and profound dedication have enriched countless productions and forged a deeper connection with fellow artists and audiences alike. The 2025 SETC Designers’ Keynote Awards stand as a testament to their remarkable achievements and the enduring power of design to elevate the art of storytelling, creating experiences that are, in the truest sense, “Designed for the Soul.” n
Ricky Ramón (he/him) Ricky Ramón is a director, stage manager, and VP of Equity & Inclusion at SETC. With Master’s degrees from Harvard, Texas Tech and NYU, he’s directed and stage managed over 60 productions at renowned theaters across the US.
Giving Voice to the Sacred
Alma Davenport on Theatre, Worth, and the Power of Storytelling
At SETC’s Harmony of the Arts Luncheon, Alma Davenport’s words resonated not only because of their poetic intensity but because they were deeply felt and hard-earned.
The Artistic Director of Baltimore’s Strand Theater stood before an audience of theatre professionals and students and laid bare her personal journey, her artistic mission, and her deep belief in the transformative power of storytelling.
At the heart of her address was a powerful assertion: artists, especially theatre makers, are not simply entertainers. They are conduits of empathy, architects of understanding, and, as history has proven, targets of those who fear the truth.
Before coming to Baltimore, Davenport’s work in Seattle with Brown Soul Productions had focused on amplifying the voices of women of color. Her artistic leadership, her advocacy, and her own body of work — including the plays Champagne James, The Macro Evolution of…, AMOK , Transcendence, and Privileged — have made her a vital force in the American theatre landscape.
by Caroline Jane Davis
Her address intertwined the personal and the political, the deeply individual and the universal. She framed her own journey — through struggle, reinvention, and self-discovery—as proof of the resilience of the creative spirit.
The Power of Energy and the Scientific Miracle of Existence
“I want to take a moment to talk about energy,” Alma Davenport began. “It’s one of my favorite subjects, and I don’t feel like we talk about it enough as artists.”
“Do you ever walk into a room, and it just feels a certain way?” she asked. “That’s energy. We create it as human beings. We all hold the keys to this sacred, creative life force, and that energy, although intangible, has a worth that is infinite and immeasurable.”
For the science-minded, she evoked a lesson she’d recently learned from physicist Neil deGrasse Tyson on a brief visit to “YouTube University,” as she deemed it:
“[Tyson] said 100 billion people have existed since the beginning of time, and because of the complexity of the human genome, there are ten to the 30th power — over a billion trillion — possible combinations for the composition of the human being, which means that there has never been anyone who has ever existed that has been exactly the same. Exactly like you. And there never will be.”
“He says that most of the people who could exist will never exist,” she continued. “The fact that you and I are here today is a miracle. It recently dawned on me how precious and how sacred it is to be human, to be conscious, to experience one another and to go on our own individual hero’s journeys,” she reflected.
“I never really understood this concept of being enough until recently. It’s very hard for me to grasp this reality, the reality that my just being alive really is enough, and it’s a miracle in and of itself… but I’m going to tell you how I got to this point. My journey to self-worth has shaped my artistic resolve, giving me a clear sense of my values and importance as a theatre maker.”
At 42, she said, she finally came to truly understand her worth, separate from external validation or achievement. That realization, she emphasized, was a lesson not just for herself, but for every artist in the room.
Leaving New York
In October 2008, Davenport moved away from New York City with “nothing to show for it,” she shared. She had previously attended New York University Tisch School of the Arts as a participant in their Dramatic Writing Program, but left with six outstanding credits. New York was punishing and expensive, and her jump into survival mode left little space for creation.
“I always thought I had to do something great or achieve something big or have something someone else wanted to be of any real value,” Davenport explained. She worked multiple jobs, including a stint as a flight attendant, before attending cosmetology school. Soon, she found herself needing to escape an abusive relationship. That was the breaking point, she said. “I was done. I wasn’t going to live the rest of my life like this,” she said. “So, I turned around. I walked into Empire Beauty School. I said goodbye to all of my hair school friends, I walked to Penn Station, and I caught a Chinatown bus back to DC.”
“That’s how I left New York,” she explained. “With the clothes on my back.”
For a time, she lived in her childhood bedroom, watching AMC and seeing the names of her NYU classmates scroll by in the credits. The desire to compare herself to others was overwhelming and defeating. She shared: “I was good as long as I was out here winning… so when I wasn’t, I felt this tremendous amount of shame.”
Finding Self-Worth
Eventually, she rebuilt. A new marriage led to a new city. And then she finished her cosmetology studies in hair. And then she finished her last credits at NYU. And then she started her own theatre company, Brown Soul Productions. And then, she earned her MFA in Arts Leadership. But even within all these successes, self-doubt lingered.
“We moved to Seattle because he got a job working
Keynote speakerAlma Davenport, Artistic Director of Baltimore’s women-centered Strand Theater Co., was the keynote speaker at the SETC 2025 Convention. She was introduced by Grace Edgar(left).
Convention photos by David Dixon.
at Microsoft,” she recalled of her second husband. “There were times, particularly early on, when others implied that he was too good for me… and I kind of agreed.” Her self-worth was tied to their shared accomplishments, she said. “He was the primary breadwinner, and I struggled to see my own contribution, constantly doubting my value… Why me? Why did he love me? Why did he choose me?”
That relationship, too, eventually deteriorated, but the difficulties of that separation led to a monumental discovery: “It became evident to me what my contribution was to that relationship, and other relationships that I had been in,” she explained. “In my relationships, the other person was the better for it. Around me, people came up.”
Luckily, a good friend was able to help her harness the power of that discovery. “Alma, if you poured into yourself what you pour into other people, just imagine where you would be.”
That revelation, she said, was the moment
that changed everything.
A New Chapter
While still living in Seattle, Davenport turned her energy inward, pouring it into her art and into the theatre community.
She co-founded Brown Soul Productions to address a glaring issue she saw in the industry: many plays featuring BIPOC artists in predominantly white institutions felt more like public service announcements for white audiences than stories that resonated with the people actually on stage. “I sat on so many panels about how to get BIPOC folks into the theatre, and the argument was ‘Oh, my people don’t come to the theatre.’ And I was like, ‘Well, yes they do, right? Have you ever gone to see a Tyler Perry play?’” She argued that the problem was not with the audience, but with artistic leaders choosing stories that weren’t connecting with the right community.
“I wanted to develop new work that had strong storytelling and high production
value and truly spoke to our communities. It was very important to me, so that’s why I went through the trouble of founding a company.”
Returning East
After years of work in Seattle, Davenport moved to Baltimore, where she became the Artistic Director of the Strand in 2024. The Strand, in its 17th season, has long been a space that centers voices too often pushed to the margins, and Davenport’s personal story is deeply tied to the work she now champions there. “We produce plays written and directed by women and nonbinary people,” she explained, citing their current production, Rarefied Air by Nina Foxx, as an example of the kind of work they are committed to uplifting.
Her work, however, extends beyond individual productions. It’s about something deeper: the why behind making theatre in the first place.
“I don’t know why you make theatre,” she
told the audience. “But I do it because I have fun sharing. It’s my way of connecting with others in a very real way.”
Theatre, she emphasized, is not just about entertainment or escape. “We are in the business of emotional connection and resonance. This is potent and powerful stuff.”
It is this reason, she argued, that her message of self-worth is not just an independent discovery: “I thought my epiphany was just a lesson for me as an individual, as a woman. I didn’t know that it was also a lesson for Alma the artist.”
“I am selenite,” Davenport declared, referencing the crystal associated with cleansing, clarity, and peace. “I am table salt—something that has many uses, brings out the flavor, and has protective qualities. I am baking soda— I can neutralize the space. I am a money tree,” she smiled. In other words, she has value, not because of external achievements or validation or reputation, but because she exists in the first place, and that existence gives energy to the
people and communities around her. “All this work is intangible, but it matters. And it’s invaluable. These are qualities that we all contribute as artists, especially theatre makers.”
A Call to Artists
Davenport’s keynote took a turn toward advocacy, warning of the forces that seek to manipulate storytelling. “[This work] is so valuable that fascists recently infiltrated the Kennedy Center trying to control it,” she said, underscoring that those in power understand the power of art.
She leaned into other historical examples to further prove her point: “In 1933 when Hitler became Chancellor, one of the first things he did was take control of the media and weaponize film and storytelling to manipulate, brainwash, and sway public opinion.”
That is precisely why artists must remain vigilant, she continued. “We possess the creativity and the vision that [those in
power] desperately want to suppress and control,” she urged. “So, by refusing to be intimidated, and by deeply understanding our purpose, we can harness our collective power to create positive change.”
Living the Lessons
Davenport then challenged the audience to reflect deeply on their organizations’ mission statements. “It’s all beautiful and intentional language… but I worry that sometimes, these words become hollow,” she cautioned. Instead, she encouraged theatre artists to transform those words into action:
“Let’s breathe life into those powerful mission statements… and use them as our driving force. Together, we can ensure that our art remains a beacon of truth and empowerment. So that is why I’m encouraging us as a community — and I’m talking to myself here, too — to check in and internalize what those words really mean. They mean giving a voice to the sacred.”
Before concluding her address,
Davenport left the audience with a stirring final charge:
“I urge you to carry this understanding with you. Know your inherent worth—not because of accolades, not because of achievement—but simply because you exist. Lean into the why behind your work with renewed conviction. Because in these times, our stories are not just entertainment. They are essential… for the very preservation of our collective humanity.”
In Dialogue with SETC
Following her speech, Davenport engaged in a thought-provoking Q&A session moderated by Dr. Grace Edgar, Assistant Professor of Theatre at Midwestern State University Texas.
“The Art of Imperfection is sitting right next to my bed in the hotel room right now. So, this topic about worthiness and our attempt to research it, read about it, learn about it, is a balm to my heart today, and I’m thankful for that,” Edgar shared.
the remote control to another actor, who caught it, and immediately transformed and started acting,” she recalled. “I was so impressed that people could tell a story and transform that way before. I had never been to the theatre before… but when I saw that, I said ‘Okay, this is how we tell stories from now on.’”
Q: Can you walk us through your creative process? How do you approach writing a new play, from the concept to the final draft?
“That differs every time,” Davenport explained. “Sometimes I might just have a random idea, a thought, or I’m just trying to answer a question. A lot of times, my plays come from questions that I’m trying to answer within myself.”
We are in the business of emotional connection and resonance. This is potent and powerful stuff. “ ”
The discussion ranged from Davenport’s early inspirations to the role of women in leadership and the importance of arts advocacy.
Q: What initially inspired you to pursue a career in theatre?
Davenport credited much of her inspiration from her time at Duke Ellington School of the Arts. As a high school freshman in the Literary Media Program, she primarily wrote fiction and poetry—until one transformative experience reshaped her perspective:
“I was 14 years old, and I went to a field trip to the Studio Theatre in Washington, D.C. And there was a play… the director was Thomas W. Jones II,” she said.” There were three Black men on stage, and a special [illuminating] center stage… and then this actor caught a remote control, in character, while doing a monologue. And he threw
She also described her technical approach to writing:
“Because I’ve had some training in dramatic writing, I have a whole process. I have a whole character sheet that I fill out that’s 11 pages long. I figure out who my protagonist is, and then I ask the question ‘What must this protagonist do?’ And then I create a whole outline based on that. Once the questions come up, it becomes pretty structured for me.”
Q: What is your opinion about casting and acting in roles that are meant for white actors?
The question about classical texts came from a young director and actor in the audience who recently encountered Justin Emeka’s chapter “Seeing Shakespeare Through Brown Eyes” in the book Black Acting Methods: Critical Approaches.
“If that speaks to you, then I say, go ahead and do it,” Davenport said. “I’m interested in new work… Shakespeare is great, and Shakespeare has stood the test
of time, right? And other playwrights, too: Chekhov, Ibsen.” She continued, “But we might have a Black Shakespeare in this generation. And we might have a Latinx Ibsen in our generation. So, I want to make sure that we don’t miss those voices. I’m trying to catch them.”
Q: Theatre has the power to challenge societal norms. How do you believe the presence of women in leadership roles, whether as playwrights, directors, or producers, shape the stories we see on stage?
“I think there has to be a lot of healing around motherhood and feminine energy in general,” Davenport reflected. “There’s a targeted hatred toward women in general. People don’t like women very much.”
She continued: “Moms always tell us, don’t do this, don’t do that, do the right thing.’ But who listens to their mom? No one, until it’s too late, or until they need help or need someone to ‘fix’ something or comfort them.”
Yet, she emphasized, this dismissal does not diminish the importance of feminine energy in storytelling.
“Women are the creative process,” she ended.
On Bringing SETC to Baltimore
Following her keynote, Davenport reflected on the importance of SETC’s presence in Baltimore. “Maryland? We are the South. We are south of the Mason-Dixon line. And a lot of times, the Mid-Atlantic gets left out,” she noted. “So, I think it’s great that SETC found its way here and included Baltimore — and Maryland — in that recognition.”
“I feel like I’m part of the community now.” n
Caroline Jane Davis (she/her) is Visiting Assistant Professor of Theatre Arts and Education at Furman University. She is a member of SETC’s Editorial Board.
Photo by David Dixon
Fighting forYour Program
Teachers’ Institute
presenter Rosiland Cauthen encourages theatre teachers to advocate for the resources they need
by Keith Arthur Bolden
At this year’s SETC Teachers’ Institute we were honored to have Rosiland Cauthen as our keynote speaker, where she addressed the topic, “Advocating for Your School.” Ms. “Roz” Cauthen has been with Baltimore School of the Arts (BSA) since 2016 and was named its Executive Director in July of 2021. Prior to arriving at BSA, she was Director of Community Programs for Baltimore Center Stage (BCS). An artist and activist, Roz has long been committed to the work and practice of equity and access, and during the 2020-2021 school year, she developed an Equity Action Plan for BSA, all while navigating the precarious return of students
post-covid. Prior to her speaking at SETC, I had the chance to interview her about her career and what she planned to share at the Convention.
Could you let us know what you’re planning to discuss at SETC?
The discussion will be centered around how to champion your theatre program and ways to advocate in order to access more resources.
What has been your proudest moment of growth at BSA?
My proudest moment of growth at
the school has been reopening the school post-covid. When we left the school for a year and a half because of the pandemic, I was the head of the theatre department. We came back to the building, and I had been appointed the Head of the School. The first year was the most uncertain and the most difficult. There was so much to learn about contact tracing, social distancing, and how to open a school with masks and weekly testing and it was all hard. However, to see us bounce back from the pandemic and start doing shows and performances again was a real highlight of my leadership. We started off in masks and were not able to fully do our artistic works, but we kept at it and stayed innovative and figured out how to perform again. Returning to school safely was a major responsibility that took time and growth for the staff to learn how to do the arts once we returned from Covid. It was beautiful to see us get back to ourselves again.
What type of limitations, if any, have you had to navigate with the new administration as it pertains to programming and resources?
We haven’t experienced any limitations at this time. We are keeping our ear to the ground about changes and how we may have to deal with them as a community.
Do you recognize a possible pipeline of opportunities between BSA and your former employer, Center Stage? If so, how will you implement them in the coming years?
BSA and BCS are currently partnering and working closely together. Their current show, Akeelah and the Bee , will open this Thursday (March 20) and all the students in the cast are BSA students. The lead role is a BSA ninth-grade acting student. Also, the BCS education team comes to BSA and leads workshops. They also set up tours for us and our students are able to take backstage tours and sit in on rehearsals. BSA also had our graduation at BCS last year. We are working together closely, and it is a meaningful partnership for both organizations.
Who are some of your (S)heroes in the arts and beyond?
Ntozake Shange, Amiri Baraka, August Wilson, Shirley Basfield Dunlap, and Joy Vandervort-Cobb.
How has your upbringing affected your artistry?
I was a church kid. The expectations from my family was that I was a leader. I was involved in church activities, giving speeches, singing in the choir, ushering, being the Sunday school secretary. I created short scenes and attended youth leadership conferences and meetings. I didn’t always think of myself as a leader and artist, but those around me in community with me saw something and pushed me towards leadership. I was also involved in scholarship pageants in my small community. I came from a small town in South Carolina. It was a wonderfully supportive and creative community that held me accountable and nurtured my art and my heart. My parents and brothers were also artistic and creative people, and I was inspired by all that was around me.
sional endeavors because of the time commitment to BSA. One day I might be able to get back to my own personal/ professional art practice. Right now, I’m just having a ball providing opportunities for the young people of Baltimore to pursue their passion for the arts.
There is a long tradition of turning out true game-changing artists at BSA. Does this add any pressure to you?
No pressure! We just keep doing what we do, which is to train the young artists in our care at the highest level of artistic excellence.
Actors today seem to be more interested in the resolution, the finality of the production over the process. How do you get students to lean into the process of the work?
Stay open to seeing talent in unexpected places. “ ”
How does an administrator recognize and foster talent?
It’s important to keep your eyes open and your ears to the ground to make sure you’re aware of who is around you. Stay open to seeing talent in unexpected places. Also expect the unexpected. You never know where there’s talent that is unrecognized or talent that just needs the opportunity for someone to advocate for them.
Are you able to pursue professional endeavors given your extraordinary commitment to BSA?
I’m not currently able to pursue profes -
We focus on the process here at BSA. We remind our students all the time that the technique and the learning is just as important as the final performance and the applause.
Where do you see yourself and BSA in 5-10 years?
In 5-10 years, I see BSA thriving and improving in academic rigor and artistic excellence. We will continue the great legacy of those who’ve gone before me to provide quality pre-professional arts and academic training to the young people of Baltimore. We will continue to connect to our community and make our work meaningful. Our work will continue to move society forward. n
Keith Arthur Bolden (he/him), a native of Los Angeles, 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.
SETC BALTIMORE
Moments from this year’s 76th SETC Convention, March 19-23
Photos bySorchaAugustine and David Dixon
SUZANNE M. DAVIS AWARD
Pat Gagliano receives Suzanne M. Davis Award
The Suzanne M. Davis Memorial Award was created in memory of Suzie Davis, wife of Harry Davis, one of the founders of SETC and its 10th president. The award recognizes an individual who, over an extended number of years, has been outstanding in service to SETC. It is the highest award that SETC can bestow upon one of its own members.
This year’s Suzanne M. Davis Memorial Award was presented to Pat Gagliano, Professor of Speech & Theatre at Newberry College, Newberry, S.C. Pat has held numerous chair positions with SETC and served as Vice President of Services from 2015 to 2018. The award was presented by Cedric L. Rembert, Assistant Professor of Speech & Drama at Claflin University. n
Photo by Sorcha Augustine
by Sarah McCarroll
Decolonizing fashion history & period styles
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.
New Approaches to Decolonizing Fashion History and Period Styles: Refashioning Pedagogies edited by Ashley Bellet.
New Approaches to Decolonizing Fashion History and Period Styles is for teachers engaged in the challenging labor of reworking their pedagogical methods to move away from the Western-centered, “chalk and talk” practices through which many were educated. Editor Ashley Bellet is clear-sighted about the challenges inherent in redeveloping syllabi to decolonize materials, methods, and examples — not the least of which is finding the time in already jam-packed academic workloads that often include production responsibilities. New Approaches… does not just make the call for these changes, it offers chapters full of concrete methodologies that can be adapted to the needs of your course and your students, along with numerous projects and exercises that are ready for immediate integration into coursework. The contributors offer a wide variety of teaching contexts, student body compositions, and pedagogical approaches, resulting in a wonderful multiplicity of useful examples for how to imagine your own course’s decolonization.
Part one of the book focuses on shifting ideas of learning “from memorization to knowledge finding” (3). For example, Sydney Maresca’s chapter “Re-Fashioning Time: An Object-Based Approach to the History of Style” discusses the syllabus for History of Style at Montclair State University. Maresca shares the course’s weekly homework assignment: students find nine research images per week from the period or culture under study. Each image must be localized in both time and place, and students are required to find three images of people wearing clothes,
three images of buildings, and three objects, all with citations that credit the source of the image. Course discussion then centers around learning how to read the images students have found. This makes “room for diversity in the course because the discussion is driven by the students’ background and interests” (17).
The second section of the book offers syllabi and assignments that examine “how historical power relationships have affected not only what we know but also how we know” (3), while part three delves into ways in which experiential learning can be incorporated into the classroom to call attention to the often-overlooked work of the makers of garments and objects throughout history. The fourth section of the book looks at how not just lessons and pedagogy, but classroom management, require decolonization, in changing grading practices or constructing more mobile and changeable course syllabi and calendars. Along the way, every
contributor shares sample course syllabi or assignments, course descriptions and objectives, student learning outcomes, rubrics, and lessons from using the methods they share.
The final chapter offers three “Activities for the Classroom.” Brenda Van der Wiel of the University of Utah shares a World Building assignment that asks students to imagine that two characters, one from a Western European culture from the 15th to 18th century, and one from a non-Western European culture earlier than the 15th century, arrive on the same deserted island and attempt to work together to create a utopia; but, the assignment says, “they are committed to not having one culture colonize another” (193). The assignment then asks students to imagine, among other things, how the characters occupy their time (required scenic sketches of activity), the clothing that develops for the society, the music they listen to, and the quality of light for each of three events the characters experience in their brave new world. Along the way, in addition to requiring students to think across the spectrum of design and to consider how to integrate diverse inspirations into a coherent design whole, the assignment requires students to consider the space between cultural appreciation and cultural appropriation. Throughout New Approaches… emphasis is placed on flipping the classroom so that student discussion and hands-on learning are centered during class meetings, thus decentering the professor from expert to resource and guide to the student’s own development of knowledge and research tools. In offering practical examples for overwhelmed faculty, it practices what it preaches by providing frameworks that empower its readers to enact their own change. n
(she/her) is a professor and resident costume designer at Georgia Southern University where she teaches courses in Script Analysis, Theatre History, and Costume Design.
