Southern Theatre Spring/Summer 2025

Volume LXVI Number 2 • Spring/Summer 2025 • $12.00

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

The Chronicles of Atom & Luna, by Murray Lachlan Young, presented at the SETC Convention Secondary School Theatre Festival by Perry High School, Perry Georgia. Directed by Joe Sendak. Creature Shop: Amaya Oliver; World Concept Lead: Cameron Nethaway. Photo by Sorcha Augustine.

CONTENTS Volume LXVI Number 2 l Spring/Summer 2025 l Southern Theatre – Magazine of the Southeastern Theatre Conference

Features

Columns 6

Outside the Box:

12 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

Design & Tech Solutions

20 Designed for the Soul

Creating ‘Northern Lights’

The Passion and Purpose of the 2025 SETC Design Keynotes

by Kyle Spitler

by Ricky Ramón

8

What’s On Your Mind?

26 Giving Voice to the Sacred

African-centered coping tools

Alma Davenport on Theatre, Worth, and the Power of Storytelling

Mental Wellness & the Artist

by Jonathan Mathias Lassiter, PhD

by Caroline Jane Davis

10

H@ndle Your Business

32 Fighting for Your Program

In theatre, professionalism is key

Teachers’ Institute presenter Rosiland Cauthen encourages theatre teachers to advocate for the resources they need

by Frederick Marte

36

Theatre on the Page Book Review

Decolonizing fashion history

by Sarah McCarroll

by Keith Arthur Bolden

34 SETC Baltimore Photo Montage from the 2025 Convention photos by Sorcha Augustine and David Dixon

35 Suzanne M. Davis Award Honoring theatre educator Pat Gagliano

On the cover

Actor and activist André De Shields is the 2025 recipient of the SETC Distinguished Career Award, presented March 22 at the SETC Convention in Baltimore.

Photo by Lia Chang Spring/Summer 2025 | Southern Theatre | 3

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

From the SETC President 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 EDITOR-IN-CHIEF

high school and community theatre festival shows were

Sharrell D. Luckett, PhD

spectacular, showcasing an array of outstanding productions that left attend-

SETC PRESIDENT

ees inspired and entertained. The workshops offered a wealth of knowledge,

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) Kenzi James, NYC Secondary Educator & Artist-Scholar Kyla Kazuschyk, Louisiana State University Sarah McCarroll, Georgia Southern University Tiffany Dupont Novak, Actors Theatre of Louisville (KY) Thomas Rodman, Alabama State University Jonathon Taylor, East Tennessee State University Chalethia Williams, Miles College (AL)

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

OUTSIDE THE BOX EDITOR David Glenn, Samford University (AL)

week filled with comprehensive workshops and auditions

THEATRE ON THE PAGE EDITOR Sarah McCarroll, Georgia Southern University (GA)

targeting undergraduate, graduate, and professional opportunities across the

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

while eight dynamic shows were presented in the Community Theatre Festival.

nation. The Secondary School Festival showcased 18 regional productions, Additionally, the Fringe and Short Play Festivals attracted significant interest

LAYOUT EDITOR Scott Snyder, Muhlenberg College (PA)

among convention participants.

ASSISTANT TO THE EDITOR-IN-CHIEF Nikki Baldwin

keynote presentations by distinguished individuals such as Dixie Carter, Julie

NOTE ON SUBMISSIONS

Harris, Norm Lewis, William Ivy Long, and Christopher Durang. This year, we

Southern Theatre welcomes submissions of articles pertaining to all aspects of theatre. Preference will be given to subject matter linked to theatre activity in the Southeastern United States.

Articles are evaluated by the editor and members of the Editorial Board. Criteria for evalua­tion include: suitability, clarity, significance, depth of treatment and accuracy. Please query the editor via email before sending articles. Stories should not exceed 3,000 words. Color photos (300 dpi in .jpeg or .tiff format) and a brief identification of the author should accompany all articles.

Send queries and stories to: nikki@setc.org.

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

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

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

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

Since 1987, I have had the privilege of attending SETC and listening to notable

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

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

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 6 | Southern Theatre | Spring/Summer 2025

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

Step by Step Instructions to create “Northern Lights” 1. Locate up to 50 0 -10 0 0 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. 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.

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.

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

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

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.

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.

Spring/Summer 2025 | Southern Theatre | 7

WHAT’S ON YOUR MIND?

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

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.

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

Dear Dr. Lassiter,

to speak in any way that feels authentic”);

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?

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

Hi, Reader —

and physical health, leading to unhealthy

manage your distress and come up with

changes in the brain, premature aging

ways to “get through the rest of the class

Thank you for writing in with this

and chronic disease, and early death.

this semester.”

question. First, I want to say that you did

Unfortunately, experiencing racism-related

Remember that you didn’t deserve that

not deserve that. You are allowed to express

stress is not uncommon for people from

treatment, and there are African-centered

yourself in whatever voice feels authentic to

minoritized racial and ethnic backgrounds.

coping tools available to help you heal and

Fortunately, there are several research

thrive. I hope that you find these strategies

you. This comment says more about your teacher than you.

supported coping strategies to lessen the

Second, it sounds like you may be

impact of racism-related stress. African-

suffering from racism-related stress. Racism-

centered coping is one effective approach

related stress is mental health discomfort,

that can help minoritized people with many

psyc holog ica l pa i n, a nd u npleasa nt

racial and ethnic heritages. African-centered

emotional experiences in response to

coping strategies are coping techniques that

being subjected to prejudiced comments

are grounded in African culture (i.e., the

and discrimination based on one’s racial

root of all culture, given that all of humanity

or ethnic background. Racism-related

can trace its genetic and cultural roots back

stress negatively affects the victim’s mental

to the continent of Africa). These strategies

8 | Southern Theatre | Spring/Summer 2025

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

H@NDLE YOUR BUSINESS

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.

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.

your career, now is the perfect time to engage with established professionals. Or, as your high school Drama teacher might say, “Fake

S

it till you make it.” The most effective way

TheaterMania Instagram: @theatermania theatermania.com TheaterMania, since its founding in 1999, has been the go-to digital platform for

aludo, buenas! We know that the theatre

to learn new concepts is to relate them to

profession is driven by passion, creativity,

something familiar. In other words, follow

and memorable experiences, but it’s also

experienced artists who are known for

about professionalism and respect. In this

their professionalism, and contrast them

field, how you conduct yourself can make all

with others who may not embody the same

the difference, especially in situations that

standards. From there, you can decide what

may not be ideal. So, when should you be

aligns best with your long-term career goals.

professional? Before you arrive? When you

It’s important to maintain a can-do

arrive? Or when you leave a theatrical space

attitude, even when you may not fully believe

or community of artists? To put it simply, you

in it. Stay involved in the theatre world by

must be professional at all times. Yes, you

keeping up with current events, trends,

read that right! This doesn’t mean you can’t

and influential figures. Two social media

be yourself or have fun, but it does mean

handles that can help you along the way are

you should approach every moment with the

@blackactingmethods and @theatermania.

on what’s worked for them.

Black Acting Methods® Studio

y a ti también. So, hold yourself to the same

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,

Instagram: @blackactingmethods blackactingmethods.com

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 As an artist, tu representas a tu comunidad standards as any other professional. Learn, grow, hone your craft, and adapt to improve both yourself and the industry. n

as it enforces the belief that we might not

The Black Acting Methods ® Studio

be “good enough.” But even when it’s

is a mobile and online training institute

You represent your community and

hard to hear, you must stay grounded and

where actors of all heritages can gain

yourself too.

maintain your professionalism because,

in-depth knowledge about acting processes,

in this industry, almost everyone knows

met hodolog ies, a nd ph i losoph ica l

everyone. A bad reputation can follow you

underpinnings rooted in Black American

longer than any glowing review ever will.

c u lt u r e a nd t rad it ion. T h roug h my

To navigate this, connecting with social

participation in their programming, I learned

media platforms can be incredibly helpful

that it not only provides strategies for making

in learning the nuances of professionalism

the theatre classroom more culturally

in the theatre world. If you’re just starting

accessible but also teaches actors how to

10 | Southern Theatre | Spring/Summer 2025

* tu representas a tu comunidad y a ti también:

Frederick Marte, LMSW (he/ him) is an Official Ambassador for the Black Acting Methods Studio. He teaches theatre in NYC, and was the 2022 Programming Intern with the Black Theatre Network. @fredericktalks

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 C arlt on V. Be ll II a n d D avid H. Parker

CONVENTION KEYNOTES 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

De Shields recently touched down in his hometown

of how we, as a people, broadcast cultural memories,

of Baltimore, fresh off a triumphant return to the West

aka “keep our recipes.” We must also acknowledge that

End as the omniscient griot Hermes with the original

those same bodies whose very existence, voices, ideas,

Broadway cast of Hadestown (2019), where they filmed

souls create(d) what we know as “Broadway” / “The

the proshot as the show prepares to celebrate six years

Great White Way” stands on the broken bones of The

of universal aplomb. Just days later, he would accept

African Grove Theatre.

the Distinguished Career Award — the highest honor

David: Since celebrity was invented as a concept,

bestowed by SETC — with the same quiet regality he

“never meet your idols” has been remedially stitched

brings to the stage. To call De Shields a living legend is

onto tear-stained pillows and whispered over wine

almost too easy. With over five decades of performances

glasses, ad nauseum. I couldn’t agree less as the air

that shimmer with precision, wit, and soul, his artistry

carried the endlessly enigmatic André De Shields into

has redefined what it means to command a stage.

his hometown of Baltimore for the 2025 Southeastern Theatre Conference (SETC).

Yet André is more than a résumé — he is a presence, a style icon, and a spiritual force who continues to shape

Some longtime fans might recognize Mr. De Shields

the American theatre landscape with a bold grace that

from his Broadway debut in Warp! (1973) from its 1971

invites everyone to know their viscera intimately. “Those

Chicago debut — from which Mr. De Shields shares

are the two engines of our existence.” He gestures deftly

during our interview with a childlike gleam in his eye that

to his head and to his abdomen. Mirroring his gesture,

his favorite costume was something the room around us

which he first portrayed for us during his electric

could only describe in 2025 as “Atlantis meets Vogue ball.”

keynote speech for hundreds of students, teachers, and

André continues on this playful game with us: “The

artists alike, I begin to understand where those feelings

man who’s known for a bald head, Michael Jordan, is

churn. We’re taking some creative liberties here to stop

probably seven years old. But [I] was shaving [my] head

and collectively define “viscera.” When you think back

and left a four-inch loc, to which we had an 18-inch fall

to a moment when something felt intuitive or came

[ponytail] — like a sew-in. What else do you expect?”

completely naturally to you, perhaps when a truth

The unmatched, laser-focused energy of Mr. De Shields

crystallized and that realization felt akin to a gut-punch.

would ultimately launch him from the streets of

That visceral feeling? “That’s where it’s like a battery. The

Baltimore to the glitzy marquees and limelight of the

two polar opposite ends are connecting with each other.”

New York City scene.

This would prove to simply open the channel for André’s electric turn as the titular character in The

Opposite & above: André De Shields receives the SETC Distinguished Career Award from Steven H. Butler, SETC’s Director of Convention Services.

Photos by Sorcha Augustine

“

That tension has to be resolved so that you can take part in the joy that already exists in the universe.

”

— André De Shields

Recipient of the SETC Distinguished Career Award

Morning Arrival: The Journey Begins

David: A quiet thrill rises in our throats as we eager-

Wiz two years later that firmly etched him into the

ly await the appearance of Mr. De Shields. Baltimore is

cultural canon. A self-described “Triple Capricorn,”

draped in overcast, but the thin slate gray veneer proves Spring/Summer 2025 | Southern Theatre | 13

no match to a conference buzzing with the

of deliberate poise one only acquires after

from the hotel to the ballroom where the

excitable needles of brave auditioners with

a lifetime of paying attention, of listening

Keynote will be held. I know our fellow

doe-eyed dreams, wisened panelists with

more than speaking. “I don’t look for

Southern readers will appreciate the

skills and hopes to share, and a building

joy,” he muses as we stroll toward the

reference. Mr. De Shields is safely brought

anticipation for the legend himself to appear

Convention Center, the newly-spring

to soundcheck, and we sit in the first row

atop skyscraping porcelain go-go boots.

light catching the glint of his rings. We

to receive the moment everyone has been

The truth about his arrival is

refreshing their Whova apps

as run-of-the-mill as the mere

to double, triple, quadruple

minutes granted to him between

check they’re waiting outside

public appearances: we meet his

the right room. In fact, it may

car just beyond the Sheraton’s

be impossible to miss the

sliding glass doors, he is helped

function, because the line

out of the back of his chariot

wait i ng outside st retc hes

(some would call it a popular

farther than a picture can do

rideshare), and so begins our

justice. As the room fills to

day of service and partnership

the brim, and just moments

with a living oracle. Mr. De

before Michael Dinwiddie and

Shield’s return to Baltimore is

Yolanda Williams, Co-Chair of

more like a homecoming. From

the Black Theatre Committee,

the moment he steps into the

are to accompany Mr. De

hotel, the room responds with

Shields on-stage, our distin-

an urgent expectancy.

guished guest makes a pivotal

Regal, yet unassumingly

choice: not to speak from the

clad in earth tones; not sporting

stage, but from the audience.

the go-go boots we were all

I ask during the interview if

expecting but instead rocking

this moment of grabbing the

red, white, and black platform

mic to walk in, around, and

Balenciagas; and tinted shades

with the audience (crammed

that somehow both obscure and

jubilantly and gratefully in

illuminate him. Even in silence,

this ballroom) was on a whim.

Mr. De Shields commands attention. He requests a refreshing beverage — “colder than the

André De Shields originated the title role in The Wiz in 1974, first in Detroit and then on Broadway. Photo by Martha Swope

coldest” water — and his early

“The podium was too formal, too distant. I needed to be with my people.” This choice set the tone. He opened not with

hours are kept sacred as we walk him to his

are experiencing the fallout of the vernal

a scripted speech, but with presence. This

penthouse. His spirit begins to settle when

equinox, which feels strikingly appropri-

was vulnerable. Responsive. Real.

describing the paradox of Baltimore. “It gave

ate given the nature of his message about

He wove the fire of generations’ worth

me some very hard knocks. But with each

hope and empowering the self. “I create

of experience and philosophy, calling forth

knock, there was growth.”

[joy]. Like beauty, like calm, like peace — it

the spirit of the griot, the preacher, the

isn’t something to find, it is something to

“well-derly,” the revolutionary. “I feel a

be.” He carries himself like someone who

security that I can risk all that I am to be my

has cracked the code. When asked how

authentic self.” No ideas or anecdotes were

he does it all, he responds without pause:

shared in jest; each time Mr. De Shields

The Art of Presence: Reflections from the Keynote David and Carlton: Once Mr. De

“I’m not talking about invincibility, but

shared a piece of him, it came tethered to

Shields has beautified himself and stepped

I must be unbelievably resilient, strong,

an earnest urging for each of us to find

into his full power, entering the hallway

self-determining. Consistent. Structured.

ourselves in the mirror every day and

together is like walking onto a film set

Disciplined. That’s where the rewards

empower ourselves.

already in progress. The conversation

come from.”

Calling upon an ancient Chinese prov-

has a rhythm. He walks with a convicted,

We move in a collective, protective

erb, he invited us to repeat to ourselves:

steady purpose. He speaks with the kind

huddle down football field length hallways

“I will do to you what the spring does to

14 | Southern Theatre | Spring/Summer 2025

the cherry tree.” Hermes might include,

There’s a very organic, intentional way he

and then Steven gestured for me to come

“everyone knows the walls have ears,” and

moves through space and time that’s hard

up to the stage. And that’s when I pointed

in Mr. De Shields’ nearly 40-minute speech,

to capture into words, but I believe comes

to the mic. And said, no, let me, let me have

it is true. The room bends its ear without

from a learned intelligence that’s built on

the mic. I… this is, this is where I should

question. We absorb him. “I grew up all by

true curiosity and genuine love for human-

be, with my people. Absolutely. That’s all.

myself. Nothing happens in nature without

ity… which is rare in these times.

Yeah. I love that. Right. ’Cause when we

purpose. That’s power. To be

get to do the thing that we

by yourself, to calm yourself

call art and playing right, and

well enough to do things

creating, sometimes there’s

quietly in a dark place all by

this relationship to the thing

yourself.” We cling to each

that we’re creating that almost

syllable.

takes us out of being with

“I am not your slave. I’m

people. Right, exactly. And

not your f*cking slave,” he

playing into that. Yeah. I’ve

declared. Applause. Louder

done some teaching in my life.

— before quickly correct-

And what I learned, which

ing the framing. “But neither

is essential to the discipline,

is anyone. We are nobody’s

the art, and the responsibil-

slave.” Perhaps t he most

ity of teaching, is that if the

resonant singular moment of

teacher isn’t also a student

response from a room poised

mm-h mm. T hen t here’s a

precariously, dangerously, on

huge error being made in the

the edges of our seats. “People

process of education. So, I

were looking for a homily,

have to learn. From all of those

a ministry, a sermon,” he

folks that were in that audito-

reflects later on his intentions

rium as I’m speaking to them.

in the heat of the moment.

Mm-hmm. Obviously, I didn’t

“So, I delivered what could be

write a speech. Mm-hmm. I

received as scripture — but

had no notes, so I had to be as

tight.”

vulnerable as available.

The SETC Spotlight: A Personal Interview

Dav i d : H m m. A nd a s

A promo photo for Ain’t Misbehavin’, circa 1978. De Shields appeared in the original cast, alongside Nell Carter.

unknowing as the people in the audience, I thought it was very clear that you really just

Carlton: If the keynote was his fire,

André: … I’m aware of the love. I

the afternoon with the Keynote Emerging

felt it, I continue to feel it. Mm-hmm. I

Artists of Promise students was his heart.

responded to it, which is why I spoke the

André: Exactly.

He met each young artist with eye contact,

way I did, as opposed to going up on the

David: And what’s it asking of you?

stillness, and a gravity that reassured, “I

stage to the lectern, to the podium. That

André: Exactly.

see you.” He instructs them that, “We are

was much too formal, much too distant.

Carlton: As a Millennial who often

taught that we are inferior, spiritually,

Although I was, I would still be close to

sits at the intersection of the “wise elders”

emotionally, intellectually. But we are the

the audience. The perspective was not

and our equally wise younger community

abyss. And they — they are perched

intimate, so I thought, let me stay here.

members, it’s always remarkable to see that

capriciously on the precipice of us.” These

Right. The people. Mm-hmm. Did I make

we exist across generations, in all frequen-

weren’t lessons. They were revelations.

that decision on a whim? I wouldn’t call it

cies, as Black theatre makers. Something

a whim, no. But I… but when I was sitting

clicked as I looked back on the interview,

in the, mm-hmm, first row.

from David to André and back to my

In a private room tucked behind the bustle of the conference, we sit down with

led with, how is the room responding right now?

Mr. De Shields to talk about joy, legacy,

Mm-hmm. And Steven spoke from the

own notes. I continue a bit trepidatiously

artistry, and the South. If I have to describe

podium and then what’s the lady’s name?

about the next question, but it’s the one I’m

him in words, I think I would use erudite.

Yolanda. Yolanda spoke from the podium,

transparently most anxious to ask.

Spring/Summer 2025 | Southern Theatre | 15

I am really interested, in like, what’s

structured, disciplined, because that’s

bringing you joy? Transparently as another

where the rewards come from. Mm-hmm.

Black queer person who’s living with HIV;

David: Do you feel like you find joy in

I’m always trying to find what those are for,

things that don’t even give you a reward?

like the people in the world that are really

Do you find that joy is the reward that sort

coded as quote-“successful”-unquote.

of supersedes all other things? I’m just in

Right.

this space of really trying to figure out what

And I’m like, how are they able to (cultivate joy), ’cause it’s not just your success,

André: Joy — like beauty, like calm,

like your Tony speech, right? Like you’re

like peace — is not to be found. Hmm.

embodying joy in your life, right? And I’m

It is to be, as I… when I talked about the

interested in how you’re prioritizing that

purpose of life, it is not to find yourself, it

and what brings it to you.

is to create yourself. Absolutely. That’s the

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.

André De Shields played the title role in Frederick Douglass: Mine Eyes Have Seen the Glory, a show he conceived, wrote and performed for the inauguration of Barack Obama in 2009. Photo by Lia Chang

16 | Southern Theatre | Spring/Summer 2025

that is for everybody.

same thing with joy. Don’t look for joy. Mm. Don’t seek joy.

Carlton: Create it . . . just conjure it on up?

And at age 79 my life continues to expand.

André: Yeah. Mm-hmm. Conjure it

Mm-hmm. It’s not easy, nor do I expect it to

up… and I’m glad you mentioned that

be easy, but in terms of the tools that I need

because another lesson that I continue

to have at my immediate disposal, I must,

to learn is that there is such a thing as

I’m not talking about invincibility, but I

balance. And that balance is the, the fuel,

must be unbelievably resilient. Strong self-

if you will, of the universe. Gratitude and

determining. Mm-hmm. Um, consistent,

generosity. The universe is generous. We

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 18 | Southern Theatre | Spring/Summer 2025

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

Photo courtesy of Encore Theatre and Gallery

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

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 energ y 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

away just a month ago. She was 75. He isn’t

reminds us that theatre is not just perfor-

aware, the bitterness.

mance, but also prophecy. That artists are

It’s such an extraordinary thing to

not merely entertainers, but vessels. That

see the way that Mr. De Shields conjures

legacy is not built in accolades, but in how

memories in real time, almost like he

we love, how we teach, and how we listen.

experiences the moment, for just a moment,

At SETC, we didn’t just honor a legend; we

then comes back to share what he saw. De

learned from a griot, and in doing so, we

Shields reflects on his longtime friend and

were transformed.

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

Behind the Byline: A Note From the Authors

emotional about the entire situation, shar-

This interview is dedicated to our

ing this news after hearing stories about

ancestors who dedicated their lives to

Mr. De Shields from Annie Joe years ago.

telling stories, and to our friend Annie

She loved talking about her experiences

Joe Edwards. We would like to extend

from her career and was just as eager to

our deepest thanks to those who helped

listen. Even though Miss Edwards took her

make this moment possible: the indomi-

craft around the world, she never forgot her

table André De Shields for his trust and

hometown. In a moment I can only recall

presence; Ken Melamed for his care; Dr.

as majestical and melancholy, De Shields

Sharrell D. Luckett for her leadership

fondly remembered Miss Edwards as a

and service as SETC Magazine Editor;

remarkable talent who graced the stage and

Birmingham Black Repertory Theatre

screen alongside legends, leaving an indel-

Collective; The Tank NYC; Ricky Ramón;

ible mark on the landscape of theater and

Miesha Dennis; Steven Butler; Michael

entertainment whose extraordinary career

Dinwiddie & Vincent Phram; and Marc

took her around the world. What stood

Raby at Encore Theatre & Gallery. n

out the most was how he remembered her

With gratitude,

hugs, mentioning that Annie Jo would

Carlton V. Bell II and David H. Parker.

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

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.

Spring/Summer 2025 | Southern Theatre | 19

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

CONVENTION KEYNOTES

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

school, I had tremendous support preparing me. The

student whose concentration was lighting design.

rest is history.”

This formative experience proved to be a pivotal

In her keynote address at the SETC convention,

turning point in Perkins’s career. Her supervisor,

Perkins shared insights gained from her extensive

observing her aptitude for hanging and focusing

international experiences, highlighting the impor-

lights, questioned her plans to pursue a career as

tance of cultural sensitivity and adaptability in the

a Broadway actress. He bluntly informed her that

global theatre community. She recounted her first

opportunities for Black women on Broadway were

international job in 1978, designing a production in

scarce. Instead, he encouraged her to consider

Switzerland. Faced with a last-minute opportunity

switching her major to lighting design, emphasizing

and lacking a passport, she had to rush to Washington,

the greater availability of work for Black designers

D.C., to obtain one. This experience instilled in her the

behind the scenes.

crucial advice she now gives to all aspiring designers:

He also presented her with a practical opportunity:

“First of all, you need to have a passport.”

to join the tech crew at a major touring house on

Perkins also emphasized the importance of under-

campus. This venue was run by a prominent officer

standing diverse theatrical practices and cultural

of the International Alliance of Theatrical Stage

norms. She noted that “learning about new cultures

Employees (IATSE) who was dedicated to teaching

and ways of seeing theatre different from the way we

students the professional business of theatre. The

do here” has been a significant takeaway from her

position offered good pay and valuable hands-on

international work. She pointed out that theatre fund-

experience. Moreover, as the sophomore told Perkins,

ing models vary across countries, with many theatres

“… My acting was mediocre.”

outside the United States being state-funded, which

Despite the initial sting to her ego, Perkins

affects production pressures and artistic priorities.

recognized the wisdom in his advice and decided

Perkins also shared anecdotes about navigating

to change her major. She soon discovered a genuine

cultural differences, such as varying perceptions of

passion for lighting design, relishing the opportunity

time, where punctuality can have different meanings.

to design both plays within the theatre department

She expressed her appreciation for the resources avail-

and concerts at the touring house. Perkins credits

able to designers in the United States, acknowledging

her time at Howard with providing her with invalu-

that access to training and equipment is not universal.

able mentors who offered unwavering support and

Perkins often teaches the fundamentals of lighting,

guidance. “I had amazing mentors during my time at

starting with “natural lighting” before moving on to

Howard,” she says. “When I decided to attend grad

equipment and techniques. She emphasizes collabora-

Above: Scenic design

by Daniel Pinha, for The Adventures of Peter Pan at Synetic Theatre, Arlington, Va., 2017, directed by Paata Tsikurishvili.

Opposite: Lighting design

by Kathy A. Perkins, for Skeleton Crew at People’s Light Theatre, Malvern, Pa., 2018, directed by Steve H. Broadnax III. Photo by Kathy A. Perkins Convention photos

by David Dixon.

Spring/Summer 2025 | Southern Theatre | 21

tion and problem-solving, often assigning

into her creative process, her rich experi-

becoming the set designer, a decision that

group projects with limited resources to

ences in the industry, and her vision for the

“just felt right.” “Sometimes, you just have

encourage creativity and resourcefulness.

future of lighting design.

to listen to yourself and let your instincts

Perkins finds artistic inspiration in compelling narratives. “I am inspired by wonderful stories,” Perkins explains.

“Since I am a historian and editor of plays,

Crafting Worlds of Wonder: Daniel Pinha

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

women often send me new works to read. I

Daniel Pinha is a scenic

designer’s skill set transcends specific

often get called to design new plays, which

desig ner renow ned

mediums and can be effectively applied

allows me the opportunity to work with

for h is i mag i nat ive

across various formats. This versatility is

the playwright. I love realism and stories

a nd v i s u a l ly st u n-

evident in his own career, which includes

about history.”

n i ng c reat ion s t hat

not only extensive work in theatre but also

Looking ahead, Perkins offers candid

transport audiences to

forays into television, film, exhibitions,

advice to aspiring designers, acknowledg-

captivating theatrical

events, art installations, and even graphic

ing the demanding nature of the profession.

worlds. His designs are characterized by

design. “As designers, we have the skill set

“You have to love what you’re doing,”

their bold concepts, meticulous attention

to tell stories visually, and the medium just

she emphasizes. “It’s a tough business,

to detail, and a profound understanding

becomes the frame where those skills can

particularly if you exclusively freelance.”

of how physical space can shape narrative

adapt,” he says. “I like to think we’re more

She strongly recommends that designers

and evoke emotion. Pinha’s work spans a

than our job titles, we’re visual storytellers

diversify their skill sets to ensure financial

wide spectrum of theatrical productions,

who can move across different formats.”

stability, drawing on the lessons learned

from classical dramas to ava nt-garde

In his keynote address, Pinha empha-

during the COVID-19 pandemic, which

performances, demonstrating his versatility

sized the importance of human connection

significantly impacted live performances.

and artistic range.

in theatre. “I think this kind of moment

While many designers teach, as Perkins

Pi n ha’s jour ney i nto scen ic desig n

reminds us and makes us reflect about

did, she also points to other potential

began with a lifelong fascination with

what theater means when we are really in

career avenues where lighting expertise is

visual stor ytelli ng. He c ult ivated h is

person, connecting in responding to the

valuable, including museums, architecture,

artistic talents from a young age, spending

person right there, especially in times where

corporate events, theme parks, and inter-

countless hours drawing with pencils and

it feels like we’re more and more connected

national opportunities. Above all, Perkins

experimenting with acrylic and oil paints.

by device,” he stated. He underscored the

stresses the importance of networking

This early immersion in visual arts laid the

idea that “theater still survives, in a sense,

and cultivating strong relationships with

foundation for his future career in design.

because that’s where people still meet. We’re

directors, playwrights, and production

Pinha pursued his formal education in

still meeting each other. There’s a humanity

managers, as these connections can be

scenography at the Federal University of

instrumental in securing design work. “It

Rio de Janeiro, where he honed his skills

Pinha finds ongoing inspiration in the

is also important to develop relationships

in set design. He later earned a Master of

collaborative nature of theatre and the

with directors, playwrights and production

Fine Arts degree in Scenic Design from the

diverse individuals he encounters through

managers — people who can assist with

University of Maryland, further deepen-

his projects. He values the exchange of ideas,

getting shows,” she advises.

ing his knowledge of theatrical design

creative dialogue, and the shared commit-

principles and techniques.

ment to creating something meaningful.

Kathy A. Perkins’s extraordinary talent

behind that.”

and significant contributions to the field

Reflecting on his early experiences,

“Mostly, it’s the people I meet through

have been recognized with numerous acco-

Pinha recalls that his path to set design felt

the projects I work on, their stories, back-

lades throughout her distinguished career.

almost instinctive. He recounts, “I think

grounds, and unique skills,” he explains.

Her selection as a 2025 SETC Designers’

it came to me naturally. I’ve always been

“As our interactions become increasingly

Keynote Award winner for lighting design

drawn to visual communication, even as

virtual and technology takes on a larger

is a fitting tribute to her exceptional artistry,

a kid. I used to spend hours just draw-

role in our daily routines, I find that true

her dedication to education and mentorship,

ing, first with pencil, then moving on to

inspiration comes from collaboration. It’s in

and her unwavering advocacy for a more

acrylics and oils.” As he grew older, that

the exchange of ideas, the creative dialogue,

inclusive and equitable theatre community.

“organic instinct” evolved into a profes-

and the shared commitment to making

Her keynote address at the SETC convention

sional pursuit. Pinha remembers joining

something meaningful that I feel most

undoubtedly provided invaluable insights

an amateur theatre group and naturally

energized.” He adds, “The collaborative

22 | Southern Theatre | Spring/Summer 2025

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.

Musicians and Foley artists perform in Frankenstein: A Radio Play, with sound design by Justin Schmitz.

Produced by the Chatauqua Theater Company, written and directed by Sarah Hartmann, 2013.

Pinha also shared insights into his design process, emphasizing the impor-

unplug. Creativity needs space to unfold.

from his early involvement with music and

tance of both artistic vision and technical

Silence, stillness, and presence are essential

performance. He developed his musical

proficiency. He acknowledged the less

for deep, meaningful work. Sometimes,

skills by playing piano and singing, and his

glamorous but essential aspects of set

turning off the noise is what allows you to

interest in sound technology was sparked in

design, such as drafting, while also high-

dive into deeper layers of your imagination,

high school when he served as an alternate

lighting the joy and artistry involved in

layers that can’t be accessed when you’re

for his vocal jazz ensemble. “Originally I

model-making. “Even like a set, very simple

constantly distracted.” He encourages

started out playing piano and doing voice,”

like this, literally was a desk and a chair

designers to “trust that stepping away is

Schmitz recalls. “In high school, I started

and little things on the table. I still design

not a waste of time, it’s a vital part of the

to notice the lighting and sound techs

for myself and for the director and for the

process” and to regularly check in with

and became an alternate for our vocal jazz

actress, still, so, it doesn’t just become a

their physical and emotional well-being,

ensemble. That meant I got to do a lot of

tactical thing. The sharing is the jewelry

asking themselves, “Are you breathing? Are

mixing with our singing group, and attend

piece that you deliver to somebody that’s

you present?”

incredible jazz festivals in high school

working with you,” he explained.

Pinha offers thoughtful advice to future desig ners, urging them to maintain a balance between embracing technology

The Architect of Atmosphere: Justin Schmitz

around the Midwest.”

At t he Universit y of Wisconsin–La Crosse, his advisor, Ron Stoffregen, recogn ized Sch mitz’s potent ial to combi ne

and prioritizing human connection. He

Justin Schmitz is an

his musical talents with his interest in

cautions against becoming overwhelmed

accomplished sound

theatre. He suggested that sound design

by the “constant stimulation and pressure

designer and compos-

offered a unique opportunity to merge

of our digital world,” emphasizing that

er who crafts evocative

these passions. “Once I got into college at

“technology should serve us, not dominate

and immersive sonic

The University of Wisconsin–La Crosse,

our time and space.” Pinha advocates for

landscapes that shape

my advisor told me I could do theatre and

the importance of pausing, breathing, and

the emotional experi-

music in one job — and that was a sound

unplugging, recognizing that creativity

ence of theatrical productions. His work

designer. I was hooked!” Schmitz says.

requires space and that “silence, stillness,

demonstrates a mastery of audio technol-

He designed many productions for the

and presence are essential for deep, mean-

ogy, a keen understanding of dramatic

university’s theatre department. He then

ingful work.”

storytelling, and a talent for creating sound-

pursued a Master of Fine Arts in Sound

“My advice is simple,” he says. “Pause.

scapes that are both subtle and powerful.

Design and Composing for Theatre at The

Breathe. Give yourself the permission to

Schmitz’s passion for sound design grew

University of North Carolina School of the Spring/Summer 2025 | Southern Theatre | 23

Arts, further honing his skills and solidify-

designers will be battling the war against

ing his commitment to the field.

immediate gratification in the digital

Schmitz’s professional career began in

sphere. We currently are seeing the uptick

2011, and he has since established himself

of that in sales for theatre seats, and events

as a freelance sound designer working

— tomorrow’s battle will be crafting and

with numerous theatre companies and

creating art that inspires and calls people

universities across the country. His credits

back to the performing arts in general,”

include sound design for a wide range of

Schmitz explains.

productions, from plays and musicals to

To address this challenge, he encourages

opera and dance. He also has experience as a

designers to embrace spectacle and “dream

freelance stage manager and, interestingly,

big and bold,” pushing the boundaries of

as drag queen “Mama Shirley Naytch.”

theatrical experience. While acknowledg-

Additionally, Schmitz’s versatility extends

ing the beauty and power of simplicity, he

to audio technology, as demonstrated by

also emphasizes the difficulty of achieving

his work as an audio technician for various

“simply wonderf ul” desig n. “My best

events and lectures.

advice,” says Schmitz, “do not be afraid of

Schmitz’s artistic philosophy is deeply

spectacle. Do not be afraid to dream big and

rooted in the power of theatre to provide

bold. Simple is often the most difficult to

escapism and emotional release. He believes

create, but simply wonderful is even harder.

that theatre offers a unique opportunity

I’d say — live, dream, and be BOLD!”

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

Weaving Character Through Form and Fabric: Danielle Preston

the biggest inspiration for me,” Schmitz

Danielle Preston is a

says, “is when we have the opportunity

costume designer who

to produce work that allows everyone to

uses clothing to tell

escape from the current climates we find

stories, reveal char-

ourselves in. Theatre does what theatre has

ac ter, a nd en ha nce

done forever — allow escapism for a while,

the visual impact of

to transport us to another world, if even for a few moments or hours.”

24 | Southern Theatre | Spring/Summer 2025

t h e at r i c a l p r o duc tions. Her designs are known for their

Beyond escapi sm, Sc h m it z i s a l so

meticulous attention to detail, her insightful

inspired by the potential of theatre to foster

character development, and their seamless

empathy and promote positive change in

integration with the overall aesthetic of a

the world. “Along with that escapism, I

production.

think seeing folks really leaning into empa-

Preston’s passion for costume design was

thy and trying to make the world and lives

ignited during her undergraduate studies at

better for each other … as cheesy as ‘world

Meredith College, where she took a stage-

peace’ sounds, it really does inspire me to

craft class. In this class, she discovered a

wake up every morning and ask, ‘How can

creative and inspiring space that resonated

I help the world be a bit better today?’” he

deeply with her artistic sensibilities.

says. “It may be simple, it may be minuscule,

“I fell in love with costume design

but sometimes those little things really can

through my stagecraft class during my

add up for someone we may not know.”

undergraduate years,” Preson recalls.

Schmitz acknowledges the challenges

“I found a space that felt inspiring and

facing the theatre industry in the digital

creat ive. I desig ned my f irst show at

age. He spoke of the “war against immediate

University of North Carolina School of the

gratification in the digital sphere” and its

Arts. It was euphoric to see my drawings

impact on audience engagement. “Future

being built by a room full of the most amaz-

Costume design by Danielle Preston, for A Nice Indian Boy at the Olney Theatre 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 t hat provoke thoughtful conversation, change, and/or reflection,” highlighting her commitment

future collaborator or work on an amazing

to using costume design as a tool for mean-

project, do it. Find a support system or

ingful artistic expression. “I find myself

something that gives you joy outside of the

inspired by working with collaborative

theatre walls, a place to go when you need

artists that create a welcoming environment

to recharge.”

for ideas and thought,” Preston says.

acknowledging the demanding nature of

Celebrating Design Excellence: A Tapestry of the Soul

the industry. “Be prepared to work really,

Kathy A. Perkins, Daniel Pinha, Justin

really hard,” she emphasizes, highlighting

Schmitz, and Danielle Preston are more than

the need for dedication and perseverance

just skilled craftspeople; they are artists

to succeed. She advises young designers to

who design for the soul. Their extraordinary

be “willing to take any job or opportunity,”

talent, unwavering artistry, and profound

even if it’s not their ideal position, recogniz-

dedication have enriched countless produc-

ing the value of gaining experience and

tions and forged a deeper connection with

networking. Preston stresses that these

fellow artists and audiences alike. The 2025

opportunities can lead to collaborations

SETC Designers’ Keynote Awards stand as a

with future artistic partners or involve-

testament to their remarkable achievements

ment in “an amazing project.” Finally, she

and the enduring power of design to elevate

underscores the importance of cultivating a

the art of storytelling, creating experiences

strong support system and pursuing activi-

that are, in the truest sense, “Designed for

ties beyond the work, providing a necessary

the Soul.” n

Preston offers practical and honest advice to aspiring costume designers,

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

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. Spring/Summer 2025 | Southern Theatre | 25

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.

Her address intertwined the personal and the political, the deeply individual and the universal. She framed her own journey — through struggle, reinvention,

by Caroline Jane Davis

and self-discovery—as proof of the resilience of the creative spirit.

CONVENTION KEYNOTES

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

“I always thought I had to do something great or

that has been exactly the same. Exactly like you. And

achieve something big or have something someone else

there never will be.”

wanted to be of any real value,” Davenport explained.

“He says that most of the people who could exist

She worked multiple jobs, including a stint as a

will never exist,” she continued. “The fact that you

flight attendant, before attending cosmetology school.

and I are here today is a miracle. It recently dawned

Soon, she found herself needing to escape an abusive

on me how precious and how sacred it is to be human,

relationship. That was the breaking point, she said. “I

to be conscious, to experience one another and to go

was done. I wasn’t going to live the rest of my life like

on our own individual hero’s journeys,” she reflected.

this,” she said. “So, I turned around. I walked into

“I never really understood this concept of being

Empire Beauty School. I said goodbye to all of my hair

enough until recently. It’s very hard for me to grasp

school friends, I walked to Penn Station, and I caught

this reality, the reality that my just being alive really

a Chinatown bus back to DC.”

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

“That’s how I left New York,” she explained. “With For a time, she lived in her childhood bedroom,

me a clear sense of my values and importance as a

watching AMC and seeing the names of her NYU

theatre maker.”

classmates scroll by in the credits. The desire to

At 42, she said, she finally came to truly under-

compare herself to others was overwhelming and

stand her worth, separate from external validation

defeating. She shared: “I was good as long as I was out

or achievement. That realization, she emphasized,

here winning… so when I wasn’t, I felt this tremendous

was a lesson not just for herself, but for every artist

amount of shame.”

in the room.

Finding Self-Worth

Eventually, she rebuilt. A new marriage led to a new

In October 2008, Davenport moved away from New

city. And then she finished her cosmetology studies

York City with “nothing to show for it,” she shared. She

in hair. And then she finished her last credits at NYU.

had previously attended New York University Tisch

And then she started her own theatre company, Brown

School of the Arts as a participant in their Dramatic

Soul Productions. And then, she earned her MFA in

Writing Program, but left with six outstanding credits.

Arts Leadership. But even within all these successes,

New York was punishing and expensive, and her jump

self-doubt lingered.

into survival mode left little space for creation.

Convention photos

by David Dixon.

the clothes on my back.”

to self-worth has shaped my artistic resolve, giving

Leaving New York

Keynote speaker Alma 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).

“We moved to Seattle because he got a job working Spring/Summer 2025 | Southern Theatre | 27

at Microsoft,” she recalled of her second

that changed everything.

value and truly spoke to our communities.

husband. “There were times, particularly

A New Chapter

It was very important to me, so that’s why

Her self-worth was tied to their shared

turned her energy inward, pouring it into

accomplishments, she said. “He was the

her art and into the theatre community.

Returning East

early on, when others implied that he was too good for me… and I kind of agreed.”

While still living in Seattle, Davenport

I went through the trouble of founding a company.”

primary breadwinner, and I struggled to see

She co-founded Brown Soul Productions

my own contribution, constantly doubting

to address a glaring issue she saw in the

moved to Baltimore, where she became the

After years of work in Seattle, Davenport

my value… Why me? Why did he love me?

industry: many plays featuring BIPOC

Artistic Director of the Strand in 2024. The

Why did he choose me?”

artists in predominantly white institutions

Strand, in its 17th season, has long been a

That relationship, too, eventually deterio-

felt more like public service announce-

space that centers voices too often pushed

rated, but the difficulties of that separation

ments for white audiences than stories

to the margins, and Davenport’s personal

led to a monumental discovery: “It became

that resonated with the people actually on

story is deeply tied to the work she now

evident to me what my contribution was to

stage. “I sat on so many panels about how

champions there. “We produce plays writ-

that relationship, and other relationships

to get BIPOC folks into the theatre, and the

ten and directed by women and nonbinary

that I had been in,” she explained. “In my

argument was ‘Oh, my people don’t come

people,” she explained, citing their current

relationships, the other person was the

to the theatre.’ And I was like, ‘Well, yes

production, Rarefied Air by Nina Foxx, as

better for it. Around me, people came up.”

they do, right? Have you ever gone to see

an example of the kind of work they are committed to uplifting.

Luckily, a good friend was able to help

a Tyler Perry play?’” She argued that the

her harness the power of that discovery.

problem was not with the audience, but with

Her work, however, extends beyond

“Alma, if you poured into yourself what you

artistic leaders choosing stories that weren’t

individual productions. It’s about something

pour into other people, just imagine where

connecting with the right community.

deeper: the why behind making theatre in

you would be.”

That revelation, she said, was the moment

28 | Southern Theatre | Spring/Summer 2025

“I wanted to develop new work that had strong storytelling and high production

the first place.

“I don’t know why you make theatre,” she

told the audience. “But I do it because I have

people and communities around her. “All

power] desperately want to suppress and

fun sharing. It’s my way of connecting with

this work is intangible, but it matters. And

control,” she urged. “So, by refusing to be

others in a very real way.”

it’s invaluable. These are qualities that we

intimidated, and by deeply understanding

Theatre, she emphasized, is not just about

all contribute as artists, especially theatre

our purpose, we can harness our collective

entertainment or escape. “We are in the busi-

makers.”

power to create positive change.”

ness of emotional connection and resonance.

A Call to Artists

Living the Lessons

message of self-worth is not just an inde-

advocacy, warning of the forces that seek

to reflect deeply on their organizations’

pendent discovery: “I thought my epiphany

to manipulate storytelling. “[This work] is

mission statements. “It’s all beautiful and

was just a lesson for me as an individual, as

so valuable that fascists recently infiltrated

intentional language… but I worry that

a woman. I didn’t know that it was also a

the Kennedy Center trying to control it,”

sometimes, these words become hollow,” she

lesson for Alma the artist.”

she said, underscoring that those in power

cautioned. Instead, she encouraged theatre

understand the power of art.

artists to transform those words into action:

This is potent and powerful stuff.”

It is this reason, she argued, that her

“I am selenite,” Davenport declared,

Davenport’s keynote took a turn toward

Davenport then challenged the audience

referencing the crystal associated with

She leaned into other historical examples

“Let’s breathe life into those powerful

cleansing, clarity, and peace. “I am table

to further prove her point: “In 1933 when

mission statements… and use them as our

salt—something that has many uses, brings

Hitler became Chancellor, one of the first

driving force. Together, we can ensure

out the flavor, and has protective qualities.

things he did was take control of the media

that our art remains a beacon of truth and

I am baking soda— I can neutralize the

and weaponize film and storytelling to

empowerment. So that is why I’m encourag-

space. I am a money tree,” she smiled. In

manipulate, brainwash, and sway public

ing us as a community — and I’m talking

other words, she has value, not because

opinion.”

to myself here, too — to check in and

of external achievements or validation or

That is precisely why artists must remain

internalize what those words really mean.

reputation, but because she exists in the first

vigilant, she continued. “We possess the

They mean giving a voice to the sacred.”

place, and that existence gives energy to the

creativity and the vision that [those in

Before conc lud i ng her address,

Spring/Summer 2025 | Southern Theatre | 29

Davenport left the audience with a stirring

the remote control to another actor, who

of time, right? And other playwrights, too:

final charge:

caught it, and immediately transformed

Chekhov, Ibsen.” She continued, “But we

“I urge you to carry this understanding

and started acting,” she recalled. “I was

might have a Black Shakespeare in this

with you. Know your inherent worth—not

so impressed that people could tell a story

generation. And we might have a Latinx

because of accolades, not because of

and transform that way before. I had never

Ibsen in our generation. So, I want to make

achievement—but simply because you exist.

been to the theatre before… but when I saw

sure that we don’t miss those voices. I’m

Lean into the why behind your work with

that, I said ‘Okay, this is how we tell stories

trying to catch them.”

renewed conviction. Because in these times,

from now on.’”

Q: Theatre has the power to challenge soci-

our stories are not just entertainment. They are essential… for the very preservation of our collective humanity.”

Q: Can you walk us through your creative process? How do you approach writing a new play, from the concept to the final

In Dialogue with SETC

draft?

etal 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?

Fol low i ng her sp e ec h, Dave npor t

“That differs every time,” Davenport

“I think there has to be a lot of healing

engaged in a thought-provoking Q&A

explained. “Sometimes I might just have a

around motherhood and feminine energy

session moderated by Dr. Grace Edgar,

random idea, a thought, or I’m just trying to

in general,” Davenport reflected. “There’s

answer a question. A lot

a targeted hat red toward women i n

of times, my plays come

general. People don’t like women very

from questions that I’m

much.”

Assista nt 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 wor t h i ness a nd our attempt to research it, read about it, learn about it, is a balm to my heart

“

We are in the business of emotional connection and resonance. This is potent and powerful stuff.

today, and I’m thankful for that,” Edgar shared.

The discussion ranged

”

trying to answer within

don’t do this, don’t do that, do the right

myself.”

She a lso desc r ibed

thing.’ But who listens to their mom? No

her technical approach

one, until it’s too late, or until they need

to writing:

help or need someone to ‘fix’ something or

“Because

I’ve

Yet, she emphasized, this dismissal does

dramatic writing, I have

not diminish the importance of feminine

a whole process. I have

energy in storytelling.

a whole character sheet that I fill out that’s 11

pages long. I figure out who my protago-

the role of women in leadership and the

nist is, and then I ask the question ‘What

importance of arts advocacy.

must this protagonist do?’ And then I

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

comfort them.”

had some training in

from Davenport’s early inspirations to

Q: What initially inspired you to pursue a

She continued: “Moms always tell us,

“Women are the creative process,” she ended.

On Bringing SETC to Baltimore

Followi ng her key note, Davenport

create a whole outline based on that. Once

reflected on the importance of SETC’s pres-

the questions come up, it becomes pretty

ence in Baltimore. “Maryland? We are the

structured for me.”

South. We are south of the Mason-Dixon

Q: What is your opinion about casting and acting in roles that are meant for white actors?

wrote fiction and poetry—until one transfor-

The question about classical texts came

mative experience reshaped her perspective:

from a young director and actor in the

“I was 14 years old, and I went to a field

audience who recently encountered Justin

trip to the Studio Theatre in Washington,

Emeka’s chapter “Seeing Shakespeare

D.C. And there was a play… the director

Through Brown Eyes” in the book Black

was Thomas W. Jones II,” she said.” There

Acting Methods: Critical Approaches.

were three Black men on stage, and a special

“If that speaks to you, then I say, go

[illuminating] center stage… and then this

ahead and do it,” Davenport said. “I’m

actor caught a remote control, in character,

interested in new work… Shakespeare is

while doing a monologue. And he threw

great, and Shakespeare has stood the test

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.

Spring/Summer 2025 | Southern Theatre | 31

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 Photo by David Dixon

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.

Fighting for Your Program

Teachers’ Institute presenter Rosiland Cauthen encourages theatre teachers to advocate for the resources they need

by Keith Arthur Bolden

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

At this year’s SETC Teachers’ Institute we

post-covid. Prior to her speaking at SETC, I

will you implement them in the coming

were honored to have Rosiland Cauthen as

had the chance to interview her about her

years?

our keynote speaker, where she addressed

career and what she planned to share at the

the topic, “Advocating for Your School.” Ms.

Convention.

“Roz” Cauthen has been with Baltimore

BSA and BCS are currently partnering and working closely together. Their current show, Akeelah and the Bee, will open this

School of the Arts (BSA) since 2016 and was

Could you let us know what you’re plan-

Thursday (March 20) and all the students in

named its Executive Director in July of 2021.

ning to discuss at SETC?

the cast are BSA students. The lead role is

Prior to arriving at BSA, she was Director of

The discussion will be centered around

a BSA ninth-grade acting student. Also, the

Community Programs for Baltimore Center

how to champion your theatre program and

BCS education team comes to BSA and leads

Stage (BCS). An artist and activist, Roz

ways to advocate in order to access more

workshops. They also set up tours for us and

has long been committed to the work and

resources.

our students are able to take backstage tours

practice of equity and access, and during

and sit in on rehearsals. BSA also had our

the 2020-2021 school year, she developed

What has been your proudest moment of

graduation at BCS last year. We are work-

an Equity Action Plan for BSA, all while

growth at BSA?

ing together closely, and it is a meaningful

navigating the precarious return of students 32 | Southern Theatre | Spring/Summer 2025

My proudest moment of g rowt h at

partnership for both organizations.

Who are some of your (S)heroes in the arts

sional endeavors because of the time

and beyond?

commitment to BSA. One day I might

Ntozake Shange, Amiri Baraka, August

be able to get back to my own personal/

Wilson, Shirley Basfield Dunlap, and Joy

professional art practice. Right now, I’m

Vandervort-Cobb.

just having a ball providing opportunities for the young people of Baltimore to pursue

How has your upbringing affected your

their passion for the arts.

artistry?

I was a church kid. The expectations

There is a long tradition of turning out

from my family was that I was a leader. I

true game-changing artists at BSA. Does

was involved in church activities, giving

this add any pressure to you?

speeches, singing in the choir, ushering,

No pressure! We just keep doing what

bei ng t he Su nday sc hool secretar y. I

we do, which is to train the young artists

created short scenes and attended youth

in our care at the highest level of artistic

leadership conferences and meetings.

excellence.

I did n’t a lways t h i n k of mysel f 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

Actors today seem to be more interested in the resolution, the final-

“

ity of the production over the process. How do you

Stay open to seeing talent in unexpected places.

my heart. My parents and brothers were also artistic and creative people, and I was inspired by all that was around me.

”

get students to lean into the process of the work?

We f o c u s o n t h e 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

How does an administrator recognize and

improving in academic rigor and artistic

foster talent?

excellence. We will continue the great

It’s important to keep your eyes open

legacy of those who’ve gone before me to

and your ears to the ground to make

provide quality pre-professional arts and

sure you’re aware of who is around you.

academic training to the young people of

Stay open to seeing talent in unexpected

Baltimore. We will continue to connect

places. Also expect the unexpected. You

to our community and make our work

never know where there’s talent that is

meaningful. Our work will continue to

unrecognized or talent that just needs the

move society forward. n

opportunity for someone to advocate for them.

Are you able to pursue professional endeavors g iven you r ext raordi na r y commitment to BSA? I’m not currently able to pursue profes-

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.

Spring/Summer 2025 | Southern Theatre | 33

SETC BALTIMORE

Moments from this year’s 76th SETC Convention, March 19-23 Photos by Sorcha Augustine and David Dixon

SUZANNE M. DAVIS AWARD

Pat Gagliano receives Suzanne M. Davis Award

Photo by Sorcha Augustine

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

Spring/Summer 2025 | Southern Theatre | 35

THEATRE ON THE PAGE

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.

Focal Press, 2024; ISBN: 978-032-23542-4; 228 pages. Price: $46.99 (paperback)

N

ew 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, 36 | Southern Theatre | Spring/Summer 2025

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 Sarah McCarroll (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.

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