Southern Theatre, Vol. 61, Issue 3

Volume LXI Number 3 • Summer 2020 • $8.00

BLACK LIVES MATTER SETC Pledges to Take Action

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Producing Shows in a Pandemic

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Contents

Volume LXI Number 3 l Summer 2020 l Southern Theatre – Quarterly Magazine of the Southeastern Theatre Conference

Features

4 Black Lives Matter

SETC Pledges to Act

Departments 36 Hot Off the Press New Plays to Make Us Laugh

by Zackary Ross

6 Outside the Box: Design/Tech Solutions

3-D Ground Row: Create the Illusion of Depth on a Small Stage

by Will Ragland

8 We’re Listening

Black Theatre Artists Tell Us What Needs to Change introduction by Marci J. Duncan

12 How Theatre Makes Its Comeback

Producing Shows in a Pandemic

Sidebars: 21 3 Questions to Guide You in Reopening

21 10 Reopening Tips: A Stage Manager’s Perspective

by Stefanie Maiya Lehmann

22 Generosity Leads to Success Cover Anna Louizos, one of the 2020 SETC design keynotes, designed the set for this world premiere production of Fly, a musical based on J.M. Barrie’s Peter Pan, at the Dallas Theater Center. The set was primarily constructed of bamboo, with four tracking multi-level set pieces that could track on and offstage to create different configurations. Lighting for Fly was designed by Howell Binkley, who was scheduled to serve as the 2020 SETC lighting design keynote before illness forced his cancellation. See story, Page 22, for advice from Louizos and fellow design keynotes Gregg Barnes and Matt Hubbs. (Photo by Anna Louizos; Photoshop work by Garland Gooden; cover design by Deanna Thompson)

Advice from the 2020 SETC Design Keynotes

by Jonathon Taylor

28 No Theatre Building? No Problem Texas Tech Presents Entire Season in Found and Site-Specific Locations

story compiled by Mark Charney

Summer 2020 x Southern Theatre x 3

#BlackLivesMatter #BlackTheatreMatters As a theatre organization with longstanding roots in the South, the Southeastern Theatre Conference (SETC) mourns the tragic deaths of George Floyd, Tony McDade, Ahmaud Arbery, Breonna Taylor, and countless others. The deaths of Black and Brown people in our country as a result of police brutality have devastatingly become commonplace, and we acknowledge the suffering and longstanding systemic racism that has perpetuated a cycle of violence against the people we serve.

As an organization, we are resolved that our anti-racism commitment be reflected in the life and culture of our organization through policies, programs, practices, and partnerships as we continue to learn about racism. We are listening and recognize that we have work to do. We will do the work. Even in these uncertain and challenging times, we are committed to lifting up the voices of those who advocate for positive change, and we pledge to stand beside you. We pledge awareness. We pledge to listen to understand. We pledge to lead with our full hearts and minds.

We pledge action.

In that spirit of action and accountability, SETC has been working to address our long history as a predominantly white-led organization. We started an Equity, Diversity, Inclusion, and Accessibility initiative this year, and in the last month have formed a Task Force that has been working to address inequities in our organization. We are a place for storytellers, and we are dedicated to working together as one inclusive community to confront 400 years of marginalization, oppression, and bigotry.

We are invested in doing the work to become more anti-racist and anti-oppressive, and to the hard work of educating ourselves and listening to our communities.

Maegan McNerney Azar, SETC President Susie Prueter, SETC Executive Director SETC Executive Committee, Task Force on EDIA, and Central Office Staff

https://www.setc.org/edia-resources/

Theatre s o u t h e r n

From the SETC President

EDITOR

Deanna Thompson

SETC EXECUTIVE DIRECTOR

Susie Prueter SETC EXECUTIVE DIRECTOR EMERITUS

Betsey Horth ADVERTISING

Clay Thornton, clay@setc.org BUSINESS & ADVERTISING OFFICE

Southeastern Theatre Conference 1175 Revolution Mill Drive, Studio 14 Greensboro, NC 27405 336-272-3645 PUBLICATIONS COMMITTEE

J. K. Curry, Chair, Wake Forest University (NC) Gaye Jeffers, University of Tennessee at Chattanooga Laura King, Gordon State College (GA) Scott Phillips, Auburn University (AL) Derrick Vanmeter, Clayton State University (GA) EDITORIAL BOARD

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

T

This issue of Southern Theatre takes a look at the two pandemics we are currently living through as theatre artists. The coronavirus pandemic is lingering on and forcing us to approach our art in new and inventive ways. And the pandemic of Black murder by police and systemic racial inequality is forcing us to take a hard look at our complicity as storytellers. What is the theatre world we want to see on the other side?

As part of our commitment to listen and take action, we asked Black theatre

artists to tell us what needs to change in the theatre industry. Their answers are compelling. As Marci J. Duncan writes in the introduction to the story, “It’s time to take inventory of your role in creating space for Black stories and artists. You are either a part of the problem or a part of the solution.”

How will theatre get back on its feet as the coronavirus pandemic rages on?

Organizations are working to answer that question, and a handful of theatres have opened or plan to open this summer. Stefanie Maiya Lehmann shares early guidance from experts and the strategies of theatres planning summer reopenings.

Jonathon Taylor provides highlights from the keynote presented by the 2020 distinguished designers, plus additional advice gleaned in interviews with them.

The designers also discuss how the COVID-19 pandemic has affected their work in the months since they were at the SETC Convention.

While their new building was under construction, the theatre artists at Texas

Tech University got creative. Mark Charney and his department’s faculty and

Catherine Clifton, Freelance Copy Editor (NC) Denise Halbach, Independent Theatre Artist (MS) Philip G. Hill, Furman University (SC) Clay Thornton, SETC Marketing Manager

staff detail the challenges and opportunities of presenting shows in found and

PRINTING

Clinton Press, Greensboro, NC NOTE ON SUBMISSIONS

Southern Theatre welcomes submissions of articles pertaining to all aspects of theatre. Preference will be given to subject matter linked to theatre activity in the Southeastern United States. Articles are evaluated by the editor and members of the Editorial Board. Criteria for evalua­tion include: suitability, clarity, significance, depth of treatment and accuracy. Please query the editor via email before sending articles. Stories should not exceed 3,000 words. Color photos (300 dpi in jpeg or tiff format) and a brief identification of the author should accompany all articles. Send queries and stories to: deanna@setc.org.

Southern Theatre (ISSNL: 0584-4738) is published quarterly by the Southeastern Theatre Conference, Inc., a nonprofit organization, for its membership and others interested in theatre. Copyright © 2020 by Southeastern Theatre Conference, Inc., 1175 Revolution Mill Drive, Studio 14, Greensboro, NC 27405. All rights reserved. Reproduction in whole or part without permission is prohibited.

Subscription rates: $24.50 per year, U.S.; $30.50 per year, Canada; $188 per year, International. Single copies: $8, plus shipping.

site-specific locations outside the theatre building. Their insight may provide inspiration to theatres seeking safe ways to reopen in the pandemic.

As we look ahead to the next season, what kinds of plays will audiences be

hungry for? Zackary Ross notes that many will be looking for the release that comes with laughter. He shares a list of newly available comedies in our new plays column, “Hot Off the Press.”

Finally, in this issue’s “Outside the Box” column featuring innovative design/

tech solutions, Will Ragland outlines an inexpensive solution to a common problem: a shallow stage. He describes how he created the illusion of 3-D mountain ranges in a small space.

“Stronger Together” has been a rallying cry since the coronavirus shut down

the country, but I think that rings true for our renewed fight for racial equality, as well. Take heart as we pause for reflection, and take action as we collectively rebuild toward an inclusive theatre industry that is made more brilliant with every color in the rainbow.

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

outside

the box DESIGN/ TECH SOLUTIONS

3-D Ground Row Create the Illusion of Depth on a Small Stage

by Will Ragland

I

f you work on a small, shallow stage like I do, you’ve probably struggled with

how to make it appear to have more depth when a script calls for that. In the past, our solution was often flat ground rows. For a recent production, we decided to take the Courtesy of Clemson University

ground row a step further, adding texture to create a 3-D effect.

The production was the South Carolina

premiere of Bright Star at Mill Town Players in Pelzer, SC, and my design called for the “mother of all ground rows.” Because the Blue Ridge Mountains play such an important role in the story, both informing the location and creating the stunning backdrop for the performance, I wanted our mountains to look as realistic as possible.

The ground row built for the South Carolina premiere of Bright Star at Mill Town Players was also used in this Clemson University production of the show in February 2020.

The only problem was, I had only 3 feet of depth to work with.

1' x 2' Styrofoam blocks. The blocks were

Adding texture with ‘snow’

The plan I developed called for building

a byproduct of their packaging, and they

As I sculpted with the wire brush, I

three sets of lauan mountains and covering

gave them to me for free. I loaded up my

created a lot of Styrofoam “snow” that

them with Styrofoam. The visual illusion

truck with all I could fit, which was enough

went everywhere and clung to everything.

of depth would come from adding three

to build out the mountains for this project.

While I was working on the small mountain

textures to the mountains to give them a

I watched YouTube videos and experi-

range, the one furthest from the audience,

sense of increasing distance. My visual

mented with several adhesive products as I

I realized that I could take advantage

research on mountain ranges showed larger

looked for the best way to adhere the foam

of this snow and use it as texture on the

trees in the foreground, with smaller trees

blocks to each other and to the lauan moun-

mountains. For many years now, I have

and texture as the mountains got farther

tains. I found that Great Stuff insulating

used a “goop” mixture of Elmer’s glue,

away. I had never seen texture used to

foam sealant was the cheapest and most ef-

joint compound and paint to coat surfaces

create this illusion, but it was time to try it.

fective solution. Warning: This project calls

with texture. I tried applying the goop to

Making mountain shapes

for a lot of Great Stuff. No matter how much

the mountains and then adding the foam

My first step was to design the ground

you think is enough, you’ll need more. I

bits on top of it before it dried. After seeing

row as three mountain ranges. The front

bought in bulk as a way to reduce the cost.

poor results from this technique, I found

and middle were 8' sections totaling 24'

After cutting the blocks to the desired thick-

that mixing the snow into the goop was the

across. I placed the back range, which was

ness, I bonded them to create three very

best solution. By tinting the goop with the

8', in the center of the other sections. After

messy Frankenstein-like foam mountain

base coat color of paint, I also was able to

projecting the design onto lauan sheets, I

ranges.

skip a step in the painting process.

traced with a Sharpie and cut them out.

To sculpt the mountains, I used small

Adding texture with foam rubber

My next task was finding a fairly large

hand saws and a hot knife for the initial

For the middle mountain range, I

quantity of Styrofoam. After a few phone

work. For the final detail sculpting, I

researched how model train builders create

calls, I found that a local business which

achieved the best results with a large wire

trees and adopted their technique: creating

sells tow-behind trailers had surplus

brush.

“trees” from small bits of foam rubber,

6 x Southern Theatre x Summer 2020

2

BUILDING THE MOUNTAINS 1. Project, trace and cut lauan for the base design of the ground row for three mountain ranges.

2. Cut Styrofoam blocks to desired size and thickness. Adhere the blocks to the lauan ranges using Great Stuff.

3. Carving the foam will create a large amount of “snow.” Save some for texture.

4. Use Great Stuff to create the trees on the front range. Cover with “goop.”

5. Your mountain ranges are ready to paint: lighter blues in the distance, darker greens in the foreground.

3

4

Process photos by Will Ragland

1

5

chopped up in a blender. Our local Army

decided to completely cover the front of the

project, do your best to conceal the seams

Navy Store custom-cuts foam rubber, and

range with little “bubbled-up” trees formed

between the sections, and be prepared to

they were willing to give me several bags of

out of the Great Stuff. I then covered them

do touch-ups when necessary, as they will

foam scraps for free. I bought a blender for

with the goop, mixed with the chopped-up

be a little fragile. Your audiences will love

$15 from Facebook Marketplace and went

foam rubber and the Styrofoam snow. The

the effect. n

to work. Cutting the foam rubber into small

texture was exactly what was needed to

pieces first, before grinding it in the blender,

add the final layer of illusion to the foam

gave me the best results. After breaking that

mountains.

first blender, I purchased a second one from

Once all the textures were added, the

Walmart. That one broke as well, but I had

mountains were brought to life with scenic

already created enough material to add to

painting and some LED tape that helped to

the goop for the middle mountain range.

up-light the textures on them. The resulting

Just as I had hoped, the texture difference

optical illusion allowed audience members

between the upstage and middle mountain

to feel as though they were staring into a

ranges created the illusion that the distance

vast landscape that extended for many

between the two was considerably greater

miles on the horizon.

than the space that they occupied.

After our production, this ground

Adding texture with Great Stuff

row became a very popular piece in the

With two sections done, it was time

surrounding theatre community. It was

to tackle the largest mountain range,

used in three other productions this season.

the one closest to the audience, which

A 3-D effect today and tomorrow

required an extremely coarse texture. I

Creating these mountains was a time-

had the small Styrofoam snow forming

consuming project, but they can be used

the texture in the back mountain range

over and over again. As with any foam

MATERIALS for a 24' long ground row: Styrofoam blocks Foam rubber Great Stuff insulating foam sealant Blender(s) 7 sheets, lauan Scrap lumber and screws 6 gallons, Elmer’s glue 5 gallons, joint compound 3 gallons, paint (stock) TOTAL:

0 0 150 40 105 0 90 60 0

$445 Will Ragland, executive artistic director of Mill Town Players in Pelzer, SC, has designed sets in upstate South Carolina for the past 15 years.

and the chopped-up foam rubber in the middle, but I struggled to find a solution for this range. The breakthrough came as

Do you have a design/tech solution that would make a great Outside the Box column?

I was gluing the foam blocks together. I noticed that the Great Stuff, when applied in a certain way, looked like small trees. I

Send a brief summary of your idea to Outside the Box Editor David Glenn at djglenn@samford.edu.

Summer 2020 x Southern Theatre x 7

We’re listening.

Black theatre artists tell us what needs to change.

W

introduction by Marci J. Duncan

With the recent resurgence of the Black Lives Matter movement, everyone is listening.

Listening to the cries that have now turned into full-on screams of lamenting for Black lives to matter. Can you imagine, as a human being, asking another human being to simply treat you as though you matter? As theatre artists, we should know better. But, unfortunately, we are guilty. Guilty of closing our eyes and ears and looking the other way. It’s time to take inventory of your role in creating space for Black stories and artists. You are either a part of the problem or a part of the solution. Change happens with people. We are the people, we are the theatre, we are the change.

Are you prepared to be part of the change? I hope you will read on to learn what eight Black theatre artists shared when Southern Theatre asked the following question:

Marci J. Duncan Director, BFA Acting Program, University of West Florida; Actor; Director; Professor

From your perspective, what needs to change in the theatre industry?

Michael J. Bobbitt Artistic Director, New Repertory Theatre, Watertown, MA

in our operations, HR, finance, marketing,

dismantle every system, structure, practice,

governance and boards (especially boards).

policy and trend in our theatres with an

We have not been creative (which is our

anti-racist lens. Policies that are not anti-

job) in dismantling these parts of our busi-

racist – are racist. Period.

ness. It is not enough to make changes in

My simple answer

programs and engagement initiatives but

the rules and created racism have the power

to the prompt is

still perpetuate white supremacy business

to change the rules and eradicate racism.

EVERYTHING.

models. It is the very reason why we have

Humans have put people on the moon, so

Returning to

barely diversified our base of patronage,

I have hope. It is white American theatre’s

the old way of

donors, loyalty programs, etc.

job to eradicate racism in our spaces.

doing theatre

If you accept that racism is a system,

Use your creativity. I have hope. For the

(post-COVID-19)

structure and institution, then you have to

moment. n

This is a big job. The people who made

would be a failure of the American theatre industry and, frankly, I would be ashamed to be a part of it.

Equity, diversity, inclusion, access, anti-racism, dismantling white supremacy,

Bernita Robinson Actors’ Equity Association Stage Manager; Member of AEA Governing Board

anti-oppression or … whatever you want to

Black cast. When we are not hired, it is either because they “aren’t doing a black show, “ or “don’t know any stage managers of color,” or we do not have “enough experience.”

As a Black stage manager, at times, I

call it, is an ACT OF LOVE. Showing love

The one change

have had to be better than my white

to groups of people who have NEVER been

I believe needs

counterparts to be considered “better than

loved by this country. Never! Our industry

to happen is an

nothing.” We are asked to have a better

claims to be loving, but is complicit in its

increase in Black

work ethic and do so without ruffling too

exclusion. We, the American theatre, are a

directors and pro-

many feathers for fear of not being hired

racist construct. If we don’t like this, we

ducers in all the-

again, or risk being fired on the spot.

MUST become activists of change. Being

atre venues. This

My hope is that with an increase in

an ally is not enough. Ally-ship is a way to

will in turn, hope-

Black producers, there will be an increase

absolve yourself from action.

fully, increase the

in Black directors who hire Black stage

While the number of BIPOC (Black, In-

hiring of Black stage managers. Too often,

managers. This would also mean Black

digenous, and People of Color) artists get-

Black stage managers are hired to fill a

directors would need to trust that Black

ting work has grown, our business practices

quota, to keep the community quiet, or to

stage managers are just as good as white

continue to perpetuate white supremacy

keep a balance backstage if there is a large

stage managers. n Summer 2020 x Southern Theatre x 9

Christina Ham

General McArthur Hambrick

Charence Higgins

Playwright TV Writer Educator

Associate Professor, School of Theatre and Dance, West Virginia University

MFA Candidate in Acting, University of Illinois at Urbana-Champaign

As a playwright,

In this time of

“The hypothesis

what needs to

protests and

that the needs

change, in my

rhetoric, I have

of Black female

opinion, is that

become more

characters would

Black theatre

aware of hidden

be ignored more

needs to be fund-

biases in race re-

than that of white

ed better.

lations and their

female characters

August Wil-

complexities. An

is upheld.” This

s o n d e l i v e re d

article I read re-

is one of the

this call to action in his 1996 Theatre Com-

cently noted that the number of African

findings of Dr. Sherna Ann Phillips, who

munications Group (TCG) address, “The

American Pulitzer Prize-winning authors

conducted a study examining how often

Ground on Which I Stand.” In this address,

is not represented in the amount of produc-

requests made by Black women were

he iterated that “Black theatre in America

tions on Broadway or in theatres around the

acknowledged and acted upon in plays.

is alive, it is vibrant, it is vital … it just isn’t

country. I often wonder about the process in

If art reflects life, what does this say about

funded.”

which new literary projects, including plays

our voices beyond the script?

Sadly, since Mr. Wilson made this

and musicals, are considered for production

statement, things have not changed very

and how that process possibly evokes an

(if that), theatres are presenting a monolith

much regarding their support. During the

unintentional racial bias.

of the Black experience, thus tokenizing us

years from 1961 to 1982, 600 new African

Several years ago, appearing as a

and limiting their ability to impact their

American theatres were established

guest artist with New Ballet Ensemble

audiences. Tell our stories in totality. This

across the nation. A big part of this was

and the Memphis Symphony, I engaged

Black actor is exhausted from repeatedly

a byproduct of President Johnson’s War

in an enlightening conversation with a

telling Black stories steeped in trauma.

on Poverty programming. Today, there

violinist. I had always been curious about

Produce shows that bask in Black joy.

are only a handful of these theatres left.

their audition process. She explained that

Don’t know these shows? Commission

As the Black Lives Matter movement

musicians are selected blindly, meaning

work from Black playwrights.

is permeating our streets and also some of

they play behind a screen or some other

the institutions inside our communities,

opaque divider so there is no chance of

is personal. My intentionally unusual

it becomes important that if indeed Black

being unfairly judged by their physical

name (pronounced Shuh-rans, rhymes

Lives do matter – then so must our stories.

appearance. That is what I would hope

with dance) embodies the sacrifice and

We need a platform where those stories

for in the theatre and the dance world.

beauty of those before me. Yet, on too many

can be presented and thereby provide a

Certainly, it would be difficult, if not

stages, my name has been pronounced

training ground for a new generation of

impossible, to shield a person in a dance

incorrectly. Honor our families. Honor

Black theatre artists.

or theatrical audition because the visual is

our work. Honor our ancestors. Honor

As W.E.B. Du Bois affirmed, “theatre

such a huge part of our world. However,

our names by saying them as intended.

by us, for us, near us, about us” is even

if those persons in authority – or, as I like

If you are unsure, ask. Don’t guess. I

more important now than ever before as

to say, “behind the table” – measured their

have been blessed to win awards from

African Americans look for ways to heal

biases when making their decisions, it might

brilliant organizations, yet have been

during this seismic time along with their

curb the propensity to worry about taking

carelessly insulted while accepting them.

other theatre peers. As we come out of this

chances financially on something new or

Don’t wait to #SayTheirNames when

period, renewed monetary support for

out of the ordinary and challenge what is

we’re killed unjustly, say the names of the

Black theatre spaces is critical for American

safe. In this period of great uncertainty and

living now, on your stages, correctly.

theatre to be its fullest. n

confusion, it is the time for everyone in the

Acknowledge these requests. Create

arts, especially those in power, to take a

and execute a plan of action. Statements of

step forward and rethink what has been the

support are the bare minimum. n

norm in order to establish a new normal. n 10 x Southern Theatre x Summer 2020

By producing one Black show per season

The quest for anti-racism in the theatre

Herb Parker

Elizabeth Watkins

Steven H. Butler

Professor, Department of Theatre and Dance, East Tennessee State University

Theatre Arts Teacher, Richland One School District (SC); Playwright; Director

Executive Director, Florida Theatre Conference, Inc.; Artistic Director, Actors’ Warehouse

We have come a

As a Black K-12

We are feeling

long way since

teacher and the-

a social tectonic

Actors’ Equity

atre practitioner,

plate shift. It is

Association’s

I have watched

time to decolonize

initiation of the

and

maneu-

and diversify the

Non-Traditional

vered through

performing arts.

Casting Project in

the world of the

Most people in the

the 1970s. A wel-

theatre industry

performing arts

come example of

and found little to

are shackled and

this is African American actress S. Epatha

no support for BIPOC children in the arts

dominated by a colonized psyche and that

Merkerson’s portrayal of Lola in an oth-

world. There is already a socioeconomic

is part of the reason we are feeling this shift.

erwise all-white production of Come Back,

disadvantage that isolates the children’s

History 101: The United States of

Little Sheba on Broadway in 2008.

dream of achievement in America and an

America was colonized by England. One

As we applaud this breakthrough, I

even larger one in the theatre industry.

day the disenchanted subjects awoke to

ask that our casting be ever mindful not

The three points that can change the

the realization they were void of a

only of the color of the actor, but of the

narrative are:

symbiotic relationship. America has

implicit culture that actor’s color brings to

1) To hire more BIPOC playwrights,

been liberated from the Western world

a production. I don’t mean accommodation

directors and actors in major roles and

but remains to be colonized in mind. It

by rewriting the script or changing words –

within the organization’s season.

remains enamored with the Eurocentric

I simply ask that we celebrate every aspect

2) For colleges and universities to

views and practices by which various

of what is brought to the stage when a

reach out to local schools that do not

institutions operate. These views and

role not previously thought of as Black is

have a program (preferably in a rural or

practices are not sympathetic towards

actually played by a person who is Black.

a low-income area) to engage them with

nor created for BIPOC.

For instance, Shakespeare has rightly

workshops and free summer programming

A Call to Action: Decolonize and

been the easiest and most seamless

and provide them with performances and

diversify our performing arts, our

example of this casting. While speaking

scholarships that will give them the same

classrooms and our dance studios. The

the text no matter what one’s race is vital

experience as schools they otherwise could

artists at Momentum Stage want us to

in Shakespeare, let us take care that the

not afford to attend for productions and

realize: “Decolonizing does not simply

casting search does not result in “Black

training.

mean adding in a text by a person of

Anglo-Saxons.” Hamilton has demonstrated

3) Have a better play selection that

color. Decolonizing your classroom is a

wonderfully how an evening of theatre

represents BIPOC.

systematic approach to not only WHAT

can be enriched by the celebration of

Providing the above allows BIPOC

and WHO you teach, but also HOW you

performers of color, fully themselves in

students a chance to develop their love for

teach AND assess. It means acknowledging

song, sound, movement, pace and rhythm,

theatre. Theatre is life. Keep the connections

the systems of oppression and dominance

as well as 18th century costume.

open with low-income schools. Keep their

that exist in our societies, organizations and

Our new day of casting opportunities

hopes and dreams alive. Feed that fire for

classrooms, and working to dismantle them

has presented us with the chance, finally,

creativity within their souls so that they

in order to make our world more just and

to truly be ourselves, which enriches every

know that, even though the world is not

equitable.”

production in which we appear. This is why,

welcoming, they always have a place

for directors willing to take a chance and for

to breathe, and to be creative and free.

represented, and to know there are

actors of color ready to tell the world who

Reinforce that they are just as magical and

opportunities. Therefore, instructors

they are, instead of the term “color-blind

creative as their non-BIPOC counterparts.

and directors should be encouraged and

casting,” I like to say, “color-INCLUSIVE

challenged to assess their programs with a

casting.” n

time you embrace ALL of your children. n

Theatre is the mother of creativity; it is

BIPOC artists desire to see themselves

mission towards equity. n

Summer 2020 x Southern Theatre x 11

HOW THEATRE MAKES ITS COMEBACK Producing Shows in a Pandemic

by Stefanie Maiya Lehmann Mainstag

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As the novel coronavirus pandemic continues to impact the U.S., the majority of theatres across the country remain closed. According to Americans for the Arts’ COVID-19 Impact on the Arts tracking update, nonprofit arts and cultural organizations were estimated to have lost $8.4 billion as of June 29 – and that number has continued to grow. The impact on theatre practitioners is incalculable.

Overnight, careers in the entertainment industry disappeared. Of the approximately 21,000 artists and creative people surveyed by Americans for the Arts, 94% have experienced a loss of income as a result of the pandemic and 62% have become fully unemployed.

How will theatres recover from this pandemic? What steps must theatres take to open in a way that keeps cast, crew and audiences safe? We share insights and resources from industry leaders below, followed by reports from theatres that have opened or planned to open this summer on the steps they are taking to do so safely.

What industry leaders are saying

theatre. There must be collective buy-in and ongoing

With Broadway theatres closed at least through

evaluation and improvement of health and safety

Jan. 3, 2021, shows that were expected to have long

practices.”

runs have chosen to cut their losses and close. Many

large regional companies and producers of major

those principles “are the foundation for our continued

new shows have given up on 2020 and pushed back

work with Dr. Michaels. We intend to build out

openings all the way to mid-year 2021.

protocols that can be used by our employers and all

Looking to the future, unions and other

of our colleagues to insure that everyone who works

organizations are working to develop standards for

in the theatre has the safest workplace possible.”

how workers in all areas can safely return to theatres

of all sizes.

to contact their regional Equity office if they receive

Actors’ Equity Association (Equity) has hired

an offer to work.

epidemiologist and former U.S. Occupational Safety

and Health Administration (OSHA) Administrator

plans for the reopening of two theatres: Barrington

David Michaels to consult on developing health

Stage Company (see Page 14) and Berkshire Theatre

and safety standards that prioritize Equity member

Group. The union also posted guidelines for

safety. In mid-May, Michaels submitted his initial

COVID-19 testing and a pre-production safety sheet at

recommendations to Equity, outlining four core

actorsequity.org/resources/Producers/covid19-info.

principles necessary for safe and healthy theatre

productions to resume. Those recommendations,

International Alliance of Theatrical Stage Employees

shared by Equity in a news release, are:

(IATSE) has hired a team of three epidemiologists to

“1. The epidemic must be under control, with

consult on protocols for a return to work.

effective testing, few new cases in the area and contact

tracing.

as possible, but we need to do it right,” IATSE

2. Individuals who may be infectious can be

International President Matthew D. Loeb stated in

readily identified and isolated, with frequent, regular

a May announcement. “We are working with these

and accurate testing with speedy results.

epidemiologists and employers to create standards

3. The way we audition, rehearse, perform and

that will apply across the board in the U.S. and

stage manage may need to change and the venues

Canada, so no production or worker is left behind.”

we work in may need to undergo changes in order

to reduce the risk.

Repertory Theater (ART), working in conjunction

Equity Executive Director Mary McColl noted that

In the meantime, the union has advised members

In early July, Equity announced it had approved

Moving to protect the safety of its members, the

The theatre reopenings detailed in this story reflect the companies’ plans as Southern Theatre went to press in mid-July.

Look for updates at stories.setc.org.

Opposite page: Barrington Stage Company in Massachusetts planned to open its revised season Aug. 5, after removing every other row of seats in its theatre, shown here in its pre-COVID-19 configuration.

Inset shows the detailed plan.

“We want everyone to get back to work as soon

Also stepping up to provide guidance is American

4. Efforts to control COVID-19 exposure must be

with researchers from the Healthy Buildings program

collaborative, involving Equity members, employers,

at Harvard University’s T.H. Chan School of Public

the union and all others involved in the production of

Health. The first edition of their joint effort, The Summer 2020 x Southern Theatre x 13

Roadmap to Recovery and Resilience for Theatre, is

posted at americanrepertorytheater.org/roadmap-

that announced plans for a summer season. We asked

Among those leading the way are seven theatres

for-recovery-and-resilience-for-theater.

them to share their strategies. One is an indoor Equity

“At this time, there are more questions than answers,

theatre, another is an indoor non-Equity theatre, four

but we believe that articulating the questions will lead

are outdoor theatres, and one is a dinner theatre.

to preparedness,” the report states. “This ‘First Edition’

As Southern Theatre went to press in July, three

of the roadmap, dated May 27, offers an initial set of

had opened, three were proceeding with plans to

considerations. … We will continue to add content in

open, and one (Kentucky Shakespeare Festival) had

the form of future editions as we develop and test

ultimately decided to postpone its season to 2021. All

protocols in the months ahead.”

of the openings are contingent on COVID-19 orders.

Among the first to release guidelines applicable specifically to theatres and other venues was Event

INDOOR THEATRES

Safety Alliance (ESA), a nonprofit organization dedicated to promoting “life safety first” in all STEVEN A. ADELMAN Vice President, Event Safety Alliance

JULIANNE BOYD Artistic Director, Barrington Stage Company

by more than 300 event industry professionals, the

Barrington Stage Company Pittsfield, MA Planned Opening: Aug. 5, 2020

ESA Reopening Guide aims to help those planning

Barrington Stage Company (BSC) is a regional

to reopen during the pandemic by identifying risks

Equity theatre in the Berkshires known for premiering

and suggesting options for mitigation.

The 25th Annual Putnam County Spelling Bee, which

“Once one is legally allowed to reopen a venue

went on to win two Tony Awards on Broadway. After

or event space, the tougher question that follows is

postponing the originally slated 2020 productions to

how to do that without exposing workers, patrons or

2021, BSC Artistic Director Julianne Boyd planned

artists to an unreasonable risk of exposure to a highly

to open Aug. 5 with a newly developed season

contagious virus for which, in many parts of the

specifically designed for a pandemic recovery.

world, there is neither sufficient testing nor contact

The season was scheduled to begin with a one-

tracing, and no vaccine on the horizon,” writes Steven

person show featuring an actor who has recovered

A. Adelman, vice president of ESA.

from COVID-19 and was slated to arrive three and

ESA estimates that in just the first two weeks

one-half weeks before the first performance. Other

after the Guide was released, more than 100,000

mainstage events are concerts or staged readings with

copies of the document were already circulating

one to two days of rehearsals. Boyd said they “have

worldwide. Download the free Guide here: www.

chosen shows where there will be no physical contact

eventsafetyalliance.org/esa-reopening-guide.

between actors during performances.” For example,

Small theatres lead the way

South Pacific: In Concert will be performed outdoors

It’s clear that Broadway, national tours, large

at a park as an Encores-type presentation with 6-foot

performing arts centers and regional theatres will not

social distancing. Offstage will see the same distancing.

be the first to reopen. Small local theatre companies,

“Our stage manager and sound and lighting

including outdoor theatres, have more flexibility and

technicians have their own areas in the house and

lower operational expenses, which allow them to

can easily remain socially distant from one another,”

think creatively and innovate around the pandemic.

Boyd said.

They will be the trailblazers for the industry.

phases of event production and activation. Sourced

BSC’s 520-seat mainstage theatre has been rescaled

“If small events and venues can reopen without

to adhere to social distancing. Every other row of seats

increasing COVID-19 transmission rates, it will open

has been removed from the theatre. Two seats will be

the door for progressively larger spaces to implement

left vacant between groups. (See detailed plan, Page 12.)

similar measures on a larger scale in the future,” the

ESA Reopening Guide states.

and entering through multiple entrances, there will

But the Guide also warns of unintended

be no tickets exchanging hands or being scanned,”

consequences if those first openings are not done

Boyd said. “Since there will be only 163 people in the

successfully: “If, on the other hand, the first attempt

theatre, we will have patrons’ names on clipboards

at a safe reopening is a failure, that would set back

and slowly admit one group at a time. None of

the entire event industry.”

the shows has an intermission to minimize the

14 x Southern Theatre x Summer 2020

“In addition to all patrons having to wear masks,

usage of bathrooms. Concessions will not be open.”

July 4: “We played to really good houses both nights.”

Numerous sanitizing stations were planned. The

theatre also has installed new filters and made air flow

• Limiting audiences to a maximum of 75% capacity

adjustments to the air conditioning system, Boyd said.

Audience response has been positive, with all

in the 435-seat theatre.

• Encouraging patrons to use masks and providing

shows selling so well that BSC added an additional concert.

His detailed plans for safely reopening included:

masks at the door for those who need one.

• Installing hand sanitizer stations throughout the

“I think theatre is a great healer, a place where

theatre and increasing cleaning efforts.

people meet and have a common experience, where

• Forbidding contact between actors and audiences.

there’s a shared humanity,” Boyd said. ”People can

• Self-quarantining the company, with temperature

forget for a few hours the isolated world we live in

checks and self-assessments required.

and listen to stories that delight them, that move

them, that affect them in new and unexpected ways.”

all rehearsals, builds and events,” Thomson said.

Bigfork Summer Playhouse Bigfork, MT Opened Its Season: July 2, 2020

“We have asked for support from people in town to

Bigfork Summer Playhouse is a non-Equity

isn’t possible with our living facilities, but we can

professional theatre known for “bringing the best of

contain ourselves as a group.”

Broadway to the Rockies” through a season typically

running from early May through August. After

due to the pandemic, that did not prove necessary.

canceling an early season show and pushing back

the start of the main season multiple times, Associate

determined that our company quarantine and the

Producer Brach Thomson reopened Bigfork with

fact that we all live on the same campus made the

Newsies on July 2 and The Hunchback of Notre Dame on

company like a ‘single family’ in the same home.

“We are keeping the company at our facilities for

help pick up groceries and any necessities that the company needs during that time. Individual isolation

BRACH THOMSON Associate Producer, Bigfork Summer Playhouse

Although he originally planned to alter love scenes “We worked with medical professionals, and they

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Summer 2020 x Southern Theatre x 15

So, as a family, we don’t have to distance

lowing a cleaning protocol that includes

audience size is limited to 1,000, 25% of

among ourselves at all – meaning the

sanitizing before the show, after its

the capacity in the 4,000-seat amphitheatre.

love interest scenes can still be close and

start and following intermission, with

Groups are seated with seven empty seats

believable for our audience.”

a volunteer, wearing a protective mask,

between them, a distance of 12 feet, two

Thomson noted that opening was

monitoring supplies and capacity.

times the state requirement, he said. The

important to the community as well as

• Giving patrons the option of receiving

amphitheatre opens 90 minutes before the

the theatre: “We are an integral part of

sanitized chairs and cushions as they

show, so lines are not an issue. However

enter or bringing their own chairs.

6-foot distancing markers are displayed

our town’s economy, bringing people into the restaurants and shops every day.”

• Using ushers to ensure that audience

However, reaction was mixed, he said: “We

members socially distance.

throughout the venue. Handrails, seats and high-touch areas are wiped down before

are getting emails in both directions – some

Online auditions were encouraged, and

the show, with follow-ups once the audi-

that are appalled that we would open our

major roles are being double-cast, “so that,

ence is seated. All staff members wear face

doors, some that are upset that we could

if necessary, cast members can be replaced

coverings/masks, Butler said, and signs are

even consider not opening our doors, some

at any time,” Pruitt said. “Dances, crowd

posted reminding audience members that

upset about wearing a mask.”

scenes and battle scenes will be carefully

the Department of Health encourages the

blocked to limit personal contact when at

use of face coverings/masks and sanitizer.

all possible.” Show characters that must be

The approxi-

in contact were cast with actors who have

mately 150-200

close relationships offstage, Pruitt said.

employees are

Safety precautions for the cast of local

undergoing dai-

OUTDOOR THEATRES From This Day Forward Valdese, NC Planned Opening: July 17, 2020

actors include a daily health screening and

ly health screen-

From This Day Forward is an outdoor

temperature check. Actors also are being

ings. Backstage

drama produced by the Old Colony Play-

required to sign a pledge of “best practices”

areas have been

ers that tells the story of the founders of the

not only for the theatre, but for their every-

spaced out, and

town of Valdese, NC. After delaying the

day lives, she said. Costumes have been

wardrobe rooms

play’s opening, General Manager Edyth

modified, when possible, to allow for face

are limited to 10

Pruitt planned to

coverings. Tents are being used to provide

people. The pro-

begin the season

additional backstage space, and backstage

tective measures

on July 17 and

protocols such as staggered dressing times

don’t end offstage, Butler noted.

run until Aug.

have been adopted.

15. As Southern

“From This Day Forward has been run-

a face covering/mask and only take it off

Theatre went to

ning for 51 consecutive seasons,” Pruitt

for lines,” he said. “Thankfully, headpieces

press, state man-

said. “It is the story of our people and our

were very typical back in Bible days, and

dates due to

community. We do not want to be foolhar-

we have incorporated the look into our

COVID-19 lim-

dy, but if we can continue to tell our story

costumes.”

and have a safe environment for people to

join together to celebrate our story together,

said, making it possible for family units to

amphitheatre to

we will.”

fill roles requiring close contact.

25 people, but Old Colony Players planned

The Great Passion Play Eureka Springs, AR Opened Its Season: May 22, 2020

county had a very low COVID-19 infection

safety precaution document that includes

Butler said. By mid-July, that number had

such steps as:

the story of Jesus’ life in its three-story-

climbed to 225 cases with six deaths.

• Increasing the distance from audiences

high outdoor amphitheatre since 1968. The

show typically opens on Good Friday, but

audiences, Butler said: “Although we’ve not

was delayed this year until the Arkansas

seen attendance return to previous summer

Department of Health approved its plan

levels, we’re seeing better attendance in July

for opening. The play debuted Friday of

than when the season began.”

Memorial Day weekend.

Operations director Kent Butler said

success by attendance numbers but rather

ited attendance in the 500-seat

EDYTH PRUITT General Manager, From This Day Forward

to go ahead with the show.

The theatre has developed a two-page

to the stage to 20 feet.

• E ncouraging audience members to purchase tickets in advance.

• Installation of touchless card readers; cash sales handled by one individual.

• Limiting capacity in restrooms and fol16 x Southern Theatre x Summer 2020

The Great Passion Play has been telling

KENT BUTLER Operations Director, The Great Passion Play

“All cast members are required to wear

The cast includes many families, Butler

When The Great Passion Play opened, the rate – a total of just 17 confirmed cases,

The theatre has had “strong interest” from

The Great Passion Play will not measure

“by how safe we are able to keep our

summer. Executive Director John Russell

cast, crew and audience,” Butler said.

planned to open the season Aug. 14 if the

“People will be slow in returning to travel,

state’s policy limiting outdoor groups to

so attendance is not necessarily the best

25 persons was lifted in time to do so. He

gauge. We are very thankful to donors to

planned to open with Pericles, a revision

our nonprofit and others who have stepped

to the original lineup, followed by the

up to fill the gap.”

remainder of the scheduled season. One

Montford Park Players Asheville, NC Planned Opening: Aug. 14, 2020

show was moved to 2021.

Russell said he is “using the Event Safety

Alliance Reopening Guide as our bible for

Montford Park Players is North

reopening and for risk mitigation.”

Carolina’s longest-running Shakespeare

His plans for safely reopening include:

theatre company, providing free theatre in

• Holding initial rehearsals for local cast (Continued on Page 18)

a 1,000-seat outdoor amphitheatre every

A THEATRE THAT DECIDED NOT TO GO FORWARD Kentucky Shakespeare Festival Louisville, KY Planned Opening (final of four): Aug. 25, 2020 Decision to Postpone Announced: July 13, 2020

Kentucky Shakespeare Festival (KSF) is a nonprofit professional theatre that produces the free Kentucky Shakespeare Festival in Louisville’s Central Park. While waiting for state approval to open, Producing Artistic Director Matt Wallace made extensive preparations for the theatre’s 60th anniversary season. He scaled back the season and delayed the original May 27 opening date four times while remaining hopeful that the show could still go on in its non-ticketed, open-air amphitheatre.

MATT WALLACE Producing Artistic Director, Kentucky Shakespeare Festival

His seven-page working document outlining what a socially distanced season

might look like included employee and volunteer health checks and policies; new cleaning and sanitation procedures; blocking off bench seating in a checkerboard pattern; sneeze guard protections for bar, gift shop and dressing rooms; new registers for contactless transactions; distancing actors from audience and each other; extensive social distancing signage throughout park/amphitheatre; signage for distanced lines; contactless playbill stands; and on-site temperature checks and masks for company members, who would be asked to limit exposure to others outside of the workplace.

However, as coronavirus cases surged in early July, KSF decided those precautions

were not enough. “We started at Plan ‘B,’ and we’ve finally arrived at our final option – Plan ‘T,’ which is to postpone our entire in-person season to 2021 and create a filmed offering for this summer,” Wallace said. “We spent countless hours making plans and adapting, but as the virus continued to evolve and spread, and as we got closer to making these plans a reality, we just simply didn’t feel comfortable.”

KSF extended offers to contracted artists and staff for 2021 and is hiring most of

the company in August to create and film a 60th anniversary production. “We will be able to control the shoot through rehearsing in small groups via Zoom and outdoors, having fewer tech needs, and shooting it in segments – all of which convince us that we’ll be able to do it safely and comfortably for everyone,” Wallace said.

Summer 2020 x Southern Theatre x 17

(Continued from Page 17)

patrons have indicated that it’s important

After closing the theatre in March due to

for them to see live theatre, and they’ve

COVID-19, Producing Artistic Director Lee

• Requiring daily temperature checks.

been proactively reaching out to us to find

Buckholz reopened July 7 with an adjusted

• Enforcement of social distancing.

out when we plan to reopen.”

show lineup and an extended schedule.

and crew via Zoom.

• Deep cleaning of the theatre.

• Limiting the number of free tickets to the shows.

“We’ve gotten such supportive emails

DINNER THEATRE

from our patrons,” Buckholz said. “COVID numbers in our area remain low, so we

Derby Dinner Playhouse Clarksville, IN Opened Its Season: July 7, 2020

continue to look forward!”

• Designating seating, which includes

Derby Dinner Playhouse is one of the

style of food service: plated food delivered

both rentals and chairs that patrons

oldest and largest continually operating,

covered to tables, requiring increased staff.

bring with them, in specific areas to meet

professional dinner theatres in the nation,

social distancing guidelines.

employing approximately 200 people.

• Removal of tables from the main floor

• Taking patron temperatures on arrival.

• P roviding enhanced audience hand washing and sanitizing stations.

A dinner theatre that traditionally served buffets, Derby has moved to a new

Other changes include:

Montford Park Players “has a very loyal

and supportive local audience who are anxious to participate in arts events,” Russell said. “We believe it’s important to provide them with that opportunity in a relaxing and safe environment. If we’re able to retain an average of 50% of our average audience, we’ll consider that a success.

Currently we’re

JOHN RUSSELL Executive Director, Montford Park Players

estimating a loss of 75-100% of our out-of-market audience (30% of total) and a 25% drop in the local audience.”

Russell planned an intensive social media campaign encouraging patrons to either watch via livestream or return to the theatre, depending on their comfort level.

As Southern Theatre went to press, Russell noted that the decision on an Aug. 14 opening would hinge on the state’s COVID-19 numbers – and whether the governor moves to the next phase of reopening the state in time for a summer season.

“North Carolina is experiencing a rise in COVID-19 cases, and we’re not certain at this point when we’ll move into Phase 3, where we can reopen to the public,” he said. “The decision may be made for us by state and local authorities.”

But the demand is there, he said: “Our

18 x Southern Theatre x Summer 2020

Derby Dinner Playhouse has reenvisioned its first show of the summer season, Cinderella, as a commedia dell’arte production, with the masks (above) designed to help protect actors and audiences from transmission of the coronavirus. Producing Artistic Director Lee Buckholz noted that fabric and trim were added to the mouth openings: “Then we airbrushed the fabric to blend it into the masks and complete the faces. Some of the masks have sticks (like masquerade masks). This allows actors who have dialogue and are socially distanced from the other actors to remove their masks momentarily, while delivering their lines. Those actors (ensemble) who don’t have lines leave their masks on throughout the show.”

in order to provide more than 10 feet

pictures, Page 18), so that masks could be

from stage to tables, as well as 10 feet

worn by actors and still be conceptually

between tables.

correct. This not only protects the actors,

• Seating people who arrive in a group

Social media and outreach efforts have

with other parties.

found patrons very supportive of reopen-

• Refinishing table surfaces with epoxy

ing, Buckholz said. However, “we aren’t

resin, removing linens and moving to

necessarily looking for a financial profit off

disposable table wear.

the bat,” he said. “We just want to serve our

• Requiring use of gloves/masks by wait staff; suggesting mask use by patrons.

customers and keep them coming back.”

Success will be defined by safety

• A sking actors to self-monitor their

A consistent trend across the companies

temperature daily for two weeks prior

daring to reopen this summer: They’re not

to rehearsal.

expecting to make a normal profit. Some

Casts are primarily local, Buckholz said.

have gone so far as to say that they know,

Those from out of town arrive 24 hours

due to the protective measures required,

prior to rehearsal. During the run of shows,

this season cannot be profitable.

actors and crew are being asked to use a va-

riety of protective measures, Buckholz said.

need in their communities. Their donors

“Masks are worn through the blocking

and patrons are hungry for culture and

process and into

connection. Many also feel a sense of duty to

tech,” he said.

their company members and staff who need

“Dressing rooms

the work. They also know that local small

have been altered

businesses rely on their seasons to bring

with plexiglass

in business. A single performance ripples

barriers between

out across many industries, providing

makeup areas.

significant economic impact.

Te m p e r a t u r e s

are taken at the

who are struggling to pay their next

beginning of each day and when returning

LEE BUCKHOLZ Producing Artistic Director, Derby Dinner Playhouse

Nonetheless, these theatres see a great

Artists, technicians and administrators

month’s rent will be watching this first wave of reopenings carefully, with an eye to what works and what doesn’t.

from lunch. All

As more theatres begin to follow their

rehearsal areas are sanitized throughout

lead and plan reopenings, ESA’s Steven

the day and at the end of each rehearsal. We

Adelman emphasizes the importance of

have closed green room areas and are able

proceeding with caution and using reason-

to socially distance seating in our rehearsal

able practices.

hall as well as in our theatre during the

“We’re all eager to get back to work and

technical process.”

play,” Adelman said. “COVID-19 doesn’t

Safety procedures for performances

care about our hopes or impatience. So let’s

include marking floors to facilitate social

be smart about how we reopen in order

distancing, assigning audience arrival times

to minimize the risk of getting workers,

to reduce congregating in lobby areas, and

patrons or artists sick from a deadly virus

extending intermission to allow for use of

for which there is no vaccine.” n

restrooms without crowding.

Buckholz also is being creative in how

he presents shows as part of his effort to protect actors and audiences: “I have reimagined our first production, Cinderella, to reflect a commedia dell’arte approach (see 20 x Southern Theatre x Summer 2020

but also helps protect the patrons.”

together, but not seating small groups

Stefanie Maiya Lehmann is furloughed from her job as business manager of Lincoln Center Concert Halls and Production in New York City. She is a member of the Southern Theatre Editorial Board.

3 Questions to Guide You in Reopening

B 1

roadly thinking, there are three major questions theatre companies must ask when considering whether or not they are ready to reopen. Each of these big questions raises a multitude of smaller, more specific questions that must be discussed.

Will your state/local government permit it?

Is your business one of the types permitted to reopen? Some states have announced a phased approach. If yours is one, which phase is your state currently in? Is there a restriction on group size or crowd capacity? Are there sanitation requirements?

Are masks required? Are you required to maintain social distancing guidelines?

Can you safeguard your staff, cast and crew?

Does your area have access to accurate testing? Will you require daily health and temperature checks? Will actors return to potentially contaminated homes or businesses every night? How will your nonlocal company members safely travel to your area? Will they need a 14-day quarantine upon arrival? Is your typical housing acceptable under virus protections? Will they be permitted to leave for errands such as grocery shopping? How will you manage rehearsals? Will you require masks? Can your actors and technicians actually do their jobs while maintaining reasonable social distancing? Are your backstage, pit, dressing rooms, etc., large enough? How will you handle the staging of intimate scenes and dance partnering? Do you have suitable understudies and swings to replace members required to temporarily quarantine due to high temperatures or symptoms? Do you have equipment or supplies that are typically shared (such as headsets, PPE, styling tools)? How will high-contact items such as props or costumes be sanitized and cleaned? How will your employees be protected from potentially ill audience members?

Can you safeguard your audiences?

Can audiences safely enter and exit your facility while maintaining social distancing? Does your parking lot need to be adjusted for social distancing? What highcontact, high-risk areas can you mitigate – for example, door handles, buttons, ticket taking, brochures, bag check, concessions and restrooms? Will you require temperature and health screenings? Will you require masks and/or gloves? How will you respond to those patrons who will not comply with your protective measures? Do you have enough sanitizing stations? How will you rescale your house to adhere to social distancing?

What is your plan for regular cleaning and sanitization? Will your emergency plans be impacted by any of the virus protection measures? If you offer any food or beverage services, can they meet the new safety standards? If an audience member is diagnosed with COVID-19 following their attendance at your venue, how will you respond?

2

3

10 Reopening Tips: A Stage Manager’s Perspective

M

atthew Stern, longtime Broadway stage manager and producer of the Broadway Stage Management Symposium, shared 10 changes that he believes will be necessary for theatre practitioners to safely return to work in the post-COVID era on the symposium’s blog: 1. Create a new position to manage company health issues and concerns.

2. Do temperature checks at the top of every call.

3. Increase understudy and swing coverage.

4. Institute regular testing.

5. Eliminate full company meet-and-greets and parties.

6. Hold only virtual production and design meetings.

7. Move to video submissions for auditions.

8. Stop sharing equipment (headsets, belt packs, mics, etc).

9. Institute new daily reports to include additional health notes.

10. Prepare to invest heavily in hand sanitizer and PPE. To read the full post, visit: www.broadwaysymposium.com/blog.

- Stories written by Stefanie Maiya Lehmann Summer 2020 x Southern Theatre x 21

GENEROSITY LEADS TO SUCCESS Advice from the 2020 SETC Design Keynotes b y J o n a t h o n Ta y l o r

Gregg Barnes designed this costume for a female ensemble member in the opening number of Something Rotten on Broadway.

“Casey Nicholaw (our esteemed director) wanted to populate the scene with characters that one might see in a Shakespearean comedy,” Barnes said. “I developed designs that might feel reminiscent of established characters from any number of those plays – such as Twelfth Night or The Taming of the Shrew.

This was designed for Angie Schworer, who is an amazing (and tall!)

Broadway regular – a wench, but with a nod to Phoebe from As You Like It.”

22 x Southern Theatre x Summer 2020

B

Before the world of theatre shut down in response to the COVID-19 pandemic, audiences at the 2020 SETC Convention in Louisville, KY, had the opportunity to hear from three distinguished designers, Gregg Barnes, Anna Louizos and Matt Hubbs, who also served as adjudicators for the annual Design Competition. What follows is their advice for young designers, gleaned from their design keynotes and subsequent interviews.

They also share how the pandemic has affected their lives and their livelihoods.

GREGG BARNES on Costume Design Support your community.

Gregg Barnes is a Tony Award-winning costume designer who has more than a dozen Broadway credits. In addition to his two Tony wins – for The Drowsy Chaperone in 2006 and Follies in 2012, both of which also garnered him Drama Desk Awards – Barnes has received six Tony nominations and has won or been nominated for five Outer Critics Circle Awards.

Barnes, who earned an MFA in design from New with Side Show in 1996. Most recently, he designed Mean Girls, which opened on Broadway in 2018. He said the process of building a career is a mystery to him, but did offer this deceptively simple advice: “I just got up every morning, I put my shoes on, and I went to work, [and] along the way miraculous and terrible things happened.” He shares the following advice for emerging designers:

1

Collaboration is key.

“The first thing I would say is: Be part of the

community, wherever you are based,” Barnes said.

Often a person’s spirit of generosity can get lost in the ambition and competition that accompany a successful career as a designer, but having that spirit can actually help ensure success, he noted. “Our mission is to be a good collaborator in a group,” he

Mark Mahan

York University (NYU), began his Broadway career

How has the COVID-19 pandemic affected your work?

When the shows and tours all closed down, it was devastating to all of us – the actors, the designers, the crews and, of course, the audiences. For me, it affected projects that are long-running (and the income from those productions) but also the present and future of things that I am currently working on.

I took a second and counted up the shows that I had touring and that were running internationally and came up with 11 productions that have either shuttered permanently or are on hiatus – and two Broadway shows that I designed were closed as well.

Gregg Barnes adjudicates a Design Competition entry at the 2020 SETC Convention.

said. “Without that, what are we? There’s no us.”

2

Reach out when you are moved.

“Another thing I think is really important

when you’re young is, if you see something that genuinely touches you or has meaning or inspires, to write a letter, a handwritten letter, just saying, ‘You touched me and inspired me’ without ‘I’d love to meet you. I think I need a job. Would you look at my portfolio?’ ” A handwritten letter makes an impact in the digital age, of course, but the act of taking time to personally thank another theatre artist can open up a fruitful dialogue with potentially career-spanning longevity – as Barnes learned himself. Just after

I have two things I am working on that are slated for next spring, so the enforced studio time has been a blessing in many ways for those projects. I was working on an off-Broadway show that was to have opened in May, so every day I walk around a couple of tutus and about 20 boxes of shoes to get to my drawing table! Looking forward, I am hopeful that this show (and all of the others) will be safely reopened once there is a handle on the virus and its serious health threat. If that takes a month, a year, whatever the reality, I stand strong with the shops and the assistants and the theatre community to do what is right. Of course, the economic struggle is real.

Summer 2020 x Southern Theatre x 23

Barnes’ Broadway debut with Side Show in 1996, he received a letter from producer Hal Prince praising one of his designs and offering to meet with Barnes. That meeting was clearly a formative experience for Barnes, an acknowledgement of his work that the designer never forgot.

3

Find what works and work it.

One of the most important aspects of rendering a design, Barnes said, is finding media and inspiration

that work for you. “You have to find a joyful place to draw and paint from,” Barnes said. “And if you hate [painting], collage. Do something different.” In creating renderings, Barnes uses a mix of traditional and

MORE INFO: setc.org/greggbarnes

nontraditional media, as well as new and old sketches. He works in a very large scale (16 ½" x 22"). He also sketches daily. Barnes says he doesn’t own a television: “I just – at night, I sketch.”

4

Don’t lose sight of the actor while creating the character.

How you handle the fitting matters. Barnes doesn’t believe that showering the actor with praise

throughout the fitting, as some designers do, is the best approach. “It works if the person feels amazing,” he said, but might breed distrust “if they don’t feel amazing and you’re over there shooting off your fireworks.”

Barnes tries to take a less effusive approach: “I put myself in the smallest place in the room until I’m invited by their reaction to join the discussion.” Barnes works to shift the performer’s focus from any perceived physical shortcomings to qualities that work well for the performer and the character. “You have to honor the actor’s life journey to get to the character that they’ve been playing,” he said.

5

Be dependable. Be present. Contribute.

For Barnes, attitude, focus and dependability are critical to getting (and keeping) work. Potential

employers “want to trust that you’re going to be able to solve a problem without having a meltdown or getting sick or disappearing,” he said. Other soft skills such as organization, timeliness, determination and flexibility are also important. “Your talent and your excellence are almost to be expected,” he said. “Those are things you develop because you’re an artist. The reason people hire you is that, plus, they want to spend time with you.”

ANNA LOUIZOS on Scenic Design Find a way to do what you love.

Scenic designer Anna Louizos started out as an actress, but soon found herself drawn to design.

Working with a group of fellow graduates, she embraced the duties of the scenic designer. “I would scrounge around the streets for furniture and dig in dumpsters for pieces that we could put together,” she said. “And that’s when I really started to think maybe I could do this.” She went on to earn an MFA in scenic design at NYU. Since then, she has been nominated for three Tony Awards, four Drama Desk Awards Mark Mahan

and three Lucille Lortel Awards. Her art direction

Anna Louizos studies an entry in the Design Competition at the 2020 SETC Convention.

1

for the Tony Awards earned her a nomination for an Emmy Award in 1993, 10 years before her first major Broadway credit, Avenue Q. She shares the following advice for emerging designers:

Take advantage of the opportunities that come your way.

“There were many times when I offered my services to designers where I knew I wasn’t getting

compensated for my time,” she said. “Or, they would say, ‘I only have this much money to pay you.’ ” Louizos took advantage of assistant opportunities for the experience and for the professional relationships. This strategy provided a basis for the long game – establishing herself first as an assistant with solid skills and later

24 x Southern Theatre x Summer 2020

as a connected and experienced designer. Louizos supported her work onstage through waitressing and eventually restaurant management. “For me, it took many, many years to really get paid to do what I love. In the meantime, I just worked jobs so that I could afford to do the thing I love.”

Perhaps because of her own somewhat

twisting career path, Louizos is keenly aware that there’s no one way to succeed – or to meet the challenges of designing a show. “If somebody tells you this is the only way the show can be designed, that’s not true,” she said. “There are many ways to

Anna Louizos

2

There’s no right way to design a set.

design, and there are many interpretations of the same thing.”

3

Never give up your seat in the audience.

I asked Louizos what the key was to creating or

finding an entry point into the world of professional design. She described tiers of work, saying that once a designer achieved a certain amount of success, this tended to breed more work at that level. Designers must put their work out there, she said, while also being aware of the work going on around them. “It’s more about, you know, just being noticed by others in the business,” she said, “and seeing the work of other fellow designers.” Developing an eye for what works is extremely important, too. “Sometimes you get to look at what they’ve done and think, ‘I would have done that differently,’ ” she said.

4

The business has changed over time.

Asked about any differences in the wake of

the #MeToo movement, Louizos said she has noticed a number of changes since she began her career.

“There’s a greater mix of female crew members in theatres, and you see more now – and more fellow designers,” she said. She also believes that men’s attitudes have changed “because they see more women in the business.”

5

Find value in your own work.

Emphasizing the importance of self-validation,

Louizos asks why the work that designers do for the stage is seen to hold less cultural and material value than artwork hanging in a museum. She asks, “Why is that more valuable than something someone has created for the stage that has the same kind of thought behind it and craftsmanship?” Louizos urges young theatre artists to be curators of their and others’ theatrical artwork. “We need to step forward and say, ‘This has value,’” she said. “We need to start speaking

How has the COVID-19 pandemic affected your work?

It seems like our time at the SETC Convention was from another era altogether, a more innocent time, too, when I think of all the interacting and human contact we had there.

Looking toward the future in the midst of this pandemic, I don’t see going back to any kind of normalcy anytime soon for live entertainment until people feel safe enough to congregate in large numbers. Performers and crew alike also have the same concerns.

Anna Louizos created this scenic design for the finale of West Side Story, presented at Tokyo’s 360 Stage Around in Japan in 2019. The design consisted of 10 individual set locations surrounding the audience, which rotated within the space to view each location as the show progressed.

Nearly every project I had lined up for this year has been either cancelled or postponed for at minimum six months, if not longer. So I’m choosing to look at this time as the vacation I NEVER could have planned. (Since I generally work on multiple projects which overlap, I’m lucky if I can squeeze a few weeks off a year.)

One thing is certain. Pandemic or not, creative people – artists, performers – all still have the impulse to create, which is why we are seeing an explosion of content online. People are finding ways to connect across the physical barriers in lieu of live performances. It won’t replace the live experience, but it may inspire some new options.

MORE INFO: annalouizos.com

I am hoping something positive will come out of this; it may prompt a reboot in the commercial theatre business and not-for-profit theatres. What kind of theatre will people want to see? Light-hearted comedy, escapist entertainment or more serious, socially significant drama? We don’t know, but it will come back and, hopefully, with a collective realization among all involved parties that we have to find a way to work together or this whole thing falls apart.

of our work as having value.”

Summer 2020 x Southern Theatre x 25

MATT HUBBS on Sound Design Tell the ‘Story-with-a-capital-S’ Matt Hubbs has a litany of Broadway, off-Broadway and regional credits. On Broadway, Hubbs designed Time and the Conways and Indecent. He describes his work as “curating an audience experience. The audience is experiencing the story, and we’re trying to curate that experience with deference to the Storywith-a-capital-S.” Hubbs learned his skills on the job, starting his career in Louisville in 2001 after receiving a BA in philosophy from Xavier University. March 2020 not only found Hubbs adjudicating the SETC

Mark Mahan

Design Competition, but also returning to his roots

Matt Hubbs listens to a sound design entry in SETC’s 2020 Design Competition.

1

at Actors Theatre of Louisville, where he was the sound designer for two shows planned for the 2020 Humana Festival of New American Plays. He shares the following advice for emerging designers:

Be open to the colleagues you meet along the way.

Young designers need to be open to the generosity of others as they make their way, Hubbs said,

emphasizing the importance of “being willing to go on the journey” and explore new experiences and collaborations. “I think I would never have met the people I’ve met and done the amazing, weird, beautiful things I have done had I not been open to listening to the collaborators around me and learning from them,” he said.

2

Have faith in yourself.

Hubbs stressed the importance of believing in your own talent. He attributes much of his success to

consciously developing a sense of self, “knowing that I could respond to [challenges] and having faith in myself”

MORE INFO: matthubbs.com

and making that self-affirmation a daily ritual, “part of tying my shoes every morning.”

3

Designers are storytellers.

The essence of making theatre, Hubbs said, is storytelling: “At the core of what we do as designers, not

just as sound designers but as designers, is that we are storytellers and storytelling facilitators.” Hubbs said he works hard “to center myself less in my work and center the work more in my work,” and noted that he always has his eye on the other half of the equation: the audience. “The reason we’re there is the story, and everything I’m doing should be to serve that story,” he said.

4

Embrace solid technical skills.

Hubbs cautions young designers against feeling as if they’re on a necessarily linear path, in which

tools and skills belong at certain levels during one’s career. “If you’re an artist, you’re an artist, and you can embrace that,” he said. “And when you’re designing, you’re a designer. But that doesn’t mean that you can’t then use your other skills to make money, because putting a meal on the table is not easy in this industry.”

Hubbs encourages design/tech students entering the field to “embrace all of the tools you have, whether that’s getting a fee for being a designer this month and then the next month, it’s stitching.”

5

Take care of yourself.

Lamenting the romanticizing of the tortured

artist, Hubbs emphasized the need for theatre makers to strike a balance between being committed artists and “being truly devoted to being a human being and making sure that you have a sustainable life.” n

26 x Southern Theatre x Summer 2020

Jonathon Taylor is an assistant professor at East Tennessee State University, where he teaches scenic and costume design, stage management and theatre design basics.

He is a member of the Southern Theatre Editorial Board.

How has the COVID-19 pandemic affected your work?

As a freelancer, I am used to having stretches of months with no work booked, but usually with some long-term projects on the horizon.

What’s different now is that I’m not sure when it will be safe for theatres to open to the public: I’m imagining not until a vaccine is available and in widespread use, which could be a year or more. And when it is safe for audiences to gather again, I wonder what theatres will still be around to serve those audiences. Being a freelance designer has never been a stable or certain career or lifestyle, but this is uncertainty on a whole new level.

Jonathan Roberts

We had just gotten through one preview of Where the Mountain Meets the Sea during the Humana Festival at Actors Theatre of Louisville when the impact of the pandemic hit.

It quickly went from “we canceled a preview” to “there will be no more public performances, but we’ll finish producing these plays and archive them” to “we really have to shut the building down.”

Nathan Hinton, Allan K. Washington and The Bengsons appear in Where the Mountain Meets the Sea by Jeff Augustin, part of the 2020 Humana Festival of New American Plays, with sound design by Matt Hubbs. The show, which had only one public performance before the festival was suspended March 12, was recorded and available for online streaming April 6-27, 2020.

• Hone your craft as an actor • Serious musical theatre “triple-threat” training in acting, voice and dance • Learn the business of the Biz • Sink your teeth into production design and management skills • Enjoy master classes and coaching taught by agents and industry professionals • Production and performance opportunities from day one

FOR MORE INFORMATION: Dean College — School of the Arts 99 Main Street, Franklin, MA 02038 1-877-TRY-DEAN • dean.edu/arts

Summer 2020 x Southern Theatre x 27

NO THEATRE BUILDING? NO PROBLEM Texas Tech Presents Entire Season in Found and Site-Specific Locations story compiled by Mark Charney

Andrea Bilkey

S

Sometimes loss creates opportunity. The School of Theatre and Dance at Texas Tech University discovered this to be true when we faced a semester without access to our theatres due to construction of a new theatre building. Most universities would look to rent other comparable spaces, but we decided to become adventuresome: We agreed to try a season – yep, a full year – of presenting theatre in site-specific and found spaces.

If you haven’t heard of either, productions are

season. So, with a few potential plays in mind, our

site-specific when they allow the content of the play

director of marketing, Cory Norman, and I headed

to determine the best site where it would realistically

out into the community to scout locations. Our “go-

occur: hence, the parking lot of the Lubbock Nissan

to” shows, the examples we used when persuading

dealership to tell the story of the musical Hands on a

everyone to consider a site-specific season, were Hands

Hardbody, or the local Equestrian Center to share the

on a Hardbody in the Nissan dealership and Elephant’s

circus-related events of Elephant’s Graveyard. With

Graveyard in the Texas Tech Equestrian Center. So we

found spaces, the site may not be exactly right for the

started there. But we also looked for other sites that

play’s setting, but the location still facilitates the play

just seemed interesting: an art museum, a church,

as well as a theatre might while posing fascinating

even a skating rink. The Christians? Xanadu? The idea

possibilities. We “found” this space; let’s use it to our

was to come back to the season selection committee

advantage.

with a variety of possible locations.

We knew we were facing huge challenges. Our

patrons had to relocate for most of our shows, and

help. Sometimes finances got in the way, but, by and

this meant different seating, sometimes outside under

large, every site was at least interested in partnering.

a tent or the stars, where we were dependent on the

When we visited with the Nissan dealership, the

weather (which “betrayed” us more often than not).

equestrian center, the National Ranching Heritage

Our design teams had to be even more inventive

Center, and yeah, even the owner of a personal

than normal, often transporting set pieces, lighting,

home, we were met with a city that welcomed us,

costumes, props and more under duress and fighting

not only for this season, but possibly in subsequent

with frigid temperatures. Our actors had to learn a

years.

new way of communicating, making sure that their

voices could be heard in a variety of spaces without

the season selection committee with more sites than

theatre acoustics, while directors had to rethink new

we could use. As is the case at most colleges and

ways of telling stories.

universities, we have to choose plays that represent

In this article, we detail the successes and

a wide variety of genres, periods and authors, while

the challenges of dedicating an entire season to

still paying attention to our BFAs, our MFAs, NAST

unconventional spaces. You will hear from our

requirements, our audience and diversity. Hands on

director of marketing, who discusses how he

a Hardbody and Elephant’s Graveyard were approved

persuaded patrons to venture miles away from the

quickly, but it took us months to fit the rest of the sites

spaces they had frequented for 50 years; from our

with the plays that best suited our mission.

head of design, who offers advice based on how

Marketing the season

best to harness the environment; from our technical

Our site-specific and found-space season gave

director, who patiently and expertly coordinated the

us an opportunity to create new relationships with

entire season; and from two directors, who share their

established businesses and organizations all over our

strategies for embracing an equestrian center and an

hometown of Lubbock, TX. Not only did we share

art gallery, respectively, to tell their narratives.

resources with our hosts, we also shared audiences.

Spoiler: We definitely recommend it.

Finding the spaces and choosing the plays

Writing of this story was coordinated by Mark Charney, with content contributed by the Texas Tech faculty and staff members quoted in each section.

Almost every potential site we visited offered to

At the end of our scouting session, we returned to

The locations we chose included:

Opposite page: Bloody Bloody Andrew Jackson, featuring Luke Weber as Andrew Jackson (front), was presented in the 6666 Barn at the National Ranching Heritage Center, a collection of buildings dating to the 1800s.

• Two spaces at the Louise Hopkins Underwood

The entire idea began with a commitment to

Center for the Arts (LHUCA): the Christine Devitt

the community. We figured that we had to have

Icehouse, a large, finished warehouse, for Of Beauty

permission from sites before we could dream up a

Queens and Childhood Dreams; and the Helen Jones Summer 2020 x Southern Theatre x 29

VIEW A GALLERY OF PHOTOS FROM THE SEASON HERE:

Gallery, a small art gallery inside the main LHUCA

popular community venues. Deeper collaboration

building, for Passing.

occurred when coordinating social media posts and

• The Charles Adams Studio Project’s 5&J Gallery,

cross-promoting in our newsletters and those of

an old city police garage converted into a modern

our partners. Because most performances sold out

art gallery, for DanceTech.

well in advance of opening – Bloody Bloody Andrew

• McGavock Nissan’s new car parking lot for Hands on a Hardbody.

• An indoor arena at Texas Tech’s Equestrian Center for Elephant’s Graveyard.

• The interior of the 6666 Barn at the National

ttusitespecificseason. myportfolio.com

Jackson sold out in late November and opened in early February – we didn’t advertise ticket discounts.

“As the season progressed, our patron list grew and shows sold out,” Norman said. “We finished at 90% capacity, and our subscription sales grew by 33%

Ranching Heritage Center, a collection of ranching

the following season.”

buildings from the late 18th to the early 20th

century, for Bloody Bloody Andrew Jackson.

partnerships that would last, but also had increased

At the end of our season, we not only had created

We had a natural overlap of patrons with

our audience and taught our students the value of

organizations like the 5&J Gallery and LHUCA.

flexibility and creative marketing.

Meanwhile, the Texas Tech Equestrian Center, the

Box office and ticketing

National Ranching Heritage Center and the Nissan

dealership – which had a combined email list of

box office. Most of our partners were able to offer

50,000 names – offered opportunities to reach new

us onsite WiFi. For venues without WiFi, our box

audiences: a marketer’s dream!

office staff created sales forms for each transaction.

To simplify the process, we made all of our shows

In developing the season’s artwork, Cory Norman,

We use TIX, an online ticketing software, in our

our director of marketing, saw an opportunity to

general admission.

highlight the partnerships and showcase the venues.

“The front-of-house (FOH) operations for each

”We gathered exterior shots of the buildings for

show varied by location,” said Norman. “Our team

each production, featuring, when possible, the signage

met at the venue the day after load-in, about a week

of each partner, and I built the posters to depict the

prior to opening, to strategize the front-of-house

exterior photograph of the location,” Norman said.

needs of the production.”

“In many cases, the site was immediately recognizable

without the address, which was provided near the

as usual, as parking was near the venue, walk paths

bottom-right corner of each poster.”

were well-lit, and entrances/exits were clearly

Norman’s idea for the season brochure was a

marked. Other venues, such as the equestrian

foldout map, much like the ones distributed at an

center – which was located on the outskirts of town

amusement park. Above the map was a “key” of sorts

and difficult to find in the dark – required greater

for each number, providing the title, author, dates,

preparation, multiple site visits prior to load-in, and

address and synopsis for each show. The opposite

an increased number of volunteers on performance

side of the brochure (shown on Page 31) displayed the

nights. On the whole, we allowed the site to determine

artwork for each show with titles, authors and dates.

the need, but it wasn’t rare to ask FOH staff to guide

Viewed together, the set of posters and the brochure

patrons in with lighted wands.

featured our connection to the community.

Technical challenges

When selling individual shows, we used a

combination of print marketing, social media,

you need to start by answering questions. The three

newsletter exchanges, and radio/TV advertising to

big ones that technical director Jared Roberts faced

highlight our partnerships. We relied on the School

were: One, where are the restrooms? Two, how much

of Theatre and Dance marketing team for the radio/

power is available? Three, what is the weather?

TV ads and print marketing. Our print marketing

was a 4x6 postcard with information/graphics on

needs, but also to provide the cast with dressing

both sides and highlighted our partner venue. The

rooms. In the equestrian center where Elephant’s

small size of the postcards made them easy to hand

Graveyard was performed, one restroom had to be

out at monthly First Friday Art Trail events and leave

shared between the cast and the audience, and it was

behind at the partner organizations, as well as other

far from the audience entrance.

30 x Southern Theatre x Summer 2020

In most locations, the FOH operations functioned

When you have eight shows in unfamiliar settings,

Restrooms needed not only to serve the audiences’

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FALL DANCE FESTIVAL LOCATION: Creative Movement Studio on the Texas Tech University campus.

HOW/WHY LOCATION CHOSEN: Student choreographers were playing with and investigating the environment around the studio building.

BIGGEST CHALLENGE: Audience traveled indoors and outdoors.

BIGGEST BENEFIT: The location replicated the journey of each piece.

ELEPHANT’S GRAVEYARD

By George Brant LOCATION: Texas Tech Equestrian Center.

HOW/WHY LOCATION CHOSEN: The arena closely resembled a circus environment.

BIGGEST CHALLENGE: Hard-tofind location outside of Lubbock, with electrical and patron services challenges.

BIGGEST BENEFIT: Replicated the inside of a circus tent, the play’s environment.

BLOODY BLOODY ANDREW JACKSON Book by Alex Timbers; music and lyrics by Michael Friedman LOCATION: National Ranching Heritage Center (NRHC).

HOW/WHY LOCATION CHOSEN: The NRHC, a collection of ranching buildings from the late 18th to the early 20th century, provided an appropriate setting.

BIGGEST CHALLENGE: The small interior of the 6666 Barn reduced both audience size and the playing space for the show.

– May

5, 2019

2, 2019

Schoo l

PASSING

By Dipika Guha LOCATION: Helen Jones Gallery, LHUCA. HOW/WHY LOCATION CHOSEN: The story’s setting at an artist’s public exhibition made the studio gallery an ideal site-specific venue to stage the play.

BIGGEST CHALLENGE: Sharing the space with a concurrent art exhibition meant we needed to strike the set after each performance.

BIGGEST BENEFIT: Appropriate setting for the play, with readily available power and patron services.

Texas Te

lty

Septem

Passin g

HANDS ON A HARDBODY Book by Doug Wright; lyrics by Amanda Green; music by Trey Anastasio and Amanda Green LOCATION: McGavock Nissan.

HOW/WHY LOCATION CHOSEN: Play is set at a Nissan dealership.

BIGGEST CHALLENGE: No accessible electrical power and exposure to inclement weather.

BIGGEST BENEFIT: Huge crosspromotional opportunity and ideal location for the play.

aphy by

1

By Dipik a Guha

OF BEAUTY QUEENS AND CHILDHOOD DREAMS

By Michelle Benson LOCATION: Christine DeVitt Icehouse, Louise Hopkins Underwood Center for the Arts (LHUCA).

HOW/WHY LOCATION CHOSEN: Open warehouse that closely resembled a sound stage.

BIGGEST CHALLENGE: Electrical and grid challenges forced the show into a proscenium configuration (not ideal).

BIGGEST BENEFIT: Known location for arts events with ample patron services.

Dance Tech gr

Choreo

of The atre & D a nce

FAST FACTS: THE SEASON

Tex a s T e ch U n i v e r sity

Right: The season brochure displayed the art for each show, including title, author and dates, with a fold-out map on the other side indicating locations of the events.

Of Bea u and C ty Queens hildho od Dre elle Be nson ams

By Mich

BIGGEST BENEFIT: The NRHC is a well-known and easily identifiable location for Lubbock audiences.

DANCETECH LOCATION: Charles Adams Studio Project, 5&J Gallery.

HOW/WHY LOCATION CHOSEN: The 5&J Gallery is located in an old city police garage, and the dance pieces dealt with divergent/opposing environments.

BIGGEST CHALLENGE: The audiences traveled indoors and outdoors, and there was very little power available at performance locations.

BIGGEST BENEFIT: The gallery is in a well-known downtown arts location, and the performance coincided with the monthly First Friday Arts Trail.

CANTERVILLE Conceived and directed by Randall Rapstine LOCATION: Donor’s home in nearby neighborhood.

HOW/WHY LOCATION CHOSEN: The house replicated the richness and the myriad indoor and outdoor spaces in Oscar Wilde’s story.

BIGGEST CHALLENGE: Displacing the owner from her residence during rehearsals and performances.

BIGGEST BENEFIT: Having many spaces for audiences to traverse to create their own narratives for the story.

Summer 2020 x Southern Theatre x 31

“Because the audience had to walk about 100 feet

placed the set (which included a real Nissan Frontier),

from the door to the stage, we used rope light to guide

120 audience seats, lighting, speakers, a six-piece

them through this massive space to their seats and the

band, and the control booth with stage management

restroom,” Roberts said.

and lighting and sound boards. The real challenge

For Hands on a Hardbody, we faced a couple of

came when we needed to power all of the equipment

unique issues. First, there was no venue – just a big

for the show. We solved this by renting a 550kw diesel

empty spot in a parking lot. And second, no electricity

generator. Using it in conjunction with our portable

was available. To solve the first issue, we rented a 40-

dimmers supplied more than enough power for the

foot by 60-foot gable frame tent. Inside this tent we

production.

Elephant’s Graveyard: Creating a Circus Aura in an Equestrian Center

by Linda Donahue, director

dealing with this surprise, I had concerns about the soft-packed dirt on the arena floor, good for horses

D

irecting Elephant’s Graveyard was a joy, a

and galloping and doing rope tricks, but challenging

successful site-specific enterprise. What a

for the actors vocally due to the dust in the air. To

challenge, but totally worth the obstacles!

help alleviate our concerns, the equestrian center

We presented the play at the Texas Tech Eques-

agreed to use machines to pack the dirt, which helped

trian Center, the 100-acre home of our university’s

enormously with dust. Another plus: The smaller

equestrian team. It includes a 500-seat indoor arena,

location did not require the use of microphones.

two warm-up arenas and four more large event are-

We found adaptability to be key. We used horse

nas.

stalls as dressing rooms. There was no heat, so we used space heaters to keep the actors warm.

The location was hard to find, so our design team placed signs at the various unlighted rural street intersections, indicating the location of the equestrian center. We used twinkling holiday lights to guide the audience from the parking lot to the arena. Our professionals also covered a number of non-ADA potholes to make access easier for our audience.

The arena space offered possibilities for strong directorial choices. Because Elephant’s Graveyard replicates a traveling circus, I wanted to stage the

Andrea Bilkey

show in the round, like a three-ring circus, which fostered a presentational style. We dedicated ourselves to exaggerated bold movements and blocking inspired by the text and physical atmosphere of the location.

Elephant’s Graveyard was performed at the Texas Tech Equestrian Center in the round like a circus, complete with peanuts and popcorn.

Challenges included dust from a soft-packed dirt floor, a lack of dressing rooms, no heat and a location that was hard to find.

It didn’t really sound like a great space for a play.

The play requires an elephant, but obviously not

However, after visiting the huge arena, we continued

a “real” animal. Our decision was to show Mary, the

our commitment to stage George Brant’s circus show

elephant, in a symbolic manner by using electric

Elephant’s Graveyard in the center of the space,

lanterns to represent her elephant essence and

with seating for 120, replicating a Barnum & Bailey

stage presence. This unique convention worked

ambience, with popcorn and peanuts sold from a food

beautifully, as evidenced by the gasps we heard from

stand. The design and production folks were on board

the audience when Mary was disturbingly hanged.

for the accommodations we needed.

About 10 days before our performance, the

and production team for this unique experience in an

equestrian center moved us from the large arena

unusual location. They loved coming into a “circus,”

to a smaller practice arena because the hosts had

and left feeling as if they had experienced a true

booked a rodeo during our play dates. In addition to

three-ring circus event.

32 x Southern Theatre x Summer 2020

The upshot: Our patrons congratulated our students

“The downside was that the generator created a

heat the space, “so we pulled our stock of blankets

lot of noise that was disrupting to the show,” Roberts

from props to keep our audiences warm,” Roberts

said. “Fortunately, we were able to reduce the noise

said. A student organization sold warmers and hot

to an almost inaudible rumble by using the school’s

chocolate in the concession stand and offered towels

24-foot box trailer as a buffer between the tent and

as seat warmers. For Hands on a Hardbody, the cast

the generator.”

dressed in the break room of the dealership and

The first rule of weather is to plan for worst-

waited as long as possible before entering the tent.

case scenarios. With both Hands on a Hardbody and

Elephant’s Graveyard, there was no way to efficiently

up to the design team to optimize what was available.

Once we answered each of those questions, it was

Passing: Staging a Play Set at an Art Exhibition in an Actual Gallery

by Jesse Jou, director

for political power and white supremacy achieved a disturbing currency for everyone on the team.

W

e presented Passing by Dipika Guha in

In the gallery, I staged the show in an “alley” or

the Helen DeVitt Jones Studio Gallery at

“tennis court” configuration, with the audience on

the Louise Hopkins Underwood Center for the

either side of the action, because stage configurations

Arts (LHUCA). The play tells the story of Matilda,

that face audience members toward each other can

a successful indigenous artist who reflects on her

create closeness and help implicate them in the story.

captivity as the ward of an abusive couple during a

This configuration had other artistic advantages. The

national reconciliation day featuring her paintings.

alley freed the student scenic designer from designing

The story’s setting at an artist’s public exhibition

walls to contain a set; thus, he focused on the holistic

made the studio gallery an ideal site-specific venue to stage the play.

The site had several advantages for performance:

Power was readily available, patron services like restrooms and parking were convenient and comfortable, and the staff of LHUCA was collegial and excited to have us there. The layout of the building allowed us to begin the show in the lobby, with everyone gathered to hear the first speech of the play in front of a fake gallery wall created to match the building. Then patrons moved into the gallery Andrea Bilkey

proper, transformed by student and faculty designers to resemble an exhibit, with museum labels next to set pieces, props and even the stage manager’s booth.

The major logistical challenge was sharing the space with a concurrent art exhibition. LHUCA’s curator was clear that the design could not obscure

composition of pieces with the existing architecture.

or block access to the other art on display. We

Finally, the alley challenged students to perform in a

harmonized the design with those pieces, since they

configuration unlike the proscenium and thrust. Acting

would, by default, become a part of the world we were

in 360 degrees, playing diagonals, and throwing

creating. A large ceiling piece remained in place, but

attention to both sides of the audience were repeated

the set, technical booths, seating and risers were set

precepts in the rehearsal room through opening night.

up before and struck after every performance.

Our production of Passing coincided with the

between Texas Tech and LHUCA: We committed

revelation that the Trump Administration was ramping

to being good guests, and they reciprocated with

up child separation as a supposed deterrent for

flexibility and accommodation. In the end, the intimacy

migration across the southern U.S. border. Suddenly,

of the space and its function as a gallery worked

the show’s depiction of the horrors inflicted on children

beautifully with the themes of the play.

The success of the collaboration relied on goodwill

Passing began in the lobby of the arts center (above), where a fake gallery wall had been created, and then moved into an actual gallery, where it shared space with the center’s current art exhibition.

Summer 2020 x Southern Theatre x 33

34 x Southern Theatre x Summer 2020

Design on the road

couple of trusses, with a few lights shining

Designing for multiple off-site venues

on a central ring, which made it easy to

in one season is a challenge. Our program

imagine being a small-town kid attending

centers around students having major roles

their first traveling circus,” Bilkey said.

in design and technology, which created a

Placing Passing in an art gallery, where

unique learning opportunity, noted Andrea

patrons mingled pre-show in front of an

Bilkey, head of design.

existing exhibit that blended with the

“Not only were we designing the

show’s exhibit, created a way for the

production, oftentimes we were designing

show to naturally signal its start without

the whole environment: starting with the

dramatic lighting.

audience’s approach, moving them through

Two of the venues had skylights, and

the entry, and then on to the event itself,”

while this diminished the stage lighting for

Bilkey said.

matinee performances, it also allowed for

exits to be seen during potential blackouts

To begin, we asked the designers many

guiding questions: How does the audience

without detracting from the impact.

arrive? Is there appropriate accessibility and

“Very few of the spaces had what we

lighting in the parking area, the entrance to

would call houselights for egress, but

the space, and access to the restrooms? Does

many had ambient or focused lighting that

the audience experience anything on the

we used for pre-show, intermission and

approach to the space? Does the venue have

post-show environments, which helped

any controllable lighting for house lights

to reduce the equipment brought in for

or an audio system? How is the natural

lighting,” Bilkey said.

ambient sound? Are there skylights that

may cast unwanted light into the space?

of design challenges: The show took place

What is the opening of the largest door into

both indoors and outdoors. The indoor

the space/what are our clearances? Can

portion, which began the evening, featured

our setup remain in place, or do we need

a large glass wall while the dancers also

to strike it every evening? Is there lockable

performed outdoors over a mixture of dirt,

storage for our equipment? Are drawings

gravel and paving. The site had minimal

of the space available? What, if anything,

power, which needed to be shared among

already exists in the space that might be

audio, lighting, one small central dressing

incorporated into the designs? Then, of

area and restrooms. The audience moved

course, we explored how the answers

throughout the evening to various locations

DanceTech was a production with a blend

informed each design.

around the gallery space.

“As you might imagine, this list of

questions was overwhelming,” Bilkey

centralize lighting and sound, or do we

said. “And sometimes the answers shifted

have one setup for indoors and one for

during the process. Remaining calm and

outdoors?” Bilkey said.

rolling with it was part of the fun.”

Each team performed site visits,

the theatre doesn’t own outdoor-rated

sometimes multiple ones, to find answers.

lighting equipment. The interior portion

For the most part, each of the new venues

had a few truss towers and a handful of

had access to an area for patron parking;

LED fixtures. Lighting and sound were

ingress lighting was more varied. In some

run traditionally. Moving outside, sound

cases, a simple addition was the answer:

was run in a similar fashion, with the booth

some rope light, fairy lights or ushers with

under a central shed area, surrounded

flashlights. The designers had fun figuring

by speakers aiming out into essentially a

out the audience’s approach.

circular performance area. The audience

“For Elephant’s Graveyard, the seating

moved into this space by following rope

platforms were in silhouette against a

light, and the exterior spaces were lit by

“One of the first questions was, do we

The latter made the most sense because

Andrea Bilkey

Hands on a Hardbody was staged on a lot at a Nissan dealership in a large gable frame tent, with a generator providing power.

streetlights, battery-operated lights in

During their season working off-site,

costumes, and rechargeable LED work

students and staff learned new processes

lights, sometimes with gel added, which

and techniques that have carried into the

could be transported from piece to piece

school’s traditional spaces, Roberts said.

by crew members as the audience walked.

“In one piece, the performers even used

he said. “If you lock yourself into one way

their cellular phones to illuminate their

of accomplishing a task, you will never be

faces,” Bilkey said.

able to embrace the environment.”

Using the shop truck and one of

A risk with benefits

the choreographer ’s vehicles, the team

achieved a traditional shin-mid-height

of site-specific and found spaces aligned

sidelight with nontraditional sources.

us. To overcome the problems inherent

“How they caught the dancers, the

in unconventional spaces, our students,

costumes and the dust stirred up by the

faculty and staff began to problem-solve

movement made it raw, gritty, intense and

together. The more risks we took, the more

exciting,” Bilkey said. “Which pretty much

we learned to share stories in a myriad of

summarizes a season off-site.”

ways.

Load-in and load-out

Embracing the opportunity to make

Each show had to be installed in one

theatre using spaces meant for other

day, so the goal was to simplify the process.

things ultimately allowed us to reach new

Creating a system was key to the successful

audiences and learn more about theatre and

setup and take-down of each show.

dance. It was a challenge, sure, but the type

For example, as technical director

our School of Theatre and Dance enjoys,

Roberts planned how to load in the set, he

the type we need if we are to continue to

wanted the crew to use only two tools: “We

train our students to be adaptable while

used 3/8-inch bolts for every connection, so

embracing our community. And while

the crew used a ratchet with a socket and a

our new building may not force us to

combination wrench. Our electricians used

embrace site-specific and found spaces for

only an open-end adjustable wrench.” This

every show, we plan to continue this new

allowed the crew to focus on the work, and

tradition going forward. n

not what tool they needed for each task.

After the run, strike was, at most, four

hours. We were able to fit everything – scenery, props, lighting, sound, costumes, tools and equipment – into one 24-foot box trailer.

“We learned to keep asking questions,”

In spite of all the obstacles, our season

Mark Charney is director of the School of Theatre and Dance at Texas Tech University in Lubbock, TX. He is also the creator of WildWind Performance Lab and the Marfa Intensive.

Summer 2020 x Southern Theatre x 35

New Plays to Make Us Laugh

by Zackary Ross

W

hen I started planning this column a short time after the coronavirus shut down theatres, my first thought was to include plays that somehow addressed the life-altering realities of COVID-19. I discovered a lot of wonderful plays that spoke to themes of

communities banding together in times of tragedy or moving on after health scares, and even one brilliant comedy about the plague, but when I put these plays next to each other, they just felt … too much. While each of these texts was worth a read, now just felt like the wrong time. I know theatre will come back, that we will all once again gather and marvel at live performance, but when we do, I believe that comedy will be the order of the day. Laughter heals the soul and, after this crisis, we all will need a good dose of it. Here, I offer a handful of comedies published recently by major play publishers. Following each description, you’ll find information about the cast breakdown and a referral to the publisher who holds the rights.

The Beverly Hillbillies, The Musical, book

audience on a spiraling romp into the dark

just a statistic and as part of a hashtag

by Amanda Rogers; music and lyrics by

underbelly of illegal gambling.

movement. Goodnight, Tyler is that rare play

Gregg Opelka; based on the television

Cast breakdown: 3 females; 7 males

that successfully combines sociopolitical

show by Paul Henning

Publisher: Dramatists Play Service, Inc.

tragedy, acerbic satire and heartfelt

Based on the classic television series of the

www.dramatists.com

comedy.

1960s, this inventive musical follows the

Cast breakdown: 3 females; 3 males

Clampetts as they find themselves in the

Native Gardens, by Karen Zacarías

Publisher: Concord Theatricals

unfamiliar world of big-city living after

Pablo and Tania are living the American

www.concordtheatricals.com

patriarch Jed strikes it rich and moves his

dream when they buy their dream home.

boisterous, countrified clan away from the

But a disagreement with the neighbors

Talent Show Fail, by Ian McWethy and

Ozarks to Beverly Hills, CA. Ridiculous

over a fence line threatens their little patch

Carrie McWethy (McCrossen)

exploits and clever lyrics imbue this

of bliss, and the resulting war is sure to set

What is a talent show without the talent?

musical with a great deal of charm.

the audience rolling with laughter.

This is the problem facing the citizens of

Cast breakdown: 6 females; 5 males

Cast breakdown: 2 females; 2 males

Holly Springs, who are planning a talent

Publisher: Dramatic Publishing

Publisher: Samuel French, Inc.

show to raise money to fix the local roads.

www.dramaticpublishing.com

www.concordtheatricals.com

The show must go on in this short and

The Nap, by Richard Bean

Goodnight, Tyler, by B. J. Tindal

only people can get their act together.

Principles aren’t a natural fit in the

Tyler Evans returns to haunt his friends

Cast breakdown: 5 females; 5 males

mysterious world of underground

and relatives as they attempt to make

Publisher: Playscripts, Inc.

gambling, and Dylan Spokes is nothing

sense of the Black man’s untimely death

www.playscripts.com

if not principled. When he finds himself

at the hands of a white police officer. He’s

suddenly on the rise in a snooker

visible only to his white, gay roommate

tournament, Dylan must decide how far

Davis, who seems undaunted by Tyler’s

he is willing to compromise himself for the

sudden return from the afterlife. As

win. Full of colorful characters and comic

Tyler watches over those closest to him,

misunderstandings, the play takes the

he struggles to see himself as more than

sweet one-act where stardom awaits, if

36 x Southern Theatre x Summer 2020

Zackary Ross, an assistant professor of theatre at Bellarmine University in Louisville, KY, also works regularly as a director and a dramaturg.

Southeastern Theatre Conference 1175 Revolution Mill Drive, Studio 14 Greensboro, NC 27405 www.setc.org

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