Southern Theatre, Vol. 62, Issue 2

Volume LXII Number 2 • Spring-Summer 2021 • $8.00

SETC 2021 Rosemary Harris ‘A True National Treasure’

Ali Stroker

‘Anything Is Possible’

Idris Goodwin

‘Man, the Man Is Non-Stop’

Design Keynotes

Hopes for a Return to Theatre

SKYDECK

™

TENSION WIRE GRID SYSTEM

Providing quick access to overhead equipment, SkyDeck™ is the most efficient and flexible tension wire grid on the market. From intimate black box theaters to giant arenas, SkyDeck™ is the solution you’ve been looking for.

Safety Above All Else.

SAFETY 2” weave maintains a point load of 300 pounds per square foot.

W W W. S K Y D E C K G R I D . C O M

EASY ACCESS All of your lighting and electrical grid can be accessed without the need to harness.

FLEXIBILITY Easily adjust lighting while scenery and load in are going on below.

LEAD THE WAY THEATRE & ACTING

B.A. & M.A. IN THEATRE BFA & MFA IN ACTING

STATE-OF-THE-ART PERFORMING ARTS CENTER

Train professionally and join our impressive list of award-winning alumni who are passionately pursuing careers in acting, directing and producing. Don’t delay, Fall 2021 registration ends August 6! regent.edu/learnmore | 888.777.7729

ON CAMPUS | ONLINE ACCREDITED

UNIVERSITY OF WEST GEORGIA

THEATRE COMPANY DARING, DYNAMIC, DEFIANT: YOUR WORLD IS OUR STAGE.

2020 2021

SEASON

P L A Y W E S T. NAST Accredited Bachelor of Arts Degree in Theatre BFA in Theatre, Acting Concentration BFA in Theatre, Design/Technology Concentration Musical Theatre Certificate

• Access to professional theatre artists • Access to industry standard software in theatrical sound, lighting, costume, and scenic design • Performance and design opportunities starting in freshman year • Design lab, lighting lab, sound recording studio, large scene shop, and new costume shop • Internship programs (local, national, international)

FOR MORE INFORMATION 678-839-4700 or theatre@westga.edu

WESTGA.EDU/THEATRE

• Practical experience in all facets of theatrical production • Student scripts from playwriting course are produced in regular season • Student-directed and designed theatre productions • Conference participation and travel opportunities • Strong alumni contacts

MAKE UWG YOUR DESTINATION FOR THEATRE.

Joan Marcus/Courtesy of Lincoln Center Theater

Departments 4 Hot off the Press

Plays About Home

by Zackary Ross

6 Outside the Box: Design/Tech Solutions

Contents

Volume LXII Number 2 l Spring-Summer 2021 l Southern Theatre – Quarterly Magazine of the Southeastern Theatre Conference

Features

8 Rosemary Harris

‘A True National Treasure’

by Keith T. Martin

16 Ali Stroker

‘Anything

Is Possible’

by Tom Alsip

Digital Costume Design: Increase Productivity with Procreate

26 Idris Goodwin

by Lauren T. Roark and Eric Abele

48 Words, Words, Words …

32 The Beat Goes On

Review of Directing Professionally:

A Practical Guide to Developing a Successful Career in Today’s Theatre,

by Kent Thompson review by Jenna Tamisiea Elser

Special Section 24 SETC Commercial Partners Directory

Explore this resource guide designed to help SETC members meet their theatrical and operational needs.

‘Man, the Man Is Non-Stop’

by Tiffany Dupont Novak

Using Hip-Hop and Breakbeat Poetry to Boost Creativity and Inclusivity in the Classroom

by H. Jonathan Kitt

38 Hopes and Advice for a Return to Theatre

From the 2021 Design Keynotes

by Jonathon Taylor

46 2021 SETC Young Scholars Award Winners Abstracts by Alexandra LaGrand and Carolyn Etzel

47 Michael Howley Honored with SETC’s 2021 Suzanne M. Davis Memorial Award Presentation by Alan Litsey

Cover Jewelle Blackman, Eva Noblezada, Kay Trinidad and Yvette Gonzalez-Nacer (front, left to right) and André De Shields (back) appear on Broadway in Hadestown. The show won eight Tony Awards in 2019, including Tony Awards for two of SETC’s design keynotes at the 2021 SETC Virtual Convention: scene designer Rachel Hauck and sound designer Jessica Paz. (See story on designers, Page 38.) (Photo by Matthew Murphy; Photoshop work by Garland Gooden; cover design by Deanna Thompson) Spring-Summer 2021 x Southern Theatre x 3

Plays About Home Our regular column on plays that have recently become available for licensing focuses in this issue on works that examine the place we call home.

by Zackary Ross

B

efore the start of the pandemic, we spent a large portion of our lives outside the home: at work, in restaurants, and in various public spaces like malls, theatres and coffee shops. With many people living in various degrees of lockdown over the last year, much of

life has retreated indoors, inside the home. Home can be a place of comfort, a shelter from the chaos of the world, or it can feel like a prison, an oppressive cage we’ve been forced into. What follows is a collection of plays that explore the concept of home and the associated emotions it evokes. To develop the following list of suggested titles, we surveyed major play publishers’ offerings during recent months. Following each description, you’ll find information about the cast breakdown and a referral to the publisher who holds the rights.

Alabaster, by Audrey Cefaly

Objects in the Mirror, by Charles Smith

and relationships are put to the test in

A devastating tornado took June’s family

An incidence of hate speech on a local bus

this comedic, millennial, coming-of-age

from her. Three years later, she is still

forces Shedrick Yarkpai to confront his past

play.

scared and her trauma has left her isolated

after his friend Rob Moser, a white attorney,

Cast breakdown: 2 women (any ethnicity);

on what remains of her farm. Then Alice,

advises him to file a complaint against the

3 men (any ethnicity)

a prestigious photographer, arrives to

bus driver. When Shedrick learns he would

Publisher: Concord Theatricals

include June in a photo series she is

need to put his name on the complaint, he

www.concordtheatricals.com

shooting about women with scars. This

reveals to Rob that he is a Liberian refugee

poignant all-female drama explores the

who was forced to assume the identity of

Wendy Unwritten, by Kat Ramsburg

intimacy that exists between strangers

the dead son of the man who helped save

After the death of her husband, Wendy – as

with a shared pain.

his life. After more than a decade, Shedrick

in Peter’s friend Wendy – looks back at the

Cast breakdown: 4 women (any ethnicity)

is torn between wanting to reclaim his

quiet life she has spent taking care of her

Publisher: Concord Theatricals

identity and his loyalty to his savior.

family and keeping house. Memories of

www.concordtheatricals.com

Cast breakdown: 1 woman (Black/African

her youth, filled with epic sword fights and

descent); 4 men (3 Black/African descent,

wild adventures, inspire her to leave the

Boredom, Fear and Wine, by Craig Pospisil

1 White/European descent)

quaint home she has grown accustomed to

Harper’s fears about the global pandemic

Publisher: Concord Theatricals

in search of the life she once thought she

have reached a boiling point. Stuck at home

www.concordtheatricals.com

was destined for.

in a monotonous loop, terrified about the

Cast breakdown: 2 women (any ethnicity);

devastating realities of the disease, Harper

Tiny Houses, by Chelsea Marcantel

3 men (any ethnicity)

seeks support through online therapy with

Cath and Bohdi want to embrace the

Publisher: Broadway Play Publishing, Inc.

Jess, but their session quickly veers into

simplicity and minimalism that comes

www.broadwayplaypub.com n

the farcical in this one-act inspired by our

with tiny house living. They decide to

current moment.

build their 200-square-foot dream house

Cast breakdown: 2, not specified (any

in rural Oregon with the help of Bohdi’s

ethnicity)

college roommate Ollie, his high school

Publisher: Dramatists Play Service, Inc.

sweetheart Jevne, and a construction

www.dramatists.com

consultant named Jeremiah. But as the walls of the structure go up, tensions mount

4 x Southern Theatre x Spring-Summer 2021

Zackary Ross (he/him) is an associate professor of theatre and arts administration program director at Bellarmine University in Louisville, KY. He is a member of the Southern Theatre Editorial Board.

Theatre s o u t h e r n

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 5710 W. Gate City Blvd., Suite K, Box 186 Greensboro, NC 27407 336-265-6148 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, University of New Hampshire Keith Arthur Bolden, Spelman College (GA) 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) Sarah McCarroll, Georgia Southern University Tiffany Dupont Novak, Lexington Children’s Theatre (KY) Zackary Ross, Bellarmine University (KY) Jonathon Taylor, East Tennessee State University Chalethia Williams, Miles College (AL) PROOFREADERS

Catherine Clifton, Freelance Copy Editor (NC) Denise Halbach, Independent Theatre Artist (MS) Philip G. Hill, Furman University (SC) PRINTING

Salem One, Inc., Winston-Salem, 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 by the Southeastern Theatre Conference, Inc., a nonprofit organization, for its membership and others interested in theatre. Copyright © 2021 by Southeastern Theatre Conference, Inc., 5710 W. Gate City Blvd., Suite K, Box 186, Greensboro, NC 27407. All rights reserved. Reproduction in whole or part without permission is prohibited.

Subscription rates: $24.50 per year, U.S.; $30.50 per year, Canada; $188 per year, International.

Single copies: $8, plus shipping.

From the SETC President

W

While this last year hasn’t looked like what we thought it would – “Time makes fools of us all” – theatre has continued to push the boundaries, theatre artists have learned new technologies, and SETC presented an entirely virtual convention.

In this issue of Southern Theatre, we share inspiring messages from our stellar lineup of 2021 keynotes – artists who prevail over the unknowable with ingenuity.

We start with the amazing Rosemary Harris, the 93-year-old star of stage and screen who was SETC’s 2021 Distinguished Career Award winner. Keith Martin shares highlights from the more than 70-year career of this leading lady who has been described as “a true national treasure.” Harris, who appeared most recently on Broadway in 2019, also offers advice for artists beginning their careers.

More inspiration can be found in Tom Alsip’s story about Ali Stroker, the first actress who uses a wheelchair to receive a Tony Award. Stroker is a trailblazer with many “firsts” to her credit who hopes her success will open doors for others. She discusses how her work on stage can be liberating for both her and her audiences.

Idris Goodwin – playwright, breakbeat poet, director, and more – brought a palpable energy to the convention, serving both as a keynote and as the Teachers Institute presenter. Tiffany Dupont Novak provides a look at Goodwin’s acclaimed work across multiple mediums and the six core principles that he detailed in his keynote. H. Jonathan Kitt details Goodwin’s interactive exercises at the Teachers Institute, where he encouraged participants to use techniques culled from hip-hop and breakbeat poetry to make their classrooms more inclusive.

We were honored to have four distinguished designers adjudicate the annual Design Competition in a live, virtual format: Dede Ayite, Alan C. Edwards, Rachel Hauck, and Jessica Paz. Jonathon Taylor outlines the hopes and advice they shared for the coming return to theatre in their keynote addresses, interviews, and a live, virtual Q&A at the convention.

We also celebrate the 2021 winner of the Suzanne M. Davis Memorial Award, Michael Howley. In our “Hot off the Press” column, we explore new plays about a place where most of us have spent more time recently – home. And we outline an innovative way to design costumes digitally in the “Outside the Box” column.

Finally, we share abstracts from the winners of SETC’s Young Scholars Award.

Let this issue give you inspiration as we continue to make theatre during a pandemic. My hope is that we don’t “return to normal,” but rather we take what we have learned in the last year to make theatre better – more accessible, more inclusive, more equitable, and more empathetic.

Maegan McNerney Azar (she/her)*, SETC President * What’s This?

In my signature on this page and in stories throughout this issue, you will see something new: the pronouns used by authors and those quoted in our stories. This is one of many steps SETC is taking toward greater inclusivity. Learn more about pronoun usage today at mypronouns.org. If you have questions or comments, feel free to email me at maegan@setc.org.

Spring-Summer 2021 x Southern Theatre x 5

DESIGN/ TECH SOLUTIONS

Digital Costume Design Increase Productivity with Procreate

b y L a u r e n T. R o a r k

Create your sketch

and Eric Abele

Start with a drawing. You can create

I

Marlayna Demond/University of Maryland Baltimore County

outside

the box

your own using Procreate or you can work n Spring 2018, we found ourselves

from a scanned pencil drawing by using

swamped with overlapping design dead-

“Blend Modes.” (The “Multiply” mode

lines. One of the many renderings Eric had

will delete the white paper from your

to create was for an adaptation of Turn of the

sketch. Consult the Procreate handbook

Screw by Henry James for the University of

for details.) Whichever method is used, we

Maryland Baltimore County Department

start by rendering figures twice in Procre-

of Theatre. The project called for textural

ate, once in pencil and once in ink. This

and moody sketches on a quick deadline.

gives the iPad sketch a “hand-drawn” feel.

Thankfully, we had both been practicing

With the drawing layer set to “Reference”

digital rendering to create high-quality

(see Step 1), you will be able to fill in the

sketches on the go. Even under high pres-

areas within the sketch with color, keeping

sure to produce, Eric was able to easily

the line drawing on top. This allows you to

render the designs for Turn of the Screw

recolor and make changes while keeping

in less than a week. The end result made

the sketch’s lines undisturbed. Anyone

it clear to us that digital rendering is an

who has had a blob of watercolor ruin their

essential technique.

pencil sketch will appreciate this feature.

The transition to digital art can be

Use ‘ColorDrop’ to fill in sections

overwhelming for many designers, even

Create a new layer underneath your

gesture. Instead of releasing when you

with the advancement of pressure-sensitive

sketch and name the layer appropriately

arrive at your section, hold the stylus to the

tablets and styluses that mimic tradi-

for the area. Ensure that your area has solid

canvas, maintaining contact. Moving your

tional sketching. One of the best apps we

unbroken lines that connect completely,

stylus to the right and left will automati-

have found to help with this transition

creating an enclosed shape. We suggest you

cally engage the “ColorDrop Threshold.”

is Procreate (currently available only for

divide your drawing into multiple sections

You will see the program respond by

iPad or iPhone). Using the app’s “Clipping

and fill them on separate layers. In our

filling the intended section. Small gaps

Mask” function, you can create spectacular

example, the vest is broken into four sections:

that remain should be painted in with the

sketches and add realistic textures to your

Vest Left Front, Vest Right Front, Vest Right

technical pen.

renderings that more clearly communicate

Lapel and Vest Left Lapel (see Step 2).

Importing your texture

your ideas.

The “ColorDrop Tool” is activated by a

Once your shape is filled, it’s time to

Getting started with Procreate

three-part movement or gesture. With the

import the texture for your final rendering.

To work in Procreate, you need to under-

correct layer selected, press your stylus to

This texture can be any high-quality image,

stand two major concepts. First, drawing

the “Color” button in the top right corner

including patterns, fabrics or photos that

areas must have solid boundaries. This

of your screen, then quickly drag the stylus

have been saved to your iPhoto Library.

means closed shapes created with solid

to the section you wish to fill and release

Open the “Actions” menu (wrench icon),

lines. (To create these, we recommend the

it when the shape fills with color. If your

select “Import a Photo” and choose the

technical pen at full opacity). Second, you

entire screen fills with color, select “Undo“

image in your iPhoto Library. After you

must understand how layers function. If

and review the previous steps.

import your texture, it will appear as a new

working in layers is new to you, look for the

The “ColorDrop Threshold” feature

layer titled “Inserted Image.”

explanation in the Procreate handbook and

helps overcome broken lines or undefined

The “Transform” menu (arrow icon)

online tutorials. When you render digitally,

shapes. This tool is especially useful to

will automatically activate, allowing you

your work exists on separate layers under

costume designers with a loose or gestural

to adjust texture. The goal in this step is

the line drawing, keeping your rendering

style. The “ColorDrop Threshold” tool is

to completely cover the fill created in your

lines crisp and visible at all times.

activated at the end of the “ColorDrop”

“ColorDrop” layer. At this point, you can

6 x Southern Theatre x Spring-Summer 2021

Costumes for Turn of the Screw at the University of Maryland Baltimore County were created from sketches made with Procreate.

USING ‘CLIPPING MASK’

Step 1: Create a line drawing that is a combined layer of your pencil and ink sketch. Set this layer as “Reference Layer.”

Step 2: Fill each area on a separate layer using “ColorDrop.”

Choose different colors for each area.

Step 3: Insert a photo of the texture and transform as needed. Once imported and placed, click on the “Inserted Image” layer and choose “Clipping Mask.”

Step 4: Turn on “Alpha Lock” to add highlight and shadow individually to each layer.

Repeat these steps until you have completed the sketch.

adjust the position and size of the texture.

with no additional cleanup, Procreate has

design on the iPad. We were able to easily

Selecting the “Warp” feature from the

another helpful feature. On the layer you

manage the drawing, painting, format-

“Transformation” toolbar helps you create

wish to enhance, select the layer, open the

ting, scanning and submission of realistic

rounded or three-dimensional surfaces.

left-hand side menu and select “Alpha

costume sketches via one highly portable

Activate ‘Clipping Mask’ and finish

Lock.” When “Alpha Lock” is on, the brush

device. Although there is a learning curve

When you use “Clipping Mask,” layers

strokes and shading that you add will be

to the technology, you, too, will eventu-

must be in a specific order: the design

confined to the bordered area and will not

ally gain speed, fluidity and confidence.

drawing on top, the texture image under

spill into the negative space (see Step 4).

Be patient and give yourself time to tinker

that, and the bounded area on the bottom.

Bottom line

and explore. Soon you will be creating

Once they are in the correct order, select

We found a quick solution to our work-

effective and informative digital sketches

your image texture, click to open the left-

load when we made the jump to digital

that keep you producing at the speed of the

hand menu options, and select “Clipping Mask.” Your texture image should trim to the shape of the bounded area underneath it (see Step 3). This will combine the texture image layer with the “ColorDrop” layer.

When complete, this single layer containing the texture is perfectly sized to the bounded area and located beneath your design sketch.

Repeat this process of fill, import, “Clip-

ping Mask” and merge until you have filled all of your bounded areas with textures. If you later decide to alter the texture image, insert a new image, reorder your layers (if needed), and re-select “Clipping Mask.”

Once you have your final texture, you can make it permanent by selecting the image and choosing “Merge Down.”

To quickly add highlight and shadow

Materials Apple iPad Air (10.9”, Silver, 64 GB, Wi-Fi Only) $599.00 Apple Care+ 103.00 Apple Pencil (2nd Generation) 119.00 Procreate for iPad 9.99 Screen Protector with Paper Texture 14.97 iPad Pro Case 15.99 Total per iPad: $861.95

business. n Lauren T. Roark (she/her) is a professional costume designer and head of graduate design at the University of Tennessee, Knoxville. Eric Abele (he/him) is a professional costume designer and a senior lecturer in costume design at the University of Maryland Baltimore County.

To view a video of the process they describe in this story, visit youtu.be/vbODOU9Nr20.

For information on their private digital rendering workshops, email them at designwithprocreate@gmail.com.

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

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

Spring-Summer 2021 x Southern Theatre x 7

ROSEMARY HARRIS ‘A True National Treasure’

Joan Marcus/Courtesy of Lincoln Center Theater

SETC Distinguished Career Award

I

Friedman-Abeles ©The New York Public Library for the Performing Arts

b y K e i t h T. M a r t i n

In presenting celebrated theatre actress Rosemary Harris with the 2021 Distinguished Career Award, SETC President Maegan McNerney Azar (she/her) astutely noted that the recipient “has been in the industry as long as SETC has been in existence.” At 93 years young, Harris is indeed the most senior recipient of the award by almost a decade, born a few months after Charles Lindbergh crossed the Atlantic in 1927. Always gracious, Harris (she/her) responded to Azar with her usual wit and charm: “Oscar Wilde said, ‘A woman who tells her age will tell anything!’”

Indeed, Harris told us anything we wanted to hear

during a thoughtful, wide-ranging keynote conversation prior to receiving the organization’s highest honor at SETC’s first virtual convention on March 6, 2021. She is quite familiar with SETC, having delivered a standing-room-only all-convention keynote at the 2005 convention in Greensboro, where she graciously filled in after the scheduled speaker had to cancel at the last minute. In her acceptance speech this year, Harris said, “[SETC] is a wonderful organization because it’s about young people starting out

Rosemary Harris, shown with co-star Robert Preston, plays Eleanor of Aquitaine on Broadway in The Lion in Winter, a performance that won her the 1966 Tony Award for Best Performance by a Leading Actress in a Play.

Rosemary Harris ‘has generously given her life to the theatre and has become, in the process, a true national treasure.’

- André Bishop (shown below),

in this wonderful career and the journey of life they

you tell me if I have any ability?” She auditioned and

have in front of them.”

was offered bus fare as her salary.

Producing Artistic

Director, Lincoln

“I had a wonderful time because I played all sorts

of different parts in a different play every week,” she

in the theatrical canon,” including Cressida, Desde-

recalled. “I got moved up to another theatre company

mona, Ilyena, Lady Teazle, Natasha, Olga, Ophelia

… also a different play every week, but two perfor-

and Portia, to name but a few. Harris was exuberant

mances every night. I actually got paid for that, seven

when detailing her early years and the path that led

pounds a week; half went to my landlady. I had a

to her stage, film and television acting career, which

bicycle to get back and forth to the theatre and was

has been honored with a long list of awards, includ-

with that company for a year … that was a lot of parts

ing two Tony Awards, five Drama Desk Awards, an

under my belt.”

Emmy Award and a Golden Globe Award.

Applying to the Royal Academy of Dramatic

From Europe to Asia to America

Art, Harris had a private audition with Sir Kenneth

Barnes, the RADA president.

The noted British actress was born in the parish

of Ashby in Suffolk County but spent her early years

in Asia. Her father was in the Royal Air Force and

you don’t usually start by being a professional actress

stationed in what is now India with his wife and two

and then go to drama school. But, in actual fact, it

young daughters. They returned to England, which

was really quite good for me, because I knew exactly

Harris thought “was a very cold and dreary place.”

what I wanted to learn, which was how best to use

my voice,” she said. “I have to rather self-consciously

As a teenager, Harris thought she would become a

Center Theater

Chasi Annexy

Azar reminded SETC members that the versatile

Harris “has played some of the greatest known roles

“I got in … but I sort of did it backwards because

nurse and applied to a hospital for training. Secretly

admit that I ended up with the gold medal.”

wanting to be an actress, she found a “little, tiny

Harris became an understudy in a play in

repertory company in the town where I was living

London’s West End, which she “wasn’t very happy

with my grandmother and my great-aunt.” In a letter

about. I didn’t even have a part [and] was looking

to the man who ran the theatre, Harris asked, “Before

after the dog in the play. My job was to walk him

I waste time and money on an academic training, can

between the acts so he wouldn’t pee on the stage.”

Opposite page: Rosemary Harris returns to Broadway at age 91 to portray Mrs. Higgins in a 2018-19 production of My Fair Lady at Lincoln Center Theater.

Spring-Summer 2021 x Southern Theatre x 9

Then “the magic” happened. American play-

Old Vic, the Old Vic, the National Theatre, the

wright and director Moss Hart came to England to

Chichester Festival Theatre and the Royal National

cast a play he had written, and the company Harris

Theatre.

was working for had her read opposite all the young

Leading men in the life of a leading lady

men auditioning for the show. After three weeks,

The roster of leading men who played opposite

Hart called her downstage to the footlights and said,

Rosemary Harris reads like a Who’s Who of world

“I’ve gotten used to you reading this part for so long;

theatre: Richard Burton, Sir John Gielgud, Sir

would you like to come to New York?”

Laurence Olivier, Peter O’Toole and Sir Michael

Harris said yes and made her Broadway debut

Redgrave, among others.

in The Climate of Eden in 1952 before returning

“Pretty much everybody worked in a different

to Britain for classical theatre roles at the Bristol

way,” Harris recalled. “I had a fascinating experience

Rosemary Harris: Bio and Career Highlights EDUCATION: Royal Academy of Dramatic Arts (RADA), London

Man and Superman (1965), Judith (1965), Interlock (1958) and The Glass Eye (1958)

SELECTED LONDON CREDITS:

SELECTED TELEVISION/ FILM CREDITS:

25 films, including The von Trapp Family: A Life in Music (2015), Sam Raimi’s Spider-Man trilogy (Aunt May, 2002-07), Before the Devil Knows You’re Dead (2007), Being Julia (2004), The Gift (2000), Hamlet (1996), Tom and Viv (1994), Crossing Delancey (1988), The Boys from Brazil (1978), and A Flea in Her Ear (1968). Television work includes 27 programs and series, including The Undoing (2020), Law and Order: SVU (2010), Death BROADWAY CREDITS: of a Salesman (1996), Summer Day’s 27 productions, with nine Tony nominaDream (1994),The Chisholms (Minisetions for: The Royal Family (2009 and Rosemary Harris (right) with daughter ries, 1979-80) Holocaust (Miniseries, 1976), Waiting in the Wings (1999), Jennifer Ehle, also a two-time Tony Award winner.

1978), Notorious Woman (Miniseries, E d wa r d A l b e e ’s A D e l i c a t e B a l 1974), Blithe Spirit (1966), Profiles in Courage (1964), Dial M ance (1996), Noel Coward’s Hay Fever (1985), Pack of Lies for Murder (1958), Omnibus (1958), Twelfth Night (1957) and (1984), Heartbreak House (1983), Old Times (1972) and Studio One in Hollywood (1952) The Lion in Winter (1966). Her other Broadway appearances include Lerner and Loewe’s My Fair Lady (2018), The Road to Mecca (2012), An Inspector Calls (1994), Lost in Yonkers SELECTED AWARDS: (1991), A Streetcar Named Desire (1973), The Merchant of Tony Award: Lifetime Achievement in the Theatre (2019) Venice (1973), War and Peace (1967), You Can’t Take it With Tony Award: Best Actress in a Play, The Lion in Winter (1966) You (1967), The Wild Duck (1967), We, Comrades Three Five Drama Desk Awards: A Pack of Lies (1985), The Royal (1966), Right You Are If You Think You Are (1966), The School Family (1976), The Merchant of Venice (1973), A Streetcar for Scandal (1966), Herakles (1965), The Tumbler (1960), The Named Desire (1973) and Old Times (1972) Disenchanted (1958), Troilus and Cressida (1956) and The Golden Globe Award: Holocaust (1978) Climate of Eden (Broadway debut, 1952) Emmy Award: Notorious Woman (1976) Three Obie Awards: All Over (2003) and for distinguished OFF-BROADWAY CREDITS: performances at APA Repertory (1965, 1962) India Ink (2014), Oscar and the Lady in Pink (2008), The Other Academy Award nomination: Tom and Viv (1994) Side (2005), All Over (Obie Award, 2003), The Three Sisters American Theatre Hall of Fame (1986) (1977), The New York Idea (1977), War and Peace (1965), Theatre World Award: The Climate of Eden (1952) The Best of Friends (1988), with Sir John Gielgud in his farewell theatre performance; All My Sons (1982); Ophelia, with Peter O’Toole in Hamlet (1964) and Yelena, with Sir Laurence Olivier in Uncle Vanya (1964), both at The Royal National Theatre; Desdemona, opposite Richard Burton in Othello at the Old Vic (1956); The Crucible (1954); and The Seven Year Itch (West End debut, 1953)

10 x Southern Theatre x Spring-Summer 2021

The show must go on — SAFELY!

InCord

Custom Safety Netting Solutions

The Custom Theatrical Safety Netting Experts

Orchestra Pit Nets Catwalk Safety 860.537.1414 incord.com/theatre

Stage Guard Scenic Netting

Off-Broadway in his play All Over.

“I loved Edward dearly and admired him greatly,”

she said. “He was very dogmatic about what he wanted, a bit like Harold Pinter, very, very specific. I think directors were more scared of him than actors because he was hell on wheels if they weren’t doing it as he wanted. [Edward] knew what he wanted, which I think is very helpful in a writer.”

Asked to put Harris’ stage career in perspective,

André Bishop (he/him), producing artistic director of Lincoln Center Theater in New York City,

© Columbia/courtesy Everett Collection

responded: “Rosemary Harris is, to use a phrase that is no longer in fashion, a true leading lady,” Bishop

Writer Maya Angelou, who passed away in 2014, helped make the first National Black Theatre Festival in 1989 a success, serving as chair of the event and recruiting many of her friends from film and theatre to attend.

said. “That doesn’t mean just playing all the best and biggest roles; it means being the leader of a company.

Rosemary has had great success in England playing opposite Olivier and Gielgud – the famous Olivier Vanya and Gielgud’s final stage performance – but she has had equal acclaim in the United States. She stopped being a Broadway star for a while to start, with Ellis Rabb, the finest repertory company we have ever had, the APA [Association of Performing Artists], which then became the APA/Phoenix. She led it with Ellis, playing small roles and big ones and doing a million other chores that someone has to do in a company.”

Rosemary Harris, as Aunt May, flies with Spider-Man, played by Tobey Maguire, in 2004’s Spider-Man 2 movie.

working with Sir Michael and Sir Laurence, both in

The North Carolina School of the Arts

the same play [Uncle Vanya]. They both had complete-

ly different techniques and it was like sort of playing

Winston-Salem, NC, home to the prestigious Univer-

a game because I could get away with this with Sir

sity of North Carolina School of the Arts (UNCSA).

Michael but not with Sir Laurence. [Sir Laurence]

The school, originally the North Carolina School of

acted, but he didn’t react because he’d already decided

the Arts (NCSA), was co-founded in 1963 by the late

on his [delivery], but with Sir Michael you could

John Marsden Ehle, Jr., an award-winning author and

experiment, do little slightly different things, look at

staunch supporter of the arts who has been described

him at different times, do a different gesture, and he

as “the father of Appalachian literature.” He became

responded. Two brilliant actors working in completely

Harris’ husband in 1967 – a union that lasted over 50

different ways.”

years, until his death in 2018.

Harris played opposite Sir John Gielgud in his

farewell stage performance.

explaining that they were introduced to each other

Harris joined the SETC Virtual Convention from

“It was through NCSA that I met John,” she said,

“Oh, that was a wonderful treat,” she said, “and I’ve

over a cup of tea at the Manhattan apartment of Bella

still got the letter he wrote [after] we both got cast in

and Samuel Spewack, the husband-and-wife writing

the play, The Best of Friends, in his neat, tiny little writ-

team responsible for the play My Three Angels and the

ing. He was 80 or 82, I think, and it was his swan song.

Cole Porter musical Kiss Me, Kate. “John was only in

Only occasionally did he stumble, but he got through it

Manhattan for one day with the search committee

beautifully. Later on, we did a television play, Summer

for a new chancellor at NCSA, but he found a wife

Day’s Dream, and we’d rehearse and break for lunch –

instead!”

and, being [a] wonderful gossipmonger, John adored

After marrying, Harris and Ehle relocated to

nothing better than a good gossip.”

his home state of North Carolina, with homes in

Winston-Salem and in the Blue Ridge Mountains

With regard to playwrights, Harris appeared on

Broadway in Edward Albee’s A Delicate Balance and 12 x Southern Theatre x Spring-Summer 2021

near Penland, NC.

An emeritus member of the UNCSA Board of Martha Swope ©The New York Public Library for the Performing Arts

Visitors, Harris holds an honorary doctorate from the venerable institution, and has been a commencement speaker on several occasions. She even stepped in at the last minute to direct a production of The Royal Family for the School of Drama.

“The school is very, very much in my heart and

so much a part of my life – I admire it greatly,” she said, noting that their daughter attended UNCSA. Family tradition: daughter Jennifer Ehle

A surprise guest at Harris’ keynote address was

her daughter, Jennifer Ehle (she/her), who “Zoomed” into the conversation from New York, where she lives with her husband, writer Michael Ryan, and their two children. A film, television and theatre star, Jennifer is a two-time Tony Award-winning actress who told SETC members that “my mother is the most

definitely a great gift about being an actor; if you love

extraordinary, wonderful person I’ve ever met, and

it, it’s the most fun. Mum has always taken such joy

that I think I ever will meet. She is radiant, she is

in her work and is so fed by it intellectually, the chal-

brilliant, she is hilarious. She’s a force of nature and

lenge of it, the puzzle of it, the craft of it … That’s what

a force of life with the biggest heart, spirit and soul

we both love the most. It’s like our drug of choice.”

of anybody.”

Even as a young child, she wanted to be an actress,

“As an artist, she is extraordinary … Her technique

Ehle said, “because Mummy has so much fun! That’s

is just so refined, and I think she gets better and

Ehle is grateful to have had her mother as a model:

Rosemary Harris (center) plays Judith in the 1985 Broadway revival of Hay Fever, a role for which she received a Tony Award nomination. Mia Dillon is at left, and Robert Joy is at right.

ROCK THE BARD

MLitt/MFA in Shakespeare & Performance at Mary Baldwin in partnership with the American Shakespeare Center www.marybaldwin.edu/shakespeare

A RENAISSANCE EDUCATION IN RENAISSANCE DRAMA Spring-Summer 2021 x Southern Theatre x 13

Martha Swope ©The New York Public Library for the Performing Arts

AU students studying in London

Rosemary Harris (front) is Blanche to James Farentino’s Stanley in the Repertory Theater of Lincoln Center’s 1973 revival of A Streetcar Named Desire. Jennifer Ehle had her first theatre role, as a child crossing the stage, in this show.

Join our theatre family and learn to become an entrepreneur in film and theatre. ➞ 120 films a year ➞ 10 stage plays a year Performance and study opportunities include Shakespeare’s Globe in London (pictured above), the Edinburgh Fringe Festival in Scotland and 2nd City in Chicago.

Learn more and apply now at:

asbury.edu/Theatre Contact: jim.shores@asbury.edu

might play Aunt May, Sam said, ‘Well, it’s funny you should mention that, because I’ve just directed an actress who has white hair and a bun,’ which is a characteristic about May. ‘I think she would be just right for the role.’ And who were they to deny him? I want to impress on young people that you never know where the help is going to come from, and you do depend on the comfort of strangers. That’s what it’s all about really, people helping you, giving you a leg up and a helping hand because you can’t do it on your own.”

My Fair Lady on Broadway

Several questions submitted in advance

by SETC members pertained to Harris’ triumphant 2018-19 Broadway appearance in My Fair Lady, the Alan Jay Lerner and Frederick Loewe musical based on George Bernard Shaw’s 1913 play Pygmalion. It was her second portrayal of Mrs. Higgins. She previously had played the socialite mother of Professor Henry Higgins in a 2003

better and better and better and better.”

concert at the famed Hollywood Bowl in

After seeing Harris’ most recent Broad-

Los Angeles. During her SETC conversa-

way performance, Ehle spoke with pride

tion, Harris was asked how her most recent

about her mother: “Just to watch her

turn on The Great White Way came about

command that stage and that language –

and how she responded to the invitation

she’s just a consummate artist.”

from Lincoln Center Theater.

Spider-Man and the lady with the bun

Harris gained new generations of fans

Then I looked up in the closet, and there

when she appeared as Aunt May in director

was a pair of high-heeled shoes, not very

Sam Raimi’s film trilogy Spider-Man from

high, only about two and a half inches,

2002 to 2007. She used the occasion of her

and [I] thought, ‘I wonder if I put those on

keynote session to suggest to current theatre

[if] I might feel a little bit more like Mrs.

students that “you never know whence

Higgins?’ So, I climbed up, got them down,

cometh your help, because it sometimes

put them on and started walking around

comes from the most unexpected quarters.

the apartment. The more I walked around,

Jennifer did a film in Australia with a

the more I felt like Mrs. Higgins, and I said,

wonderful actress, Cate Blanchett, and I got

‘Yes, I think I could do it.’ It was all because

to meet Cate when she came to England.”

of my feet! Sir Laurence [Olivier] said in

Blanchett later did a film, The Gift, and

one of his biographies that you start from

convinced Harris to play the cameo role

the shoes upwards; if you get the shoes

of the grandmother in a single-day shoot

right, the rest of it will come right.”

on her Monday off from the Broadway

The Lincoln Center Theater’s André

production of Noel Coward’s Waiting in the

Bishop was both surprised and pleased

Wings.

when she accepted the role.

“As luck would have it,” Harris recalled,

“the director of that film was Sam Raimi, 14 x Southern Theatre x Spring-Summer 2021

and when they were discussing just who

“I thought, ‘I can’t play Mrs. Higgins!’

“When Rosemary Harris agreed to play

Mrs. Higgins in the recent Lincoln Center

Theater production of My Fair Lady, we

you find all sorts of wonderful new ways

all felt exuberant, lucky, slightly amazed

of thinking about them.”

and just plain happy,” he said. “She had

appeared in our Broadway production of

Harris said, “I learned from watching my

A Delicate Balance with Elaine Stritch and

elders, my betters, the leading lady and the

George Grizzard, but that was many years

leading man in the company. I would study

earlier. ‘She’ll never do it,’ we all thought,

them, learn … and was taught by them.”

but she said yes to Mrs. Higgins almost

She believes that sometimes success

immediately!”

is simply about luck and chance, “lucky

Responding to his comment, Harris

chances, lucky breaks … There will be

said, “That’s a sweet thing for André to say.

some there, I promise you, along the road.

What a dear, dear man he is. I’m so fond of

It’s just knowing and being ready for them.

him. He’s a prince … a king.”

As Hamlet says, ‘The readiness is all.’ ”

Advice for the next generation

Thanking the audience

Harris recalled a time in England after

A final note in her keynote speech

World War II when America was helping

harkened back to June 2019, when Harris

Britain and other Allies get back on their

concluded her acceptance speech for a

feet through a five-year effort called the

special Tony Award for Lifetime Achieve-

Marshall Plan. When starting out to be an

ment in the Theatre from the Broadway

actress, she said, “I gave myself a five-year

League and the American Theatre Wing

plan and said to myself, if I haven’t gotten

with a thank you to audiences. She echoed

anywhere by then, I’ll do something else.

that sentiment in her SETC keynote.

I’ll go back to my nursing. I’ve got Plan No.

2 standing by. You don’t want to waste your

none of us would be here,” she said. “As

life doing something that you’re not going

they rather crudely say in England, ‘Bums

to compete very well in … change horses

on seats.’ If we didn’t have bums on the

and do something else. But certainly, give

seats, none of us would have a job, but

it a fight, give it a go for five years. Accept

of course that’s what’s happening now

any job you are offered, sweeping the

because of the pandemic. I’m not living in

stage or dressing the wigs or whatever …

New York at the moment and it must be

just do anything that needs to be done to

heartbreaking seeing all the theaters dark,

make yourself so useful they can’t manage

because theatre is the lifeblood of New

without you.”

York, or one of the arteries. I’ve got friends

Recalling the readings for Moss Hart

in New York and it must be very sad.”

that led to her Broadway debut, Harris said:

‘A true national treasure’

“The magic happens … and I want to tell

all the young people who are starting their

Perhaps Lincoln Center Theater’s Bishop

careers that magic can happen if you stick

said it best: “Her talent is intelligent, grace-

with it.”

ful, disciplined, understated and utterly

As an aspiring actress in her early years,

What makes Rosemary Harris unique?

Harris is known for arriving at the first

glorious. It always has been. And she is beautiful. She has generously given her

life to the theatre and has become, in the

“I don’t want to waste anybody’s time,”

process, a true national treasure.” n

rehearsal [off book] because you don’t want to hold anybody up. You should do your homework. Any actor who says, ‘I can’t learn my lines until rehearsal,’ that’s nonsense, just laziness. The point of rehearsal is that you [figure out] how to do the words, not to learn the words. If you know the words,

Bachelor of Arts in Theatre Acting for Stage & Screen Musical Theatre Design & Technical Production

“If playgoers didn’t come to see plays,

rehearsal of a play with lines memorized. she said. “It’s a lovely feeling to go to

Department of Communication, Media, and the Arts

Keith T. Martin (he/him) is Distinguished Professor of Theatre at Appalachian State University and former producer/ managing director of Charlotte Repertory Theatre. He attended his first SETC Convention 50 years ago as an auditionee.

Student Success Since 2004, our programs and students have flourished.

Join hundreds who've found and cultivated their professional careers in the arts at NSU.

Scholarships Razor's Edge Shark Talent Scholars Program $20,000/year scholarship James and Nan Farquhar Performing and Visual Arts Grant $500 - $3,000/year grant Federal Financial Aid and Work Study available F O R T

L A U D E R D A L E

VISIT US AT NOVA.EDU/ARTS Email: carey.courson@nova.edu Spring-Summer 2021 x Southern Theatre x 15

ALI STROKER ‘Anything Is Possible’ Teddy Wolff

T

b y To m A l s i p

Above: Ali Stroker portrays Ado Annie in the 2019 revival of Oklahoma! on Broadway.

‘This award is for every kid who is watching tonight who has a disability, who has a limitation or a challenge, who has been waiting to see themselves represented in this arena – you are!’ - Ali Stroker, on accepting the 2019 Tony Award for Best Featured Actress in a Musical

Trailblazer. Tony winner. Advocate.

Ali Stroker (she/her) has collected quite the list of superlatives in her career. And it seems she is only just

getting started. The 2019 Tony Award winner was a keynote at this year’s SETC Virtual Convention, where she continued to inspire and excite young performers across the country with her story, message and success.

Asked during her keynote address what advice she would give her younger self today, Stroker shared words

that are valuable for all artists starting out in the business: “Be patient and trust in timing. If you continue to work hard, if you continue to apply yourself and put yourself out there and go after the things that are exciting to you … you will find your way.”

16 x Southern Theatre x Spring-Summer 2021

SETC Convention Keynote Speaker Breaking new ground with her talent

Of the many adjectives used to describe Stroker,

the one that in many ways defines her is trailblazer.

And that comes from her incredible success as a performer who uses a wheelchair.

When she was 2 years old, Stroker was paralyzed

from the chest down in an automobile accident and began using a wheelchair. But that didn’t stop her from pursuing her goals. She was introduced to theatre when she was cast in a production of Annie at age 7, and a passion for the stage drove her throughLittle Fang Photo

out her childhood and into her professional career.

Despite her differences from others on that journey, she never stopped believing in her dream. And she hopes that her success can serve as inspiration for others who use wheelchairs and are starting out on that same journey.

As she told the New York Times in a May 15, 2019,

acting talent, Stroker performed in high school

story, “I’m very aware that when I was a little girl, I

productions in Ridgewood, NJ, and in the Papermill

wasn’t seeing anybody like me, and on days when

Playhouse Summer Musical Theatre Conservatory

I’m exhausted or discouraged about something, that

program. She was accepted into New York Univer-

lights a fire. I hope that for young people in chairs

sity’s prestigious Tisch School of the Arts, where she

who feel that this is too hard, that they see that being

studied musical theatre at the Cap 21 Studio.

in a chair is like getting a secret key to an unknown

door – that they see what I’m doing and are reassured

to graduate from the Tisch School of the Arts drama

that anything is possible.”

program. That was just the first of many barriers she

Once bitten by the theatre bug, Stroker never

has broken in her career. Soon after graduating from

looked back. With her stunning voice and natural

NYU, Stroker auditioned for and was subsequently

She became the first actress who uses a wheelchair

ALI STROKER: Bio and Career Highlights EDUCATION: BFA, Theatre, New York University, 2009 SELECTED BROADWAY CREDITS: Oklahoma!, Ado Annie (2019) Spring Awakening, Anna (2015-2016) OFF-BROADWAY/REGIONAL CREDITS: Oklahoma!, Ado Annie, St. Ann’s Warehouse; 25th Annual Putnam County Spelling Bee, Olive Ostrovsky, Papermill/Philadelphia Theatre Co./ Cleveland Playhouse; Spring Awakening, Anna, Deaf West Theatre; Annie, Star-to-Be, Hollywood Bowl; Finding Glee, One-Woman Show, 54 Below FILM/TV CREDITS: The Glee Project, Contestant (Second Place), Oxygen; Glee, Guest Star, Fox; Ten Days in the

Valley, Recurring, ABC; Christmas Ever After, Izzi Simmons, Lifetime; Blue Bloods, Guest Star, CBS; Instinct, Guest Star, CBS; Lethal Weapon, Guest Star, CBS; Charmed, Guest Star, CW; The Bold Type, Guest Star, Freeform AWARDS: Tony Award: Best Featured Actress in a Musical, Oklahoma! (2019) Drama Desk Award: Outstanding Featured Actress in a Musical, Oklahoma! (2019) Barrymore Award: 25th Annual Putnam County Spelling Bee (2011)

Ali Stroker, above and in top photo as Ado Annie in Oklahoma! on Broadway, says seeing a person who uses a wheelchair performing on stage can be liberating for audiences, who have been taught not to stare at others with disabilities. “When I’m on stage, I’m telling the audience, ‘NO, you CAN look.

You can look and you can watch, and you can begin to understand, and you can be a part of this world.’ ”

ADVOCACY: Co-Chair, Women Who Care, United Cerebral Palsy of New York City; Founding member, Be More Heroic, Anti-Bullying Campaign

More info: alistroker.com Spring-Summer 2021 x Southern Theatre x 17

cast in the second season of The Glee Project,

She continued to find success in TV

Warehouse in Brooklyn before it traveled

a reality television competition where the

and film, appearing as a guest star on

across the river to the Circle in the Square

grand prize was a chance to appear on

TV in Faking It, Instinct and Lethal Weapon

Theatre for a successful Broadway run.

Fox’s popular musical television series Glee.

and earning a recurring role on ABC’s

Stroker was a runner-up, but was chosen

Ten Days in the Valley. She also appeared

knew about it was that it was going to be

to guest star on the show in 2013.

in Blue Bloods and starred in the Lifetime

something very different,” Stroker said.

“When this revival came along, what I

Christmas movie Christmas Ever After.

“And you never know what that’s going

er and also provided an opportunity for her

But as successful as Stroker has been in

to be like until there you are in rehearsal,

to share her personal journey with others.

the world of film/TV, she is best known for

and you realize that this is not going to be

“[The Glee Project] … was kind of the

her work in theatre. She portrayed Olive

anything like the Oklahoma! that I know …

perfect opportunity, because I got to sing,

Ostrovsky in The 25th Annual Putnam Coun-

It was really, really amazing and difficult

dance and act and make music videos

ty Spelling Bee in several theatres across the

and hard and also just a blast.”

every week,” Stroker told her SETC keynote

country, including a performance with the

audience. “And then I also could tell my

Philadelphia Theatre Company that earned

Annie, because she “is so fun, and she is

story. And one of the realities of when I

her a Barrymore Award.

so unapologetically herself and she asks a

first started auditioning was, people were

On to Broadway – and a Tony Award

million questions,” Stroker said. “And she

very curious. They were like, ‘Who is this?

Stroker made her Broadway debut in

just doesn’t have any shame about who she

What’s up? What’s with her chair?’ So, I

2015 in the Deaf West production of Spring

is, and that’s so fun to get to play every

was able to share my story on that show

Awakening. With that performance, Stroker

single night.”

in a very public way, in a way that felt

became the first wheelchair-using actress

comfortable to me. And that was really

to appear on a Broadway stage. Three years

Stroker said, she considers what being a

helpful because people are curious. And it

later, she was back on Broadway with the

wheelchair user will mean to her character.

was kind of nice. It sort of got it out of the

revival of Oklahoma! in the role of Ado

way.”

Annie. The show was a hit at St. Ann’s

not specifically a disabled role, I think,

That opened doors for her as a perform-

18 x Southern Theatre x Spring-Summer 2021

She was excited to win the role of Ado

Any time she’s auditioning for a show,

“When I’m auditioning for a role that’s

Associate of Applied Arts Degrees

Acting Musical Theatre Filmmaking

KD Conservatory offers Associate Degrees in Acting, Musical Theatre and Filmmaking. KD Conservatory is accredited through NAST. Financial Aid is available for those who qualify.

‘Could this work? Is this possible?’” Stroker

stare, not ask, not point around disability,”

said. “And, in this case, I thought, ‘Abso-

Stroker said. “And so, when I’m on stage,

to be that for them,” Stroker told the New

lutely.’”

I’m telling the audience, ‘NO, you CAN

York Times after winning the Tony Award,

Playing Ado Annie in a wheelchair

look. You can look and you can watch, and

“because I didn’t have that as an 11-year-

opened new opportunities and challenged

you can begin to understand, and you can

old girl pursuing this dream.”

what Stroker believes are some precon-

be a part of this world.’ And so, it’s sort of

Advocacy: Opening doors for all

ceived notions.

like an invitation, versus the way that our

Throughout her life, Stroker has not

culture has sort of decided that disability

been defined by her limitations, but rather

… you have to be very polite around it.”

has thrived with them, finding success

labeled as not sexual people,” she said.

That is liberating, not just for the audi-

through her talent and her drive. And

“And Ado Annie has such a handle on her

ence, but for her as a performer as well,

everywhere she has worked, she has made

sexuality. She is not afraid to pursue rela-

Stroker said.

it clear that she belongs. She has continu-

tionships and be physical. So, this felt like

“Being on stage and being in a chair

ally spoken about the need to make the

such an opportunity … to sort of get to do

and inviting people to watch and look is

Broadway world more accessible to wheel-

this role and share my physical vocabulary.

probably the most empowering thing that

chair users, so others can follow in her

And we found so much play and fun in the

has ever happened to me,” she said.

footsteps. She notes that when Oklahoma!

relationships and how those were physi-

It was in the Broadway production of

transferred to Broadway, the theatre was

cally going to manifest.”

Oklahoma! that Stroker broke down her

not accessible for her as a performer.

Stroker believes that, rather than being

most recent barriers: becoming the first

“So, we had to bring in a disability

a disability for a performer, using a wheel-

wheelchair user to be nominated for a Tony

consultant,” she said. “My partner, David

chair can unlock a wealth of unexplored

and the first wheelchair user to WIN a Tony

[Perlow], came with me to the theatre

possibilities in the characters she portrays.

Award. The win had a far-reaching impact

before they had done all of the accommoda-

for all people with disabilities, something

tions. And he carried me around and we

that was not lost on Stroker.

figured it out … And the producers paid for

“What I loved about it is that I feel like

people with disabilities are often sort of

And that, she noted, impacts the audi-

ence, which has been “sort of taught to not

“It makes me feel amazing to be able

School of Theater

WHAT PART WILL YOU PLAY? BA, BFA, and Accelerated MA taught by a faculty of professional artists near the vibrant DC Theater Community.

theater.gmu.edu PERFORMANCE • MUSICAL THEATER • DESIGN & TECHNICAL THEATER • THEATER STUDIES • STAGE MANAGEMENT • THEATER EDUCATION 20 x Southern Theatre x Spring-Summer 2021

PROFESSIONAL CONSERVATORY

An Affordable Alternative to MFA Training 3-Year Conservatory 2-Year Evening Conservatory LA Conservatory

2021 SUMMER INTENSIVES In a new hybrid format!

Summer Conservatory Musical Theater Shakespeare Chekhov Film & Television Self-Generated Theater

ONLINE

ACTOR WORKSHOPS

Study with the renowned Stella Adler Studio of Acting no matter where you are in the world!

Courses include…

Scene Study Acting Technique On-Camera Self-Tape Technique Voice & Speech Shakespeare …and many more!

Where rigorous actor training and social justice meet.

Stella Adler Studio of Acting 65 Broadway Floor 2 New York, NY 10006 StellaAdler.com 212-689-0087 classes@stellaadler.com Art of Acting Studio 1017 N Orange Drive Los Angeles, CA 90038 artofactingstudio.com 323-601-5310 info@artofactingstudio.com The Stella Adler Studio of Acting/Art of Acting Studio is a 501(c)3 not-for-profit organization and is accredited by the National Association of Schools of Theatre.

it. And I’m so grateful for the producers that

where she taught theatre workshops for

I’ve worked with because they have said,

children affected by AIDS, and her new

‘Yes. We want Ali a part of this, so, yes, we

work with the theatre company ATTEN-

will raise the money to make this happen.’”

TION Theatre, which she founded with

All theatres need to work at making

Perlow. She has a book coming out in April

backstage areas accessible, she noted.

about a girl who uses a wheelchair and

wants to be a performer.

“Most theatres are accessible to patrons,

and not accessible backstage,” she said. “So, I

think it comes down to the people who own

winner. An advocate. But most importantly,

the theatres sitting down and looking at all

she is someone who chases her dreams.

their departments. And if somebody were

As Oklahoma! director Daniel Fish told

to apply for a job who had a disability how

the Los Angeles Times on the day Stroker

can they make certain things accessible?”

won the Tony Award: “I hope they [others

In addition to her work in theatre

with disabilities] see that anyone can be on

accessibility, Stroker is passionate about

Broadway if they’re great, and if they hurl

a number of other causes. She has served

themselves at it with the passion and soul

as co-chair of Women Who Care, which

and intelligence that Ali Stroker has. There

supports United Cerebral Palsy of New

should be no barriers.” n

York City. She started an anti-bullying campaign, Be More Heroic, which has toured the United States to pass on a message about acceptance. And she continues to work as an advocate, through a trip to South Africa with ARTS InsideOut,

Ali Stroker. She is a trailblazer. A Tony

Tom Alsip (he/him) is an assistant professor and director of musical theatre at the University of New Hampshire. He is a member of the Southern Theatre Editorial Board.

Performance opportunities include main-stage and studio productions, cabaret performances and in-residence workshops with established artists. Auditions required for admission.

Scholarships available!

• BFA in Musical Theatre • B.A. in Theatre • B.A. in Dance • Minors in Dance and Theatre 401 W. Kennedy Blvd. | Tampa, FL 33606 | (813) 253-6211 | admissions@ut.edu | ut.edu/theatre 22 x Southern Theatre x Spring-Summer 2021

2021 SETC Commercial Welcome to SETC’s first Commercial Partners Directory, a resource guide designed to assist members in meeting their theatrical and operational needs.

A & L ENTERTAINMENT SOFTWARE COMPANY Custom theatrical software solutions. software.aandlentertainment.com ACTORS CONNECTION ONLINE Online professional development for actors. www.ActorsConnection.com ALTMAN LIGHTING Innovators in theatrical, architectural, film and video lighting. www.altmanlighting.com AMERICAN ASSOCIATION OF COMMUNITY THEATRE Helping theatres thrive – expertise, assistance, networking and support. www.aact.org AMERICAN HIGH SCHOOL THEATRE FESTIVAL (AHSTF) INTERNATIONAL COLLEGIATE THEATRE FESTIVAL (ICTF) Premier performing arts festival for high school and collegiate theatre at Edinburgh Festival Fringe. https://fringe@WorldStrides.com www.Ahstf.org; www.Ictfscotland.org APOLLO DESIGN TECHNOLOGY, INC. Leading innovator, manufacturer and distributor of equipment for the lighting profession. www.apollodesign.net ARTISTIC CONCEPTS GROUP, INC. Theatrical installations, inspections, expendables supply and rentals. www.ArtisticConceptsGroup.com ARTS PEOPLE Software designed to support the profound impact of theatre, dance and performance arts. www.arts-people.com BACKDROPS BEAUTIFUL AND PROJECTIONS Rental and sales of hand-painted backdrops. www.backdropsbeautiful.com BARBIZON LIGHTING-SOUTHEAST REGION Sales, systems integration, installation and service of entertainment and architectural lighting. www.barbizon.com BEAT BY BEAT PRESS Discover the world’s most popular virtual musicals. www.bbbpress.com BELT BOX Take the warm-up room with you. www.beltyafaceoff.com BLOOMSBURY PUBLISHING A leading independent publishing house. www.bloomsbury.com/us 24 x Southern Theatre x Spring-Summer 2021

BREAK A LEG NETWORK Entertainment employment resource. www.breakalegnetwork.com BROADWAY GREEN ALLIANCE Educates and inspires the theatre community to implement environmentally friendlier practices. www.broadwaygreen.com BROADWAY MEDIA Source for Scenic Projections™: Script-accurate animated digital scenery packages. www.broadwaymedia.com BROADWAY STAGE MANAGEMENT SYMPOSIUM Broadway stage managers share insights, instruction and inspiration in an immersive program. www.broadwaysymposium.com CAPTION POINT Live theatre captioning. www.captionpoint.com CHURCH INTERIORS AUDIO AND VIDEO, INC. We design professional audio & video solutions. www.ciaudiovideo.com CLEAR COM Provides innovative and reliable IP-based intercom solutions to theatres and productions. www.clearcom.com CODY CLARK MAGIC Using magic to inspire and delight. www.codyclarkmagic.com THE COLLEGE AUDITION College audition coaching, plus prep workshops, seminars and summer programs. www.thecollegeaudition.com CONCORD THEATRICALS Licensing, publishing, recording and producing company. www.concordtheatricals.com COSTUME HOLIDAY HOUSE Theatre costume rentals, retail accessories and theatre gifts. www.costumeholidayhouse.com COSTUME SOCIETY OF AMERICA Works to foster an understanding of appearance and dress practices of people across the globe. www.costumesocietyamerica.com DAVENPORT THEATRICAL ENTERPRISES Independent theatrical producing company. www.davenporttheatrical.com DISNEY AUDITIONS A world of opportunity. jobs.disneycareers.com/auditions DISNEY CRUISE LINE Embark on your career, navigate your future. www.DCLjobs.com DISNEY PARKS LIVE ENTERTAINMENT We bring the magic to life. sites.disney.com/waltdisneyimagineering/liveentertainment

DISNEY THEATRICAL LICENSING Official home to information on licensing Disney stage properties. www.disneytheatricallicensing.com DOUG BERKY MASKS Design and construction of theatrical masks for production and education. www.dougberkytheatre.com DRAMATIC PUBLISHING COMPANY Your source for plays and musicals since 1885. www.dramaticpublishing.com DRAMATISTS PLAY SERVICE License and stream your production with DPS. www.dramatists.com DUELING ARTS INTERNATIONAL Providing training for performers, teachers and directors in the art of theatrical combat. www.duelingarts.com EDUCATIONAL THEATRE ASSOCIATION International association for school theatre. www.schooltheatre.org/home EMPTY SPACE TECHNOLOGY Creators of VirtualCallboard and StageStock. www.theemptyspace.com ENTERTAINMENT SERVICES AND TECHNOLOGY ASSOCIATION (ESTA) Building the business of show business. www.esta.org ETC Visual environment technologies, including entertainment lighting and rigging. https://americas@etcconnect.com EVENT SAFETY ALLIANCE Dedicated to promoting “Life Safety First” throughout all phases of event production. www.eventsafetyalliance.org FERN EXPO An extension of your brand, helping you connect with customers through live experiences. www.fernexpo.com FIELD TEMPLATE LLC Leader in plastic drafting stencils and Vectorworks lighting symbols for live entertainment. www.fieldtemplate.com 4WALL ENTERTAINMENT Lighting, video, rigging – rentals and services. www.4wall.com GARY MUSICK SCENIC All your theatrical scenic needs, from design to fabrication and installation. www.garymusick.com HACKETT PUBLISHING COMPANY Independent publisher serving the humanities. www.hackettpublishing.com/theatre-film INCORD Custom safety netting solutions. www.incord.com

Partners Directory INTERAMERICA STAGE, INC. Providing a wide variety of services for a wide variety of clients – always safety above all else. www.iastage.com LEX PRODUCTS CORPORATION Leading North American manufacturer of innovative power distribution and lighting solutions. www.lexproducts.com THE LIGHT SOURCE Rigging hardware products and downlights. www.thelightsource.com LUDLAM DRAMATICS Live life dramatically. www.ludlamdramatics.com MAGNUM Atlanta-based, full-service entertainment technology company. www.magnumco.com MAINSTAGE THEATRICAL SUPPLY Entertainment technology systems and products. www.mainstage.com MCFEELY’S SQUARE DRIVE SCREWS Woodworking – screws, tools and more. www.Mcfeelys.com MEHRON, INC. High-quality makeup for special FX, stage and screen, face and body painting and pro-beauty. www.mehron.com MURSION, INC. VR for EQ. Simulations for essential workplace skills. www.mursion.com MUSSON THEATRICAL One of the largest full-service theatrical supply houses in the nation. www.musson.com NORCOSTCO, INC. Nationwide supplier to the performing arts. www.norcostco.com NORWEGIAN CRUISE LINE Breaking the boundaries of traditional cruising. www.ncl.com NUDELTA DIGITAL Bringing new life to performing arts equipment. www.nudeltadigital.com NUNSENSE THEATRICAL COMPANY Nunsense shows, costumes, and merchandise. www.nunsense.com PARENT ARTIST ADVOCACY LEAGUE National network and solutions generator for caregivers in arts + media. www.paaltheatre.com PARLIGHTS, INC. Theatrical lighting and rigging. www.parlights.com PERFORMER STUFF Sheet music, monologues, audition cuts and more. www.performerstuff.com

POINT SOURCE AUDIO The more you know, the better we sound. www.point-sourceaudio.com

TICKETS TO THE CITY No fees, no drama. buy.ticketstothecity.com

PREMIER DRAPERY CLEANING All the world’s a stage, and we’re here to clean it.™ www.premierdraperycleaning.com

TIMOTHY MOONEY REPERTORY THEATRE One-person plays that inspire, inform, enlighten, educate and entertain. www.TimMooneyRep.Com

PRODUCTION ADVANTAGE The people, behind the people, behind the show. www.proadv.com PRODUCTIONS UNLIMITED Specializing in the design, installation, and maintenance of theatrical equipment. www.productionsunlimitedinc.com ROYAL CARIBBEAN PRODUCTIONS Bringing together world-class performers to star in awe-inspiring original and Broadway shows. www.royalcaribbeanproductions.com THE SAVI SINGING ACTOR The tools you need to succeed in musicals. www.savisingingactor.com SCULPTURAL ARTS COATING Saturated paints and specialty coatings. www.sculpturalarts.com SELECT TRAVEL STUDY Provider of customized, faculty-led, European theatre study tours. www.selecttravelstudy.com SHURE, INC. Manufacturer of microphones and audio products. www.shure.com/en-US STAGE DIRECTIONS The art and technology of theatre. www.timeless-com.com STAGE DOOR UNLOCKED Online coaching: acting, audition prep and more. www.stagedoorunlocked.com STAGE MANAGERS’ ASSOCIATION The only professional organization for working stage managers across the U.S. www.stagemanagers.org STAGE RIGHTS Leading independent theatrical publisher providing play and musical stage performance rights. www.stagerights.com STUDENT PLAYS A group of experienced playwrights offering a variety of scripts and monologues for students. www.studentplays.org TABLE TOP SCENIC DESIGN Endless possibilities in scenic design. tabletopscenicdesign.com THEATRICAL INTIMACY EDUCATION Ethical. Efficient. Effective. www.theatricalintimacyed.com THEATRICAL SOUND DESIGNERS AND COMPOSERS ASSOCIATION (TSDCA) Professional organization for U.S. sound designers and composers for the performing arts. www.tsdca.org

TTS STUDIOS Custom fabrication shop specializing in the creation of scenery for live theatrical events. www.tts-studios.com/home UNITED SCENIC ARTISTS LOCAL USA 829 IATSE The representative voice for designers and scenic artists. www.usa829.org UNITED STATES INSTITUTE FOR THEATRE TECHNOLOGY (USITT) Association for performing arts, entertainment design, and technology professionals. www.usitt.org UNIVERSITY RESIDENT THEATRE ASSOCIATION (URTA) Setting the stage for professional theatre training. www.urta.com VARI-LITE AND STRAND Industry-leading solutions from the original names in entertainment lighting. www.vari-lite.com; www.strandlighting.com VECTORWORKS Your all-in-one software solution for design, documentation and production. www.vectorworks.net VENTURE INDUSTRIES ONLINE Websites for arts organizations and artists. www.ventureindustriesonline.com VINCENT LIGHTING SYSTEMS Entertainment and architectural lighting/rigging. www.vls.com VOICE & SPEECH TRAINERS ASSOCIATION (VASTA) International organization advancing research and visibility of the voice and speech profession. www.vasta.org WENGER CORPORATION Inspiring great performances. www.wengercorp.com WIRELESS THAT WORKS, LLC Wireless microphone rental packages, available nationwide. www.wtwmics.com WOMEN’S THEATRE FESTIVAL Creates, produces and promotes extraordinary theatre by women and all marginalized genders. www.womenstheatrefestival.com XS LIGHTING, SOUND & VISUALIZATION Specializes in the creation of high-impact lighting, visualization and auralization. www.xslighting.com Spring-Summer 2021 x Southern Theatre x 25

IDRIS GOODWIN ‘Man, the Man Is Non-Stop’

Right: Idris Goodwin is a storyteller working across a range of mediums: playwriting, breakbeat poetry, video and more.

Mark Mahan

L

by Tiffany Dupont Novak

Listening to Idris Goodwin’s keynote during the 2021 SETC Virtual Convention, one could not help but imagine the breakbeat poet’s words to the tune of “Non-Stop” from Hamilton: An American Musical by Lin-Manuel Miranda. The song embodies the dig deeper, explore more, “why not?” attitude at the heart of Goodwin’s extensive career. The director of the Colorado Springs Fine Arts Center at Colorado College, Goodwin (he/him) is also an award-winning playwright, a breakbeat poet, a director and an organizer. Formerly the producing artistic director of StageOne Family Theatre in Louisville, KY, Goodwin has dedicated his career to cultivating new audiences in the arts.

An active member of both the Theatre for Young Audiences USA and Children’s Theatre Foundation Association advisory boards, Goodwin has written impactful and internationally produced Theatre for Youth works, including And in This Corner: Cassius Clay, Ghost, Jacked! and A Tribe Called Tubman. His extensive list of collaborations and partnerships includes institutions such as the Kennedy Center, the Eugene O’Neill Conference, Oregon Shakespeare Festival, Actors Theatre of Louisville, Arena Stage and The Playwrights’ Center.

In February 2021, he was one of 60 artists selected as United States Artists fellows, an award that provides a $50,000 unrestricted award to “the most compelling artists working and living in the United States, in all disciplines, at every stage of their career.” As the song says, “Man, the man is non-stop.”

26 x Southern Theatre x Spring-Summer 2021

SETC Convention Keynote Speaker Storytelling to make a difference

While Goodwin identifies most as a writer, his breadth of expertise convenes in a way that is unique to him as an artist, person, father, son: Idris. In looking at the world around him, Goodwin sees the impact of another type of convening.

“We’re in this moment that I call the great conven-

ing, where those in policy and protest and policing and public health, academia, athletics and, of course, the arts are trying to figure out: How do we move the needle forward?” he said.

The convergence of policy, heart and mind, accord-

Jennifer A. Lin

ing to Goodwin, is the space where artists can create, imagine and explore a better world through storytelling.

While Goodwin’s career has been dedicated to exploration, his journey as a parent has highlighted

breakbeat poems-turned-videos like “Say My Name”

the importance of imagination. Recently, as he reflect-

to the plays in his recent project, Free Play: Open Source

ed on how the pandemic and being home in front of

Scripts Toward an Antiracist Tomorrow. For Goodwin,

a screen every day might impact his young son, he

the magic of manipulating mediums is finding more

wrote the poem, “Your House Is Not a House.” The

audiences.

poem encourages us to imagine all the things a home

“As a storyteller, I can’t pigeonhole myself into

might be, from a spaceship to a zoo, from the desert

the American theatre as it’s constructed currently,”

to the sea: “Imagination is your mission. Your house

Goodwin said. “Because if I do that as a writer, as

is not just a house, it’s a canvas for your visions.”

a voice, only a particular demographic is going to

Imagination is a key component of Goodwin’s

hear what I have to say. Artists need to explore every

non-stop style, which finds him continuously imagin-

medium in order to connect with folks.”

ing and reimagining the best medium for the story he

is trying to tell: from books of poetry like Can I Kick

Black History Month rap and animation collabora-

It? and Human Highlight: Ode to Dominique Wilkins to

tion for Nickelodeon, Black History (It’s Yours). The

His recent exploration of mediums resulted in a

Among Goodwin’s recent plays is Ghost, presented (above) by Metro Theater Company in St. Louis, MO, in 2020. The play is based on the award-winning novel by Jason Reynolds and was co-commissioned

by Metro Theater Company and Nashville Children’sTheatre.

IDRIS GOODWIN: Bio and Career Highlights EDUCATION: BA, Film, Video and Screenwriting, Columbia College Chicago MFA, Creative Writing, School of the Art Institute of Chicago TV/RADIO CREDITS: Featured on HBO Def Poetry, Sesame Street, NPR, BBC Radio and the Discovery Channel SELECTED WRITING CREDITS: PLAYS: And in This Corner Cassius Clay, Ghost, How We Got On, Hype Man: A Break Beat Play, Free Play: Open Source Scripts Toward an Antiracist Tomorrow, A Tribe Called Tubman, Jacked!

BOOKS: Can I Kick It?, Human Highlight: Ode to Dominique Wilkins SELECTED AWARDS: Blue Ink Playwriting Award for Hype Man: A Break Beat Play (2017) Elliot Norton Award for Outstanding New Script for HypeMan: A Break Beat Play (2018) United States Artists Fellow (2021) More Info: idrisgoodwin.com Spring-Summer 2021 x Southern Theatre x 27

28 x Southern Theatre x Spring-Summer 2021

anthem, which explores Black icons, inno-

you Muslim? How do you say it? Where are

vators, creators and thought leaders from

you from? How do you say it? What does

the “Supreme Court and ball court,” had

it mean? How do you say it? (The answer

over 400,000 YouTube views just a little

to the last question? Eee-drees.)

over a month after being posted.

Weathering the COVID-19 pandemic

some time until eventually he could stand

this year did not change his process,

in the name his parents gave him. This

Goodwin said, because “one does not have

ownership is not only a part of Goodwin’s

a process but is constantly in process.”

journey as a person, but as he explains it,

Instead, the new challenges and opportu-

“to tell the story of your name is to tell the

nities of a COVID world solidified Good-

story of your people … I call myself Idris,

win’s belief in his six core principles. For

like my mama says it. She probably not

Goodwin, these principles have provided

saying it right.”

an anchor that holds steady in an ever-

Principle 2: Reflection

changing world. He encourages makers to

“Look at your reflection, see yourself,

not only explore his principles but develop

but more importantly, know thyself,”

their own.

Goodwin said.

Principle 1: Tell the story of your

For Goodwin, catching a glimpse of

name

your reflection is an active action, rather

than a passive one. Ask yourself: What is

Goodwin came to know this principle as

Idris went by a rapper nom de plume for

an essential component of hip-hop story-

inside your DNA?

telling. (See Teachers Institute story, Page

Goodwin explained that during the

32.) Telling someone your name evokes a

nation’s dual pandemics – systemic racism

unique feeling and is a tiny exchange of

as well as COVID-19 – his storyteller DNA

history that is both universal and specific to

didn’t change. Rather, the available medi-

each person. In his poem “Say My Name”

ums or venues shifted. As he describes on

from his 2019 book, Can I Kick It?, Goodwin

Medium.com in the self-reflective article

lyrically explores his own name: Idris.

Give It Away Now: How Dual Pandemics

“I always thought the name came out

Changed My Writing Process, Goodwin

of a book,” he wrote. “My mother still has

found that the central question became:

it. It’s crude and it’s orange. It says African

“How do I create something that is easily

Names. Now, inside African Names, it says

downloadable – that anyone could do in

something like, ‘Idris means immortal.’ But

their living room – but that also helps

I don’t think that’s right.”

people discuss these giant, glaring issues

that our nation is going through?”

Brought to life on film, before the virtual

theatre boom, “Say My Name” takes the

Looking at what you see in the mirror,

reader, watcher, dancer, dreamer, doer on

“always be questioning instead of critiqu-

Goodwin’s evolving personal journey with

ing,” he said. “Don’t just look at your reflec-

his name. Growing up in Detroit, MI, Idris

tion; unpack it.”

found that many folks in the Black church

So, in staying true to his reflection,

wondered why he was named Idris, espe-

Goodwin released Free Play: Open Source

cially when there are “names in the Good

Scripts Toward an Antiracist Tomorrow in

Book, strong apostle names. And names in

partnership with Theatre for Young Audi-

the phone book, strong regular names.”

ences USA. Each of the short works, written

Around age 11, Idris asked his mom if

to be read or performed across the multi-

he could change his name after spending

generational spectrum, offers insights

a large part of his life up until that point

about disconnects in racial conversation

being asked, “Can I call you “I” or “E” or

and the Black experience in America.

anything but your name?” And the ques-

tions didn’t stop as Idris grew older. Are

wrestle with our beliefs,” Goodwin said of

“Theatre is where we see ourselves and

Victoria Lafferty

Goodwin’s play And in This Corner: Cassius Clay, shown here in a 2016 production at Metro Theater Company in St. Louis, MO, tells the story of the young man who later became known as Muhammad Ali.

the project. “Through the stories of others,

disruption and a gesture toward equity,

we reflect on our own. Since racism lives at

very different from the casting of white

the intersection of misinformation, ego and

actors as Black characters.

unchecked power, the arts must counteract

“To have Black characters voiced by non-

by cultivating personal reflection, learning,

Black actors only increases the dispropor-

conversation and compassion.”

tionate inequity of opportunity for actors

The plays have been downloaded in

of color,” Goodwin said. “We ultimately

48 states in the U.S. and an additional 64

want a new American canon written by

countries, and have resulted in 21 produc-

intersectional Shakespeares writing roles

tions.

across the landscape.”

Principle 3: Don’t reason away what

According to Goodwin, “reason” was

is right

a key takeaway from Slate’s remarks. And

Why do we reason? Our body almost

while we know even productions like

immediately lets us know when something

Hamilton are not without their inequities,

isn’t right, Goodwin said, “but then reason

exploring reason can help us take action

sometimes steps in and softens it: ‘Well …

toward positive change.

it’s really not that bad.’”

“You will find yourself in situations

An example of the “softness of reason”

where you have to reason away what your

came to Goodwin via the recent conversa-

gut knows isn’t right,” Goodwin said. “So,

tion surrounding white voice-over artists

stick a sock in reason’s big mouth.”

voicing Black, Indigenous and People of

Principle 4: Don’t be afraid

Color (BIPOC) animated characters. In June

A recent encounter made Goodwin

2020, Jenny Slate, who until that time had

question if America was made of fear.

voiced Missy Foreman-Greenwald on the

While standing in line with his son at a

show Big Mouth, made the following state-

Louisville, KY, Walgreens in the summer

ment: “At the start of the show, I reasoned

following the police killing of Breonna

with myself that it was permissible for me

Taylor, a 26-year-old African American

to play ‘Missy’ because her mom is Jewish

woman, a former police officer standing

and white – as am I. But ‘Missy’ is also

behind the two asked, referring to another

Black, and Black characters on an animated

shooting of an unarmed Black man in

show should be played by Black people.”

Atlanta, “In my 27 years on the force, no

But what about the casting of non-white

one ever resisted arrest. What is it they

actors in roles historically played by white

don’t understand about the word ‘freeze’?

actors, like in the production Hamilton?

What is it they don’t understand about

For Goodwin, this is an intentional act of

‘You’re under arrest’? If they didn’t resist,

- We stand for Diversity equity

@TechTheatreDept

318-257-2711 louisianatechtheatre.com Spring-Summer 2021 x Southern Theatre x 29

there would be no problem.”

Principle 6: Be alive

Goodwin’s response had everything

to do with his fourth principle: “They do

visible and publicly alive and in celebration

understand. That’s why they resist. It’s fear

when you can,” Goodwin said. “Because our

of officers past, the footage of what’s inside

role is to be the quality-of-life-people. To

the DNA, our minds firing more negative

emanate light and energy and show what’s

thoughts than positive, a survival mecha-

possible. To dance in the snow and rain. To

nism from our more primal days. Terror

make industries from old records. To be the

is our specialty here, terror and erasure.

soundtrack’s revolution, the fashionistas

American horror films make over $700

who craft the uniforms so that we can spot

million a year. So, that means we produce

each other from a distance. Don’t let the

fear. That means we consume fear. That

khaki-pants-bland-soup crowd dilute your

means we kind of ARE fear. And so that’s

spicy-curry swagger. You are three-dimen-

why they run.”

sional. You are a revolution. Disruption is

a note, play it like Bootsy Collins, Beyoncé

As a Black storyteller and changemaker,

“Be fully, publicly, three-dimensionally

Goodwin has often been the first Black

your hips to it. It’s in your DNA.”

director to lead at legacy institutions. In

It is safe to say that the past year has

doing so, he works to be flexible, vigilant

been overwhelming and has shaken our

and vulnerable – anything but afraid. He

industry and us as people to our core. What

encourages those pioneering into homog-

Goodwin describes as our nation’s dual

enized spaces to be prepared.

pandemics have changed the stories we’re

“Find your believers, your tribe,” he

telling and the venues we’re telling them

said. “Speak to your ancestors. Gather your

in. But watching Goodwin’s keynote over

crew and proceed with arms linked into

video, delivered from what appears to be

the frame.”

an office with art placed deliberately on the

Principle 5: Be a citizen artist

beige walls, we are called to imagine.

Citizen artists are reflective of what

Goodwin refers to as “the great conven-

ering his words from a garden, on the

Whether you imagine Goodwin deliv-

ing”: the convergence of heart and mind,

moon or over Zoom, the story he tells us

along with the convergence of policy. Many

is the same. Develop your core principles

of the skills held by creators, he said, can

as an artist and as a person. Canons are

be easily applied in communities.

constructed and need to be interrogated.

“Transfer terms like given circum-

If it’s not in front of you, that doesn’t mean

stances, intention, motivation, process,

it doesn’t exist. Follow your passion and

being present [and], saying, “yes, and” to

curiosity into this field and use it as fuel

the engagement in your community,” he

to make our nation and our narratives

said. “Even virtually, use your creativity

stronger, braver, more beautiful. Question

to reimagine and rebuild a broken society.”

non-stop. Imagine a better future for each

Just as artists are active in their art

other.

making, they need to be active as citizen

Goodwin concluded his keynote with

artists. Mail or email your legislators and

his poem, “Another Black Body,” from the

council people, run for office, and vote in

book Can I Kick It? The poem embodies

every election, Goodwin urged. Art is not

his core principles, leaving us with these

separate from society, but rather a very

inspiring words: “This body is alive.” n

important part of it.

“Be a citizen artist, a son, a daughter, neighbor artist, a Black, Latino, Asian, Indigenous, American, freckled, lesbian, gay, queer, trans human artist,” Goodwin said.

30 x Southern Theatre x Spring-Summer 2021

Tiffany Dupont Novak (she/her) is the director of advancement at Lexington Children’s Theatre in Lexington, KY.

start a movement

Study Theatre at SMU

JOIN OUR COMMUNITY OF IN-DEMAND THEATRE ARTISTS

The SMU Meadows Division of Theatre alumni do it all: perform on Broadway, star in TV shows and movies, start groundbreaking theatre companies, write award-winning plays, push the limits of directing and design, and continue to shape America’s artistic landscape. SMU Meadows Theatre is a

B.F.A. Theatre, Acting Specialization B.F.A. Theatre, Theatre Studies Specialization M.F.A. Acting M.F.A. Stage Design

nationally respected conservatory program within a strong liberal arts framework. Learn more at smu.edu/theatre.

Southern Methodist University (SMU) will not discriminate in any employment practice, education program, education activity, or admissions on the basis of race, color, religion, national origin, sex, age, disability, genetic information, or veteran status. SMU’s commitment to equal opportunity includes nondiscrimination on the basis of sexual orientation and gender identity and expression. The Executive Director for Access and Equity/Title IX1 Coordinator is designated to handle inquiries regarding the nondiscrimination policies, including the prohibition of sex discrimination under Title IX. The Executive Director/Title IX Coordinator may be reached at the Perkins Administration Building, Room 204, 6425 Boaz Lane, Dallas, TX 75205, 214-768-3601, accessequity@smu.edu. Inquiries regarding the application of Title IX may also be directed to the Assistant Secretary for Civil Rights of the U.S. Department of Education. 1 Title IX of the Education Amendments of 1972, 20 U.S.C. §§ 1681-1688.

Right: Idris Goodwin leads a workshop in person in pre-pandemic times.

THE BEAT GOES ON Using Hip-Hop and Breakbeat Poetry to Boost

Creativity and Inclusivity in the Classroom

I

by H. Jonathan Kitt

In addition to providing a keynote address at the 2021 SETC Virtual Convention, Idris Goodwin (he/him) led the 16th annual SETC Teachers Institute, which was held virtually on Saturday, March 6.

Titled “Breakbeat Poetry Storytelling and Story Listening for an Antiracist Tomorrow,” the Virtual Teachers Institute focused on how teachers, teaching artists and others can use the breakbeat poetry that emerged from hip-hop to answer questions such as: How do we make our spaces more inclusive? How do we get to know one another better? How do we, as educators, bring our communities together and embrace diversity?

32 x Southern Theatre x Spring-Summer 2021

SETC Teachers Institute

Goodwin, born in 1977 at the dawn of the hip-hop

After moving from his native Detroit to Chicago

era, shared with those attending the event how he

for college, he began performing his works on stage.

grew up with this art form in his life and discovered

One of the most important things he noticed was

his writing talents through the poetry he created to

how diverse the gatherings were for hip-hop. He

the beat of hip-hop.

traces that diversity to a shared obsession with the

beat that brings a mix of individuals together.

“Hip-hop is just a continuation of the art of the

lineage of gospel and polyrhythms of the motherland,

eter, binds us,” he said. “The beat is similar in that

the blues, what later became rock’n’roll … and jazz …

we all can come from different places in the world

It’s essentially what happens when you take instru-

and still can be connected through this very human,

ments out of the schools.”

biological thing.”

Without instruments to play, students made

Later, as Goodwin traveled and taught in hip-

the turntable into an instrument, Goodwin said,

hop and spoken word spaces, he had an epiphany. It

because “that force, that need to express, that need

became clear to him that “by inviting human beings

to make noise, that need to be in the jubilee can-

to share their stories in their own voice, using the

not be quenched, it can’t be put out, it can’t be

poetry of their communities, that what we are doing

my family and

stopped.”

is, we’re telling and listening to stories.”

friends and

Hip-hop allowed Goodwin to “tell my own story

“The beat, just like Shakespeare’s iambic pentam-

Hip-hop allowed

diaspora,” he said in his opening remarks. “It’s in the

Extending that technique into the classroom, he

Goodwin to ‘tell my own story in my own way,’ he said. ‘To discover the poetry of

said, “can be a useful tool in facilitating more inclu-

that that was

my family and friends and that that was worthy of

sive spaces, building community in a very swift way

being considered song. Meaning that I did not have

and also making art at the same time.”

worthy of being

to join a choir and learn to sing like other people

Hip-hop and storytelling exercises

considered

… I could sing in my own way, in the way that my

generation chose to express.”

the workshop, he noted that “breakbeat poetry” – a

song.’

Through hip-hop, Goodwin said, “I found my

term describing the spoken word poems he began

writing voice. Because, quite literally, in order to

creating through the influence of hip-hop – continues

write a 3-minute rap song, you are doing at least two

to be the primary way he tells his story.

times as many lyrics as your average non-rap song,

probably even more, just the density of language.”

story could be different,” he said. “This is not neces-

TEACHER

Takeaways

in my own way,” he said. “To discover the poetry of

As Goodwin moved into the interactive portion of

“For everyone here, the way you express your own

“The SETC Teachers Institute with Idris Goodwin was a fantastic experience.

Being able to hear Idris’ passion for storytelling and interact with him in a small group setting was a joy. Our hands-on writing activities were eyeopening and readily replicable in a classroom or community setting. And getting to do it all with other teachers from around the Southeast was simply lovely.”

“The Teachers Institute has provided great insight and new directions for taking my students through deeper levels of incorporating diversity into their original playwriting works. One takeaway is providing more opportunities for my students to showcase their works through community forums so they can be heard.”

- Maranda DeBusk (she/her), Guest Lecturer, University of Tennessee Knoxville, TN

- Darell G. Rickmers (he/him), Theatre/Drama Teacher, John W. Bate Middle School Danville, KY

“The Teachers Institute with Idris Goodwin was one of my favorite experiences that I have had at SETC. It was a wonderful opportunity to get to learn from someone of Idris’ caliber. His activities centered around diversity and inclusion and were applicable to taking directly into the classroom.”

- Stacy Howell (she/her), Oral Communications and Theatre Instructor; Co-Coach, Speech and Debate Team, Northwest Rankin High School Flowood, MS Spring-Summer 2021 x Southern Theatre x 33

Baylor Theatre

sarily intended to be about poetry per se …

aunt. There is a way your inner voice talks.

if you primarily are in a dance space, some

Try to find the poetry in that. Try to find

of the same ideas can be reinterpreted for a

the surprises in that. Try to find the style

dance space, or an improv comedy space …

and specificity in that.”

My objective is not necessarily to promote

poetry. It’s really just to promote the use of

room, he said, teachers should first model

it to get the story out.”

the assignment by creating and sharing

Exercise 1: Say my name

a piece about their own name and then

Goodwin started his first exercise by

have students create their own pieces. Use

BA Theatre Arts BFA Theatre Performance optional concentration in musical theatre BFA Theatre Design & Technology

showing a video of a poem he created, “Say

prompts and driving questions to encour-

My Name,” which is about his first name.

age students to dig in further: What does

(Read more about the poem in the story about

your name mean? How do you say it? Each

MA in The Theatre Studies MFA in Directing

his keynote address, Page 26.) Next, he asked

person has a different set of driving ques-

participants to create their own works

tions about their name that will be unique

about their names.

to them.

By sharing stories through a prompt

Next, the teacher needs to make a

like this, Goodwin noted, students and

creative space for sharing. In the hip-hop

teachers can learn more about each other

community, this space is called the cipher.

and develop connections with one another

“The idea of the cipher, the root of

while also creating works of art.

the word, is that it means nothing, zero,”

In creating their pieces, he urged partici-

Goodwin said. “There is no hierarchy;

pants not to “try to sound like a ‘poet.’

there are no boundaries. If you are standing

There is a poetry in the way you talk to

in a circle, it means there is no end to it,

your friends, the way you talk to your sassy

there is no top or bottom. When the cipher

In-state auditions listed at baylor.edu/theatre Theatre Department acceptance by audition/interview only Baylor University applic application deadline February 1, 2021

Accredited by the National Association of Schools of Theatre 2020 production pnoto of Yerma

In adapting this exercise for the class-

Training the next generation of professional artists Faculty + Staff + Students =

Close partners in an artistic community nurtured in our classrooms, studios & productions

Acting Design & Technology Musical Theatre Stage Management Dramaturgy Children’s Theatre Dance ...And More • NAST Accredited • BA programs in

Theatre & Dance • MAT in Theatre

SCHOLARSHIP AUDITIONS EVERY JANUARY

theatre.cofc.edu theatredance@cofc.edu 843.953.6306

34 x Southern Theatre x Spring-Summer 2021

CofC Stages Practical production experiences start in your first year!

Preparing

the artist

of

the

21st century

AT THE SCHOOL OF FINE & PERFORMING ARTS, creativity thrives. Through programs that celebrate and nurture diversity and inclusion such as our BFA in Acting in Film, Television and Theatre, we empower malleable artists to successfully adapt to any media. »

Learn from seasoned professionals who bring decades’ worth of arts and entertainment experience to the classroom.

»

Gain invaluable experience through numerous on-campus performing opportunities.

»

Take advantage of Rider’s close proximity to New York and Philadelphia where thousands of opportunities await to make lasting connections and build your résumé.

For more information, visit: R I D E R.E D U/E X P LO R E-A RT S

is broken, that means the moment is over.

a role and serve us in our daily lives.

ing and listening to each other. They can

There is no time limit.”

In explaining this exercise, Goodwin

also help to stimulate learning and inspire

Most educational environments are

shared his ode to lotion, “Ashy to Classy:

students to develop ideas, Goodwin said.

highly structured and tend to be somewhat

An Ode to Lotion,” published in 2019 in

rigid, so teachers must work to create a

his book of poetry, Can I Kick It?. Odes,

students but really all artists, we think too

space that allows for this creativity, he said.

an ancient form of poetry, are popular in

externally … because we’re believing in the

The question they should strive to

hip-hop because they are celebratory and

myth of originality, and we’re believing

answer, he said, is: “Within that controlled

typically intended to be spoken, Goodwin

in the myth of, ‘I’ve got to say something

space, how do we facilitate a space that is

said. They usually address not just the role

important,’” he said.

somewhat more uncontrolled and driven

of the object in society, but also the role of

Showing students the value of self-

by student expression and their lived

the object in the writer’s life.

reflection – and encouraging them to tell

experiences, the stories they have in their

By using this exercise with students,

stories that matter to them – can help them

bodies, the areas of expertise they have?”

Goodwin said, teachers can learn what

create art that resonates. But it also can help

Exercise 2: Ode to an object

their students love, hold dear and hold

them in life, Goodwin said, training them

“Sometimes, particularly with writing

sacred.

“to really take stock of everything that’s

was “Ode to an Object,” in which partici-

“Obviously, most of it’s funny – it’s a

inside of them.” n

pants were asked to create odes to seem-

good way to add some levity,” he said.

ingly ordinary objects in their lives that are,

“But it’s also a good way to learn [about

in fact, sacred to them. Throughout hip-hop

the students] indirectly.”

music, there are many anthems to seem-

Putting these ideas to work in the

ingly ordinary objects. Examples include

classroom

Run DMC’s “My Adidas” and Snoop

Goodwin has used these exercises in

Dogg’s “Gin and Juice,” which essentially

workshops with middle and high school

give praise and gratitude to items that play

students to get participants writing, talk-

The second exercise Goodwin presented

36 x Southern Theatre x Spring-Summer 2021

H. Jonathan Kitt (he/him) is an assistant professor of theatre at the University of West Georgia.

He has been an actor, director and writer for over 30 years.

His solo show Superman, Black Man, Me! A Stage Essay debuted at the Chicago International Fringe Festival in 2013.

DON’T SETTLE FOR JUST A GRADUATE PROGRAM. Find your artistic home in a collaborative, creative community.

M.F.A. in PLAYWRITING

with concentrations in dramaturgy, directing, performance, plays with music, plays for youth, and applied theatre hollins.edu/grad/playwriting

Certificates in:

New Play Dramaturgy

hollins.edu/grad/dramaturgy

New Play Performance hollins.edu/grad/acting

New Play Directing

hollins.edu/grad/directing

Expand your portfolio, upgrade your skills, and build your network during our high-intensity/low-residency intensive summer sessions.

Call us at (540) 362-6575 or email hugrad@hollins.edu for full details.

HOPES AND ADVICE FOR A RETURN TO THEATRE From the 2021 SETC Design Keynotes b y J o n a t h o n Ta y l o r

Matthew Murphy 38 x Southern Theatre x Spring-Summer 2021

SETC Convention Design Keynotes

T

Taking a break from their pandemic lives to participate in the 2021 SETC Virtual Convention, Distinguished Designers Dede Ayite, Alan C. Edwards, Rachel Hauck and Jessica Paz offered a mix of advice, anecdotes and insights in pre-recorded keynotes available for viewing throughout the convention. They also engaged in live responses to undergraduate and graduate student work entered in the Design Competition and participated in a live Q&A session on Thursday evening during the convention. Below are highlights from the advice and observations they shared.

DEDE AYITE on Costume Design

A

native of Ghana, Dede Ayite (she/her) earned

back. Look at your garment again. Look at your

a BA in theatre and behavioral neuroscience

design again. Look at your actors again. Look at your

from Lehigh University and an MFA in design from

characters again. Sharpen your eyes and really look

the Yale School of Drama. Her Broadway credits

at it.”

include A Soldier’s Play, Slave Play and American

Son. Selected Off-Broadway credits include Secret

your story of that character as well. Black people

Life of Bees, Marie and Rosetta, By the Way, Meet

are not monolithic. The Black experience is not a

Vera Stark, and School Girls; or, The African Mean

singular story. Asian people are not monolithic.

Girls Play. She received a Helen Hayes Award for

White people are not monolithic. Do not get stuck in

Jelly’s Last Jam, a Lucille Lortel Award for Bella: An

a single story. Discover the character in its fullness

American Tall Tale and a 2019 Obie for Sustained

and complexity.”

Excellence in Costume Design. Nominated for Drama

Desk Awards for numerous plays, Ayite received two

designers should take in telling stories about people

2020 Tony Award nominations: for Slave Play and A

of color, Ayite was clear: “Start by acknowledging

Soldier’s Play. Her advice for emerging designers:

what you don’t know. Start by acknowledging where

Look for truth, decolonize your work.

Dede Ayite’s main focus at Yale was scene design,

She also urged emerging designers to “decolonize

In response to a question about approaches white

your deficit might be. Also, before you take on the project … make sure you’re clear on what your intentions are about that project, and … listen to the people

but she also studied and worked as a costume

you’re working with.”

designer. She noted that it’s not absolutely necessary

to have a degree in costume design to succeed, but

inevitability of failure, Ayite advised young designers

young designers must “pursue the knowledge.”

to embrace both.

“You have to read the books,” she said. “You have

Acknowledging the reality of self-doubt and the

“At this stage, I’m grateful for all the failures,”

to study it. You have to know what you’re talking

she said. “I’m grateful for this discovery because it’s

about. You have to have an understanding in order to

making me a better artist. I’m finding myself.”

communicate with your team and … how you would

like your design to be executed.”

inadequacy with patience and to use stretches of time

between work to hone skills.

Seeking knowledge, whether on your own or as

She advised young designers to fight feelings of

part of a degree program, gives you a way of “practic-

ing your art and developing your own artistic voice,”

take that away from you,” she said. “Painting – no one

she said.

can take that away from you. You can keep exploring

… and expressing yourself.”

Ayite also challenged young designers to analyze

their choices and look for truth in their work.

Dede Ayite (above) was nominated for a 2020 Tony Award for costume design for her work on Slave Play (opposite page) and A Soldier’s Play.

“Picking up a pencil and drawing – no one can

Opposite page: James Cusati-Moyer and Ato Blankson-Wood are shown in a scene from Slave Play by Jeremy O. Harris, which was nominated in 2020 for 12 Tony Awards, the most ever for a play.

No matter what, she said, follow your calling.

“By honoring the truth of the costumes, my goal

“Follow it not because of how everyone else is

is to provide the play and the performer a conduit to

attending to that call, but of how it authentically

the soul of the character,” she said.

speaks to you,” she said. “Follow it in and through

Building on advice given to her by legendary

love … Whether it’s scene painting or costume

costume designer Jane Greenwood, Ayite said,

design, explore your art because it’s your art. It’s your

“When you think you’re done looking, take a step

gift to the world.”

Spring-Summer 2021 x Southern Theatre x 39

ALAN C. EDWARDS on Lighting Design

A

native of Henrietta, NY, Alan C. Edwards (he/

it. I’m here. I should do it now.”

him) earned a BFA in design from Ithaca

For Edwards, being present is more than just self-

College and an MFA in design from the Yale School

serving. Recounting the story of his daily walk to a

of Drama. His work has included the Off-Broadway

local café to get the perfect mocha, he said, “That

world premieres of Harry Clarke at the Vineyard and

daily trip is one thing that’s keeping me sane. It’s just

Kill Move Paradise, which received a Lucille Lortel

a plus that my few dollars are also helping us have a

Award and a Drama Desk Award nomination, respec-

neighborhood left when this is all over.”

tively. He designed Anna Deavere Smith’s Fires in the

The pause created by the pandemic has also

Mirror, for which he received a Lucille Lortel nomina-

offered Edwards forced introspection. Stressing the

tion. Other regional design credits include Dominique

need for work/life balance, Edwards said, “You must

Morisseau’s Pipeline, Skeleton Crew and Detroit ’67;

have a hobby. You have to have something you do at

and new musicals Twisted Melodies and Lights Out:

your own pace that’s just for you. Something you can

Nat King Cole. On Broadway, Edwards was Jennifer

pick up [when] things are complicated, and you just

Tipton’s associate designer on The Testament of

need everything to slow down … I wish I’d known

Mary. His advice for emerging designers:

this 10 years ago.”

For Edwards, that hobby became photography,

Give yourself room to discover, live.

which has forced some space into his life that wasn’t

In his keynote address, Alan C. Edwards reflected

there before. Edwards clearly has found value in this,

on the beginnings of his career, pandemic life, the

saying, “When you get out in the world and things

importance of variety, and a lesson learned: “Remem-

get complicated and you get buried in striving for

ber to live your life wherever you are.”

achievements – grinding for the next step – remember

to do something every day just for your sanity.”

Edwards illustrated his last point with an anecdote

The pandemic has afforded Edwards time to reflect upon his own career path, and he encourages young designers to use the time similarly.

“All last year I noticed myself taking stock, catch-

ing up,” he said. “What exactly happened over the last decade, and what am I doing next? This field is a wild turkey on the range. Give yourself the room to discover and develop. Build a process that helps you weather the waves and stay in the ring.”

In the live Q&A session during the convention,

designers were asked about strategies for pushing through creative blocks. Edwards’ response was Alan C.Edwards

unique among the group: “I just try to identify what

Alan C. Edwards (top) was nominated for a 2018 Drama Desk Award for his lighting design on James Ijames’ Kill Move Paradise (above), presented at the National Black Theatre.

is working and do more of that.” By approaching the challenge from the perspective of what’s going right, he said, “the spaces where things are not working will shrink or become more specific and, with the specificity, then there might be a way to get through it.”

Responding to a question about what he looks for

from early in his career about traveling to a gig outside

NYC. Upon returning he realized he was living in the

in an assistant or associate designer, Edwards said a

place he had always wanted to be, but that he hadn’t

person’s communication skills are more important

taken the time to really be present.

than their education and skill level.

“I should be living,” Edwards said, “seeing this

“We’re going to be spending a lot of time commu-

all, taking it all in. Most people spend their lives

nicating, and we need to just have a good time

planning, hoping to get to see some of this. Any of

communicating.”

40 x Southern Theatre x Spring-Summer 2021

McKee portrayed “Brad” in Rocky Horror Picture Show, Warehouse Theatre, Greenville, South Carolina.

Theatre is such a personal career path. It requires emotional availability and knowledge of self. Piedmont’s advantage is that professors zero in on what makes students themselves and focus on cultivating and building that up. —Jacob McKee

Named one of “8 youn g actors to w atch in Atl anta” —Atla nta Journa l-

Constitutio

The Piedmont Advantage

n

Photo credit Wallace Krebs

Jacob McKee ’15 Theatre Major

McKee became the person he “was meant to be” at Piedmont. He left with not only a degree, but also compassion, empathy, and the belief that making art is important. He has now formed his own production company, The Make Mom Proud Project, and is currently shooting his first short film, “Space Mom.” At Piedmont College, soon to be Piedmont University, students receive personal attention, are passionate about their craft, and emerge as leaders who value the arts. For other career success stories, visit www.piedmont.edu/ theatre-arts-careers.

piedmont.edu/apply

RACHEL HAUCK on Scene Design

R

achel Hauck (she/her) grew up in Southern

some advice for young designers: “There are as many

California and earned a BA in theatre from

ways into the arts as there are artists, and that’s an

the University of California at Los Angeles (UCLA).

incredible truth about this field.”

Hauck addressed the #WeSeeYouWAT movement

Her Broadway credits include Hadestown, What the

Constitution Means to Me and Latin History for Morons.

head-on in her keynote, urging young designers to

Additional New York work includes The Wrong Man

recognize and address racial inequity in design.

(MCC Theater), Hurricane Diane (New York Theater

“American theatre is as deeply entrenched in

Workshop), Othello and Twelfth Night (Shakespeare

systemic racism as is everything in this country, and

in the Park) and The Lucky Ones (Ars Nova). Hauck

we must address it,” she said. ”It is essential that we

received an Obie Award for Sustained Excellence in

address it.”

Scenic Design in 2016 and the Lilly Award for Excel-

lence in Set Design in 2011 – and won a 2019 Tony

designers who, according to design-action.com, are

Award for her Hadestown scene design. She was

“advocating for a radical shift in the landscape of

resident set designer at the O’Neill Playwrights Confer-

American theatre design.” Speaking directly to white

ence for 10 years. Her advice for emerging designers:

designers “of all generations,” Hauck said, ”We have

Trust your art, make space for all.

enjoyed an enormous amount of space for a very long

Rachel Hauck underlines the impact of her liberal

be told … Some white designers feel that the success

arts education on her approach to design. “To have

of BIPOC artists will come at their expense, that there

learned so much about literature and history and

aren’t enough jobs for everyone. I implore you not to

science” has been vitally important in her career,

fall into that way of thinking. Celebrate your peers.

Hauck said.

Celebrate their work. Rethink how we make theatre.”

Hauck is involved with Design Action, a group of

time. We must make space for everybody’s stories to

She warned young designers that they will find

“there are days when you can see what you’ve made and days when you can’t see the answer, but,” she said encouragingly, “there comes a time when you trust that the answer is in there.”

Hauck continued this thread later, noting, “You trust that you’re an artist. You trust that if it affects you emotionally, it will affect somebody else emotionally.” Over time, Hauck said, “those things become clearer” and easier to hold onto through good and bad. “Trusting that your creative eye has merits is – it’s hard,” she said, before punctuating her answer Matthew Murphy

with conviction: “Yours do, by the way.”

Rachel Hauck (top) won a 2019 Tony Award for scene design for her work on Hadestown (above and also shown on the cover of this magazine and on Page 44).

In these challenging times, Hauck encouraged designers new to the field to “remain active. Keep your creative brain active … Theatre is a collaborative art form. This is a time for you to find your voice as a private artist.” She encouraged designers to capitalize

“I took every design class that my undergraduate

on this opportunity “to recenter” themselves: “Paint,

course track offered at the time,” but, she adds, “the

sculpt, draw, read, watch every play you can find

most influential class I ever took at UCLA was actu-

online … Find work that excites you from all over

ally a sculpture class with a really brilliant artist,

the world. Follow the artists who made it.”

Nancy Rubins. That class changed how I think, how

I see material, how I use space.”

she noted. It will return, and when it does, she

said,“Be ready!”

Hauck used her experience as a springboard into

42 x Southern Theatre x Spring-Summer 2021

Theatre has been around for thousands of years,

UNPARALLELED TRAINING & A LIFELONG COMMUNITY

“I studied at Atlantic in New York when I was 19, and it’s been a part of my creative life forever.”

–Rose Byrne

Atlantic has an acting program for you!

Full-Time Conservatory Evening Conservatory Global Virtual Conservatory Summer Intensive Spring Comprehensive Virtual Part-Time Classes Summer Teen Ensemble

Your future begins here.

APPLY TODAY! atlanticactingschool.org admissions@ atlantictheater.org

| NYC

BFA through NYU Tisch School of the Arts

JESSICA PAZ on Sound Design

A

native of Brooklyn, NY, Jessica Paz (she/her) is

a giving space and not a taking space.”

a self-taught sound designer. She became the

Go into the theatre “asking how you can help tell

first woman to win the Tony Award for sound design

the story, how you can help the director, how you

in 2019, when she and collaborator Nevin Steinberg

can help the room stay calm, and how you can help

won for the Broadway production of Hadestown.

an actor on stage feel more comfortable,” Paz said.

Paz’s other Broadway credits include associate

“Every time you put your hand on the door to enter

sound design for Dear Evan Hansen, Bandstand,

the theatre, ask how you can help.”

Disaster! The Musical, The Assembled Parties and

Fela!. Her work also has been seen at The Public

there was a skill that she’s developed over time, but

Theater, Roundabout Theatre Company, North

wishes she had more of at the beginning of her career.

Shore Music Theater, Virginia Stage Company and

“More empathy,” she said. ”The ability to have

Barrington Stage Company, among others. She is

empathy – better empathy.”

co-chair of Theatrical Sound Designers and Compos-

Although she did not lack empathy altogether

ers Association’s board. Her advice for emerging

as a young designer, she now knows the depth

designers:

and breadth of the need to develop this particular

Build relationships, show empathy.

emotional muscle and advises young designers to

the characters and stories they design.

During the live Q&A session, Paz was asked if

pay close attention to their ability to empathize with

One of the key components for a successful career

in design is to be actively present, Jessica Paz said.

“There was once a director who said that we’re

in the business of empathy,” Paz said. “I think that’s

“That doesn’t just include physically showing up

for the work but showing up in the creative process

true.”

with your collaborators and being a team player,”

Paz offers excellent advice for young designers

scrambling to assist more seasoned designers on professional productions. In hiring an assistant, Paz said she looks for “a sense of curiosity” and a “willingness to ask questions and a willingness to say they don’t know the answer … I would rather an assistant or an associate of mine say ‘I don’t know how to do this’ than to pretend they know how to do it and potentially it goes very badly.”

Finally, Paz reminded young designers that they

never know what will lead to their next project.

For this reason, she advised, “Keep building relationships even if they don’t turn into collaborations Matthew Murphy

right away. Don’t burn bridges, and this includes the

Jessica Paz (top) became the first woman to win a Tony Award for sound design for her work on Hadestown. Above, the Workers Chorus performs during the Broadway show.

she said. “You keep showing up, you keep forging

ability to say no to projects that are not a good fit for you.”

Paz indicated that it is just as important to know

when to say no as it is to know when to accept an offer on a show.

Perhaps above all, Paz said, “Be kind.” n

relationships, you keep working creatively, and you will keep moving forward. Creative work is hard work, but I believe it was my willingness to keep showing up that led to my success.”

Passing on advice from one of her mentors, Paz

implored young designers to “enter the room from

44 x Southern Theatre x Spring-Summer 2021

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

4 DEGREE PROGRAMS BFA ACTING

BA THEATRE

4 Senior Showcases

Ability to Double Major

2 semesters On-Camera Acting

Flexible Curriculum

Voice & Dance Instruction

Study Abroad Opportunities

BFA DESIGN & PRODUCTION

MFA IN SCREEN ACTING

Production Work for All 4 Years

One year in Los Angeles, one year in London

Professional Partners Throughout OKC

Rigorous actor training & on-camera experience

Specialize in a Number of Different Areas

Impactful industry mentorship & original content creation

Visit okcu.edu/theatre for more information

2021 SETC Young Scholars Award Winners JACKSONVILLE UNIVERSITY LINDA BERRY STEIN COLLEGE OF FINE ARTS

THEATRE

U N D E R G RAD UAT E DEGREES:

Bachelor of Fine Arts in Theatre Performance Bachelor of Fine Arts in Music Theatre

GRADUATE WINNER: ALEXANDRA LAGRAND ‘From the text of Shakspeare’: William Charles Macready, King Lear and the Theatrical Antiquarianism of Locrine Alexandra LaGrand

liberty when he introduced a new character

(she/he r) i s a

named Locrine. Echoing back to the 1595

master’s st udent

play, The Lamentable Tragedie of Locrine,

st udy i ng Sha ke-

Locrine is Macready’s materialization of an

speare and Perfor-

impulse toward theatrical antiquarianism,

m a nce at Ma r y

or a nostalgic mentality that encompasses

Baldwin University

the marriage of Shakespearean influence

in Staunton, VA. She

and Victorian practice. This inclusion

earned her under-

of Locrine modifies Macready’s reputa-

graduate degree in English and Dramatic

tion from having restored Shakespeare’s

Art at the University of North Carolina at

“original” text to having created his own

Chapel Hill, where this research began in

adaptation of the play. This paper exam-

2016. She will be pursuing a PhD in English

ines materials, including prompt books,

at Texas A&M University.

diaries, newspaper articles and playbills,

Abstract: As theatre historians know,

to argue for Macready’s belief in Locrine’s

actor-manager William Charles Macready

Shakespearean authorship while investi-

has a reputation for having restored

gating and contextualizing the dramaturgy

William Shakespeare’s King Lear in 1838.

of Macready’s Locrine character. Doing

Hitherto, audiences knew only of Nahum

so will illuminate Macready’s theatrical

Tate’s 1681 adaptation that featured a

antiquarianism and revise his status from

happy ending. In his restoration of the

a restorer to an adapter of Shakespeare’s

tragedy, however, Macready took theatrical

King Lear.

UNDERGRADUATE WINNER: CAROLYN ETZEL The Intersections of Greco-Roman Theatre and Early Christian Liturgy Carolyn Etzel (she/

the dramatic structure of the sacraments

h e r) i s a j u n ior

and the liturgical calendar, and the use

double m ajor i n

of cosmogonic myths in ancient theatre

Theatre and Theolo-

and religion. The essay strives to unveil

gy and a member of

the divine possibilities of theatre through

the Kairos Honors

an exploration of liturgical development,

L E AR N M O R E AT :

Scholars program

opening an unexpected dialogue between

www.ju.edu/steincollege

at Lee University in

disciplines. Drawing from voices such

Cleveland, TN. Her

as Aristotle and Augustine, the research

collegiate theatre credits include roles as

focuses on the evolution of liturgy in

Henrietta Leavitt in Silent Sky and Fanny

late antiquity as it adopts the traditions

Dashwood in Sense & Sensibility. Research

of ancient theatre and recycles them for

interests include classical theatre, theo-

Christian use. While causation is impos-

logical aesthetics, dramatic theory, feminist

sible to prove yet, the correlations are too

theology and liturgical theology.

compelling to deny. With this in mind,

Abstract: This paper seeks to examine

this paper serves as an invitation both for

the correlations between the structure of

discourse between two seemingly polar-

Greco-Roman theatre and early Christian

ized disciplines and for further research

liturgical worship, specifically highlighting

illuminating deeper connections.

Bachelor of Fine Arts in Theatre Technology Bachelor of Arts in Theatre

AP P LY N OW:

www.ju.edu/apply

2800 University Blvd N. Jacksonville FL 32211 | (904)- 256-7370

46 x Southern Theatre x Spring-Summer 2021

Michael Howley Honored with SETC’s 2021 Suzanne M. Davis Memorial Award The Suzanne M. Davis Memorial Award was established to honor an individual for distinguished service to SETC over a number of years and is traditionally presented at the SETC Awards Banquet, with the name of the winner kept secret until the final moment of the announcement. With this year’s awards ceremony held virtually, the winner was notified in advance that he had won and was given the opportunity to share a few remarks in a video response. member of the American Theatre Critics

knows exactly where it is. For those who are

Association; or his 42 years of experience

fortunate to count him as our friend, the day

ood evening. It is a great pleasure

in university teaching, directing and criti-

is incomplete without an awesome social

to introduce to you this evening’s

Presentation by Alan Litsey

G

cism; his membership in the Stage Directors

media update and publishable image of a

Suzanne Davis Award honoree.

and Choreographers Society; or his service

perfect dinner, plated with a keen eye for

Imagine an educator, theatre artist,

on the Board of Directors of the Alabama

color, texture and appearance. Indeed, he

director, actor, critic and writer who brings

Conference of Theatre and SETC?

is a meticulous artist in everything he does.

a lifetime of support and opportunity to

Tonight’s recipient has been honored

He’s been a big role model for me

students and adults in the celebration of

by KCACTF [Kennedy Center American

in these 30 years and for many others.

theatre. His voice shares his excitement

College Theater Festival] for his extraor-

The Alabama Conference of Theatre has

for the work of diverse artists, technicians

dinary activity as a respondent. It will be

recognized his important contributions to

and leaders. His rare gift zeroes in on the

a very busy time for anyone who wishes

theatre with the Marian Gallaway Award

strengths of each member of the team and

to break his record for the number of

and the Hall of Fame Award.

identifies each individual’s North Star to

KCACTF responses. He is the Hank Aaron

take their work to the next level.

of responders.

light. He shows us how our craft is realized

In his service to SETC, he has worn

His gifts include his uncanny memory

with generosity, kindness, fierce attention

many hats, bringing a thoughtful and

that serves him so well in all his endeavors.

to detail and love. He is an Ambassador

inclusive perspective to benefit emerging

If you ask him about the productions he

of Possibility. It is a great privilege to

a nd seasoned t heat re folk wit h h is

saw in London summer of 1976, he can

announce this year‘s Suzanne Davis Award

warm and collaborative spirit.

tell you. He will also remember the cast

winner, Michael Howley. n

Oh, did I mention he is a longtime

and can show you the program because he

A former professor at Alabama State University, Michael Howley (he/him) has served SETC as administrative vice president, as Alabama state representative and as a member of the Executive Committee, the Finance Committee, the Editorial Board of Southern Theatre and numerous standing committees. He has attended every SETC Convention except one (when he was recovering from heart surgery) since he joined SETC in the 1970s.

Excerpt from Michael Howley’s Video Response Thank you, Alan, for your very kind and generous words … Thank you, SETC, for the honor of including me in the distinguished list of friends and colleagues as a recipient of the Suzanne Davis Award. For the last 40-plus years, SETC has been my extended family, a family of mentors, spirit guides, adopted parents and children, and an array of crazy aunts and uncles and cousins – you know who you are – whose love of theatre truly does connect us nationwide. You honor me with this award, but it would not have been possible without your support and contributions. You all have made this journey so wonderful over all these years.

When COVID is over and we can meet again in person, watch out for a bunch of really big hugs.

This evening’s honoree is an inspiring

Alan Litsey (he/him) is chair and professor of theatre at Birmingham-Southern College.

He served two terms as SETC president.

ABOUT THE AWARD This prestigious award was established following the death in 1964 of SETC member Suzanne M. Davis, costume designer for Unto These Hills and wife of SETC’s 10th president, Harry Davis.

Alvin Cohen, then owner of Paramount Theatrical Supplies in New York, approached the SETC president and said he wanted to sponsor an annual award in Suzanne’s name to honor her, as well as an individual who had given outstanding service to SETC. The board accepted the offer, and the Suzanne M. Davis Memorial Award was born.

Spring-Summer 2021 x Southern Theatre x 47

WORDS, WORDS, WORDS . . .

Editor: Sarah McCarroll

Words, words, words … [Hamlet II,ii] reviews books on theatre that have a connection to the Southeast or may be of special interest to SETC members. Sarah McCarroll (she/her), an associate professor of theatre at Georgia Southern University, edits this regular column. If you have a book for review, please send to: SETC, Book Editor, 5710 W. Gate City Blvd., Suite K, Box 186, Greensboro, NC 27407.

Directing Professionally: A Practical Guide to Developing a Successful Career in Today’s Theatre

by Kent Thompson 2019, Methuen Drama, bloomsbury.com ISBN: 9781474288767; Pages: 208 Price: $21.95 (paperback); $17.99 (Kindle)

his accomplished directorial colleagues.

Professionally starts from the assumption that a professional career is in motion for the reader, but does not always honor the fact that it is a long journey. The situational advice contained in the guide comes from the top level of regional theatre: multi-

b y J e n n a Ta m i s i e a E l s e r

I

If I have a complaint, it’s that Directing

million-dollar companies that can afford

n a profession where it seems anyone

dual leadership models and numerous

can call themselves a theatre director,

staff/resources. Thompson defines a

Kent Thompson’s Directing Professionally:

“professional” theatre as one belonging

A Practical Guide to Developing a Successful

to a union, but there are other jobs for

Career in Today’s Theatre is kryptonite for

which directors are paid that are pivotal

lazy directors. Starting with his grounded

to an early career, including ensemble-

introduction, Thompson encourages young

led theatres, community-driven theatres

directors to constantly question their

that are strictly board-run, and children’s

directorial choices, examine their career

theatres whose designers are volunteer

motives, and elevate each moment of their

parents. My quibbles with the scope and size of the theatres included are tempered

process from the point they are hired until they retire. Unlike Anne Bogart’s nonlinear

“Part III: Advancing Your Career” lists

by the understanding that no one book can

pragmatism in A Director Prepares or Katie

ways directors can nurture themselves,

possibly encompass every circumstance a

Mitchell’s tool kit for approaching text/

from scheduling time with friends to

director encounters.

character in The Director’s Craft, Thompson

exploring hobbies. While this seems

Overall, Directing Professionally could

focuses on navigating the business side of

self-explanatory, it is in reality difficult

be helpful as required reading for anyone

the profession: the process of directing a

to include elements of self-rejuvenation

pursuing a Master of Fine Arts in Directing

show, who is involved, important terms to

in a busy working life, and Thompson’s

to help balance out the more philosophical

know, questions to consider, and how to

attention to this serves as a vital reminder.

or technique-heavy texts often assigned. It

set career advancement goals.

In “Part IV: Becoming an Artistic Direc-

is an exceptional education for those who

“Part I: Entering the Field,” while

tor,” Thompson includes a breakdown of

know little or nothing about stage directing

somewhat rushed, touches lightly on the

the journey toward artistic directorship

or those shifting to the directing profession

essential parts of early career. It is now a

seldom seen in other directing texts. He

from another field. Directing Professionally

requirement that directors find survival

also includes highly relevant (and multiple)

also serves as a great reminder to seasoned

jobs, produce their own work, and learn

mentions of the inherent bias and racism

directors that clear, compassionate and

about theatre administration.

permeating the theatre industry. I appreci-

balanced leadership leads to transformative

“Part II: Your First Professional Job”

ate the emphasis he places on the director’s

experiences for everyone involved in the

describes every step a director takes in a

individual responsibility to engage in best

business of live performance. n

standard process from the first interview

practices of equity and inclusion.

before being hired as a production’s direc-

tor to opening night, including how to

“practical guide,” but the more delightful

approach production meetings and what to

moments occur when Thompson peppers

expect in technical rehearsals (knowledge

a paragraph with a personal anecdote

most seasoned directors take for granted).

or introduces a passionate quotation from

48 x Southern Theatre x Spring-Summer 2021

This book lives up to its goal of being a

Jenna Tamisiea Elser (she/ her) is a freelance director and the co-founder and artistic director of Glow Lyric Theatre in Greenville, SC.

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

Non-Profit Org. US Postage Paid Auto Greensboro, NC Permit No. 744

CELEBRATING 40 YEARS

FEATURING: LIGHTING, DIMMING, RIGGING

STAGE CURTAINS

SUPPLIES

• DESIGN & INSTALLATION • EQUIPMENT SALES • FIELD SERVICES

• CUSTOM MANUFACTURED • INSPECTIONS • REPAIRS

• STAGE • STUDIO • PRODUCTION

888.936.7687 w w w.mainstage.com Wisconsin • Florida • Tennessee • Texas • Louisiana