Southern Theatre, Vol. 63, Issue 2 - Spring/Summer 2022

Volume LXIII Number 2 • Spring-Summer 2022 • $8.00

SETC 2022 Norm Lewis ‘Believe in Something, and Believe in Yourself’

Sally Cade Holmes

Producing Is Her Superpower

Jim LeBrecht

Inclusivity, Not Just Accessibility

Design Keynotes

Advice After the Pandemic Pause

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Norm Lewis, the Phantom / Photo by Matthew Murphy

Departments 4 Hot off the Press

Plays With Younger Roles

Contents

Volume LXIII Number 2 l Spring-Summer 2022 l Southern Theatre – Magazine of the Southeastern Theatre Conference

Features

8 Norm Lewis

‘Believe in Something, and Believe in Yourself’ by Gaye Jeffers

by Zackary Ross

18 Sally Cade Holmes

6 Outside the Box: Design/Tech Solutions

by Amy Cuomo

Pump Up Your Spatter Technique: The Garden Sprayer 2.0 by Matthew Stratton

Producing Is Her Superpower

26 Jim LeBrecht

Inclusivity, Not Just Accessibility by Johannah Maynard Edwards

52 Words, Words, Words …

34 Embracing Inclusion

Review of Theatre of the Sphere: The Vibrant Being, by Luis Valdez and Michael M. Chemers

Diversify Your Classroom, Empower Your Students with Devised Theatre by Elizabeth Watkins

review by Javier Luis Hurtado

42 After the Pandemic Pause

Cover

Advice from the 2022 SETC Design Keynotes on Returning to Work in a Reframed Theatre World by Jonathon Taylor

Norm Lewis (right) and the cast of Chicken & Biscuits, written by Douglas Lyons, perform on Broadway in fall 2021. Lyons was one of a record eight Black playwrights with works scheduled on Broadway in the 2021-2022 season. (See story on Norm Lewis, Page 8.) (Photo by Emilio Madrid; cover design by Deanna Thompson)

48 SETC Thanks Its Commercial Partners 50 2022 SETC Young Scholars Award Winners Abstracts by Garret Lee Milton and Berit Schönegge

51 Tiza Garland Honored with SETC’s 2022 Suzanne M. Davis Memorial Award Presentation by Jack Benjamin

Spring-Summer 2022 x Southern Theatre x 3

Plays With Younger Roles Our regular column on plays that have recently become available for licensing focuses in this issue on works with prominent roles for younger actors.

by Zackary Ross

A

s a director in a university theatre program, I frequently cast teenagers or early 20-somethings in far more adult roles. However, I’m always looking for plays that

place younger characters at the center of the action to give my students an opportunity to explore roles closer to their own age and experience. What follows is a collection of plays that feature prominent roles for younger actors. To develop the list of suggested titles, we surveyed major play publishers’ offerings during the last few years. After each description, you’ll find information about the cast breakdown and a referral to the publisher who holds the rights.

Bondage, by Star Finch

Cast breakdown: 2 women (1 Black/

Teenage Zuri must navigate life on a small

Af rica n descent, 1 wh ite/Europea n

island in the Caribbean prior to the Civil

descent); 3 men (2 Black/African descent,

War as a mixed-race slave. Her multiple

1 white/European descent)

identities create conflict for her. Neither

Publisher: Concord Theatricals

white nor Black and not quite an adult but

www.concordtheatricals.com

also no longer a child, Zuri finds herself in dangerous circumstances in this emotion-

Our Dear Dead Drug Lord,

ally charged piece of AfroSurrealism.

by Alexis Scheer

Cast breakdown: 4 women (2 Black/

In the treehouse where they share their

Af rica n descent, 2 wh ite/Europea n

teenage hopes and dreams, a group of

descent); 1 man (white/European descent)

girls gathers to summon the spirit of cartel

Publisher: Broadway Play Publishing, Inc.

kingpin Pablo Escobar. In this play full of

www.broadwayplaypub.com

dark and twisty surprises, the girls bond and battle with each other as they navigate

Br’er Cotton,

the highs and lows of girlhood.

by Tearrance Arvelle Chisholm

Cast breakdown: 5 women (2 Latinx

Fourteen-year-old Ruffrino Witherspoon is

descent, 2 white/European descent, 1

angry. His father is serving a life sentence

Black/African descent,); 1 man (Latinx

in prison, his mother is a poorly paid maid

descent)

to white families, and his grandfather

Publisher: Concord Theatricals

doesn’t respect his militant attitude and the

www.concordtheatricals.com n

rage he feels toward the police and white culture. As his anger boils over, Ruffrino becomes the cause of riots at his school. The play is a compelling account of what it means to grow up Black in the U.S. in the age of the Black Lives Matter movement. 4 x Southern Theatre x Spring-Summer 2022

Zackary Ross (he/him) is an associate professor of theatre and the 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

Laura King, Chair, Independent Theatre Artist (GA) Becky Becker, Clemson University (SC) Jennifer Goff, Centre College (KY) Gaye Jeffers, University of Tennessee at Chattanooga Ricky Ramón, Howard University (DC) 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) 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, Actors Theatre of Louisville (KY) Thomas Rodman, Alabama State University Zackary Ross, Bellarmine University (KY) Jonathon Taylor, East Tennessee State University Chalethia Williams, Miles College (AL) Student Member: Chris Cates, Wake Forest University (NC) 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 three times a year by the Southeastern Theatre Conference, Inc., a nonprofit organization, for its membership and others interested in theatre. Copyright © 2022 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

S

Spring is often thought of as a time of renewal in our hemisphere, and I think we saw that in full force at the 2022 SETC Convention in Memphis. One night, the last bit of winter blanketed the city streets with snow, while inside the warmth was palpable as we came together and shared memories two years old alongside lessons learned and time lost. In this issue of Southern Theatre, we share inspiring messages from our 2022 convention keynote speakers who renewed our passion for theatre of all kinds. We start with Norm Lewis, the Tony, Emmy, Grammy, and Screen Actors Guild Award nominee who was SETC’s Saturday keynote speaker and 2022 Distinguished Career Award recipient. Gaye Jeffers details Lewis’ career highlights, including his role as the first African American “Phantom” on Broadway. She also shares his thoughts on a variety of topics, including his return to the Broadway stage in fall 2021. If you’ve ever wanted to know more about the job of a Broadway producer, you’ll want to read Amy Cuomo’s story about Friday keynote speaker Sally Cade Holmes, who produced two recent Tony Award winners: The Inheritance and Hadestown. Holmes, who grew up in South Carolina, discusses her path to Broadway, details the role of a producer, and offers her vision of how the pandemic will have an impact on the future of theatre. Sound designer, disability rights activist, and Emmy-nominated filmmaker Jim LeBrecht brought his compelling story to the SETC Convention via a virtual keynote on Thursday. Johannah Maynard Edwards shares LeBrecht’s thoughts on a variety of topics, including how his experiences at a camp for kids with disabilities led to the award-winning documentary Crip Camp, and why inclusivity – not just accessibility – is vital. Inclusivity was also the focus of SETC’s 17th annual Teachers Institute, which brought together four presenters to offer advice for teachers on diversifying their classrooms and helping students create their own stories that resonate. Elizabeth Watkins summarizes the advice given by the presenters in the all-day workshop. We were honored to have three distinguished designers adjudicate the annual Design Competition this year: Narelle Sissons, Oana Botez, and María-Cristina Fusté. Jonathon Taylor outlines the advice they provided for emerging designers in their convention keynote and in interviews with Southern Theatre. We also celebrate the 2022 winner of the Suzanne M. Davis Memorial Award, Tiza Garland. Our “Hot off the Press” column looks at new plays with characters near college age. “Outside the Box” outlines a new spatter paint technique, and “Words, Words, Words …” reviews a book that explores Luis Valdez’s methods. Finally, we share abstracts from SETC’s Young Scholars Award winners. This time last year, my wish was for a “more accessible, more inclusive, more equitable, and more empathetic” theatre world as we were working in pandemic conditions. As we continue to renew our theatrical community, may these stories keep us on that path.

Maegan McNerney Azar (she/her), SETC President Spring-Summer 2022 x Southern Theatre x 5

outside

the box DESIGN/ TECH SOLUTIONS

PUMP UP YOUR SPATTER TECHNIQUE The Garden Sprayer 2.0

by Matthew Stratton

A

s a theatre artisan, I have found that spattering adds depth, texture and

color-changing opportunities to scenic elements. When I need to lay down paint droplets on larger surfaces, I often use a garden sprayer to add quick texture, soften scenic edges or add depth over large areas. However, this tried-and-true method – which involves pressurizing the tank, depressing a lever and adjusting the spray Matthew Stratton

nozzle to the desired droplet size – has its challenges. Chief among them is the need to stop often to pressurize the tank. The tank’s pressure is a factor in determining the droplet size. To avoid getting paint on the work surface or accidentally spraying the set, the equipment must be moved off

A bike pump-powered garden sprayer was used to create the spattering effect in this April 2022 production of Baskerville: A Sherlock Holmes Mystery at the University of Alabama.

the work surface to pressurize the tank, which must be done repeatedly, utilizing

for the garden sprayer. To use this method,

the built-in pump system. The frequent

you will need to purchase any items in the

bending down to pressurize the tank can

“Materials” box that you don’t have in stock

also be exhausting for your back.

and follow the step-by-step instructions.

I often pondered how to improve the

Step 1: Remove the pump handle,

use of the garden sprayer, particularly

determine the best location for the valve

ways to minimize stopping to add pres-

stem, and mark it. This mark needs to be

sure to the tank. However, each potential

above the max fill line on the sprayer. Be

solution required specialized parts, such

sure to avoid the extreme curve, the seam

as CO 2 tank adaptors, regulators and high-

of the molded tank and the pressure relief

pressure tanks or cartridges, and the cost

valve areas of the tank.

The pump sprayer in action.

Step 2: Use the drill bit gauge to find

Step 4: Moving forward, be sure to

Finally, I used my guilty pleasure of

the needed hole size for the valve stem.

follow the safety guidelines outlined in the

Amazon searching, combined with my

Select roughly four bits to step up the hole

garden sprayer manual and use the proper

need to tinker, and came up with a solu-

size or mark the final width on the step bit.

personal protective equipment. Determine

tion that costs less than $60 for most shops

Carefully drill the hole.

the maximum pressure of the tank by

quickly added up.

(assuming you already have the sprayer

Step 3: Fish a wire through the hole

pumping the handle. After reaching max

and the proper drill bits). This solution

and feed it out of the pump handle hole.

pressure, check for leaks and use the tire

reduces the potential for accidental spray-

Next, tightly wrap the wire around the

pressure gauge to measure the tank’s

ing while pressurizing the tank and is easy

valve stem and pull the valve back through

pressure. Write the max pressure on the

enough to manufacture that you can have

the tank and into the drilled hole. Support

tank and make sure never to exceed that

multiple sprayers ready for quick use.

the valve from inside the tank, remove the

pressure.

Powering paint instead of a bicycle

wire, add the washer and nut, and snug

Step 5: Review the directions for the

the valve to the tank using the adjustable

rechargeable pump, and be sure to charge it

wrench.

fully. After adding water to the tank, adjust

My solution? Using a rechargeable bicycle tire pump to pressurize the tank 6 x Southern Theatre x Spring-Summer 2022

Step 1: Locate the best place for the valve stem.

Step 2: Drill the hole for the stem.

Step 3: Insert and secure the valve.

Step 4: Pressurize the tank with the hand pump and record maximum pressure.

Step 5: Attach the rechargeable pump to the valve and set to the recorded pressure.

Bottom line

the pump to a setting below the tank’s

the first sprayer. I began spraying the first

maximum pressure. Attach the pump to

color while pressurizing the next color, and

If spattering is an aesthetic component

the valve stem and turn it on. After the tank

the second color was ready for use before I

of your scenic artistry, this solution is an

is pressurized, spray the water into your

finished spraying the first. It felt like having

inexpensive upgrade that can improve

sink and observe how it reacts as the pres-

a second set of hands.

your workflow and give you the ability to

sure reduces. As the flow rate decreases,

“When using a traditional pump, there

keep your pressure more consistent while

start the pump again. You can continue

is a portion of time dedicated to simply

painting. As Madison stated, you can also

spraying while the pump pressurizes the

pumping each sprayer. Although the effort

pressurize the tank while preparing or

tank.

may be minimal, you can be in two places

using the sprayer, allowing you to produce

After assembly, you will need to

at once by using the pump. First, when

a continuous workflow and a more consis-

secure the pump to the tank. I found that

using the pump while spraying, you avoid

tent spray. n

Command Strips interlocking fasteners

stopping mid-spray to repressurize the

worked well for this.

tank. Doing so helps prevent inconsisten-

Warning: Please note that the air line

cies in the application and allows for a

from the pump to the valve gets extremely

softer fade throughout the paint texture.

warm due to the compressed air moving

In addition, the improved pump allowed

through the line. Be sure to avoid touching

for a consistent paint application to the

or handling the air line during use.

surface, which the sprayer alone lacks.

The pump in action

Avoiding the pause to maintain pressure

I asked scenic designer and artist

by hand pumping, you can complete the

Madison Grant, a graduate student at the

entire project keeping a consistent opacity

University of Alabama, to test and share

on the surface during the application.”

following is her response: “Integrating the improved pressurized garden sprayer into my workflow was pretty seamless. There is a bit of a learning curve while integrating the pump into your workflow. I found it fluidly happened while prepping colors, but when using it, you need to establish the muscle memory of reaching down to turn the pump on without taking your eyes off what you’re painting. When preparing multiple colors, I could pour and mix while the pump was pressurizing

One-gallon garden sprayer (Home Depot) Schrader stem valve (Amazon, 4-pack) Pressure gauge (Home Depot) Step drill bit (Harbor Freight) Rechargeable bike pump Total:

her experience using the garden sprayer with the rechargeable bicycle pump. The

Materials

NOTE: A special thanks to the University of Alabama’s Collaborative Arts Research Initiative (CARI), for funding the proof of concept, allowing me to hire talent to demonstrate the improved pump solution.

$9.95 9.95 4.48 17.99 38.99 $81.36

Matthew Stratton (he/him) is the technical director and an assistant professor at the University of Alabama. He also has worked for Vanderbilt University, Glimmerglass Opera and McLeod Summer Playhouse.

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 2022 x Southern Theatre x 7

NORM LEWIS ‘Believe in Something, and Believe in Yourself’

Matthew Murphy

SETC Distinguished Career Award

T

The Saturday afternoon keynote had the feel of a family reunion, marking both the return of an in-person SETC Convention and the return of Norm Lewis (he/him), a 2013 convention keynote speaker and the 2022 winner of SETC’s Distinguished Career Award. Fresh from a March 4 show at Carnegie Hall, “One Night Only: An Evening with Norm Lewis,” the Tony, Emmy, Grammy and Screen Actors Guild (SAG) Award nominee drew a large audience at the convention in Memphis, TN. Lewis entered the ballroom with a cup of coffee in one hand and a welcoming dose of positivity in the other. Longtime friend Pat Gagliano, chair of the Department of Arts and Communications at Newberry College, introduced Lewis with playful banter and genuine glee. We could feel their friendship – even from behind our masks. Celebrated for Broadway appearances in The

Emilio Madrid

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

by Gaye Jeffers

Gershwins’ Porgy & Bess, The Little Mermaid, Les Misérables, Chicago, The Wild Party, Miss Saigon, The Who’s Tommy, The Phantom of the Opera and Chicken

Lewis openly shared his thoughts on acting, advocacy

& Biscuits, Lewis made history as the first African

and self-respect – and promoted the importance of

American Phantom on Broadway. Lewis was busy

living a creative life with joy and action. Below are

during the COVID-19 pause, continuing his acting

highlights of those conversations.

career in television and film. Working with direc-

u What has changed the most for you

tor Spike Lee in the 2020 film Da 5 Bloods, Lewis

since your last visit to SETC in 2013?

added to his list of film and television credits, which

Besides becoming older, I’ve been blessed to do more

include Pose, Women of the Movement, Scandal and

work in the TV and film world.

Law & Order.

u In the big picture, do you think we are

In support of Black Lives Matter, Lewis joined

seeing a change in terms of actors being

other African American theatre artists in founding

able to more fluidly shift from musical

Black Theatre United in June 2020 to implement

theatre to plays, to TV and to film?

change in equity, diversity and inclusion. Black

Yes, I think that casting directors, producers and

Theatre United is a call to action and activism. The

directors are finally understanding that you can’t put

group created a manifesto for Broadway theatres, the

performers in a box. There are so many people that

New Deal, that focuses on policies to effect change

have skills that can translate from one genre to the

in empowerment, justice, accessibility and belonging

next (TV, film, stage and music).

for the theatrical industry.

Norm Lewis (second from right) portrays the Rev. Reginald Mabry in Chicken & Biscuits by Douglas Lyons on Broadway in fall 2021.

u Chicken & Biscuits was a groundbreaking

Lewis marked the reopening of Broadway theatres

production (one of eight plays by Black

in 2021 with his portrayal of the Rev. Reginald Mabry

playwrights scheduled on Broadway in

in Chicken & Biscuits. He is slated to begin the national

the same season). It was your first time to

tour of Roundabout Theatre Company’s Tony Award-

perform in a Broadway play – not a musical.

winning production of A Soldier’s Play in the role of

Yes, I was asked by the writer, Douglas Lyons, if I

Captain Richard Davenport in December 2022.

would be a part of his play and after reading the

Welcoming questions from the audience, Gagliano

material, it was a no-brainer for me. It is so beautifully

moderated a conversation that was insightful, inspir-

written and unfortunately didn’t have the backing

ing and introspective. Both in the keynote conversa-

that it needed to be fully realized. The show will have

tion and in an email interview with Southern Theatre,

a life, though, on tour and regionally.

Opposite page: Norm Lewis is the Phantom and Sierra Boggess is Christine in The Phantom of the Opera on Broadway. Lewis became the first African American to portray the Phantom on Broadway when he assumed the role in 2014.

Spring-Summer 2022 x Southern Theatre x 9

u Did this change your creative

title, and it being an all/mostly Black cast.

then I moved on. I played tennis growing

process?

There are archetypes and stereotypes

up. In the 11th grade, my dream was to

As far as my “creative process,” it was the

that people expect or expected. This show

be a professional tennis player. But I was

same as if I were in a musical. I always rely

had some of those aspects, but then you

decent, not great. … When I had to have

on the text for answers. I do my research on

were taken on a journey you didn‘t know

another elective to graduate, I chose to join

some of the key elements of the characters,

you were going on. So many people of

the choir. And that was where my “aha”

like what do they do for a living, where are

different backgrounds and cultures came

moment happened. I started hearing songs

they originally from, things like that. But

up to us after the show and said, “OMG, I

from the Broadway world and the classical

for the most part, the answers that I need

related to this story so much,” or “I have

world, and it was like, “I got to do this, I

for character development and intention of

someone in my family that acts just like

got to do this.”

scenes lie within the text, and I also feed

that,” on and on and on, more relatable

u What does community mean to

off of my fellow actors.

stories.

you in 2022?

u Did you pull from your personal

u Can you share your path as a

Community is looking out for one another,

background for the play?

performer? How did you begin?

supporting one another, rallying around

Literally, my preparation for Reverend

I didn’t know I could sing. I sang in choir

one another, and I feel the theatrical

Mabry was just imitating and emulating

in high school and in church, and that

community does that very well. We

my grandfather and also the pastor that

was kind of like a rite of passage. A lot of

all know how hard it is to do what we

I grew up with. I have a very rich history

you probably have heard this story before,

do eight times a week for little money.

within the church.

but my dad was chairman of the deacon

You can make a living in this industry,

u Chicken & Biscuits has been

board. My grandfather was a preacher, so

but you can’t become rich. But I feel

called a “quiet revolution.” What

I kind of followed what my friends did,

the passion and the drive to do great

did it mean to you?

and I went up there and made a joyful

work connects us in a way that is unex-

Well, people had a preconceived idea of

noise at the age of nine. It wasn’t so joyful,

what the show was about, based on the

but that was the start of my singing, and

plainable. You just know and feel it. (Continued on Page 12)

THEATRE + DANCE The School of the Arts is the creative engine of Northern Kentucky University. BA and BFA taught by a faculty of professional artists near the vibrant Cincinnati arts community, giving each student opportunities to stretch boundaries and discover new possibilities. Acting • Dance • Musical Theatre • Playwriting Stage Management • Theatre • Theatre Design Theatre Technology • Theatre in World Cultures

theatre.nku.edu | sota.nku.edu 10 x Southern Theatre x Spring-Summer 2022

Noah Taylor

Norm Lewis (left) is interviewed by his former Lake City Community College classmate Pat Gagliano during his keynote at the 2022 SETC Convention in Memphis, TN.

NORM LEWIS: Bio and Career Highlights EDUCATION: Associate Degree, Lake City Community College (now Florida Gateway College), Lake City, FL

SELECTED BROADWAY CREDITS: The Phantom of the Opera (Phantom); The Gershwins’ Porgy and Bess (Porgy); Les Misérables (Javert); The Little Mermaid (King Triton); Once on This Island (Agwe); Chicago (Billy Flynn); Miss Saigon (John); Side Show (Jake); The Wild Party (Eddie); Chicken & Biscuits (Reginald Mabry); The Who’s Tommy (Specialist); A New Brain (Roger Delli-Bovi); Dessa Rose (Nathan); Amour (Painter); Show Boat (Joe)

FILM CREDITS: Da 5 Bloods (Eddie); Magnum Opus (Charlie Lutwidge); Sex and the City 2 (Reginald); Christmas in Tune (Duke); Winter’s Tale (Custodian); Preaching to the Choir (Reverend Tucker)

SELECTED TELEVISION CREDITS: Women of the Movement (Roy Wilkins); Scandal (Senator Edison Davis); Jesus Christ Superstar (Caiaphas); Pose

(Pastor Vernon Jackson); Law & Order (Henry King); Blue Bloods (James Campbell); She’s Gotta Have It (Don Swan); Unbreakable Kimmy Schmidt (Rumbleshanks); Mrs. America (Ron Dellums); The Blacklist (J.P. Laskin); Gotham (Deputy Mayor Harrison Kane); Chicago Med (Bobby); Bull (Medical Examiner Henson); Hustling (Senator Bailey); All My Children (Keith McLean)

AWARD NOMINATIONS: The Gershwins’ Porgy and Bess, nominated for: Tony Award, Best Actor in a Musical; Drama Desk Award, Outstanding Actor in a Musical; Drama League Award, Distinguished Performance; Outer Critics Circle Award, Outstanding Actor in a Musical; Grammy Award, Best Musical Theatre Album Show Boat, nominated for: Drama Desk Award, Outstanding Featured Actor in a Musical Jesus Christ Superstar, nominated for: Grammy Award, Best Musical Theatre Album

More Info: normlewis.com

Spring-Summer 2022 x Southern Theatre x 11

(Continued from Page 10)

and inclusion. We didn’t want to just have

agreed upon to move forward with creating

u What was the impetus for the

social media memes or quotes. We wanted

a more inclusive environment within the

creation of Black Theatre United?

to be a part of making legislative, adminis-

industry. Things that are normally taken

Black Theatre United (BTU) came out of

trative, executive and educational changes.

for granted were brought to the table and

a need to express ourselves with all of

And that is all a part of BTU’s mission.

discussed, and an agreement was made to

the killings that were happening in 2020.

Just think of this: Before this organiza-

hold each one of us accountable. Now, was

COVID made all of us stop. Then you

tion started, there was only one sound

everything agreed upon by everybody? No,

saw killing after killing of Black people

engineer [on Broadway] that was Black and

but the conversation is being had and will

on television, and especially after George

was a female. One. And then backstage, I

continue. And that is the most important

Floyd was brutally murdered right in front

can count the number of shows I’ve been in

thing. The conversation is being had, where

of our eyes, we knew we had to say some-

and have seen one or two guys backstage

before it wasn’t.

thing. LaChanze and Audra McDonald

who [were] African American. So, we

u What goals/shifts do you hope

called a Zoom meeting with some of the

wanted to just kind of get that conversation

will build a more inclusive America

“veterans” of this industry, and we talked

going. We brought people together … and

where all stories can be told and all

for hours about our feelings. Also, a lot

we came up with what we call the New

voices heard?

of the younger performers were reaching

Deal.

I feel the main goal is to reach the chil-

out to us, asking, “What is happening? We

u What is the “New Deal”?

dren. Helping them to understand what

need to say something!” Hearing this and

The New Deal is a culmination of conver-

equity and inclusion means at an early age.

understanding that we needed to express

sations that were had at a summit that

Respecting different cultures and learning

ourselves, BTU was formed in order to

BTU sponsored last year. We had several

from them, and supporting others who are

make change. Not only on stage, but

committees that spoke with theatre owners,

different than they are. But at the same time

behind the scenes. Stagehands, adminis-

producers, union leaders and creatives and,

helping them realize that, in the end, we

tration, casting, marketing, creatives, etc.

with the help of a diversity professional,

are all the same. I think that by doing that

There needs to be more diversity and equity

we created language that mostly everyone

early on, it will help make it a normal thing.

DEPARTMENT OF THEATRE

University of North Carolina at Charlotte A student-centered community-engaged education in theatre.

Bachelor of Arts in Theatre—concentrations in Applied Theatre; Design/Tech; Directing, Dramaturgy, and Dramatic Writing; Performance; and Theatre Education (K-12).

PRACTICE.

Fostering “cross-trained artists” prepared for the world of professional theatre as well as any profession that places value on imaginative thinking, collaboration, and communication skills.

INNOVATION.

12 x Southern Theatre x Spring-Summer 2022

ENGAGEMENT.

@unccarts | theatre.uncc.edu

Michael J. Lutch

Norm Lewis (right) was nominated for a Tony Award for his portrayal of Porgy in The Gershwins’ Porgy and Bess on Broadway in 2012.

There have been so many people I have spoken with that didn’t realize or were

Universities] that have programs that need to be explored.

unaware of certain systemic behaviors

u How can young brothers and

or incidences Black people or people of

sisters get involved in changing the

color face on a daily basis, and now they

look of theatre?

want to understand and become more

Great question. Go to Blacktheatreunited.

aware to help change that within our

com. That’s one thing. But there are other

industry and also society as a whole.

organizations out there. The Broadway

I feel this conversation is encouraging

Advocacy Coalition. The Black Theatre

more people to create and promote more

Coalition. Just try to get involved with

diverse stories because now there seem

whatever there might be at your school – a

to be more possibilities for those stories

Black student union, or some friends just

to be heard.

getting together and just uplifting each

u How can we be involved?

other. And that’s the main thing – support-

Be more proactive in hiring. Not only

ing each other, uplifting each other, and

for the stage but beyond the stage.

knowing that everything’s going to be all

Administratively, creating more space

right, and you have support from people

for board members. Market to platforms

like us.

where the people are: radio, churches,

u The last time you were here in

Boys’ and Girls’ Clubs, schools in differ-

2013, a student asked you about

ent neighborhoods.

your dream role. You said it would

u How can we change the status

be really cool to have an African

quo?

American actor play Phantom on

The status quo can be changed by chang-

Broadway. And a year later you

ing yourself. Step outside of the box. There

were starring with Sierra Boggess

are so many stories out there that just need

in The Phantom of the Opera.

the chance to be heard. People who have

Yes … going into the show, I think I was

skills that just need the chance to show

probably the first baritone they ever hired.

them. Situations where mentorships and

And at that time, the show had been

scholarships can be offered and applied.

running for like 24 years or so. And know-

HBCUs [Historically Black Colleges and

ing that, knowing that everybody knows Spring-Summer 2022 x Southern Theatre x 13

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every note, every word, I wanted to be as

But I walk upstairs … and I turned the

on point as I could eight times a week, and

corner, and it was Bradley Cooper talking

so I was a monk. I wouldn’t speak during

to Paul McCartney! I stayed as long as I

the day. And then I would burst out at 8:00

could … till 4:30 in the morning. … I was

at night, just so I could be that person to

tired and, all of a sudden, as soon as I was

have the voice that people were looking

walking down the stairs, I hear music –

for. … I brought my own little style to it,

you know, like in a circle dance. It was

but it’s one of those shows that you want

Janelle Monáe and Usher having a dance-

to be on point with.

off. And I’m like, “I’m going back upstairs.”

u When you play roles that are

Yeah. So, that’s my story.

well-known, like Phantom or Javert

u What was it like working with

in Les Misérables, do you have a

Spike Lee and Chadwick Boseman

mindset or process to make the

on Da 5 Bloods?

character your own?

We all just got along really well. And I’m

I try to go to the text. … The text will give

honored to be a part of that film. For me,

you everything, really. It’s about engaging.

one of the main reasons was telling a

… It’s not about you being grand. John

story that’s never been told before about

Caird, who directed [Les Miz] originally

Black soldiers in Vietnam. And I didn’t

and for us in New York, said when you

know this until I did the film, but African

look out in the audience, look for some-

Americans made up at the time 11% of the

body. And when you have a thought, sing

[population] of the United States. But in

to them … so it’s about the relationship

Vietnam, Black men were 33% of the Army.

you’re trying to create with the audience

So, it was really interesting getting that

and with the person that’s on stage [with

perspective. And also I got to work with

you].

great actors. [Da 5 Bloods] was Chadwick

I just dive deep into the text, even if

Boseman’s second to last film. … I was

it’s a song, and I’ll break it down because

honored working with such a great actor …

sometimes in a song, you’re limited by the

and to work with someone of that caliber.

musicality and the music and the rhymes

And to feel like I belonged in the room.

and all that stuff. But if you just break

And so, even though he’s much younger

it down as a monologue, you’ll find the

than me, he [Boseman] has such a great

answer, and that’s the only thing I can really

presence and so, yeah, he’ll definitely be

say. … I just try to find it within the text.

missed, but never forgotten.

u What was it like working

u In 2018, NBC produced the

opposite Audra McDonald in The

musical Jesus Christ Superstar and

Gershwins’ Porgy and Bess?

you were Caiaphas. So, you went

Audra McDonald … she took me to the

from a tenor in The Phantom of the

White House. She was good friends with

Opera to a double bass.

the Obamas … and they used to have a

I didn’t warm up for that. … You have to

party at the White House around January

keep your morning voice all day long. …

or so. And [Audra] would take her husband,

I remember when we were in rehearsal,

and they would have a good old time.

David Leveaux (the director) was just so

Well, her husband was working and he

perfect. He’s done television, and he’s done

couldn’t go, so she called me and said,

film, and he’s done theatre. So, it was great

“Hey, how would you like to go to the

to have all that perspective coming into this

White House?” And I’m like, “Are you seri-

[project]. He was really, really prepared.

ous?” We had to go through security … two

And we won five Emmys.

different lines. And Bruce Springsteen was

u Can you talk about your

right in front of me … and then [I thought],

experience as Senator Edison

“Who am I? Like, what am I doing here?”

Davis on Scandal? What was it Spring-Summer 2022 x Southern Theatre x 15

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like working with the showrunner Shonda Rhimes?

Shonda was amazing. … She was wonderful to work with and for. The set was run so perfectly. I mean, the cast and the crew got along so well. Kerry Washington really set the bar. She knew everyone’s name. She knew their grandmother’s name. She Noah Taylor

knew their dog’s name, which was really, really important. And I think it makes people feel like part of a group … a family. u Advice for young theatre artists: What is the one thing you would share that you wish someone had shared with you?

That I was enough. Learn your skills, have passion for this industry, have a sense of self (spiritually, whatever that means to

Norm Lewis (center) poses after his keynote presentation with two of the winners of SETC’s 2022 Keynote Emerging Artist of Promise (KEAP) Award: Cynthia Tinschmidt Leal (left) and Logan Oakley. The other 2022 KEAP Award winners were Olivia Szysmanski and Sadie Libby.

you individually), have a thick skin, be

the pandemic has taught you anything,

ready for anything. And just show up. If

you have got to have multiple streams of

you don’t, you’ll never know and you’ll

income. … I’m a huge advocate for entre-

always wonder. Do as much research as

preneurship and, as an artist, you are an

you can right now. And I would also get

entrepreneur. I mean, you can do it.

Ross Reports [now known as Call Sheet]. …

u What is one thing you do every

It comes out monthly. … And with modern

day for yourself? To keep yourself

technology right now with social media,

grounded – or present?

get a YouTube channel, start a TikTok, and

I practice gratitude every day. It could be

start singing. Seriously, start doing things

something as simple as saying, “Thank

with your colleagues and do scenes. …

you, Lord, for another day” or doing

Start creating content. … Do research on

something nice for someone else.

where you want to go – California, New

u You’re really good at naming your

York, Chicago or Atlanta, wherever. Just

dreams.

find out who is creating. But just know that

Yeah, I’ve been pretty blessed with having

it’s going to be okay. You don’t have to be

a lot of my dreams fulfilled. I will continue

scared. It’s going to be okay.

to dream for bigger and better things with

u How do you handle challenges

my career, but I now mostly dream for

in the industry? What do you

peace within our country and around the

recommend for emerging artists?

world. We are living in very challenging

That’s a really good question because I have

times, and I pray/dream that I can some-

a lot to say about that. Well, whoever you

how be a light to bring people together.

believe in, whatever you believe in, please

My next dream role/dream project is to be

get a stronger hold on whatever that is.

able to work on new, innovative material

Buddha, Jesus, The Rock, whatever floats

created by emerging artists. I just love to

your boat, but just believe in something,

work. n

and believe in yourself. That’s the main thing because you have to have a sense of who you are going into this because they’re going to come at you. … You just have to believe in what you do and make sure you keep up your skill sets. And if

Gaye Jeffers (she/her) is a professor of directing, theatre history and playwriting at the University of Tennessee at Chattanooga. She is a member of SETC’s Publications Committee. Spring-Summer 2022 x Southern Theatre x 17

Noah Taylor

SALLY CADE HOLMES Producing Is Her Superpower

S

by Amy Cuomo

Above: Sally Cade Holmes (left) discusses the work of a producer in a Friday keynote interview by SETC President Maegan McNerney Azar at the 2022 SETC Convention in Memphis, TN.

Sally Cade Holmes (she/her) had no idea that carrying a refrigerator up a flight of stairs 15 years ago would propel her into a career as a Broadway producer. But that simple act, designed to ensure a show she was working on had a proper setting, helped launch a producing career that has won her two Tony Awards (for Hadestown and The Inheritance) and numerous other awards, including Drama Desk and Critics Circle Awards for an off-Broadway production of Little Shop of Horrors. On March 11, SETC President Maegan McNerney Azar sat down with Holmes, the Friday keynote speaker at the 2022 SETC Convention in Memphis, TN, for an intimate discussion of her work in the theatre. Holmes emphasized the importance of saying yes to what interests you, showing up authentically, staying curious and relying on your values to guide your leadership strategies.

18 x Southern Theatre x Spring-Summer 2022

SETC Convention Keynote Speaker From actor to producer

As she began her discussion from the keynote stage, Holmes credited her 2004 trip to the SETC Convention as a high school student from Anderson, SC, with helping her realize that the theatre she had loved since third grade might be the key to her future. “I was like, wow, wow, wow, wow, wow, wow, wow – this could be a career,” Holmes recalled. “This could be something that I can do with my life.” While participating in that convention, Holmes said, she began learning the skills needed to pursue her dreams in theatre. “SETC was my first opportunity to connect with professionals, and it was the first time that I was asking, ‘How do I show up? How do I do this?’ ” Matthew Murphy

Holmes recalled in an interview with Southern Theatre following her keynote. “Early in my career, SETC gave me the opportunity to stretch my professional wings – and they were certainly gawky.” Like many theatre professionals, Holmes started out as an actor. After realizing that wasn’t her forte, she started a theatre company with friends who were

ized that’s producing, No. 1. And No. 2, that it’s my

designers. Not seeing a clear role for herself in their

superpower.”

first production, she decided “to do everything else.

Later, Holmes went to graduate school to pursue

I’ll make sure contracts are signed. I’ll get butts in

a degree in arts administration, viewing that as a

seats, and make sure we have a place to do the show,

possible route to becoming a producer. While there,

and that the refrigerator can get up the steps for the

she had the opportunity to work as a producing

set. Then, on opening night, I had a full breakdown.

associate for the Williamstown Theatre Festival,

I said, ‘I can’t point to anything I have done on this

where she met Tom Kirdahy, a producer and lawyer

stage.’ And my scenic designer friend was like,

who is a multiple Tony Award nominee and was the

‘Are you kidding me? You be quiet, ma’am. This

husband of playwright Terrence McNally. Kirdahy

wouldn’t have happened without you.’ And I real-

couldn’t work the copier, so Holmes lent a hand.

Broadway’s The Inheritance, which was produced by Sally Cade Holmes, won both a Tony Award for Best Play and a Drama Desk Award for Outstanding Play in 2020.

SALLY CADE HOLMES: Bio and Career Highlights EDUCATION:

AWARDS, BROADWAY:

BS, Theatre Studies, University of Evansville MFA, Arts Administration, Certificate in Arts Enterprise, Boston University

The Inheritance: Tony Award, Best Play Drama Desk Award, Outstanding Play, 2020

BROADWAY CREDITS:

Hadestown: Tony Award, Best Musical, 2019

Producer, The Inheritance (2019 – 2020) Producer, Hadestown (2019 – March 2020; reopened September 2021) Producer, Frankie and Johnny in the Clair de Lune (2019) Producer (LD Entertainment/Sally Cade Holmes), Anastasia (2017 – 2019)

AWARDS, OFF-BROADWAY: Little Shop of Horrors: Best Musical Revival, Drama Desk Award, Drama League Award and Outer Critics Circle Award (2020); reopened September 2021

More Info: sallycadeholmes.com

Spring-Summer 2022 x Southern Theatre x 19

“So, I was helping him, and then when

going to be talking to the lawyers. I’m going

Holmes noted that “theatrical produc-

I got back to New York and my contract at

to be talking to my producing partners.

ing is not necessarily the most lucrative

Williamstown ended, I just asked him to

I’m going to be reaching out to investors

profession. So, I have several gigs, which is

coffee,” Holmes said.

and getting them investment packets and,

ideal for me because I don’t want any one

This bold move led Holmes to work as

you know, really talking up the artists

day to look exactly like another day.”

an associate producer at Tom Kirdahy Pro-

and putting on that fundraising hat. … I

Say yes to what interests you

ductions, where she helped shepherd

describe producing in a commercial sense

During the keynote, Azar asked Holmes

shows such as White Rabbit Red Rabbit,

as if each production is a company, and the

what advice she would offer her high

The Jungle and It’s Only a Play to the stage. Her

producer is the CEO.”

school self about getting started in the

experiences and hard work there put her on

In addition to Broadway shows, Holmes

industry.

the path to a successful producing career.

also produces plays that go on national

“I know my high school self wouldn’t

The producer’s job

tours. One company does the fundrais-

listen,” Holmes quipped. “So, everybody in

Producers are problem solvers, but

ing to produce a show on Broadway, she

high school, I’m sorry, but I would tell my

the specific job description of a producer

said, and if the show does well, another

high school self that every career you’ve

varies from production to production and

company will form to raise the funds to

had thus far has been four years long. You

depends on where the show is in its path

take it on tour.

start your freshman year; you have four

“In most cases, the investors and the

years to be a success until you’re a senior.

“If the show is about to go into a devel-

initial production [company] get the first

Time is a story we tell ourselves. And when

opmental workshop, I’m going to be talking

right to invest in the touring production

you graduate from wherever you graduate,

to artists and I’m going to be asking ques-

because they took the risk on the original

or if you don’t go to college and you go

tions,” she said. “I’m going to be reading

version,” Holmes said. “And the touring

out into the world, there is no four-year

the script. I’m going to be listening to the

production is likely going to be less risky

timeline.

music and diving into that world. If we’re

because it already has the Broadway stamp

about to go into a fundraising round, I’m

of approval.”

toward the stage, Holmes said.

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help you when you’re 45 years old. … That’s

“It’s important to allow the story to

one thing I would tell my high school self.

unfold itself – not pressuring it because

The trajectory is long. It is not a four-year

that just causes suffering,” she said. “It’s a

career. And then the other thing is, there

mix of letting go of control and knowing

is no one path. … Every single human has

you have to control everything you can!”

a different path. And all you have to do is

Progress after the pandemic

authentically interest you.”

Like most theatre professionals, Holmes has felt the impact of the pandemic. But she

It was this attitude that led Holmes to

sees the pandemic pause as an interruption

produce Hadestown. Holmes had heard the

that may present opportunities for people

concept album for Hadestown, released in

to look more deeply at themselves and set

2010, before she knew that playwright-

in motion a power shift that leads to more

songwriter Anaïs Mitchell initially had

equity, diversity and inclusion in theatre.

developed it as a play and was continuing

“I feel like in this very specific time

work on a stage version. Holmes was

where our industry has just lived through

passionate about the show’s sound and its

a pandemic, we are faced with an opportu-

message.

nity to change it,” Holmes said. “And that

Matthew Murphy

say yes to the things that interest you, that

Broadway’s Hadestown, which was produced by Sally Cade Holmes, won eight Tony Awards, including Best Musical, in 2019.

Fast forward to 2016 and her mentor

takes a lot of individuals looking inwards

her values during the confusing days at the

Tom Kirdahy had called a meeting on

and learning who they are and what it

start of the pandemic.

Hadestown, which made it to Broadway

means for them to show up authentically.”

“Actors were without jobs,” she said.

in 2019. The trajectory for the project

Holmes has tried to show up authenti-

“Nobody knew what was happening. I

was a long one, but that’s not unusual.

cally herself and has relied on her values

was working with this company who had

Getting the timing right is key in produc-

to guide her decisions. She shared with the

reserves, and they were able to pay people

ing, Holmes noted.

audience an example of how she led with

but neither SAG [the Screen Actors Guild]

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nor Equity had figured out jurisdiction

goals might have to change when you’re

over Zoom readings. And I told this

a leader. If you learn something along the

company, ‘I don’t care. We’re just going to

way that changes what the outcome is,

pay actors because nobody knows where

it forces you to shift the trajectory, to shift

their next paycheck is coming from.

your mindset, to be nimble about how

Union jurisdiction cannot get in the way

you’re going to get there.”

of paying actors in this moment.’ And that

Holmes shared a recent example of a

feels like a moment of valuing humanity,

podcast where a significant amount of

not union jurisdiction. Unions are very

money had been invested, but things were

important, and we support them. But these

not falling into place for the project.

people have to eat.” Similarly, conversations “surrounding

Monday, and artistically we just did not

equity and the need to lift the veil of opac-

have everything in pocket, and we had

ity from commercial theatre, all of those

to pause production,” she said. ”And that

moments feel really, really important, and

was a moment of leadership that was brave

they are something we’re taking out of this

and right. The authentic thing to do was to

pandemic time,” she said. Holmes hopes that in five years “the

say, ‘We can’t do this the way we want to. So, let’s be still and let’s reevaluate and

lead producers on Broadway are going to

then move forward.’ ”

look incredibly diverse.” While there have

Producer as storyteller

been advances, Holmes notes it will take time for more broad changes to occur. “I think that the shows on Broadway already look more like our country

At the center of it all, Sally Cade Holmes is someone who tells stories – and has specific criteria for the types of narratives she wants to share going forward.

looks,” Holmes said. “At one point, there

“No. 1, it must be entertaining,” she

were seven Black playwrights represented

said. “I feel like I have had to unlearn some

on Broadway, and that’s the most that have

programming that said, ‘If it’s artistic, it’s

ever been represented at once. … I know

good.’ … I want it to be entertaining. …

that the content that’s being produced is

We have to acknowledge that audiences

shifting, and that the leadership is shifting.

are being inundated with so many images

And then I think that all of these wiggly

right now. … How do we make the audi-

things under the surface, like how we lead

ence experience cater to this moment? That

our meetings, and how we structure our

feels really important, as does expanding

teams, are going to take longer just because

that experience to digital platforms.

some of these leadership ideologies are

“No. 2, it needs to have a sense of social

so deeply programmed within us. … But

justice or subverting some status quo. I

there are positive changes. I don’t think it’s

want it to be entertaining so that my family

acceptable to anyone to not have a diverse

in South Carolina will come in, and then

creative team anymore. And that’s perfect

I want them to sit and enjoy it and have

and as it should be.”

several questions in the back of their mind

Leading with creativity

when they leave, wondering and being

Currently, Holmes is sharing her insights

curious about something that they might

with students at Furman University,

not have thought about before. Those are

where she teaches an Advanced Seminar

the kind of stories that I want to tell.” n

in Creative Leadership. She encourages students to embrace curiosity – and a willingness to shift gears. “I think nimbleness is a part of leadership and curiosity,” Holmes said. “We were talking in the seminar about how 24 x Southern Theatre x Spring-Summer 2022

“We were supposed to start last

Amy Cuomo (she/her) is a professor of theatre at the University of West Georgia whose play Happy was a finalist for the Heideman Award. She is a member of the Southern Theatre Editorial Board.

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Mark Mahan

JIM LEBRECHT Inclusivity, Not Just Accessibility

J

by Johannah Maynard Edwards

Above: Jim LeBrecht is interviewed via Zoom during his Thursday keynote at the 2022 SETC Convention in Memphis, TN.

James “Jim” LeBrecht (he/him) joined the 2022 SETC Convention virtually as the Thursday keynote, discussing his twin theatrical passions – disability advocacy and sound design – in an interview conducted by sound designer Benjamin G. Stickels. LeBrecht touched on how he came to a life in the theatre, which, in turn, led to a career in film, which led to the award-winning documentary Crip Camp, which he co-directed and co-produced with Nicole Newnham, and how all these things are interwoven with his disability. LeBrecht had this advice for attendees, which became a theme throughout his enlightening and engaging keynote: “I think that for a lot of us in our careers, especially when you’ve been around for a while, you do have these moments where things just happen to fall into place.”

26 x Southern Theatre x Spring-Summer 2022

SETC Convention Keynote Speaker The importance of respect

LeBrecht was born in 1956 in New York with spina bifida. When he was 14, he began attending Camp Jened in the Catskill Mountains. Jened was a place where disabled teens and young adults could be themselves. The seeds of the disability rights movement were sown as these campers and counselors moved through their lives. LeBrecht, along with many other Camp Jened alums, made his way to California, attending the University of California San Diego, Steve Honigsbaum

where he got involved in the theatre department and helped found the Disabled Student Union. From there, LeBrecht became the resident sound designer at Berkeley Repertory Theatre, thanks in part to a recommendation from his friend Paul Dixon. “When I was up for the job,” he said, “the managing director [Mitzi Sales] said to Paul, ‘You know,

Fortunately for LeBrecht, he had plenty of practice

Paul, this is not a very accessible facility … and he

navigating stairs and other inaccessible spaces as a

can’t walk.’ He [Paul] said, ‘Mitzi, he’s the best damn

result of growing up in his family’s split-level home.

sound designer I know.’”

Indeed, sometimes things just fall into place.

LeBrecht adds with a laugh, “And as Paul told me

Throughout the keynote, LeBrecht came back to

later, he said, ‘Jim, you were the only sound designer

the concept of respect. He noted striking similarities

I knew.’ ”

in how sound designers and members of the disabil-

LeBrecht shared a bit about what it was like to be a wheelchair user in a theatre not designed with acces-

Campers and counselors are shown circa 1971 at Camp Jened. LeBrecht’s experiences there helped inspire the award-winning film Crip Camp.

ity community are not met with the same amount of respect as others in the theatre industry.

sibility in mind. Coming into his career in the theatre

LeBrecht, quite literally, wrote the book on sound

in the time before the Americans with Disabilities

design. Sound and Music for the Theatre, co-written

Act (ADA), LeBrecht found himself climbing and

with Deena Kaye, is in its fourth edition and yet, he

crawling around inaccessible spaces – there’s foot-

recalls, “I’ve had a director who looked at me like I

age of Jim doing this at Berkeley Rep in Crip Camp.

was from Mars when I was talking about just kind

JIM LEBRECHT: Bio and Career Highlights EDUCATION: BA, Drama, University of California, San Diego CAREER HIGHLIGHTS: Resident sound designer, Berkeley Repertory Theatre, 10 years Founder, Berkeley Sound Artists Co-author, Sound and Music for the Theatre: The Art and Technique of Design Co-director, Crip Camp SELECTED FILM/TV SOUND CREDITS: Minding the Gap, The Waiting Room, Battlefield Earth, Pitch Black, The Island President, The Kill Team, Audrie & Daisy

AWARDS FOR CRIP CAMP: Nominee, Academy Award, Best Documentary Feature; Winner, Independent Spirit Award, Best Documentary; Audience Award Winner, Sundance Film Festival, Documentary; Winner, Zeno Mountain Award, Miami Film Festival; Winner, Media Access Awards, Documentary; Winner, Best Feature, International Documentary Association ADVOCACY: Founding member, FWD-DOC: Documentary Filmmakers with Disabilities; board member, Disability Rights Education & Defense Fund; early member, Disabled In Action

More Info: cripcamp.com and berkeleysoundartists.com

Spring-Summer 2022 x Southern Theatre x 27

of a simple sound design idea.”

“The ADA is not a ceiling – it’s a floor,”

thing can be accessible without actually

Another director early in his career

he said. “It’s not just about wheelchair

being inclusive. Theatre is a field of endless

remarked, “If I’d understood what you

access and bathrooms. And, speaking of

creativity and more of that spirit must be

could do, I’d ask for a lot more.”

wheelchair access, you know, it’s important

infused into how we design, implement

In 1996, LeBrecht went on to found

that the seating for people with disabilities

and fully embrace true inclusion within

Berkeley Sound Artists, an audio post-

is inclusive seating. It’s not good enough

our spaces.

production house, and he currently has 187

to have something on the front row. It’s

Visibility for 25% of the population

sound credits in film. He gave the audience

not good enough to have something on

“I relate to my disability culturally” was

plenty to ponder on what parity for sound

the back row. You want your audience

one of the first statements LeBrecht shared

designers can look like, such as considering

members to come and to be able to sit in

with the convention audience, creating

whether sound designers are being given

good seats in the house. Well, where should

a distinct framework for understanding

equal tech time and quality tech time to

we put the wheelchair seating in our new

his lived experiences. This simple state-

do the work they need to do. What are

theatre that we’re planning? Where would

ment also acts as an invitation to remove

directors, stage managers and producers

you want to sit? Where do you put your

one’s own preconceptions and stigma

doing to continue understanding the work

critic? I want those seats available to me. I

around disability and to understand that

of the sound designer?

want to be able to take my wife out and that

“disabled” is a valued identity to many.

Accessibility is not inclusivity

we’re not sitting in a substandard seat – so

LeBrecht reminded the audience that

If sound designers historically haven’t

inclusive seating, which puts you in a lot of

25% of the U.S. population has a disability,

received the respect they’ve deserved,

different locations, also doesn’t ghettoize

which means that many people in audi-

theatre workers and patrons with disabili-

us to one area. So, those are things that still

ences have disabilities and everyone’s lives

ties really haven’t. LeBrecht addressed

can be better. I still see certain spaces built

are full of many people with disabilities.

these inequities emphatically, noting

that are really not taking the intent of the

Disability is everywhere … so why does it

that inclusiveness goes beyond basic

ADA to heart there.”

ever feel otherwise to some?

LeBrecht described clearly how some-

accessibility.

GTCC

“Our allies in the entertainment indus-

GurLFoRD TEcHNrc:A L COMMUNITY _ COLLEGE _ _ _ _ _ _ _ _ _ _ _ _

itjohnson@gtcc.edu I 336-334-4822 x 55046 28 x Southern Theatre x Spring-Summer 2022

gtcc.edu

PIEDMONT IS FAMILY Britt Hensley ’12 DRAMA EDUCATION MAJOR

B

ritt Hensley is as grateful for the depth of knowledge she gained in theatre at Piedmont, including set design, lighting, and other technical aspects, as she is for the university’s signature “family” feeling. Now a teacher, Hensley brings high school students to Piedmont for performances. They see more than a play. They see the personal relationships she still has with former professors, and they want that feeling of coming home for themselves.

Piedmont helped me become the teaching artist, the theatre artist that I try to be every day.

Britt Hensley as “Miss Tweed” in Something’s Afoot in 2011.

Britt Hensley portrayed “Katherine” in The Taming of the Shew in 2014.

Theatre Director East Paulding High School Dallas, Georgia

PIEDMONT.EDU/APPLY To learn more, visit piedmont.edu/program/drama-education/.

30 x Southern Theatre x Spring-Summer 2022

try need to really improve employment,”

Without Us,” which makes for an excellent

LeBrecht suggests. “We are 25% of the

rule-of-thumb for depicting the stories of

population, but we’re about less than 2%

disabled people. It’s up to each of us to

of people who are working in Hollywood.

advocate in allyship, to look around our

And part of that is that people don’t want

theatre spaces and take stock of who is in

to identify because they’re worried that the

the room and to speak up when representa-

stigma of disability is going to kill their

tion is lacking.

careers. Part of it is simply people haven’t

More leaders with disabilities

really, in the past, embraced disability as

During the Q&A period, an audience

a group that needs to be included in DEI.”

member asked LeBrecht for his opinion on

What we learn through films like Crip

what organizations, institutions and allies

Camp – which tells the story of Camp Jened,

need to know or do to help the disability

the summer camp for disabled teens and

community.

adults that LeBrecht attended and how

“It’s a great question,” LeBrecht said.

it motivated many campers and staff to

“And I would say that recognizing, you

become disabled rights activists – and

know, do I have somebody in senior

through CODA – a film about a Deaf family,

management in my theatre that has a

which recently won the Academy Awards

disability? Who are, and how informed

for Best Picture and Best Screenplay, along

are, the people that are deciding what the

with a Best Supporting Actor win for Deaf

season’s going to be about? How can we

actor Troy Kotsur – is that, emphatically,

support playwrights and directors and

representation matters.

designers with disabilities? … If we’re

When we increase the employment of

[artists with disabilities] not there, it’s

people with disabilities in arts and enter-

not because there’s no one available. It’s

tainment, more stories centering disability

because you haven’t found them. Because

will get told. When more disability stories

they are out there. You need to take an

get told, we’ll have visibility that looks

initiative to really find these people.”

more like the 25% of the population.

The ecosystem of a theatre institution

When all of these things happen, maybe,

relies on its people – the people who make

just maybe, artists like Jim LeBrecht will,

up the staff, creative and production teams,

indeed, receive the respect they deserve.

volunteer corps and audience. That makes

Another reason it is imperative that

us all stakeholders, to one extent or another,

disabled voices are driving the narratives

in the institution. Who among us is will-

goes back to disability culture and disabil-

ing to challenge the institution with these

ity rights.

questions? Who among us is willing to ask:

“Certainly, back in the ’50s, ’60s, ’70s,

Where are the disabled leaders, decision-

and ’80s, what some people learned about

makers, and artists here? And, if we find

disability was simply by what they saw on

the answer unsatisfactory, are we willing

the Jerry Lewis Telethon every Labor Day

to divest from these organizations? That’s

for muscular dystrophy,” LeBrecht said.

allyship, and as LeBrecht said, “allies are

“What they were being told to try to raise

accepted. We really need them; we all need

money was for these poor, pitiful people,

to be the allies.”

they’re stuck in their mental prisons and,

One resource for those who would like

you know, please give because that’s the

to help bring about change is the advocacy

only way that’s going to really help ‘Jerry’s

group FWD-DOC, co-founded by LeBrecht,

kids.’ Well, it was incredibly damaging to

which is working to increase the visibility

the perception of who we are. Things have

of, support for and access to opportuni-

changed now, to a good extent.”

ties, networks, and employment for Deaf,

There’s an important saying in the

disabled and neurodiverse filmmakers.

disability community, “Nothing About Us

On their website, FWD-DOC.org, they

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have assembled a comprehensive suite of

conference-goers incur costs if they need

toolkits and resources, and an engagement

a travel assistant or if interpreters aren’t

pack designed to increase accessibility in

provided by the conference.

documentary film. Many pieces of infor-

It’s no wonder that being a person in the

mation also apply to accessibility in theatre.

arts with a disability almost demands you

There also are many theatres where you

become an activist. Luckily for today’s up-

can find accessibility and inclusion at the

and-coming disabled artists, Jim LeBrecht

forefront. One example that LeBrecht cited

forged a path and created an example to

is Phamaly Theatre Company of Denver,

follow, demonstrating how excellence in

CO, whose mission is to be a creative home

your field and fighting for civil rights for

for artists with disabilities.

disabled people can come together.

In addition to noting changes needed in

Taking disability films to a new level

theatres, LeBrecht recommended that SETC

A few years ago, LeBrecht set out to

and similar organizations hire dedicated

share his path and that of others in the

accessibility coordinators for events like

disability rights movement in the compel-

the SETC Convention, stating, “I think it’s

ling documentary film Crip Camp, which he

very important for a conference to be as

and Newnham worked together to create.

explicit as possible about access and what

The film is available on Netflix.

you’re doing to support people who are

“I have a history, of 25 years at least,

Deaf or hard of hearing or folks with other

of mixing documentaries, primarily

disabilities and to really have someone

through my company … Berkeley Sound

dedicated to looking at access.”

Artists, and I understood the power of

An accessibility coordinator would be

documentary film,” he said. “I’ve also been

tasked with looking at the convention as a

an activist since I was a teenager, and I

whole and at all of the event details to be

had been involved with mixing films that

sure that all of the potential access needs

had some disability subjects in [them],

of participants are addressed, then to be

but I wasn’t seeing one that I felt took it

sure that all of this is communicated to all

to another level. Rarely were these films

participants, and finally, that they know

told from within the community, but I’ve

who to go to in order to ask for a specific

always wanted to see some more films that

accommodation that will enable them to

would delve into things that no one outside

fully participate. Some examples LeBrecht

of the community was thinking about.”

cited include appropriately enlarged,

Sometimes, these things just come

high-contrast materials for people with low

together, and then the world gets to experi-

vision; affordable transportation for people

ence a film like Crip Camp and a body of

with mobility disabilities; captioning and

work such as Jim LeBrecht’s.

sign language interpretation options for

In one incredibly engaging hour,

Deaf and hard of hearing participants; and,

LeBrecht gave us the road map: disability

of course, inclusive seating.

representation in leadership, someone with

In addition to a sub-par, inequitable

real power to be sure accessibility is consid-

experience and the feeling of being othered

ered in every way possible, and stories told

and discriminated against in large confer-

from within disability communities. All

ence settings, disabled people are often

we have to do is commit to these actions.

forced to pay what’s known as the “disabil-

Who’s ready? n

ity tax.” This refers to the extra expenses disabled people often must incur in order to participate. These expenses include increased costs and inconveniences for lodging, ground transport and meal options. Additionally, some disabled 32 x Southern Theatre x Spring-Summer 2022

Johannah Maynard Edwards (she/her) is the executive artistic director of the National Women’s Theatre Festival and the founding chair of SETC’s Disability Inclusion Committee.

Noah Taylor

EMBRACING INCLUSION Diversify Your Classroom, Empower Your Students with Devised Theatre

Above: Participants in the 2022 Teachers Institute take part in a Living Newspaper exercise focused on Florida’s ‘Don’t Say Gay’ law.

W

by Elizabeth Watkins

What would happen if theatre classrooms grew more inclusive? And if students were able to use their voices, their diverse experiences and their world views in a creative process that allowed them to see themselves reflected in the stories on our stages? Would the product be new plays? Works that celebrate otherness or reflections of oppression and injustices? SETC’s 17th annual Teachers Institute explored these questions in a two-part workshop geared to middle

and high school theatre teachers, students studying to be teachers, and teaching artists at the 2022 SETC Convention in Memphis, TN. Both the morning and the afternoon sessions focused on helping teachers achieve two major goals: diversifying their classrooms and empowering students to tell their own stories. Both sessions emphasized the value of devised theatre as a classroom tool and as a vehicle for social change. Bring more diverse students to your classroom

The morning session of the day-long workshop was led by Corey Mitchell (he/him), the first recipient of both the Tony Award for Excellence in Theatre Education and the Stephen Schwartz Musical Theatre Teacher of the Year Award, and the founder of Theatre Gap Initiative (TGI), a nonprofit dedicated to helping theatre students of color navigate the process of applying to conservatories. 34 x Southern Theatre x Spring-Summer 2022

SETC Teachers Institute

During his presentation, Mitchell shared alarming

• Expand your programming. Do more show-

statistics from 2021 on the lack of Black representation

cases of experimental work. Select plays that are not centered around “whiteness.”

on Broadway: “Over the 155 years since the very first Broadway

• Actively recruit new students to your program.

musical (The Black Crook) premiered in 1866, the ‘Great

Ask an English teacher to start a poetry club

White Way’ has seen 3,002 musicals and 8,326 plays.

or go to a writer’s club within your school and

Across all of these productions, there have been only:

listen to new works. Ask those students to join your program.

• 10 Black directors of a musical (0.3%),

• Expand your curriculum. Look at how you can

• 11 Black directors of a play (0.13%) and • 17 Black choreographers of a musical (0.56%).

introduce other playwrights and designers

All of this directly correlates to the fact that there

into your play readings. Don’t do all of your

have only ever been two Black lead producers of

Black play programming in February, when

a musical (representing 0.06% of all Broadway

Black History Month is celebrated. “It feels

musicals). Furthermore, the numbers for writers,

very token to only do your Black shows in February,” he said.

composers, scenic, lighting, costume, sound, video, music contractors, musical directors, arrangers,

• Actively engage in students’ interests. Let

orchestrators, hair/wigs/makeup, casting, general

them express what they would like to explore in your class. Set time aside for exploration.

management, stage management, company manage-

• Offer students a future. Provide connections

ment, PR, and marketing/advertising range from 0

outside of the classroom with publishing

to 5% in each category.”

companies, acting gigs and internships with

Reading such statistics reminds us of how much

theatre companies in the area.

representation matters and how important it is to

The Living Newspaper

welcome a diverse group of students into theatre classrooms.

Mitchell also discussed the impact of opening

Mitchell shared a variety of techniques for boost-

the door for students to develop their own plays on

ing inclusiveness. He encouraged teachers to:

social change topics. Many times, we think we need to create a well-structured play to call it theatre, but

way the classroom is set up. Is it inviting? Is

Mitchell disagrees. He stated that students need

it culturally enriched?

outlets for their voices and their thoughts.

PARTICIPANT

Takeaways

• Demystify your space. Look around at the

“When I left, my brain was just humming with new ideas. Corey, Joy, Emily and Jenita were inspiring and gave hands-on, applicable tools that I will use next week. What was my favorite takeaway? I’ve got too many: The River Stories prompt, creating 4 Agreements, the Living Newspaper, and Joy’s statement, ‘Love is a very important pedagogical framework for us.’ (Snaps to that!) As educators, we are always ‘feeding’ others, but that entire day, I was ‘fed.’ ”

“The 2022 SETC Teachers Institute provided attendees with many valuable nuggets of information on being a theatre education practitioner. But perhaps my most prized takeaway from the sessions was Corey Mitchell’s sentiment that it is our duty as theatre teachers to demystify our theatre space. He says that theatre is a place for everyone: the thespians, the basketball player, the mother who’s driven miles every day to get her kid to rehearsal, etc. This responsibility to make our space a place for everyone is one that I really connected with and hope to implement in my theatre program.”

“I am so glad I attended the SETC Teachers Institute. I have not conducted devised theatre with my students yet (I’m still in grad school), and I feel so much more prepared to explore this area of artistry having taken the two workshops. All the instructors offered very practical information and sent us home with a wealth of resources to explore. I can’t wait to attend next year!”

- Amy Pugh Patel (she/her) Theatre Teacher, James Clemens High School, Madison, AL

- Christopher Cooper (he/him) Theatre Education Major, Middle Tennessee State University

- Sophia Sapronov (she/her) Grad Student, University of Northern Colorado Spring-Summer 2022 x Southern Theatre x 35

that inspire their writing,” he said.

pants in a Living Newspaper exercise about the Charleston Massacre, the 2015 killing

He noted that providing them with

of nine Black people at a South Carolina

materials such as articles, newspaper

church by a white supremacist. Participants

clippings, advertisements, videos and

read and analyzed TIME magazine’s

sound bites can spark a story in a child’s

article “How Do You Forgive a Murder?”,

mind – devised theatre in the making.

considering questions such as: What is the

One technique Mitchell suggested for

connection between the title of the article

sparking students’ interest in creating

and the story being told? What songs or

theatre for social change is the Living

sound bites can be used to connect the

Newspaper, a theatrical form that dates to

story to the viewer? Do we need audience

the early 1900s. Living Newspapers today

participation, or do we want to have them

are theatrical productions that typically

soak up the emotions of the event?

use a variety of media to present fact-based

Then Mitchell split the room into two

information on current events and encour-

groups to develop short plays. Both groups

age social action.

focused their energies on telling a heartfelt

Mitchell emphasized how this “jour-

story that went beyond the surface.

Noah Taylor

“Students are surrounded with sparks

Corey Mitchell leads participants in a discussion during the morning session.

based on Florida’s “Don’t Say Gay” bill.

nalistic and fact-based theatre,” which

One group developed a piece on the

This group scrutinized public reaction

was introduced in the U.S. in the 1930s

Charleston Massacre, focusing on the

to the bill, which bans instruction by

through the Federal Theatre Project, allows

names of the victims and not the man

school personnel on sexual orientation

students to “present their truths in count-

that was responsible for the crime. They

or gender identity that is classified as

less creative ways.”

used church hymns and church bells to

“not-age-appropriate” in kindergarten

emphasize the names.

through grade 3. The group displayed

Demonstrating how they might use this technique, he led Teachers Institute partici-

Another group developed a piece

sound bites, interviews and tweets about

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Conversations to break otherness

Noah Taylor

The afternoon session was led by three

Emily Marks, Joy Brooke Fairfield and Jenita Nakamura (left to right) lead participants in a discussion during the afternoon session of the Teachers Institute.

“Staying in the conversation allows you to break otherness,” Marks said.

Memphis area educators: Joy Brooke

What is otherness? Otherness describes

Fairfield (she/they), a professor and media-

how one group often views another. The

maker dedicated to supporting projects that

concept refers to any person or anything

aim at collective liberation; Emily Marks

that is perceived by the in-group as not

(she/her), executive and artistic director of

belonging, as being threatening, or as

Lionheart Live Arts and Youth Theatre, as

being different in some fundamental way.

well as an artist, curator and producer; and

As an abundance of social injustice

Jenita Nakamura (she/her), a dramatist

stories flooded the media in the past year,

and choreographer who founded Skool

devised theatre – a way of creating theatre

of Artistic Revelation, a nonprofit that

where the script emerges from improvisa-

produces community-building theatre as

tion – has grown as a method for under-

a way to increase awareness and activism

represented communities to communicate

in pursuit of equity.

their stories and is now in widespread use in

Like Mitchell, they discussed ways

educational, professional and community

to diversify the classroom and methods

theatre settings.

the controversy this bill has generated in

for exploring social issues with students

Devised theatre in the classroom

Florida and its impact on LGBTQ people.

and sparking conversations about current

So, what is the first thing that comes

Mitchell noted that the point of the

news topics using devised theatre. Recent

to mind when you think of using devised

Living Newspaper activity is to make a

events have led to a rise in awareness of

theatre in your classroom? Creating, right?

statement that is relatable to both the actors

social injustice, which has pushed the topic

The afternoon presenters noted that it is

and the viewers and “take storytelling to

of EDIA (Equity, Diversity, Inclusion and

much more than that. Before beginning

the next level.”

Accessibility) into classroom discussions.

to create devised theatre, the afternoon

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mainstream.

speakers suggested you should:

• Inspiring further work to right

• Establish a common goal.

wrongs in society.

• Develop agreements with your

• Providing great tools to support

ensemble in advance.

already published works.

• Have a verbal/visual contract to protect others and self in the creat-

Encouragement for all students

ing process.

In addition to citing the importance

• Set boundaries.

of bringing in more diverse students and

• Realize that an ensemble vibe is

giving them opportunities to tell their

high priority. • Address the situation, not the person. The presenters also noted that devising can achieve many goals, such as: • Amplifying underemphasized, historically excluded voices.

stories, Mitchell noted the important role teachers can play in providing encouragement for students to reach high in their endeavors. Mitchell noted that telling a student they have talent or pointing out something that they do well can open doors for that student, maybe even to Broadway.

• Encouraging experimentation and investigation of the ownership of

“How do you speak to a child’s future?” he asked. n

creativity. • Exposing students to less hierarchical modes of production. • Allowing themes to emerge from the ensemble creation process.

Elizabeth Watkins (she/her) is a middle school theatre teacher in Richland County, SC, and co-chair of SETC’s Teachers Institute.

• Asking audiences to think past the

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Narelle Sissons

AFTER THE PANDEMIC PAUSE Advice from the 2022 SETC Design Keynotes on Returning to Work in a Reframed Theatre World b y J o n a t h o n Ta y l o r

The 2022 SETC Convention in Memphis, TN, happily marked a return to an in-person format for the annual Distinguished Designers Keynote, following 2021’s virtual event. This year’s slate of distinguished designers featured three women who wear multiple hats, working professionally in multiple areas of design or as a designer/artistic director. In addition to adjudicating the annual Design Competition, they shared their wisdom with young designers entering the industry in their keynote and in interviews with Southern Theatre – advice that reflects their varied portfolios and their unique entries into the work.

SETC Convention Design Keynotes

N

arelle Sissons (she/her), SETC’s

NARELLE SISSONS

2022 Distinguished Scenic Designer,

Scenic Designer

was born in the UK, and her work has been produced at many major theatres and opera houses in the U.S. and Europe. Her Broadway and off-Broadway credits include Mabou Mines Dollhouse, All My Sons, How I Learned to Drive, Stop Kiss and In the Blood. Other credits include Kate Hamill’s Pride and Prejudice, What We Are Up Against, Bernhardt/Hamlet and Ropes. Sissons, who designs costumes as well as sets, had this advice for emerging designers: “Find the joy in the work.” That, she said, is “really essential, and it’s the

Noah Taylor

thing that sustains me the most.” Coming back from the pandemic

Sissons is back at work with two upcoming projects, “one in the theatre and one in the opera.” She describes the time back at work with fellow designers and co-creators as “a gift.” The impact of the pandemic pause on

Above: Narelle Sissons adjudicates an entry in the Design Competition at the 2022 SETC Convention in Memphis, TN. Opposite page: Narelle Sissons created the set design for this production of Bernhardt/ Hamlet, by Theresa Rebeck, staged Sept. 14 – Oct. 20, 2019, at the Goodman Theatre in Chicago.

the industry continues, though, she said,

which is the world in which we live, it

noting that it is only now that theatre

means that my design has to change.”

artists are “catching up and reframing” the work.

She encouraged young designers to look

do everything and see everything.” Sissons also emphasizes that “balance – work-life balance – is really important.”

beyond the strictures of a specific period or

Working designers “spend a lot of time

“We are redefining our own practices

style in order “to stay relevant and current.”

on and off planes and sitting in tech,” she

and thinking about work-life balance,”

She advised that the play is “never truly

said. “You’re in tech every single month,

she said. “We have become more aware

existing there because we’re watching it

and that might be for two weeks. You’re

of making space for better equity and

now. It’s existing here.”

actually spending half the year in a dark-

diversity in our industry.” Sissons speaks frankly to young designers about focusing their work as they enter a shifting professional landscape.

This reactivity and reflection must also include the performance space, she said. “It’s really important to respond to the

ened room. So that’s something to consider in terms of your mental health.” Assistants need creativity

space that you’re in, whether it’s a site-

Asked about qua l it ies she f i nds

“Stay hungry for change,” she said.

specific production or whether it’s in an

important in assistants, Sissons responds

“Think about stories that we need to be

existing theatre,” she said. “I frankly get

decisively: “Ideas. Th is is the most

telling right now and think about the

excited by space that I go into and look for

important quality, in my opinion. ...

relevance of the work that we’re making.”

the potential of that space.”

Drafting, model making and rendering

Be open to new ideas

Be open to new experiences

are very helpful, of course, but I look first

During the Q&A session following

Sissons says she finds inspiration all

for the depth of creativity in an assistant.

the Design Keynote on Thursday evening

around her, and she urges young designers

I want to know that if they can’t find me

at the 2022 SETC Convention, Sissons

to remain open to influence from the world

right away to answer a question, that they

discussed her process for analyzing a

around them.

will be able to rely on their own judgment to solve a problem and come up with the

script. She advised young designers to be

“Fine art, music, walking through the

open to new contexts even when designing

East Village in New York City, traveling,

or analyzing the same text multiple times.

seeing great theatre – I can’t point to one

Also, she added, she appreciates

“You know, the world shifts,” she said.

singular thing that has influenced me,”

“having a second eye on a project” who

“Things change, and so in order for me to

she said. “I love the opportunities I have

is “reliable, on time and excited to get to

read the play and respond to the context,

had, and I encourage young designers to

work.”

answers.”

Spring-Summer 2022 x Southern Theatre x 43

Share the stage with us!

OANA BOTEZ

Noah Taylor

Costume Designer

Oana Botez adjudicates an entry in the Design Competition at the 2022 SETC Convention.

O

ana Botez (she/her), SETC’s 2022

for information and creation. Travel. Sleep

Distinguished Costume Designer,

eight hours, eat well and hydrate.”

is a Romanian-American set and costume

Greensboro College Theatre ONE OF THE TOP THEATRE PROGRAMS IN NORTH CAROLINA - Personalized Training by Working Professionals - Host Site for Professional Auditions

ACTING COSTUME DESIGN/TECHNICAL DIRECTING MUSICAL THEATRE STAGE MANAGEMENT THEATRE EDUCATION

theatrerecruiting@greensboro.edu 336-272-7102 ext. 5744 www.greensboro.edu 44 x Southern Theatre x Spring-Summer 2022

Coming back from the pandemic

designer. She is a Princess Grace Award

Reflecting on the continued impact of

recipient a nd a n NEA/TCG Career

the COVID-19 pandemic, Botez acknowl-

Development Program recipient. She was

edged both positive and negative conse-

nominated for the Lucille Lortel Award,

quences.

the Theatre Bay Area Awards and the

“COVID was a massive hit for the

Henry Hewes Design Awards, and is a

industry and taught us the weak spots

winner of both the Barrymore Award

of how unsupported we are as artists in

and the Drammy Award. Regionally,

this country, how unequal the business

Botez has worked at the Wilma Theater,

has been, and how it was built around the

Jacob’s Pillow, Hartford Stage, Long

privileged,” she said. “But also COVID

Wharf Theatre, Cal Shakes, the Humana

taught us how important what we do is,

Festival and Berkeley Rep. She has many

the connection, the live performance, the

international credits and has collaborated

work that makes you ask questions, and

with Robert Woodruff, Richard Foreman,

[does] not always have the answers, but

Mikhail Baryshnikov, Todd Eckert and

transforms you on a human/deeper level.”

Marina Abramović, among others.

Now, “we are somehow back, but noth-

Botez is quick to credit her family

ing is ‘normal,’” Botez said, reflecting on

as highly influential in her approach to

“the fragility of what we do and who we

life and work. They endured what Botez

are, and the power of the diverse, unique

described as “an oppressive system in

voices we bring in.”

communist Romania” in order to provide Botez space to do the work she loves and to live, as she said, astride two realities. “I am an immigrant,” she said. “I live between worlds.”

Like the other distinguished designers, Botez has been eager to return to work. “Finally, I am able to get back to some of the shows we stopped working on in 2020,” she said, “like At the Wedding by Bryna

Her advice for young artists: “The world

Turner (directed by Jenna Worsham at

is fluid; be fluid. Stay curious and hungry

Lincoln Center), Carmen by Bizet (directed

by Denyce Graves with Glimmerglass and

outlets to stay healthy and reduce stress.

Minneapolis Opera), The One to Stay With

“I have a good therapist, I kickbox, and

(choreography by Baye & Asa/Bodytraffic

I go to acupuncture every other week or

at the Joyce Theater in New York), A(Way)

two,” Botez said.

out of My Body (choreography by David

She also sees a chiropractor, and she

Dorfman at Skirball Center for Performing

shares the workload with her assistants

Arts in New York).”

and associate designers, creating valuable

Be fearless in design

opportunities for them to develop their

Botez advised young designers to engage thoughtfully in the work of design and the collaborative process. “It is important to go beyond the word ‘stereotype’ in design,” she said. “Look for archetypes.” “Fearlessly create realities that even when you open a show, you know you

own craft and skills. “Get a massage and acupuncture,” she suggested. “Meditate. Take off one day a week, and turn off your phone.” Assistants need skills, curiosity

Botez looks for some of the same qualities in assistants and associates that she strives for in herself.

can abandon that idea, and you can start

“Integrity is a big deal for me,” she said.

from scratch and recreate another one,”

“An assistant or associate has to be curi-

she said. “Show up as an equal creator in

ous, passionate, and have skills. I look for

the room because your voice is important.

impeccable skills in technicians, artisans

Be prepared and professional in the room.

and designers.”

We are interconnected and depend on each

Department of Theatre & Communication

As for the qualities and personality

other.”

traits Botez encourages young designers

Find work-life balance

to develop, she says, “I look for them to

Botez is keenly aware of the need to

challenge themselves with new ideas even

take care of herself, and she advises young

when unfamiliar, and we do not know how

designers to do the same. She says one of

to achieve them. … And a great dry sense

the things she’s discovered over her career

of humor. And that internal freedom to

is the importance of non-theatre-related

laugh when it’s not easy.”

BFA Scriptwriting Theatre for Young Audiences

BA in Theatre

Concentrations Musical Theatre Performance Design A place to DREAM EXPLORE INSPIRE

Oana Botez created both the set and the costume design for this production of A Dream Play at Harvard University in 2016.

wmcarey.edu Spring-Summer 2022 x Southern Theatre x 45

MARÍA-CRISTINA FUSTÉ

Lighting Designer

Noah Taylor

Global Languages and Theatre Arts

María-Cristina Fusté adjudicates an entry in the Design Competition at the 2022 SETC Convention.

M

aría-Cristina Fusté, SETC’s 2022

align with my vision of what theatre should

Distinguished Lighting Designer, is

be.”

the founder and executive artistic director

As with the other distinguished design-

of Boundless Theatre Company, where she

ers, Fusté’s dance card has filled quickly as

also is the resident lighting designer. She

the industry begins opening back up.

was the associate lighting designer for

“I’m currently working on the off-

Broadway’s reboot of Jagged Little Pill in

Broadway production of Songs About Trains,

2021. Her regional credits include American

written by Beto O’Byrne and directed by

Mariachi, Sweat, Anna in the Tropics, Newsies,

Rebecca Martinez and Taylor Reynolds,”

ABIGAIL/1702, In the Heights and The

Fusté said.

Hunchback of Notre Dame. Fusté is a Princess

This summer, Fusté will work on

Grace Award recipient and winner of the

a production of Anna in the Tropics by

Pierre Cardin Award in Theater, the Suzi

Nilo Cruz, directed by Elena Araoz at

Bass Award and the Borimix 2017 Special

Barrington Stage.

Award for Boundless Theatre Company’s

Maintain relationships

contributions to the Latino culture.

BA/BS Theatre BA/BS Theatre/Film BA/BS Musical Theatre Murraystate.edu/theatre 46 x Southern Theatre x Spring-Summer 2022

Fusté offered the same advice to emerg-

In her keynote, Fusté had this message

ing designers that she received as she left

for young designers: “What we all do is

graduate school: “Remember that all those

magical. It is important work that matters

classmates will become your colleagues.

to the world. … Let yourself be heard.”

One day they will need you to work with

Coming back from the pandemic

them and vice versa. This work is in great

Fusté used “the big pause” generated by the pandemic to reflect on some very basic

part about relationships. Stay in touch with your mentors, with your classmates.”

tenets of theatre production and practice.

Fusté, a native of Puerto Rico, also

“I realized that I didn’t want to go back

encouraged young designers of color to

to life with back-to-back techs,” she said. “I

fight for better representation.

decided that I want to only take work that

“The world that we live in right now

strongly speaks to me, and to work with

in terms of our representation in theatre

amazing collaborators and at theatres that

is so different than when I started,” she

said. “When I went to school, all the plays

noted, “all those curve balls that life

were written by mostly white males,

throws you – they just take you to amazing

nothing about José Rivera or any Latinx

places.”

playwrights. Now there’s this awareness

Assistants need a variety of skills

of inclusiveness, and there are many, so

When she hires assistants, Fusté said

many companies that want to hear our

she looks for “technical skills like excel-

stories that it opens up a door. Not that

lent drafting [and] good knowledge of

that means we can only design a play in

programming. I also like to have someone

Spanish or written by a Latinx.”

next to me that knows what I need before

A career is not a straight line

I ask for it.”

Fusté encouraged young designers to

Fusté encouraged young designers

remember “that there’s no clear path to

to look for assistant positions that might

success.” Fusté’s own journey was full of

allow them to advance over time to associ-

the unexpected.

ate designer positions. When seeking an

“That’s precisely what makes me who I am as an artist,” she said. When Fusté was work i ng on her

UTC.EDU/THEATRE UTC Theatre Co. @utctheatrecompany

skills as in an assistant, along with a deeper understanding of design. “First, I need someone that understands

the path her career should take. Life, Fusté

my visual vocabulary and that knows how

said, had different ideas, including work at

to communicate with the director and rest

Spanish Repertory Theatre in New York

of the team,” she said. “Then [they] need

City as managing director.

to have excellent organizational skills to

had gigs as a lighting designer, but not

Find us online:

associate, Fusté looks for the same basic

master’s at NYU, she had a rigid idea for

“I needed a job,” Fusté says. “I already

BA THEATRE

keep the lighting team in tune and ready to create.” n

enough to survive. So, I got this job, and I never saw myself doing Spanish theatre. But it was amazing. That’s how I ended up working in Colombia, in Bolivia, in Mexico and all these other places.” Many of us have an idea of where we think our career will take us, but, she

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.

Learn more and apply now at:

UTC.EDU/APPLY

Al Foote III

Contact: Jordan-Hicks@utc.edu to schedule a tour of our facilities & to meet with our faculty.

María-Cristina Fusté did the lighting design for this 2017 Boundless Theatre Company production of Mud, by María Irene Fornés, in New York. In addition to her work as a lighting designer, Fusté is the founder and executive artistic director of Boundless.

Accredited by National Association of Schools of Theatre UTC is a comprehensive, community-engaged campus of the UT System. UTC is an EEO/AA/Titles VI and IX Section 504/ADA/ADEA institution.

Spring-Summer 2022 x Southern Theatre x 47

SETC Thanks Its Commercial Partners 4Wall AHSTF & ICTF by WorldStrides Altman Lighting American Alliance for Theatre & Education American Association of Community Theatre Arts People – A Neon One Company Association of Arts Administration Educators Atlanta Workshop Players Bravo Arts Solutions Broadway Licensing Broadway Plus CIAv Clear-Com Costume Holiday House, Inc. Disney Cruise Line Disney Live Entertainment Disney Theatrical Group Dramatic Publishing Company Dueling Arts International Emerald Green Productions ETC

48 x Southern Theatre x Spring-Summer 2022

Fern Gary Musick Scenic Georgia Stage LLC IA Stage Ludlam Dramatics Ludus MainStage Theatrical Supply, Inc. Mehron Inc. Production Advantage powered by VLS Salem One Society of American Fight Directors Stage Managers’ Association Stage Rights StageSpot Student Plays Table Top Scenic Design The Light Source, Inc. Theater Craft Inc. Theatrical Intimacy Education Tickets to the City Timothy Mooney Repertory Theatre </UrbanByte> XS Lighting & Sound

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.

2022 SETC Young Scholars Award Winners GRADUATE WINNER: GARRET LEE MILTON Absurd Audiences: Considering Reception Theories for the Premieres of Waiting for Godot Garret Lee Milton

theories to the French world premiere of

(he/him) is a play-

Waiting for Godot in 1953 at the Théâtre de

wright, theatre

Babylone, the expurgated London premiere

scholar and edu-

in 1955 at the Arts Theatre, and the notori-

cator from Wash-

ous failure of the American premiere in

ington, DC. He is

1956 at the Coconut Grove Playhouse in

currently a doctoral

Miami. Each one of these global premieres

graduate student

experienced vastly different popular

in the College of

and critical receptions, and the theories

Visual and Performing Arts at Texas Tech

applied herein illuminate the contribut-

University, where he also teaches theatre

ing factors and prove to be quite helpful

appreciation and playwriting.

when assessing the historical, artistic and

Abstract: Much has already been said

cultural perspectives of the audiences who

about Samuel Beckett and Waiting for

would have been present. By analyzing the

Godot, but what this paper examines are the

audiences and their sociopolitical spheres

audiences who were present at the various

of influence, this paper demonstrates how

premieres of this polarizing play. What this

audience receptivity is responsible for

essay proposes is a consideration and appli-

the perplexing and volatile premieres of

cation of contemporary audience reception

Waiting for Godot.

UNDERGRADUATE WINNER: BERIT SCHÖNEGGE Between Colonial Imposition and Native Christianity: Nahuatl Theatre “Under?” the Influence of Spanish Occupation and Catholic Mission

50 x Southern Theatre x Spring-Summer 2022

B er it S c hönegge

The Franciscans took multiple conscious

( s h e/ h e r) i s a n

steps to build up an understanding. The

international

closest thing Europe offered to Aztec

exchange student

temple rituals was religious theatre. The

f rom Un iver sit y

friars specifically authorized scripts, but

Leipzig, currently

they were translated and copied, as well as

studying at Hobart

performed by the Nahues themselves for

and William Smith

their altepetl (“community”). Translation

Col lege s. She i s

processes, metaphorical differences, and

pursuing a BA in musicology and a

cultural and religious misunderstandings

concentration in theatre studies.

issued shifts of power. The paper combines

Abstract : This paper seeks to map

Postlewait’s “(Re)construction” of events,

out the field of tension that brought

Burkhart’s “Native Christianity,” broader

forth Nahuatl-Christian theatre. When

postcolonial approaches, and the Cultural

Franciscan friars arrived in “New Spain”

Transfer Theory (Espagne/Werner) in

in 1524, the Aztec empire had already disin-

order to interweave theatrical practice and

tegrated – Mexico was under colonial rule.

historiography. Between Native agency

Both friars and Nahues were shocked upon

and Spanish oppression, it stresses the

witnessing each other’s religious practices.

importance of multifaceted approaches

To successfully indoctrinate the native

and findings, when trying to understand

population, common ground was needed.

the art form’s intricate power complexity.

Photos by Noah Taylor

Left and middle: Tiza Garland (she/her) reacts as she realizes that she is the recipient of the 2022 Suzanne M. Davis Memorial Award. Right: Garland (center) is congratulated by the award presenter, past President Jack Benjamin (right), and SETC President Maegan McNerney Azar.

Tiza Garland Honored with SETC’s 2022 Suzanne M. Davis Memorial Award Presentation by Jack Benjamin at the annual SETC Awards Banquet

he Suzan ne M. Davis Memorial

the award is kept secret each year until

but I must say that the work that they have

Award was created in memory of

this evening’s festivities. Many of you

done on the EDIA initiative for SETC has

Suzie Davis, wife of Harry Davis, one of

will recognize our honoree very quickly

set a standard for all to hope to aspire to. If

the founders of SETC and its 10th president.

through their accomplishments, but I will

it were not for our awardee and a handful

When Suzie died in 1964, Alvin Cohen

keep the tradition going.

of others, SETC would not be experiencing

T

the equity, diversity and inclusion that we

endowed this special award in her memory

Our recipient began their SETC career in

to recognize each year an individual who,

the 1990s and has continued their service

over an extended number of years, had

ever since. They are easily recognized by

I am particularly moved by a quote

been outstanding in service to SETC. It is

SETC and other national and international

from our recipient that I believe all in this

the highest award that SETC can bestow

organizations as an outstanding authority

ballroom should take to heart. Our honoree

upon one of its own members.

in their specific field of theatre.

said: “In order to have a life in the theatre,

are today!

Tonight’s recipient joins a distinguished

I had the honor of meeting our awardee

one must first have a life.” From being a

list of individuals to whom we owe the

early in their SETC career and have

vital part of the University of Florida’s

current strength and success of our

witnessed their amazing growth from

theatre program, to running a marathon

organization.

a committee chair (for over 10 years) to

on five of the continents on this earth

secretary of the board.

(with plans to run marathons on the other

At this time, I would like to stop and recognize an individual whom we honored

While President, I was privileged to

two after completing their dissertation),

last year during our virtual conference, but

have our honoree serve beside me as the

to growing things in their garden, I can

I felt needed to have their name mentioned

Vice President of Services and ultimately

honestly say they embody having a life in

in this evening’s “live” event. Ladies and

succeed me as President of this great

theatre and out of theatre every day.

gentlemen, please give our 2021 Suzanne

organization and serve in this capacity for

Davis Memorial Awardee, Michael Howley,

three years.

a well-deserved round of applause. Tradition has it that the recipient of

These accomplishments alone are

Ladies and gentlemen, SETC’s 2022 Suzanne Davis Memorial Awardee: Tiza Garland. n

enough to honor this wonderful person, Spring-Summer 2022 x Southern Theatre x 51

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. Theatre of the Sphere: The Vibrant Being by Luis Valdez and Michael M. Chemers 2021, Routledge, routledge.com ISBN: 978-0-367-619473; Pages: 198 Price: $31.96 (paperback)

Vibrant Being is an integral part of the contemporary conversation to decenter whiteness in actor training.

by Javier Luis Hurtado

and make the important contribution to

or over 55 years, Luis Valdez and

actor training that inspires Chemers to

El Teatro Campesino have been

compare them to actor training staples like

mak i ng dy na m ic, socia l ly engaged

the work of Konstantin Stanislavski, Uta

theatre. Theatre of the Sphere: The Vibrant

Hagen or Augusto Boal.

F

Being is a comprehensive compilation of

Finally, Valdez ends the text, much

Valdez’s theoretical methodology and

like he ended his first edited collection

approach to performance, which offers

of plays (Early Works, 1990), with a poem

a valuable addition to available works

that he writes for “all actors in life as well

on actor training. Clearly sectioned into

as on stage, including politicians who are

four parts, with prefaces by Valdez and

supposed to ‘act’ for their people.” The

editor Michael M. Chemers, the book’s

poem is written bilingually with English

early sections build on one another to

translation following every line of Spanish.

create a clear understanding of Valdez’s

order to tap into the aesthetic truth of the

Through the poem, Valdez distinguishes

approach.

staged moment there must be a connection

a “good actor” from a “bad actor” and

that he identifies as the “body, heart, mind

provides a moral compass from which to

and spirit continuum.”

understand the kind of performance one

The book’s introduction is by the foundational Chicanx theatre scholar, Dr.

brings either to life on the stage or on the

Jorge A. Huerta, who discusses what he

In “Part Two: Theatre of the Sphere,”

terms the “Valdezian aesthetic” by taking

Valdez describes this practice as “the

the reader on a chronological deep dive of

neo-Mayan flower” of his Indigenous

Vibrant Being is an integral part of the

the plays of Luis Valdez. This begins with

Mexican roots. In this section, Valdez

contemporary conversation to decenter

the actos (short political sketches), written

describes in great detail how the numeric

whiteness in actor training and should

as El Teatro Campesino’s identity as an

and calendrical systems of the ancient

be considered, along with books such as

ensemble took shape, and concludes with

Maya help craft movement in the mind,

Black Acting Methods, Breaking It Down:

the 2019 history play, Adiós Mamá Carlota

body, heart and spirit, and the importance

Audition Techniques for Actors of the Global

(Goodbye Mother Carlota). The introduction’s

of the zero.

Majority, Acting Queer: Gender Dissidence

stage of life.

succinct summary and sharp analysis

The bulk of the text is dedicated to “Part

and the Subversion of Realism, and A Korean

offer an important resource for actors and

Three: The Vibrant Being Workshop,” in

Approach to Actor Training, by any educator

educators alike.

which Valdez describes the logic behind the

committed to teaching beyond the Western

The book’s first part takes its title from

movements that are part of the workshop’s

canon. n

the theatre company Valdez founded

signature exercises, “The Litany of the

during the 1965 Delano grape strike – “El

Ball.” These exercises help performers call

Teatro Campesino” – when, as he writes,

attention to their breath, listening, physical

“there was no blueprint for … any kind of

movement, voice and speech, and spiritual

Chicano theatre.” Valdez details the ways

and affective connection to cultivate the

his “Theatre of the Sphere aesthetic was

activated body, heart and mind connection.

evolving from the start” and notes that in

This section’s exercises vary in complexity

52 x Southern Theatre x Spring-Summer 2022

Javier Luis Hurtado (all pronouns) is a director, a playwright and a doctoral candidate in the Department of Theatre, Dance and Performance Studies at Tufts University.

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