Southern Theatre Mag Spring/Summer 2023

Volume LXIV Number 2 • Spring-Summer 2023 • $8.00

SETC 2023

An Invigorating Gathering Drs. Carlton & Barbara Molette A Partnership & Life in the Theatre 2023 Distinguished Career Award

Pearl Cleage A Tribute to Carlton Molette

Dr. Indira Etwaroo A Visionary ‘Born to a Time of Fire’

Skylar Fox Making moments of magic in performance

Embrace who you are.

Become the artist you can be.

2 Year Professional Workshop 4 Year Circle/Eckerd BFA 2 Week Professional Summer Intensive

www.circlesquare.org

Where Art, Community, and Inclusion Meet.

Hosted by: Christine Toy Johnson

4

Season

Season 4 guests include (left to right): Stephen Flaherty, Lisa Kron, Branden Jacobs-Jenkins, Rona Siddiqui, Amanda Green, Lynn Ahrens, Michael R. Jackson, John Weidman, and Charlayne Woodard.

Skylar Fox worked on special effects for the Broadway production of Harry Potter and the Cursed Child.

Story, p. 26. Photo by Matthew Murphy.

Departments 4 Hot off the Press

Plays by Latine Playwrights

by Zackary Ross

6 Outside the Box: Design/Tech Solutions Performer-Controlled Lights

by Kendra Wiley

48 Words, Words, Words …

Review of Hamilton and the New Revolution: Broadway Musicals in the 21st Century, by Scott Miller review by Joe Stollenwerk

Contents

Volume LXIV Number 2 l Spring-Summer 2023 l Southern Theatre – Magazine of the Southeastern Theatre Conference

Features

8 Carlton Molette

‘You Can’t be Human by Yourself’

by Ricky Ramón

14 A Tribute to Dr. Molette

‘Love at the Heart of Everything’

by Pearl Cleage

20 Indira Etwaroo

A Visionary Arts Leader

by Kyla Kazuschyk

26 Skylar Fox

‘You Are the Actual Magic’

by Caroline Jane Davis

34 Ideas to Implementation

Lighting & Event Design with Vectorworks Spotlight

Cover Drs. Carlton and Barbara Molette are this year’s Distinguished Career Award recipients. See story on page 8. (Portrait by Gary Gruby.)

Production photos from some of the Molettes’ theatre productions, clockwise from top-left: Prudence Crandall, 2006; The Sale, 1972; Day of Absence, 1967; Rosalee Pritchett, 1971; Doctor B.S. Black: A Farcical Musical, 1973 (two photos); A Raisin in the Sun, 1964; God is a N, 1971; The King and I, 1959; Fortunes of the Moor, 1997; The Crucible, 1968.

by Thomas Rodman

40 Creating the New Normal

Advice from the 2023 SETC Design Keynotes on Returning to Work in a Reframed Theatre World

by Jonathon Taylor

46 2023 SETC Young Scholars Award Winner Paris Aguilar, Brenau University

47 Maegan McNerney Azar wins SETC’s 2023 Suzanne M. Davis Memorial Award Presentation by Tiza Garland

Spring-Summer 2023 | Southern Theatre | 3

Plays by Latine Playwrights Our regular column on plays that have recently become available for licensing focuses in this issue on works by playwrights of Latine heritage.

by Zackary Ross

W

hen selecting plays for this column, one of the things I’m always conscious of is choosing plays by writers who challenge the white male dominance that is typical in the publishing field. Thankfully, this task has been getting easier as publishing companies

have been increasingly investing in a more diverse body of playwrights than ever before. When I was inspired to focus on plays by Latine playwrights for this issue, I was thrilled to find a number of excellent options. To develop the following list of suggested titles, I surveyed major play publishers’ offerings during the last few months. Following each description, you’ll find information about the cast breakdown and a referral to the publisher who holds the rights.

Destiny, by Edwin Sánchez

Dream Hou$e, by Eliana Pipes

Extraordinary EB-1: The Title Run of

Destiny’s father Andy is dying of cancer

Patricia and Julia are estranged sisters who

Edgar Bolaños, by Franky D. Gonzalez

and hir mother, Sonia, is already struggling

have come together to fix up their family

Driven by his mother’s dreams of a better

with maintaining the family’s status quo.

home for sale in its newly gentrified neigh-

life in the United States, Edgar is an

When Destiny’s trans identity threatens

borhood. As the two begin their work, they

undocumented boxer seeking the glory

to upend the family dynamic, each of the

grapple with their differing views on their

of a title fight and the opportunity for a

characters must come to terms with change

family’s history and what the house really

visa. As his successes move him closer

and the things that exist between them that

means to them.

to his goal, memories of his past and the

remain the same.

Cast brea kdow n: 3 women (Lat i ne

trials of his present begin to weigh on him,

Cast brea kdow n: 2 women (Lat i ne

descent); 2 any gender (Latine descent)

threatening everything he has worked for.

descent); 2 men (1 white/European descent,

Publisher: Concord Theatricals

Cast brea kdow n: 1 woma n (Lat i ne

1 Latine descent); 1 any; 1 Latine descent

www.concordtheatricals.com

descent); 6 men (1 white/European descent, 5 Latine descent), doubling

Publisher: Broadway Play Publishing, Inc. www.broadwayplaypub.com

The House of Bernarda Alba,

Publisher: Broadway Play Publishing, Inc.

by Nelly E. Cuellar-Garcia

www.broadwayplaypub.com n

Mojada, by Luis Alfaro

Seeking to protect her daughters when her

Based on Euripides’ Medea, Mojada

husband passes, Bernarda Alba retreats

reveals the struggle of Medea and

with her children into the family home to

Jason after their perilous journey across

mourn for eight years. The matriarch sees

the Mexican-American border as they

the house as a shelter from the evils of the

begin to make a life as undocumented

world, but her daughters feel trapped and

immigrants in a country often hostile to

long to escape through marriage.

foreigners.

Cast brea kdow n: 5 women (Lat i ne

Cast breakdown: 4 women (Latine

descent); ensemble of women (Latine

descent); 2 men (Latine descent)

descent); 2 musicians

Publisher: Dramatists Play Service, Inc.

Publisher: Playscripts, Inc.

www.dramatists.com

www.playscripts.com.

4 | Southern Theatre | Spring-Summer 2023

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

INCOMING

From the SETC President

EDITOR-IN-CHIEF

Sharrell D. Luckett, PhD

SETC EXECUTIVE DIRECTOR

Toni Simmons Henson

SETC EXECUTIVE DIRECTOR EMERITUS

Betsey Horth

ADVERTISING Thomas Pinckney, thomas@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 Becky Becker, Clemson University (SC) Gaye Jeffers, University of Tennessee at Chattanooga Ricky Ramón, Howard University (DC) EDITORIAL BOARD Tom Alsip, University of New Hampshire Keith Arthur Bolden, Spelman College (GA) Amy Cuomo, University of West Georgia Caroline Jane Davis, Furman University (SC) F. Randy deCelle, University of Alabama Kristopher Geddie, Venice Theatre (FL) David Glenn, Samford University (AL) Scott Hayes, Liberty University (VA) Kyla Kazuschyk, Louisiana State University 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: John Bingaman, Centre College (KY) LAYOUT EDITOR Scott Snyder, Muhlenberg College (PA) ASSISTANT TO THE EDITOR-IN-CHIEF Nikki Baldwin PRINTING Craftmaster Printers, Auburn, AL 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.

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i

I am excited to welcome in the new SETC year. There is so much to share and much to recognize as we lean into the work and offerings of all things SETC. The 2023 SETC Convention in Lexington, KY was a wonderful gathering of SETC members, organizations, and professional artists. With an eye towards the future of theatre, attendees participated in several events that enlivened their artistic passions and gave them the opportunity to engage with diverse perspectives that might help to shape their current theatre practices and goals.

In this issue we spotlight the convention’s three keynote speakers: Dr. Indira Etwaroo, Skylar Fox, and Drs. Carlton & Barbara Molette. During Friday’s keynote, Dr. Etwaroo discussed her journey to become the inaugural director of the Steve Jobs Theater at Apple headquarters in California. She also discussed the importance of funding parity and using art to eliminate racial injustice.

Theatre Illusionist Skylar Fox encouraged convention goers to lean into their uniqueness. He wrapped up Thursday’s keynote reminding the audience that “you are the actual magic.” Saturday’s keynote unfolded in a discussion style fashion between SETC’s Distinguished Career Awardee, Dr. Carlton Molette, and SETC’s Executive Director, Toni Simmons Henson. Dr. Molette discussed the importance of Afrocentric Theatre and offered advice to young theatre makers.

The late Dr. Barbara Molette also posthumously received this award.

The Teachers Institute at the Convention featured a fantastic presentation about Vectorworks Spotlight 2023 software. In this story Thomas Rodman shares how Brandon Eckstorm, Vectorworks’ product marketing manager, demonstrated to students and teachers how they can generate clear and detailed lighting designs using the Vectorworks software.

At the Convention, attendees were also able to learn from three design keynotes. In this article, Jonathon Taylor shares advice from Mary Louise Geiger, Harlan Penn, and Marianne Custer. The three designers discussed topics ranging from empathetic collaboration to how to work with directors.

Our regular columns feature a step-by-step process on performer-controlled lights, descriptions of five published plays by playwrights of Latine heritage, and a book review of Hamilton and the New Revolution: Broadway Musicals in the 21st Century, by Scott Miller.

Finally, we feature Maegan NcNerney Azar and Paris Aguilar. Azar was honored with the 2023 Suzanne M. Davis Memorial Award, while Aguilar is the 2023 Undergraduate Winner of the Young Scholars’ Award.

Thank you all for your help and support. SETC is only as strong as our membership. And together we are SETC.

Ginger Poole (she/her), SETC President Spring-Summer 2023 | Southern Theatre | 5

outside

the box DESIGN/ TECH SOLUTIONS

PERFORMER-CONTROLLED LIGHTS Integrating lighting control into live performance

by Kendra Wiley

I

n the current world of virtual performance, virtual reality and augmented reality,

the need to incorporate interactive technology into live performance is more vital than ever. For my lighting design MFA thesis performance, ERROR 404: Gender Not Found (a non-binary dance), I wanted to use remote lighting control to embody both lighting designer and dance performer at the same time onstage, incorporating performer control for every technical element of the 20-minute Bill Rios

dance solo.

My biggest hurdle in doing this successfully was finding a way to marry the light board operator, who usually hunches over a desk in the dark, with the well-lit performer

Wiley appears in a production photo from their performance Error 404: Gender Not Found with colorful, performer controlled lights.

dancing across the stage. To solve this problem, I transformed myself into a cyborg by

for Open Sound Control, a MIDI (Musical

Hog4 consoles, two commonly used profes-

wearing interactive technology on my body.

Instrument Digital Interface) alternative

sional theatrical light boards. For the ETC Eos

A Vive video game VR system allowed an

intended to share music performance data.

layout, you can find downloadable layouts

automated follow-spot effect, an OSC remote

However, theatrical lighting designers have

on github.com/ETCLabs/OSCLayouts. These

on my arm triggered the cue lighting stack,

also found OSC useful in controlling light for

layouts are unofficial, spare-time creations

and a MIDI connection from the light board to

live performance.

by ETC employees that are not supported by

the sound computer triggered all audio cues from the light cue input.

Step 1: Purchase the TouchOSC app made

by Hexler LLC.

ETC software professionals, so use your best discretion. On etcconnect.com, you can find

For this article, I’ll focus on the OSC remote

The app costs about $10 but can be shared

the official guide to setting up TouchOSC

technology, as it is the most user-friendly and

across multiple devices registered to the

with your Hog4 console, including High End’s

widely applicable. I’ll also share information

same user. It is available on both Android

official, downloadable TouchOSC templates.

on another program I used when I was hired

and Apple cell phones, and I’ve successfully

to design an interactive lighting system for an

used it on both as well as on an iPod and an

improvised virtual dance performance, In The

iPad. The only connection needed for it to

First, connect your device and the lighting

Ether, in 2021 by ARCOS Dance. In The Ether

work is Wi-Fi, so a cell phone used for OSC

console to the same Wi-Fi network. If there is

had different requirements but used the same

control does not need to be connected to

no network available in the venue for this, use

OSC system, along with another program,

cellular service.

a dedicated Wi-Fi router. Next, follow High

Step 3: Set up the OSC connection and pair the devices.

TouchDesigner, that allowed the light board

Note: Make sure to download TouchOSC

End’s official TouchOSC guide mentioned

to receive input from multiple devices as if

and not TouchOSC Mk1, the original program.

previously to set up a Hog4 console. For ETC,

they were the same.

Mk1 has the same functionality but lacks the

exit to the shell of the light board and input

Part 1: Running a lighting cue list via

ability to edit the layout natively within the

the IP address of your OSC device into the

TouchOSC

application.

console. In your OSC app, input the IP address

In this section, I’ll discuss how to use TouchOSC to control lighting cue stacks

Step 2: Download layouts for your TouchOSC app.

of the lighting console. Then, set the outgoing port to 1001 and incoming port to 1000 on Eos,

and effects with High End or Eos consoles

In my experience, TouchOSC works

and input the same numbers in the opposite

(or a laptop with a DMX key). OSC stands

equally well with ETC Eos and High End

spots in the OSC app. Port numbers can be

6 | Southern Theatre | Spring-Summer 2023

Set the Port (outgoing) to 7002. Set the Port (incoming) to 7001. Optional: Set ZeroConf Name to desired device name. The Local IP Address listed under OSC Settings is the address needed for the TouchDesigner OSC In CHOP associated with each Client.

Copy a nd paste t he CHOP pair i n TouchDesigner for as many devices as you wish to connect. Repeat the steps to set up TouchOSC on each device, and adjust the IP Step 1: Purchase TouchOSC in the App Store.

Step 2: Download layouts.

Step 3: Set up the OSC connection.

Step 4: Edit the interface layout.

address in the OSC In CHOP so that there is an OSC pathway in TouchDesigner corresponding with each device. I recommend

changed, but the ingoing and outgoing ports

plot. Any dancer with an OSC device could

naming or numbering the devices and adding

must be the same numbers from the first

change the color at any time. On a stationary

text DATs to TouchDesigner to keep yourself

device in reversed positions on the second.

iPad, different lighting zones were available

organized. Test the connection of each device

The IP addresses and port numbers will allow

to turn on or off using a different page of the

to ensure they can all communicate with

the two devices to send and receive data from

same original layout.

Hog 4 PC. In the Hog4 board, click the Setup key

one another. Finally, test the connection by tapping “Go” on the OSC device and see if

Part 2: Using TouchDesigner to

on the virtual keyboard. On the primary

it fires a cue from the light board correctly. If

duplicate control interface

Hog screen, select Network from the soft

it does, the power of the spotlights is now in

If you want to use multiple devices at

buttons along the bottom of the window. In

once to send OSC data to the light board,

the Network window, select Console and

Step 4: Edit the layout of TouchOSC

as I did with In The Ether, you’ll find the

then Settings (or right-click console and select

for ease of use. The following section will

free program TouchDesigner is the answer.

Settings from the dropdown menu). Choose

explain how.

You can use TouchDesigner to “trick” the

the Open Sound Control tab in the Console

For live control by performers, having

lighting console into thinking the signals are

Settings window. Set the Input Port to 7002

the full hardware layout of the light board

all coming from the same device. For In The

and click OSC In to enable signal. Set the

is unnecessary and even confusing. The full

Ether, I used Hog4 PC running on the same

Output Port to 7001 and click OSC Out to

hardware layout is best for electricians who

laptop as TouchDesigner. If TouchDesigner

enable. Input the IP address 127.0.0.1. Make

need remote access to all the light board’s

is running on a separate computer from the

sure UDP is selected from the dropdown

functions. As an interactive interface, it’s

lighting console software, the two must be

menu.

best to simplify. To do this, use the layouts

connected somehow.

In conclusion, if your theatre is experi-

provided by High End or ETC to determine

Here are the steps:

menting with interactive performance, the

the OSC command package for the buttons

In TouchDesigner, Create an OSC In and

TouchOSC app and the TouchDesigner

you wish to include in your custom layout.

OSC Out CHOP pair for the TouchOSC Client

program are worth exploring. They offer an

For example, the “Go” button I used for my

in the network. Connect the CHOPs to each

effective and inexpensive method for provid-

thesis was the command /hog/hardware/go/6.

other. Set the Network Port for the OSC In

ing live, performer-controlled or interactive

You can then replicate any button available in

CHOP to 8001. Set the Local Address to the

audience effects. n

the existing layouts in your own file.

same IP address as the TouchOSC Client. In

the palm of your hand.

For my thesis performance, I included

the Network Address and Local Address

one “Go” button for the main cue list, a

fields of the OSC Out CHOP, input 127.0.0.1.

“Flash” button that triggered a separate cue

Set the Network Port to 6600. Set the Data

list containing a single flash effect, “Back”

Format to Sample.

buttons for both cue lists just in case, and

In each OSC device, set the Host IP address

the “Choose” button for each in case it was

to the TouchDesigner computer’s IP address.

Kendra Wiley (they/them) is a non-binary, interdisciplinary theatre designer, dancer and choreographer. They currently work as an adjunct professor and technical director at Concordia University Texas in Austin.

needed for cue editing during technical rehearsals. For In The Ether, I created color palettes that could be called up with the press of a button and affect all the LED lights in the

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 2023 | Southern Theatre | 7

CARLTON MOLETTE ‘What makes you human is the presence of other humans. You can’t be human by yourself.’

Nykieria Chaney

SETC Distinguished Career Award

P

by Ricky Ramón

Professor Carlton Molette, PhD, reminds me of my own father. I could sit on our front porch and listen to my father’s stories for hours. Molette knows a Photo courtesy of Carlton Molette

lot — A LOT! — about topics ranging from famous actors (and yes, I’m talking about his most famous student – Samuel L. Jackson!) to the Spanish Golden Age dramas. I wish there had been more time to listen to all the stories Molette wanted to share with the audience attending his Saturday keynote at the 2023 SETC Convention and with me in an interview that followed.

SETC Executive Director Toni Simmons Henson was smiling ear to ear as she welcomed Molette, the recipient along with wife Barbara (posthumously) of SETC’s 2023 Distinguished Career Award. In her

They soon realized that not only did they make

introduction, Henson turned to Molette and shared,

a great husband-and-wife team, but they also made

“I don’t know if you realize how much you mean

a great theatre team. In addition to acting and

to me.” A quiver in her voice turned into a bit of a

directing, they also worked on shows as design-

chuckle as she took a seat across from Molette and

ers — Molette designed scenery, lighting and

began the hour-long Q&A session.

sound while Barbara designed costumes, makeup

Beginning a career in theatre

and masks. While Molette was working on his

Molette was born in 1939 in Pine Bluff, AR.

doctoral degree and Barbara was working on her

His parents met while worki ng at Arka nsas

MFA at Florida State, they both picked writing as

Agricultural, Mechanical and Normal University

their minor. Barbara focused on playwriting while

for Negroes, now the University of Arkansas at

Molette wrote for radio and television.

Pine Bluff. After his parents divorced, he moved to Kansas City with his mother.

Fortunes of The Moor, 1998, by Barbara and Carlton Molette, directed by Anthony Hill, at Ohio State University.

By 1970, they had begun a playwriting collaboration that would last throughout most of their

Molette, having excelled in high school, earned

careers. Their first play was Rosalee Pritchett, which

early admission to Morehouse College, a Black

premiered in 1970 at Atlanta’s Morehouse-Spelman

men’s college, through a Ford Foundation program.

Players and went on to be produced in New York

When he was a junior at Morehouse, he met the

by the Negro Ensemble Company in 1971 and in

person who would change the trajectory of his

2017 for its 50th anniversary season. Published by

life: a freshman named Barbara Roseburr, one of

Dramatists Play Service, Rosalee Pritchett also was

his fellow students in a Spanish class at Spelman,

included in the anthology Black Writers of America.

a Black women’s college literally across the street

Their play Prudence received the Connecticut

from Morehouse. Historically, Morehouse and

Commission on Culture and Tourism’s Playwright’s

Spelman students have been able to take courses

Award in 2005. Dramatists Guild members since

at both institutions. Barbara expressed an interest

1971, the Molettes produced a body of work that

in theatre, which Molette also shared, although he

includes more than 20 full-length and short plays.

was a political science major. With the encourage-

While they were both teaching at Spelman, he

ment of Barbara and his theatre professor, Baldwin

realized that theatre history classes were being

Burroughs, Molette changed his career plans from

taught from a Eurocentric lens - from a perceived

becoming a lawyer to working in theatre.

reality where Europe is centered. Molette began

That change made his goals “mine rather than

teaching a class that was one of the first college

those that other people around me were telling me

courses that focused exclusively on Black theatre

my career aspirations ought to be,” Molette recalled.

in the United States.

Three years later, Molette and Barbara married as

Teaching African-American theatre thus became

he began teaching theatre at Tuskegee University.

t he i mpet us for h is a nd Ba rba ra’s academ ic

Opposite page: Distinguished Career Award recipient Carlton Molette addressed attendees of the 2023 SETC Convention.

Spring-Summer 2023 | Southern Theatre | 9

book — first titled Black Theatre: Premise

than realism, but it’s all about how did we

& Presentation, t hen later becom i ng

get to realism? Anything that doesn’t help

Afrocentric Theatre. And here’s where the

you understand how you get to realism,

master class in theatre history begins.

it’s just not included.”

Premise & Presentation

He recalled that there “used to be

What are Premise and Presentation?

required reading in that History of the

According to Molette, a lot of theatre

Theatre class, when plays out of the

historians and theatre makers talk about

Golden Age of Spanish drama were part

presentation, but very few talk about

of the required reading. I defy you to find

premise. The premise “deals with [the

a book, a theatre history book, the play

idea], as most people who study any art

reading anthologies — I defy you to tell

form come to understand, that art grows

me about one that is still being published

out of culture. So, then you have to ask

that includes the plays from the Golden

the question, ‘What is culture?’” Molette

Age of Spanish drama. You can’t. It’s too

said, adding that premise is what makes

African. That’s why it’s not there.”

African American culture different from

Afrocentric Theatre

so-called standard American culture.

W h at i s A f r o c e nt r ic T h e at r e?

In understanding African American

According to Molette, a play “is not

culture, Molette challenged his audience

Afrocentric just because it was written

to think about how far back in history

by a Black person — that does not make

their family lineage goes. “Everybody

it in and of itself Afrocentric theatre.”

comes from Africa, it’s just how long

However, most plays by Black people

have you been gone?” he said. “That’s

do turn out to be Afrocentric theatre, he

the difference.”

said. Molette emphasized that ultimately

Molette went on to explain that what

“Black people have to tell their stories.”

was being taught as “the history of the

He makes a greater distinction here,

theatre” was “actually European realism

though, stating that “[Black people] have

and how we got there. It goes back earlier

to tell our stories our way, because our

CARLTON MOLETTE, PhD: Bio and Career Highlights EDUCATION: BA, Morehouse College MA, University of Iowa PhD, Florida State University

PUBLISHED WORKS with his wife, Dr. Barbara Molette (deceased in 2017): Academic works: Black Theatre: Premise & Presentation Afrocentric Theatre Plays/Musicals: Ada’s Husband Passed Booji Doctor B.S. Black: A Farcical Musical Fortunes of the Moor Legacy: A Comedy of Southern Manners Noah’s Ark

Our Short Stay Presidential Timber Prudence Rosalee Pritchett They Don’t Take Long: Ten Short Plays

AWARDS: 2005, Connecticut Commission on Culture and Tourism’s Playwright’s Award for Prudence 2012, the Black Theatre Network’s Lifetime Membership Award 2013, National Black Theatre Festival’s Living Legend Award and the Ethel Woolson Award for Legacy 2016, Atlanta Black Theatre Festival’s Legend Award

More Info: afrocentrictheatre.com 10 | Southern Theatre | Spring-Summer 2023

Photo courtesy of Carlton Molette

The Negro Ensemble Company production of Rosalee Pritchett, by Carlton and Barbara Molette, 1971. Pictured here are Anita Wilson, Frances Foster, Esther Rolle, Roxie Roker and Clarice Taylor.

way is often different from the standard

is truly African American culture from

Eurocentric realism.”

what African Americans do in response to

So, what is the difference between

oppression.” He then shared an example

Black Theatre and Afrocentric Theatre?

that brings it into perspective: “There are

Afrocentric Theatre contains elements

certain African American foods that are

that are “what young, white Americans

a result of oppression. They don’t exist

now consider part of American culture,

because Black people in America thought,

because Afrocentric music and Afrocentric

‘Oh, it’ll be a good idea to cook up some

art in general has become so integral to

hog intestines.’ It’s because that’s the part

the American experience. Therefore, it

of the hog that the white people didn’t

becomes more and more difficult to say

want, and so the slaves were entitled

‘that’s Afrocentric,’ because everybody

to take it and make of it whatever they

does that.”

could. And I’m not saying therefore, you

According to Molette, there is a need

shouldn’t eat chitlins. If you want to eat

to endorse and promote Afrocentric

chitlins, that’s your business. But that’s

culture in a positive way. “There is a lot

not something Black people decided to

of material out there, some of it written

do of their own free will. And so I think

by Black people, that does the opposite;

it ’s important to try to separate out

not only does it not condone Afrocentric

what Black people do of their own free

culture, it diminishes it. And that is done

will from what Black people do because

by promoting stereotypes that do not

they’re trapped in a box and whatever you

promote what Africans in America are

do has to take place in that box.”

and do and [how they] behave. There

Importance of history

are negative things that exist among

Molette emphasized that by under-

African American people that are there

standing one’s history, one can get a

in response to oppression.”

better understanding of one’s culture.

Molette brought light to the diffi-

“One of the things that is true in a lot

c u lt y of deter m i n i ng what i s t r u ly

of those Golden Age of Spanish drama

Afrocentric by reminding his audience

plays is what in South Africa is called

that it “becomes tricky to separate what

ubuntu,” Molette said. “And it’s one of Spring-Summer 2023 | Southern Theatre | 11

the most important concepts of African life — what makes you human is the presence of other humans. You can’t be human by yourself.”

Molet te a lso noted t hat i n ma ny Golden Age of Spanish drama plays, the protagonist is a group. “It’s not an individualistic individual, and that’s Photo courtesy of Carlton Molette

again, one of the important differences in the notion of how you tell a story in an African context. You understand that you’re not trying to separate out an individual from the other individuals in this group, which is why one of our plays — Fortunes of the Moor — takes the Othello character and gives Othello a family, even though it’s after Othello is dead. But Shakespeare’s Othello has no family. He’s just out there in the universe all alone.

Nobody in Africa thinks of anybody as

Carlton Molette’s first directorial credit: If Men Played Cards as Women Do, by George S. Kaufman, in spring 1957.

being out there in the universe all alone.”

“And they want to make sure you don’t

Advice to Black theatre makers

get hurt unnecessarily. So, they will tell

Molette also said students should

After the keynote concluded, I was

you to avoid things that existed 10, 15, 50

realize that while making theatre is and

lucky enough to get an extra hour with

years ago that maybe have been overcome

should be fun, it also requires hard work

Molette.

since they came along and got slapped

if they are to be successful.

I asked if he had any advice to share with Black students of today trying to

down by it.”

A lesson from a famous student

Theatre is fun — and hard work

“They decide this theatre thing is fun because they see a bunch of people having

make it in the performing arts industry.

During his many years as a professor,

fun,” he said. “And they say, ‘Oh! I wanna

He responded that students need to

Molette touched the lives of thousands of

go hang out with the people having fun!’

understand that there is a “stereotype”

students, including some who went on

And they don’t realize that the people

phenomenon.

to achieve fame, such as actor LaTanya

having fun are working very hard but they

“If you fit one of these stereotypes, you

Richardson Jackson, New Professional

enjoy what they are doing. This is another

have to understand and appreciate that

Theatre founder Sheila K. Davis, the late

lesson I learned from Samuel. There were

— you have to confront this,” he said. “I

actor Bill Nunn, actor Horace Rogers,

many of his classmates that were just as

used to say to people many years ago, ‘I’m

writer Pearl Cleage (see sidebar, Page 14)

talented as Sam. But they didn’t want to

not Frank Silvera.’ Frank Silvera earned a

and, as mentioned earlier, actor Samuel

work hard. Sam worked hard and kept

living playing roles that were not consid-

L. Jackson.

getting better and better and better.”

ered Black or white. Frank Silvera was

Molette chuckled as he related how

As our time together ended, Molette

African American. Frank Silvera played

he often tells students not to listen to

offered these final words of advice for

Italians, Sicilians and Mexicans. He was

his advice because of the guidance he

students: “You have to understand what

too light to play a Black person but dark

once shared with his student Samuel L.

it is you are working towards, you have

enough to play a Mexican! Racism is not

Jackson. He recommended that Jackson

to be careful who you listen to, and you

rational.”

not go to Hollywood, in an attempt to

have to learn how to pivot when it is time to move on to the next adventure.” n

He also said students need to take

save him from the harms of Hollywood.

charge of their own careers. “The number

Jackson didn’t listen and ended up having

one thing I tell students is first you have

a successful Hollywood career. The point

to figure out what success means to you,

in sharing this story, Molette said, was to

because there will be a lot of people and

show students that sometimes the harms

some of these people are people who love

one has experienced in the past no longer

you and you love them,” Molette said.

are a threat.

12 | Southern Theatre | Spring-Summer 2023

Ricky Ramón (he/him) is a lecturer of theatre arts at Howard University. He is the Vice President of Equity & Inclusion on the SETC Board of Directors and a member of SETC’s Publications Committee.

A TRIBUTE TO CARLTON MOLETTE

by Pearl Cleage

A

advice and their example were invaluable to me

was fortunate to study with some great play-

But there was another kind of lesson waiting

wrights who were also great teachers. Owen

for me when I transferred to Spelman and became

Dodson, a flesh-and-blood connection to the

a student of Carlton and Barbara Molette. Not only

Harlem Renaissance, showed me that Oedipus

were they playwrights who were deeply rooted

Rex was as relevant to my life as LeRoi Jones.

in and consciously reflective of the same Black

Ted Shine showed me that the one-act play was

Arts Movement that was shaping my plays and

a form worthy of consideration, and Paul Carter

defining my creative life, they were complicated

Harrison showed me that being avant-garde

individuals and complementary human beings,

didn’t mean being obscure. They challenged and

a rare and wonderful thing to behold. I learned

encouraged and rewarded my efforts and they

that they had met when she was studying acting at

held me to the same high standards they set for

Spelman and he was a Morehouse student figur-

themselves. They taught me about discipline and

ing out how to be a director. Carlton describes

craft and the responsibility that comes with the

their meeting as “a turning point” in his life.

seductive power of writing for the stage. Their

Barbara seems to have shared that feeling. The

s a you ng play w r ight, f irst at Howard University and later at Spelman College, I

as a young writer.

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two made a joint decision to build a life for themselves in the theatre, and that’s exactly what they did.

In addition to their work as dedicated teachers and tireless mentors, their list Photo courtesy of Carlton Molette

of writing credits is lengthy and impressive. From Dr. B.S. Black to Fortunes of the Moor, they looked at history, contemporary and ancient, through a lens that could find lessons to be learned in laughter as much as in tears. They worked on hundreds of productions together as producers, directors, playwrights, set and costume designers. In all those areas, they showed me how to do it, and how to do it right and I am grateful, but the most important lesson they taught me was a deeper, more spiritual lesson.

Pearl Cleage’s first Atlanta production, The Sale, was directed by Carlton Molette and featured Samuel L. Jackson (center) and LaTanya Richardson Jackson (left).

They showed me that you can have a passionate life in the theatre, and still

you. They showed me what love looks

have a house full of love and laughter

like between true collaborators who

and good food on the stove with enough

make each other’s work better and make

to share even if they weren’t expecting

each other’s lives the best.

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Annual Dance Concerts

The African Company Presents Richard III

Noah Taylor

I remember being at their house once

with beauty and grace. They reminded

when their daughters were young. I had

me that even though we were radical

finished Spelman by then and we were

Black artists, we were allowed to experi-

no longer defined by student and teach-

ence joy.

er roles but by a friendship based on a shared passion for theatre, and, I think

Wow, I remember thinking. Maybe they’re right.

now, a shared belief that having love

Of course, t hey were. And t heir

at the heart of everything makes it all

shared journey remains in my mind a

that much better. And not just romantic

love story for the ages; a lesson to be

love, but love of family, of community, of

learned and relearned like a favorite

friends. On this particular night, I was

passage from a play that became a turn-

feeling pretty cynical about the possibil-

ing point in your life. Carlton Molette

ity of achieving anything resembling a

knows a thing or two about that kind

real love/work balance in my life.

of moment. And if you don’t believe it,

But as I sat there in Carlton and

just ask him. n

Barbara’s kitchen watching them cooking dinner, talking to the girls about their day, working out a kink in the script they were collaborating on and regularly refilling my wine glass without even breaking a sweat, it dawned on me that what I was looking at was the proof that it could be done. And done

18 | Southern Theatre | Spring-Summer 2023

Pearl Cleage (she/her) is an Atlanta-based writer and the Distinguished Artist in Residence at the Alliance Theatre. Her most recent work is Something Moving: A Meditation on Maynard.

Nykieria Chaney

INDIRA ETWAROO

A Visionary Arts Leader

A

by Kyla Kazuschyk

Above: Producer, director and arts leader Indira Etwaroo talks about growth, art and racial justice in a Friday keynote address at the 2023 SETC Convention in Lexington, Kentucky.

Award-winning producer, director and arts leader Indira Etwaroo, PhD, shared an inspirational message with her Friday keynote audience at the 2023 SETC Convention. In introducing Etwaroo (she/her), SETC Executive Director Toni Simmons Henson noted Etwaroo’s groundbreaking work in developing multi-platform venues and content that represents the diversity of the globe and explores the complex intersections between stories that matter and the topics of our time.

Currently the first-ever director of the Steve Jobs Theater at Apple headquarters in California, Etwaroo previously has served in numerous roles, including founding executive producer of NPR Presents, a global multi-platform live events initiative, and executive artistic director of the Billie Holiday Theatre in Brooklyn, where she achieved radical growth, more than doubling the audience, increasing revenue by 212% and producing groundbreaking content. During her tenure, the theatre was awarded the Presidential National Medal of Arts for its social justice work.

She began her address by noting that the American theatre stands at a precipice. “As a global pandemic impacted every human being on the planet and while the world was on pause, the murder of a Black man happened in the streets of Minneapolis, Minnesota, by the very system that was meant to protect him,” she

20 | Southern Theatre | Spring-Summer 2023

SETC Convention Keynote Speaker

said. “A knee on the neck for over nine minutes that took George Floyd’s life. And so here we are again convened, recovered, conferencing, and we are faced with an opportunity to see the world anew, or perhaps to be and to become a new world.”

She posed a question to her audience: “What do we need to see and who do we need to be or to become as the American theatre, in all of its parts and purposes, in order to build a world, as [the late writer and activist] Audre Lorde stated, in which all people can flourish?”

In recounting the story of her early life, Etwaroo said she was “born to a time of fire,” using words spoken by Boy Willie in Pulitzer Prize-winning playwright August Wilson’s The Piano Lesson.

Etwaroo’s mother and father met when he attended Howard University, and she grew up in southeast Washington, DC, in a time of racial unrest. Though her parents sometimes struggled to make ends meet raising five children, there was music, dancing and storytelling in their home, she said. Her parents “instilled in us values of honoring the humanity of all people, regardless of race, nationality, gender, sexual orientation or faith, a value of the arts and creative expression, a core of democratic ideals, and a value to believe in something bigger than ourselves.”

In grade school, Etwaroo and her siblings were part of the American experiment of desegregation, which bused primarily Black children to schools that were located very far away in white neighborhoods.

They had to wake up hours earlier than their white counterparts to catch their buses, and she watched her mother take several city buses to attend school events, only to be scolded by school officials if she

courtesy of Indira Etwaroo

Born to a time of fire

was a few minutes late.

“The lesson: it is critical to remember for those of us who are in positions of change, that diversity brings diverse voices into the theatre ecosystem,” Etwaroo said. “Inclusion gives them a voice. But belonging ensures that those voices are heard.”

In third grade, Etwaroo discovered that she liked running and that she was good at it. She could run faster than all the children in her class, and she felt free and confident. One day, her gym teacher told her to take a step back from the starting line for a race. So, she did, and she still won. The gym teacher made her start another step back, and then another, and still she won every race, even starting behind everyone else. And then, after taking four steps back, she started to lose.

Indira Etwaroo taught a community dance class with young people in 2004 in Addis Ababa, Ethiopia, where she served as a Fulbright Scholar.

INDIRA ETWAROO, PhD: Bio and Career Highlights EDUCATION: BA, Music, Longwood University MEd, Dance, Temple University PhD, Cultural Studies, Temple University

CAREER HIGHLIGHTS: Founding Executive Producer, The Greene Space, NYC Founding Executive Producer, NPR Presents Executive Produced the American Broadcast Premiere of the 75th Anniversary of Zora Neale Hurston’s Their Eyes Were Watching God, Executive Produced first-ever audio recordings and video broadcasts of August Wilson’s entire American Century Cycle

Executive Artistic Director of the Billie Holiday Theater, Brooklyn — awarded the Presidential National Medal of Arts Professor of graduate studies, Temple University and NYU Inaugural Director of the Steve Jobs Theater at Apple in California

AWARDS: “40 under 40” of national leaders, The Network Journal Larry Leon Hamlin Legacy Award, Black Theatre Network Larry Leon Hamlin Producer’s Award, National Black Theatre Festival Spring-Summer 2023 | Southern Theatre | 21

She began to doubt her ability and lose her confidence. Her third grade teacher saw what was happening and stepped in, loudly and directly telling the gym teacher, “Let Indira start at the same line as everybody else.”

Etwaroo didn’t have the vocabulary for it at the time, but later she realized, “This was an early example of allyship. A person who recognizes their own privilege and uses it to influence inclusion and call out or challenge behaviors perpetuating systematic oppression based on race, gender, religion, sexual orientation and ability.”

That story prompted another question to her audience: “What is our role as theatre practitioners, educators, artists to disrupt centuries-old lesson plans and to teach new lessons?”

In middle school, Etwaroo learned to play the flute. She excelled at music throughout high school and earned a music scholarship to attend college by submitting a blind audition through cassette tape.

“The lesson I took from this was how invisibility often oscillates between being an asset and a detriment,” she said.

When Etwaroo was preparing to leave home for college, her father received a phone call from the financial aid office. He remained calm but she could sense his frustration as he repeated himself over and over again until finally handing the phone over to her. The caller from financial aid said, “Thank God! I couldn’t understand a word he was saying.”

“My father, who shared the hybrid of a charming Guyanese and Southern accent, looked at me with eyes that pleaded for me to not get angry, which was my normal response to any injustice or ignorance at that age in my life,” Etwaroo said. “The lesson: Change often requires civility and grace, a remembrance that the moral arc of the universe is long, longer than many of us would like in our earlier years, but it always bends toward justice, as Dr. Martin Luther King Jr. reminded us.”

Learning can come from anywhere

While working on her master’s degree in dance, Etwaroo traveled to Ethiopia as a Fulbright Scholar to work with refugee Somali women who fled Mogadishu during the 1991 civil conflict.

“They survived a civil conflict, rape, 22 | Southern Theatre | Spring-Summer 2023

children being killed by soldiers and lions,” Etwaroo said. “Days, weeks and months of walking to flee another country with only their babies on their backs and children in tow. And they became cultural conduits, bringing with them their songs and dances, music, poetry and history.”

Etwaroo’s time there and her interactions with these women changed her entire perspective of the world.

“The lesson for me is how learning can come from anyone and anywhere if we remain open, curious to the new when we are in unknown spaces,” she said. “Take the hand of the new and see where it can take us.”.

Making funding parity a priority

One of Etwaroo’s concerns is the huge disparity in how white-led and Black-led arts organizations are funded. She shared statistics, noting that the Helicon study that analyzed funding trends across the country in 2017 found that, out of 41,000 cultural groups, just 2% received 58% of all contributed income.

“That’s income from private foundations, public sources and individuals,” she said.

“Those that focus on Western European arts and serve upper-income, predominantly white audiences were that 2%.”

The other 98 percent of organizations were left to split the remaining 42% of funding, she said.

“Persistent disinvestment and marginalization have left arts organizations of color fragile,” Etwaroo said. “87% of the African-American theatres founded in the 1960s and beyond went out of business by the mid-1990s — 87%. Yet these organizations were essential to providing access to arts education for low-income and marginalized communities and children, promoting accurate cultural representation and preserving the unique cultural heritage of those spaces.”

Creating funding parity is critical not just for the artists and the institutions, but for the people and the communities eager to experience their art, she said.

“I believe that we can ensure the fundamental right to arts for all people, especially the most vulnerable in our society,” Etwaroo said. “The absence of art and thriving cultural institutions to stand on the front lines with all people and all communities is not just a

side effect of poverty. Not having that, that’s an integral part of what it means to be poor.”

Using art to make a statement

Etwaroo also talked about the power of art to make a difference, noting that she was involved in helping to create New York state’s first street-sized Black Lives Matter mural in the Bedford-Stuyvesant neighborhood in Central Brooklyn in 2020. The mural features 20 large rectangles representing the year 2020 and a row of caskets with the names of victims of police brutality and racially motivated killings in this country, from Emmett Till to Martin Luther King Jr. to Eric Hawkins to Trayvon Martin, to Breonna Taylor to George Floyd, to the killings of two Black trans women, Riah Milton and Dominique Fells.

“The list grew and grew until we had over 160 names, names that were a drop in the bucket of blood that has been shed on American soil in the name of racial injustice and violence against Black children, women and men — our fellow Americans,” Etwaroo said.

Working on that project had a profound effect on her, Etwaroo said.

“This mural remains the most powerful artistic project that I have ever produced because it was truly of the people, by the people, and for the people,” she said. “And it was forged in a radical love for a people, a community, a justice.”

The importance of a vision

Following her speech, Etwaroo answered questions from the audience and a moderator, Erich McMillan-McCall, founder of Project1VOICE, a national nonprofit for performing arts service organizations that advocates on issues affecting African American theatre. The organization’s mission is to increase the organizational capacity of member theatres, to cultivate and celebrate the artistic talent and achievements of African Americans, as well as other people of color, and to promote a larger public understanding and appreciation for African American theatre and playwrights.

One of McMillan-McCall’s questions for Etwaroo was about the idea of radical love that she mentioned in connection with the Bedford-Stuyvesant mural. “What are you radically in love with?” he asked.

Etwaroo answered: “I’m radically in love

with things that don’t exist in the world, but they exist in my heart and my mind.”

Having a vision of what you want to accomplish in your heart and mind is essential, she said, noting that she sometimes uses sports metaphors to motivate her team to see that necessity: “Don’t take the shot unless you see the shot. If you don’t see the ball going in the net, don’t take the shot…

Don’t build the institute unless you see the institution. Don’t build whatever it is, the artwork, unless you can see it… There’s something really powerful about having a vision and a purpose and a North Star.”

McMillan-McCall asked Etwaroo to discuss how her work at the Steve Jobs Theater helps fulfill her vision.

“The Steve Jobs Theater sits at the highest point of Apple Park and, in many ways, it sits there as aspiration,” Etwaroo responded.

“We as a corporation believe in making the best products in the world, but that everything we do is rooted in values of diversity, inclusivity, accessibility, the environment and sustainability, privacy, etc. So, it is a corporation that walks the walk that it talks.

And so I get to work on events that are about our products, but also about our values.”

Showing up and finishing

A student in the audience asked, “What advice would you have for being able to still come out on equal ground from everyone else, even though you started from behind?”

“This is a moment I get to honor my parents,” Etwaroo said. “Because whether I am to run a race in middle school or I am directing the Steve Jobs Theater at Apple, the core values that they gave me have served me.”

She credited her Dad with instilling the value of showing up every day to school, not missing days unless you were really sick.

And her mother taught her and her siblings to respect each other and apologize when they hurt each other.

“Those are tools that have served me my entire life, the tool of believing in something bigger than myself and a tool of ‘you don’t get to not finish,’” Etwaroo said. “If you start it, you finish it.”

Ripping off the Band-Aids

Asked by an audience member about education systems in the United States Spring-Summer 2023 | Southern Theatre | 23

and their potential to change or improve, Etwaroo took the opportunity to offer an insightful perspective on education and on change in general.

“I think it comes down to a cultural ethos,” she said. “We as a culture are riddled with cultural amnesia. Something happens, we get stirred, we protest and then we return to wherever we were before, whatever that consciousness was.”

People forget, and many fear change.

Reforming broken systems may not be enough, Etwaroo noted, saying entirely new ecosystems may need to be built.

“I’ve learned to say, ‘If you want someone to change the color on the walls or the curtains, I’m not your person. I’m going to tear down walls. I’m going to dig up foundations. We’re going to start over where we need to.’”

Etwaroo also spoke of the importance of storytelling and representation, invoking the John Henrik Clarke quote: “Slavery ended and left its false images of Black people intact.” Representation is vital, she said, to help people of color envision what can be.

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24 | Southern Theatre | Spring-Summer 2023

Responding to a student who asked for advice about how to push the envelope further with representation, Etwaroo said, “America is still working with its consciousness. People are still working through these residuals of slavery. America is still dealing with this consciousness. I think of this often as we think about the trauma that we experience as people of former enslaved Africans. We were not slaves. We were enslaved Africans. What does it mean for us to carry the trauma as the children and grandchildren and great-grandchildren and great-great-grandchildren of those who were enslaved in America? What does it mean to have trauma, to come from generations who enslaved?”

She noted that much work needs to be done, and conversations must be held.

“The Band-Aids that we put on America and its racial strife do not fix it,” she said.

“We’ve got to start ripping these Band-Aids off and go in and start doing some surgery.

And it is going to be painful, and it is going to hurt. And there may not be anesthesia.

And there’s going to be a recovery period

until we can get to a better place. But up until this point, when I look at the arc of history, that moral arc that is bending towards justice, it is full of so many BandAids that are covering wounds that are not healing. I do think that something much more radical is going to be required.”

Etwaroo ended her keynote by thanking the audience for engaging in conversation with her.

“I am so heartened to be in a room with people from all walks of life where we can have this kind of open and transparent conversation,” she said. “I like to think that we’re having difficult dialogues with dignity as a people and that we’re fundamentally building a civilization — and it happens one tough conversation at a time.” n

Kyla Kazuschyk (she/her) teaches costume technology at Louisiana State University and is a member of the Southern Theatre Editorial Board. Her book, Creating Costumes for Devised Theatre, is available from Routledge Press.

Nykieria Chaney

SKYLAR FOX

‘You Are the Actual Magic’

S

by Caroline Jane Davis

Skylar Fox (he/him) is a theatre artist who defies labels and challenges the status quo. The illusions and magic associate for Harry Potter and the Cursed Child “cares about making wildly theatrical plays and musicals

Above: Theatre illusionist Skylar Fox was the Thursday keynote speaker for the 2023 SETC Convention in Lexington, Kentucky.

that push the boundaries of what theatre can do to tell demandingly vulnerable stories powerfully.” But Fox quickly made it clear that he was not the only boundary pusher at the 2023 SETC Convention: “I’m excited to be speaking to you today. Because you are going to make the theatre that I get to see that breaks my brain for the rest of my life and expands what I think is possible,” he told the young artists in the audience.

The Thursday convention keynote speaker gave an impassioned speech on the future of theatre, embracing limitations, and leading with your “why.”

‘Do not give up any of the things that make you interesting.’

Perhaps best known for his spellbinding illusion design work, Fox has always been passionate about performance. At age four, he received a magic kit for his birthday, popped in the kit’s accompanying instructional VHS tape, and “was hooked.” By age eight, he was asking his parents for a street performing

26 | Southern Theatre | Spring-Summer 2023

SETC Convention Keynote Speaker

license (to which they somehow, perhaps magically, agreed). As a young adult, Fox was actively involved in his public high school theatre program, self-producing a variety of projects while assisting friends with their creative work.

But the parallel paths of magic and theatre did not fully intersect for Fox until years into his professional career. While mounting highly ambitious productions like Sunday in the Park with George, Caligula and Twilight: Los Angeles as Matthew Murphy

a teenager, Fox realized how much he enjoyed creating in collaboration with others. Around this time, he felt compelled to concentrate on theatre as his professional focus at the expense of his work on magic, “something you fundamentally do alone.”

Fox acknowledged to his audience that he

Always send the email

never truly abandoned magic in his art, but he

After receiving a BA in Theatre Arts and

shared advice: “Do not give up any of the things

Performance Studies from Brown University,

that make you interesting or specific or different...

Fox began incorporating magic and illusions

Those things are going to lead you to the most

into his theatrical work as co-artistic director of

meaningful things you do in your life,” he said.

Nightdrive, a theatre company known for making

“And if there are spaces that are asking you to be

“rigorously irreverent, demandingly vulnerable,

less of who you are to fit into them, those are not

borderline-impossible plays.”

good spaces to work in.”

Over the next several years with Nightdrive, Fox

SKYLAR FOX: Bio and Career Highlights EDUCATION: BA, Theatre Arts and Performance Studies, Brown University BROADWAY CREDITS: Illusions & Magic Associate, Harry Potter and the Cursed Child Associate Illusions Designer, A Beautiful Noise Illusions Designer, Fat Ham (Broadway, The Public Theater and National Black Theatre) OTHER ILLUSION DESIGN CREDITS: Wicked (Teatro Santander, São Paulo) You Will Get Sick (Roundabout) Dracula (Maltz Jupiter Theater) Damn Yankees (Shaw Festival) Consultant for The Tonight Show, The Tony Awards, and San Diego Comic Con

Skylar Fox worked on the magical effects for the Broadway production of Harry Potter and the Cursed Child, including magical candy effects (above), spell-casting, transformations, and time travel.

SELECT DIRECTING/WRITING CREDITS The Grown-Ups (Nightdrive) Alien Nation (Paradise Factory) Providence, RI (The Tank) Thank You Sorry (Ars Nova) The Annotated History of the American Muskrat (The New Ohio, Boston Center for the Arts) Apathy Boy (The Brick & Ars Nova) SELECT AWARDS & NOMINATIONS: 2023, Special Obie Citation, Fat Ham 2019, Relentless Award Semifinalist, Society 2017, Relentless Award Winner, Pussy Sludge 2015, Finalist, Eugene O’Neill Theatre Center’s National Playwrights Conference, Apathy Boy 2014, Runner-Up, Gaffney Playwriting Prize, La Jolla Playhouse/UCSD, The Last of the Living Jeffersons 2013, Nomination for Best Director, IRNE Awards, Passion Play

More Info: skylarfox.com or nightdrive.org Spring-Summer 2023 | Southern Theatre | 27

continued to embrace highly experimental staging, launching projects ranging from an immersive alien movie to a haunted rock concert.

But it was a serendipitous email that led to the biggest break in his career.

In his keynote, Fox explained that he had been a longtime admirer of Scottish theatre company Vox Motus, known Matthew Murphy

for t heir i n novat ive work i n v isual storytelling. One day, Fox discovered their co-artistic director, Jamie Harrison, was listed as the creator of magic and illusions for Harry Potter and the Cursed Child on Broadway. Fox sent an email to Harrison introducing himself: “I said, ‘Hey, you’re not going to believe me because I know you’re working on Harry Potter, but I’ve been following you forever. I had no idea you did magic. This is something I do, too. Can we talk?’”

They met a few days later on Skype and discovered they shared similar pathways as magicians who fell in love with theatre. At the end of the call, Fox described a bizarre twist in the conversation: “[Harrison] asked, ‘Who told you to reach out to me?’ I said, ‘I have to be honest, no one.’” Much to Fox’s surprise, Harrison had recently been tasked with finding an illusionist to join the Harry Potter team. The timing of the Skype call was almost too perfect. After six months of interviews, Fox got the job.

Fox aga i n add r e s s e d t h e you ng artists in the audience: “I wouldn’t have con nected with this person who’s a mentor and a dear friend had I not sent the email. Be fearless about reaching out to the people you admire,” he said.

“Everyone who’s in a position like me has been in your position… and it feels good to be asked for help.”

Though his prior theatrical work always included elements of magic, the

apsu.edu/theatredance

call with Harrison led to a major shift in Fox’s career. The multi-hyphenate’s resume now boasts an array of major illusion-for-theatre credits, including magic and illusions designer for the

28 | Southern Theatre | Spring-Summer 2023

Stage effects depict Dementors in Harry Potter and the Cursed Child.

current non-replica production of Wicked in Brazil and illusions designer for Fat Ham on Broadway.

Solving impossible problems by embracing limitations

“I want to talk about something really important, something that I think is going to fundamentally change all of our lives,” Fox told the convention attendees, “and this thing is the ABBA hologram show.”

He went on to explain that a producer friend of his had seen ABBA Voyage in a specially-built arena outside London’s city center. “[My friend] said that he saw it and he wept. Because, and these are his words, ‘You think you know what a hologram is going to look like. But it feels like they’re there with you.’ And for a second I got nervous… because I think ‘What does that mean for theatre?’’’

“The fundamental truth is, things like this — moments of innovation like this — force us to look in the mirror and think, ‘How are we going to innovate this field and push the limits of what we can do? How are we going to justify why we’re needed to make live theatre?’” he said. “This is going to matter. It matters right now.”

Fox argued that the solution lies, at least in part, in continuing to create new

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magical moments in theatre by embrac-

“When you think about those five to ten

ing limitations and shattering assump-

things you don’t think about the whole

tions about what humans can do on stage.

[play], you think of moments. So these

“I bet you’ve a l l made mag ic i n

are the impactful moments we’re trying

theatre,” he said. “Because magic is

to find [in the script.]” He cited Emily’s

just solving impossible problems… the

monologue bidding goodbye to Grover’s

currency of theatre is surprise.”

Corners in Our Town as a moment that

To create surprise for the audience,

3) How could a moment of magic

tions of live performance, Fox explained.

make these moments feel more

“In theatre, we have to actually be in the

like they feel to us? “How could we

same room at the same time,” he said.

communicate a non-tactile feeling more

“We know we’re sharing the same laws

powerfully with magic?” Returning to

of physics. There can’t be a green screen

his Our Town example, Fox asked, “What

that can be edited later.”

if [the other characters in the play] just

“Think about your limits as your friends. Your limitations are what breed

BA/BS Theatre BA/BS Theatre/Film BA/BS Musical Theatre Murraystate.edu/theatre 30 | Southern Theatre | Spring-Summer 2023

speaks to his “why.”

you must begin by celebrating the limita-

dissolved in front of [Emily] as she was saying goodbye?”

creativity,” he said. “We’re showing off

4) How would I do that? Only once

a limitation in order to break through

you’ve tackled the first three questions

assumptions.”

should you ask yourself how a moment

Four questions for making magic

can physically be accomplished, Fox said.

When setting out to design a magical

“We can’t do impossible things alone. You

moment in theatre, Fox shared the four

need to band together and learn how to

questions he always asks himself:

create deeply collaborative art… it means

1) Why are we doing this play? “Is

us getting in a room and getting in touch

there something vulnerable and mushy

with our ‘whys’ together so we can build

that I’m trying to explore about myself?”

something new, something genuinely

he asked. “What’s something challenging

innovative, where we don’t use the limits

about being a person that I don’t know

of our own creativity to stop us before we

how to deal with through words so I have

get started.”

to deal with it through other people in

The challenge of magic

space?” He used Our Town as an example.

Fox hu mor ou sly a r t ic u l ate d t he

For him, the play presents a “seemingly

dangers of attempting illusion work

impossible balance: Can we live our

on stage to his audience: “With magic,

lives fully and appreciate our lives at the

failure is public and obvious. You don’t

same time?” While the play itself seems

know when someone ‘goes up’ on a line

to argue that no, we cannot do both, Fox

unless you’ve memorized the play. But if a

shared that the conventions of theatre

magic trick goes wrong, we know. When

allow for the audience to do just that:

you’re really putting yourself out there,

“We’re given the opportunity to actually

when you’re being vulnerable, when

do those things: live inside a feeling and

you’re leading with a ‘why’ and trying to

watch that feeling at the same time.” That

do something new and impossible, you’re

balance is Fox’s “why” for Our Town.

going to mess up.”

2) What are moments in the play

The difficulty, however, is what makes

that most speak to those feelings?

things worth it to Fox: “Trying to do

“You probably love theatre because

something impossible actually makes

you’ve seen five or ten things in your life

the effort mean something,” he said. “At

that broke your brain and changed your

its best, magic is able to take the private,

life. We’re going to spend the rest of our

quiet things we feel and show us the

lives trying to make those plays,” he said.

world not as it is but how we feel it to

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WHO SHOULD JOIN? • Individuals • Service Providers • Organizations • Businesses

be… how validating and meaningful to be able to create that on stage.”

Making magic accessible

involved in magic.”

“If someone comes up to you after a show and asks, ‘How did you do that?’

During the Q&A period, an audience

what I hear is ‘What you did brings joy

member asked Fox for his opinion on

to me. It had an impact on me. All the

pushing boundaries for all audiences,

work and care you put into making that

including those with disabilities: “As a

moment gave me something.’ And I don’t

blind artist, I am consistently looking for

want to be the person who takes that

ways to break convention and to create

away from them,” he said.

art with a visual disability. As a blind

“To me, the accessibility and wonder

consumer of art, I wonder... are there

of it is in holding the secret part of it with

other ways to appeal to senses so that

a certain amount of humility. It’s not

someone who can’t see the magic gets to

about knowing more than you know, it’s

experience that as well?”

about the fact that I built this thing with

“That is such a good question,” Fox

a sense of vulnerability while taking a

replied. “I’ve made a couple of shows

risk. That thing now exists in the world,

recently with Nightdrive that are made

and the way we each interact with it is

specifically with a visually-impaired

different, but the ability of it to exist

audience i n mi nd because t hey are

meaningfully for other people is in their

• Protocol, ESTA’s quarterly industry journal

largely performed very close to you, and

not knowing how we did it.”

most of the magic that is happening is

A message on a poker chip

participatory and mental. Magic is not

As a f irst-t ime SETC Convent ion

Join today to help us realize our vision of a thriving, inclusive industry strengthened by standards, safety, and shared knowledge!

limited to a visual language. Think about

attendee, Fox expressed excitement about

things like mentalism, for example. We’re

his convention experience: “It feels so

dealing with the way we share thoughts.

thrilling to be in a space like SETC where

That is a space that’s wildly accessible,

young people who really love this, and

and it hasn’t been tapped a lot in theatre

educators who really care about those

even though it’s really exciting. I think

people, and professionals who care about

the limit is only our imagination as we

the future of our industry are all actually

think about how we can make pieces of

looking forward.”

MEMBERSHIP IN ESTA SUPPORTS: • Standards • Certification • Your industry initiatives

magic that are radically accessible.”

Keeping the secrets

Later in the Q&A, Fox shared that his

that on the first day of rehearsals with

favorite trick in Harry Potter and the Cursed

a new Harry Potter team, his first magic

Child is the Polyjuice Potion trick.

lesson is on how to make a poker chip

“I love Polyjuice because every set

Find ESTA members at my.esta.org

Fox left his audience with a reminder to continue looking forward. He shared

disappear.

of actors who do it do it differently,”

“It’s a silly piece of sleight-of-hand

he said. “It’s very personal. We get to

that helps them think about what magic

make it all over the world with different

does,” he said. “And on opening night,

c o m b i n a t i o n s o f p e o p l e… t h e r e ’s

I always give everyone in the cast a

something lively and joyful about it.”

poker chip that says the last thing I

But if you want to know how it’s done,

want to say to you, because it’s true...

you’ll have to do that homework on your

Always remember that you are the actual

own. When asked after the keynote about

magic.” n

“keeping the secrets” of his magical

Join us:

Follow us:

work, Fox explained, “All of the stuff is out there. There are books at your free library, and it’s all online. So, if you want to learn, your interest and dedication are the key determinants for you to get

32 | Southern Theatre | Spring-Summer 2023

Caroline Jane Davis (she/her) is a visiting assistant professor of theatre arts at Furman University. She is a member of the Southern Theatre Editorial Board.

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IDEAS TO IMPLEMENTATION Lighting & Event Design with Vectorworks Spotlight

i

by Thomas Rodman

In today’s technological and fast-paced theatre and event scene, the key to success is understanding that time is money. So, having the right tools and finding the most efficient workflow is paramount. At the 2023

Above: Vectorworks product marketing manager Brandon Eckstorm works with workshop participants at SETC’s Teachers Institute.

SETC Teachers Institute during the SETC Convention, Brandon Eckstorm, Vectorworks’ product marketing manager, showed participants how Vectorworks Spotlight 2023 can help them quickly take their ideas and create implementable designs.

Eckstorm shared workflow tips for the software – which is available free to students and teachers through

educational licenses – and took the participants through some of the built-in automated tools that can help maximize their time and help them create functional, clear drawings and reports quickly.

The stated learning objectives for the day were to: • Discover the basic elements in creating a simple “room” for a live event.

• Learn how to place rigging elements in Spotlight.

• Create detailed lighting designs and worksheets using Vectorworks Spotlight.

34 | Southern Theatre | Spring-Summer 2023

SETC Teachers Institute Getting Started: Understanding the tools

“Conventionals,” “Led Lights,” “Moving Lights,”

The session started with an overview of the

“Atmospherics,” “Hardware,” and “Hanging

overall UI (user Interface) which included the basic

Positions.” A “Scenery” design layer could be split

program menus and the various palettes and tool sets

into “Act I,” “Act II,” etc.

used to create, edit and view objects. Of note were

Both layers and classes can be assigned colors

the Navigation and Resource palettes.

so that their information “pops” in relation to other

Navigation Palette

information visible. Layers and classes can also be set

The navigation palette is where the drawing is

to be visible/invisible/grayed out. This is important

organized, and organization is everything. There are

in the creative process but also comes into play later

six tabs to the palette: Design Layers, Classes, Sheet

when you are ready to publish your design.

Layers, Viewports, Saved Views, and References.

Design Layers. Think of them like departments.

So, you could have a “Venue” layer that shows the

Sheet Layers — The end product. A fully

architecture and layout of the venue, be it a theatre,

customizable page that contains one or more

conference hall or other location. You could then

viewports of your project, a border and title block

create separate layers for each major element of the

suitable for publishing as a PDF or printed document.

project such as “Light plot,” “Scenery,” “Video,”

Saved Views — You can take a look at your

“Sound,” etc. It was stressed that it is important to

rendered project from a particular set of viewpoints

keep track of how you stack your layers. The objects

and then switch back to your working view.

on each layer will cover the objects on the layer below.

References — These are files such as images

These layers can be reorganized as needed during

or PDFs that are a part of your drawing but are not

the creative process.

embedded in the drawing file itself to save on file size.

Classes. These are about making things more

1

3

Viewports — Think custom views of your

project — plan, section, isometric, etc.

Resource Manager Palette

granular. Instead of departments, this would be

The Resource Manager contains all the prebuilt

sub objects in the departments. For instance, on

elements that can be used in your drawing: 2D, 3D

your “Light Plot” design layer, you can use classes

or hybrid symbols of physical objects that you can

to organize the objects on the layer into groups of

grab and drop into your drawing, such as lighting

like items that make sense for the project such as

instruments, accessories, microphone stands,

2

Image 1: The basic printed scale drawing of the venue which has a sketched idea for an event setup.

Image courtesy of Brandon Eckstorm Image 2: A Plan or Top View of the venue showing the stage, masking, lighting, sound and video elements created based on the rough sketch and rigging points which were previously imported.

Image courtesy of Tom Rodman Image 3: A rendered front view (Preview) of the venue and setup which shows an accurate representation of the stage, masking, lighting, sound, and video elements as they would appear.

Image courtesy of Tom Rodman

Spring-Summer 2023 | Southern Theatre | 35

speakers and chairs — to name a few. There

up a basic file with your layers, classes,

are also gobo images, textures, hatches, text

and even the base venue in place, and

styles, line types and gradients.

save it as a template. Creating one and

Eckstorm demonstrated how to create

maintaining it allows you to jump right

custom objects and styles. The stock

into a project with everything you need

plug-in symbol objects, as well as many

at your disposal and ensures that you

of the objects created with the built-in

will be working with the most up-to-

tools, can be customized and saved as

date details of the location. This is an

custom symbols or style instances if they

enormous time saver.

are specific variations you use all the time.

Getting our hands dirty:

TIPS:

Bringing ideas to life

• When 3D modeling, it is best to keep

After learning about the various tool

things simple when at all possible.

sets and palettes, participants delved

Textures (and imported images) can be

into a theoretical project and learned

applied to all kinds of objects such as

some of the practical techniques that can

planes, surfaces, cylinders or spheres.

help accelerate the drafting and creative

• Don’t 3D model anything if you can

workflow. The first step was to learn to

instead get away with just using an

import and scale a PDF of a hand-drawn

image. The example given was a chain

image onto a design layer. [See Image 1]

link fence. Don’t model it — rather,

The next step involved importing a

create a surface and apply the image of

DWG file with rigging points into another

a chain link fence to the surface.

design layer, and making sure it, too, was

• If there is a particular venue or work-

scaled correctly.

flow that you will be doing often, set

Eckstorm then showed two different

THEATRE & DANCE in the Nation’s Capital STUDY ACTING, DANCE AND PRODUCTION DESIGN WITH A BACHELOR OF ARTS IN THEATRE OR DANCE 36 | Southern Theatre | Spring-Summer 2023

202.994.8072 WASHINGTON, DC ctad@gwu.edu

methods for creating the 3D wall and door

• Import a DWG file with rigging points.

elements of a basic venue space using the

• Quickly draft in the room walls, stage,

tools from the Event Design menu and the

and doors.

Building Shell tools palette: Create Room,

• Add in custom soft goods.

Wall Tool, Door Tool. Using the imported

• Add in customized projection screens,

drawing as a reference, the venue space with customized walls, doors, floor, stage and soft goods was quickly completed.

With the venue taking shape, the next task was to add some standard event equipment such as speakers, a camera, projectors and screens using the Event Design Toolset.

Working with the imported rigging points, lighting pipes and truss were added

projectors, speakers and stands.

• Add in a custom camera object and stand.

• Work with rigging points to add in lighting pipes and truss objects.

• Add lighting instruments, focus points and create custom label legends.

• Focus the lights and add color.

• See their work rendered in 3D. • Create a plan view and front elevation

to the space. A basic set of lights and focus

views.

points were then inserted. The lights were

A Few Notes

assigned to the focus points, and with a

• There is a learning curve. This presenta-

click, the beams were drawn which would

tion was just an overview of how the

show an approximation of what the light

tools work.

coverage would look like. By adjusting the

• Start off working in 3D modeling with

location of the focus points, it was possible

the built-in tools early on. It is harder to

to ensure that they overlapped correctly,

transition to 3D if you cement yourself

which should give a clean wash of the

in working in 2D exclusively. With

stage. [See Image 2]

the built-in tools that streamline your

Likewise, it is also possible to look at and customize the other items, such as the

workflow, there really isn’t any reason not to start in 3D right away.

screens, projectors, camera and speakers

• Practice! You will forget how to do

to plan how they will look and how they

things unless you keep working with

would best accomplish their task. For

the program and your workflow. n

instance, in the settings for the speakers, one can choose the make and model, how it is mounted, and at what height. If instructed, Vectorworks will model the coverage area of the speaker based on manufacturer specs already loaded into the symbol. Likewise, the camera body and lens were selected based on what was appropriate for the distance and desired view of the stage.

With all of the built-in functionality and options available, it is quite easy to model a satisfactory preview of what the actual venue and event should look like.

Getting the free software Interested students and instructors can download a free educational license of Vectorworks Design Suite software, which includes all the capabilities of Spotlight, Architec t and L andmark.

For students and instructors in the entertainment industry, the Braceworks, ConnectCAD, and Vision add-ons are also available.

Visit vec tor works.net /educ ation to apply for a free educational license or request software for your school’s lab.

[See Image 3] Conclusion

At the end of the day, the participants had learned about and could accomplish the following basic tasks: • Import a PDF hand drawing and scale it.

38 | Southern Theatre | Spring-Summer 2023

Thomas Rodman (he/him) is a professional lighting designer and an assistant professor of lighting and sound at Alabama State University in Montgomery.

He is a member of the Southern Theatre Editorial Board.

Photo courtesy of Mary Louise Geiger

CREATING THE NEW NORMAL Advice from the 2023 SETC Design Keynotes b y J o n a t h o n Ta y l o r

The slate of design keynotes at the 2023 SETC Convention in Lexington, Kentucky included three distinguished designers from the areas of scenic, lighting and costume design. Each of the designers shared highlights from their work, insights into the industry and career building, and, of course, advice for students who are about to enter the profession. Whether it was speaking in an impromptu Q&A session during the annual Design Competition, sharing the stage with award-winning design students, or discussing work and approaches to process during the series of keynote addresses on Thursday evening, each of the designers offered insight and tips for early career and soon-to-be professional designers and technicians.

SETC Convention Design Keynotes

M

ary Louise Geiger (she/her) is a lighting designer whose work ranges from

MARY LOUISE GEIGER Lighting Designer

devised pieces to opera, musical theatre, dance and straight plays. She earned her MFA from the David Geffen School of Drama at Yale and is a faculty member in the Department of Design for Stage and Film at New York University’s Tisch School of the Arts.

Geiger wasted no time in offering

students some direct advice, wrapped in a touch of humor. “First,” she says, “wear sunscreen. Second, be curious. Third, work piece of advice, Geiger adds, “Everybody knows everybody — so keep that in mind.”

She rounds out her advice by stressing the importance of resilience, particularly in the early stages of a young designer’s career — a quality many discovered in themselves during the pandemic.

“I don’t mea n t hat I’m happy t he pandemic happened,” she said. “I just think

Above: Mary Louise Geiger adjudicates an entry in the Design Competition at the 2023 SETC Convention. Opposite page: Mary Louise Geiger created the lighting design for this production of Becomes A Woman by Betty Smith, staged Feb. 7 – March 18, 2023, at the Mint Theater Company, New York City. Actor: Emma Pfitzer Price. Set Designer: Vicki Davis.

Costume Designer: Emilee McVey-Lee.

it’s good to discover you’re resilient. It’s good

“A truly great development since 2020

to discover there are things you like to do

is that the version of a director standing in

that are not just theatre.”

the back of the room yelling at everybody is

“I think there are tons of opportunities

Changes in rehearsal

really not cool,” she said. “I’ve found that most

and lots of things that are about to open up

While discussing her work on Jen

rooms have become more open, which, for me,

for everybody,” she said. “It’s worth really

Silverman’s Witch, Geiger noted a positive

is a much more interesting way of working.

considering that our drama training — our

experience with some recent changes in

The opportunity for everyone to contribute

training in theatre — makes us very nimble

the industry.

more vocally to our collaborative work is both

and very able to apply our skills to a lot of

“It’s the first time we’re working [after

freeing and artistically engaging.”

In her address, Geiger emphasized the benefits of theatre training.

different things.”

the pause], and we did it with no 10 out of

Geiger suggested that this newfound

12,” Geiger said, adding that despite the

opportunity to openly offer insight or ask

When asked during the Q&A about how

challenges presented by the play, “We got it

questions or express opinions about the work

empathy informs collaborative efforts, the

done with eight-hour days, and everything

of other designers or the work in general is

three keynote designers paused before Geiger

was just fine.”

both freeing and artistically engaging.

jumped in to address the question head on.

Being open to finding your place

“Every weird, interesting thing I know

Initiated during the pandemic, the push

Empathetic collaboration

for “no more 10 out of 12s” has reached new

Noting her own path to a career in design,

is from doing some play,” Geiger said. “You

heights as the industry pushed for more

Geiger stressed the importance of being open

can learn – it’s probably a tiny amount –

equitable and fair working conditions, and in

to opportunities and following one’s instincts

about a lot of different things, but it does

response, a number of theatres have changed

in order to find their place in the work.

open your eyes to a lot of different facets of

their practices to embrace a less physically

“I’ve been a theatre person (as opposed

life. … I do think putting yourself into the

and mentally taxing tech rehearsal schedule.

to a lighting person) for most of my life,” she

play, into the mind of the characters, helps

The website nomore10outof12s.com also cites

said. “In college I wanted to be a director, but

you to be empathetic to a situation and to

statistics and anecdotal evidence that frames

after taking a lighting class, I realized I didn’t

learn to work and play well with others.”

this shift away from longer rehearsal days

really have instincts about how to help the

For Geiger, the fun and collaborative

as more equitable for BIPOC artists, theatre

actors get better — but I had a lot of thoughts

nature of theatre is what keeps her coming

artists with disabilities, and caregivers.

about the overall experience and what it

back, project after project. “I like the puzzle

should look like. I’ve ended up as a lighting

of creating something with a group and

designer, which has been very fulfilling.”

telling a story,” she said.

Later, during the keynote Q&A, Geiger continued pondering recent changes.

Spring-Summer 2023 | Southern Theatre | 41

Nykieria Chaney

and play well with others.” To this latter

Nykieria Chaney

HARLAN D. PENN Scenic Designer

Harlan D. Penn adjudicates an entry in the Design Competition at the 2023 SETC Convention.

H

arlan D. Penn (he/him) is a scenic

sional organizations. “Young designers

de s ig n e r who s e work s pa n s

should also prepare to take the union

off-Broadway, television, regional theatre

exam.”

and educational theatre. He has also

Experiencing the new normal

served as art director or assistant art

Discussing both the return to work

director for film and television, working

after the pandemic pause and the future of

on projects for Netflix, ABC, Disney

the industry, Penn said he sees “an honest

and CBS, among others. Penn currently

effort taking place” to be more inclusive

teaches at York College in Jamaica,

of BIPOC designers, noting that “I have

Queens, New York, and he earned his

personally been contacted by many

MFA from the Universit y of North

theatre companies and educational insti-

Carolina School of the Arts.

tutions within the last year and a half.”

“Pace yourself,” Penn said, offering

Penn acknowledged that “not all

sage advice for young designers. “Young

contacts have resulted in work,” but he

designers often overload themselves

is certain that theatre has an enduring

by taking on too many projects. Young

future. At the same time, he encouraged

designers should plan their life like they

early career designers to broaden their

would plan designing a show. [They]

approach to work beyond the theatre.

should consider budgeting, taking care of

“I believe that commercial theatre

themselves – mind, body, and soul – and

will always have a place in the USA,” he

setting special time aside for loved ones

said. “However, young designers should

and family members.”

consider other options, such as film and

Roundi ng out t h is advice, Pen n emphasized the importance of profes42 | Southern Theatre | Spring-Summer 2023

TV, because streaming media is the future of entertainment.”

Embracing technology

promoted and encouraged. Sketching is a

That last piece of advice should be no

big part of my design process as I sculpt

surprise coming from Penn, who offered,

3D space in my imagination. Model

“there came a point where [I] had to

making is not my strength.”

choose to move forward or remain in the Stone Ages.”

In his keynote, Penn’s inclusion of this self-assessment provided a basis for

“Embrace technology,” Penn said,

an excellent piece of advice for young

while admitting he was “afraid to take the

designers: “Discover what you are good

leap” to CAD and Photoshop. “I would

at.”

examine drafting and designs done in

“Determine what sets you apart from

CAD that were exceptional, to say the

other designers and develop those skills,

least, and those designs intimidated me.”

but most importantly, develop your own

Although Penn seems to lament not

style,” Penn advised. “If you are good at

having “touched a drafting table” in over

creating multiple ways to move scenery

a decade, he is clearly happy with the

or to make scenery turn around and

benefits of relying on computer-aided

disappear, consider designing musicals.

drafting and modeling software to

If you’re a lighting designer and you

convey design ideas, and he encourages

like music, and color is a big part of your

students to embrace changes in practice

emotional psyche and the way you think,

that can more easily communicate their

consider lighting for dance.”

work over distances and save valuable

Skills he looks for in collaborators

time and energy in the design process.

Penn said strong organizational skills

Designer, know thyself

are the top attribute he looks for when hiring assistant or associate designers,

to draw and paint,” Penn said, describing

but he also prizes “a love of history, good

himself as “coming from a family with

craftsmanship [and] an overall good

an artistic background” where “art was

attitude and work ethic.”

Photo courtesy of Harlan D. Penn

“I’ve always taken pride in my ability

Harlan D. Penn provided scenic design for August Wilson’s Jitney, directed by Jacqueline Springfield, Nov. 11-16, 2022, at Kennesaw State University.

Spring-Summer 2023 | Southern Theatre | 43

Nykieria Chaney

MARIANNE CUSTER Costume Designer

Marianne Custer adjudicates a costume entry in the Design Competition at the 2023 SETC Convention.

M

a r ia n ne Cu ster (she/ her) h a s

Practicing art on a professional level

academic career with a full career as a

was expected of her and other designers

working designer. She has designed on

and artists working in academic positions

Broadway, off-Broadway, and at theatres

who were on the tenure track or in tenured

in the US, Germany, Hungary, Turkey and

positions. “It was [akin to] publication, and

France. She is a Professor Emeritus from

so you had to do it,” she said.

the University of Tennessee, Knoxville,

Although being forced to stay relevant

where she taught costume design until

helped, Custer attributed her success to

2018.

the company she kept during her long

Custer advises young designers to “take

dual career.

chances. Aim high, but at the same time, do

“I think that the students help keep you

not get yourself into debt.” It may be neces-

relevant,” she said. “The students keep you

sary to sacrifice “pleasures and comforts”

on your toes. They’re not messing around.”

early on while building a network, which,

The engaged students “challenge you.”

Custer said, “is vital.”

Custer said.

“Develop relationships with interesting

“I was very proud of the program I

directors of your generation,” she said.

worked in because we provided a kind of

“Keep in touch. Be in the room as projects

enrichment […] that very few programs can

are developed.”

afford to do,” Custer said. “[My students]

Staying relevant

were doing shows and we were taking

In the Q&A period following the

44 | Southern Theatre | Spring-Summer 2023

“you had to do it. It was part of the job.”

successfully balanced her long

them to New York.”

design keynote, Custer responded to a

Custer stressed the importance of

question about staying relevant while

having a variety of theatre experiences in

essentially balancing two careers. Custer

order to broaden the palate, particularly

acknowledged that she had no choice but to

for early career designers.

maintain a highly productive professional

“We were taking them to foreign coun-

career while also teaching, noting that

tries, introducing them to a different kind

of design and different kinds of designers,” she said. “So, it was a program that was

about you than about the play.”

This may be appropriate for other art

keeping us all relevant.”

forms, says Custer, but not for theatre.

Rely on your team

Working with directors

Custer also said it is important to

“I’ve experienced so many shows where

remember that theatre is a team sport. The

the director just wants to meet with the set

design team and the director work together

designer,” Custer said. “They want to …

to create the look of a production, and this

get the whole space worked out, and then

collaborative spirit carries over into other

they’ll talk about costumes.”

areas of Custer’s work.

Custer encourages designers to work

Custer’s colleagues taught their students

with the director to involve the entire

as a team, which allowed her to pursue

production team from the beginning of

professional opportunities as they arose.

the process. Insisting on a collaborative

Having reliable colleagues who worked

approach invites a process in which

well as a team “made it possible for my

ideas from each design area can grow in

colleagues and me to go out” and pursue

parallel, instead of forcing a hierarchy of

work.

development.

“Every designer going off into his

“I guess the times that [the direc-

corner doesn’t necessarily make it easy for

tor-designer process] has worked most

people,” she said.

successfully, from my point of view, is for

What designers do

me to come up with the idea first and sell

Custer reminded young designers of their role with some clear advice.

@techtheatredept

the director,” Custer says with a smile.

“That can work really well.” n

“When we’re designing plays, we are interpreters of that play, and I think that each of us as a designer brings our aesthetic to it,” she said. Early career designers need to be aware that “in some cases you can bring too much of yourself to it, to the point

Photo courtesy of Marianne Custer

that it obscures the play and becomes more

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.

Marianne Custer designed costumes for A Midsummer Night’s Dream — including Titania’s lavish ensemble, pictured here — in the Clarence Brown Theatre at the University of Tennessee, 2015.

Spring-Summer 2023 | Southern Theatre | 45

2023 SETC Young Scholars Award UNDERGRADUATE WINNER: PARIS AGUILAR What in the White People: How Fiddler on the Roof Serves to Support the Civil Rights Act of 1964 Paris Aguilar (she/ h e r) i s a j u n i o r theatre major with a history minor at Brenau University, where she studies lighting design and technology, dramaturgy, and performance. Paris’s research interests involve the influences between theatre and politics.

Paris has worked with the Gainesville Theatre Alliance in various productions with roles ranging from Head Electrician and Dramaturg to Swing.

Abstract: This paper serves as an analysis of the support Joseph Stein’s Fiddler on the Roof gives to the passage of the 1964 Civil Rights Act (CRA). The musical opened five months after the Act’s passage, 19 years after World

46 | Southern Theatre | Spring-Summer 2023

War II, with the sympathy for European Jews still fresh in American minds. When looking at the historical context between 1960s America and the production of the musical, one can infer that Stein’s message of equality can be linked to his support for the civil rights movement. By breaking down the titles in the CRA, one can uncover direct correlations between the treatment of Jewish characters in Fiddler and the African-American community, in areas of public segregation and education, civil rights, appellate review and community relations. Seeing the struggles Tevye and his family face, compared to the injustices people of color faced during the civil rights movement, creates an argument that if one can sympathize and seek change for a marginalized group that is whitecomplected, they should seek the same for the people of color they live alongside. n

Photos by Nykieria Chaney

Three-term SETC president Maegan McNerney Azar (middle) was the surprise recipient of the 2023 Suzanne M. Davis Memorial Award. Tiza Garland (left) presented the award at the 2023 SETC Conference. Right: Azar and Garland with McNerney’s husband, Thomas Azar.

Maegan Azar Honored with SETC’s 2023 Suzanne M. Davis Memorial Award E d i t e d Ve r s i o n o f P r e s e n t a t i o n by T i z a G a r l a n d a t t h e a n n u a l S E T C Awa r d s B a n q u e t

T

he Suzanne M. Davis Memorial Award was created in memory of Suzie Davis, wife of Harry Davis, one of the founders of SETC and its 10th president. The award recognizes an individual who, over an extended number of years, has been outstanding in service to SETC. It is the highest award that SETC can bestow upon one of its own members.

Traditionally, the name of the recipient is kept secret until the final recognition ceremony on the closing evening of the convention. Many of you, undoubtedly, will recognize the honoree nearly immediately as the impressive list of accomplishments and service they have willingly and passionately volunteered to this organization is presented.

The words that can be used to describe this person include change-maker, innovator, human-centered, strategic, empathetic, great listener, activist, organizer, as well as artist and teacher.

The recipient began their relationship with SETC attending as an undergraduate.

They are proud to recognize SETC as the place where they were offered their first professional contract, found their grad school, and where they were connected to

get their first full-time academic teaching job.

Adrienne Maree Brown wrote, “Change is constant. Be like water.” This person embodies the concept of being like water.

Recognizing when to buoy someone up and when to move quickly and let the terrain or context teach them to rapidly roll, or take a moment to calmly sit.

They served as SETC’s secretary and served two years as Vice President of Administration, and this afternoon completed their 3rd year as President of SETC. They had the distinct place in history to take on leadership of this organization when we entered into a time that emphasized how constant change is – we were in a global pandemic, soon followed by a national and global call to confront racism and fight for social justice. Be like water.

“We move at t he speed of t r ust.”

— Adrienne Maree Brown When this person became president of SETC they promised to “bring an equitable and inclusive vision for SETC to fruition.” They delivered on this promise. It is under their leadership that the Equity, Diversity, Inclusion & Access Task Force was convened and months later a new Executive Committee position of Vice-President

of Equity & Inclusion was established, along with an Advisory Council. This happened very quickly — at the speed of trust.

Tonight’s recipient has recently adopted a philosophy from Adrienne Maree Brown: “This is all the miracle.”

Wondrous moments of success are exceptionally celebrated by this person. They have adopted a philosophy of finding the miracles in the moments of challenges, in the hurdles, and in the seeming catastrophies. They are, as our new Executive Director, Toni Simmons Henson, has said, everyone’s best cheerleader.

Adrienne Marie Brown also wrote, “what we pay attention to grows.” This person has paid attention to SETC and it has grown.

From being a dedicated and passionate and empathetic faculty member at Furman University, to being an active and innovative independent artist, to making sure that there is pizza on pizza night with her family, this person models generosity of spirit, caretaking, and using their voice and power to uplift those around them.

It was said this afternoon by our incoming president Ginger Poole, that there is no one finer than this person. This year’s Suzanne M. Davis Award recipient is Maegan Azar. n Spring-Summer 2023 | Southern Theatre | 47

WORDS, WORDS, WORDS . . .

Editor: Sarah McCarroll

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

Hamilton and the New Revolution: Broadway Musicals in the 21st Century

by Scott Miller 2021; independently published; available at Amazon.com ISBN: 979-8539423100; Pages: 213 Price: $19.95 (paperback)

at the time of this book’s publication (due to

by Joe Stollenwerk

unlike in the other chapters, here he does not

I

the pandemic), but its 2019 Off-Broadway production had already won the Pulitzer Prize. Perhaps because of this, Miller provides narrative description of the show and some insight into writer-composer Michael R. Jackson’s impetus to write the show, but provide analysis of the text.

n his latest book, Scott Miller examines

The chapter on Hamilton completes the

eight American musicals that (more or less)

book. In it, Miller combines a close reading

premiered between 2010 and 2019. Miller, in

with discussion of its creation, reception

addition to being a prolific writer and director

and cultural impact. His analysis of rhyming

of musicals for 40 years, has previously

in Hamilton is particularly effective, with

published a dozen books on the history and

the exception of the odd comparison of

creation of musical theatre.

Stephen Sondheim’s lyrics to greeting cards.

Hamilton and the New Revolution serves as

Less effective and more petulant is his

a companion to his 2020 book Idiots, Heathers,

antagonistic rebuke of the criticisms of three scholars of color who have written about the

and Squips, which examines musicals of the prior decade. Together, they help fill a gap

song by song, in Bonnie and Clyde he provides

shortcomings of Hamilton’s race and gender

in musical theatre scholarship, which tends

extensive close readings of the lyrics. He also

dynamics.

to focus on earlier time periods. Miller sees

goes into detail outlining the changes that

Independently published, the book would

the developments made in the 1990s to music

were made between the show’s 2009 La Jolla

have benefited from a stronger editorial

and television — specifically indie “alt-pop”

Playhouse premiere and its 2011 Broadway

hand. It suffers from repetition, long lists,

and the edgy shows on HBO and other cable

opening. In this chapter and the next on Hands

awkward transitions, occasional typos and

networks — as having paved the way for

on a Hardbody, however, Miller draws frequent

an overreliance on long block quotes from the

a revolution in American musical theatre.

parallels to songs from much earlier musicals.

shows’ creators, reviews and other sources.

These developments shattered old notions of

The chapters on Hands on a Hardbody and Dear

However, for anyone interested in studying,

whose stories get to be told, what musical and

Evan Hansen are dominated by close readings.

or especially teaching, contemporary musical

theatrical conventions are used to tell these

Miller next discusses the creation and

theatre, Miller provides insight into how each

stories, and — sometimes — who gets to do

reception of the original 2006 production of

musical looked, sounded and felt, and the

the actual telling.

The Color Purple, putting it in context with

meaning each created. Directors will benefit

The book comprises eight chapters

the John Doyle directed 2015 revival. Miller

from his close readings and discussion of

following a brief Overture, with each

shows how the revival’s more intimate and

potential pitfalls to avoid. His examinations

chapter focused on a different musical. In The

less showbiz-y approach created a stronger

of how musicals are created and revised are

Scottsboro Boys, Miller examines the usage of

piece of theatre. He also spends some time

the strongest component of the book. n

the minstrel show to tell “the hideous, true

analyzing the musical and its source novel

story” of racism and violence in America.

as fairy tales. In his chapter on Hadestown,

Miller also connects how John Kander

Miller highlights the creative process of its

(music) and Fred Ebb (lyrics) used metaphors

writer-composer Anais Mitchell. He also

for theatrical forms in Cabaret and Chicago.

discusses other versions of the Orpheus and

Whereas in this chapter Miller primarily

Eurydice myth.

provides narrative description of the show, 48 | Southern Theatre | Spring-Summer 2023

A Strange Loop had not opened on Broadway

Joe Stollenwerk (he/they) is a director, scholar, playwright and actor. He received a PhD in theatre and drama from Indiana University. He is the author of the book Today in History: Musicals.

Southeastern Theatre Conference No RSVP 5710 W. Gate City Blvd., Suite K, Box 186 Needed. Just bring your Greensboro, NC 27407 appetite and be ready for the ultimate www.setc.org

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