Volume LXII Number 2 • Spring-Summer 2021 • $8.00
SETC 2021 Rosemary Harris ‘A True National Treasure’
Ali Stroker
‘Anything Is Possible’
Idris Goodwin
‘Man, the Man Is Non-Stop’
Design Keynotes
Hopes for a Return to Theatre
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Departments 4 Hot off the Press
Plays About Home by Zackary Ross
6 Outside the Box: Design/Tech Solutions
Contents
Volume LXII Number 2 l Spring-Summer 2021 l Southern Theatre – Quarterly Magazine of the Southeastern Theatre Conference
Features
8 Rosemary Harris
‘A True National Treasure’ by Keith T. Martin
16 Ali Stroker ‘Anything
Is Possible’
by Tom Alsip
Digital Costume Design: Increase Productivity with Procreate
26 Idris Goodwin
by Lauren T. Roark and Eric Abele
48 Words, Words, Words …
32 The Beat Goes On
Review of Directing Professionally:
A Practical Guide to Developing a Successful Career in Today’s Theatre, by Kent Thompson review by Jenna Tamisiea Elser
Special Section 24 SETC Commercial Partners Directory
Explore this resource guide designed to help SETC members meet their theatrical and operational needs.
‘Man, the Man Is Non-Stop’ by Tiffany Dupont Novak
Using Hip-Hop and Breakbeat Poetry to Boost Creativity and Inclusivity in the Classroom by H. Jonathan Kitt
38 Hopes and Advice for a Return to Theatre
From the 2021 Design Keynotes
by Jonathon Taylor
46 2021 SETC Young Scholars Award Winners Abstracts by Alexandra LaGrand and Carolyn Etzel
47 Michael Howley Honored with SETC’s 2021 Suzanne M. Davis Memorial Award Presentation by Alan Litsey
Cover Jewelle Blackman, Eva Noblezada, Kay Trinidad and Yvette Gonzalez-Nacer (front, left to right) and André De Shields (back) appear on Broadway in Hadestown. The show won eight Tony Awards in 2019, including Tony Awards for two of SETC’s design keynotes at the 2021 SETC Virtual Convention: scene designer Rachel Hauck and sound designer Jessica Paz. (See story on designers, Page 38.) (Photo by Matthew Murphy; Photoshop work by Garland Gooden; cover design by Deanna Thompson) Spring-Summer 2021 x Southern Theatre x 3
Plays About Home Our regular column on plays that have recently become available for licensing focuses in this issue on works that examine the place we call home. by Zackary Ross
B
efore the start of the pandemic, we spent a large portion of our lives outside the home: at work, in restaurants, and in various public spaces like malls, theatres and coffee shops. With many people living in various degrees of lockdown over the last year, much of
life has retreated indoors, inside the home. Home can be a place of comfort, a shelter from the chaos of the world, or it can feel like a prison, an oppressive cage we’ve been forced into. What follows is a collection of plays that explore the concept of home and the associated emotions it evokes. To develop the following list of suggested titles, we surveyed major play publishers’ offerings during recent months. Following each description, you’ll find information about the cast breakdown and a referral to the publisher who holds the rights. Alabaster, by Audrey Cefaly
Objects in the Mirror, by Charles Smith
and relationships are put to the test in
A devastating tornado took June’s family
An incidence of hate speech on a local bus
this comedic, millennial, coming-of-age
from her. Three years later, she is still
forces Shedrick Yarkpai to confront his past
play.
scared and her trauma has left her isolated
after his friend Rob Moser, a white attorney,
Cast breakdown: 2 women (any ethnicity);
on what remains of her farm. Then Alice,
advises him to file a complaint against the
3 men (any ethnicity)
a prestigious photographer, arrives to
bus driver. When Shedrick learns he would
Publisher: Concord Theatricals
include June in a photo series she is
need to put his name on the complaint, he
www.concordtheatricals.com
shooting about women with scars. This
reveals to Rob that he is a Liberian refugee
poignant all-female drama explores the
who was forced to assume the identity of
Wendy Unwritten, by Kat Ramsburg
intimacy that exists between strangers
the dead son of the man who helped save
After the death of her husband, Wendy – as
with a shared pain.
his life. After more than a decade, Shedrick
in Peter’s friend Wendy – looks back at the
Cast breakdown: 4 women (any ethnicity)
is torn between wanting to reclaim his
quiet life she has spent taking care of her
Publisher: Concord Theatricals
identity and his loyalty to his savior.
family and keeping house. Memories of
www.concordtheatricals.com
Cast breakdown: 1 woman (Black/African
her youth, filled with epic sword fights and
descent); 4 men (3 Black/African descent,
wild adventures, inspire her to leave the
Boredom, Fear and Wine, by Craig Pospisil
1 White/European descent)
quaint home she has grown accustomed to
Harper’s fears about the global pandemic
Publisher: Concord Theatricals
in search of the life she once thought she
have reached a boiling point. Stuck at home
www.concordtheatricals.com
was destined for.
in a monotonous loop, terrified about the
Cast breakdown: 2 women (any ethnicity);
devastating realities of the disease, Harper
Tiny Houses, by Chelsea Marcantel
3 men (any ethnicity)
seeks support through online therapy with
Cath and Bohdi want to embrace the
Publisher: Broadway Play Publishing, Inc.
Jess, but their session quickly veers into
simplicity and minimalism that comes
www.broadwayplaypub.com n
the farcical in this one-act inspired by our
with tiny house living. They decide to
current moment.
build their 200-square-foot dream house
Cast breakdown: 2, not specified (any
in rural Oregon with the help of Bohdi’s
ethnicity)
college roommate Ollie, his high school
Publisher: Dramatists Play Service, Inc.
sweetheart Jevne, and a construction
www.dramatists.com
consultant named Jeremiah. But as the walls of the structure go up, tensions mount
4 x Southern Theatre x Spring-Summer 2021
Zackary Ross (he/him) is an associate professor of theatre and arts administration program director at Bellarmine University in Louisville, KY. He is a member of the Southern Theatre Editorial Board.
Theatre s o u t h e r n
EDITOR
Deanna Thompson
SETC EXECUTIVE DIRECTOR
Susie Prueter SETC EXECUTIVE DIRECTOR EMERITUS
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Tom Alsip, University of New Hampshire Keith Arthur Bolden, Spelman College (GA) Amy Cuomo, University of West Georgia F. Randy deCelle, University of Alabama Kristopher Geddie, Venice Theatre (FL) Bill Gelber, Texas Tech University David Glenn, Samford University (AL) Scott Hayes, Liberty University (VA) Edward Journey, Independent Artist/Consultant (AL) Stefanie Maiya Lehmann, Lincoln Center (NY) Sarah McCarroll, Georgia Southern University Tiffany Dupont Novak, Lexington Children’s Theatre (KY) Zackary Ross, Bellarmine University (KY) Jonathon Taylor, East Tennessee State University Chalethia Williams, Miles College (AL) PROOFREADERS
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Southern Theatre welcomes submissions of articles pertaining to all aspects of theatre. Preference will be given to subject matter linked to theatre activity in the Southeastern United States. Articles are evaluated by the editor and members of the Editorial Board. Criteria for evaluation include: suitability, clarity, significance, depth of treatment and accuracy. Please query the editor via email before sending articles. Stories should not exceed 3,000 words. Color photos (300 dpi in .jpeg or .tiff format) and a brief identification of the author should accompany all articles. Send queries and stories to: deanna@setc.org. Southern Theatre (ISSNL: 0584-4738) is published by the Southeastern Theatre Conference, Inc., a nonprofit organization, for its membership and others interested in theatre. Copyright © 2021 by Southeastern Theatre Conference, Inc., 5710 W. Gate City Blvd., Suite K, Box 186, Greensboro, NC 27407. All rights reserved. Reproduction in whole or part without permission is prohibited. Subscription rates: $24.50 per year, U.S.; $30.50 per year, Canada; $188 per year, International. Single copies: $8, plus shipping.
From the SETC President
W
While this last year hasn’t looked like what we thought it would – “Time makes fools of us all” – theatre has continued to push the boundaries, theatre artists have learned new technologies, and SETC presented an entirely virtual convention. In this issue of Southern Theatre, we share inspiring messages from our stellar lineup of 2021 keynotes – artists who prevail over the unknowable with ingenuity. We start with the amazing Rosemary Harris, the 93-year-old star of stage and screen who was SETC’s 2021 Distinguished Career Award winner. Keith Martin shares highlights from the more than 70-year career of this leading lady who has been described as “a true national treasure.” Harris, who appeared most recently on Broadway in 2019, also offers advice for artists beginning their careers. More inspiration can be found in Tom Alsip’s story about Ali Stroker, the first actress who uses a wheelchair to receive a Tony Award. Stroker is a trailblazer with many “firsts” to her credit who hopes her success will open doors for others. She discusses how her work on stage can be liberating for both her and her audiences. Idris Goodwin – playwright, breakbeat poet, director, and more – brought a palpable energy to the convention, serving both as a keynote and as the Teachers Institute presenter. Tiffany Dupont Novak provides a look at Goodwin’s acclaimed work across multiple mediums and the six core principles that he detailed in his keynote. H. Jonathan Kitt details Goodwin’s interactive exercises at the Teachers Institute, where he encouraged participants to use techniques culled from hip-hop and breakbeat poetry to make their classrooms more inclusive. We were honored to have four distinguished designers adjudicate the annual Design Competition in a live, virtual format: Dede Ayite, Alan C. Edwards, Rachel Hauck, and Jessica Paz. Jonathon Taylor outlines the hopes and advice they shared for the coming return to theatre in their keynote addresses, interviews, and a live, virtual Q&A at the convention. We also celebrate the 2021 winner of the Suzanne M. Davis Memorial Award, Michael Howley. In our “Hot off the Press” column, we explore new plays about a place where most of us have spent more time recently – home. And we outline an innovative way to design costumes digitally in the “Outside the Box” column. Finally, we share abstracts from the winners of SETC’s Young Scholars Award. Let this issue give you inspiration as we continue to make theatre during a pandemic. My hope is that we don’t “return to normal,” but rather we take what we have learned in the last year to make theatre better – more accessible, more inclusive, more equitable, and more empathetic.
Maegan McNerney Azar (she/her)*, SETC President * What’s This? In my signature on this page and in stories throughout this issue, you will see something new: the pronouns used by authors and those quoted in our stories. This is one of many steps SETC is taking toward greater inclusivity. Learn more about pronoun usage today at mypronouns.org. If you have questions or comments, feel free to email me at maegan@setc.org. Spring-Summer 2021 x Southern Theatre x 5
DESIGN/ TECH SOLUTIONS
Digital Costume Design Increase Productivity with Procreate
b y L a u r e n T. R o a r k
Create your sketch
and Eric Abele
Start with a drawing. You can create
I
Marlayna Demond/University of Maryland Baltimore County
outside
the box
your own using Procreate or you can work n Spring 2018, we found ourselves
from a scanned pencil drawing by using
swamped with overlapping design dead-
“Blend Modes.” (The “Multiply” mode
lines. One of the many renderings Eric had
will delete the white paper from your
to create was for an adaptation of Turn of the
sketch. Consult the Procreate handbook
Screw by Henry James for the University of
for details.) Whichever method is used, we
Maryland Baltimore County Department
start by rendering figures twice in Procre-
of Theatre. The project called for textural
ate, once in pencil and once in ink. This
and moody sketches on a quick deadline.
gives the iPad sketch a “hand-drawn” feel.
Thankfully, we had both been practicing
With the drawing layer set to “Reference”
digital rendering to create high-quality
(see Step 1), you will be able to fill in the
sketches on the go. Even under high pres-
areas within the sketch with color, keeping
sure to produce, Eric was able to easily
the line drawing on top. This allows you to
render the designs for Turn of the Screw
recolor and make changes while keeping
in less than a week. The end result made
the sketch’s lines undisturbed. Anyone
it clear to us that digital rendering is an
who has had a blob of watercolor ruin their
essential technique.
pencil sketch will appreciate this feature.
The transition to digital art can be
Use ‘ColorDrop’ to fill in sections
overwhelming for many designers, even
Create a new layer underneath your
gesture. Instead of releasing when you
with the advancement of pressure-sensitive
sketch and name the layer appropriately
arrive at your section, hold the stylus to the
tablets and styluses that mimic tradi-
for the area. Ensure that your area has solid
canvas, maintaining contact. Moving your
tional sketching. One of the best apps we
unbroken lines that connect completely,
stylus to the right and left will automati-
have found to help with this transition
creating an enclosed shape. We suggest you
cally engage the “ColorDrop Threshold.”
is Procreate (currently available only for
divide your drawing into multiple sections
You will see the program respond by
iPad or iPhone). Using the app’s “Clipping
and fill them on separate layers. In our
filling the intended section. Small gaps
Mask” function, you can create spectacular
example, the vest is broken into four sections:
that remain should be painted in with the
sketches and add realistic textures to your
Vest Left Front, Vest Right Front, Vest Right
technical pen.
renderings that more clearly communicate
Lapel and Vest Left Lapel (see Step 2).
Importing your texture
your ideas.
The “ColorDrop Tool” is activated by a
Once your shape is filled, it’s time to
Getting started with Procreate
three-part movement or gesture. With the
import the texture for your final rendering.
To work in Procreate, you need to under-
correct layer selected, press your stylus to
This texture can be any high-quality image,
stand two major concepts. First, drawing
the “Color” button in the top right corner
including patterns, fabrics or photos that
areas must have solid boundaries. This
of your screen, then quickly drag the stylus
have been saved to your iPhoto Library.
means closed shapes created with solid
to the section you wish to fill and release
Open the “Actions” menu (wrench icon),
lines. (To create these, we recommend the
it when the shape fills with color. If your
select “Import a Photo” and choose the
technical pen at full opacity). Second, you
entire screen fills with color, select “Undo“
image in your iPhoto Library. After you
must understand how layers function. If
and review the previous steps.
import your texture, it will appear as a new
working in layers is new to you, look for the
The “ColorDrop Threshold” feature
layer titled “Inserted Image.”
explanation in the Procreate handbook and
helps overcome broken lines or undefined
The “Transform” menu (arrow icon)
online tutorials. When you render digitally,
shapes. This tool is especially useful to
will automatically activate, allowing you
your work exists on separate layers under
costume designers with a loose or gestural
to adjust texture. The goal in this step is
the line drawing, keeping your rendering
style. The “ColorDrop Threshold” tool is
to completely cover the fill created in your
lines crisp and visible at all times.
activated at the end of the “ColorDrop”
“ColorDrop” layer. At this point, you can
6 x Southern Theatre x Spring-Summer 2021
Costumes for Turn of the Screw at the University of Maryland Baltimore County were created from sketches made with Procreate.
USING ‘CLIPPING MASK’
Step 1: Create a line drawing that is a combined layer of your pencil and ink sketch. Set this layer as “Reference Layer.”
Step 2: Fill each area on a separate layer using “ColorDrop.” Choose different colors for each area.
Step 3: Insert a photo of the texture and transform as needed. Once imported and placed, click on the “Inserted Image” layer and choose “Clipping Mask.”
Step 4: Turn on “Alpha Lock” to add highlight and shadow individually to each layer. Repeat these steps until you have completed the sketch.
adjust the position and size of the texture.
with no additional cleanup, Procreate has
design on the iPad. We were able to easily
Selecting the “Warp” feature from the
another helpful feature. On the layer you
manage the drawing, painting, format-
“Transformation” toolbar helps you create
wish to enhance, select the layer, open the
ting, scanning and submission of realistic
rounded or three-dimensional surfaces.
left-hand side menu and select “Alpha
costume sketches via one highly portable
Activate ‘Clipping Mask’ and finish
Lock.” When “Alpha Lock” is on, the brush
device. Although there is a learning curve
When you use “Clipping Mask,” layers
strokes and shading that you add will be
to the technology, you, too, will eventu-
must be in a specific order: the design
confined to the bordered area and will not
ally gain speed, fluidity and confidence.
drawing on top, the texture image under
spill into the negative space (see Step 4).
Be patient and give yourself time to tinker
that, and the bounded area on the bottom.
Bottom line
and explore. Soon you will be creating
Once they are in the correct order, select
We found a quick solution to our work-
effective and informative digital sketches
your image texture, click to open the left-
load when we made the jump to digital
that keep you producing at the speed of the
hand menu options, and select “Clipping Mask.” Your texture image should trim to the shape of the bounded area underneath it (see Step 3). This will combine the texture image layer with the “ColorDrop” layer. When complete, this single layer containing the texture is perfectly sized to the bounded area and located beneath your design sketch.
Repeat this process of fill, import, “Clip-
ping Mask” and merge until you have filled all of your bounded areas with textures. If you later decide to alter the texture image, insert a new image, reorder your layers (if needed), and re-select “Clipping Mask.” Once you have your final texture, you can make it permanent by selecting the image and choosing “Merge Down.” To quickly add highlight and shadow
Materials Apple iPad Air (10.9”, Silver, 64 GB, Wi-Fi Only) $599.00 Apple Care+ 103.00 Apple Pencil (2nd Generation) 119.00 Procreate for iPad 9.99 Screen Protector with Paper Texture 14.97 iPad Pro Case 15.99 Total per iPad: $861.95
business. n Lauren T. Roark (she/her) is a professional costume designer and head of graduate design at the University of Tennessee, Knoxville. Eric Abele (he/him) is a professional costume designer and a senior lecturer in costume design at the University of Maryland Baltimore County. To view a video of the process they describe in this story, visit youtu.be/vbODOU9Nr20. For information on their private digital rendering workshops, email them at designwithprocreate@gmail.com.
Do you have a design/tech solution that would make a great Outside the Box column?
Send a brief summary of your idea to Outside the Box Editor David Glenn at djglenn@samford.edu. Spring-Summer 2021 x Southern Theatre x 7
ROSEMARY HARRIS ‘A True National Treasure’
Joan Marcus/Courtesy of Lincoln Center Theater
SETC Distinguished Career Award
I
Friedman-Abeles ©The New York Public Library for the Performing Arts
b y K e i t h T. M a r t i n
In presenting celebrated theatre actress Rosemary Harris with the 2021 Distinguished Career Award, SETC President Maegan McNerney Azar (she/her) astutely noted that the recipient “has been in the industry as long as SETC has been in existence.” At 93 years young, Harris is indeed the most senior recipient of the award by almost a decade, born a few months after Charles Lindbergh crossed the Atlantic in 1927. Always gracious, Harris (she/her) responded to Azar with her usual wit and charm: “Oscar Wilde said, ‘A woman who tells her age will tell anything!’”
Indeed, Harris told us anything we wanted to hear
during a thoughtful, wide-ranging keynote conversation prior to receiving the organization’s highest honor at SETC’s first virtual convention on March 6, 2021. She is quite familiar with SETC, having delivered a standing-room-only all-convention keynote at the 2005 convention in Greensboro, where she graciously filled in after the scheduled speaker had to cancel at the last minute. In her acceptance speech this year, Harris said, “[SETC] is a wonderful organization because it’s about young people starting out
Rosemary Harris, shown with co-star Robert Preston, plays Eleanor of Aquitaine on Broadway in The Lion in Winter, a performance that won her the 1966 Tony Award for Best Performance by a Leading Actress in a Play.
Rosemary Harris ‘has generously given her life to the theatre and has become, in the process, a true national treasure.’ - André Bishop (shown below),
in this wonderful career and the journey of life they
you tell me if I have any ability?” She auditioned and
have in front of them.”
was offered bus fare as her salary.
Producing Artistic
Director, Lincoln
“I had a wonderful time because I played all sorts
of different parts in a different play every week,” she
in the theatrical canon,” including Cressida, Desde-
recalled. “I got moved up to another theatre company
mona, Ilyena, Lady Teazle, Natasha, Olga, Ophelia
… also a different play every week, but two perfor-
and Portia, to name but a few. Harris was exuberant
mances every night. I actually got paid for that, seven
when detailing her early years and the path that led
pounds a week; half went to my landlady. I had a
to her stage, film and television acting career, which
bicycle to get back and forth to the theatre and was
has been honored with a long list of awards, includ-
with that company for a year … that was a lot of parts
ing two Tony Awards, five Drama Desk Awards, an
under my belt.”
Emmy Award and a Golden Globe Award.
Applying to the Royal Academy of Dramatic
From Europe to Asia to America
Art, Harris had a private audition with Sir Kenneth
Barnes, the RADA president.
The noted British actress was born in the parish
of Ashby in Suffolk County but spent her early years
in Asia. Her father was in the Royal Air Force and
you don’t usually start by being a professional actress
stationed in what is now India with his wife and two
and then go to drama school. But, in actual fact, it
young daughters. They returned to England, which
was really quite good for me, because I knew exactly
Harris thought “was a very cold and dreary place.”
what I wanted to learn, which was how best to use
my voice,” she said. “I have to rather self-consciously
As a teenager, Harris thought she would become a
Center Theater
Chasi Annexy
Azar reminded SETC members that the versatile
Harris “has played some of the greatest known roles
“I got in … but I sort of did it backwards because
nurse and applied to a hospital for training. Secretly
admit that I ended up with the gold medal.”
wanting to be an actress, she found a “little, tiny
Harris became an understudy in a play in
repertory company in the town where I was living
London’s West End, which she “wasn’t very happy
with my grandmother and my great-aunt.” In a letter
about. I didn’t even have a part [and] was looking
to the man who ran the theatre, Harris asked, “Before
after the dog in the play. My job was to walk him
I waste time and money on an academic training, can
between the acts so he wouldn’t pee on the stage.”
Opposite page: Rosemary Harris returns to Broadway at age 91 to portray Mrs. Higgins in a 2018-19 production of My Fair Lady at Lincoln Center Theater.
Spring-Summer 2021 x Southern Theatre x 9
Then “the magic” happened. American play-
Old Vic, the Old Vic, the National Theatre, the
wright and director Moss Hart came to England to
Chichester Festival Theatre and the Royal National
cast a play he had written, and the company Harris
Theatre.
was working for had her read opposite all the young
Leading men in the life of a leading lady
men auditioning for the show. After three weeks,
The roster of leading men who played opposite
Hart called her downstage to the footlights and said,
Rosemary Harris reads like a Who’s Who of world
“I’ve gotten used to you reading this part for so long;
theatre: Richard Burton, Sir John Gielgud, Sir
would you like to come to New York?”
Laurence Olivier, Peter O’Toole and Sir Michael
Harris said yes and made her Broadway debut
Redgrave, among others.
in The Climate of Eden in 1952 before returning
“Pretty much everybody worked in a different
to Britain for classical theatre roles at the Bristol
way,” Harris recalled. “I had a fascinating experience
Rosemary Harris: Bio and Career Highlights EDUCATION: Royal Academy of Dramatic Arts (RADA), London
Man and Superman (1965), Judith (1965), Interlock (1958) and The Glass Eye (1958)
SELECTED LONDON CREDITS:
SELECTED TELEVISION/ FILM CREDITS:
25 films, including The von Trapp Family: A Life in Music (2015), Sam Raimi’s Spider-Man trilogy (Aunt May, 2002-07), Before the Devil Knows You’re Dead (2007), Being Julia (2004), The Gift (2000), Hamlet (1996), Tom and Viv (1994), Crossing Delancey (1988), The Boys from Brazil (1978), and A Flea in Her Ear (1968). Television work includes 27 programs and series, including The Undoing (2020), Law and Order: SVU (2010), Death BROADWAY CREDITS: of a Salesman (1996), Summer Day’s 27 productions, with nine Tony nominaDream (1994),The Chisholms (Minisetions for: The Royal Family (2009 and Rosemary Harris (right) with daughter ries, 1979-80) Holocaust (Miniseries, 1976), Waiting in the Wings (1999), Jennifer Ehle, also a two-time Tony Award winner. 1978), Notorious Woman (Miniseries, E d wa r d A l b e e ’s A D e l i c a t e B a l 1974), Blithe Spirit (1966), Profiles in Courage (1964), Dial M ance (1996), Noel Coward’s Hay Fever (1985), Pack of Lies for Murder (1958), Omnibus (1958), Twelfth Night (1957) and (1984), Heartbreak House (1983), Old Times (1972) and Studio One in Hollywood (1952) The Lion in Winter (1966). Her other Broadway appearances include Lerner and Loewe’s My Fair Lady (2018), The Road to Mecca (2012), An Inspector Calls (1994), Lost in Yonkers SELECTED AWARDS: (1991), A Streetcar Named Desire (1973), The Merchant of Tony Award: Lifetime Achievement in the Theatre (2019) Venice (1973), War and Peace (1967), You Can’t Take it With Tony Award: Best Actress in a Play, The Lion in Winter (1966) You (1967), The Wild Duck (1967), We, Comrades Three Five Drama Desk Awards: A Pack of Lies (1985), The Royal (1966), Right You Are If You Think You Are (1966), The School Family (1976), The Merchant of Venice (1973), A Streetcar for Scandal (1966), Herakles (1965), The Tumbler (1960), The Named Desire (1973) and Old Times (1972) Disenchanted (1958), Troilus and Cressida (1956) and The Golden Globe Award: Holocaust (1978) Climate of Eden (Broadway debut, 1952) Emmy Award: Notorious Woman (1976) Three Obie Awards: All Over (2003) and for distinguished OFF-BROADWAY CREDITS: performances at APA Repertory (1965, 1962) India Ink (2014), Oscar and the Lady in Pink (2008), The Other Academy Award nomination: Tom and Viv (1994) Side (2005), All Over (Obie Award, 2003), The Three Sisters American Theatre Hall of Fame (1986) (1977), The New York Idea (1977), War and Peace (1965), Theatre World Award: The Climate of Eden (1952) The Best of Friends (1988), with Sir John Gielgud in his farewell theatre performance; All My Sons (1982); Ophelia, with Peter O’Toole in Hamlet (1964) and Yelena, with Sir Laurence Olivier in Uncle Vanya (1964), both at The Royal National Theatre; Desdemona, opposite Richard Burton in Othello at the Old Vic (1956); The Crucible (1954); and The Seven Year Itch (West End debut, 1953)
10 x Southern Theatre x Spring-Summer 2021
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Off-Broadway in his play All Over.
“I loved Edward dearly and admired him greatly,”
she said. “He was very dogmatic about what he wanted, a bit like Harold Pinter, very, very specific. I think directors were more scared of him than actors because he was hell on wheels if they weren’t doing it as he wanted. [Edward] knew what he wanted, which I think is very helpful in a writer.”
Asked to put Harris’ stage career in perspective,
André Bishop (he/him), producing artistic director of Lincoln Center Theater in New York City,
© Columbia/courtesy Everett Collection
responded: “Rosemary Harris is, to use a phrase that is no longer in fashion, a true leading lady,” Bishop
Writer Maya Angelou, who passed away in 2014, helped make the first National Black Theatre Festival in 1989 a success, serving as chair of the event and recruiting many of her friends from film and theatre to attend.
said. “That doesn’t mean just playing all the best and biggest roles; it means being the leader of a company. Rosemary has had great success in England playing opposite Olivier and Gielgud – the famous Olivier Vanya and Gielgud’s final stage performance – but she has had equal acclaim in the United States. She stopped being a Broadway star for a while to start, with Ellis Rabb, the finest repertory company we have ever had, the APA [Association of Performing Artists], which then became the APA/Phoenix. She led it with Ellis, playing small roles and big ones and doing a million other chores that someone has to do in a company.”
Rosemary Harris, as Aunt May, flies with Spider-Man, played by Tobey Maguire, in 2004’s Spider-Man 2 movie.
working with Sir Michael and Sir Laurence, both in
The North Carolina School of the Arts
the same play [Uncle Vanya]. They both had complete-
ly different techniques and it was like sort of playing
Winston-Salem, NC, home to the prestigious Univer-
a game because I could get away with this with Sir
sity of North Carolina School of the Arts (UNCSA).
Michael but not with Sir Laurence. [Sir Laurence]
The school, originally the North Carolina School of
acted, but he didn’t react because he’d already decided
the Arts (NCSA), was co-founded in 1963 by the late
on his [delivery], but with Sir Michael you could
John Marsden Ehle, Jr., an award-winning author and
experiment, do little slightly different things, look at
staunch supporter of the arts who has been described
him at different times, do a different gesture, and he
as “the father of Appalachian literature.” He became
responded. Two brilliant actors working in completely
Harris’ husband in 1967 – a union that lasted over 50
different ways.”
years, until his death in 2018.
Harris played opposite Sir John Gielgud in his
farewell stage performance.
explaining that they were introduced to each other
Harris joined the SETC Virtual Convention from
“It was through NCSA that I met John,” she said,
“Oh, that was a wonderful treat,” she said, “and I’ve
over a cup of tea at the Manhattan apartment of Bella
still got the letter he wrote [after] we both got cast in
and Samuel Spewack, the husband-and-wife writing
the play, The Best of Friends, in his neat, tiny little writ-
team responsible for the play My Three Angels and the
ing. He was 80 or 82, I think, and it was his swan song.
Cole Porter musical Kiss Me, Kate. “John was only in
Only occasionally did he stumble, but he got through it
Manhattan for one day with the search committee
beautifully. Later on, we did a television play, Summer
for a new chancellor at NCSA, but he found a wife
Day’s Dream, and we’d rehearse and break for lunch –
instead!”
and, being [a] wonderful gossipmonger, John adored
After marrying, Harris and Ehle relocated to
nothing better than a good gossip.”
his home state of North Carolina, with homes in
Winston-Salem and in the Blue Ridge Mountains
With regard to playwrights, Harris appeared on
Broadway in Edward Albee’s A Delicate Balance and 12 x Southern Theatre x Spring-Summer 2021
near Penland, NC.
An emeritus member of the UNCSA Board of Martha Swope ©The New York Public Library for the Performing Arts
Visitors, Harris holds an honorary doctorate from the venerable institution, and has been a commencement speaker on several occasions. She even stepped in at the last minute to direct a production of The Royal Family for the School of Drama.
“The school is very, very much in my heart and
so much a part of my life – I admire it greatly,” she said, noting that their daughter attended UNCSA. Family tradition: daughter Jennifer Ehle
A surprise guest at Harris’ keynote address was
her daughter, Jennifer Ehle (she/her), who “Zoomed” into the conversation from New York, where she lives with her husband, writer Michael Ryan, and their two children. A film, television and theatre star, Jennifer is a two-time Tony Award-winning actress who told SETC members that “my mother is the most
definitely a great gift about being an actor; if you love
extraordinary, wonderful person I’ve ever met, and
it, it’s the most fun. Mum has always taken such joy
that I think I ever will meet. She is radiant, she is
in her work and is so fed by it intellectually, the chal-
brilliant, she is hilarious. She’s a force of nature and
lenge of it, the puzzle of it, the craft of it … That’s what
a force of life with the biggest heart, spirit and soul
we both love the most. It’s like our drug of choice.”
of anybody.”
Even as a young child, she wanted to be an actress,
“As an artist, she is extraordinary … Her technique
Ehle said, “because Mummy has so much fun! That’s
is just so refined, and I think she gets better and
Ehle is grateful to have had her mother as a model:
Rosemary Harris (center) plays Judith in the 1985 Broadway revival of Hay Fever, a role for which she received a Tony Award nomination. Mia Dillon is at left, and Robert Joy is at right.
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Martha Swope ©The New York Public Library for the Performing Arts
AU students studying in London
Rosemary Harris (front) is Blanche to James Farentino’s Stanley in the Repertory Theater of Lincoln Center’s 1973 revival of A Streetcar Named Desire. Jennifer Ehle had her first theatre role, as a child crossing the stage, in this show.
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might play Aunt May, Sam said, ‘Well, it’s funny you should mention that, because I’ve just directed an actress who has white hair and a bun,’ which is a characteristic about May. ‘I think she would be just right for the role.’ And who were they to deny him? I want to impress on young people that you never know where the help is going to come from, and you do depend on the comfort of strangers. That’s what it’s all about really, people helping you, giving you a leg up and a helping hand because you can’t do it on your own.” My Fair Lady on Broadway
Several questions submitted in advance
by SETC members pertained to Harris’ triumphant 2018-19 Broadway appearance in My Fair Lady, the Alan Jay Lerner and Frederick Loewe musical based on George Bernard Shaw’s 1913 play Pygmalion. It was her second portrayal of Mrs. Higgins. She previously had played the socialite mother of Professor Henry Higgins in a 2003
better and better and better and better.”
concert at the famed Hollywood Bowl in
After seeing Harris’ most recent Broad-
Los Angeles. During her SETC conversa-
way performance, Ehle spoke with pride
tion, Harris was asked how her most recent
about her mother: “Just to watch her
turn on The Great White Way came about
command that stage and that language –
and how she responded to the invitation
she’s just a consummate artist.”
from Lincoln Center Theater.
Spider-Man and the lady with the bun
Harris gained new generations of fans
Then I looked up in the closet, and there
when she appeared as Aunt May in director
was a pair of high-heeled shoes, not very
Sam Raimi’s film trilogy Spider-Man from
high, only about two and a half inches,
2002 to 2007. She used the occasion of her
and [I] thought, ‘I wonder if I put those on
keynote session to suggest to current theatre
[if] I might feel a little bit more like Mrs.
students that “you never know whence
Higgins?’ So, I climbed up, got them down,
cometh your help, because it sometimes
put them on and started walking around
comes from the most unexpected quarters.
the apartment. The more I walked around,
Jennifer did a film in Australia with a
the more I felt like Mrs. Higgins, and I said,
wonderful actress, Cate Blanchett, and I got
‘Yes, I think I could do it.’ It was all because
to meet Cate when she came to England.”
of my feet! Sir Laurence [Olivier] said in
Blanchett later did a film, The Gift, and
one of his biographies that you start from
convinced Harris to play the cameo role
the shoes upwards; if you get the shoes
of the grandmother in a single-day shoot
right, the rest of it will come right.”
on her Monday off from the Broadway
The Lincoln Center Theater’s André
production of Noel Coward’s Waiting in the
Bishop was both surprised and pleased
Wings.
when she accepted the role.
“As luck would have it,” Harris recalled,
“the director of that film was Sam Raimi, 14 x Southern Theatre x Spring-Summer 2021
and when they were discussing just who
“I thought, ‘I can’t play Mrs. Higgins!’
“When Rosemary Harris agreed to play
Mrs. Higgins in the recent Lincoln Center
Theater production of My Fair Lady, we
you find all sorts of wonderful new ways
all felt exuberant, lucky, slightly amazed
of thinking about them.”
and just plain happy,” he said. “She had
appeared in our Broadway production of
Harris said, “I learned from watching my
A Delicate Balance with Elaine Stritch and
elders, my betters, the leading lady and the
George Grizzard, but that was many years
leading man in the company. I would study
earlier. ‘She’ll never do it,’ we all thought,
them, learn … and was taught by them.”
but she said yes to Mrs. Higgins almost
She believes that sometimes success
immediately!”
is simply about luck and chance, “lucky
Responding to his comment, Harris
chances, lucky breaks … There will be
said, “That’s a sweet thing for André to say.
some there, I promise you, along the road.
What a dear, dear man he is. I’m so fond of
It’s just knowing and being ready for them.
him. He’s a prince … a king.”
As Hamlet says, ‘The readiness is all.’ ”
Advice for the next generation
Thanking the audience
Harris recalled a time in England after
A final note in her keynote speech
World War II when America was helping
harkened back to June 2019, when Harris
Britain and other Allies get back on their
concluded her acceptance speech for a
feet through a five-year effort called the
special Tony Award for Lifetime Achieve-
Marshall Plan. When starting out to be an
ment in the Theatre from the Broadway
actress, she said, “I gave myself a five-year
League and the American Theatre Wing
plan and said to myself, if I haven’t gotten
with a thank you to audiences. She echoed
anywhere by then, I’ll do something else.
that sentiment in her SETC keynote.
I’ll go back to my nursing. I’ve got Plan No.
2 standing by. You don’t want to waste your
none of us would be here,” she said. “As
life doing something that you’re not going
they rather crudely say in England, ‘Bums
to compete very well in … change horses
on seats.’ If we didn’t have bums on the
and do something else. But certainly, give
seats, none of us would have a job, but
it a fight, give it a go for five years. Accept
of course that’s what’s happening now
any job you are offered, sweeping the
because of the pandemic. I’m not living in
stage or dressing the wigs or whatever …
New York at the moment and it must be
just do anything that needs to be done to
heartbreaking seeing all the theaters dark,
make yourself so useful they can’t manage
because theatre is the lifeblood of New
without you.”
York, or one of the arteries. I’ve got friends
Recalling the readings for Moss Hart
in New York and it must be very sad.”
that led to her Broadway debut, Harris said:
‘A true national treasure’
“The magic happens … and I want to tell
all the young people who are starting their
Perhaps Lincoln Center Theater’s Bishop
careers that magic can happen if you stick
said it best: “Her talent is intelligent, grace-
with it.”
ful, disciplined, understated and utterly
As an aspiring actress in her early years,
What makes Rosemary Harris unique?
Harris is known for arriving at the first
glorious. It always has been. And she is beautiful. She has generously given her
life to the theatre and has become, in the
“I don’t want to waste anybody’s time,”
process, a true national treasure.” n
rehearsal [off book] because you don’t want to hold anybody up. You should do your homework. Any actor who says, ‘I can’t learn my lines until rehearsal,’ that’s nonsense, just laziness. The point of rehearsal is that you [figure out] how to do the words, not to learn the words. If you know the words,
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“If playgoers didn’t come to see plays,
rehearsal of a play with lines memorized. she said. “It’s a lovely feeling to go to
Department of Communication, Media, and the Arts
Keith T. Martin (he/him) is Distinguished Professor of Theatre at Appalachian State University and former producer/ managing director of Charlotte Repertory Theatre. He attended his first SETC Convention 50 years ago as an auditionee.
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ALI STROKER ‘Anything Is Possible’ Teddy Wolff
T
b y To m A l s i p
Above: Ali Stroker portrays Ado Annie in the 2019 revival of Oklahoma! on Broadway.
‘This award is for every kid who is watching tonight who has a disability, who has a limitation or a challenge, who has been waiting to see themselves represented in this arena – you are!’ - Ali Stroker, on accepting the 2019 Tony Award for Best Featured Actress in a Musical
Trailblazer. Tony winner. Advocate.
Ali Stroker (she/her) has collected quite the list of superlatives in her career. And it seems she is only just
getting started. The 2019 Tony Award winner was a keynote at this year’s SETC Virtual Convention, where she continued to inspire and excite young performers across the country with her story, message and success.
Asked during her keynote address what advice she would give her younger self today, Stroker shared words
that are valuable for all artists starting out in the business: “Be patient and trust in timing. If you continue to work hard, if you continue to apply yourself and put yourself out there and go after the things that are exciting to you … you will find your way.” 16 x Southern Theatre x Spring-Summer 2021
SETC Convention Keynote Speaker Breaking new ground with her talent
Of the many adjectives used to describe Stroker,
the one that in many ways defines her is trailblazer. And that comes from her incredible success as a performer who uses a wheelchair.
When she was 2 years old, Stroker was paralyzed
from the chest down in an automobile accident and began using a wheelchair. But that didn’t stop her from pursuing her goals. She was introduced to theatre when she was cast in a production of Annie at age 7, and a passion for the stage drove her throughLittle Fang Photo
out her childhood and into her professional career. Despite her differences from others on that journey, she never stopped believing in her dream. And she hopes that her success can serve as inspiration for others who use wheelchairs and are starting out on that same journey.
As she told the New York Times in a May 15, 2019,
acting talent, Stroker performed in high school
story, “I’m very aware that when I was a little girl, I
productions in Ridgewood, NJ, and in the Papermill
wasn’t seeing anybody like me, and on days when
Playhouse Summer Musical Theatre Conservatory
I’m exhausted or discouraged about something, that
program. She was accepted into New York Univer-
lights a fire. I hope that for young people in chairs
sity’s prestigious Tisch School of the Arts, where she
who feel that this is too hard, that they see that being
studied musical theatre at the Cap 21 Studio.
in a chair is like getting a secret key to an unknown
door – that they see what I’m doing and are reassured
to graduate from the Tisch School of the Arts drama
that anything is possible.”
program. That was just the first of many barriers she
Once bitten by the theatre bug, Stroker never
has broken in her career. Soon after graduating from
looked back. With her stunning voice and natural
NYU, Stroker auditioned for and was subsequently
She became the first actress who uses a wheelchair
ALI STROKER: Bio and Career Highlights EDUCATION: BFA, Theatre, New York University, 2009 SELECTED BROADWAY CREDITS: Oklahoma!, Ado Annie (2019) Spring Awakening, Anna (2015-2016) OFF-BROADWAY/REGIONAL CREDITS: Oklahoma!, Ado Annie, St. Ann’s Warehouse; 25th Annual Putnam County Spelling Bee, Olive Ostrovsky, Papermill/Philadelphia Theatre Co./ Cleveland Playhouse; Spring Awakening, Anna, Deaf West Theatre; Annie, Star-to-Be, Hollywood Bowl; Finding Glee, One-Woman Show, 54 Below FILM/TV CREDITS: The Glee Project, Contestant (Second Place), Oxygen; Glee, Guest Star, Fox; Ten Days in the
Valley, Recurring, ABC; Christmas Ever After, Izzi Simmons, Lifetime; Blue Bloods, Guest Star, CBS; Instinct, Guest Star, CBS; Lethal Weapon, Guest Star, CBS; Charmed, Guest Star, CW; The Bold Type, Guest Star, Freeform AWARDS: Tony Award: Best Featured Actress in a Musical, Oklahoma! (2019) Drama Desk Award: Outstanding Featured Actress in a Musical, Oklahoma! (2019) Barrymore Award: 25th Annual Putnam County Spelling Bee (2011)
Ali Stroker, above and in top photo as Ado Annie in Oklahoma! on Broadway, says seeing a person who uses a wheelchair performing on stage can be liberating for audiences, who have been taught not to stare at others with disabilities. “When I’m on stage, I’m telling the audience, ‘NO, you CAN look. You can look and you can watch, and you can begin to understand, and you can be a part of this world.’ ”
ADVOCACY: Co-Chair, Women Who Care, United Cerebral Palsy of New York City; Founding member, Be More Heroic, Anti-Bullying Campaign
More info: alistroker.com Spring-Summer 2021 x Southern Theatre x 17
cast in the second season of The Glee Project,
She continued to find success in TV
Warehouse in Brooklyn before it traveled
a reality television competition where the
and film, appearing as a guest star on
across the river to the Circle in the Square
grand prize was a chance to appear on
TV in Faking It, Instinct and Lethal Weapon
Theatre for a successful Broadway run.
Fox’s popular musical television series Glee.
and earning a recurring role on ABC’s
Stroker was a runner-up, but was chosen
Ten Days in the Valley. She also appeared
knew about it was that it was going to be
to guest star on the show in 2013.
in Blue Bloods and starred in the Lifetime
something very different,” Stroker said.
“When this revival came along, what I
Christmas movie Christmas Ever After.
“And you never know what that’s going
er and also provided an opportunity for her
But as successful as Stroker has been in
to be like until there you are in rehearsal,
to share her personal journey with others.
the world of film/TV, she is best known for
and you realize that this is not going to be
“[The Glee Project] … was kind of the
her work in theatre. She portrayed Olive
anything like the Oklahoma! that I know …
perfect opportunity, because I got to sing,
Ostrovsky in The 25th Annual Putnam Coun-
It was really, really amazing and difficult
dance and act and make music videos
ty Spelling Bee in several theatres across the
and hard and also just a blast.”
every week,” Stroker told her SETC keynote
country, including a performance with the
audience. “And then I also could tell my
Philadelphia Theatre Company that earned
Annie, because she “is so fun, and she is
story. And one of the realities of when I
her a Barrymore Award.
so unapologetically herself and she asks a
first started auditioning was, people were
On to Broadway – and a Tony Award
million questions,” Stroker said. “And she
very curious. They were like, ‘Who is this?
Stroker made her Broadway debut in
just doesn’t have any shame about who she
What’s up? What’s with her chair?’ So, I
2015 in the Deaf West production of Spring
is, and that’s so fun to get to play every
was able to share my story on that show
Awakening. With that performance, Stroker
single night.”
in a very public way, in a way that felt
became the first wheelchair-using actress
comfortable to me. And that was really
to appear on a Broadway stage. Three years
Stroker said, she considers what being a
helpful because people are curious. And it
later, she was back on Broadway with the
wheelchair user will mean to her character.
was kind of nice. It sort of got it out of the
revival of Oklahoma! in the role of Ado
way.”
Annie. The show was a hit at St. Ann’s
not specifically a disabled role, I think,
That opened doors for her as a perform-
18 x Southern Theatre x Spring-Summer 2021
She was excited to win the role of Ado
Any time she’s auditioning for a show,
“When I’m auditioning for a role that’s
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‘Could this work? Is this possible?’” Stroker
stare, not ask, not point around disability,”
said. “And, in this case, I thought, ‘Abso-
Stroker said. “And so, when I’m on stage,
to be that for them,” Stroker told the New
lutely.’”
I’m telling the audience, ‘NO, you CAN
York Times after winning the Tony Award,
Playing Ado Annie in a wheelchair
look. You can look and you can watch, and
“because I didn’t have that as an 11-year-
opened new opportunities and challenged
you can begin to understand, and you can
old girl pursuing this dream.”
what Stroker believes are some precon-
be a part of this world.’ And so, it’s sort of
Advocacy: Opening doors for all
ceived notions.
like an invitation, versus the way that our
Throughout her life, Stroker has not
culture has sort of decided that disability
been defined by her limitations, but rather
… you have to be very polite around it.”
has thrived with them, finding success
labeled as not sexual people,” she said.
That is liberating, not just for the audi-
through her talent and her drive. And
“And Ado Annie has such a handle on her
ence, but for her as a performer as well,
everywhere she has worked, she has made
sexuality. She is not afraid to pursue rela-
Stroker said.
it clear that she belongs. She has continu-
tionships and be physical. So, this felt like
“Being on stage and being in a chair
ally spoken about the need to make the
such an opportunity … to sort of get to do
and inviting people to watch and look is
Broadway world more accessible to wheel-
this role and share my physical vocabulary.
probably the most empowering thing that
chair users, so others can follow in her
And we found so much play and fun in the
has ever happened to me,” she said.
footsteps. She notes that when Oklahoma!
relationships and how those were physi-
It was in the Broadway production of
transferred to Broadway, the theatre was
cally going to manifest.”
Oklahoma! that Stroker broke down her
not accessible for her as a performer.
Stroker believes that, rather than being
most recent barriers: becoming the first
“So, we had to bring in a disability
a disability for a performer, using a wheel-
wheelchair user to be nominated for a Tony
consultant,” she said. “My partner, David
chair can unlock a wealth of unexplored
and the first wheelchair user to WIN a Tony
[Perlow], came with me to the theatre
possibilities in the characters she portrays.
Award. The win had a far-reaching impact
before they had done all of the accommoda-
for all people with disabilities, something
tions. And he carried me around and we
that was not lost on Stroker.
figured it out … And the producers paid for
“What I loved about it is that I feel like
people with disabilities are often sort of
And that, she noted, impacts the audi-
ence, which has been “sort of taught to not
“It makes me feel amazing to be able
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it. And I’m so grateful for the producers that
where she taught theatre workshops for
I’ve worked with because they have said,
children affected by AIDS, and her new
‘Yes. We want Ali a part of this, so, yes, we
work with the theatre company ATTEN-
will raise the money to make this happen.’”
TION Theatre, which she founded with
All theatres need to work at making
Perlow. She has a book coming out in April
backstage areas accessible, she noted.
about a girl who uses a wheelchair and
wants to be a performer.
“Most theatres are accessible to patrons,
and not accessible backstage,” she said. “So, I
think it comes down to the people who own
winner. An advocate. But most importantly,
the theatres sitting down and looking at all
she is someone who chases her dreams.
their departments. And if somebody were
As Oklahoma! director Daniel Fish told
to apply for a job who had a disability how
the Los Angeles Times on the day Stroker
can they make certain things accessible?”
won the Tony Award: “I hope they [others
In addition to her work in theatre
with disabilities] see that anyone can be on
accessibility, Stroker is passionate about
Broadway if they’re great, and if they hurl
a number of other causes. She has served
themselves at it with the passion and soul
as co-chair of Women Who Care, which
and intelligence that Ali Stroker has. There
supports United Cerebral Palsy of New
should be no barriers.” n
York City. She started an anti-bullying campaign, Be More Heroic, which has toured the United States to pass on a message about acceptance. And she continues to work as an advocate, through a trip to South Africa with ARTS InsideOut,
Ali Stroker. She is a trailblazer. A Tony
Tom Alsip (he/him) is an assistant professor and director of musical theatre at the University of New Hampshire. He is a member of the Southern Theatre Editorial Board.
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IDRIS GOODWIN ‘Man, the Man Is Non-Stop’
Right: Idris Goodwin is a storyteller working across a range of mediums: playwriting, breakbeat poetry, video and more. Mark Mahan
L
by Tiffany Dupont Novak
Listening to Idris Goodwin’s keynote during the 2021 SETC Virtual Convention, one could not help but imagine the breakbeat poet’s words to the tune of “Non-Stop” from Hamilton: An American Musical by Lin-Manuel Miranda. The song embodies the dig deeper, explore more, “why not?” attitude at the heart of Goodwin’s extensive career. The director of the Colorado Springs Fine Arts Center at Colorado College, Goodwin (he/him) is also an award-winning playwright, a breakbeat poet, a director and an organizer. Formerly the producing artistic director of StageOne Family Theatre in Louisville, KY, Goodwin has dedicated his career to cultivating new audiences in the arts. An active member of both the Theatre for Young Audiences USA and Children’s Theatre Foundation Association advisory boards, Goodwin has written impactful and internationally produced Theatre for Youth works, including And in This Corner: Cassius Clay, Ghost, Jacked! and A Tribe Called Tubman. His extensive list of collaborations and partnerships includes institutions such as the Kennedy Center, the Eugene O’Neill Conference, Oregon Shakespeare Festival, Actors Theatre of Louisville, Arena Stage and The Playwrights’ Center. In February 2021, he was one of 60 artists selected as United States Artists fellows, an award that provides a $50,000 unrestricted award to “the most compelling artists working and living in the United States, in all disciplines, at every stage of their career.” As the song says, “Man, the man is non-stop.”
26 x Southern Theatre x Spring-Summer 2021
SETC Convention Keynote Speaker Storytelling to make a difference
While Goodwin identifies most as a writer, his breadth of expertise convenes in a way that is unique to him as an artist, person, father, son: Idris. In looking at the world around him, Goodwin sees the impact of another type of convening.
“We’re in this moment that I call the great conven-
ing, where those in policy and protest and policing and public health, academia, athletics and, of course, the arts are trying to figure out: How do we move the needle forward?” he said. The convergence of policy, heart and mind, accord-
Jennifer A. Lin
ing to Goodwin, is the space where artists can create, imagine and explore a better world through storytelling. While Goodwin’s career has been dedicated to exploration, his journey as a parent has highlighted
breakbeat poems-turned-videos like “Say My Name”
the importance of imagination. Recently, as he reflect-
to the plays in his recent project, Free Play: Open Source
ed on how the pandemic and being home in front of
Scripts Toward an Antiracist Tomorrow. For Goodwin,
a screen every day might impact his young son, he
the magic of manipulating mediums is finding more
wrote the poem, “Your House Is Not a House.” The
audiences.
poem encourages us to imagine all the things a home
“As a storyteller, I can’t pigeonhole myself into
might be, from a spaceship to a zoo, from the desert
the American theatre as it’s constructed currently,”
to the sea: “Imagination is your mission. Your house
Goodwin said. “Because if I do that as a writer, as
is not just a house, it’s a canvas for your visions.”
a voice, only a particular demographic is going to
Imagination is a key component of Goodwin’s
hear what I have to say. Artists need to explore every
non-stop style, which finds him continuously imagin-
medium in order to connect with folks.”
ing and reimagining the best medium for the story he
is trying to tell: from books of poetry like Can I Kick
Black History Month rap and animation collabora-
It? and Human Highlight: Ode to Dominique Wilkins to
tion for Nickelodeon, Black History (It’s Yours). The
His recent exploration of mediums resulted in a
Among Goodwin’s recent plays is Ghost, presented (above) by Metro Theater Company in St. Louis, MO, in 2020. The play is based on the award-winning novel by Jason Reynolds and was co-commissioned by Metro Theater Company and Nashville Children’sTheatre.
IDRIS GOODWIN: Bio and Career Highlights EDUCATION: BA, Film, Video and Screenwriting, Columbia College Chicago MFA, Creative Writing, School of the Art Institute of Chicago TV/RADIO CREDITS: Featured on HBO Def Poetry, Sesame Street, NPR, BBC Radio and the Discovery Channel SELECTED WRITING CREDITS: PLAYS: And in This Corner Cassius Clay, Ghost, How We Got On, Hype Man: A Break Beat Play, Free Play: Open Source Scripts Toward an Antiracist Tomorrow, A Tribe Called Tubman, Jacked! BOOKS: Can I Kick It?, Human Highlight: Ode to Dominique Wilkins SELECTED AWARDS: Blue Ink Playwriting Award for Hype Man: A Break Beat Play (2017) Elliot Norton Award for Outstanding New Script for HypeMan: A Break Beat Play (2018) United States Artists Fellow (2021) More Info: idrisgoodwin.com Spring-Summer 2021 x Southern Theatre x 27
28 x Southern Theatre x Spring-Summer 2021
anthem, which explores Black icons, inno-
you Muslim? How do you say it? Where are
vators, creators and thought leaders from
you from? How do you say it? What does
the “Supreme Court and ball court,” had
it mean? How do you say it? (The answer
over 400,000 YouTube views just a little
to the last question? Eee-drees.)
over a month after being posted.
Weathering the COVID-19 pandemic
some time until eventually he could stand
this year did not change his process,
in the name his parents gave him. This
Goodwin said, because “one does not have
ownership is not only a part of Goodwin’s
a process but is constantly in process.”
journey as a person, but as he explains it,
Instead, the new challenges and opportu-
“to tell the story of your name is to tell the
nities of a COVID world solidified Good-
story of your people … I call myself Idris,
win’s belief in his six core principles. For
like my mama says it. She probably not
Goodwin, these principles have provided
saying it right.”
an anchor that holds steady in an ever-
Principle 2: Reflection
changing world. He encourages makers to
“Look at your reflection, see yourself,
not only explore his principles but develop
but more importantly, know thyself,”
their own.
Goodwin said.
Principle 1: Tell the story of your
For Goodwin, catching a glimpse of
name
your reflection is an active action, rather
than a passive one. Ask yourself: What is
Goodwin came to know this principle as
Idris went by a rapper nom de plume for
an essential component of hip-hop story-
inside your DNA?
telling. (See Teachers Institute story, Page
Goodwin explained that during the
32.) Telling someone your name evokes a
nation’s dual pandemics – systemic racism
unique feeling and is a tiny exchange of
as well as COVID-19 – his storyteller DNA
history that is both universal and specific to
didn’t change. Rather, the available medi-
each person. In his poem “Say My Name”
ums or venues shifted. As he describes on
from his 2019 book, Can I Kick It?, Goodwin
Medium.com in the self-reflective article
lyrically explores his own name: Idris.
Give It Away Now: How Dual Pandemics
“I always thought the name came out
Changed My Writing Process, Goodwin
of a book,” he wrote. “My mother still has
found that the central question became:
it. It’s crude and it’s orange. It says African
“How do I create something that is easily
Names. Now, inside African Names, it says
downloadable – that anyone could do in
something like, ‘Idris means immortal.’ But
their living room – but that also helps
I don’t think that’s right.”
people discuss these giant, glaring issues
that our nation is going through?”
Brought to life on film, before the virtual
theatre boom, “Say My Name” takes the
Looking at what you see in the mirror,
reader, watcher, dancer, dreamer, doer on
“always be questioning instead of critiqu-
Goodwin’s evolving personal journey with
ing,” he said. “Don’t just look at your reflec-
his name. Growing up in Detroit, MI, Idris
tion; unpack it.”
found that many folks in the Black church
So, in staying true to his reflection,
wondered why he was named Idris, espe-
Goodwin released Free Play: Open Source
cially when there are “names in the Good
Scripts Toward an Antiracist Tomorrow in
Book, strong apostle names. And names in
partnership with Theatre for Young Audi-
the phone book, strong regular names.”
ences USA. Each of the short works, written
Around age 11, Idris asked his mom if
to be read or performed across the multi-
he could change his name after spending
generational spectrum, offers insights
a large part of his life up until that point
about disconnects in racial conversation
being asked, “Can I call you “I” or “E” or
and the Black experience in America.
anything but your name?” And the ques-
tions didn’t stop as Idris grew older. Are
wrestle with our beliefs,” Goodwin said of
“Theatre is where we see ourselves and
Victoria Lafferty
Goodwin’s play And in This Corner: Cassius Clay, shown here in a 2016 production at Metro Theater Company in St. Louis, MO, tells the story of the young man who later became known as Muhammad Ali.
the project. “Through the stories of others,
disruption and a gesture toward equity,
we reflect on our own. Since racism lives at
very different from the casting of white
the intersection of misinformation, ego and
actors as Black characters.
unchecked power, the arts must counteract
“To have Black characters voiced by non-
by cultivating personal reflection, learning,
Black actors only increases the dispropor-
conversation and compassion.”
tionate inequity of opportunity for actors
The plays have been downloaded in
of color,” Goodwin said. “We ultimately
48 states in the U.S. and an additional 64
want a new American canon written by
countries, and have resulted in 21 produc-
intersectional Shakespeares writing roles
tions.
across the landscape.”
Principle 3: Don’t reason away what
According to Goodwin, “reason” was
is right
a key takeaway from Slate’s remarks. And
Why do we reason? Our body almost
while we know even productions like
immediately lets us know when something
Hamilton are not without their inequities,
isn’t right, Goodwin said, “but then reason
exploring reason can help us take action
sometimes steps in and softens it: ‘Well …
toward positive change.
it’s really not that bad.’”
“You will find yourself in situations
An example of the “softness of reason”
where you have to reason away what your
came to Goodwin via the recent conversa-
gut knows isn’t right,” Goodwin said. “So,
tion surrounding white voice-over artists
stick a sock in reason’s big mouth.”
voicing Black, Indigenous and People of
Principle 4: Don’t be afraid
Color (BIPOC) animated characters. In June
A recent encounter made Goodwin
2020, Jenny Slate, who until that time had
question if America was made of fear.
voiced Missy Foreman-Greenwald on the
While standing in line with his son at a
show Big Mouth, made the following state-
Louisville, KY, Walgreens in the summer
ment: “At the start of the show, I reasoned
following the police killing of Breonna
with myself that it was permissible for me
Taylor, a 26-year-old African American
to play ‘Missy’ because her mom is Jewish
woman, a former police officer standing
and white – as am I. But ‘Missy’ is also
behind the two asked, referring to another
Black, and Black characters on an animated
shooting of an unarmed Black man in
show should be played by Black people.”
Atlanta, “In my 27 years on the force, no
But what about the casting of non-white
one ever resisted arrest. What is it they
actors in roles historically played by white
don’t understand about the word ‘freeze’?
actors, like in the production Hamilton?
What is it they don’t understand about
For Goodwin, this is an intentional act of
‘You’re under arrest’? If they didn’t resist,
- We stand for Diversity equity
@TechTheatreDept
318-257-2711 louisianatechtheatre.com Spring-Summer 2021 x Southern Theatre x 29
there would be no problem.”
Principle 6: Be alive
Goodwin’s response had everything
to do with his fourth principle: “They do
visible and publicly alive and in celebration
understand. That’s why they resist. It’s fear
when you can,” Goodwin said. “Because our
of officers past, the footage of what’s inside
role is to be the quality-of-life-people. To
the DNA, our minds firing more negative
emanate light and energy and show what’s
thoughts than positive, a survival mecha-
possible. To dance in the snow and rain. To
nism from our more primal days. Terror
make industries from old records. To be the
is our specialty here, terror and erasure.
soundtrack’s revolution, the fashionistas
American horror films make over $700
who craft the uniforms so that we can spot
million a year. So, that means we produce
each other from a distance. Don’t let the
fear. That means we consume fear. That
khaki-pants-bland-soup crowd dilute your
means we kind of ARE fear. And so that’s
spicy-curry swagger. You are three-dimen-
why they run.”
sional. You are a revolution. Disruption is
a note, play it like Bootsy Collins, Beyoncé
As a Black storyteller and changemaker,
“Be fully, publicly, three-dimensionally
Goodwin has often been the first Black
your hips to it. It’s in your DNA.”
director to lead at legacy institutions. In
It is safe to say that the past year has
doing so, he works to be flexible, vigilant
been overwhelming and has shaken our
and vulnerable – anything but afraid. He
industry and us as people to our core. What
encourages those pioneering into homog-
Goodwin describes as our nation’s dual
enized spaces to be prepared.
pandemics have changed the stories we’re
“Find your believers, your tribe,” he
telling and the venues we’re telling them
said. “Speak to your ancestors. Gather your
in. But watching Goodwin’s keynote over
crew and proceed with arms linked into
video, delivered from what appears to be
the frame.”
an office with art placed deliberately on the
Principle 5: Be a citizen artist
beige walls, we are called to imagine.
Citizen artists are reflective of what
Goodwin refers to as “the great conven-
ering his words from a garden, on the
Whether you imagine Goodwin deliv-
ing”: the convergence of heart and mind,
moon or over Zoom, the story he tells us
along with the convergence of policy. Many
is the same. Develop your core principles
of the skills held by creators, he said, can
as an artist and as a person. Canons are
be easily applied in communities.
constructed and need to be interrogated.
“Transfer terms like given circum-
If it’s not in front of you, that doesn’t mean
stances, intention, motivation, process,
it doesn’t exist. Follow your passion and
being present [and], saying, “yes, and” to
curiosity into this field and use it as fuel
the engagement in your community,” he
to make our nation and our narratives
said. “Even virtually, use your creativity
stronger, braver, more beautiful. Question
to reimagine and rebuild a broken society.”
non-stop. Imagine a better future for each
Just as artists are active in their art
other.
making, they need to be active as citizen
Goodwin concluded his keynote with
artists. Mail or email your legislators and
his poem, “Another Black Body,” from the
council people, run for office, and vote in
book Can I Kick It? The poem embodies
every election, Goodwin urged. Art is not
his core principles, leaving us with these
separate from society, but rather a very
inspiring words: “This body is alive.” n
important part of it. “Be a citizen artist, a son, a daughter, neighbor artist, a Black, Latino, Asian, Indigenous, American, freckled, lesbian, gay, queer, trans human artist,” Goodwin said. 30 x Southern Theatre x Spring-Summer 2021
Tiffany Dupont Novak (she/her) is the director of advancement at Lexington Children’s Theatre in Lexington, KY.
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Right: Idris Goodwin leads a workshop in person in pre-pandemic times.
THE BEAT GOES ON Using Hip-Hop and Breakbeat Poetry to Boost
Creativity and Inclusivity in the Classroom
I
by H. Jonathan Kitt
In addition to providing a keynote address at the 2021 SETC Virtual Convention, Idris Goodwin (he/him) led the 16th annual SETC Teachers Institute, which was held virtually on Saturday, March 6. Titled “Breakbeat Poetry Storytelling and Story Listening for an Antiracist Tomorrow,” the Virtual Teachers Institute focused on how teachers, teaching artists and others can use the breakbeat poetry that emerged from hip-hop to answer questions such as: How do we make our spaces more inclusive? How do we get to know one another better? How do we, as educators, bring our communities together and embrace diversity?
32 x Southern Theatre x Spring-Summer 2021
SETC Teachers Institute
Goodwin, born in 1977 at the dawn of the hip-hop
After moving from his native Detroit to Chicago
era, shared with those attending the event how he
for college, he began performing his works on stage.
grew up with this art form in his life and discovered
One of the most important things he noticed was
his writing talents through the poetry he created to
how diverse the gatherings were for hip-hop. He
the beat of hip-hop.
traces that diversity to a shared obsession with the
beat that brings a mix of individuals together.
“Hip-hop is just a continuation of the art of the
lineage of gospel and polyrhythms of the motherland,
eter, binds us,” he said. “The beat is similar in that
the blues, what later became rock’n’roll … and jazz …
we all can come from different places in the world
It’s essentially what happens when you take instru-
and still can be connected through this very human,
ments out of the schools.”
biological thing.”
Without instruments to play, students made
Later, as Goodwin traveled and taught in hip-
the turntable into an instrument, Goodwin said,
hop and spoken word spaces, he had an epiphany. It
because “that force, that need to express, that need
became clear to him that “by inviting human beings
to make noise, that need to be in the jubilee can-
to share their stories in their own voice, using the
not be quenched, it can’t be put out, it can’t be
poetry of their communities, that what we are doing
my family and
stopped.”
is, we’re telling and listening to stories.”
friends and
Hip-hop allowed Goodwin to “tell my own story
“The beat, just like Shakespeare’s iambic pentam-
Hip-hop allowed
diaspora,” he said in his opening remarks. “It’s in the
Extending that technique into the classroom, he
Goodwin to ‘tell my own story in my own way,’ he said. ‘To discover the poetry of
said, “can be a useful tool in facilitating more inclu-
that that was
my family and friends and that that was worthy of
sive spaces, building community in a very swift way
being considered song. Meaning that I did not have
and also making art at the same time.”
worthy of being
to join a choir and learn to sing like other people
Hip-hop and storytelling exercises
considered
… I could sing in my own way, in the way that my
generation chose to express.”
the workshop, he noted that “breakbeat poetry” – a
song.’
Through hip-hop, Goodwin said, “I found my
term describing the spoken word poems he began
writing voice. Because, quite literally, in order to
creating through the influence of hip-hop – continues
write a 3-minute rap song, you are doing at least two
to be the primary way he tells his story.
times as many lyrics as your average non-rap song,
probably even more, just the density of language.”
story could be different,” he said. “This is not neces-
TEACHER
Takeaways
in my own way,” he said. “To discover the poetry of
As Goodwin moved into the interactive portion of
“For everyone here, the way you express your own
“The SETC Teachers Institute with Idris Goodwin was a fantastic experience. Being able to hear Idris’ passion for storytelling and interact with him in a small group setting was a joy. Our hands-on writing activities were eyeopening and readily replicable in a classroom or community setting. And getting to do it all with other teachers from around the Southeast was simply lovely.”
“The Teachers Institute has provided great insight and new directions for taking my students through deeper levels of incorporating diversity into their original playwriting works. One takeaway is providing more opportunities for my students to showcase their works through community forums so they can be heard.”
- Maranda DeBusk (she/her), Guest Lecturer, University of Tennessee Knoxville, TN
- Darell G. Rickmers (he/him), Theatre/Drama Teacher, John W. Bate Middle School Danville, KY
“The Teachers Institute with Idris Goodwin was one of my favorite experiences that I have had at SETC. It was a wonderful opportunity to get to learn from someone of Idris’ caliber. His activities centered around diversity and inclusion and were applicable to taking directly into the classroom.” - Stacy Howell (she/her), Oral Communications and Theatre Instructor; Co-Coach, Speech and Debate Team, Northwest Rankin High School Flowood, MS Spring-Summer 2021 x Southern Theatre x 33
Baylor Theatre
sarily intended to be about poetry per se …
aunt. There is a way your inner voice talks.
if you primarily are in a dance space, some
Try to find the poetry in that. Try to find
of the same ideas can be reinterpreted for a
the surprises in that. Try to find the style
dance space, or an improv comedy space …
and specificity in that.”
My objective is not necessarily to promote
poetry. It’s really just to promote the use of
room, he said, teachers should first model
it to get the story out.”
the assignment by creating and sharing
Exercise 1: Say my name
a piece about their own name and then
Goodwin started his first exercise by
have students create their own pieces. Use
BA Theatre Arts BFA Theatre Performance optional concentration in musical theatre BFA Theatre Design & Technology
showing a video of a poem he created, “Say
prompts and driving questions to encour-
My Name,” which is about his first name.
age students to dig in further: What does
(Read more about the poem in the story about
your name mean? How do you say it? Each
MA in The Theatre Studies MFA in Directing
his keynote address, Page 26.) Next, he asked
person has a different set of driving ques-
participants to create their own works
tions about their name that will be unique
about their names.
to them.
By sharing stories through a prompt
Next, the teacher needs to make a
like this, Goodwin noted, students and
creative space for sharing. In the hip-hop
teachers can learn more about each other
community, this space is called the cipher.
and develop connections with one another
“The idea of the cipher, the root of
while also creating works of art.
the word, is that it means nothing, zero,”
In creating their pieces, he urged partici-
Goodwin said. “There is no hierarchy;
pants not to “try to sound like a ‘poet.’
there are no boundaries. If you are standing
There is a poetry in the way you talk to
in a circle, it means there is no end to it,
your friends, the way you talk to your sassy
there is no top or bottom. When the cipher
In-state auditions listed at baylor.edu/theatre Theatre Department acceptance by audition/interview only Baylor University applic application deadline February 1, 2021
Accredited by the National Association of Schools of Theatre 2020 production pnoto of Yerma
In adapting this exercise for the class-
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is broken, that means the moment is over.
a role and serve us in our daily lives.
ing and listening to each other. They can
There is no time limit.”
In explaining this exercise, Goodwin
also help to stimulate learning and inspire
Most educational environments are
shared his ode to lotion, “Ashy to Classy:
students to develop ideas, Goodwin said.
highly structured and tend to be somewhat
An Ode to Lotion,” published in 2019 in
rigid, so teachers must work to create a
his book of poetry, Can I Kick It?. Odes,
students but really all artists, we think too
space that allows for this creativity, he said.
an ancient form of poetry, are popular in
externally … because we’re believing in the
The question they should strive to
hip-hop because they are celebratory and
myth of originality, and we’re believing
answer, he said, is: “Within that controlled
typically intended to be spoken, Goodwin
in the myth of, ‘I’ve got to say something
space, how do we facilitate a space that is
said. They usually address not just the role
important,’” he said.
somewhat more uncontrolled and driven
of the object in society, but also the role of
Showing students the value of self-
by student expression and their lived
the object in the writer’s life.
reflection – and encouraging them to tell
experiences, the stories they have in their
By using this exercise with students,
stories that matter to them – can help them
bodies, the areas of expertise they have?”
Goodwin said, teachers can learn what
create art that resonates. But it also can help
Exercise 2: Ode to an object
their students love, hold dear and hold
them in life, Goodwin said, training them
“Sometimes, particularly with writing
sacred.
“to really take stock of everything that’s
was “Ode to an Object,” in which partici-
“Obviously, most of it’s funny – it’s a
inside of them.” n
pants were asked to create odes to seem-
good way to add some levity,” he said.
ingly ordinary objects in their lives that are,
“But it’s also a good way to learn [about
in fact, sacred to them. Throughout hip-hop
the students] indirectly.”
music, there are many anthems to seem-
Putting these ideas to work in the
ingly ordinary objects. Examples include
classroom
Run DMC’s “My Adidas” and Snoop
Goodwin has used these exercises in
Dogg’s “Gin and Juice,” which essentially
workshops with middle and high school
give praise and gratitude to items that play
students to get participants writing, talk-
The second exercise Goodwin presented
36 x Southern Theatre x Spring-Summer 2021
H. Jonathan Kitt (he/him) is an assistant professor of theatre at the University of West Georgia. He has been an actor, director and writer for over 30 years. His solo show Superman, Black Man, Me! A Stage Essay debuted at the Chicago International Fringe Festival in 2013.
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HOPES AND ADVICE FOR A RETURN TO THEATRE From the 2021 SETC Design Keynotes b y J o n a t h o n Ta y l o r
Matthew Murphy 38 x Southern Theatre x Spring-Summer 2021
SETC Convention Design Keynotes
T
Taking a break from their pandemic lives to participate in the 2021 SETC Virtual Convention, Distinguished Designers Dede Ayite, Alan C. Edwards, Rachel Hauck and Jessica Paz offered a mix of advice, anecdotes and insights in pre-recorded keynotes available for viewing throughout the convention. They also engaged in live responses to undergraduate and graduate student work entered in the Design Competition and participated in a live Q&A session on Thursday evening during the convention. Below are highlights from the advice and observations they shared.
DEDE AYITE on Costume Design
A
native of Ghana, Dede Ayite (she/her) earned
back. Look at your garment again. Look at your
a BA in theatre and behavioral neuroscience
design again. Look at your actors again. Look at your
from Lehigh University and an MFA in design from
characters again. Sharpen your eyes and really look
the Yale School of Drama. Her Broadway credits
at it.”
include A Soldier’s Play, Slave Play and American
Son. Selected Off-Broadway credits include Secret
your story of that character as well. Black people
Life of Bees, Marie and Rosetta, By the Way, Meet
are not monolithic. The Black experience is not a
Vera Stark, and School Girls; or, The African Mean
singular story. Asian people are not monolithic.
Girls Play. She received a Helen Hayes Award for
White people are not monolithic. Do not get stuck in
Jelly’s Last Jam, a Lucille Lortel Award for Bella: An
a single story. Discover the character in its fullness
American Tall Tale and a 2019 Obie for Sustained
and complexity.”
Excellence in Costume Design. Nominated for Drama
Desk Awards for numerous plays, Ayite received two
designers should take in telling stories about people
2020 Tony Award nominations: for Slave Play and A
of color, Ayite was clear: “Start by acknowledging
Soldier’s Play. Her advice for emerging designers:
what you don’t know. Start by acknowledging where
Look for truth, decolonize your work.
Dede Ayite’s main focus at Yale was scene design,
She also urged emerging designers to “decolonize
In response to a question about approaches white
your deficit might be. Also, before you take on the project … make sure you’re clear on what your intentions are about that project, and … listen to the people
but she also studied and worked as a costume
you’re working with.”
designer. She noted that it’s not absolutely necessary
to have a degree in costume design to succeed, but
inevitability of failure, Ayite advised young designers
young designers must “pursue the knowledge.”
to embrace both.
“You have to read the books,” she said. “You have
Acknowledging the reality of self-doubt and the
“At this stage, I’m grateful for all the failures,”
to study it. You have to know what you’re talking
she said. “I’m grateful for this discovery because it’s
about. You have to have an understanding in order to
making me a better artist. I’m finding myself.”
communicate with your team and … how you would
like your design to be executed.”
inadequacy with patience and to use stretches of time
between work to hone skills.
Seeking knowledge, whether on your own or as
She advised young designers to fight feelings of
part of a degree program, gives you a way of “practic-
ing your art and developing your own artistic voice,”
take that away from you,” she said. “Painting – no one
she said.
can take that away from you. You can keep exploring
… and expressing yourself.”
Ayite also challenged young designers to analyze
their choices and look for truth in their work.
Dede Ayite (above) was nominated for a 2020 Tony Award for costume design for her work on Slave Play (opposite page) and A Soldier’s Play.
“Picking up a pencil and drawing – no one can
Opposite page: James Cusati-Moyer and Ato Blankson-Wood are shown in a scene from Slave Play by Jeremy O. Harris, which was nominated in 2020 for 12 Tony Awards, the most ever for a play.
No matter what, she said, follow your calling.
“By honoring the truth of the costumes, my goal
“Follow it not because of how everyone else is
is to provide the play and the performer a conduit to
attending to that call, but of how it authentically
the soul of the character,” she said.
speaks to you,” she said. “Follow it in and through
Building on advice given to her by legendary
love … Whether it’s scene painting or costume
costume designer Jane Greenwood, Ayite said,
design, explore your art because it’s your art. It’s your
“When you think you’re done looking, take a step
gift to the world.” Spring-Summer 2021 x Southern Theatre x 39
ALAN C. EDWARDS on Lighting Design
A
native of Henrietta, NY, Alan C. Edwards (he/
it. I’m here. I should do it now.”
him) earned a BFA in design from Ithaca
For Edwards, being present is more than just self-
College and an MFA in design from the Yale School
serving. Recounting the story of his daily walk to a
of Drama. His work has included the Off-Broadway
local café to get the perfect mocha, he said, “That
world premieres of Harry Clarke at the Vineyard and
daily trip is one thing that’s keeping me sane. It’s just
Kill Move Paradise, which received a Lucille Lortel
a plus that my few dollars are also helping us have a
Award and a Drama Desk Award nomination, respec-
neighborhood left when this is all over.”
tively. He designed Anna Deavere Smith’s Fires in the
The pause created by the pandemic has also
Mirror, for which he received a Lucille Lortel nomina-
offered Edwards forced introspection. Stressing the
tion. Other regional design credits include Dominique
need for work/life balance, Edwards said, “You must
Morisseau’s Pipeline, Skeleton Crew and Detroit ’67;
have a hobby. You have to have something you do at
and new musicals Twisted Melodies and Lights Out:
your own pace that’s just for you. Something you can
Nat King Cole. On Broadway, Edwards was Jennifer
pick up [when] things are complicated, and you just
Tipton’s associate designer on The Testament of
need everything to slow down … I wish I’d known
Mary. His advice for emerging designers:
this 10 years ago.” For Edwards, that hobby became photography,
Give yourself room to discover, live.
which has forced some space into his life that wasn’t
In his keynote address, Alan C. Edwards reflected
there before. Edwards clearly has found value in this,
on the beginnings of his career, pandemic life, the
saying, “When you get out in the world and things
importance of variety, and a lesson learned: “Remem-
get complicated and you get buried in striving for
ber to live your life wherever you are.”
achievements – grinding for the next step – remember
to do something every day just for your sanity.”
Edwards illustrated his last point with an anecdote
The pandemic has afforded Edwards time to reflect upon his own career path, and he encourages young designers to use the time similarly.
“All last year I noticed myself taking stock, catch-
ing up,” he said. “What exactly happened over the last decade, and what am I doing next? This field is a wild turkey on the range. Give yourself the room to discover and develop. Build a process that helps you weather the waves and stay in the ring.”
In the live Q&A session during the convention,
designers were asked about strategies for pushing through creative blocks. Edwards’ response was Alan C.Edwards
unique among the group: “I just try to identify what
Alan C. Edwards (top) was nominated for a 2018 Drama Desk Award for his lighting design on James Ijames’ Kill Move Paradise (above), presented at the National Black Theatre.
is working and do more of that.” By approaching the challenge from the perspective of what’s going right, he said, “the spaces where things are not working will shrink or become more specific and, with the specificity, then there might be a way to get through it.” Responding to a question about what he looks for
from early in his career about traveling to a gig outside
NYC. Upon returning he realized he was living in the
in an assistant or associate designer, Edwards said a
place he had always wanted to be, but that he hadn’t
person’s communication skills are more important
taken the time to really be present.
than their education and skill level.
“I should be living,” Edwards said, “seeing this
“We’re going to be spending a lot of time commu-
all, taking it all in. Most people spend their lives
nicating, and we need to just have a good time
planning, hoping to get to see some of this. Any of
communicating.”
40 x Southern Theatre x Spring-Summer 2021
McKee portrayed “Brad” in Rocky Horror Picture Show, Warehouse Theatre, Greenville, South Carolina.
Theatre is such a personal career path. It requires emotional availability and knowledge of self. Piedmont’s advantage is that professors zero in on what makes students themselves and focus on cultivating and building that up. —Jacob McKee
Named one of “8 youn g actors to w atch in Atl anta” —Atla nta Journa l-
Constitutio
The Piedmont Advantage
n
Photo credit Wallace Krebs
Jacob McKee ’15 Theatre Major
McKee became the person he “was meant to be” at Piedmont. He left with not only a degree, but also compassion, empathy, and the belief that making art is important. He has now formed his own production company, The Make Mom Proud Project, and is currently shooting his first short film, “Space Mom.” At Piedmont College, soon to be Piedmont University, students receive personal attention, are passionate about their craft, and emerge as leaders who value the arts. For other career success stories, visit www.piedmont.edu/ theatre-arts-careers.
piedmont.edu/apply
RACHEL HAUCK on Scene Design
R
achel Hauck (she/her) grew up in Southern
some advice for young designers: “There are as many
California and earned a BA in theatre from
ways into the arts as there are artists, and that’s an
the University of California at Los Angeles (UCLA).
incredible truth about this field.” Hauck addressed the #WeSeeYouWAT movement
Her Broadway credits include Hadestown, What the
Constitution Means to Me and Latin History for Morons.
head-on in her keynote, urging young designers to
Additional New York work includes The Wrong Man
recognize and address racial inequity in design.
(MCC Theater), Hurricane Diane (New York Theater
“American theatre is as deeply entrenched in
Workshop), Othello and Twelfth Night (Shakespeare
systemic racism as is everything in this country, and
in the Park) and The Lucky Ones (Ars Nova). Hauck
we must address it,” she said. ”It is essential that we
received an Obie Award for Sustained Excellence in
address it.”
Scenic Design in 2016 and the Lilly Award for Excel-
lence in Set Design in 2011 – and won a 2019 Tony
designers who, according to design-action.com, are
Award for her Hadestown scene design. She was
“advocating for a radical shift in the landscape of
resident set designer at the O’Neill Playwrights Confer-
American theatre design.” Speaking directly to white
ence for 10 years. Her advice for emerging designers:
designers “of all generations,” Hauck said, ”We have
Trust your art, make space for all.
enjoyed an enormous amount of space for a very long
Rachel Hauck underlines the impact of her liberal
be told … Some white designers feel that the success
arts education on her approach to design. “To have
of BIPOC artists will come at their expense, that there
learned so much about literature and history and
aren’t enough jobs for everyone. I implore you not to
science” has been vitally important in her career,
fall into that way of thinking. Celebrate your peers.
Hauck said.
Celebrate their work. Rethink how we make theatre.”
Hauck is involved with Design Action, a group of
time. We must make space for everybody’s stories to
She warned young designers that they will find
“there are days when you can see what you’ve made and days when you can’t see the answer, but,” she said encouragingly, “there comes a time when you trust that the answer is in there.” Hauck continued this thread later, noting, “You trust that you’re an artist. You trust that if it affects you emotionally, it will affect somebody else emotionally.” Over time, Hauck said, “those things become clearer” and easier to hold onto through good and bad. “Trusting that your creative eye has merits is – it’s hard,” she said, before punctuating her answer Matthew Murphy
with conviction: “Yours do, by the way.”
Rachel Hauck (top) won a 2019 Tony Award for scene design for her work on Hadestown (above and also shown on the cover of this magazine and on Page 44).
In these challenging times, Hauck encouraged designers new to the field to “remain active. Keep your creative brain active … Theatre is a collaborative art form. This is a time for you to find your voice as a private artist.” She encouraged designers to capitalize
“I took every design class that my undergraduate
on this opportunity “to recenter” themselves: “Paint,
course track offered at the time,” but, she adds, “the
sculpt, draw, read, watch every play you can find
most influential class I ever took at UCLA was actu-
online … Find work that excites you from all over
ally a sculpture class with a really brilliant artist,
the world. Follow the artists who made it.”
Nancy Rubins. That class changed how I think, how
I see material, how I use space.”
she noted. It will return, and when it does, she
said,“Be ready!”
Hauck used her experience as a springboard into
42 x Southern Theatre x Spring-Summer 2021
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JESSICA PAZ on Sound Design
A
native of Brooklyn, NY, Jessica Paz (she/her) is
a giving space and not a taking space.”
a self-taught sound designer. She became the
Go into the theatre “asking how you can help tell
first woman to win the Tony Award for sound design
the story, how you can help the director, how you
in 2019, when she and collaborator Nevin Steinberg
can help the room stay calm, and how you can help
won for the Broadway production of Hadestown.
an actor on stage feel more comfortable,” Paz said.
Paz’s other Broadway credits include associate
“Every time you put your hand on the door to enter
sound design for Dear Evan Hansen, Bandstand,
the theatre, ask how you can help.”
Disaster! The Musical, The Assembled Parties and
Fela!. Her work also has been seen at The Public
there was a skill that she’s developed over time, but
Theater, Roundabout Theatre Company, North
wishes she had more of at the beginning of her career.
Shore Music Theater, Virginia Stage Company and
“More empathy,” she said. ”The ability to have
Barrington Stage Company, among others. She is
empathy – better empathy.”
co-chair of Theatrical Sound Designers and Compos-
Although she did not lack empathy altogether
ers Association’s board. Her advice for emerging
as a young designer, she now knows the depth
designers:
and breadth of the need to develop this particular
Build relationships, show empathy.
emotional muscle and advises young designers to
the characters and stories they design.
During the live Q&A session, Paz was asked if
pay close attention to their ability to empathize with
One of the key components for a successful career
in design is to be actively present, Jessica Paz said.
“There was once a director who said that we’re
in the business of empathy,” Paz said. “I think that’s
“That doesn’t just include physically showing up
for the work but showing up in the creative process
true.”
with your collaborators and being a team player,”
Paz offers excellent advice for young designers
scrambling to assist more seasoned designers on professional productions. In hiring an assistant, Paz said she looks for “a sense of curiosity” and a “willingness to ask questions and a willingness to say they don’t know the answer … I would rather an assistant or an associate of mine say ‘I don’t know how to do this’ than to pretend they know how to do it and potentially it goes very badly.”
Finally, Paz reminded young designers that they
never know what will lead to their next project. For this reason, she advised, “Keep building relationships even if they don’t turn into collaborations Matthew Murphy
right away. Don’t burn bridges, and this includes the
Jessica Paz (top) became the first woman to win a Tony Award for sound design for her work on Hadestown. Above, the Workers Chorus performs during the Broadway show.
she said. “You keep showing up, you keep forging
ability to say no to projects that are not a good fit for you.”
Paz indicated that it is just as important to know
when to say no as it is to know when to accept an offer on a show.
Perhaps above all, Paz said, “Be kind.” n
relationships, you keep working creatively, and you will keep moving forward. Creative work is hard work, but I believe it was my willingness to keep showing up that led to my success.”
Passing on advice from one of her mentors, Paz
implored young designers to “enter the room from
44 x Southern Theatre x Spring-Summer 2021
Jonathon Taylor (he/him) is an assistant professor at East Tennessee State University, where he teaches scenic and costume design, stage management and theatre design basics. He is a member of the Southern Theatre Editorial Board.
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2021 SETC Young Scholars Award Winners JACKSONVILLE UNIVERSITY LINDA BERRY STEIN COLLEGE OF FINE ARTS
THEATRE
U N D E R G RAD UAT E DEGREES:
Bachelor of Fine Arts in Theatre Performance Bachelor of Fine Arts in Music Theatre
GRADUATE WINNER: ALEXANDRA LAGRAND ‘From the text of Shakspeare’: William Charles Macready, King Lear and the Theatrical Antiquarianism of Locrine Alexandra LaGrand
liberty when he introduced a new character
(she/he r) i s a
named Locrine. Echoing back to the 1595
master’s st udent
play, The Lamentable Tragedie of Locrine,
st udy i ng Sha ke-
Locrine is Macready’s materialization of an
speare and Perfor-
impulse toward theatrical antiquarianism,
m a nce at Ma r y
or a nostalgic mentality that encompasses
Baldwin University
the marriage of Shakespearean influence
in Staunton, VA. She
and Victorian practice. This inclusion
earned her under-
of Locrine modifies Macready’s reputa-
graduate degree in English and Dramatic
tion from having restored Shakespeare’s
Art at the University of North Carolina at
“original” text to having created his own
Chapel Hill, where this research began in
adaptation of the play. This paper exam-
2016. She will be pursuing a PhD in English
ines materials, including prompt books,
at Texas A&M University.
diaries, newspaper articles and playbills,
Abstract: As theatre historians know,
to argue for Macready’s belief in Locrine’s
actor-manager William Charles Macready
Shakespearean authorship while investi-
has a reputation for having restored
gating and contextualizing the dramaturgy
William Shakespeare’s King Lear in 1838.
of Macready’s Locrine character. Doing
Hitherto, audiences knew only of Nahum
so will illuminate Macready’s theatrical
Tate’s 1681 adaptation that featured a
antiquarianism and revise his status from
happy ending. In his restoration of the
a restorer to an adapter of Shakespeare’s
tragedy, however, Macready took theatrical
King Lear.
UNDERGRADUATE WINNER: CAROLYN ETZEL The Intersections of Greco-Roman Theatre and Early Christian Liturgy Carolyn Etzel (she/
the dramatic structure of the sacraments
h e r) i s a j u n ior
and the liturgical calendar, and the use
double m ajor i n
of cosmogonic myths in ancient theatre
Theatre and Theolo-
and religion. The essay strives to unveil
gy and a member of
the divine possibilities of theatre through
the Kairos Honors
an exploration of liturgical development,
L E AR N M O R E AT :
Scholars program
opening an unexpected dialogue between
www.ju.edu/steincollege
at Lee University in
disciplines. Drawing from voices such
Cleveland, TN. Her
as Aristotle and Augustine, the research
collegiate theatre credits include roles as
focuses on the evolution of liturgy in
Henrietta Leavitt in Silent Sky and Fanny
late antiquity as it adopts the traditions
Dashwood in Sense & Sensibility. Research
of ancient theatre and recycles them for
interests include classical theatre, theo-
Christian use. While causation is impos-
logical aesthetics, dramatic theory, feminist
sible to prove yet, the correlations are too
theology and liturgical theology.
compelling to deny. With this in mind,
Abstract: This paper seeks to examine
this paper serves as an invitation both for
the correlations between the structure of
discourse between two seemingly polar-
Greco-Roman theatre and early Christian
ized disciplines and for further research
liturgical worship, specifically highlighting
illuminating deeper connections.
Bachelor of Fine Arts in Theatre Technology Bachelor of Arts in Theatre
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46 x Southern Theatre x Spring-Summer 2021
Michael Howley Honored with SETC’s 2021 Suzanne M. Davis Memorial Award The Suzanne M. Davis Memorial Award was established to honor an individual for distinguished service to SETC over a number of years and is traditionally presented at the SETC Awards Banquet, with the name of the winner kept secret until the final moment of the announcement. With this year’s awards ceremony held virtually, the winner was notified in advance that he had won and was given the opportunity to share a few remarks in a video response. member of the American Theatre Critics
knows exactly where it is. For those who are
Association; or his 42 years of experience
fortunate to count him as our friend, the day
ood evening. It is a great pleasure
in university teaching, directing and criti-
is incomplete without an awesome social
to introduce to you this evening’s
Presentation by Alan Litsey
G
cism; his membership in the Stage Directors
media update and publishable image of a
Suzanne Davis Award honoree.
and Choreographers Society; or his service
perfect dinner, plated with a keen eye for
Imagine an educator, theatre artist,
on the Board of Directors of the Alabama
color, texture and appearance. Indeed, he
director, actor, critic and writer who brings
Conference of Theatre and SETC?
is a meticulous artist in everything he does.
a lifetime of support and opportunity to
Tonight’s recipient has been honored
He’s been a big role model for me
students and adults in the celebration of
by KCACTF [Kennedy Center American
in these 30 years and for many others.
theatre. His voice shares his excitement
College Theater Festival] for his extraor-
The Alabama Conference of Theatre has
for the work of diverse artists, technicians
dinary activity as a respondent. It will be
recognized his important contributions to
and leaders. His rare gift zeroes in on the
a very busy time for anyone who wishes
theatre with the Marian Gallaway Award
strengths of each member of the team and
to break his record for the number of
and the Hall of Fame Award.
identifies each individual’s North Star to
KCACTF responses. He is the Hank Aaron
take their work to the next level.
of responders.
light. He shows us how our craft is realized
In his service to SETC, he has worn
His gifts include his uncanny memory
with generosity, kindness, fierce attention
many hats, bringing a thoughtful and
that serves him so well in all his endeavors.
to detail and love. He is an Ambassador
inclusive perspective to benefit emerging
If you ask him about the productions he
of Possibility. It is a great privilege to
a nd seasoned t heat re folk wit h h is
saw in London summer of 1976, he can
announce this year‘s Suzanne Davis Award
warm and collaborative spirit.
tell you. He will also remember the cast
winner, Michael Howley. n
Oh, did I mention he is a longtime
and can show you the program because he
A former professor at Alabama State University, Michael Howley (he/him) has served SETC as administrative vice president, as Alabama state representative and as a member of the Executive Committee, the Finance Committee, the Editorial Board of Southern Theatre and numerous standing committees. He has attended every SETC Convention except one (when he was recovering from heart surgery) since he joined SETC in the 1970s.
Excerpt from Michael Howley’s Video Response Thank you, Alan, for your very kind and generous words … Thank you, SETC, for the honor of including me in the distinguished list of friends and colleagues as a recipient of the Suzanne Davis Award. For the last 40-plus years, SETC has been my extended family, a family of mentors, spirit guides, adopted parents and children, and an array of crazy aunts and uncles and cousins – you know who you are – whose love of theatre truly does connect us nationwide. You honor me with this award, but it would not have been possible without your support and contributions. You all have made this journey so wonderful over all these years. When COVID is over and we can meet again in person, watch out for a bunch of really big hugs.
This evening’s honoree is an inspiring
Alan Litsey (he/him) is chair and professor of theatre at Birmingham-Southern College. He served two terms as SETC president.
ABOUT THE AWARD This prestigious award was established following the death in 1964 of SETC member Suzanne M. Davis, costume designer for Unto These Hills and wife of SETC’s 10th president, Harry Davis. Alvin Cohen, then owner of Paramount Theatrical Supplies in New York, approached the SETC president and said he wanted to sponsor an annual award in Suzanne’s name to honor her, as well as an individual who had given outstanding service to SETC. The board accepted the offer, and the Suzanne M. Davis Memorial Award was born. Spring-Summer 2021 x Southern Theatre x 47
WORDS, WORDS, WORDS . . . Editor: Sarah McCarroll
Words, words, words … [Hamlet II,ii] reviews books on theatre that have a connection to the Southeast or may be of special interest to SETC members. Sarah McCarroll (she/her), an associate professor of theatre at Georgia Southern University, edits this regular column. If you have a book for review, please send to: SETC, Book Editor, 5710 W. Gate City Blvd., Suite K, Box 186, Greensboro, NC 27407. Directing Professionally: A Practical Guide to Developing a Successful Career in Today’s Theatre by Kent Thompson 2019, Methuen Drama, bloomsbury.com ISBN: 9781474288767; Pages: 208 Price: $21.95 (paperback); $17.99 (Kindle)
his accomplished directorial colleagues.
Professionally starts from the assumption that a professional career is in motion for the reader, but does not always honor the fact that it is a long journey. The situational advice contained in the guide comes from the top level of regional theatre: multi-
b y J e n n a Ta m i s i e a E l s e r
I
If I have a complaint, it’s that Directing
million-dollar companies that can afford
n a profession where it seems anyone
dual leadership models and numerous
can call themselves a theatre director,
staff/resources. Thompson defines a
Kent Thompson’s Directing Professionally:
“professional” theatre as one belonging
A Practical Guide to Developing a Successful
to a union, but there are other jobs for
Career in Today’s Theatre is kryptonite for
which directors are paid that are pivotal
lazy directors. Starting with his grounded
to an early career, including ensemble-
introduction, Thompson encourages young
led theatres, community-driven theatres
directors to constantly question their
that are strictly board-run, and children’s
directorial choices, examine their career
theatres whose designers are volunteer
motives, and elevate each moment of their
parents. My quibbles with the scope and size of the theatres included are tempered
process from the point they are hired until they retire. Unlike Anne Bogart’s nonlinear
“Part III: Advancing Your Career” lists
by the understanding that no one book can
pragmatism in A Director Prepares or Katie
ways directors can nurture themselves,
possibly encompass every circumstance a
Mitchell’s tool kit for approaching text/
from scheduling time with friends to
director encounters.
character in The Director’s Craft, Thompson
exploring hobbies. While this seems
Overall, Directing Professionally could
focuses on navigating the business side of
self-explanatory, it is in reality difficult
be helpful as required reading for anyone
the profession: the process of directing a
to include elements of self-rejuvenation
pursuing a Master of Fine Arts in Directing
show, who is involved, important terms to
in a busy working life, and Thompson’s
to help balance out the more philosophical
know, questions to consider, and how to
attention to this serves as a vital reminder.
or technique-heavy texts often assigned. It
set career advancement goals.
In “Part IV: Becoming an Artistic Direc-
is an exceptional education for those who
“Part I: Entering the Field,” while
tor,” Thompson includes a breakdown of
know little or nothing about stage directing
somewhat rushed, touches lightly on the
the journey toward artistic directorship
or those shifting to the directing profession
essential parts of early career. It is now a
seldom seen in other directing texts. He
from another field. Directing Professionally
requirement that directors find survival
also includes highly relevant (and multiple)
also serves as a great reminder to seasoned
jobs, produce their own work, and learn
mentions of the inherent bias and racism
directors that clear, compassionate and
about theatre administration.
permeating the theatre industry. I appreci-
balanced leadership leads to transformative
“Part II: Your First Professional Job”
ate the emphasis he places on the director’s
experiences for everyone involved in the
describes every step a director takes in a
individual responsibility to engage in best
business of live performance. n
standard process from the first interview
practices of equity and inclusion.
before being hired as a production’s direc-
tor to opening night, including how to
“practical guide,” but the more delightful
approach production meetings and what to
moments occur when Thompson peppers
expect in technical rehearsals (knowledge
a paragraph with a personal anecdote
most seasoned directors take for granted).
or introduces a passionate quotation from
48 x Southern Theatre x Spring-Summer 2021
This book lives up to its goal of being a
Jenna Tamisiea Elser (she/ her) is a freelance director and the co-founder and artistic director of Glow Lyric Theatre in Greenville, SC.
Southeastern Theatre Conference 5710 W. Gate City Blvd., Suite K, Box 186 Greensboro, NC 27407 www.setc.org
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