natalie clare Archives - Dramatics Magazine Online

What is Dramaturgy?

Natalie Clare — Tue, 06 Jun 2023 17:53:37 +0000

What is dramaturgy, you ask? (Or you do not ask because you don’t even know how to pronounce dramaturgy!)

One of the most fascinating, and mysterious, jobs in theatre is that of the dramaturg. Tasked with understanding the story and all of its many components, a dramaturg can be crucial when developing a script and preparing it for the stage. Dramaturgs typically work with playwrights, directors, designers, actors, and/or producing theatre companies.

In this article, we’re demystifying dramaturgy. We’ll take a look at the craft itself, how dramaturgs chart their career, and what skills lend themselves to the role.

WHAT IS DRAMATURGY?

The basic definition of dramaturgy is “the art or technique of dramatic composition or theatrical representation.” It comes from the Greek word dramatourgía, meaning “a dramatic composition” or “action of a play.” In essence, dramaturgy is the practice of understanding the structure, context, characters, language, and themes of a play. It can also apply to opera and film.

What does the dramaturg do?

● Analyze play scripts and librettos
● Perform research about a variety of story elements
● Consult the playwright on a script’s form and structure
● Support the development of a new script, revival, or adaptation
● Advise the director, designers, production team, and actors
● Write educational or supplementary content for audiences
● Maintain knowledge of a show’s production history and author(s)
● Consult outside subject matter experts if the material calls for it
● Consider how the production will connect with today’s audiences

The role of a dramaturg can vary from production to production. Some dramaturgs work as freelancers and independent contractors, and some work in a theatre company’s literary department. This makes dramaturgy one of the most flexible careers in theatre.

Despite this range of tasks and functions, every dramaturg has the same basic objective. Catherine Sheehy, Chair of Dramaturgy & Dramatic Criticism at David Geffen School of Drama at Yale University, describes it in a video: “It is the dramaturgy which connects that work to its maker, its audience, and its cultural context. And it is the dramaturgy which connects all of those three to each other.”

KNOWING THE WORLD OF THE STORY

A dramaturg’s in-depth research informs and enhances the world of the story. That might include analyzing the time period of the play’s setting.

For example, August Wilson’s Century Cycle includes a series of ten plays that represent the Black American experience in each decade of the 20th century. A dramaturg would perform research on the time period’s major news items and events, details about typical daily life in a certain region, social dynamics between different groups of people, artistic and cultural movements, and other factors that influenced the lives of Black Americans as they’re relevant to the characters. In doing so, a dramaturg provides key insights about historical accuracy.

A dramaturg can also provide a look at a show’s production history, source material and origins, context around the material, and information about subjects in the story.

With The Curious Incident of the Dog in the Night-Time, for example, a dramaturg would research all of these areas. The play is based on a best-selling novel by Mark Haddon. Its world premiere production earned the show a reputation for its sophisticated technology and physical movement—an artistic and intentional choice made by the director and production team. There are also important interpretations of the show’s protagonist, Christopher. He has unique sensory challenges that are integral to his character development and the choices he makes.

In these scenarios, the dramaturg’s work can inform how a director approaches the material, how actors bring the characters to life, how designers envision sets and costumes, and how a theatre might supplement the production through educational materials and audience engagement opportunities. They might also consult with experts who already have a deep well of information about show-specific subjects, characters, and themes.

CONSULTING ON THE CREATIVE PROCESS

The scope of dramaturgical work for any given production depends on the needs of the artists and the theatre who is producing their work. Primarily, a dramaturg is there to support the playwright and their story with research, leaving creative decisions to the artists.

In an insightful interview with MusicalWriters.com, dramaturg/writer/scholar/creative executive Ken Cerniglia describes the basics of dramaturgy and his experience as full-time dramaturg and literary manager with Disney Theatrical Productions. His biography says that during his 16 years in this role, he “developed over 70 titles for Broadway, touring, international, and licensed productions, including The Hunchback of Notre Dame, Freaky Friday, Aladdin, Newsies, The Little Mermaid, High School Musical, and Tarzan.”

He says in the interview, “[P]art of my job is to bring relevant historical facts into the creative discussion to enable informed decisions. You can’t take artistic license if you don’t even know what you’re departing from in the first place, and more importantly, why. At the same time, if you’re rigid about historical and scientific accuracy, you risk being boring.”

Cerniglia then explains how his dramaturgy helped Disney bring the theatrical adaptation of the 1992 movie musical Newsies to Broadway. He performed research about the actual 1899 New York City Newsboys Strike, and how historical figures like publisher Joseph Pultizer (the musical’s villain) played a role in it. His research provided important context that helped the creative team make some changes from the source material that enhanced the story but still maintained historical accuracy.

He describes, “The musical’s book writer, Harvey Fierstein, also invented the character of Katherine, which was the name of Pulitzer’s oldest daughter, but Fierstein made her a reporter—a young career woman—and a love interest. This choice provided our 21st-century musical with an appealing female lead and juicy second-act plot complications. Although not historical, Katherine Plumber was historically plausible; our research into journalist Nellie Bly, who was famous decades before 1899, helped inform the development of the character.”

WHAT MAKES A SKILLFUL DRAMATURG?

Dramaturgy is an ideal area of expertise for those who are passionate about theatre and gravitate to roles off stage. It’s essential to have general knowledge of the theatrical art form and its history. It’s also important to know how a play comes to life and who’s responsible for what during production.

Dramaturgs who excel in their field commonly have the following characteristics:

● They love to read, write, and research new topics.
● They have a strong grasp of literary analysis, including narrative structure, character development, symbolism, and language.
● They work well both independently and collaboratively.
● They’re detail-oriented and keep their work organized and clear.
● They’re sensitive to and respectful of the creative process.
● They’re observant, curious, and open-minded.
● They consider how art, in all its forms, relates to larger social and cultural contexts.

Does this sound like you? If so, the field of dramaturgy might be calling!

Natalie Clare is a regular contributor to Dramatics. She’s a freelance writer who specializes in arts and culture, and is based in Cincinnati, Ohio. Visit her work at nataliecwrites.com.

The post What is Dramaturgy? appeared first on Dramatics Magazine Online.

Copyright in Theatre

Natalie Clare — Thu, 03 Nov 2022 21:33:49 +0000

For thespians, copyright in theatre is one of the most essential topics to know and understand. It’s right up there with knowing the building blocks of your craft—like knowing how to read sheet music, how to properly format a script, and how to fix a costume’s loose hem. When you create for the stage (and what you interpret from others’ work), it’s legally protected property.

You may have heard or read about a recent, unauthorized production of Hamilton in August 2022. The Door Christian Fellowship Ministries in McAllen, Texas, staged and live-streamed performances of the blockbuster musical without first obtaining official permission from the production’s creators and copyright owners. The church must now pay damages as a result of their copyright violations.

Specifically, the church came under fire for a number of violations. They altered dialogue and lyrics, changed some of the music, deleted songs, advertised the production using the show’s logo, streamed it online, and utilized costume and set designs that are all too similar to those in the original production.

You can read more about the story here. Let’s take a closer look at copyright in theatre and how it affects artists, students, and educators, so that you can be sure the work you’re doing is respectful and legal.

WHAT IS COPYRIGHT?

In the United States, copyright is “a type of intellectual property that protects original works of authorship as soon as an author fixes the work in a tangible form of expression.” Copyright law makes it illegal for anyone to use protected work without the author’s permission during the author’s lifetime plus 70 years.

LegalZoom provides a detailed list of protected works under copyright law:

“Literary works. This can include novels, nonfiction works, poems, articles, essays, directories, advertising, catalogs, speeches, and computer programs.
Musical works. This category includes both the musical notation and the accompanying words.
Dramatic works. This type includes plays, operas, scripts, screenplays, and any accompanying music.
Pantomimes and choreographic works. Popular dance steps are not included in this type of work.
Pictorial, graphic, and sculptural works. Works included are sketches, drawings, cartoons, paintings, photographs, slides, greeting cards, architectural and engineering drawings, maps, charts, globes, sculptures, jewelry, glassware, models, tapestries, fabric designs, and wallpapers.
Motion pictures and other audiovisual works. These include movies, videos, and film strips.
Sound recordings. This includes recorded music, voice, and sound effects. Thunder, animal noises, and other sounds of nature may be copyrighted by the persons who record them.
Compilations. You can put together a collection of existing materials and the collection as a whole can be copyrighted. Some examples would be a book of poems written about trees or a list of the best cancer doctors in the U.S.”

Copyright protection does not extend to “any idea, procedure, process, system, method of operation, concept, principle, or discovery, regardless of the form in which it is described, explained, illustrated, or embodied in such work.”

HOW DOES COPYRIGHT EXIST IN THEATRE?

The Dramatists Guild, which has a copyright advocacy program, says artists in the theatre industry work for themselves. Because of that, copyright protection enables them to earn and sustain a living off their work. They distill the importance of copyright in theatre as follows:

“Everybody who writes or records original material has a copyright in their writing, whether it’s a play, libretto, lyric, or musical composition. Owning the copyright is what gives the author the ability to negotiate fair contracts for the use of their work, and everybody who licenses and performs a show has to abide by those contracts.”

In a video resource titled “Copyright 101,” the Dramatists Guild explains that copyright protection begins at “the moment of creation.” Once you’ve written something with the intention of producing, publishing, or performing it in some way, your work becomes copyright-protected. Additionally, copyright protection gives artists the right to reproduce, publish, display, perform, distribute copies, and create derivative works from the art they create.

In a theatrical production, other copyright-protected works can include set design, costume design, lighting design, and choreography. Stage directions, as interpreted by a director, typically do not fall under copyright protection. An article, “Property Rights and Wrongs” from American Theatre, notes, “Directorial choices such as blocking or production concept continue to occupy nebulous ground legally.” (Check out the full post to learn about specific examples.)

WHAT IS “FAIR USE?”

By definition, fair use is “a legal doctrine that promotes freedom of expression by permitting the unlicensed use of copyright-protected works in certain circumstances.” Essentially, it means there are some activities and situations in which it’s okay to use copyright-protected material without the copyright holder’s permission. Some of these instances include news reporting, research, comment, scholarship, criticism, and teaching.

However—and it’s a big however—that doesn’t mean educators have universal permission to use copyright-protected material in school. You might use a script, a recording, a film, or a novel for educational use within your curriculum, but you can’t claim fair use when it comes to performances. This is a common misconception with theatrical performance in schools. When you’re utilizing copyright-protected material for the stage, you must request permission (and, most likely, pay certain fees) to present a performance.

RESOURCES AND RECOMMENDATIONS FOR STUDENTS AND EDUCATORS

This article only touches on the basics of copyright in theatre. Copyright law is expansive and evolves over time with amendments and additions. Here are a few, essential steps that will keep you from landing in hot water with your productions:

ALWAYS obtain permission first. It doesn’t matter if you’re performing for a class, presenting to a private audience, or staging a show for free—you must license the performance rights from the author or their legal representation (typically that’s a licensing agency).
Never make changes without the author’s permission. Adjusting any portion of the material as it’s dictated in the script is a copyright violation. Requesting to make changes isn’t as daunting as you might think. Authors approve changes all the time to accommodate specific audiences and performers, but you must ask permission first. You can submit your changes and allow them to approve, deny, or suggest alternatives.
Don’t post a video of the performance. Many licensing companies these days offer streaming rights and on-demand viewing options to accommodate audiences. There are usually specifications which allow you to use video for marketing and promotional services, too. But if you’re thinking about sharing the performance publicly, on broadcast, or on social media without any permission beforehand, don’t. Remember that theatre is a live art form, meant to be enjoyed in the moment with the people in the room.

Finally, be sure to check out these resources so that you’re even more equipped with copyright knowledge.

Natalie Clare is a regular contributor to Dramatics.org. Visit her site.

The post Copyright in Theatre appeared first on Dramatics Magazine Online.

Artists Who Advocate

Natalie Clare — Fri, 02 Sep 2022 21:26:47 +0000

As one of the willing artists who advocate for all to see, you can’t help but fall in love with Jamie Barton when you meet her on her socials. She rocks a edgy and colorful personal style, and in her Instagram bio she describes herself as a “[p]roudly queer opera singer into drag queens, bluegrass, social justice, equality, and cats.” She’s a 2022 Grammy nominee, as well as an empowering artist who uses her platform to connect with and inspire others. We highly recommend you check her out and click “follow!”

ARTISTS WHO ADVOCATE…IN OPERA!

Barton is a mezzo-soprano vocalist who has performed nationally and internationally in concert and in operas. Hailing from rural Georgia and raised on bluegrass music, she’s a graduate of vocal studies at Shorter College and Indiana University Jacobs School of Music. She began her career in musical theatre and has indicated that she’d love to return to the genre as Mrs. Lovett in Sweeney Todd, as Charlotte in A Little Night Music, and as The Witch in Into the Woods.

Notable opera credits include Carmen in Carmen, Brangäne in Tristan und Isolde, Fricka in Das Rheingold, Orfeo in Orfeo ed Euridice, and many others. She has performed at the Metropolitan Opera, Teatro Real Madrid, Washington National Opera, the New York Philharmonic, Carnegie Hall, John F. Kennedy Center for the Arts, and with symphony orchestras of Atlanta, Baltimore, Dallas, Iceland, Oulu, Pittsburgh, and Toronto, among many others.

GROUNDBREAKING CAREER MOMENTS

Barton’s path to professional success has certainly been an inspiring one. She’s paved her way through the traditionally conservative world of classical music by staying true to who she is and shaking things up along the way. Here are some highlights:

June 2013: The first woman to win both first prize and the song prize at the BBC Cardiff Singer of the World Competition, which is a distinguished classical music competition.
April 2015: Won the Richard Tucker Award, one of opera’s most prestigious honors. The foundation which selects the winner explains the award is given to “an American singer poised on the edge of a major national and international career, and it is hoped that the award acts as a well-timed catalyst to elevate the artist’s career to even greater heights.”
September 2015: Featured in the New York Times (NYT) while performing in Anna Bolena at the Metropolitan Opera. The NYT called her “opera’s nose-studded rock star.” The profile also described her as “a leader of a new generation of opera stars.”
2018 and 2020: Won BBC Music Magazine awards. In 2018, she received the Vocal Award. In 2020, she received Personality of the Year.
September 2019: Headlined “Last Night of the BBC Proms,” and performed “Rule, Britannia!” while waving a rainbow flag in celebration of the LGTBQ+ community. The song is a classically British song of patriotism (like the song “God Bless America” in the U.S.). The Proms is a prominent classical music fest.
September 2021: She performed as Carmen alongside Stephanie Blythe as Don Jose, Carmen’s romantic counterpart. The pair brought a non-normative, genderfluid element to the classical stage.
2022: Nominated for a Grammy Award for “Best Classical Solo Vocal Album” for Unexpected Shadows, which she made with composer/pianist Jake Heggie and cellist Matt Haimovitz.

EMPOWERING OTHERS ON SOCIAL MEDIA

Alongside her critically acclaimed musical talent, Barton stands out in the world of classical music for her social activism. Her Instagram, in which she boasts over 23,000 followers, engages in dialogue about body positivity, LGBTQ+ rights, social justice, and equality. She identifies as bisexual and frequently publishes content designed to uplift women, queer people and members of other marginalized communities. Last June, she published a video of her singing “Somewhere Over the Rainbow,” accompanied by an on-screen sign language interpreter. She captioned the post, “In case you’re as angry and heartsick as I am over… well, Everything… here’s a little moment of love and community to pause your scroll.”

Part of Barton’s appeal comes from her honesty and vulnerability about unique career challenges. She’s posted about how “nerve-wracking” it can be to trust a designer in creating costumes for her as a plus-sized performer. She calls out assumptions and stereotypes about casting choices that favor certain groups over others. Her candidness about her experiences and her frankness about social topics generate and continue important conversations that push the industry toward a more inclusive and progressive environment.

Recently, Barton lent her talents and influence to Ukrainian relief efforts. She performed in a special concert at the Met in which the ticket sales and album sales supported relief efforts. She also ran a personal matching campaign on her social media, through which she and her followers raised over $9,000 for organizations providing aid to the citizens and country of Ukraine. She wrote in an Instagram post on March 8, “The grand total that you guys submitted in donation receipts to organizations providing aid to the citizens and country of Ukraine was a WHOPPING $4522!! WOW!!! I matched that told in a donation to [CARE] in the same amount, which means *together*, we have sent $9044!! Bravi tutti, y’all. Thanks for banding together to help people who are truly in need right now.”

At the same time, Barton delights in publishing behind-the-scenes content that shows how much she simply loves what she does. Take, for example, a video in which she explains (with excitement!) a prosthetic eye wound created by her hair and makeup artist. It’s part of her character as Eboli in Don Carlos. When she finishes the video, she reveals the prosthetic and says humorously, “Look at that… gnarly, gnarly, Princess Eboli!” It’s the kind of “insider” content that thespians, artists, and performers alike recognize and appreciate.

Barton is also a volunteer with Turn The Spotlight. Their mission reads, “We offer mentorship by and for exceptional women, people of color, and members of other equity-seeking groups, with a particular interest in supporting artists who are using their talents and skills to strengthen their communities and pursue social justice.”

With so many accolades and so much charm, Barton’s star has not only risen but continues to shine very brightly — and it’s a star in which many young artists can find inspiration. Follow her @jbartonmezzo on Instagram, Facebook, Twitter and YouTube. Visit jamiebarton.com.

Natalie Clare is a freelance writer and regular contributor to Dramatics. Visit her work at nataliecwrites.com.

The post Artists Who Advocate appeared first on Dramatics Magazine Online.

Censorship in Schools

Natalie Clare — Thu, 01 Sep 2022 19:27:30 +0000

The arts in all their forms have always faced opposition, but censorship in schools seems to be more aggressive than ever. When schools perform theatrical productions that upset some viewers, the situation often becomes a hot-button issue for students, educators, administrators, parents, and communities at large. Sometimes schools are forced to cancel their artistic work because of the turmoil. It’s called censorship.

National Coalition Against Censorship (NCAC) explains: “Censorship happens whenever some people succeed in imposing their political or moral values on others by suppressing words, images, or ideas that they find offensive. A censor, traditionally, is an official whose job it is to examine literature, movies, or other forms of creative expression and to remove or ban anything she considers unsuitable. In this definition, censorship is something the government does. But censorship can also be accomplished very effectively by private groups.”

Censorship in Schools: Why it happens

There are many reasons why a school or school district decides to censor high school theatre productions. They might find the language, lyrics or actions performed on stage too mature for teenage audiences. Or they might find the story’s explorations of certain themes or issues too controversial. Students innately have a right to free speech and free expression – but when schools are tasked with managing and limiting appropriate material, censorship becomes a battlefield.

PLAYS AND MUSICALS THAT OFTEN FACE CENSORSHIP

Censorship in school theatre productions is similar to school libraries being forced to ban specific books. In fact, Banned Books Week, which represents a collective of organizations that celebrate the freedom to read, cites the following plays and musicals that have faced controversy when performed in schools:

The 25th Annual Putnam County Spelling Bee by William Fin and Rachel Sheinken
American Idiot Michael Mayer and Billie Joe Armstrong
And Then Came Tango by Emily Freeman
Cabaret by John Kander and Fred Ebb
Legally Blonde by Heather Hach, Nell Benjamin and Lauren O’Keefe
The Producers by Mel Brooks and Thomas Meehan
Rent by Jonathan Larson
Spamalot by Eric Idle and John Du Prez
Sweeney Todd: The Demon Barber of Fleet Street by Stephen Sondheim and Hugh Wheeler
Twelfth Night by William Shakespeare

RECENTLY CENSORED HIGH SCHOOL THEATRE SHOWS

Drama students at Hillsboro High School in Hillsboro, Ohio, were forced to cancel performances of She Kills Monsters by Qui Nguyen in October 2021. The play tells the story of a teenage girl who finds her deceased sister’s Dungeons & Dragons notebook. She’s then swept into an adventure in an imaginary world of her sister’s design. One of the discoveries she makes in this world is that her sister may have had a relationship with another girl.

The original production of She Kills Monsters premiered in 2011 at Flea Theater in New York City. There’s a version of the play that’s revised for younger audiences, which is deemed appropriate for ages 11 and up. Hillsboro High School drama students were set to perform the younger version.

It’s been reported that the inclusion of an LGBTQ+ character in She Kills Monsters angered parents and other adults in the community, which prompted the school district to cancel performances just weeks before opening night. Hillsboro City Schools Superintendent Tim Davis released a vague statement which said, “The fall play has been canceled this year because the play was not appropriate for our K-12 audience.” Other parents and community members cited sexual innuendo, implied sexual behavior, and foul language as their opposition to the play. Many students, parents, and educators wholly disagreed with the district’s decision.

In response to the play’s cancellation, the Hillsboro High drama students organized a GoFundMe to raise funds that would allow them to produce She Kills Monsters at a community theatre over the summer. Their goal was $5,000, and they raised nearly $24,000. The Kindred Spirits Theatre Company presented the performance at Southern State Community College in June 2022.

Drama students at Turlock High School in Turlock, Calif., also faced censorship challenges recently. In April 2022, their production of Be More Chill, a modern musical, was canceled. Based on the book by Ned Vizzini, the story follows a teenager who takes a pill that transforms his social status from loner to popular. The musical was a Broadway hit and earned eight Drama Desk Award nominations and one Tony Award nomination.

Be More Chill has been praised, by critics and young audiences alike, for its representation of anxiety, depression, and the complex challenges teenagers face while growing up in the era of social media. It’s been a favorite production for many school drama departments. South Eugene High School performed their production at the 2019 International Thespian Festival.

After opening night of their production of Be More Chill, Turlock Unified School District site administration decided, abruptly, to cancel the rest of the show’s run. A spokesperson for the district cited “concerns that the content was too mature for a general audience that includes all age levels” as reason for the cancellation. They also said the administration and the musical’s director didn’t communicate effectively about approving the show. When Joe Iconis, the musical’s creator, caught wind of the cancellation online, he tweeted that he was horrified by the district’s actions. He also encouraged his Twitter followers to donate to Turlock’s drama and speech program and included a link to do so.

After receiving backlash from students, the community, and the expansive digital world, Turlock Unified School District allowed the production to return to performances, one month after their post-opening cancellation. They stipulated that the production needed to include signage disclaiming “some adult themes” in the show’s story.

ADVOCATE FOR THEATRE IN OUR SCHOOLS WITHOUT CENSORSHIP

No matter their age, artists should always equip themselves with knowledge of their rights to freedom of expression. Many organizations exist to do exactly that and provide legal assistance and support for individuals or groups who find their rights threatened through censorship. Here are just a few you should keep on your radar:

National Coalition Against Censorship (NCAC) provides comprehensive resources for students, educators, and activists. “The Show Must Go On: A Toolkit for Organizing Against Theatre Censorship in Public Schools” provides campaigning strategies, information, and guidance for handling censorship.
The Foundation for Individual Rights and Expression (FIRE) promotes a culture of free speech and First Amendment expression. Their High School Network offers information, interactive content, literature, access to an educator network, and more.
Dramatists Legal Defense Fund (DLDF) advocates for writers’ and artists’ protection of their First Amendment rights. They have a “Toolkit for Producing Stage Works on College Campuses in Turbulent Times,” and they provide opportunities for schools and theatre organizations to learn more about the issue directly from a DLDF representative. They also keep an extensive database of censorship issues and cases.
Banned Books Week offers a huge collection of resources for students, educators, librarians, retailers, writers, and artists. Unless indicated, most of these resources are free to download.

If you’re a student artist or member of student media who is facing immediate issues with censorship, you can report your case to NCAC and FIRE and receive one-on-one guidance:

The arts provide us with a spectrum of tools, skills, and experiences that help us understand ourselves and the world around us. In troubled times, we need the arts more than ever to reflect our lives and make sense of our realities. Keep the arts free from censorship. Always advocate to keep theatre in our schools.

Natalie Clare is a freelance writer and regular contributor to Dramatics. Visit her work at nataliecwrites.com.

The post Censorship in Schools appeared first on Dramatics Magazine Online.

Theatre for All

Natalie Clare — Mon, 22 Aug 2022 23:46:09 +0000

Theatre for all is a specialty of the Olney Theatre Center in Maryland. In July, 2022, they presented the theatrical classic, The Music Man. The production featured a cast of d/Deaf, hard-of-hearing and hearing actors alike. Along with co-directors, a choreographer and a music director, the creative team included a director of artistic sign language. The show’s official production web page reads:

“The Music Man is a family-friendly show, and its content is suitable for all ages. However, parents should be aware that Olney Theatre’s bilingual production of The Music Man is performed in American Sign Language with English supertitles. The songs are performed in English with ASL and English supertitles. The dialogue is performed in ASL with English supertitles. The ability to read the supertitles, either projected or via the GalaPro app, is an essential part of the experience for hearing audiences.”

Actor James Caverly, who is deaf, led the ensemble as Professor Harold Hill. (You might recognize him from Hulu’s Only Murders in the Building.) He told PBS NewsHour, in a feature segment, that he had approached Olney’s artistic director, Jason Loewith, about producing this rendition of The Music Man after he saw Deaf West Theatre’s production of Spring Awakening.

Caverly told PBS, “… let’s shatter that perception that disabled people can only play roles that are designed or written for disabled people.”

A few years later, the show opened. PBS reported, “There were see-through COVID masks, so the non-hearing actors could read lips and facial expressions. American Sign Language interpreters were positioned across the stage. The set was created by a deaf designer with a minimum of stairs, so deaf actors didn’t have to take their eyes off their signing castmates. And a special lighting system let the non-hearing cast members know when there was a problem.”

The Music Man received plenty of praise from The Washington Post, DC Theater Arts, MD Theatre Guide and Talkin’ Broadway. And the Olney is far from alone in their initiatives to embrace accessible practices. Read more about companies and organizations who are embedding inclusivity in their works.

Theatre for All Brings Richness to the Show

When the stories we see onstage reflect enough reality to help the audience see themselves in the storyline, the impact of the message is that much stronger. Here are three ways that the idea of theatre for all is enriching productions.

James Caverly, superscript running behind him, in “The Music Man.” Photo Teresa Castracane

1. Theatre belongs to everyone. Stories of all kinds, featuring characters from all backgrounds and all abilities, are being shared and produced theatrically and professionally to eager audiences who want more.

2. Inclusion must take place on stage and off. Theatre organizations should not only produce stories of all kinds but hire experts off stage who can inform and enhance the entire experience

3. Creativity knows no bounds. Artists are uniquely positioned to break molds – especially social and cultural norms that don’t serve everyone equally. Through artistic experiences, performers show us how to think in new and different ways.

Theatre for All Is (and Has Been!) a Focus for Many

DEAF WEST THEATRE Since 1991, the award-winning Deaf West Theatre has been producing shows that center the work and storytelling of d/Deaf, hard-of-hearing and hearing artists. Their productions, on stage and on screen, are inspired by Deaf culture. They describe using American sign language and spoken English “to create a seamless ballet of movement and voice.”

Deaf West’s production of “Spring Awakening” in 2015 earned two Tony Award nominations and five Ovation Award nominations. This fall, they’re producing Sophocles’ Oedipus. They’re presently collaborating with the Los Angeles Philharmonic to present a production for hearing and Deaf audiences. They’re also developing a musical, stage adaptation of the Oscar-winning film CODA, which follows the story of a deaf family.

NATIONAL DISABILITY THEATRE Talleri A. McRae and Mickey Rowe launched National Disability Theatre (NDT) in 2018. Their mission states, “National Disability Theatre employs professional theatre artists who create fully accessible, world-class theatre and storytelling; changes social policy and the nation’s narrative about disability culture; and provides a guiding model in accessibility for the arts and cultural sector.” You can read a series of essays about making theatre accessible, which was curated by McRae and Rowe for HowlRound.

NDT reports that currently, “Ninety-five percent of disabled characters are played by non-disabled actors.” To combat that reality, the company collaborates with professional regional arts organizations to co-produce accessible productions. They also use “the lens of disability” to hire professional theatre artists and produce large-scale productions.

THEATER BREAKING THROUGH BARRIERS For more than 40 years, Theater Breaking Through Barriers (TBTB) has presented shows off-Broadway. The company originally called themselves Theater By The Blind, but, according to their mission statement, they expanded their inclusion to artists with all disabilities. TBTB is known in the industry as the “home base off-Broadway theater for people with disabilities.”

TBTB pivoted from producing in-person performances to virtual productions in 2020 in response to the COVID-19 pandemic. In their Virtual Playmakers Intensive, TBTB presented video performances of plays which streamed live on YouTube and Facebook. Their upcoming season includes a mix of in-person and virtual productions. They’re also mounting their off-Broadway production of Brecht on Brecht at the 15th Bird International Theatre Festival in Tottori, Japan, in September.

Natalie Clare is a regular contributor to Dramatics.org. Visit her at nataliecwrites.com.

The post Theatre for All appeared first on Dramatics Magazine Online.

Theatre Family

Natalie Clare — Thu, 28 Jul 2022 00:06:35 +0000

For Ava Pearson — who is a member of Troupe 6547 at Lincoln Southwest High School in Lincoln, Nebraska — her love for theatre was fostered right at home. Ava’s father, Steven Pearson, passed down his passion for theatre and has encouraged Ava to pursue her interest in it. He performed in high school in a musical. Then in college, he continued to nurture his talents and has since performed in 50+ community productions. His latest role includes Joseph Pulitzer in a local production of Newsies. Not surprisingly, theatre was always present in Ava’s childhood. Many of their family vacations have included theatrical performances.

Ava says, “I have learned a lot of singing skills from my dad, and we nerd out together over new shows that we see. I was in a community theatre production of Elf Jr., but when I got to high school, I decided to get involved on the light crew for Kinky Boots.” (Read more about her participation in the show at the 2022 International Thespian Festival (ITF) below!)”

Theatre Family at ITF

Besides seeing shows and leading by example by doing community theatre, Steven has also nurtured his theatre family through his employer. He’s worked for the Lied Center for Performing Arts for several years as event services manager. He oversees hospitality and various accommodations for visiting artists, as well as the myriad front-of-house logistics. For 10 years, he also coordinated logistics for the annual ITF, which was held at the Lied Center.

“Feeling the positive energy of ITF attendees and seeing what a great experience they had, was a very rewarding experience,” he says.

Now, he sees being involved with ITF as a great opportunity for Ava. He adds, “When we found out that Lincoln Southwest High School was doing Kinky Boots and having it evaluated for inclusion at ITF, I encouraged Ava to participate because I knew she would have an amazing time.”

Paul Canaan in costume as one of the angels in Broadway production of “Kinky Boots.” Photo by Matthew Murphy

Each year, a handful of International Thespian Society Troupes are selected to perform a production from the preceding school year on the main stage. Troupe 6547, of which Ava is a member, performed Kinky Boots at ITF 2022. Ava was on light crew.

She says, “I got to do more things during the show for ITF than I did for the original production. The cast and crew are all wonderful people, and I always have a fun time rehearsing.”

The show is directed by Bob Henrichs. The beloved musical follows the true story of a young man who has inherited his father’s shoe factory. With the fateful introduction to a fabulous entertainer named Lola who’s in need of some stilettos, Charlie just might be able to save his father’s legacy and the family business.

Gen-Z Member of the Theatre Family Branches Out

In 2020, Ava and her family visited New York and attended a production of Beetlejuice the Musical on Broadway. It was just before the start of COVID-19, and she says she felt fortunate to have been able to see it when they did: “I already loved the music, but seeing the show live made me love it even more.”

Like theatres across the country, Beetlejuice the Musical shut down temporarily in response to health and safety measures. But when they returned to performances, the musical’s producers invited fans to be part of the exciting moment. They announced a contest for fans to submit original artwork about the show with the chance to be included in a mural at the Marquis Theatre. Ava submitted an original work that features the musical’s character Lydia Deetz.

“My ultimate career goal is to be an animator or an illustrator, so I entered the contest,” Ava explains. “One day at school, I got an email from Beetlejuice the Musical saying that my art had been selected to be in a mural outside the theatre. The mural was being installed that very day.”

Ava’s work is accompanied by about 500 other fan submissions. To celebrate her art being included, she traveled to New York with her family to see it in person.

Ava Pearson seeing her art as part of the Beetlejuice mural in NYC.

“I can’t put into words how exciting it was to see my art as part of this mural,” says Ava. “My heart was bursting out of my chest. It was a total fangirl moment. Seeing my art outside of a Broadway theatre where one of my favorite musicals is playing was indescribable. This is by far the largest audience that any of my art pieces has ever had, so I feel like this was a big stepping-stone for me as an artist.”

When you’re part of a theatre family like Ava and Steven are, there are so many creative opportunities to follow! You can learn more about becoming a thespian in the International Thespian Society here.

Natalie Clare is a Cincinnati-based writer who composes original content for brands, organizations, and publications. She writes fiction and nonfiction, and she directs and produces works of film. Visit her at nataliecwrites.com.

The post Theatre Family appeared first on Dramatics Magazine Online.

Passion for Playwriting

Natalie Clare — Fri, 20 May 2022 15:42:30 +0000

If you’re a playwright, or a writer of any kind, your teachers and mentors have probably told you to “write what you know.” Finding inspiration from your own life can really strengthen your story’s impact. That’s certainly true for Isaiah Reaves, a professional playwright on the rise who’s based in Cincinnati, Ohio. His work explores a spectrum of Black and Queer experiences.

“Saying that I ‘write what I know’ seems clichéd, but it’s the truth,” says Reaves. “I write about what I’ve been through. When I was a kid, I was bullied, but writing about being bullied set me free and made me feel better.”

Since childhood, Reaves has considered writing and storytelling a powerful gateway to self-reflection and making personal connections. He adds, “I learned that if I was able to be myself, my writing would have deeper meaning. I want audiences to see my work and be inspired to tell their own stories and to be themselves no matter what.”

Below are deeper insights into Reaves’s playwriting journey.

When Passion for Playwriting Makes You Feel Alive

Reaves grew up with an interest in theatre. He nurtured his talents and developed skills in singing and acting but he felt uniquely drawn to the craft of writing. At age 11, he wrote his first play. It was an adaptation of Anne Frank: The Diary of a Young Girl. The book, he says, changed his life and motivated him to write his own stage version. The experience was significant in more ways than one.

Says Reaves, “One night, I accidentally deleted over 100 pages of writing. I was devastated and cried all night. But the next day, I got up and started writing the entire play all over again. That was when I realized that playwriting was my passion. Of course, as a human being, I naturally had doubts about making a living doing what I loved. But I started producing my own work at 16 and decided to take my future into my own hands.”

Isaiah graduated cum laude from Northern Kentucky University in 2020. He’s finishing his Master of Fine Arts degree at the University of Iowa Playwrights Workshop.

The Creative Process

Reaves says his creative process hasn’t changed much since he was 11-years-old. “I’m a planner. I plan and think about what I want to write for many months before I actually sit down to write anything. By the time I open my laptop to begin a script, I know where the story is going. I know the beginning and the ending. I know the characters and the title.”

When writing a draft, he says music is a must. “I listen to whatever music my characters would listen to. If I am writing a piece about contemporary teenagers or young adults, I listen to hip-hop. If I am writing a play set in the 1930s, I listen to 1930s jazz. I listen to anything that puts me in the time and place in which my characters live. I actually won the Kennedy Center Hip Hop Theatre Creator Award when my horror piece, Saturday the 13th, placed second in the nation. That’s an example of the impact of music on my craft.”

He says he gives himself the grace of letting the first draft be bad. Then, once it’s on the page, he collects input from others. “I seek advice from friends. I hear the script out loud and continue to make changes for many months after.”

Written by Reaves

Reaves has written 14 plays to date, with his 15th currently in the process of being written. Here’s a quick look at his works:

● The Blackface Project, 2018: The true story follows Bert Williams, a Black performer during the turn of the 19th century, who’s invited to perform on Broadway. He would be the first Black man to do so. But the caveat is that he can only do it if he agrees to perform in blackface, concealing his true identity to alleviate the racist fears and concerns of white audiences. The production was staged for the Cincinnati Fringe Festival. It received recognition as the critic’s pick by Cincinnati’s CityBeat.
● The Black Boy in Pink, 2019: This fictional story centers on the life and relationships of a gay Black man named Wyatt. He engages in various relationships against the backdrop of 1959 Cincinnati, when living one’s life openly and freely as a member of the LGBTQ+ community posed enormous obstacles. Reaves was invited to read portions of The Black Boy in Pink at Lincoln Center Plaza as part of the Classical Theatre of Harlem Playwright’s Playground series.
● Richie and Blanche, 2020: Reaves was asked to write a pod play for Cincinnati Playhouse in the Park. The audio play took place at a specific location, and it was recorded and delivered through an audio file. Listeners were encouraged to visit the location of the story, plug in their headphones and press play. Richie and Blanche takes place on a bridge connecting Cincinnati to Northern Kentucky. The two characters, referenced in the title, are an estranged mother and son who have reconnected. Five years prior, Richie had come out to Blanche, which set off five years of separation.
● I Shall Not Be Moved, 2022: Produced by Ensemble Theatre of Cincinnati, this biographical, onstage memoir tells the story of Reaves’s grandmother, Betty Daniels Rosemond. She’s a groundbreaking, nationally recognized Civil Rights activist who was one of the first Freedom Riders of the 1960s.

Pearls of Wisdom

Playwright Isaiah Reaves.

Here’s what Reaves recommends to emerging theatre artists and playwrights:

● You will hear the word “no” many times. But it only takes one “yes” to change your life. It will be difficult but wait for that “yes.”
● If you work hard enough and really love your craft, anything can happen. Don’t give up.
● Make things happen for yourself when it seems like no one is listening.
● Learn everything about theatre so you appreciate every job.
● Listen to your instructors.

Reaves’s works have been commissioned and staged by The Classical Theatre of Harlem at Lincoln Center, Ensemble Theatre Cincinnati, Cincinnati Shakespeare Company, and many others. He is also a semi-finalist for the Ucross and The Blank Theatre Future of Playwriting Prize, a 2020 finalist of the Jackie Demaline Regional Collegiate Playwriting Competition, and an Iowa Arts Fellow. His next play, The Living Dead, is a contemporary version of the classic, 1968 horror film Night of the Living Dead. It’ll be staged at Cincinnati Shakespeare Company in the fall, just in time for Halloween.

Natalie Clare is a Cincinnati-based writer who composes original content for brands, organizations, and publications. As a storyteller, she writes fiction and nonfiction, and she directs and produces works of film. Visit her at nataliecwrites.com.

The post Passion for Playwriting appeared first on Dramatics Magazine Online.

Social Media as a Tool for Success

Natalie Clare — Wed, 20 Apr 2022 18:19:35 +0000

Social media is a tool for success if you use it wisely. Social media platforms are no longer just for connecting with family and friends. The many (many!) platforms offer you powerful ways to influence your career path. This is especially true in theatre.

Before you read any further, pause and realize that your online “resume” includes your social media posts and they can and will be found by more people than you can imagine. Start right now to wisely choose what you post on any platform.

Content marketing expert and podcaster Dave Charest says that in the world of theatre, social media “allows everyone a louder voice,” and with so much chatter in the social media world, a loud and clear voice that lets decision makers get to know you a bit more goes a long way. He explains, “The tools are available to build your own platform. You can listen, respond, and interact directly with your audience … forming the basis for any long-term marketing strategy.”

Because like it or not, as you move from high school to college or from one job to another, a certain amount of power lies in the hands of college administrators and employers. Checking an applicant’s social posting is actually becoming a normal part of researching candidates. Use social media as a tool for success in getting to wherever you hope your plans will take you. Below, are key tips to follow.

Social Media as a Tool for Success: Personal Branding

You’ve probably heard, time and again, that authenticity is essential in this theatre business — particularly for actors. It can be challenging to “just be yourself” during the limited time you have in person. But with a steady stream of content on social platforms, being yourself has never been easier. Treat your social channels as a way to introduce yourself on your own terms and with your own voice.

Note that “steady stream of content” does not translate to constant. You can help your followers look forward to your posts by being intentional in what you share and not flooding their feeds with your posts. You know that person who posts 10 times a day and that you’ve unfollowed? Don’t be that person.

For example, you can post about more than just your theatre activities. Show that you’re a well-rounded person with other interests and hobbies, too. Maybe you could share inspirational quotes that reflect your values and principles. Or maybe you love to tell riddles and you post one a week. Think of the many different characteristics that make you you, and share those aspects of yourself. It’ll give your circle of influence a strong sense of who you are as a person and an artist.

Photo credit Zen Chung Pexels

A word about sharing your truly personal life. It’s okay to be real, and yet, always think before you post: Is it true? Is it kind? Is it necessary? There is no urgency in posting “this very second” when you’re being intentional with your social media platforms’ content. Not every mood or thought is post worthy. There’s a huge difference between your “personal branding” and the nitty-gritty details of your personal life day in and day out.

Social Media as a Tool for Self-Promotion

Theatre is a competitive industry that’s brimming with talent. And everyone is competing for highly coveted jobs. Social media gives you an opportunity to showcase your expertise and stand out from the crowd.

Mandy, a creative community that helps artists and performers find work and develop their career, recognizes how important it is to become digitally savvy. They write, “Employers and theatrical companies are now looking beyond strong professional experience and a good work ethic when hiring professionals in the theatre industry. Your social media accounts are to be treated as a public, interactive portfolio.”

So, what does that look like from a content perspective? Here are some suggestions:

● Behind-the-scenes experiences with different projects
● Awards, achievements, and special recognition
● New skills you’re learning, or new skills you’ve mastered
● Promotional content created by the theatre’s marketing department
● Content that shows attendance at shows, conferences, or industry-related events.

Networking with Peers & Pros for Success

According to Heidi Dean, a popular marketing expert who specializes in social media marketing for actors, she says we should think of social media more like a telephone than a megaphone. Without engaging with others online on a regular basis, you lose a key component that makes social media so valuable. Make sure you’re not being one-sided in your social conversations online. Below are valuable habits to develop:

● Follow and engage with fellow theatre artists
● Spotlight your fellow cast members, your director and designers, and your production crew members
● Comment on posts from other industry professionals
● Ask your followers a question to invite conversation and connections
● Share posts about events related to the industry and your brand
● Express gratitude to employers, peers, and others for unique opportunities.

The Importance of Staying Current

Yes, it might sound old-fashioned, but it’s just as important as ever to stay updated about industry news. This was made all the more significant when industry professionals from every part of theatre needed to stay informed on changes and outlooks related to the pandemic. Staying current helps you be informed about new productions and possible opportunities, and keeps you engaged with the community. Be sure to get your news and information from a variety of sources, too.

The post Social Media as a Tool for Success appeared first on Dramatics Magazine Online.

Plan a Theatre Career

Natalie Clare — Thu, 07 Apr 2022 19:41:52 +0000

You’re passionate about productions and you need to plan a theatre career. There are people in your life who worry that making a living isn’t feasible (you know who they are!). And yet, the industry offers several opportunities to pursue your passion. So whether your dream role is on the stage, behind the scenes, or writing stories, you can earn a living by doing what you love. A solid plan helps you navigate forward!

But how do you get started? And how do you forge that path forward? Let’s take a look at how to plan a theatre career that lets you love what you do and pay the bills. (Maybe this story’s photo makes you chuckle, but remember that this is your business plan. It’s important! Input from trusted, knowledgeable people is a huge help. You can connect with so many theatre pros and peers at the International Thespian Festival.)

Plan a Theatre Career by Learning

Apply to internships, fellowships, or apprenticeships in any part of the theatre business wherever you can find them. Learning up close in a professional environment is not only an ideal way to polish your craft, but it’s a great way to get in front of theatre artists who can help launch your career.

When you work on contract with a theatre company or organization, you’ll interact with the many visiting artists who bring productions to their feet. Remember that this industry is fueled by personal recommendations and exposure. Having direct contact with the people who may one day hire you is a massive opportunity.

Don’t be afraid to diversify your skill sets, too, by applying to different theatrical disciplines. If you’re an actor, you can still benefit from working with a nonprofit theatre’s marketing department. If you’re a director, you can find your way to opportunities through internships at casting agencies. This is a creative field so go beyond the usual boundary lines you’ve drawn.

Network to Get Work

The theatre industry exists in a sort of bubble. From the outside looking in, it’s hard to understand how it all works, and it can be even harder to break into if you’re unfamiliar. That’s why it’s so important to strengthen your networking skills and keep yourself open to making new connections and creating lasting impressions. There are lots of ways you can do it, too:

Professional Networking: Don’t be afraid to introduce yourself to folks who are associated with theatre companies, or to casting directors, agents and theatre instructors. You can also reach out to professionals whose work you admire and ask questions. How did they get started? What resources do they use for their skills? What are the most important lessons they’ve learned? Most people are happy to share their stories and insights about their careers when given the chance.

Find interest-based networking groups that allow you to connect with others through commonalities and shared experiences. Some of these include Black Theatre Network, La Gente: The Latinx Theatre Design Network and The Magdalena Project.

Peer Networking: Make friends with your peers rather than treat them as competition. Whether you’re at an audition, attending a conference, or sitting (or performing) in class, view the artists around you as acquaintances and stay connected with them. You may find out about job opportunities before they’re published, giving you a leg-up on making a good impression. Think of your fellow emerging artists as part of a community — you’re all supporting one another.

Digital Networking: It’s so important to make yourself visible in your chosen profession through social media these days. A clear and solid social presence impresses employers in this industry and can make or break casting decisions. Show your skills and your personality at the same time by engaging in viral trends. Keep the “social” in social networking by following, commenting and messaging industry peers. Stay consistent with your content to maximize visibility.

Go Pro — With or Without a Union

You should consider yourself a theatre professional whenever you receive financial compensation for your work. That being said, not all theatre professionals have the same structure with their careers. Some professional artists pursue union memberships and enjoy benefits like workplace protection regulations, health insurance, access to legal help, pension contributions and others. Membership often requires that you meet eligibility requirements — that generally means proof that you’ve performed professionally and qualify as a working artist.

Some artists prefer to work without union association. Without it, they have the flexibility to work more fluidly between projects and employers, and they don’t owe any membership fees or dues. It can be less expensive for a theatre to hire a non-union professional actor, which can influence casting choices in a non-union actor’s favor. Memberships with certain unions can also prohibit its members from working for employers who aren’t affiliated with the union itself.

Live in an Industry Town

Emerging actors may set their sights squarely on New York City, but ever since the 1960s, theatre industry towns have flourished in cities all over the U.S. Many of them boast reputable theatres that form a pipeline directly to Broadway or film and television, too. Cities where you can make a full-time career in film and theatre outside of New York include Chicago, Los Angeles, Washington D.C., San Francisco, Atlanta, Boston, Philadelphia, Minneapolis and Louisville, Kentucky — just to name a few!

Never Stop Learning While You Plan a Theatre Career

Theatrical and performing arts are never set in stone. They change and adapt with the times, ushering in new approaches, styles, and technology. Keep your skills fresh and embrace every opportunity to constantly hone your craft!

The post Plan a Theatre Career appeared first on Dramatics Magazine Online.