Post-show Panel of Experts | COLOSSAL

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Thursday, August 6 | 9:00pm, after the 7:30 performance
Calderwood Pavilion at the BCA, Roberts Studio Theatre
527 Tremont Street

Join us for a post-show discussion with dramaturg Ramona Ostrowski and members of the incredible community cohort who helped us put this show together: Noe Montez from Tufts University, Sidney Monroe from The Theatre Offensive, Adrian Hernandez from Boston College High School, and Beth Peters from The Accessible Theatre. The conversation will focus on the themes of the play, giving you insight into both the story and production process!

Post-show discussion with the cast | COLOSSAL

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Thursday, August 13 I 8:45PM, following the 7:30 show
Calderwood Pavilion at the BCA, Roberts Theatre
527 Tremont Street

Stick around after the show for a discussion with the cast of COLOSSAL!

#StaffChat: Eco-Friendly Theatre Practice

#StaffChat posts feature articles and news that the C1 team discusses as part of our weekly all-staff meeting. We’d love to hear your thoughts too — hit us up on Facebook or Twitter!

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Given the current state of climate change, it’s important to examine how we, as artists, address this enormous issue, both within our work itself and in our means of doing theatre. This week, we’ll be spending some time looking at the current environmental impact of our processes, and thinking about ways to become more sustainable.

We’re looking at a few articles to help guide our conversation:

— HowlRound’s recent series on Theatre in the Age of Climate Change, specifically the articles: “Walking The Awkwardly Heroic Yet Often Depressing Path of Near Impossible Catastrophe Evasion Through Kick-Ass Poetics” by Elizabeth Doud and “Where Is the Hope?” by Jeremy Pickard
— “Alas, Poor Planet” by Mark Fisher from The Guardian
— ”Eve Ensler Talks and Talks and Talks Trash” a review of OPC in The Boston Globe

Fisher’s article in The Guardian articulates some of the aspects of theatre that make it so unsustainable:

“Keeping the fuel bills down is not the only environmental challenge faced by the theatre industry. Think of all those sets scrapped at the end of a run. Think of the hotel nights and minibus miles generated by companies on tour. Consider the audiences travelling into town. What of the paper for the flyers, posters, programmes and scripts? Then there are the stars – Don Johnson, Jessica Lange – who jet in from the US to see their names in high-wattage West End lights. Should we wonder at the scarcity of green-themed plays, when the theatre business itself has such a voracious appetite for resources?”

The piece goes on to detail some theatres, like London’s Young Vic, that are implementing green audits to identify areas for improvement on the sustainability front. Some companies are also using the production’s text itself to explore the issue, staging work with themes that directly address environmental impact.

Similarly, Pickard’s article in HowlRound speaks about Superhero Clubhouse, a company specializing in eco-theatre. All their programming deals with issues around sustainability, but to avoid overly didactic work, they approach projects with large, abstract ideas before getting practical:

“Early in the process of making an eco-play, after a dose of research, my collaborators and I generate an “impossible question”—one that is extremely difficult to answer, even for an environmental expert. For example, in EARTH (a play about people), our question is, “Should we have children?” This is a question that sparks a provocative conversation about overpopulation, but is impossible to definitively answer personally or communally. Allowing the question to be “impossible” steers my collaborators and me clear of didacticism and oversimplifications of science, and also leaves room for audiences to grapple with an environmental issue on their own terms. After forming our impossible question, we place temporal, narrative, physical, and scenic limitations upon ourselves.“

MARS (a play about mining) at Superhero Clubhouse; Photo by Brian Hashimoto.

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Link Roundup! – 6/19/15

Link Roundups feature articles and bits of internet goodness that our dramaturgy team digs up. If you find something you want to send our way, drop us a line on Facebook or Twitter!

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There have been a lot of eloquent and heart-wrenching responses in the wake of the Emanuel AME church shooting that killed nine people earlier this week, and NPR has a round-up of a few to get you started, like this one from Huffington Post Black Voices writer Julia Craven:

Racism is not a mental illness. Unlike actual mental illnesses, it is taught and instilled. Mental illness was not the state policy of South Carolina, or any state for that matter, for hundreds of years — racism was. Assuming actions grounded in racial biases are irrational not only neutralizes their impact, it also paints the perpetrator as a victim.

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Everyday Feminism does a great job breaking down what’s wrong with cultural appropriation:

For many people, barriers like classism, racism, and xenophobia mean they don’t have the right look, language, or position of privilege to earn income with their culturally specific tools – and yet oftentimes, white people can turn those same culturally specific tools into profit, thereby hurting the community they’re borrowing from.

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The How-To Guide for Promoting Diversity in Arts Management

Last month, Howlround published a piece by Elena Muslar entitled “Racial and Ethnic Diversity in Arts Management: An Exposé and Guide.” The article focused on Muslar’s research as part of her MFA thesis, which contained interviews that demonstrated common challenges and hang-ups the success and promotion of people of color. In her “Expose and Guide,” Muslar includes questions, suggestions, and pathways to creating opportunity and access into arts management positions.

Muslar noted four common responses in her interviews to current arts managers, about why there were not more people of color in leadership positions in their organizations:

“My organization does try to reach out to people of color but they don’t apply.”
“I’m not really sure why we haven’t had people of color in leadership positions.”
“I fear my own voice in this conversation.”
“I’m not sure how to get young people of color interested in this field.”

These answers are not surprising, and by now near commonplace. However, they are important to hear, and identify, so we can move past these fears and misconceptions. Without recognizing the hesitations, we are unable to challenge them, and consequently, leave them behind.

In all four responses, uncertainty is a common link. Responders are not sure why there is a lack of diversity in leadership, where their place is in the conversation, or how to resolve the issue. Uncertainty, here, is defeating. Rather than asking questions about how to perceive and create change, they are resolved in their inability and their unknowing.

Muslar does more than just raise these questions though, she provides answers.

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Link Roundup! – 6/12/15

Link Roundups feature articles and bits of internet goodness that our dramaturgy team digs up. If you find something you want to send our way, drop us a line on Facebook or Twitter!

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Fun Home, the musical based on Alison Bechdel’s graphic novel of the same name, won big at this year’s Tony Awards. It was a solid night for women in general this year, with women winning in almost every category they were nominated in, as noted by FiveThirtyEight:

Lisa Kron’s acceptance speech for winning Best Book (Fun Home), which was frustratingly not aired on the live telecast, spoke to the variety in this year’s Broadway season. Her fantastic speech is below and well worth watching:

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The pool party in McKinney, Texas that resulted in another viral video showing the police force’s unnecessary use of violence is a potent reminder of the fraught history behind public swimming pools:

Campaigns by civil rights groups like the NAACP to integrate public pools often turned very, very ugly. “Groups for and against segregation threw rocks and tomatoes at one another, swung bats and fists, and even stabbed and shot at each other,” Wiltse wrote. Even after Brown v. Board of Education ostensibly desegregated America’s schools in 1955, a federal judge sided with Baltimore’s pro-segregation argument that pools “were more sensitive than schools.” (That decision was later overturned.)

When the group of white and black integrationists refused to leave the motel’s pool, this man dived in and cleared them out. All were arrested. Horace Cort/AP

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Link Roundup! – 6/5/15

Link Roundups feature articles and bits of internet goodness that our dramaturgy team digs up. If you find something you want to send our way, drop us a line on Facebook or Twitter!

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Julissa Rodriguez – Gabriel Garcia Roman

NPR’s feature of photographer Gabriel Garcia Roman’s portraits of queer people of color, inspired by fresco paintings of saints, is so awesome:

The photo series, called “Queer Icons,” evokes the colorful, religious artwork that Roman grew up with. “Because I grew up Catholic in a Mexican community in Chicago, my first introduction to art was religious art,” he says…And because Roman’s subjects are activists and artists who do good for the community, “I wanted to represent them as saints,” he says. He also wanted to capture their pride and their strength. “I wanted them to be warriors — that’s why a lot of them are looking straight at the camera, saying ‘Here I am, and I’m not going to hide.'”

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This Guardian article asks an important question: how would you explain theatre to somebody who’s never been?

There’s been lots of talk recently around the idea that theatre sometimes feels too much like an exclusive club for those who are in the know. Questions are being asked about why so many people think that it’s not for them – something I touched upon in a blog earlier this year. Figures from the Warwick Commission make worrying reading: the wealthiest, best educated and least ethnically diverse 8% of society make up nearly half of live music audiences and a third of theatregoers and gallery visitors…Perhaps what we don’t talk about enough is the pleasure of theatre, how it makes us feel, and why those of us who go frequently love it so much.

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BCA PlayLab: What We’re Reading – Vol. 2

The 2015 BCA PlayLab is coming to a close in a few short weeks. Here are a few pieces of writing that we think is worth checking out as we wrap up the program. Let us know what you think on Facebook or Twitter!

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We’ve been talking a lot about work/life balance as a writer, as well as best practices for maximizing opportunities to connect with potential collaborators during the past couple PlayLab sessions — here are a few more articles that touch on similar topics. (As a reminder, the links we share aren’t necessarily endorsements, but are a great jumping off point for discussion.)

End of year advice from our writers – The Playwrights’ Center

“1. Always write the play you’d actually go see.
2. It’s okay to write in the style of your hero. After all, your hero ripped off his/her style from somebody else too. But don’t tell the same stories as your hero. Yours are way better.
3. The week-long retreat in the woods culminating in the staged reading is great, but don’t wait or rely on it to hear your play read. Call some actors, find a room, print some scripts, and get it going. Do this until you run out of favors or until the week-long retreat people finally invite you.”
—Core Writer Idris Goodwin

Having Kids: Worst Idea, or Worst Idea Ever? – Bitter Gertrude

I’ve been asked many times about how I made parenting and a life in the theatre work. The sad truth is, there’s no magic formula that will make those early parenting years less difficult, but the happy truth is, it goes by in a blink. Your life as an artist will last decades, and your kids will only need direct supervision for 15ish years. It’s over before you know it. I know that’s not much consolation to people with a screaming baby who somehow have to teach three classes and rehearse for four hours on 37 minutes of sleep, but believe me, it’s true. Your screaming baby will be 15 and able to come home, do his homework, make his dinner, take a shower, and get himself to bed at a reasonable hour sooner than you think. It will be bittersweet, but it will happen.

Playwright Melissa Hillman and her son Jonah, May 2001

How I Got Eight Full-Length Productions This Year – donnahoke.com Continue reading →

EDITH EDUCATION PACKET

Students and Teachers!

Explore the characters, themes, and production design of EDITH with our new Curricular Connections Packet!

Link Roundup! – 5/29/15

Link Roundups feature articles and bits of internet goodness that our dramaturgy team digs up. If you find something you want to send our way, drop us a line on Facebook or Twitter!

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(Pew Research Center)

This CityLab article about The Failures and Merits of Place-Based Initiatives examines how community development programs aren’t always helping to reduce urban poverty:

Is it time to kick programs like Promise Zones and Choice Neighborhoods to the curb? Are these place-based initiatives, which funnel streams of resources to neighborhoods of concentrated poverty and racial segregation, futile in the face of rapidly expanding wealth gaps? Yes and yes, says Occidental College urban studies scholar Peter Dreier. In “The Revitalization Trap,” a column for the National Housing Institute’s Shelterforce blog that Dreier wrote earlier this month, he argues that organizations focused on community development have “fallen into the trap of focusing on revitalizing low-income neighborhoods, without challenging the corporate and political forces that create economic inequality and widespread poverty.”

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This interview with playwright Katori Hall is an interesting look into her writing process:

Everybody is influenced by who they are and unfortunately how other people perceive them to be. And race is a perception. It’s not even a true thing. It is truly a mental construct but because it is this idea that is made very real due to other people’s actions and reactions toward you it’s obviously going to inspire your work. It’s going to make you mad enough to write. And sometimes it makes you mad enough to not write. (laughs) And to go out and march. It’s just part of living as a female artist of color.

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