REVIEW: Workshop Theatre's CATS

CATS finds success with a cast that exhibits unflinching commitment to the task at hand (and they seem to be having a rather good time while they’re doing it).

Workshop Theatre of South Carolina opened their production of Andrew Lloyd Webber’s CATS last weekend, starting a three-week run of this show which ran for 18 years on Broadway. As the resident community theatre troupe at Columbia College’s Cottingham Theatre, the Workshop presentation is a special collaboration between Workshop and the Columbia College Dance Education and Dance Studies program - creating a unique opportunity for community actors and dance students to work together. 

Based on T.S. Eliots Old Possum’s Book of Practical Cats, Webber’s CATS has been performed for over 40 years and had a feature film adaptation in 2019. For those reasons, we’ll spare you a synopsis and move right along.  

CATS, under the direction of Julian Deleon, finds success with a cast that exhibits unflinching commitment to the task at hand (and they seem to be having a rather good time while they’re doing it). This ensemble, which consists of over 35 performers, hits their marks, are constantly engaged in catlike activities, and ultimately offers an energetic performance that feels dutifully rehearsed.  

Actors Bobby L. Rogers (Munkustrap), Katherine Brown (Bombalurina), Carly Siegel (Demeter) and Blythe Long (Jellylorum) hold the audiences’ hands (read: paws) throughout the production as their characters are charged with introducing us to many of the characters or informing the viewers about the history and traditions of the Jellicle Cats. All four performers have truly lovely voices that are fitting for Webber’s vocal score, and they all lead the proceedings with poise and control that makes the audience feel welcome to their secret society.  

Lisa Baker, as Grizabella, does an admirable job in this production. Baker’s performance of “Memory” satisfies fans of the song due to her powerful vocals and purr-fect tone (sorry, we had to) that throws comforting nods to the Betty Buckley performance we’ve heard countless times over the last four decades.  

The performances of Nathan Jackson (Mungojerrie) and Jessica Roth (Rum Tum Tugger) are also winning moments for this production. Jackson’s Mungojerrie feels incredibly familiar to folks who have experienced the original production of this piece. He’s fun, mischievous, and quite comfortable with his dance duties. Roth’s Rum Tum Tugger deviates from the usual characterization that mixes Tom Jones with glam rockers of the 80s and provides audiences with a Janis Joplin-esque rock-n-roller that is delightful when she takes the show over.  

Without a doubt, Choreographer Erin Bailey was responsible for a larger part of the production than is usual with most musical theatre works. Bailey has created a lot of movement for the cast that allows the trained dancers to wow us when they take the spotlight, and for the “movers” in the cast to look their best throughout most of the production. While some moments aren’t as successful as others, there is a lot of varied movement throughout the production and your eyes don’t get tired seeing a large cast execute it.  

To that end, Emily Jordan (Victoria on March 9th), Katherine Brown (Bombalurina) and Jack Thompson (Mistoffilees) gave us professional performances in regard to dance in the production. They lend Bailey’s work the talent that it desires, and they give longtime CATS fans a glimpse into the choreographic focus with which the show originated.  

Music Director Taylor Dively, in his first time navigating the music for a full-length musical, shows promise in that the vocals of CATS are rather good - especially when regarding the soloists. However, the sound design makes the proceedings uncomfortable at times as the sopranos are too high in the mix - which can make certain moments feel like a caterwaul rather than the good blend coming from stage. On March 9, the band was unfortunately not meeting the cast’s performance level, as the show began with wrong notes on the keyboards, destroying the iconic opening melody. These sorts of accidents occurred often throughout the evening, leaving us hoping that the musicians will realize that they are being paid to be there, and should therefore be just as prepared as the cast who is donating their talent. 

Ultimately, despite the efforts of the cast, this production suffers from a design concept that simply does not work. The show has been promoted as “not your mother’s CATS” - and this is truthful advertising. Our mother’s CATS had humans in fully committed feline-wear, and the illusion worked rather well to make such a bizarre concept a Broadway and West End hit. Workshop’s cats have painted noses with headbands or hats that have “cat ears” attached. Our mother’s CATS had fun set pieces that allowed the cast to create a train out of oversized junk pieces laying around the set along with other moments of inventive whimsy. Workshop’s cats had bare bones structures with some castored scaffolding that left us thinking we were watching CATS on a scaled down set of RENT. The show asks for many moments of reveal, surprise, inventiveness and magic that, in this production, were simply absent. We were not tricked into thinking Macavity was in disguise as Old Deuteronomy. We did not believe we had witnessed magic when Mistoffelees motioned for the cast to wheel Old Deuteronomy back on stage when he’s supposed to be miraculously summoned. The same lack-of-illusion applies when Grizabella is wheeled off stage left as she finally ascends to the Heaviside Layer. Where’s the thrilling sleight of hand? The possibility of that felt lost in the first 30 seconds when a crew member, portraying a human in the wrong alley, walked across the stage making it clear the felines were the same scale as he.  

Cast member Harrison Ayer’s bio briefly and aptly reads that Ayer “is a human, acting like a cat dressed like a human.” That’s pretty much what you get with this directorial concept. If it was a big idea that didn’t come to fruition due to the immensity of the project, then it can be forgiven. However, if this production meets the vision of those who created it - then perhaps this CATS shouldn't have been let out of the bag. Doing “different” is welcome, but only when there’s a relatable or inventive perspective that exposes something newly relevant or unexpected about a cherished work.


We always invite patrons to challenge our reactions by taking the time to see the work themselves. Art is entirely subjective, and you may have a very different experience. If you want to see a fully committed cast giving you undeniable energy in tandem with some rather talented dancers that are performing one of the theatre industry’s most successful works, then you should book your tickets to see Workshops’s production of CATS. The show runs through March 23rd at Cottingham Theatre on the campus of Columbia College. You may buy tickets at www.workshoptheatreofsc.com. Also, don’t forget that the theatre is taking donations for animal shelters, so be sure to bring some treats, litter, or toys with you.

It's Oscars Weekend -- Columbia Creatives & Film Lovers Pick Their Faves from This Year and Others by Wade Sellers

As the cinematic award season concludes Sunday evening with the Academy Awards, Jasper asked creators and film lovers around Columbia about their most memorable movie viewing experience of 2023. Some loved new film offerings from the year. Others re-visited older classics or childhood favorites and saw them with a new point of view. Some anticipated a film only to be disappointed. Our list of Columbia creators and film lovers offered a diverse list of favorites, and we invite you, if you haven’t already, to view some of their favorites when you can.

 

Kwasi Brown - Founder, Black Nerd Mafia  

My favorite movie this year was Thanksgiving. Horror is my fav genre, which typically has a lot of disposable content. This movie, while set in modern times felt like a throwback slasher. It also explores themes of American consumerism and how out of hand it has gotten. Great kills, light humor, and an interesting compelling story. Eli Roth can be hit or miss but I’ve been waiting for this movie since the fake trailer appear in Tarantino's grindhouse forever ago and he didn't disappoint.

 

Marty Fort - Musician & Owner, Columbia Arts Academy, Irmo School of Music, Lexington Arts Academy

I watched The Goonies with my daughter. As far as what was new about The Goonies was how intense parts of it were. Sloth in hand cuffs. The mobsters. And the visuals, Oregon, the music, etc.

 

Laura Kissel - Director, School of Visual Art and Design, University of South Carolina

I loved Barbie! It captures the powerful, fun, and imaginative play a lot of young girls have when they are full of agency and fearless. Great, nostalgic set design for Barbieland, catchy song and dance sequences, and a terrific critique of the patriarchy. And I had no idea there was once a video of Barbie with a camera in her body. I want one! 

  

Merritt McNeely - CEO, Flock and Rally 

Nimona was #1. And magically, was also created by a local. But we didn't watch it the first time through that lens. For me, I cried b/c I realized the struggle that Nimona was sharing with the world - about having to be someone else until you finally just have to be you, and how hard that can be. I felt like it was the exact message my child needed to hear - whether he understood that or not. I don't know why my son cried during Nimona, he can't quite explain his feelings yet, but something moved him to tears as well. 

Tracie Broom - Co-Founding Partner, Flock and Rally 

I absolutely loved Poor Things. I found it incredibly funny and creative, and it shows a version of what women *might* want to question and explore if we weren't conditioned from a very young age to see ourselves, and our usefulness, in a limited way. Plus, what a treat for a Yorgos Lanthimos movie to wrap up on a high note!

Ed Madden - Poet

The Quiet Girl. Gorgeous. Irish film, part in Irish language. Based on novella Foster by Claire Keegan. Heartbreakingly beautiful. Things unsaid. Gestures. What is family. Who is a parent. A slow revelation, the ambiguity of the ending. The cast—Carrie Crowley was so amazing, and Catherine Clinch.

 

Cedric Umoja - Artist

Surrounded. I found the storytelling, cinematography, and acting to be excellent. It was a great way to expand upon the western genre by making its hero a Black woman who had served as a Buffalo soldier before becoming a traveler. She was everything we, as the audience, hoped she would be. 

 

Sumner Bender - Executive Director, Nickelodeon Theater 

I really enjoyed AIR, Barbie, Past Lives, and Oppenheimer. I think Oppenheimer is my favorite though. It's almost cliche because it is so critically acclaimed. I didn't see it when it first came out, but I watched it later and 10 minutes in I realized why it was so hyped up, because it is incredible! I have no qualms about loving popular movies!

  

Jay Matheson - Musician, Owner The Jam Room 

Biggest disappointment was Leave the World Behind. Looking through the 2023 film list the only one that stands out is Jules. It was quite offbeat and dealt with quite a few subjects in a unique way. Aging being a theme. Brian and Charles had to be the standout film that I ran across. Very funny and quite absurd. Not for everyone but I thought it was great. I don't keep notes so I'm sure I've forgotten a few. It was a busy year for me, so I did not watch as many films as usual.

 

Keith Tolen - Artist 

I found myself watching a film I know I have seen almost a hundred times. It’s Cool Runnings. I can’t get enough of it. I don’t know why. It has the beating the odds moments and yet how to handle defeat. I also love the flavor of the film. After all you are in Jamaica. What could be better. Solid acting and my go to film when I need to recharge.

 

Amy Brower - Actor, Artist, & Owner, Brower Casting 

2024 gave us....Barbie. The first act of the film can only be described as a cotton candy fever dream. (Which my inner 5-year-old unapologetically enjoyed) As someone familiar with (and deeply appreciative of) Greta [Gerwig]'s work, I was bracing myself for the gut punch of unflinching reality in there somewhere. And sure enough there it was, sandwiched palpably between hysterical one liners and over-the-top costume changes. Overall, it was a mixed bittersweet bag (as is womanhood) that succeeds in offering a fresh take on gender equality and self-love amidst toxic culture patterns in society and yes, in ourselves. As much as I look forward to sharing Barbie with my daughters in a few years, I feel no need to wake them from their cotton candy dreams of childhood just yet.  

 

Chad Henderson - Theatre Director & Marketing Director, South Carolina Philharmonic 

My favorite film that I watched last year was Good Vibrations, a 2013 music flick based on the life of Terri Hooley - a record-store owner instrumental in developing Belfast’s punk rock scene. I heard about Hooley while watching a PBS documentary about Northern Ireland and The Troubles, then I saw there was a movie about him. Saw the movie (loved it) and read Hooley’s autobiography. Then, by chance, when I was in NYC last summer the musical adaptation of the film was playing at the Irish Arts Center in Manhattan. So I’m a bit of a Hooligan at this point. 

 

Debi Schadel - Co-Founding Partner, Flock and Rally


Two of my favorites were Women Talking and Nimona. Women Talking was a bold movie with little action which was so refreshing. Nimona made me so proud to see a Columbia native make it and it goes to show you that the big budgets aren't always the best and it's always about the story.

 

Cindi Boiter – Founder & Executive Director, The Jasper Project

A unique film that  may not be on everyone’s radar was 2020’s Kajillionaire. I was drawn to it because it was written and directed by Miranda July (You and Me and Everyone We Know, 2005) and starred some of my favorites - Richard Jenkins, Evan Rachel Wood, Debra Winger, and Gina Rodriguez, with a smaller part played by Da’Vine Joy Randolph (nominated for Holdovers this year.) I loved it because it was quirky, and Wood’s character was a huge departure for her. But more so, I loved its treatment of parenting, and the holes parents can leave in the emotional makeup of their children. In a powerful scene, Jenkins and Winger demonstrate how parenting can be a performance more than a mission. Heartbreaking but, in the end, satisfying.

— Wade Sellers

 

 

Jasper Announces the Winning Playwright for the 2024 Play Right Series

The Jasper Project is excited to announce that Chad Henderson’s play Let it Grow, has been selected as the winning play in the 2024 Play Right Series competition. Henderson’s play was unanimously chosen from 14 submissions by a committee of four theatre artists including Dewey Scott-Wiley, Libby Campbell, Bakari Lebby, and Jon Tuttle. Henderson’s play will be workshopped during the summer as part of the Jasper Project’s fourth Play Right Series, then presented as a staged reading. Previous winners of the Jasper Project’s Play Right Series include Randall David Cook’s Sharks and Other Lovers, Colby Quick’s Moon Swallower, and Lonetta Thompson’s Therapy.

The Play Right Series was created by Jasper in 2017 as a catalyst for encouraging new theatre art from South Carolina playwrights. The project is unique in that it invites community members to join the project as Community Producers, individuals and couples who take part in the workshopping of the manuscript while they learn about the process of creating theatre art. A minimum fee of $250 per person allows an individual to become a Community Producer who goes on to be recognized as an honored guest at the staged reading of the new script at the end of the project. Previous Community Producers have included James and Kirkland Smith, Bill Schmidt, Ed Madden, Bert Easter, Wade Sellers, Libby Campbell, Paul Leo and many more. Stay tuned for more information on openings for the 2024 Community Producer roster.

Chad Henderson is a professional theatre artist in South Carolina who is known for directing contemporary plays, musicals and original works that mix music, movement, imagination, and invention to create unforgettable works for the stage. Henderson served as the Artistic Director of Trustus Theatre (2015-2021) in Columbia, SC, and is the current Marketing Director for the South Carolina Philharmonic, where he most recently produced Home for the Holidays at Koger Center for the Arts. Selected Trustus Theatre credits include: The Brother/Sister Plays, Green Day’s American Idiot, Evil Dead, Bloody Bloody Andrew Jackson, The Curious Incident of the Dog in the Night-Time, The Last 5 Years, Assassins, The Great Gatsby, Next to Normal, and The Restoration’s Constance - an original musical for which Henderson also authored the book. Henderson has directed with various theatres in South Carolina including Workshop Theatre of South Carolina, The Columbia Children’s Theatre, Spartanburg Next Stage, and Theatre South Carolina (USC). Henderson has completed three residencies at The Studios of Key West, where he developed new works and directed as part of TSKW’s One Night Stand, a 24-hour new play project. His short film Overture, which he wrote and directed, won the 2017 Second Act Film Festival Audience Choice Award. In the last theatre season, Henderson directed Hundred Days (Workshop Theatre), a staged reading of Moon Swallower (Jasper Project), Don’t Let Pigeon Drive the Bus (Columbia Children’s Theatre), and Clyde’s (PURE Theatre). Other Charleston directing credits include Living Dead in Denmark (College of Charleston), The Brothers Size (Piccolo Spoleto), and PURE Theatre’s lauded production of Fun Home in 2018 which was revived for Piccolo Spoleto that same year. Chad lives in Columbia, SC with his wife Bonnie, whose love and support fuels his passion for the theatre. Visit his website for more information on the artist.

SC Phil presents a Brilliantly Collaborative Holiday Event with Some of SC's Finest Vocalists, Dancers, and of course, the SC Philharmonic!

SC PHILHARMONIC BRINGS SINGERS, DANCERS AND SANTA TO KOGER CENTER FOR “HOME FOR THE HOLIDAYS”

Collaborative creation from Music Director Morihiko Nakahara and Director Chad Henderson promises to be an extravaganza

Vocalist Kanika Moore

Kanika Moore

Katie Leitner

Catherine Hunsinger

Samuel McWhite

Columbia Repertory Dance Company

Santa

Morihiko Nakahara

& the SC Philharmonic

In a brilliantly collaborative act The South Carolina Philharmonic presents Home for the Holidays on Thursday, December 21, 2023 at 7:00 PM at the Koger Center for the Arts under the baton of Music Director Morihiko Nakahara. After years of sold out holiday concerts at Harbison Theatre, The SC Philharmonic is bringing their holiday-themed event to the Koger Center this year for one night only and making it truly grand. The show itself is a collaboration between SC Phil Maestro Morihiko Nakahara and award-winning theatre director Chad Henderson, the former Artistic Director of Trustus Theatre and current Marketing Director of the SC Phil. Tickets may be purchased by visiting 

scphilharmonic.com or by calling the Koger Center Box Office at 803-251-2222.

 

More from our friends at the SC Philharmonic – 

Home for the Holidays is positioned to be one of the last large-scale holiday-themed events of the season, with the performance scheduled on December 21st. The orchestra anticipates that this concert will be appealing to families who have gathered for the holidays, and to those who are looking for new traditions. “We wanted to create a large-scale concert event due to our move to the Koger Center,” says theatre director Chad Henderson. “Audiences are going to get a traditional orchestral experience in the first act, and then in the second half we’re going to enjoy the alchemy of multi-disciplinary work with uplifting, moving and energetic performances from amazing singers and dancers alongside the SC Phil.” 

Singer Kanika Moore is known internationally as the lead singer of Doom Flamingo (Charleston, SC) and Tauk (Long Island, NY). This Charleston native’s original tone and seamless effort is almost impossible to ignore, and this is quite possibly the reason she was named the Charleston City Paper Soul/R&B Act of the Year in 2019. Joining Moore are Columbia singers Katie Leitner of Say Femme, Catherine Hunsinger of Rex Darling, and the magnetic musical theatre veteran Samuel McWhite. 

Wanting to dive deeper into multi-disciplinary work, the SC Phil invited The Columbia Repertory Dance Company to collaborate with the orchestra. In its fourth season, The Columbia Repertory Dance Company’s mission is to broaden the experience of professional dance artists and patrons in Columbia, SC through multidisciplinary collaborative performances year-round. Led by Artistic Director Stephanie Wilkins and Managing Director Bonnie Boiter-Jolley, the company is bringing emotional and athletic work to the Koger stage – a trademark of this company which performed at the DUMBO Dance Festival in NYC in Summer 2023.  

The concert will boast two arrangements by Columbia’s Dick Goodwin, famed jazz artist and composer. Goodwin’s arrangements of “All I Want for Christmas” and “I’ll Be Home for Christmas” will be featured in the second act, with the latter serving as the finale of the evening. Audiences can also expect to hear classic orchestral fare like Leroy Anderson’s “Sleigh Ride,” alongside popular songs like “White Christmas” and “Santa Claus is Back in Town,” and readings of “Twas the Night Before Christmas” and the famous editorial by Francis Church “Yes, Virginia, there is a Santa Claus.” All of these elements combined with production design from Chad Henderson and Koger Center Technical Director Steve Borders will make for a sensational evening of symphonic spectacle that will entertain the whole family. 

“In the end, we want audiences to have a fulfilling and rich experience,” says Henderson. “We want people to feel a range of emotions while they’re with us. We’re using the undeniable universality of music, dance and, at times, theatre to provide audiences with a joyful evening that will be uplifting, energizing and powerful. Hopefully this will become a signature event for the SC Phil where friends and families join us every year to ignite their celebrations.” 

The SC Philharmonic’s Home for the Holidays will take the Koger Center stage on Thursday, December 21, 2023 at 7:00 PM at. Concert ticket prices range from $10 to $40 currently, and they can be purchased at scphilharmonic.com or by calling the Koger Center Box Office (803) 251-2222.

Student Rush tickets are available for $10 starting thirty minutes before the concert, and group rates for 10 or more are available by writing kathryn@scphilharmonic.com

 

REVIEW: Chad Henderson's HUNDRED DAYS at Workshop Theatre

This is a show for those who love live music. Even if you don’t typically like musicals this is a show for you. Honestly if you have ears and a heart this is the show for you. I’m only partially kidding, but I have a hard time imagining anyone not enjoying themselves. Hundred Days feels like a concert, but better, and tells the real-life love story of Abigail and Shaun Bengson through songs they wrote as a family band. I won’t go into details, but their love story, like most, is not easy. This musical memoir illustrates well what happens when past trauma and anxiety go head-to-head with true love. 

Director Chad Henderson consistently delivers great theatrical productions to Columbia, and this was no exception. He has pulled together an excellent cast of local musician-actors, and it was obvious he had been thinking about producing this show for years. Well-known local actress and musician, Katie Leitner, was the perfect choice for lead, Abigail Bengson, and probably one of the few actors in Columbia with the vocal chops to play her. Katie along with the band elevate Abigail’s songs and put a polish on them that make them sound more modern than the original cast recordings. Her incredible voice and magnetism on stage draws you in so much so that this could have easily become the Leitner show. Thankfully, Henderson balanced the show well and cast co-star, Taylor Diveley, to play Shaun Bengson. Diveley held his own next to Leitner with equally exceptional vocal ability and a number of endearing qualities.  

Making up the rest of the family band we have singer and cellist Catherine Hunsinger, front-woman for local band Rex Darling, and multidisciplinary director and performer, Bakari Lebby, on bass. Both have speaking roles throughout the show, providing levity where needed, and sing harmony on the majority of songs. At times, the harmonies in these songs were overwhelmingly good – chill inducing and magical. USC professor, musician and musical director for the show, Tom Beard, sings, speaks, and plays accordion as well as synthesizer throughout the show. Drummer and vocalist, Patty Boggs, rounds out the band with near perfect dynamics. Both are stellar musicians and great in their roles.  

Musically the songs in this production run the gamut from Indie folk to electronica with several more traditional musical numbers sprinkled in. Be warned you will leave with songs from the show stuck in your head.  

The hour and a half performance kept the audience’s attention the whole time, and in the age of TikTok with our ever-shortening attention spans this is an impressive feat. Patrick Faulds the lighting and set designer did an impressive job of making the stage feel like a music venue, while also keeping it interesting. There were constantly little things I noticed on stage throughout the show, and like any good modern concert, video was a big part of the performance. Screens on the stage complemented each song and reinforced major themes throughout the show.  

100 Days runs through May 27th and is definitely worth the ticket price and your time. It is moving, fresh, and thoroughly entertaining. Learn more about the show at Workshop Theatre’s website.

Workshop Theatre Premieres Contemporary Musical Memoir Hundred Days Directed by Chad Henderson

“It's Columbia. We are better served by seeing something for the first time rather than a variation on what we've seen before. We've all seen that. We need new, we deserve it. We deserve the newest things now.”

- Chad Henderson

Hundred Days is a musical memoir based on a true story that premiered for the first time in 2018. This fresh, contemporary take on the goal of loving and living fully is coming tomorrow to Workshop Theatre. Running from May 12 – May 27, the show is directed by Chad Henderson with music direction by Tom Beard and a cast that features Katie Leitner, Catherine Hunsinger, Taylor Diveley, Kari Lebby, and Patty Boggs

The show has been described as “luminous,” “exhilarating,” and “raw,” and Leitner herself asserts that “people can expect to be immersed in a multi-media, emotionally gut-wrenching story accompanied by powerful folk- blues ballads, dense and haunting harmonies, uplifting folk pop toe-tappers, and clap-along rock tunes.” 

Jasper sat down one-on-one with director Henderson to get more details on the show.

 

JASPER: How did you decide to direct this show? 

HENDERSON: This show has been a three-year journey for me. My friend and collaborator Jonathan Whitton sent me an email about this play with a message that read something like "You need to know about this. You're welcome." He was right. It is entirely the type of work I seek and savor. I kept my eyes on the licensing for the show, because in this market you are at the whims of the licensing companies. This was all before the closures of the pandemic. Fast-forward some time later, and Workshop Theatre took my submission seriously. They were willing to produce a "little musical that would be one of the hardest things to achieve." I'm so glad that Jeni McCaughan and the script selection committee committed to this production—they have been absolutely amazing to work with.

 

JASPER: What makes you excited about this musical, specifically? 

HENDERSON: Honestly, this is the kind of work that I gravitate towards, having spent four years in a rock band and being a lover of live music. I have directed theatrical works like "Hedwig and the Angry Inch," "Spring Awakening," "Passing Strange" and "American Idiot." These all have a special place in my heart because they closely align with my personal aesthetic and have an impactful connection to the type of storytelling that moves me as an artist.

 

JASPER: Why this story here? Why now? 

HENDERSON: It's Columbia. We are better served by seeing something for the first time rather than a variation on what we've seen before. We've all seen that. We need new, we deserve it. We deserve the newest things now. Also, love is timeless—and that is still (somehow) a revolutionary thing to explore presently.

 

JASPER: How long have y’all been working on this?

HENDERSON: I've been working on this for three years now in my mind. I've been dreaming of a local cast for that long as well. I'm very lucky that two of the original people I dreamed of are working on this production (Katie Leitner and Catherine Hunsinger). Even luckier to have one of my favorite collaborators, Tom Beard, reach out to me to ask, "what are we doing next." Then after a string of auditions and conversations we found the remaining alchemy that this production needed: Taylor Diveley, Kari Lebby and Patty Boggs.

 

JASPER: Have there been any unique challenges in this show? 

HENDERSON: Once the casting was complete, the challenge fell to the actors. They have to be a band. They have to create that synergy. They also have to be open to the unknown due to the fact that the show is a live set from a band, and the story that arises from their performance must be a sneak attack.

 

JASPER: What’s special about your rendition? 

HENDERSON: I'm me and this is me doing what I love to do: make it as hard as possible for everyone. So, while the cast is rehearsing tirelessly to become a band with 90 minutes of music and banter to memorize—while also being able to live truthfully in the moment—we have added a film element to the production. We spent three weekends filming auxiliary storytelling that is presented through on-stage media.

 

JASPER: Have there been any exciting “oh my god this is it” moments? 

HENDERSON: I've had many "Oh My God" moments. They've happened at every rehearsal, which is a testament to this cast. Damn, they're good!

 

JASPER: The music in this show is described as “anthemic folk-punk music” — what can a not music-savvy person expect?  

HENDERSON: If you have heard the works of Mumford and Sons, Ani DiFranco, Frou Frou, Queen, Jump Little Children, Son Volt, or anything else that sounds totally relatable but also entirely singular—that's what it sounds like. The music lifts your heart because the compositions have that effect. It's also very Americana. There's no banjo or mandolin, but plenty of cello and accordion. It also doesn't sound French. I don't know...the music is singular. It's the Bengsons [group who originally created and performed the show]. Just come hear for yourself or get a taste on Spotify or Apple Music.

 

JASPER: How would you summarize this story in your own words? 

HENDERSON: It's about love (cue memories of Christian in Moulin Rouge). It's about the rewards, challenges, magnetisms, insanities, and fears of love. It's about the weight of commitment: the work that comes with it, but ultimately the joys.

 

JASPER: Why should people see this show?  

HENDERSON: Simply put: It's one of the few contemporary shows you can experience in the coming months. To call it a musical is misleading. You're coming to see a band. A very good band. It just so happens they are going to make you relate to their crazy story in 90 mins flat. Also, the bar is open throughout the show because...that's just civil, isn't it? It's a show and space where you'll be comfortable, and you'll leave with plenty to talk about. You might even kiss somebody (if they consent).

 

It’s hard to describe what to expect, but in attending Hundred Days, you are guaranteed a once-in-a-lifetime story. You’ll laugh, you’ll cry, you’ll groove. For more details about and to get tickets, visit Workshop Theatre’s website.

Philharmonic Collaborates with Local Nonprofits to Present a Weekend of Music and Sensation

By Liz Stalker

Ayano Kataoka

This coming weekend, the South Carolina Philharmonic will present two noteworthy concerts at the Koger Center: Firebirds of a Feather on Saturday, February 18th at 7:30 p.m., and Sensory Friendly Family Concert on Sunday, February 19th at 3:00 p.m. Both concerts are a part of the Philharmonic’s Music for a Cause program, a program that involves partnering with other non-profit organizations in order to raise awareness and funds for important causes through the Philharmonic’s various Masterworks concerts.

 

Firebirds of a Feather is a concert centered around the fantastical nature of our aviary friends. The concert is bookended by Igor Stravinsky, starting with Song of the Nightingale, and concluding with The Firebird Suite—one of his most renowned works—with Takashi Yoshimatsu’s composition, Bird Rhythmics, at its center. The SC Philharmonic’s Marketing Director, Chad Henderson, describes the selection of pieces as “a great opportunity for audiences to ignite their creativity and let the story form in their mind based on how they interpret the music.”

 

The Philharmonic will play alongside featured soloist Ayano Kataoka, a percussionist whose marimba skills will be particularly highlighted through these pieces. Kataoka started performing as a marimbist as early as nine years old, leaving her home in Japan to tour around China. She went on to amass a number of impressive degrees in music and perform all over the world. Kataoka is currently the Professor of Percussion at the University of Massachusetts Amherst and continues to be a season artist of the Chamber Music Society of the Lincoln Center of Performing Arts in Manhattan.

 

Firebirds of a Feather is being put on in partnership with Feathered Friends Forever, an organization dedicated to the rescue, rehabilitation, and sanctuary of abused and neglected birds as well as adoption services for responsible bird lovers. Patrons who get there early can check out the live birds that will be in the lobby prior to the show, thanks to handlers from the organization. The birds in attendance will be highly social, imbued with some of the playfulness of the music that will follow, and present a unique opportunity for the audience to, as Henderson puts it, “learn more about these fantastic animals and create a personal connection to aviary rescue.”

 

Sensory Friendly Family Concert is, at its core, a concert designed for all families, inclusive to children of all ages and abilities. This concert, which will be just under an hour in length and feature themes from well-known children’s movies, such as the Harry Potter franchise and Moana, invites audience members to participate in whatever way they feel moved, such as singing, dancing, vocalizing, and moving about. The concert will also prioritize the ability of audience members to exit the theater with ease as needed. In addition to this, there will be a variety of accommodations available to theatergoers, including a quiet room, spinners, and changing stations that accommodate children with disabilities, and the lobby and auditorium will both be open an hour before the concert begins.

 

The Philharmonic has partnered with a number of organizations for Sensory Friendly Family Concert. Their current partners include The Unumb Center for Neurodevelopment, The SC Commission for the Blind, Family Connections of SC, Key Changes Therapy Services, Carolina Autism and Neurodevelopment Research Center, and Palmetto Animal Assisted Life Services. This concert will be the first of many Philharmonic inclusive family concerts.

 

“The SC Philharmonic is definitely committed to making these accessible family concerts a more regular occurrence,” Henderson shares on the commitment to inclusion, “It’s important that we make it possible for everyone in our community to experience symphonic music. The Koger Center is dedicated to working with us on diminishing boundaries as we go forward.”

 

Tickets for both events are available on the Koger Center’s website

Don’t Let the Pigeon Drive the Bus: The Musical from Columbia Children’s Theater Opening this Weekend

by Meg Carroll

Don’t Let the Pigeon Drive the Bus: The Musical — based on the children’s book by Mo Willems, the author of the #1 New York Times bestselling children’s Pigeon picture book series — is a hilarious and inspiring tale about a pigeon finding his purpose in life. The young Pigeon doesn’t get to do ANYTHING! But when an emergency situation threatens to delay the bus, Pigeon is determined to find a way to help. Willems’ penchant for humor coupled with Deborah Wicks La Puma’s catchy song writing means this musical is sure to get everyone’s wings flapping.

Mo Willems is an author, playwright, and artist. He is most known for his children's books, four of which he has since converted into musicals. Some of his most popular book series are the Pigeon series and the Knuffle Bunny series, and there have been musicals produced from both. Currently, he is the most produced playwright for Theater for Young Audiences in America. However, his career really began on PBS’ Sesame Street, where he won six Emmy Awards for his writing.

Don’t Let the Pigeon Drive the Bus: The Musical is performed with a combination of live actors and puppets. Jerry Stevenson, artistic director for Columbia Children’s Theater, said that one of the most important decisions that he had to make for this production was choosing which characters would be live people and which would be puppets. Director Chad Henderson commends actor and puppeteer Paul Lindley, who plays Pigeon, on his ability to transfer tangible energy into that little felt bird.

And that energy is often hilarious! To this, Henderson credits Mo Willems’ natural comedic genius. The play garners giggles from children and adults alike as it is “packed” with humor. When Stevenson approached Henderson about directing Don’t Let the Pigeon Drive the Bus: The Musical, he was happy to come on board because he saw it as “an opportunity to have fun!” Henderson says that his return to CCT as a director of a Mo Willems play felt like “going over to a good friends’ house that you hadn’t visited in a while.”

Similarly, Stevenson found his calling as an artistic director when he realized that he just liked to make children laugh. He performed in many children’s theaters around the country before deciding to run his own, Columbia Children’s Theater. For this musical, Stevenson had the most fun designing puppets with puppet designer Donna Harvey.

Don’t Let the Pigeon Drive the Bus: The Musical is sure to delight audiences young and old. It is a part of CCT’s Mainstage series, where professional actors perform for young audiences. However, there are also a few talented teenage members from CCT’s YouTheater.

Henderson says that it is incredibly valuable for young actors to work alongside professional ones, and he only has glowing remarks about the CCT community: the environment “truly creates a sense of belonging.” This is a non-profit organization openly making a difference in the Midlands.

The musical has offers performances this Saturday, September 17th, and Sunday, September 18th at the Richland Library Auditorium in Sandhills. Tickets can be purchased here, from the Columbia Children’s Theater website, by clicking the “Buy Tickets” button.

Columbia Theatre Stars Come Together for Jasper Project Staged Reading of MOON SWALLOWER

SUNDAY AUGUST 28TH

DOORS AT 3:30 - SHOW AT 4 PM

CMFA - 914 PULASKI STREET

$10 W/ RECEPTION

MOON SWALLOWER BY COLBY QUICK

left to right - Chad Henderson, Chris Cockrell, Michael Hazin, and Becky Hunter

 

Join some of the city’s most exciting theatre artists this Sunday as they bring a brand-new play to the stage of CMFA. Directed by Chad Henderson, MOON SWALLOWER by Sumter playwright, Colby Quick, is the winner of the 2022 Jasper Project Play Right Series.

A one-act coming-of-age exploration that embraces the world of Youtube, gentle drug use, family dynamics, performative Christianity, and yes, the possibility of werewolves, this is not your typical staged reading.

Check all your expectations of straight back chairs and music stands at the door. Henderson has included lights, music, sound effects and more in this tease of what a full-blown production would look like. And the actors are anything but sedentary. From fight scenes to actors climbing on tables and hissing like creatures of the night, this is an exciting look at an exciting new project coming out of Columbia, SC.

Tickets are only $10.

Join this accomplished cast and crew for a fun Sunday reading complete with wine, snacks, and an opportunity for you to learn more about the page to stage process courtesy of the Jasper Project!

BECKY HUNTER

CHRIS COCKRELL

MICHAEL HAZIN

LONETTA THOMPSON

RICHARD EDWARD

CHAD HENDERSON

REVIEW: COMPOSURE at Trustus Theatre, Written and Directed by Jason Stokes

Composure brings to light major issues that, after one-hundred and nineteen years, are still prevalent today. Fact versus interpretation of fact, truth versus bias, opinion-based reporting, righteous versus self-righteous, and the checks and balances between the press and the government…” - Jason Stokes, Playwright

Pictured Clint Poston as James Tillman (left) and Jon Whit McClinton as N. G. Gonzales (right)

It’s been a long time coming for Jason Stokes, writer and director of the play Composure, which premiered Thursday night at Trustus Theatre. The inkling of the idea for presenting this story was born almost 20 years ago when Stokes first learned about this particularly sordid excerpt from South Carolina history that, in 1903, finds a white supremacist lieutenant governor, James Tillman, murdering in broad daylight N.G. Gonzales, journalist and co-founder of The State Newspaper, then walking away a free man. Stokes first developed the story as a screenplay before transforming it for the stage. It was scheduled to be premiered pre-Covid in cooperation with Chad Henderson, former artistic director of Trustus, along with Charlie Finesilver’s original production of House Calls, which premieres August 18th.

A larger story to be told than the one incident of the murder, Stokes does an impressive job of integrating the lead-up and aftermath of the shooting and trial into two acts. In fact, the structure of the play is highly sophisticated as the events and dialogue jump logically across place and time in order to explain not just most efficiently and dramatically the events, but the contributing causes of the events that took place.

The cast is, for the most part, stellar, with some of the finest actors Columbia has to offer on the stage in support of their colleague. It was a treat to see such accomplished actors as Hunter Boyle in the commanding role of Pitchfork Ben Tillman, Stan Gardner as attorney Patrick Nelson, G. Scott Wild as attorney William Thurmond, Kevin Bush as journalist J.A. Hoyt, and Terrance Henderson as Ambrose Gonzales, brother to murder victim N.G. Gonzales. Libby Campbell Turner displayed remarkable theatrical chops in her multiple cross-gendered roles as C.J. Terrel and additional characters, often changing characters on a dime just by adjusting the fit of her tie and her own composure. Her facial features and posture reminded the audience that she is a cast of characters unto herself. And Katie Leitner, as the long-suffering wife of the murderer, displayed a grace and elegance even when called upon to deliver the rare mellow-dramatic line. It was great, too, seeing Nate Herring back on the Trustus stage as George Lagare.

We were surprised, however, by some of the casting decisions.

With powerhouse artists like Bush, Wild, and Gardner on board, why were some of the most demanding roles assigned to some of the weaker actors on the team? As James Tillman, Clint Poston, though a fine supporting actor, was saddled with an incredibly challenging role, a role that seems made for the likes of G. Scott Wild who could so easily slide into the character of the blustery and entitled white Southern fascist Tillman must have been. Poston doesn’t seem to have a handle on how deluded and despicable Tillman was, sometimes coming off as somewhat sympathetic and misunderstood.

And while Brandon Martin at times rises to the level of contemptibility of future SC Governor and Senator Coleman Blease, a man who embraced white supremacy and lynching and violently opposed miscegenation, his physical appearance, posture, and contemporary hairstyle, as well as his time spent on stage when not speaking, make it difficult to believe him as the robust character of Cole Blease. Stan Gardner, on the other hand, would have soared in this role. (Since writing this, we have learned that Mr. Martin joined the cast at a late date to take the place of Stann Gwynn, an artist inordinately well suited to take on the role of Cole Blease. Jasper wishes the best both to Mr. Martin as he acclimates to the role and to Mr. Gwynn as he fully recovers from his medical procedure.)

But the most poorly cast actor, in a slate of otherwise excellent theatrical artists, was Jon Whit McClinton in the critical role of N.G. Gonzales. While McClinton was able to manage the side-role of judge most of the time, though he did break character and snicker at his own mistake at one point, he was out of his element among the artists with whom he shared the stage. The particularly jarring reality is that McClinton played opposite Terrance Henderson as Ambrose Gonzales in the majority of his scenes. Henderson’s stage presence, professionalism, and experience would have delivered a far more serious, and certainly less giddy, character than McClinton was able to provide.

We’re not sure whether Stokes conceptualized the set or if this was the singular purview of veteran scenic designer Danny Harrington, whose work has been a gift to most if not all theatre stages in the Columbia area, but the set for Composure, though problematic for the actors in places (Damn those pipes!), is a work of art itself. A play as complex as Composure could have required a multitude of scene changes. But Harrington’s innovative design—and the flexibility of the actors—allows for one large multi-use set that presents as something quite beautiful from the audience.

With a cast this size costuming can be a financial challenge and for the most part costume designer Andie Nicks does a fine job and, in some cases—like Katie Leitner’s elegant black and white skirted pants ensemble—an exceptional job. If financially possible, more consistency of style would be appreciated, too, particularly when it comes to pleats and cuffs for the gentlemen’s pants, hats vs. no hats, and the standard three button coat of the turn of the 20th century. And a good fit, no matter what the wardrobe, is ideal. Similarly, standardized hairstyles for men invite no comparison whereas the juxtaposition of a contemporary style, like that of Mr. Martin’s, stands out and begs notice, disrupting the flow of the play.

While kicking off the sound and lights posed a problem on Friday night, which Stokes managed with grace and humor, the lighting design by Teddy Palmer was helpful in guiding the audience’s attention to a stage in which, at times, as many as three scenes moved from frozen to active in a matter of seconds. In the best of all possible worlds (and budgets!) more intense spotlights would have been available, but in this world, this lighting worked fine. Background sounds by Jason Stokes were appropriate and complementary, with music added in places to enhance the setting but not overwhelm it.

Overall, it was a delight to see the vision of local multi-talented theatre artist and writer Jason Stokes become a reality. This play and its production are important to this community and beyond for a number of reasons.

Kudos to interim artistic director Dewey Scott-Wiley for following through on this project, begun by Stokes and Henderson, which could have fallen by the wayside once Covid forced its delay. We see far too little new stage work from an abundance of literary artists in SC and Columbia in particular. But local theatre and literary artists will continue to produce new art if given the opportunity to see it come to fruition, as Composure has. South Carolina and South Carolina playwrights have fascinating—and sometimes barely believable—stories to share, such as this story and that of Dr Ian Gale in next week’s premiere of House Calls: The Strange Tale of Dr. Gale.

Sadly, we are not as far removed from the issues and behavior depicted in Composure as we would like to think—we’re simply better at subterfuge. As Stokes writes in his playbill notes, “Composure brings to light major issues that, after one-hundred and nineteen years, are still prevalent today. Fact versus interpretation of fact, truth versus bias, opinion-based reporting, righteous versus self-righteous, and the checks and balances between the press and the government. Both are vital to American existence, both must keep careful watch on the other; but when these powerful forces become more self-aggrandizing entities than protectors of the people they serve, the American existence is lost.”

The question now is What’s next for Composure? Without question, the play should live on, possibly with a shorter first act, possibly continuing the model of more actors performing multiple roles to condense the cast. Some degree of workshopping might be helpful, but not a lot. This project strikes us as a good candidate for festivals. It’s a fascinating story that despite the passage of more than a hundred years still resonates and begs the same questions today that it did in 1903.

Congratulations to the cast and crew of Composure, a new play written and directed by Jason Stokes.

The Jasper Project

Jasper Presents the Staged Reading of the 2022 Play Right Series Winning Play -- Moon Swallower by Colby Quick

MOON SWALLOWER STAGED READING

SUNDAY AUGUST 28TH — 4 PM

at CMFA

TICKETS $10 ADVANCE - $12 AT THE DOOR

The Jasper Project presents the staged reading of a brand-new play, Moon Swallower by novice playwright, Colby Quick.

Quick is the winner of Jasper’s second Play Right Series competition in which he competed with other unpublished playwrights for an opportunity to have his play workshopped and developed by a team of seasoned theatre artists with the end result being a staged reading and the option of further development toward a fully realized stage production.

Moon Swallower will be presented at CMFA on Sunday August 28th at 4 pm with a talk back session and reception following the reading.

Moon Swallower is directed by Chad Henderson with a cast that includes Lonetta Thompson, Stann Gwynn, Becky Hunter, Richard Edwards, and Michael Hazin. Katie Leitner is the stage manager. Veteran playwright Jon Tuttle is the project manager for the 2022 Play Right Series.

The 2022 Jasper Play Right Series is made possible by the contributions of a team of Community Producers, all of whom will have contributed financially to the development of the project and have, reciprocally, been involved in the process from an educational perspective.

They are Bert Easter, Ed Madden, James Smith, Kirkland Smith, Bill Schmidt, Paul Leo, Eric Tucker, Cindi Boiter, Wade Sellers, and Jon Tuttle.

The purpose of the Play Right Series is to empower and enlighten Community Producers by allowing them insider views of the steps and processes of creating theatre art. In exchange for a  minimal financial contribution, Community Producers are invited to attend designated open readings and rehearsals, informal presentations by cast and crew, and opening night performances with producer credits. The result is that Community Producers learn about the extensive process of producing a play and become invested personally in the production and success of the play and its cast and crew, thereby become diplomats of theatre arts.

Community Producers’ names, and that of the Jasper Project, will also be permanently attached to the play and will appear in the published manuscript which will be registered with the Library of Congress and for sale via a number of standard outlets under the auspices of Muddy Ford Press and the imprint of the Jasper Project.

The Jasper Project produced their first Play Right Series in 2017, producing a staged reading of Randall David Cook’s Sharks and Other Lovers under the direction of Larry Hembree

About the playwright: Colby Quick is a thirty-one-year-old writer, singer, musician, actor, husband, and father of two. He is the lead singer and guitarist of a Stoner Doom band known as Juggergnome and in the development phase of a rap duo project called Ski & Beige. Colby played Ebenezer Scrooge in Northeastern Technical College’s stage production of A Christmas Carol in 2019 and is currently in his final semester at Francis Marion University as an English Major and Creative Writing Minor. “I have mostly written poems, songs, and short stories, as well as an unpublished novel.: Quick says. “When I was young, I would make stop-motion videos and I wrote scripts for all of them. I think this helped a lot with writing the Moon Swallower.”

About the project manager: Jon Tuttle is Professor of English and Director of University Honors at Francis Marion University, author of THE TRUSTUS COLLECTION (Muddy Ford Press, 2019), which includes six of his plays that premiered at Columbia’s Trustus Theatre, and a recipient of the South Carolina Governor’s Award in the Humanities.

Honoring Kay Thigpen Sunday, April 10th 2 - 5 pm at Trustus Theatre

Celebrate the life of Trustus co-founder Kay Thigpen at Trustus Theatre on Sunday, April 10th from 2:00 to 5:00pm.

The event will include a cocktail hour and a memorial service featuring Trustus Company members hosted by Dewey Scott-Wiley and Chad Henderson.

Kay Kaplan Thigpen was co-founder of Trustus Theatre along with her late husband, Jim. She died on September 20, 2021 at the age of 80. She is succeeded in life by her children Lori Brown (Janet Brabham); Marc Brown (Betsy) ; Erin Thigpen Wilson (Laurens); and grandson Max Brabham.

Kay was a friend, a mentor, a mom, a guiding light for so many, and she will be dearly missed.

In lieu of flowers, the family has asked for donations to Trustus Theatre in memory of Kay. Donations are accepted online at www.trustus.org  or by mail. Checks can be mailed to 520 Lady St, Columbia, SC, 29201 and should include “In memory of Kay Thigpen.”

 

Last Call for Play Right Series Community Producers

Meet Colby Quick.

Colby Quick is the Jasper Project’s 2022 Play Right Series Winning Playwright.

We’re wrapping up our cast of 2022 Jasper Play Right Series Community Producers and we have a few seats left at the table.

You can learn more about the process of how a play moves from page to stage, be our honored guest once a month at intimate, fun, and informative panel parties with Jon Tuttle, Chad Henderson, Stann Gwynn, Becky Hunter, Michael Hazin, and more, and have YOUR NAME attached as a producer to a brand new piece of theatre that will premiere as a staged reading in August, with you in the best (and most honored) seats in the house.

You can read more about the Play Right Series at the Jasper website but, in-a-nutshell, the purpose of the Play Right Series is threefold:

  • ·         To empower and enlighten audiences (you) by allowing them insider views of the steps and processes of creating theatre art

  • ·         To increase opportunities for theatre artists to participate in new art without being attached to an existing theatre organization

  • ·         To provide more affordable and experimental theatre arts experiences for new and emerging theatre artists and their audiences; thereby expanding cultural literacy and theatre arts appreciation in the greater SC Midlands area.

 

The result: Community Producers (you) who learn about the extensive process of producing a play and become personally invested not just in the production and success of the play, but also in its playwright, cast, and crew, thereby becoming diplomats of theatre arts.

 

Last fall, the Jasper Project issued a call for a new one-act play and the competition was begun. Under veteran playwright Jon Tuttle’s direction, scripts were submitted and adjudicated by a committee of outside theatre artists. The winning play, Moon Swallower by Sumter writer Colby Quick, was selected as the play that we (hopefully, you included) will produce over the next few months, culminating in the first ever Staged Reading of this brand-new play in August 2022.

 

We’re delighted to announce that Chad Henderson has agreed to serve as the director of Moon Swallower and has included among his cast such outstanding Midlands artists as Stann Gwynn, Michael Hazin, Becky Hunter, and Lonetta Thompson.

We have scheduled a series of gatherings for Community Producers and Moon Swallower cast and crew over the next six months leading up to the Staged Reading. Each gathering will feature an interactive presentation as well as a unique social component that you can read about in the attached calendar of events. (SEE SCHEDULE BELOW!)

All we need to do now is fill out our roster of Community Producers, and I hope you will consider being among them. The minimum investment for Community Producers is $250 per person with 100% of the funds going to the production of Moon Swallower.

Our first gathering is at 5 pm on Sunday March 20th when Community Producers will meet each other and the cast and crew of Moon Swallower for the first time, hear playwright Colby Quick talk about his inspiration for Moon Swallower, and receive their signed copy of Moon Swallower to take home and be among the first ever to read. 

Sunday March 20th - Meet the team and Playwright Talk

Join playwright Colby Quick to learn about his inspiration for Moon Swallower and hear him discuss his writing process and challenges, as well as his own background and goals while enjoying Wine & Cheese.

    

Sunday April 24  - Table Reading

Listen in on the first ever table reading of Moon Swallower and enjoy a unique Beer Tasting with snacks.

 

Sunday May 22nd - Director Talk

Join director Chad Henderson to learn about his background and process, the industry lessons that prepare him for directing a play, and the unique challenges and solutions he has encountered in directing Moon Swallower while enjoying the project’s official signature cocktail, The Moon Swallower.

 

Sunday June 26 - Backstage with the Actors

Listen in as the cast of Moon Swallower discusses their processes, challenges presented by their characters, and more, and enjoy a summer picnic with spiked lemonade & finger sammies.

               

Sunday July 24th - Stage Managing, Props, Costumes, Lighting, and Sound

It’s out last Community Producer gathering before the big event, so Chad, Jon, and our stage manager will discuss the components above before we pop the champagne and party!         

 

Sunday August 28th - It’s finally time for the Staged Reading of Moon Swallower with a full audience and you get the best seats in the house!

Colby Quick Wins Play Right Series and You're Invited to Join the Play Right Project Team as a Community Producer

The Jasper Project is proud to announce the winner of our 2nd PLAY RIGHT SERIES project—Colby Quick for his play, Moon Swallower

Colby Quick is a thirty-one-year-old writer, singer, musician, actor, husband, and father of two. He is the lead singer and guitarist of a Stoner Doom band known as Juggergnome and in the development phase of a rap duo project called Ski & Beige. Colby played Ebenezer Scrooge in Northeastern Technical College’s stage production of A Christmas Carol in 2019 and is currently in his final semester at Francis Marion University as an English Major and Creative Writing Minor. “I have mostly written poems, songs, and short stories, as well as an unpublished novel.: Quick says. “When I was young, I would make stop-motion videos and I wrote scripts for all of them. I think this helped a lot with writing the Moon Swallower.”

Now it’s your chance to join the Jasper Project’s Play Right Series as a Community Producer.

Are you the kind of person who always wants to know more about the art you experience?

  • Why did the playwright make their characters the way they did?

  • What was the director trying to accomplish by having an actor move across stage, turn their back to the audience, or break into dance?

  • How did an actor make me feel the way they did simply by turning their head?

If you have a passion for knowing more, understanding process, inspiration, and impetus, and seeing how a virgin play goes from page to stage, you are a good candidate for becoming a Jasper Project Play Right Series Community Producer.

 

What is a Community Producer?

Community Producers are important members of the Play Right Series Team who, in exchange for their investment of a modest amount of funding, ($250 each or $500 per couple) become engaged in the development of a virgin play from the first time the actors meet until the production of a staged reading of the play in front of an audience.

Between February and August 2022, Community Producers will gather monthly to explore the process of a play moving from page to stage with presentations that include

  • ·         Meet the Playwright: Colby Quick

  • ·         Meet the Director: Chad Henderson

  • ·         First Table Reading with your host, Jon Tuttle

  • ·         Behind the scenes with the Cast of Moon Swallower

  • ·         Stage managing, props, costumes, lighting, & sound with your host, Jon Tuttle

  • ·         And finally, a Staged Reading before a live audience with the Community Producers front and center as our esteemed Guests of Honor*

You’ll enjoy wine, cheese, socializing, and an assortment of other unique snacks at every event, as well as Jasper Project swag bags and FREE admission to the Jasper Project 10th Birthday Celebration rescheduled for Thursday April 14th at 701 Whaley!

* For the Staged Reading, Guests of Honor will be seated in the best seats in the house, acknowledged from the stage and in all programming, promotions, and press releases, as well as on the Jasper Project website and in the Fall 2022 issue of Jasper Magazine.

Play Right Series History

The Play Right Series is an endeavor to enlighten and empower audiences with information about the process involved in creating theatrical arts, at the same time that we engineer and increase opportunities for SC theatre artists to create and perform new works for theatre. Our first project in the Play Right Series was in 2017 when Larry Hembree led project members to ultimately produce a staged reading of Sharks and Other Lovers by SC playwright Randall David Cook. Sharks went on to win a number of awards and has been produced off-Broadway. SC Playwright Professor Jon Tuttle of Francis Marion University is overseeing this project for 2022 with a new team of theatre artists including Chad Henderson (director), Colby Quick (playwright), Cindi Boiter and Christina Xan (Community Producer Liaisons), and more.

The Jasper Project is currently recruiting 10 individuals to join the Play Right Series as Community Producers. Click here or write to Cindi@Jasper Columbia.com for more information.

EDITORIAL: Thoughts on Trustus Theatre as Chad Henderson Takes His Leave

By Cindi Boiter - Editor, Jasper Magazine

Chad accepting the SC Theatre Association’s Founders Award in 2018

Chad accepting the SC Theatre Association’s Founders Award in 2018

By now, many if not most of the area’s artists and arts lovers have learned that Chad Henderson has left his post as executive director of Trustus Theatre for new stage sets and designs and new characters to coax into life. (Full disclosure: Chad is my son-in-law. That said, I have been a massive fan and supporter of Trustus Theatre for decades and have served on the board of directors under two artistic directors, including co-founder Jim Thigpen. It is from the perspective of someone who prizes Trustus and the role it plays in the greater arts community that I write this piece.)

Like pretty much everyone, I am sad to see Chad go though I firmly believe it is a smart thing for him to do.

It can be argued that Chad has more talent and potential for creative possibility than could continue to healthily grow in that small but fertile space on Lady Street.

I get that.

In the current structure of most non-profit arts organizations one can only grow as great as one’s board of directors is comfortable with.  It doesn’t matter if you’re an artist or an ED, in the non-profit world we all labor under a collection of thumbs that could fall at any time. It’s easy to imagine a creative spirit straining against the well-meaning confines of a rotating organization of seat-fillers to fully realize that spirit’s potential to break some windows and rattle some doors.

Kudos to Chad for leaving Trustus before this became the case.

As a theatre autodidact and someone who has been lucky to travel a bit and see my share of theatre throughout the US and Europe, I can honestly say that some of the best performances I have ever seen have been on the stage at Trustus Theatre.

I’m reminded of Tarell Alvin McCraney’s Brother/Sister plays, specifically In the Red and Brown Water, which Chad directed in 2015 featuring Avery Bateman and a cast-iron solid cast that included actors like Katrina Blanding and Annette Dees Grievous whose voices I couldn’t get out of my head for weeks after seeing it.

The next year, Chad directed part two of McCraney’s trilogy, The Brothers Size, with Jabar Hankins, Bakari Lebby, and Leven Jackson. I remember walking into the Side Door Theatre and being welcomed by the sounds of cicadas and seeing twinkling lights—lightening bugs—throughout the air. I saw that show three times just so I could watch Jabar’s face and hear his voice crack with love and pain.

I am also reminded of seeing Paul Kaufmann in the one-man play, I Am My Own Wife, directed by Ellen Schlaefer in the Side Door in 2012, after having seen Jefferson Mays in the role at the Lyceum on Broadway. I liked Paul better.

Spring Awakening, Next to Normal, Avenue Q – the list goes on. All of these plays left me, time and again, in awe that you could see this caliber of performance in a  grubby little theatre down the street from wherever you are in town.

No, Chad didn’t direct all the paradigm shifting plays we’ve seen at Trustus. Though it’s no coincidence that many of the plays he scheduled or directed were in keeping with the kind of avant-garde theatrical art that Jim and Kay Thigpen envisioned producing when they started the theatre.

So, as pleased as I am to see Chad move on to the next stage, wherever he finds it, I worry about Trustus.

Don’t get me wrong, I have immense faith in Dewey Scott-Wiley as she steps in as interim director. Dewey is smart, sophisticated, talented, and responsible. There is no one else in town who could do the job she will be doing as well as she will do it.

And that’s the problem. It’s doubtful that Dewey would take the helm of running Trustus permanently. Dewey already has a job and a life.

And make no mistake, whoever takes over running Trustus will not just be taking on a job. They will also be taking on a life. There’s not enough support staff in the world, and there are certainly not enough numbers before the decimal point in the ED’s salary to entice most people who are good enough to do the job to actually do it long-term.

Because running a theatre like Trustus is  a lot like raising a child. For Jim and Kay, Trustus was their child. For Chad, the theatre was a family member he was both emotionally, intellectually, and creatively connected to in that they grew alongside each other for over 14 years. Trustus made Chad the man he is today, and Chad certainly did his part in making Trustus the theatre it is.

I worry that kind of relationship was what kept Trustus going even after Jim and Kay left. And I worry about what will happen in the absence of that kind of relationship.

Trustus has built an enviable reputation among its organizational peers in South Carolina, sharing equity actors, directors, and innovations with other top theatrical minds. Will those relationships be maintained and nurtured? Will they be respected for how they elevate the art form throughout the state? Or will we just worry about our small circles of friends and supporters because that’s the easiest thing to do?

When the board puts pressure on the permanent replacement staff to pay the bills will whoever is behind the wheel resort to producing hokey Southern schlep just to fill the seats? Will they simply recycle previously successful productions and, if so, how many times will theatre audiences pay to see the same show again, and again, and again? God knows you cannot grow audiences that way!

Or worse, will they slump to the lowest of lows and cast local celebrities, moneyed patrons, or God-forbid, CHILDREN in roles just so the “actors’” doting fans and relatives will buy tickets and put butts in seats?

I mean, I have nothing against community theatre. In fact, I love community theatre. But Columbia and its bedroom communities have community theatre out the wazoo, and that's fabulous. Everybody needs a stage at some point, but the stage doesn't need every body. (I’m reminded of a local production of Cats I once saw …)

Trustus has set the standard for professional theatre in the area and believe me, there is as much a difference between professional theatre and community theatre as there is between professional dance and dance school recitals.

I worry.

As proud and happy for Chad as I am, I sincerely hope Trustus Theatre will continue to be the touchstone for avant-garde artistic experiences in the region that it has been since 1985. As a literary artist and an arts afficionado myself, I need this.

To the powers that be, a few requests:

Please respect the culture of the theatre that Jim, Kay, Dewey, Larry, Chad, and the whole Trustus Family has put so much of themselves into creating. It may not be perfect, but it is fertile, it is forgiving, and it accepts people for who they are and what they bring to the table, recognizing that genius is seldom faultless.

Please be careful filling this position, but don’t be too safe.

Please remember there are many ways to interpret integrity and dedication and the best person for the job may not be as sweet-talking or as clean behind their ears as you might like. It takes a lot of bodily fluids to maintain and grow an artistic brand like Trustus.

Trustus had Chad’s heart and he was as devoted to its legacy as a best big brother could be.  I wouldn’t want to be in the shoes of the people who have to try to replace him.

But good luck. 

Chad Henderson and Trustus Co-Founder Kay Thigpen

Chad Henderson and Trustus Co-Founder Kay Thigpen

CORONA TIMES - Trustus Theatre Melds Formats to Bring Us The Thanksgiving Play: A Talk with Director Abigail McNeely

“It’s a satire about white wokeness and the assumptions that we have always been taught about the Native American experience that we have accepted as fact, and how complex and impossible it is to create something that represents an oppressed group when that group isn’t even in the room. … Now, it’s one of the top ten most-produced plays in America and it fits in at Trustus perfectly. It’s modern, it’s challenging, it makes you laugh and then it makes you cringe that you just laughed…”

Abigail McNeely, director - The Thanksgiving Play

Abigail McNeely, director, The Thanksgiving Play at Trustus Theatre

Abigail McNeely, director, The Thanksgiving Play at Trustus Theatre

As quarantine precautions continue to impact the opportunities for performing arts institutions to gather artists and audiences safely together, problem-solving and creative solutions are more highly valued than ever.

With a theatre that has been physically dark since March, Columbia’s beloved Trustus Theatre has offered a number of alternative events including a virtual play festival last month that brought us new plays with small casts live streamed three weekends in a row.

This week, the organization, under the watchful eye of Producing Artistic Director Chad Henderson, is raising the bar even higher with a brand new play being offered as a pay-for-view event—The Thanksgiving Play, a comedy by Larissa Fasthorse.

Jasper talked with Abigail McNeely who, in addition to directing The Thanksgiving Play, is also on staff at Trustus Theatre. We’re sharing this interview with you.

JASPER: First, tell us about your position at Trustus Theatre, how long you’ve been there, and what you do.

MCNEELY: I am the Administrative Assistant of Production and I started in May 2020. I do a lot of different things! I work closely with Chad, the Producing Artistic Director, and our technical staff, as well as our wonderful donors. When we return to live production, I’ll be working with production teams as well. A big part of my job over the last few months has been working on our Trustus LIVE series, which included filming, editing, and streaming video for our audiences at home. I was so excited to take on the challenge of taking the Trustus experience online and I’ve learned a lot. I’m really proud of the streaming work that we’ve done and it has all been leading up to The Thanksgiving Play, a production that combines both our practical live theatre skills and our virtual skills.

 

JASPER: And I know you graduated from USC – when was that and what was your major?

MCNEELY: I graduated from the University of South Carolina in 2017 with a Bachelor of Arts in Theatre. While there, I received the Helen Hayes Undergraduate scholarship and worked with Green Room Productions, the entirely student-run theatre production group, and was a member of TOAST Improv.

 

JASPER: Talk for just a minute about some of the plays you’ve been in or directed and maybe choose one or two favorites.

MCNEELY: There are so many! I’ve been doing theatre since high school and each project feels like it teaches me something new. Some highlights:

·        Bloody Bloody Andrew Jackson, which marked my fifth musical here at Trustus (and unfortunately closed in after just two performances due to COVID – but we’ll be back!). I love working with Chad on musicals. It’s like you stepped into a music video. It’s a blast.

·        A Bright New Boise by Samuel D. Hunter which I directed my senior year of college with some of my very close friends through Green Room. Hunter is one of my favorite playwrights. Funny and dark and full of heart.

·        A Christmas Miracle at the Richland Fashion Mall, written by The Mothers, Trustus’ resident comedy group that I am proudly a member of. I was honored to get to direct our very first full-length play that was a love letter to some of our favorite Columbia things.

Thanksgiving Play.JPG

Patrick Dodds and Kayla Cahill Machado

JASPER: Now, let’s hear about the Thanksgiving Play – who wrote it and what should viewers expect from the content of the play?

MCNEELY: The Thanksgiving Play is written by Larissa FastHorse (Sicangu Lakota Nation). The show is about four people coming together to try and create a politically correct, culturally-sensitive play about Thanksgiving during Native American Heritage Month. Those four people all happen to be white, not a single Indigenous voice in the room. It’s a satire about white wokeness and the assumptions that we have always been taught about the Native American experience that we have accepted as fact, and how complex and impossible it is to create something that represents an oppressed group when that group isn’t even in the room. FastHorse wrote this play to explore these issues with only white people in the cast in response to being told that her other plays couldn’t be produced for lack of Indigenous actors. Now, it’s one of the top ten most-produced plays in America and it fits in at Trustus perfectly. It’s modern, it’s challenging, it makes you laugh and then it makes you cringe that you just laughed… it’s what I think of when I think about “a Trustus show.”

 

JASPER: Who will we get to see performing?

MCNEELY: Four really wonderful actors from the Trustus company – Kayla Cahill Machado (Bloody Bloody Andrew Jackson), Brittany Hammock (A Streetcar Named Desire and the Jasper Theatre Artist of the Year recipient for 2019), Patrick Dodds (Sweat), and Clint Poston (Marjorie Prime). We knew we wanted to stay within the Trustus family for this show and these four actors were my first choice. I’ve had the pleasure of watching and working with each of them multiple times and I appreciate their dedication and their willingness to try new things. Getting them all in to the same cast was a dream.

 

JASPER: And now, the obvious, how exactly will we get to see this play?

MCNEELY: The Thanksgiving Play is Trustus’ very first virtual on-demand show. After a month of quarantine and testing, we brought our cast and crew in to film the show to then stream online. It’s similar to renting a movie off of Amazon – you pay for an access code that is good any time between November 11-21, and once you begin watching it, you have 48 hours to finish it. Tickets can be purchased online at trustus.org and any questions can go to our Box Office Manager, Brandon Martin (boxoffice@trustus.org). He was instrumental in creating our online experience and ensuring it still felt like Trustus even from the comfort of your couch.

 

It’s similar to renting a movie off of Amazon – you pay for an access code that is good any time between November 11-21, and once you begin watching it, you have 48 hours to finish it. Tickets can be purchased online at trustus.org

JASPER: As the director, tell us about some of the challenges you encountered in putting this play together and how you problem-solved them.

MCNEELY: We started the process completely online, rehearsing over Zoom. The first few days of a rehearsal process are vital in building ensemble and getting the show up on its feet to block, so having to do so online was challenging, but thankfully, the cast took to it easily.

After two weeks of virtual rehearsal, we started in-person rehearsals. It was a breath of fresh air to have people back in the theatre again. We were masked when not on stage, lots of hand sanitizer, weekly testing… Above all, we had to do this safely. It means nothing to bring theatre back if it’s done haphazardly. While we were in the space, we ran the show and added costumes and props just like any normal rehearsal process. It felt good to be back in the rhythm of things. After another two weeks, we filmed the entire show over Halloween weekend. It was a whirlwind process. The staff worked so hard to make it happen. It was exciting to get to work with my team on a production together.

 

Brittany Hammock

Brittany Hammock

JASPER: Assuming we haven’t seen the play yet, key us in to one of your favorite or funniest parts to look forward to.

MCNEELY: One of the most fun things about the show is that it’s a play with music, so in between each of the scenes with the group creating the play, we get a glimpse at some of the outdated Thanksgiving songs and pageants that have been performed over and over again. FastHorse wrote these based on real songs she came across while writing the play, and they are perfectly campy in their performance and cringey in their content. There’s also a scene involving a head. That’s all I have to say about that.

 

JASPER: Is there anyone whose praises you’d like to take this opportunity to sing?

So many people! The time we spent rehearsing online gave us ample time to discuss characters and intentions and engage in conversations about some of the tougher topics. We had discussions with Eva Foussat, an Indigenous member for the Trustus board, and Terrance Henderson, Trustus company member and the chair of our Equity Task Force. I’m so thankful for their time. It was essential to have POC voices at the table when we discussed this play. Otherwise, we would’ve been doing exactly what the play tells us not to do: talk the talk but don’t walk the walk. Perform radical wokeness without working with or listening to BIPOC. 

I’d also love to shout out the musicians we worked with on the show. We asked Greg Apple to create the transition music you’ll hear between scenes, and what he and Chad came up with is so fun: tribal beats that morph into jazzy tunes. It reminds me a lot of Vince Guaraldi’s score for the Peanuts specials, perfect for the holidays. Then, we reached out to two of my favorite musicians to fill in the music for the rest of the show. Chris Cockrell, Trustus company Emeritus member, scored scenes 1, 3, and 7 and Daniel Machado, whose wife Kayla plays Logan in the show, scored scene 5 and the credits. Daniel also stepped up to the plate as a camera operator and sound mixer for the entire show. He’s helped so much.   

I’ve never felt this way about collaboration before. I am so lucky to have worked with so many different artists in such a short, loud time and created something we can all be proud of.

 

JASPER: And what’s next for you and Trustus?

Coming up on November 21st, we’re hosting three awesome bands in the alleyway outside of the theatre for Rock the Block – a fun(d)raiser for Trustus Theatre! Brandy and the Butcher, Les Merry Chevaliers, and E.Z. Shakes are playing, Scott Hall’s got the food, and we’ll be pouring drinks. It’s going to be so much fun. Info can be found online at https://trustus.org/event/rock-the-block/. After that, we’ll be installing new air filtration systems to hopefully return to live performance soon. Stay tuned!

In the Round: An Interview with Chad Henderson on the Transformation of Trustus’s 35th Anniversary Season

Chad Henderson - photo Richard Kiraly

Chad Henderson - photo Richard Kiraly

2020 marks Trustus Theatre’s 35th Anniversary Season. Artistic Director, Chad Henderson, knew he wanted to push the boundaries this year and bring concepts and shows to the audience that had never been done (or were rare) in Trustus’ history.

One of these ideas was to transform Trustus from proscenium to the round for at least one show – an endeavor that hasn’t been tackled in over 15 years. Henderson was willing to enlighten us on his inspiration for this project, what went into its creation, and why this endeavor started with A Streetcar Named Desire.

What was the impetus for transforming Trustus’ usual proscenium set up into the round? 

I was trained at the University of South Carolina and enjoyed many plays at Longstreet Theatre. Though many times it becomes transformed into a thrust (audience on three sides), the intimacy that is possible in these kinds of spaces is what is so compelling to me. I love Trustus’ unique no-fly proscenium, and I’ve learned some of my hardest staging lessons by working on it as a young director. As I’ve gotten a little older, and now find myself the Artistic Director of this organization – I sometimes feel envious of theatres that boast a malleable space. What I had to realize, is that we’re really only limited by our creativity – and I think we have some of the most inventive theatre talents in the state working here. What better way to celebrate 35 years of Trustus than to turn the whole thing on its head?!

I should also make clear that in the era before I worked with Trustus in 2005, the theatre did actually do shows in the round on occasion. The house used to be filled with Lay-Z Boy armchairs and could be oriented in whatever way a production team desired. So technically, it’s nothing new. But it is the first time we’ve gone to a round in over 15 years.

Why did you choose Streetcar for Trustus’ first experience in the round? 

Around the time we were beginning the plans for the “round,” we also knew we wanted to produce a 20th Century classic in our regular season. Trustus had produced Streetcar before in 2002, so it felt like ample time had passed and that a new production could stand on its own. I personally knew that Patrick Kelly (Trustus Production Manager / Streetcar Director) was a big fan of the piece and had a lot of deep interaction with the piece [regarding] analysis. After a few conversations, we finally felt inclined to put this show on the roster for this season.

I would say that strategy was more at play in the decision-making for scheduling Streetcar as the first piece presented in the “round” series. We wanted something that would attract many patrons from our market, so that we could introduce the newly oriented space to as many people as we could up front.

Artistically, we also expected this orientation to create a new depth of intimacy in the space - which we felt would serve the piece. The brutality in the script had the opportunity to create even more unrest for an audience member because they could possibly feel like they’re in the Kowalski apartment – a fly on the wall so-to-speak. We felt the play would be more visceral due to this intimacy and could potentially allow the audience to detach from previous versions of Streetcar, even the film.

How do you think theatre in the round further immerses, or even challenges, the actors of a show? 

While I certainly think acting in the round creates new challenges that may not manifest in a traditional proscenium situation, I believe an actor’s goal is always the same: to tell the truth by being vulnerable to the moment. Granted, different shows call for different approaches to this goal, but at the end of the day I feel that’s what an actor is working toward.

However, while the actors are maintaining staging set on them by a director, they might possibly feel more fluidity in the experience in contrast to proscenium performance. It’s an interesting question, and one that I haven’t had many conversations about with our current cast. Now that the show is open, I’m sure more will be illuminated on the subject.

Beyond the idea, how involved were you in the fulfillment of this project, and who helped you bring it to life?

I feel like I get to take one bit of credit for this project, and it’s that it was my wild idea. As an Artistic Director, it is often my responsibility to dream for the organization. Then the joy of what I do is that I’m able to present these dreams, and let creative people run away with them. My mind is very different from the 22-year-old who came on staff in 2007. When I was directing early in my career, I felt the most uplifting thing I could hear was “YOU were brilliant, YOUR ideas were so strong, YOUR show was amazing.” I don’t feel that I was unique in that aspect – I mean it IS all about “you” in your 20s.

Nowadays, I’m much more fulfilled by telling my colleagues about the sincere appreciation I have for their work. The gift of a job like mine is that I get to constantly be surrounded by artists, craftsmen, creative people and inquisitive people.

So, for me, as soon as I handed this project off to talented people, I felt uplifted and fulfilled. Executing this stage transformation was a huge job, and the credit goes to our Technical Director, Sam Hetler, and our Assistant Technical Director, Curtis Smoak. Theatre is exceptional when it’s truly collaborative, and it’s rare when an organizational goal (versus creating a play) can be met with the same sense of invention and teamwork.

What all has gone into the development of the physical structure itself? 

Curtis Smoak drafted the final ground plan with professional drafting software. This software allowed our technical staff to assess lumber requirements, measurements, and other information needed to execute this transformation. We also began to understand before the New Year, that this project would need electrical and sound adjustments along with extra staffing help to get to the finish line.

The deconstruction process began on Jan 5th, and our technical staff were able to bring on the assistance of one of our Company members who was a skilled carpenter. Over the course of the next two weeks, over 80 seats were removed and stored. Then the structure started going in place – being built on top of the incredibly substantial platforms that traditionally housed rows D and E in our Main Stage.

As this structure was being built, electricians were hired to run new breaker lines to the center of the house – an adjustment that will serve us long into the future due to our recent acquisition of extra sound equipment and our regular use of projectors.

New lighting lines had to be ran into the center of the house, because there wasn’t enough cabling to actually light where the new stage was going to be. One can imagine, with our traditional stage living on one side of the room, lighting the area that used to be seating was obviously unneeded. We worked with our lighting designer, Marc Hurst, to create solutions. Marc is also lighting all of the shows in the round series, so his involvement was essential.

We also procured new speakers for the space. I wouldn’t say this was necessary for the production of Streetcar, since all the cues are recorded. However, it will be essential for producing Bloody Bloody Andrew Jackson in March because it’s a musical. This new equipment will serve our musicals once we transform the space back its traditional orientation, so I’m very glad BlueCross BlueShield of SC granted us funds to procure this equipment.

Finally, we knew it was necessary to create an ADA accessible ramp so that patrons with disability could have equal access to the seating. Thanks to the SC Arts Commission, the materials needed to construct this structure were granted through an ACA Grant.

I think a running theme of my responses is that it’s all in the “who you work with.” I’m pretty convinced I work with the best.

A Streetcar Named Desire is playing today (Feb. 21) and tomorrow (Feb. 22) at Trustus Theatre. Tickets are available here.

 - by Adam Trawick with Christina Xan

ESSAY: We Are Proud to Present [...] - Producing with the Charge of Social Profit

by Chad Henderson

Artistic Director, Trustus Theatre

AN OPENING: Many have asked me personally about Trustus’ decision to produce Coker College’s revival of “WE ARE PROUD TO PRESENT A PRESENTATION ABOUT THE HERO OF NAMIBIA, FORMERLY KNOWN AS SOUTH WEST AFRICA, FROM THE GERMAN SÜDWESTAFRIKA, BETWEEN THE YEARS 1884–1915” by Jackie Sibblies Drury. Considering that Trustus boasts a resident company of theatre artists, what’s the motivation behind producing another group’s work?

On April 24, 2020, Trustus Theatre will open Jackie Sibblies Drury’s Pulitzer Prize Winning play “Fairview” for a three-week run under the direction of Terrance Henderson, winner of the 2016 Stephen G. Morrison Visionary Award given by The City of Columbia. This play has the potential to make a life-changing impact on our audiences, it has the potential to confront patrons with their own perceptions and unvoiced prejudices, and it has the potential to strengthen our community by challenging our views of race in contemporary society.

So, when Andrew Schwartz (Coker College’s Assistant Professor of Theatre and friend) contacted me about the possibility of programming the college’s production in the Side Door Theatre during our 35th Season, I asked to read the script. After my first read of Drury’s play from 2012, I was instantly interested in this project.

I knew that Trustus would be experiencing considerable transition in January 2020 to prepare for the theatre’s ambitious “Trustus in the Round Series,” but I also felt it was the perfect opportunity to introduce Columbia to the voice of this prolific playwright and to start an important conversation about race with our patrons. I can’t remember the last time, if ever, that the theatre produced two works by the same playwright in one season – but considering Drury is a major voice in the American theatre, I thought there could be nothing but good that would come from bringing her voice, her call to action, and her unconventional approach to storytelling to our stage twice this year.

 

***

SOME THINGS THAT HAVE BEEN ON MY MIND: Two things have been on my mind as we’ve approached the New Year at Trustus, and our upcoming production of Coker College’s “We Are Proud to Present […].”

One item was a thesis that David Grant proposes in his book: The Social Profit Handbook. I got to meet Mr. Grant, and learn about his work at a Fall Forum in NYC, hosted by Theatre Communications Group (TCG). Grant’s big idea is that the term “Non-profit” is limiting, and that it doesn’t truly explain what many of these sorts of organizations do. He offers instead that Non-profit organizations are, in actuality, groups that offer “Social Profit.” As an organization that’s dedicated to providing a sounding board for our community’s issues or cultural advancement, “Social Profit” seems to be a fitting description for the work we do at Trustus. I would say that being a “Social Profit” is our responsibility as a theatre.

 The second remembrance that kept repeating in my thoughts was a talk-back given by NY Times theatre critic Wesley Morris at the TCG National Conference in Miami last summer. In assessing the contemporary theatre he’d been reviewing for the past couple of seasons he said something to the effect of: “Black playwrights, they don’t give a f**k right now.” In context, he was stating that Black playwrights were defying the conventions of traditional storytelling, they were presenting complex and confrontational work, and they were leaving audiences silenced by the end – unable to give the obligatory applause or ovations because, simply put, they were stopping theatre-goers in their tracks due to their delivery of truth.

 

[Maybe you’d like to check out Morris’ story “A Radical Moment in American Theater and Beyond” here: https://www.nytimes.com/2019/04/25/theater/african-american-playwrights.html]

 

Ultimately, “We Are Proud to Present […]” and “Fairview” are two plays that provide Social Profit to our community because of the dialogues they invite, and they have the potential to provide a bold diversion from traditional storytelling convention with the added benefit of being truthful, revealing, and radical in their approach.

 

***

A NECESSARY SIDE BAR: This is an important side bar, and then I’ll re-route to my conclusion...

While Trustus is often perceived as deeply inclusive and diverse, in recent years our organization has struggled with honest conversation about race within our very own walls. At times, we’ve even produced work that seemed radical on the surface, but didn’t do the work necessary to create ambassadors for Equity and Inclusion or to educate our audiences on the viewpoints provided by our work.

 

We’re very fortunate that many of our Artists of Color have been honest enough to diagnose the issue, and work with us on it. While we’re far from calling ourselves a major success story, through the conversations posited by producing Drury’s work and our work with Race to The Table SC in the coming months – we are investing in taking actionable steps in a healthier direction.

***

A CONCLUSION, FOR WHAT IT’S WORTH: I have yet to say much about what “We Are Proud to Present […]” and “Fairview” are about, beyond their addressing race. I can tell you that they both examine white gaze and privilege, but their power lies in the fact that both plays cleverly dissect the power of perception, the genealogy of oppression, and how we inhabit spaces (or refuse invitations for others to inhabit them).

 

You might also be shocked to learn that while there are weighty ideas that can be gleaned from these productions, the playwright also allows us a chance to laugh at ourselves as we peel back the onion of our collective experiences.

If you want more info on plot and that sort of thing, Google can give you whatever you need. Might even have some spoilers in there.

At this moment, I just want to ask that you believe in the theatre’s name: “Trust Us.” These plays are worth the investment, they’re worth your possible discomfort, and they’re worth going into blindly. Not to mention, you’ll be seeing important work by one of America’s most thrilling playwrights.

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Halloween Film Faves from Columbia Arts Friends & Neighbors

What Columbia’s Arts Community watches

when they stay home on Halloween

Shining.jpg

No offense to all of you with mad costume skills out there and those of you who live for Halloween each year as a time to dress up, go out, and show off your own personal magic. But for some of us who are either costume-challenged, lazy, tired, shy, or indifferent, our favorite way of celebrating Halloween is turning off the porch light, bogarting our favorite bags of sugar, and hunkering down on the couch with one of our favorite frightening flicks.

 If you find yourself if any of the above categories, you have nothing to fear but the films themselves.  Jasper polled some of Soda City’s artists, activists, admins, and supporters for their advice on the perfect way to spend a comfy-cozy Halloween night in our jammies celebrating Samhain with a favorite film.

Here’s what they shared with us. 

 

From Kristin Cobb, Executive director of Harbison Theatre at Midlands Technical College

“I am not a scary movie person - but I did love The Shining with Jack Nicholson!  Oh, and Beetlejuice and Edward Scissorhands.

Having had two kids four years apart, and living in the perfect “one street in” neighborhood,  we did lots of trick or treating.  It was always a family affair as my dad loved to come give out and eat the candy.  We always ordered pizza from the local Greek restaurant and red wine for the adults.  Halloween candy is a mainstay in my house from mid-October until the big day.  Who doesn’t love a fun size Snickers?

This year, Harbison Theatre at Midlands Technical College had some fun with a screening of the popular Hocus Pocus Halloween fave.”

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From Chad Henderson, Artistic Director at Trustus Theatre

 “At Halloween, I often feel that as a theatre-artist that wearing a costume is something I do professionally when acting – so Halloween can feel like amateur night. While I’m actually breaking with tradition and plan on experiencing the Elmwood/Earlewood Halloween festivities this year, I usually make little to no effort to celebrate Halloween like I did in my college days (even then, I still made little to no effort in regards to a costume and focused on beer). I’m still not on task with selecting a costume for next week (if I even do it at all), but I look forward to seeing many friends from the neighborhood and witnessing the madness that I’ve never experienced but heard a lot about.

 Usually around this time of year, I try to get a viewing of It’s the Great Pumpkin Charlie Brown in, or the Garfield Halloween special. Though I haven’t done it this year, I also try to squeeze in a viewing of a classic horror film like Nightmare on Elm Street or Halloween. I did re-watch the first half of the 90s version of Stephen King’s IT with Tim Curry this month – does that count?

Chad is excited about the upcoming Trustus production of the 2015 Pulitzer Prize Finalist, Marjorie Prime for more info visit https://trustus.org/event/marjorie-prime/

 

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Lee Snelgrove, executive director of One Columbia for Arts and Culture

“Favorite go-to Halloween flick - Beetlejuice, because I'm not a huge fan of scaarrrry movies. This one has the right mix of humor, spookiness and the special early-Tim Burton eeriness for me.  Halloween to me has always been less about frights and more about the strange and macabre. That's the vibe I get from Beetlejuice

 I'm probably going to enjoy plenty of candy (Kit Kat and Krackle for the win) on Halloween night since we don't get a whole lot of tricker-treaters at our house. So, I'm going to need something to counter that chocolatey sweetness and my go-tos are Irish whiskey or bourbon-barrel aged barleywines.”

 Lee is looking forward to Columbia’s new Public Art directory as well as Amplify Columbia

http://publicart.onecolumbiasc.com 

amplifycolumbia.org

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From Martha Hearn Kelly, artistic director of The Mothers Comedy Group

“My favorite film for Halloween has to be Shaun of the Dead. Sharp, silly, and a bunch of zombies? You had me at ‘braaaaains.’ I prefer to watch with a pile of friends, a bag of Cheddar Sour Cream chips, and the candy I bought on sale November 1.

 Martha Hearn Kelly will be playing Mary Bennet in Trustus' upcoming production of Miss Bennet: Christmas at Pemberly.

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Mark Ziegler is owner and Master designer hairstylist at Five Points Salon as well as musical theatre actor and company member at Trustus.

“So my favorite go to Movie for Halloween would definitely be the original Scream movie! Not just because, obviously, it has a cult following with all the sequels, but the original cast is stellar with great cameos and what not.  Over the past several years our group of friends has set up a porch party on Park Street and drank lots of libations and handed out candy to the many trick or treaters that come to Elmwood Park! It’s become quite the tradition!”

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From Jay Matheson, owner of the Jam Room and director of the Jam Room Music Festival

“I don't have much of a Halloween tradition. I do watch some Halloween themed films leading up to the holiday then, if I'm home that night. I’ll do the same. My overall film selection is typically the original classics mixed with campier ‘50s – ‘70s horror.

I also throw in a Hammer versions of the Mummy, Frankenstein etc. Occasionally something new pops up that I want to watch but most modern horror isn't something that I enjoy.

As far as snacks go I cook organic popcorn in in a cast iron skillet with some real butter on it. Beer and then maybe a scotch at the end would be a beverage choice.

Jay is looking forward to the Brandy and the Butcher show coming up on November 15th.

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From Faith Creech, co-owner of PMG Studios, co-director of Freedom Festival International, and director of public relations for Carolina Film Network

“My favorite movie to watch on Halloween is Hocus Pocus, because to me it embodies everything about the holiday.  There is nothing better than popping some popcorn, having a glass of wine and watching Hocus Pocus! 

Check out the Freedom Festival International at www.freedomfestfilm.com

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From Angi Fuller Wildt, chief development officer at the Columbia Museum of Art

The House on Haunted Hill (1959), starring Vincent Price. I first saw this scary film (to my 10-yr old self) when I had the chicken pox and my mom put a TV in my room. This was my first taste of late night TV – I also subjected myself to The Little Girl Who Lives Down the Lane (1976), starring Jodie Foster and Martin Sheen, and Planet of the Apes (1968) – that Statue of Liberty scene spooked me! I like to revisit these classics on Halloween night as we don’t get trick-or-treaters on my street. Red wine goes well with mini candy bars in Halloween-colored wrappers for these viewings.”

Angi is looking forward to the classic sci-fi and horror film memorabilia exhibition, It’s Alive!, opening February 15th at the CMA.

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Whether you go out and treat yo’self this evening or stay in and shiver, from all of us at the Jasper Project to all of you …

-Cindi BoiterCindi is the executive director of the Jasper Project and the editor of Jasper Magazine

-Cindi Boiter

Cindi is the executive director of the Jasper Project and the editor of Jasper Magazine

REVIEW: Jon Tuttle's Boy About Ten at Trustus Theatre

A talent for drama is not a talent for writing, but is an ability to articulate human relationships.” 

-Gore Vidal

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John Tuttle is, by any standard, a man with a talent for writing, but after seeing the world premiere of his play, Boy About Ten, I can affirm that he is also quite adept at articulating human relationships. Indeed, the oft-troubled intertwining of Boy About Ten’s dysfunctional, but (somewhat) connected nuclear family of four, drives the plot of Tuttle’s work, taking a well-written piece to the level of a performance bristling with all the sharp edges relationships can provide. This is not to suggest that the production currently running at Trustus is without laughter or light-hearted moments. It may be a tragicomedy, but Boy About Ten doesn’t hesitate to let the tragic cede the stage to the comedic in a legitimate, story-faithful way. In his program notes, Trustus Artistic Director, Chad Henderson, comments that “this play has undergone a more involved development process than our previous Playwrights Festival winners or commissions,” which no doubt contributed to the feeling of polish and streamlining found in the script. I managed to make notes on some of the truly standout lines, but by no means is my list comprehensive.

 

The play opens with D’Loris (Lonetta Thompson), a kindhearted but world-weary social worker, dealing with what is clearly a family in distress. She is trying to prepare Todd (Tommy Wiggins), the elder son, to go to his mothers’ house for a week. Todd is obviously troubled in multiple ways, but is largely nonverbal, using a set of oversized headphones to drown out the conflict which surrounds him, while hiding his face behind his chin-length bangs.  As usual, Thompson creates a fully-realized, textured character, who has flaws as well as sincerely caring nature. I never tire of seeing Thompson onstage, as she is always completely immersed in and committed to her character and the moment. It would have been the easy way out to depict D’Loris as either a hyper-idealistic Wonder Woman, or as a “honey, I’ve seen it all,” world-weary cynic, but Thompson chose to create someone in-between, and in the process, gave the audience a layered, complex, and realistic performance. Kudos also to Wiggins, a former Trustus Apprentice Company member, making his mainstage debut. Though Todd doesn’t speak much, especially in the early scenes, his body language, movement style, and a sort of self-embrace clearly establish him as a damaged human being, doing his best to avoid his psychic pain. When it is revealed that he is a self-cutter/burner, it is a bit of a shock, but totally believable for the character he has, by that point, made three-dimensional. I suspect we’ll be seeing much more of Wiggins on the Trustus stage in seasons to come, and I look forward to watching his development as an actor.

 

The arrival of Tammy (Jennifer Hill), lightens the mood by, ironically, introducing the least likeable of the five characters. Hill’s Tammy is brash, flashy, loud, and obnoxious, fancying herself far above the rest of the family. She dresses herself in designer clothing, while a couple of mentions are made of the kids’ clothes coming from Goodwill, and she personifies the cliche of the “helicopter parent,” dispensing screechy advice and criticism thinly veiled as “encouragement.” Hill’s comedic timing is absolutely spot-on, and she brought Friday night’s house down with such well-penned verbal spewings as “I was once a Sweet Potato Queen, now I’m a Cyclops!” (It seems that Tammy has a glass eye, which is broken, requiring her to wear an eye patch.) Clearly proud of her somewhat meager accomplishments, she touts having played Yum-Yum in a community college production of The Mikado, along with a few other small successes, in an attempt to impress D’Loris, who is eventually prompted to ask “what the hell is wrong with you people?” The moments of conflict between Tammy and D’Loris establish a curious dynamic. Tammy, in her own twisted, control-freak way, wants the best for her children, while D’Loris tries to help establish exactly that, which eludes the self-centered Tammy.

One gathers fairly quickly that Tammy is at her ex-husband’s house to swap out the younger son, Timmy, (Daniel Rabinovich), who is a straight-A, rule-abiding, do-gooder, complete with Webelos Scout uniform, and practically a stranger to Todd, and the two react somewhat cautiously to each other. (I may have missed an important line or mention of the situation, but it is clear that the brothers have not spent much time together.) Rabinovich demonstrates an actor’s sensitivities quite impressively, especially for a young actor. His character arc may well be the most dramatic in terms of growth and change, and he handles it like a true pro. As with Wiggins, this is a young man to watch.

Once all is settled, Timmy is left alone with his father, Terry. Played by Trustus mainstay, Paul Kaufmann, Terry is an affable, childlike n’ere-do-well, whose love for his sons manifests in an “at my house, there are no rules” dynamic. (When asked by Timmy if they can attend an Imax film or visit the Planetarium, Terry immediately scoffs at the thought of an educational outing, at least in the traditional sense.) Kaufmann, without ever breaking the established reality of the play, or mugging to the audience, brought to life an enchanting man-child, reminiscent of Tom Hanks in Big, with a dash of Bertie Wooster and Falstaff tossed in. To Timmy’s growing amusement, the two of them chug Cheerwine (no sodas allowed at Tammy’s house), fight ludicrous pretend war games against “Vagicilla, Dark Queen of the Nether Regions” (inspired, no doubt, by Tammy), and Timmy frequently receives his father’s military decorations, which may or may not be legit. It was at this point that I began to wonder about the show’s eponymous title. Was Timmy the Boy About Ten, or was his father? Had the parent/child dynamic between them already shifted before the action of the play began? Kaufmann, incidentally, scores one of the biggest laughs in the show while telling Timmy about his days in an ersatz KISS cover band. “You can always tell when chicks dig you. They chew their gum at you…like meat!”

 

A brief in-one scene gives us our sole glimpse of life at Tammy’s house, when the focus is, both literally and figuratively, on Todd, who is passively receiving an unwanted haircut from his mother. A special tip of the hat to Lighting Designer Laura Anthony, for transforming a simple floor lamp into a “where were you on the night of the robbery?” beacon. This is an occasion upon which the lighting truly made the scene for me. We, the audience, are semi-blinded by the intensity of the same light shining into Todd’s eyes, and subject to the same jabber from Tammy. Like a police officer in a bad, made-for-TV crime drama, she prattles on and on about how Todd should want to be “normal” and make friends “like all the other boys,” painting a Leave It To Beaver lifestyle, which will supposedly emerge with a haircut and a suit from Goodwill. Interrogation/indoctrination and “tough love” establish an uneasy coexistence at Tammy’s house, and the two children she raised reflect that. Timmy’s unblinking obedience earns him praise, so he obeys. Todd, whom I assumed to be somewhere on the autism spectrum, is unable to deal with what his senses perceive as blinding light and a barrage of impossible commands. Though short, this scene impacted me. I began to wonder through whose eyes we were seeing any given situation, and then viewing each scene from each character’s angle. Thank you, Jon Tuttle, for this (I’m guessing) three-page scene, which widened the lens through which I saw the rest of the play. Though she was the antagonist of the scene, it allowed a glimpse into Tammy’s desperate desire for a “normal, happy, family,” and humanized her for me.

 

I won’t go into too much detail about the second act, as it is, essentially, a minefield of spoilers, and much of what happens requires the elements of shock and surprise to work. While not without laughs, the second act takes a somewhat darker turn, with a grim family story, involving animal abuse, being revealed. (*While no violence is depicted onstage, a gruesome monologue could be mildly to moderately triggering for some.*) Terry childishly endangers his and Timmy’s lives at the end of act one, the aftermath of which, we see in act two. Todd returns, neatly trimmed and besuited, but still distant, albeit with the occasional smile of hope. Toward the end of the play, we discover that Terry suffered physical wounds far worse than Timmy’s while saving the boy from the dangerous results of his (Terry’s) recklessness. Romantic impossibilities are pondered and argued, D’Loris loses another crumb of her idealism, but hangs on to hope, Timmy takes his first step toward adult cynicism, Tammy reveals some game-changing information, and the family is left as we found them; bruised and battered, but oddly okay. The playwright leaves us with the idea that life will simply go on, and with the insanity and bizarre love in this family, who can even speculate on the eventual outcome?

 

Director Patrick Michael Kelly has taken an artfully written play, refined by much workshopping, and brought to the stage a world of slightly-heightened reality, never losing sight of the connecting themes of family and what it truly means to care for someone.

 

So, who is the Boy About Ten? I have my suspicions that each character, with the exception of D’Loris (who serves as the impartial observer and voice of reason) is that boy. Perhaps that answers my earlier question, and tips us off that the show is seen from D’Loris’ perspective.

Boy About Ten is an engaging, thought-provoking, and most enjoyable play, and a worthy addition to the Tuttle ouvre. Only four performances remain, so get your tickets now!

-- Frank Thompson

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Tickets can be purchased online at Trustus.org , or by calling the Trustus Theatre box office on 803.254.9732

Remaining performance dates are:

Wednesday, August 22 – 7:30pm

Thursday, August 23 – 7:30pm

Friday, August 24 – 8:00pm

Saturday, August 25 – 8:00pm

Frank Thompson is the theatre editor for Jasper Magazine - contact him at flt31230@yahoo.com

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