Special FeaturesHow American Stages Should Look in the Future, According to a Cohort of Emerging BIPOC ProducersPlus, why should others consider a career as a theatremaker?
By
Dan Meyer
May 27, 2021
Participants in Theatre Producers of Color's Producing 101 course
Earlier this spring, 25 up-and-coming theatre makers completed the inaugural Producing 101 course from Theatre Producers of Color. The program, committed to supporting the next generation of BIPOC producers, ran for 10 weeks and taught the fundamentals of commercial producing, including development paths, financing, and budgeting, with experienced BIPOC and white ally leaders as their guides.
Tony-nominated producer Rashad V. Chambers(The Inheritance, Betrayal) served as the program mentor with guest appearances by Tony–winning and nominated producers Stephen C. Byrd, Arvind Ethan David, Mara Isaacs, Alia Jones-Harvey, Brian Moreland, Greg Nobile, Joey Parnes, Ron Simons, and Barbara Whitman, as well as Woolly Mammoth Artistic Director Maria Manuela Goyanes and Lisa Davis, partner at Frankfurt Kurnit Klein & Selz.
"It was a joy to introduce these remarkable rising theatre leaders to the world of commercial producing, seen through the eyes of some of our industry’s stakeholders," said TPOC founder Miranda Gohh. "Now more than ever, we need innovative and disruptive thinking, and I have no doubt that this inaugural cohort will lead us towards the change that we’re seeking."
With the reopening of theatres on the horizon, Playbill checked in with nearly all of the students to get their thoughts on the future of American theatre, what they learned during the program, and why people should consider a career in producing. Check out their musings in the gallery below—and further down in the Q&A.
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What Should the Future of American Theatre Look Like?
What Should the Future of American Theatre Look Like?
The inaugural Theatre Producers of Color (TPOC) Program cohort share their thoughts.
24 PHOTOS
"To have more multicultural productions representing all voices, not only on stage but also in the decision making across the theatre spectrum: general management, stage management, advertising and marketing companies, representation in the Broadway League, and more." -Cherine E. Anderson
"I dream of a future that is filled with stories that expand empathy and challenge norms, that is run by systems that are anti-racist and anti-capitalist." - Sophie Aung
"To me, the American Theatre is at a breaking point. At the highest level of commercial producing, the work being presented is simply not satisfying the industry. That being said, attention either needs to be shifted away from the institution of Broadway or producers have to turn away from the 'traditional Broadway show' in order to keep artists, industry professionals, and new audiences in mind." - Ryan Duncan Ayala
"We have to create inroads for opportunity. We have to widen the lens of where we discover new stories. We have to connect with underserved communities. We have to engage with technologies like VR and AR to deepen the audience experience. If we do these things thoughtfully and with equity, the future of the American Theatre is as bright as the sun." - Rashad Bailey
"It delivers on the promises of equity and inclusion that have been made for years. It centers voices that have historically been marginalized, it redistributes power and becomes less hierarchical. It focuses on how it can serve and be a part of a community and has a much more sophisticated integration of technology and streaming." - Adam Coy
"The future of theatre reflects the American population. Inclusivity goes beyond adding more people of color on stage. American theatre is not going to expand beyond what it currently is until it's well-represented by every community. There's always going to be places for BIPOC, people with disabilities, LGBTQA+ identifying folks, and people from low-income households in theatre—both on and off stage. It's up to producers on whether or not they want to include them." - Lady Del Castillo
"It doesn’t look white, to say the least. The future I imagine actually centers voices of the most marginalized in American history. And by doing this, it doesn’t center trauma porn of any sort, but instead it uplifts and refocuses stories that celebrate BIPOC communities. The future of American theatre I see, values process and creative risk over profit. And continues to hold those in power accountable, including myself—when I get there." - Victoria Detres
"I hope that American Theatre can be a space that provides some healing. I hope it can be equitable, accessible, and socially aware. I hope that it can be a vehicle to tell some truths and wake people up. But there is a lot of work to do." - Eric Emauni
"The future of the American Theatre looks brown, Black, Asian, Indigenous, and wonderfully reflective of the global majority. I am hopeful for a future where my cohort members and I will lead organizations and change the structures that contribute to white supremacy and the hoarding of power. I hope the future entails celebrating the radical ways in which we have changed our industry for the better, where being a person of color leading in the field isn’t a front page story because of how rare it is but because of our invaluable strengths and assets to the American Theatre. The future looks like sharing ideas, giving every person an equal opportunity to voice their opinion, and acknowledging our collective power to improve our field." - Jacqueline Flores
"It will have more diverse leadership, stories, and audiences." - Naomi Horibe
"The future I wish to see for the American Theatre is one grounded in diversity. As shows begin to reopen following the COVID-19 pandemic, I urge producers to design marketing campaigns that show theatre is for everyone, not just the 'elite.' I also hope producers price and distribute tickets equitably to bring in audiences who've previously been shut out due to cost." - Isha Gulati
"The collapse of everything as we know it. It is our job to imagine theatres’ role in the world of the future. In order to do so, we have to get away from institutional and clout-chasing thinking and start producing what’s aligned with our values and what will envision the change we want to see around us on a local, national, and global level." - Olivia Lilley
"Decolonized, communal, and collaborative with an emphasis on horizontal hierarchy and liberatory practice within all of our artistic spaces." - Marisa Kennedy
"I think the future of the American Theatre looks hopeful if current gatekeepers actually listen to the working class of the industry. If not, then it's just going to look... mediocre." - Freddy Mancilla
"The future I want to be a part of has in it the fundamental concept that is exemplified in this program: the willingness of those who are leading today's industry to share their insights with people who are outside of their circles. The future is my responsibility to learn from professionals who have more experience and wisdom than me, while being strong in my own integrity to push the ball forward. The future is all of us acting as each other's bridge because we know the most beautiful way forward is together." Marina Montesanti
"Equitable. The pandemic has cast a spotlight on many of the classist systems being upheld by the current system, and I believe, with intention and constant attention, we can reshape our industry into a place where all patrons, performers, designers, organizers, and workers feel welcomed. While many theatre practitioners felt a strong aversion to doing virtual work this past year, many audience members thoroughly enjoyed the accessibility of the new modality. I believe it's worth investigating the work we've done during this time of adaptation and iteration instead of casting it aside once doors open back up." - Sammie Paul
"The future of American Theatre looks like me and my cohort: colorful, bold, special, different, and unapologetically truthful." - Cat Peoples
"I imagine a future for American Theatre where groups all over the country can produce commercially viable shows within their own communities that reflect the values and ideals of their theatergoers, the community itself. For me, producing for the commercial theatre industry and the commercial live entertainment industry more broadly, is in a way a more equitable style of producing live entertainment as it encourages us to think deeply about the entire audience of ticket buyers and create shows that appeal to them, as opposed to creating shows that appeal to smaller groups such as donors or subscription audiences." - Daniel Perez
"One of my dreams for the future of American Theatre is the creation of more democratic, non-hierarchal spaces. I would love to see more interest in network structures or cross-functional teams for theaters of varying scale to function." - Brayden Simpson
"It looks accessible, invitational, and inclusive without gatekeepers or entry barriers." - Camille Thomas
"The future of the American theatre looks like the human landscape of America. It looks like an industry that actively engages in the daily practice of dismantling the systemic racism and cultural bias that it once supported. It is a modern space where theatre makers design new, equitable models for artistic collaboration, investment, profit, community building, and expansion. No one's lived experience, identity, or spending power is devalued, and all have the freedom and opportunity to explore, challenge, and reimagine our humanity." - Traci Tolmaire
"I hope that the future of the American Theatre allows for more spaces that can resemble the one created in TPOC 101. I wish that the theatre on stage, in the house, in the ad meetings, in auditions, and everywhere in between becomes a place where people can go to be challenged, inspired, educated, comforted, and above all, find belonging." - Leah Vicencio
"There is a shift happening. A much needed shift towards equity and inclusion. If the voices of our cohort reflect even a glimpse at what is to come, then the future of American Theater will expand beyond its gaze and bring stories that the public deserves to experience. Stories of the people, by the people." - Dedra Woods
"I hope the future of the American Theatre will continue to shine light on the stories that need to be told regardless of whether people are ready to hear them." - Danielle Zarbin
What is one thing you learned in the course that surprised you?
Rashad T. Bailey: It was illuminating to hear war stories from our teachers that mirrored so many of my own. To hear so personally how they endured under such pressure inspires me. When we are able to see our heroes journey, we can imagine our own more fully.
Victoria Detres: I was really worried, and to be honest, quite cynical that the digital space created would feel like a barrier to real conversation, real engagement. But it wasn’t. With this cohort there was an immense joy and care that radiated with the conversations we had together. We challenged each other with passionate discourse, but we also created a community of support and accountability. I was truly surprised that I was able to engage in this way and have the space become that.
Isha Gulati: No two shows are produced the same. Using a "successful" model from one show does not guarantee success for a different show.
Marina Montesanti: I initially thought there was little room for me to be a commercial producer, but as the course progressed, I was surprised to see that there is more space and possibilities than I thought. I am grateful to be guided by my mentors and to be fostered within a community of people who share the same desire for the American Theatre. We know what we need to do to make ourselves and our communities proud, so this class fueled me to continue creating art and supporting artists I believe in.
Brayden Simpson: I'm not sure if I was surprised, but I was certainly inspired to learn the purpose of regional enhancements and their function in a show's development, especially for a potential Broadway run. While freelancing, I remember tracking certain shows and recognizing patterns: theatres that would align with a play's themes would put up a particular show, specific cities' demographics, etc. Through TPOC, I learned regional enhancements are more than the opportunity for a show to play to different audiences, but the chance for creative logistics to be fully reimagined as needed.
Camille Thomas: I was surprised by how many people are out there that are tired of the way the industry works. If we can come together we can really change the theatre world.
Traci Tolmaire: What struck me is the reality that only three organizations own the majority of theaters on Broadway and control what stories are presented. It reinforces how paramount it is to have BIPOC owned and operated artistic homes.
Leah Vicencio: One thing from the course that surprised me was how mission-driven a producer's work can be. There can be multiple ventures, but a constant throughline with the impact a producer wishes to make on a community. Also, how extensive the legal processes can be!
Danielle Zarbin: I wasn't surprised by the number of BIPOC who are interested in producing, but I was surprised by the sheer scale of lack of information and tools available to make those dreams a concrete reality. Producing is full of human, structural, and financial gatekeepers and there is little transparency around how to gain access to any one of those doors. All the more reason to continue TPOC for future cohorts.
Why should students and young professionals consider a career in producing?
AdamCoy: If you are unsatisfied with what work gets programmed, the structures that make up the American Theatre, or do not see progress of change on the horizon, becoming a producer gives you the agency to change the industry from the top down.
Eric Emauni: We need new minds and creatives to keep this industry on the pulse of what is truly happening in the world. The truth is Broadway does not reflect society and has become more and more inaccessible. There are young minds with fresh ideas that can be supported, but that is a choice everyone needs to make.
Freddy Mancilla: Any progress made today is going to need a younger generation to continue the push tomorrow. Change is going to take more than one season, more than one year, more than one lifetime. And we're going to need your help.
Jacqueline Flores: To me, a career in producing theatre means having the opportunity to share the human experience on stage. Who gets to make those decisions affects how we see ourselves and others walk throughout the world. I choose producing because I’m passionate about changing the narratives that are told about people of color and want theatre to reflect and celebrate the complexities of our lives. Producing theatre has the power to affect how people treat each other and the way we see ourselves reflected on stage can impact what we believe ourselves to be capable of.
LadyDel Castillo: The industry needs fresh voices and ideas to move forward. The issues older producers have dealt with are not the same issues younger folks are currently dealing with. Sometimes, it takes young professionals speaking up and making a ruckus for long-term change to happen.
Marisa Diane Kennedy: It forces you to grow within yourself and to examine what kind of art is aligned with your ideals. Where are you willing to put your time, money, and energy even if financial success is not a sure thing?
Olivia Lilley: To be a producer is to declare that you will settle for nothing less than having agency in your career and your artistry. Every young artist should learn to produce. It will teach you, baseline, how to advocate for others as well as yourself.
RyanDuncan-Ayala: The industry needs more young producers that want to shake up how we produce plays at the highest levels. This program allowed me to learn the industry standard so I know what I do and don't want to take forward as I begin making waves. We need more young people that want to do the same.
Sammie Paul: Students and young professionals should consider careers in producing because it ultimately puts the power of show fruition in your hands. Producers are the necessary cog between the artistic creative team and the public, supporting the show logistically and navigating the harsh realities of financial limitations. Producing offers you a way to support the stories you are passionate about and propel them to greater and greater heights. As a producer, you can pave the road for the underrepresented stories you see necessary and uplift a generation of new voices.
The Fred Ebb Award recognizes excellence in musical theatre songwriting, by a songwriter or songwriting team that has not yet achieved significant commercial success.
