Behind the Scenes: An Intern’s Perspective

The audience shuffles in through the glass doors in downtown Greensboro, North Carolina. The ushers smile warmly as they attempt to guide the crowd to their seats, anxious to see the show. The theater is buzzing with excitement as the lights dim. Actors file onstage in the darkness to their places, recalling the hours of rehearsals and preparation that have brought them to this moment. The stage manager holds their breath as they await the perfect moment to call the first lighting cue. Countless hands, minds, and hearts have worked tirelessly to make this exact moment happen. But how exactly did we arrive here at opening night? What all has to happen to put on a production at a professional theater such as Triad Stage? Here’s a backstage look at the process that puts shows on their feet from the perspective of an intern.

 For the past month, I’ve had the privilege of being the multi-purpose intern at Triad Stage. I participate in a different department of the theater every day, from learning about the financial procedures of the company, to observing educational workshops, to helping out with alterations in the costume shop. Every member of the Triad Stage team gives 110% to whatever they do. It is almost immediately evident to anyone who observes them is that they act as a family in communion with one another. The tireless work that goes on behind the scenes to make their shows happen is incredible.

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In the costume shop for the past month, I’ve observed designers, assistants, and apprentices working side-by-side to create masterpieces from fabric. The journey of the costumes begins with countless hours of research. For period productions, such as the upcoming A Raisin in the Sun by Lorraine Hansberry, which is set in the 1950s (and runs at Triad Stage January 28th-February 18th), costume designers research the popular styles of the time through online resources and even vintage magazines from the appropriate time period. The actors send in their measurements, and then the design process begins. At the first rehearsal that both the entire creative team and the cast attend, the costume designer, as well as the scenic and lighting designers, presents sketches of their proposed costumes. I was able to witness this meeting, and was blown away by the details of each design.

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 Actor costume fittings begin immediately following the first rehearsal. After those, alterations pile up. The designer, the shop manager, and the apprentices work with the actor to make a costume that enhances their character and does not restrict them in any way. Some costumes are made from scratch, like the African “Buba”, a woman’s blouse, that appears in A Raisin in the Sun. Others are pulled from the shop’s stock and altered to fit the actors. Still others, like some of the dapper men’s period shoes, are ordered online. Often, the theater is working on multiple shoes at once, meaning every department, including costumes, is juggling enormous amounts of work for many shows at once. Each show is able to flow seamlessly to the next.

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There are always alterations to be done!

 

 

Rehearsals are equally as interesting to observe. As I observed one of A Raisin in the Sun’s rehearsals, I witnessed an incredible partnership between actor and director. The goal of theater is to tell stories in the most compelling way possible. To tell truthful stories, actors must know everything about their character, top to bottom. The director works right alongside them, guiding them along the story’s line. Triad Stage prioritizes working with many different directors, actors, and designers. Each work is always new and original, regardless of its age or number of production.

     The rehearsal I observed focused on  a scene in the household of the Younger family, the play’s central characters. Some of these actors had never met each other in their entire lives before the rehearsal process began, and yet they were able to create what seemed to be a family that had lived together for decades. The relationships created in only the first week of rehearsals was incredible.

The everyday running of the theater not only includes the current show, but also educational outreach to the community. Offering workshops to local teachers, Triad Stage hopes to integrate the arts with academic learning in schools. In one such workshop that I attended, teachers were led in a series of theater games that were geared toward building skills necessary for academic learning. We played games like ‘The Truth About Me” in which one person stands in the middle of a circle of people. That person says something about themselves, and if that truth applies to anyone else, they all move about the circle. This game is meant to enhance learning skills such as effective communication, information processing, and making decisions. I believe this movement toward fusing the arts and academics is vital to childhood development.

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   The Arts Integration Workshop I attended led by Lauren Smith, Triad Stage’s Learning Director.

 

 

 

 

Triad Stage picks their shows with the audience in mind. Each show of the season is selected with care based on what shows could be appreciated in the community. For example, A Raisin in the Sun is a play about race relations, but also the complexities of family. The show is a gateway for communication about racial discrimination and family relationships.

Audience members come to see the culmination of the long hours of work in a performance. Many sit comfortably in their seats, blissfully unaware of the tireless toil of every single member of the production’s cast and crew. This is exactly as it should be. The actors, gliding around the stage in the paths they’ve walked dozens of times in rehearsals, play characters that exist to lift the audience’s spirit out of their own lives into the story of another. Triad Stage creates an atmosphere of “nationally recognized, locally produced” theater that allows anyone to enjoy the spirit of theater.

Meredith Brown, Intern at Triad Stage

Come see A Raisin in the Sun at the Pyrle Theater in Greensboro January 28th – February 18th!

Beautiful Star Director’s Note

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One of the first things I learned about working in the professional regional theater is that Christmas comes early. While everyone else is still thinking about what to wear for Halloween, I’ve spent most of the last 15 Octobers of my life either in Victorian England with some guy named Scrooge, at Macy’s dressed up as an elf, searching a magical land for The Snow Queen or with the fine folks at a small Church in a fictional town someplace in the mountains I am proud to call home.

I have been fascinated by the English Mystery Cycles since I first discovered them in 1995. My first attempt to adapt them for the Appalachian region was in a play called Wondrous Love. It was long and unwieldy, and after the first and only reading of the play, I thought I was through with the Mystery Cycle.

But the Mystery Plays, full of faith and majesty, have stayed with me. The language, rich with alliteration and surprisingly real, has shaped all my subsequent writing. But I knew I wanted to do more with them than simply restage them. I had to find a way to make the plays my own with a framework allowing us to know the people doing the plays. The church and the congregation I imagined was a fantasy of sorts. It was the church I would like to stumble into on a winter’s evening. A spirit filled place, where everyone, wounded somehow, can be healed. And where everyone is accepted, believer or not, into a family. It gives me great joy to stumble into that church again, to find my old friends waiting, as joyous as ever with stories to tell.

Throughout the writing of the play, I thought a lot about my Aunt Shirley who decided in the mid-nineties that she would write and stage her own Christmas play in her basement. The cast was comprised of my family (all but me making their stage debut) and a few folks from her church. It was a three-year experiment in theatrical folk art. Every minute was crafted by Aunt Shirley with absolute love for the story she had to tell. And every year, there came a moment when the play transcended the basement of that 60s ranch house to become something bigger −something made out of faith. I imagine that moment happened sometimes, too, as the pageant wagons rolled through streets of medieval York and the fishmongers and shipwrights and carpenters performed their plays to celebrate their spirit. And it’s that moment I’ve come searching for again in this blending of Bible stories, medieval plays and contemporary Appalachia.

We’re thrilled to invite you back to the Open Heart Fellowship.
Welcome home.

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WWII Comes to the Cast of South Pacific

Lieutenant Colonel Franklin B. Montgomery had the glint in his 94-year-old eyes of his much younger self. Frank was in fact channeling his 18-year-old self, describing how his life and the lives of all Americans changed after Pearl Harbor.

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“It exploded my family,” said Frank. “High Point, my hometown. North Carolina. Our nation. The world.”

Frank was standing in front of a packed room, speaking to a rapt audience – the 30 cast members and assorted creative team and staff of our production of SOUTH PACIFIC. Frank was invited to speak to them because he’s a bit of an expert in this area. He served in the South Pacific during WWII.

But that’s telling the story in the wrong order. Frank graduated from High Point High School in 1944 and enrolled in NC State with the intention of studying engineering and continuing to run track. He’d been a track star in high school. He had a promising future. And then war reared its ugly head, and like so many young Americans Frank pivoted to meet it.

In early 1942 Frank dropped out of college and volunteered for the Army Air Corps.

“I choose the Air Corps because it seemed exciting,” Frank said. “Just 20 years before I was born the Wright Brothers flew the first plane off the coast of North Carolina.” He described himself as “not militaristic, most of us weren’t”, but rather driven by a sense of duty and the thrill of new experiences.

He got on a bus in High Point with seven other people, but they all went their separate ways. [Check out this News & Record article for more of Frank’s history and to hear how he met up with one of those same young men he left with, so many years later.]

Frank graduated flight school in 1944 and shipped out. Eighty percent of the personnel and equipment in WWII went to Europe, but Frank went to the South Pacific. Not his choice.

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“I knew how to fly an airplane, but that’s about all I knew,” said Frank of his younger self. Prior to leaving for the war, the furthest he’d been from home was Myrtle Beach. He wound up on Oahu flying a P51. He’d sometimes be in the air for 7 hours a stretch with only the most rudimentary navigation instruments. The enemy was not the only threat.

“Watching that fuel gauge go own and down, you begin to wonder if you’ll make it back.”

He described the state of endless waiting that the characters of SOUTH PACIFIC are engaged in – waiting for orders, for battle, for news from home. Frank spent more than an hour sharing his candid memories and answering questions from the cast – large and small.

“How long would it take to get an answer when you wrote letters?” asked one cast member.

“Forever,” said Frank. “Weeks. Or never.”

Frank returned home in early 1946. He later went back to Southeast Asia to serve in Korea and Vietnam. He spent time living in Okinawa with his wife and sons. His experiences living and fighting in the South Pacific didn’t leave him bitter towards the people there.

“No Japanese person ever hit me or short changed me. I’d shoot down their planes and boats but I couldn’t sit there and say I hated them. But a friend of mine just hated them from his guts. Explain that.”

It’s hard to fathom Frank hating anyone. He’s just about the most congenial person you can imagine. But that difference of feeling is at the heart of South Pacific, and our production is better because Lieutenant Colonel Franklin B. Montgomery shared his experiences with our cast during the rehearsal process and helped bring the characters to life by filling out the world they inhabit.

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*If you happened to notice Frank wearing three hats, you are not mistaken. Frank likes his hats.

We are proud to be honoring Lieutenant Colonel Franklin B. Montgomery as part of Triad Salutes at the Opening Night performance of South Pacific on Friday, September 22. 

Summer at The Shop

For every Triad Stage production, there’s a story behind the spectacle. Whether it’s the set design, props, or costumes, no detail is left unaccounted for. At the Triad Stage production facility in Greensboro, there is a constant frenzy of creativity, planning, and construction that takes place to make sure that every show brings magic to the stage.

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This off-site location is home to our set design and construction team, prop storage and rental facility, as well as our costume shop. The facility houses offices for staff, as well as storage, sewing spaces, and work rooms for large construction projects.

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During the summer, life at the production facility slows down just a bit as staff take a moment to reflect and regroup after a busy season. Often, this time is used to effectively organize the space before the whirlwind of show production begins again. In storage rooms, items are strategically grouped for simple management. Every item has its place; from chairs, to chests, to checkered prints.

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But none of these things are just laying around getting dusty. The production facility also operates as a rental company, and anything your theater heart desires can be borrowed. Triad Stage additionally supports local universities such as UNCG with collaborative rental partnerships with academic theater departments. This system ensures that many of the props and set designs from old Triad Stage productions continue to have a life after the show.

As we head towards the start of the 17th season, things are falling into place for the set of our first production of the season, South Pacific. On a visit to the facility, I got a sneak peek at some of the first projects that our set design team is working on to bring the World War II era to life. Speakers are being repurposed to imitate old radios, collections of army personnel items are stacking up, and miniature models exemplify the future directions for Bloody Mary’s mobile street shop.

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The costume department is also well on its way towards getting ready for the show. Upstairs, racks of uniforms are being prepped for fittings this month. To develop the design of each character costume, the team has relied heavily on historical readings and personal photos from a Colorado based woman who served as a nurse in the South Pacific during World War II. The details of every garment are designed to be as historically accurate as possible.  Each costume has been slowly acquired piece by piece over the course of the summer, and continues to be finalized as the last shipments of vintage tops and sturdy boots arrive to the door. On a dress form, the final look for South Pacific’s female lead character Nelly is almost ready to go.

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Be sure not to miss all of the hard work paying off this fall. Catch South Pacific at The Pyrle theater in Greensboro September 17 – October 15! Visit the Triad Stage website or call our Box Office at 336-272-0160 to reserve your tickets today.

Reflections on the NCTC Producing Gathering

As my time at the NCTC Producing Gathering comes to an end, I am incredibly grateful to have had the opportunity to attend this conference. With session topics ranging from marketing strategies, to assessing the realities of diversity and inclusion in theater arts, there was no shortage of great ideas. As an undergraduate student, I came to the NCTC Producing Gathering with the expectation that I would learn more about the theater profession, and the type of work it takes to make art a reality. But more than that, over the past two days I have also learned a great deal about myself as a young professional, and what action steps I can be taking now both within the arts world and beyond.

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One of the highlights of Ben Cameron’s opening address was his remark that an organization’s core values are more important than the mission statement. This idea inspired the discussion of the first session that I attended, “Prioritizing Values Over Mission”. The major takeaway for me during this conversation was that while the mission statement might define what you do, it should not be the single guiding force of an organization’s work. In truth, it is the core values that spark people’s passion and motivation towards the work that needs to be done. Core values show who you are, why you care, and determine what needs to be done. For me, this concept is true for both my professional and personal life. It’s not just what you do; it’s how, and why.

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Moving into the second day of the Producing Gathering, there was a lot of focus on community. In a morning session, “Assessing Where We Are Now: Diversity & Inclusion”, participants shared personal stories from past successes and shortcomings of bridging various sociocultural divides in our communities. While ultimately there were many ideas on how to attract audiences, diversify casting, and create accessible productions, it was realized that the first and arguably most important step we all need to be making towards these professional goals is in our personal lives. It is impossible to authentically and effectively meet articulated goals of inclusivity unless we make the effort to personally build relationships and engage in communities beyond those that we comfortably interact with in our everyday lives. This session really inspired me to break out of my daily routines, and actively seek activities that allow me to build relationships across cultural boundaries.

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Overall, my experience at the NCTC Producing Gathering was incredibly worthwhile. I made connections with theater and arts professionals from all over the state, learned more about my field, and gained valuable insights on my role as a young professional in the arts. Many thanks to Triad Stage and the NCTC staff for making this opportunity possible!

 

– Alyx Bean, Triad Stage Summer 2017 Opportunity Greensboro Fellow

 

NCTC Producing Gathering: Day 2

The second and final day of the North Carolina Theatre Conference Producing Gathering at Triad Stage has ended, but the buzzy excitement of new ideas and new relationships is going to be buoying the work theater companies across the state in the weeks to come.

We jumped straight into workshop sessions, with early sessions on marketing, building great staffs, and weathering change. Participants in conference block two tackled board engagement, diversity and inclusion check-in, and bridging the urban/rural divide.

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Trickling into The Pyrle Theater this morning.

Digging deep to solve the problems of our time. #nbd

Digging deep to solve the problems of our time. #nbd

NCTC arranged a second excursion to the International Civil Rights Center and Museum, and an excursion to Elsewhere, a living museum and artist residency housed in a former thrift shop on Elm St. As always a huge shout out to ICRCM, frequent collaborators and longtime partners, for hosting us. The Elsewhere tour was a first for many, including members of the Triad Stage staff, and was an inspiring experience for those who attended.

Thanks Guido for leading such an excellent tour!

Thanks Guido for leading such an excellent tour!

Triad Stage Associate Artistic Director Sarah Hankins on her first Elsewhere tour.

Triad Stage Associate Artistic Director Sarah Hankins on her first Elsewhere tour.

Look at all those inspired smiles!

Look at all those inspired smiles!

And what is a good conference without closing remarks that lay out where the group has been and where we’re all headed in the next year? Vivienne Benesch, the new(ish) Producing Artistic Director of Playmakers Repertory Company, gracefully rose to the occasion.

A self-avowed quoter, Vivienne had some of her own beautiful reflections and pearls of wisdom to share. Growing up in London and New York, Vivienne had this to say about her first year and a half in NC: “I have never encountered the kind of pride North Carolinians have for their home and what is possible here.”

At a conference where authenticity was a recurring theme in sessions, Vivienne reminded us all that these conversations “are better when you’re not talking to yourself.” In dialogue with each other, and with our communities, we endeavor to celebrate our successes and improve on our shortcomings in the year ahead.

We’re still processing some of the big questions and ideas from the conference, but as part of that process, we’re going to be putting together some of the best and most inspiring nuggets uncovered during those conversations with all of you later on this week. Stay tuned!

One of the best least-noticed pieces of art at Elsewhere - inspiring words for artists of all kinds, visible from Freeman Mill Rd.

One of the best least-noticed pieces of art at Elsewhere – inspiring words for artists of all kinds, visible from Freeman Mill Rd.

Photos and content from Opportunity Greensboro Fellow Alyx Bean and Marketing Manager Tiffany Albright. 

NCTC Producing Gathering: Day 1

Triad Stage and the North Carolina Theatre Conference are pretty tight – which maybe isn’t surprising, considering NCTC’s state headquarters are embedded in our administrative offices on Elm St. in downtown Greensboro. But we are thrilled every time we get to welcome the entire NC theater community to Greensboro for the annual NCTC Producing Gathering. This year’s two-day conference (July 17 & 18, 2017) is our fifth time hosting the gathering of almost 100 theater practitioners, from companies of all sizes to board members, independent producers, educators, and volunteers from all over the state.

Coffee before deep thought, please.

Coffee before deep thought, please.

This year we kicked off in The Pyrle Theater with an opening keynote from Ben Cameron, a titan thought leader in the arts world and a native of the Triad. He shared ten meditations on theater in NC and the way forward. His “Zen Ben” presentation seemed to key up the audience more than calm the fears, which is exactly what you want at the start of your conference. Big takeaways: Change is already here, and theaters that can’t adapt are in trouble. Also, we could all stand to take a hard look at our values and how we’re reflecting them in our work and our wider actions in the community (more on that late this week in our reflection post).

Photo courtesy of NCTC. From left to right: Triad Stage Founding Artistic Director Preston Lane, Triad Stage Board Chair Dabney Sanders, Keynote Speaker Ben Cameron, and Dennis Quaintance (President, Quaintance Weaver).

Photo courtesy of NCTC. From left to right: Triad Stage Founding Artistic Director Preston Lane, Triad Stage Board Chair Dabney Sanders, Keynote Speaker Ben Cameron, and Dennis Quaintance (President, Quaintance Weaver).

After the keynote, NCTC Executive Director Angie Hays spent some time leading us through the process of generating unconference topics (for those who have never attended an unconference, it’s basically a giant brainstorming session where we share all the problems we’d like to solve and things we’d like to talk about, and then whittle that down to our sessions). Today’s sessions spanned a range of topics that included Creativity & Collaboration, Allowing Our Communities to Define Our Values, Sensory Friendly Performances, and Engaging Millenial Donors.

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The afternoon carried us out into the communities for tours of The Forge, Greensboro’s burgeoning makerspace, and The International Civil Rights Center and Museum, a cultural touchstone for our city and state.

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The Forge tour with Executive Director Joe Rotondi.

Day one is wrapping up with an extremely chic party at Proximity Hotel, which will still wind down early enough for us all to be back fresh-faced in the morning for what is guaranteed to be another challenging and rewarding day.

Tomorrow we’ll share the best news from Day 2, and later in the week we’ll also share some of our top line takeaways from our favorite sessions, and favorite general moments from the conference. Until tomorrow!

Photos and content from Opportunity Greensboro Fellow Alyx Bean and Marketing Manager Tiffany Albright. 

Professional Development at Triad Stage: Opportunity Greensboro Fellows Program

With the theater being dark during the summer, you may be wondering what we have been up to here at Triad Stage. Don’t fear! We’re in full-on planning mode for the season ahead. Our building may look quiet from the outside, but the staff are working hard behind the scenes preparing eight high quality productions to be delivered to the Triad region in the coming year.

To help us out this summer, we’ve been thrilled to welcome Elon University student Alyx Bean as our first Opportunity Greensboro summer intern. Alyx is an Arts Administration student with a passion for community development. This season is the perfect time for Alyx to work with us. She’s getting the opportunity to assist in the rapid expansion of our Learning Program, and the preparation for our 17th Season.Here at Triad Stage, lifelong learning is a shared and fundamental value. We support programming that inspires new and creative ways of thinking, and promotes personal and professional growth. In collaboration with the Opportunity Greensboro Fellows Program, we seek to bridge the gap between academia and theater arts professions.

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Alyx Bean and Justin Nichols at our pop-up photo booth for SOUTH PACIFIC on Fun Fourth.

Alyx Bean and Justin Nichols at our pop-up photo booth for SOUTH PACIFIC on Fun Fourth.

The Opportunity Greensboro Fellows Program is an initiative of Action Greensboro. The program launched last year with its inaugural student cohort. This program addresses the need to attract and retain young professionals in Greensboro from local colleges and universities. Accepted Fellows are given the chance to gain valuable work experience, develop critical skills at the Center for Creative Leadership, build a strong network through exclusive mentorship, and engage in the community through living and working in the city throughout the summer.

Beth Manella, Fellows Program Director with Opportunity Greensboro, shared some of the benefits of this 10-week internship program:

“Prior to the Opportunity Greensboro Fellows Program, there was no centralized program for finding a paid summer internship in Greensboro. This program benefits local college students, local companies seeking local talent, and the greater community at-large who wants to see our community continue to grow with regard to economic development and keeping more young professionals here.”

In 2017, Triad Stage become one of the collaborating organizations to offer a professional paid internship opportunity to local college students. This summer, our summer Fellow Alyx has been working alongside Triad Stage’s Development Manager Justin Nichols and Marketing Manager Tiffany Albright to support the development of fundraising and marketing plans for the season, and assisting with general office administration. She is also getting the opportunity to observe and foster relationships with our staff, and to learn more about a profession in theater arts.

We’re so pleased to be a part of this exciting new program that will support both Alyx in her professional development, as well as Triad Stage in our season preparation. We look forward to continuing our collaborative relationship with the Opportunity Greensboro Fellows Program, and can’t wait to see the benefits that this initiative will bring to our city.

Triad Stage receives two national grants

The National Endowment for the Arts announced $82 million to fund local arts projects in every state and jurisdiction. Triad Stage will be the recipient of a $20,000 Art Works grant. Triad Stage also recently received $50,000 from The Shubert Foundation, the nation’s largest funder dedicated to unrestricted funding of not-for-profit theaters.

The Art Works award will support  a new play commissioned by Triad Stage and written by Mike Wiley about the 1960 Greensboro sit-ins and the Greensboro Four. Wiley is a NC playwright whose play The Parchman Hour about the Freedom Riders has been performed at theaters across the country.

The NEA received 1,728 Art Works applications and will make 1,029 grants ranging from $10,000 to $100,000. Nineteen grants were awarded in North Carolina to groups including The North Carolina Theatre Conference and the National Black Repertory Company. In previous years Triad Stage has received the Art Works award to support the development and production of five shows, including a revival of Tobacco Road (2007) and four original works by Founding Artistic Director Preston Lane examining life in the South: Brother Wolf (2006), Bloody Blackbeard (2008), Providence Gap (2010), and Radiunt Abundunt (2016).

RADIUNT ABUNDUNT (2016)

Radiunt Abundunt (2016)

The Shubert Foundation Grants Program awarded a record $26.8 million to 533 not-for-profit performing arts organizations across the United States in 2017. Seven grants were awarded to theaters in North Carolina. Triad Stage’s $50,000 grant is the second highest grant in the state. It is also the highest grant Triad Stage has received from the foundation.

For more information about how you can support the Triad Stage visit http://triadstage.org/support.

Meet Dr. Cynthia Greenlee, InSight Speaker for ACTIONS AND OBJECTIVES

Greenleeheadshot1Dr. Cynthia Greenlee, North Carolina native and historian, has been announced as the InSight Speaker for Actions and Objectives, a World Premiere North Carolina drama from Founding Artistic Director Preston Lane. Dr. Greenlee specializes in the post-Civil War legal history of African-Americans and the U.S. South.

Performance details: Sunday, April 9
2 p.m. @ The Pyrle Theater, 232 S. Elm Street
The InSight lecture is free to all, and will begin immediately following the matinee performance.


About Dr. Cynthia Greenlee
A proud graduate of Greensboro’s James B. Dudley High School, Dr. Greenlee is a former Morehead Scholar who earned a master’s in journalism from the University of North Carolina at Chapel Hill and a PhD in history from Duke University. She works as an independent scholar and also the senior editor at Rewire, the leading online publication for news and commentary about reproductive health, rights, and justice.

Check out Dr. Greelee on Twitter @CynthiaGreenlee.

If you don’t have your tickets for Sunday’s 2 p.m. matinee followed by a conversation with InSight Speaker Dr. Cynthia Greenlee, head on over to the Triad Stage website to reserve them today!

 

About Actions and Objectives
Just when things had seemed to calm down in Hawboro (Providence Gap, Common Enemy, Radiunt Abundunt) after the recent unpleasantness concerning the Zebulon Zebras, a theater company announces plans to develop a play to celebrate the town’s sesquicentennial. As they probe the official story and rehearse the drama, the contemporary concerns of the artists and the community begin to parallel the struggles of the city’s first citizens. From Reconstruction to Black Lives Matter, the line between the present and past, rehearsal and reality begins to blur as new truths emerge and tempers flare. In the tradition of Common Enemy, this world premiere drama returns Triad audiences to the town of Hawboro for a bold exploration of the contemporary South. Contains adult language and themes.