Theater

allyship and that is not what’s needed in 2020 and going forward.

Everyone should choose purpose over ego. There’s no reason a larger theater company can’t help a smaller theater company with a production if they have the same goal in mind for the project. What’s the point of community if we are in constant competition? What are we competing for?

Why are we doing art? Seriously.

Artists have the distinct honor of translating our stories and presenting them in a way that creates camaraderie, memories and change. We just want to be appreciated and respected for the work we do and the sacrifices we make in order to be fulfilled and fill others.

Treat us as you treat yourselves. If you don’t honor yourself with such care, start there. All of this is just a reflection of the state of humanity. We can be better. Art will get us there.”

Christine Pascual, costume designer:

“I would like to see theaters realize the inequity in pay and tech support for costume designers. I have worked in Chicago for over 25 years. Even in storefront theater, I have seen the set designer receive more support and more pay. Even if all the designers are paid the same the costume designer is expected to do the makeup and wigs, manage the budget, hire any costume assistance, shop the show, do all the alterations, build the show, pull rental costumes, come back for maintenance after the show opens. Meanwhile the set designer has someone to build the set and manage the build (technical director), paint the set (scenic artist), shop and acquire the props and furniture (prop designer). That being said, since costume designers are expected to do everything, they cannot stack jobs like other designer can, so they make less money. How do we change this? Producers and costume artists should know what it takes to realize a costume from the page to the stage.

The other important thing I would like to see is a more inclusive, diverse theater community. Chicago theater should look like Chicago. So much of getting your foot in the door depends on your ability to work for free or low pay. Of course this is going to affect the BIPOC community the most. They don’t have the same opportunities and economic advantages as white artists. Theaters have apprenticeships and internships where you are not paid. Some theaters have young artists pay to work for them. What other industry does this?”

Josh Zagoren, writer and actor:

“I think the theater community of Chicago needs to work together to actually observe the society we are in, to evolve to be ‘of ’ the times rather than just ‘about’ the times. Diversity, representation, professionalism are missing, lacking and are, and have been for decades, being ignored or outright stifled. Whatever systems each theater can put in place to make sure these concepts are first and foremost can lead that change and open themselves up to the world as it is which only helps to effectively hold the mirror up and show society itself, which is and should always be our common goal.”

Dolores Díaz and Derek McPhatter, playwrights:

“We wanted to touch base to reflect some of what our local membership has voiced during this unprecedented time. Namely, as playwrights we are are hoping for transparency, accountability, hospitality and an embrace of nontraditional forms from theaters, as follows:

Transparency: Be upfront. Tell playwrights about your theater’s capacities, capabilities and resources before finalizing any agreements.

Accountability: Have a plan. Refine an official conflict resolution process. As part of the partnership agreement, be explicit about how challenges during production can and should be addressed.

Hospitality: Create a welcoming environment. Commit to an audience and artist experience that engages all communities and reflects the diversity of our city.

Nontraditional forms: Embrace the storytelling of multiple traditions. Don’t be afraid to move away from a single protagonist and towards narratives that embrace a more pluralistic model that includes BIPOC cultures.”

Wardell Julius Clark, actor, director and activist:

“The first thing theaters should do, is admit harm caused. More than just a Black Lives Matter message, every theater should release a full statement of their complicit nature as it relates to the white supremacy they have perpetuated since their inceptions as a company.

As we have started to use land acknowledgments in theaters, we should also be using Black labor acknowledgments as well across the board.

All theaters should admit that the old way of operating was harmful and be transparent about how they intend to forge a new path. White artistic directors have to remove their ego, stop worrying about ‘appearing’ racist, news flash, they all are, whether conscious or not, and start to dismantle all of the systems and practices in place at their institutions. Connecting with the rest of the community to see what steps are being taken so that we can all move forward together and rebuild a new safe environment for BIPOC and all artists to exist and work in. Remove ego, shun white fragility, don’t look for a pat on the back for doing the necessary and right thing, and keep doing the work!”

Gaby Labotka, actor, director, fight director and intimacy director:

“I uplift every request from We See you White American Theater. Artistic directors should also have term limits. Budget and compensation should be transparent at every level of the organization. Chicago theaters must prioritize the safety of their performers, which means budgeting for and hiring fight directors and intimacy directors just like they would for a technical director and set designer jointly. Fight directors and intimacy directors are artists responsible not only for the artistic interpretation of staged violence and intimacy but for ensuring safe work environments, technique and repeatable and sustainable choreography. Not only that, but certified intimacy directors are also especially trained to help navigate boundaries especially of touch and proximity and will be invaluable navigators and team members in leading us through our eventual safe return to making theater.”

Topher Leon, director and actor:

“I think that the lack of mentorships opportunities and preliminary positions in theaters for directors is a consistent challenge. There is not a culture of developing young artists in the city and there are often not clear pathways to make inroads at a particular institution, or from production to production. This problem is especially compounded for artists that are BIPOC, women, queer, disabled or low-income. The theaters of Chicago not making space for young artists, young directors, allowing them to be involved, be mentored, be actively creating alongside their community, depletes the community of a wealth of insight and creativity while adding unnecessary struggle and barriers to those who are often systemically disregarded.”

Becky Keeshin, actor:

“I have learned through this current world shift, and this pause us theater people are forced to take, how important boundaries are and I want to see theaters respect personal boundaries. As a young person especially, boundaries at work can be challenging. I want to be seen as a team-player, as someone who can be casted again and again, and someone that ‘doesn’t cause trouble.’

I have now learned I must cause trouble! I need to use my voice to challenge and uphold these companies to the standards they say they operate at. I don’t want theaters to make me feel like I am constantly afraid to be there, and if I don’t break my back delivering for them, I might never work there again. I want to be confident when I go to work that I am going to show up, do my job, have a mutual respect for everyone and their jobs and then we all get to maintain the other parts of our humanity.

Most importantly, there are a lot of companies in support of Black Lives Matter, who are making statements and virtual efforts. They can say they support BLM, they can say they are working for diversity and inclusion, but I want to physically see those statements in action.”

Kaiser Ahmed, artistic director of Jackalope Theatre:

“In this moment, theater has a unique opportunity to reinvent itself. It’s clear that artists and audiences alike won’t return to the way things were. There are three things that strike me as essential for theaters to consider as we move forward.

This pause is a perfect time for every organization to truly evaluate where their values are in general. And, particularly, how those values line up with the We See You White American Theater demands. It time for companies to embrace a culture of transparency.

For too long, theaters in Chicago have seen waves of closures every 10 to 15 years. Our Chicago theater ecosystem deserves a less traumatic cycle that encourages our young and talented artists to stay and invest in their city, steadily progressing up through supportive leadership pipelines across the various theaters, big and small.

Finally, in this age of the digital pivot, theaters need to remember what makes them valuable. And that is direct proximity to the communities they serve and their ability to act with accountability, immediacy, and urgency. Theater is grassroots art. It’s where cultural shifts can begin, and we need to see theater rise to meet immediate community needs.”