Volume LXV Number 2 • Spring/Summer 2024 • $12.00
FULL SETC CONVENTION KEYNOTE COVERAGE
DESIGNING INCLUSIVITY — ON STAGE & IN YOUR COMMUNITY
TACKLING CONTROVERSY • DO YOU NEED A MENTAL HEALTH DAY? (MAYBE NOT)
12
Know Your Worth
Keynote speaker and Distinguished Career Award
recipient S. Epatha Merkerson remembers the
challenges on the way to becoming an icon
by Michael Dinwiddie
16
Building Inclusive Communities
Advice and Insights from SETC’s
2024 Distinguished Designers
by Jonathon Taylor
20
Words of Wisdom
Reflections on three SETC guest artists
at the 75th Anniversary Convention
by Keith Arthur Bolden
26
Tackling Controversy
Teachers Institute presenter Howard Sherman offers
suggestions for theatre educators who face censorship
by Amy Cuomo
29
Suzanne M. Davis Award
Presented to Marci J. Duncan
by Steven H. Butler
31
Charles M. Getchell Award
2023 Getchell Award winner D.W. Gregory
discusses her new comedy, A Thing of Beauty
by Lauren Brooke Ellis
34
Excerpt from A Thing of Beauty
by D.W. Gregory
Features
CONTENTS
Volume LXV Number 2 l Spring/Summer 2024 l Southern Theatre – Magazine of the Southeastern Theatre Conference
6
Outside the Box:
Design & Tech Solutions
Rubber Doormat Railings
by Will Ragland
8
What’s On Your Mind?
Mental Wellness & the Artist
Do you need a mental health day?
by Jonathan Mathias Lassiter, PhD
10
H@ndle Your Business
Theatre with Impact
by Frederick Marte
36
Theatre on the Page
Book Review
Footnotes: The Black Artists Who
Rewrote the Rules of the Great White Way
by Khalid Y. Long
Distinguished Career Award recipient S. Epatha Merkerson
shares her stories of challenge and success at the 75th SETC
Convention in Mobile, Alabama. Photo by David Dixon.
Columns
On the cover
Moments from the 75th Anniversary Convention of the
Southeastern Theatre Conference, held March 13-17,
2024, in Mobile, Alabama. Photos by David Dixon and
Dennis Langley.
Spring/Summer 2024 | Southern Theatre | 3
From the SETC President
EDITOR-IN-CHIEF
Sharrell D. Luckett, PhD
SETC PRESIDENT
Jeremy Kisling
SETC EXECUTIVE DIRECTOR
Toni Simmons Henson
ADVERTISING
Thomas Pinckney, thomas@setc.org
BUSINESS & ADVERTISING OFFICE
Southeastern Theatre Conference
5710 W. Gate City Blvd., Suite K, Box 186
Greensboro, NC 27407
info@setc.org
PUBLICATIONS COMMITTEE
Becky Becker, Clemson University (SC)
Ricky Ramón, Howard University (DC)
EDITORIAL BOARD
Tom Alsip, University of New Hampshire
Keith Arthur Bolden, Spelman College (GA)
Amy Cuomo, University of West Georgia
Caroline Jane Davis, Furman University (SC)
David Glenn, Samford University (AL)
Kyla Kazuschyk, Louisiana State University
Sarah McCarroll, Georgia Southern University
Tiffany Dupont Novak, Actors Theatre of Louisville (KY)
Thomas Rodman, Alabama State University
Jonathon Taylor, East Tennessee State University
Chalethia Williams, Miles College (AL)
OUTSIDE THE BOX EDITOR
David Glenn, Samford University (AL)
THEATRE ON THE PAGE EDITOR
Sarah McCarroll, Georgia Southern University (GA)
COLUMNISTS
Jonathan M. Lassiter, PhD, Lassiter Health Initiatives
Frederick Marte, B.A.M. Studio Ambassador
LAYOUT EDITOR
Scott Snyder, Muhlenberg College (PA)
ASSISTANT TO THE EDITOR-IN-CHIEF
Nikki Baldwin
NOTE ON SUBMISSIONS
Southern Theatre welcomes submissions of articles pertaining
to all aspects of theatre. Preference will be given to subject
matter linked to theatre activity in the Southeastern United
States. Articles are evaluated by the editor and members
of the Editorial Board. Criteria for evalua tion include:
suitability, clarity, significance, depth of treatment and
accuracy. Please query the editor via email before sending
articles. Stories should not exceed 3,000 words. Color photos
(300 dpi in .jpeg or .tiff format) and a brief identification of
the author should accompany all articles. Send queries and
stories to: nikki@setc.org.
Southern Theatre (ISSNL: 0584-4738) is published two times
a year by the Southeastern Theatre Conference, Inc., a
nonprofit organization, for its membership and others
interested in theatre. Copyright ©
2023 by Southeastern
Theatre Conference, Inc., 5710 W. Gate City Blvd., Suite
K, Box 186, Greensboro, NC 27407. All rights reserved.
Reproduction in whole or part without permission is
prohibited.
Subscription: Included in SETC membership. Join at setc.org
Single copies: $12 plus shipping
EIC Photo: Tracie Jean Photography
I have only a few words to describe the confer-
ence in Mobile, Alabama, in March. Wowie, Wowie,
wow, wow! What a fantastic convocation to see such
talented, committed, and inspiring theatre artists. The
marvelous performances, the informative workshops,
the inspiring keynote speakers, and the opportunity
to connect with other theatre artists left me excited
and refreshed as we work together to keep theatre
a vibrant part of the cultural fabric of our country.
For me, theatre is where communities are built, where empathy occurs, and humanity
resides. That is why it is important for us as theatre artists to continue to band together
and support each other. I am honored to be the President of SETC. It is an honor and
a privilege to be asked to serve and I hope to continue the conversations and work of
the organization in the areas of diversity, inclusion, accessibility, and belonging. I am
excited for the organization as it continues to find pathways that lead to meaningful
growth as both an industry and an art form. But it will take the whole community of
artists to do so. I am looking forward to conversations about moving SETC forward,
and how our industry adjusts to our current world and the opportunities of the future.
We are moving forward! That is our mantra!
Jeremy Kisling (he/him), SETC President
Producing Artistic Director, Lexington Children’s Theatre
From the SETC Executive Director
As we convened at the 2024 Convention in Mobile,
we celebrated not just the days of events but reflected
on an incredible history — the 75th anniversary of
SETC (Southeastern Theatre Conference). As a woman
and African American artist and arts administrator,
I’m reminded of the organization’s journey since 1949
and the broader narrative of American history. Born
into the first generation to receive the full rights of
U.S. citizenship, I’ve witnessed both progressive and
disturbing residuals. From the Jim Crow era (named for an exaggerated, highly stereo-
typical Black character) to the pivotal rulings of segregation, the Voting Rights Movement,
the Civil Rights Movement, the Feminist Movement, the Black Arts Movement, the
LGBTQ+ Social Movements, the Anti-War Movement, the Disability Movement, Black
Lives Matter, and the Me-Too Movement. These are just a few historical milestones close
to our creative collective memory that has shaped our artistic world stage.
SETC is an incubator for talent and empowerment, encouraging all artists to pursue
their passions during challenging and good times, regardless. This energy fuels my
determination to develop an organization that thrives artistically, provides a safe,
supportive community, and delivers top-tier professional opportunities. We’re building
a broader foundation set by those who came before us. It’s an endeavor worth every
obstacle, sweat, and effort.
In celebrating our 75th anniversary, we recognize the historical landmarks that have
shaped our journey—to this present time, where we strive for equity and inclusion at
every stage of performance. My heartfelt thanks goes out to everyone who has contributed
to this progressive legacy. Let us collectively continue to shape SETC’s future together.
I am SETC. You are SETC. We are SETC!
Your Arts Advocate,
Toni Simmons Henson (she/her), SETC Executive Director
Happy 75th Anniversary SETC! This year’s Convention was fruit-
ful and expansive as I witnessed networking, community, and
collaboration throughout the week. What was most striking to
me was that the organization is beginning, albeit slowly, to reflect
the demographics of the US—a country representative of diverse
peoples and cultures. This feat is in part due to the dynamic leader-
ship of our Executive Director and SETC co-conspirators who
share the same values of equity and inclusion. For this,
SETC should be most proud.
As an attendee I also witnessed workshops,
conversations, and keynotes that reflected on the
current landscape of our evolving industry and
how SETC goers might be generative participants.
As Toni Simmons Henson reminds us, “SETC is
an incubator for talent and empowerment,” and
I have no doubt that the hundreds of attendees
took advantage of all SETC had to offer through
the week. From overhearing phrases such as
“That was so fun” to “Wow” to “I hope they
offer that again next year,” it is clear that SETC
is firmly rooted in the present while planting
and watering seeds for the future. I’m thrilled
that the Editorial Board and I can be a part of
the magic in a way that documented much
of what occurred.
In this issue, you’re able to read
about all of the fabulous, distinguished
keynotes from celebrities such as S. Epatha
Merkerson and Beowulf Borritt. You’ll
get to catch up on views of censorship
from Howard Sherman who presented
at the Teachers Institute, and you can
read an excerpt from D.W. Gregory’s
new play—while enjoying all of the
wonderful photos captured at the
Convention. Enjoy.
SETC Strong!
Sharrell aka Dr. L
Editor-in-Chief
@sdluckett
FROM THE
FROM THE
EDITOR
EDITOR
Spring/Summer 2024 | Southern Theatre | 5
Do you have a design/tech solution that would make a great Outside the Box column? Send a
brief summary of your idea to Outside the Box Editor David Glenn at djglenn@samford.edu.
nce in a while, a show comes along that
is not only a scenic designer’s dream,
but also one that could easily become a
nightmare. A Streetcar Named Desire by
Tennessee Williams is one of those shows,
and one that I first attempted to hand off to
someone else as my respect for (and fear of)
the scenic requirements of the play seemed
just a little too daunting for me. Try as you
might, it’s hard to escape Williams’s very
specific and detailed setting descriptions.
With limited time and resources, my task
was to recreate a run-down apartment in the
New Orleans French Quarter in the 1940s
and somehow add a second story on our
small stage. Of course, our director asked
specifically for the cast iron railing that is
typical of New Orleans architecture, and
this is where I found myself completely
stumped.
How in the world was I supposed to
do that? I searched online, called all of my
design mentors, and became distraught at
finding zero solutions. The problem was
that I had limited time, so the elaborate and
tedious ideas that I was initially drawn to
just wouldn’t work.
One late night as I was becoming
increasingly desperate for an answer, I
played some 1940s jazz, sipped on some
bourbon, and closed my eyes, searching
through the Rolodex of images in my mind
of something, anything, that I could recall
seeing somewhere in my life that I could use
that already looked like a cast iron railing.
Then it hit me! DOORMATS! They
make rubber doormats that look like cast
iron! And wouldn’t you know, I jumped
on Amazon and found a variety of options
that could be on my front porch in 2 days.
Bingo!
My design process to plan out the
railings was pretty simple. I saved the
pictures of the doormats I ordered off the
website, printed them out to scale through
trial and error, then just cut them out into
little puzzle pieces (the same way I’d chop
up the mats when they arrived), and glued
them into the arrangement that I thought
would work.
The doormats that I ordered were
conveniently sectioned off into decorative
blocks of rectangles and squares, easily
making the creation of the pieces I needed.
Cutting the mats is not at all difficult
(when you use the right tool). I first started
off by using a utility knife, but soon realized
that tin snips were the way to go. I used
pieces of the decorative border to create
fake iron facing for the steps going up to
the second-floor balcony.
I built the structure of the railings out
of scrap lumber. I love to save all sorts of
“sticks” for projects exactly like this and
rarely throw anything away. I chose to
build these railings in a modular way,
so that each piece (railings and columns)
could stand independently of each other
and be reused in the future in the same or
different ways, much like big puzzle pieces.
I used little L-brackets to attach these pieces
together. I attached the rubber mat sections
to the fronts of these wood frame structures
using construction adhesive and pneumatic
staples.
I did a little extra online research to
see what I could do to create an authentic
looking surface to these railings. One
technique that I found used by haunted
houses to create fake iron fences was to
mix sand into black paint to create a rough,
Will Ragland (he/him) serves
as Executive Artistic Director
of Mill Town Players in Pelzer,
SC, is a past president of the SC
Theatre Association, and has been
designing sets in Upstate SC over
the past 18 years.
D es i g n & Tech S ol uti ons
b y Wi l l Rag l and
OUTSIDE THE BOX
rusty texture. That was fun to try out. It also gave the railings a little extra
weight and cut down on the floppiness of the rubber pieces. After installing
them, our scenic artist added a little watered down, rusty orange over the
surface to give it the final look.
This project was incredibly enjoyable, not all that difficult, and truly
packed a punch in the end. The railings took lighting very well, especially
with all the interesting negative space created by the decorative, ornate
designs found in the rubber mats. I chuckled when a group of high school
students were looking at the finished set and asked me where I found the
iron railings. When I told them it was all just rubber doormats, one of the
students said, “Prove it!” When I poked the front of one and they saw it
wobble, their minds were blown! n
Production photos: The Mill
Town Players’ production of
A Streetcar Named Desire,
February 2023. Photo credit:
Escobar Photography
Rubber Doormat Railings
Create a Cast Iron Balcony on a Budget
1: Paper scale model. 2: The
original doormats. 3: Tin snips
proved to be the best tool for
the job. 4: Decorative borders,
to be used as stair facings.
5: Constructed railing unit,
ready for the application of
texture and paint.
BUDGET
Rubber doormats . . . . . . . . . . . . . . . . . . . $500
Black paint . . . . . . . . . . . . . . . . . . . . . . . . . $60
Play sand . . . . . . . . . . . . . . . . . . . . . . . . . . $10
Small L-brackets. . . . . . . . . . . . . . . . . . . . . $10
Scrap lumber & screws. . . . . . . . . . . . . . Stock
Total . . . . . . . . . . . . . . . . . . . . . . . . . . . .$580
6 | Southern Theatre | Spring/Summer 2024
Spring/Summer 2024 | Southern Theatre | 7
Submit your mental wellness questions for Dr. Lassiter. Questions from students, theatre professionals, and
educators are welcome, and you can request to remain anonymous if you prefer. Follow the link at solo.to/setc.
Dear Dr. Lassiter:
What are effective ways to “take a mental
health day” for theatre students? Rather
than staying in bed or taking a day off from
their classes or production, are there things
students can practice day-to-day which can
allow them to stay functional as a member
of a collaborative team?
Dear Reader:
The idea of taking “a mental health day”
has become more popular in recent years
as awareness of the importance of mental
health grows among the general population.
The Mayo Clinic defines a mental health
day as “limited time away from your
usual responsibilities with the intention of
recharging and rejuvenating your mental
health. It is an intentional act to alleviate
distress and poor mood and motivation, while
improving attitude, morale, functioning,
efficiency, and overall well-being.”
According to their definition, a mental
health day may be one day or several days
away from one’s responsibilities. It could also
be an hour or a half-day. Although we say
mental health day, the time that we take to
recharge and improve our mental health will
vary significantly depending on our needs.
Ta k i ng t i me away f r om o ne ’s
responsibilities to recharge has been found
to contribute to the following benefits:
• Reduced feeling of burnout
• Improved morale and attitude
• Reduced isolation and loneliness
• Improved resiliency
• Improved physical health
• Prevention of a mental health crisis
Clearly, taking a mental health day can
greatly improve theatre students’ lives.
However, taking a mental health day is not
the only way or — depending on who you’re
asking — the best way to care for one’s mental
health. Alongside the benefits can come
disconnection from one’s community and
responsibilities to others in that community,
including one’s collaborative team.
Although mental health days may have
emotional benefits, they are usually taken
when one is already highly distressed. Thus,
I recommend cultivating mental health
from moment to moment in everyday life in
all that we do. Thus, mental health is not a
destination, it is a state of being that we can
cultivate at any time.
This reframing may allow theatre
students to think less of taking time off from
responsibilities and focus more on shared
responsibilities and humanity. For example,
instead of retreating to one’s room and binge-
watching Netflix to disengage, imagine the
mental health effects of disclosing one’s
distressing emotions to a trusted classmate
or through a work of art.
The practice of living the principles
of Ma’at may also help theatre students
cultivate mental health while approaching
and not avoiding their responsibilities and
the stressors that my come along with them.
The seven principles of Ma’at include: truth,
justice, harmony, balance, order, reciprocity,
and propriety. Living these principles will
look different for each person. For example,
living the principle of truth may look like a
student speaking up in the face of injustice
in the classroom or at rehearsal. Living
harmoniously may look like working in
collaboration, instead of competition, with
one’s classmates. Living orderly may look
like rearranging one’s life so that it is free of
physical and psychological clutter. One may
cultivate order by limiting social media use,
removing people with negative energy from
one’s life, and keeping a schedule so that one
knows what to expect that day. Living the
principles of Ma’at helps one structure their
life in a way that is conducive to peace and
deeper connections with others, which are
all related to better mental health.
Mental health days are sometimes
necessary. However, theatre students may
find that they are able to achieve better
and more consistent well-being when they
refocus their efforts on nurturing their
mental health in each moment. Connecting
with one’s community — whether classmates,
castmates, or other support systems — and
living the principles of Ma’at have the
potential to fortify theatre students’ mental
health and lessen the need for mental health
days by preventing psychological crises in
the first place. n
Dr. Jonathan M. Lassiter (he/him)
is a licensed clinical psychologist in
private practice, certified in Optimal
Conceptual Theory/Belief Systems
Analysis — an African-centered
psychotherapy. His memoir, How I
Know White People Are Crazy, will be published in
2025. @lassiterhealth
M ental Wel l nes s & the Ar ti s t
b y J onathan M athi as Las s i ter, Ph D
WHAT’S ON YOUR MIND?
Do you need a mental health day?
Spring/Summer 2024 | Southern Theatre | 9
8 | Southern Theatre | Spring/Summer 2024
Theatre of the
Oppressed NYC
Instagram: @tonyc_action
X: @tonyc_action
www.tonyc.nyc
Hashtag Booked
by @bodycourage & @lanisafrederick
Instagram: @hashtagbooked
www.hashtagbooked.com
aludo, buenas! Time to h@ndle your
business. Since you’re an artist and
you’re serious about your craft, you should
connect with h@ndles that will add value
to what your goals and aspirations are.
What brings you joy? What are your values
within the theatre world? When you know
what your values are, you’ll be able to
quickly identify your needs without being
influenced by what others think or impose
on you. Whether it’s performing, directing,
arts administration, seeing musicals and
plays, and/or devising pieces, there is an
entire world of opportunities in the social
media realm.
With that said, the two h@ndles that’ll
be showcased are of an organization that
engages with Theatre of the Oppressed
and a pair of individuals who have become
wildly popular entertaining film and theatre
makers about the foibles (and sometimes
absurd aspects) of the entertainment life.
These social media accounts showcase what
theatre can do besides entertain someone.
They help you understand the benefits of
knowing yourself within this industry.
Remember, “El teatro es poesía que se sale
del libro para hacerse humana. Y al hacerse
humana habla y grita, llora y se desespera.”
— Federico García Lorca *
Frederick Marte (he/him) is
an Official Ambassador for the
Black Acting Methods Studio.
He teaches theatre in NYC, and
was the 2022 Programming
Intern with the Black Theatre
Network. @fredericktalks
Theatre with Impact
“Theatre of the Oppressed NYC
partners with community members
at local organizations to form theatre
troupes. These troupes devise and
perform plays based on their challenges
confronting economic inequality, racism,
and other social, health and human
rights injustices. After each performance,
actors and audiences engage in theatrical
brainstorming – called Forum Theatre –
with the aim of catalyzing creative change
on the individual, community, and political
levels” (Theatre of the Oppressed NYC,
2019). Aside from providing resources
to promote social change, you can also
find information about relevant issues
within the theatre field to help shape you
into a multifaceted performer invested
in the craft, but also how it connects to
“Hashtag Booked, featuring LaNisa Frederick
and Danielle Pinnock, is a groundbreaking
online series examining the joys and
misfortunes of being an actress of color in
the entertainment industry” (Hashtagbooked,
2019). These two creatives are essentially
using their platform to provide space to give
consumers the ins and outs of the industry as
it pertains to being Black and a Woman. You’ll
find sketches that are relatable and extremely
funny as well as information and resources on
getting involved in relevant causes. Although
you will have a good time watching this duo,
the goal of being connected to them is to see
how loving yourself and walking in your
truth can help create opportunities for you
that you may not have thought of. Sometimes
the goal is to be in the industry, but the dream
becomes something more satisfying once it
aligns with who you are at your core. n
* Theatre lets you express yourself fully and you
can only do that once you truly know who you are
and what you want!
w r i tten & cur ated
b y Fred er i ck M ar te
H@NDLE YOUR BUSINESS
the world and its social issues. Theatre of
the Oppressed NYC is based on Augusto
Boal’s work, who was inspired by Paulo
Freire’s work and book Pedagogy of the
Oppressed (1970s). Theatre is meant to cause
the audience to engage in activity or think
deeply about a topic, so connecting with @
tonyc_action will expose you to innovative
ways of incorporating aspects of the “real”
world within your craft and how to enact
change.
In each edition of H@ndle Your Business, Frederick will tell you about online resources that performers and
theatre professionals need, and showcase theatre companies and organizations that want to connect with
YOU online.
Theatre of the Oppressed Instagram posts
10 | Southern Theatre | Spring/Summer 2024
CONVENTION KEYNOTES
Keynote Speaker and Distinguished Career Award
Recipient S. Epatha Merkerson remembers the
challenges on the way to becoming an icon
When S. Epatha Merkerson encounters a fan, she can instantly tell which of her roles
they are most familiar with. If they are fans of Reba the Mail Lady from Pee-wee’s
Playhouse, they expect a disarming smile and easy friendliness. After all, she spent
six years delivering laughs and jokes with Paul Reubens, Mr. Pee-wee himself. But
if they have encountered her as Lt. Anita Van Buren on Law and Order, a role she
played for 17 consecutive seasons from 1993 to 2010, she might get a cooler reception.
“[They] think that I’ll be cut and dry,” she explains, “to the point, all business.”
In a career that has spanned Broadway, film, and television, she has been honored
with numerous awards including a Golden Globe, an Emmy, a Screen Actors Guild
Award, two Obie Awards, four NAACP Image Awards, Black Theatre Network’s
Pioneer Award, four honorary doctorates, and most recently a 2024 Distinguished
Career Award, which was bestowed at SETC’s 75th Anniversary Conference in
Mobile, Alabama, on Saturday, March 16, by SETC Executive Director Toni Simmons
Henson.
For those who were fortunate enough to attend
the SETC conference, Epatha mapped some of
the highlights of her career through a slide-show
presentation that she created especially for the
occasion. NYU professor and playwright Michael
Dinwiddie, who had the honor of interviewing her,
shared their history together beginning as students
in the BFA acting program at Detroit’s Wayne State
University, where they met in the 1970s.
A native of Detroit, Epatha is the youngest of five
children in a family that is nurturing, artistic and
musical. “My father gave me the name Epatha,” she
explains, “which is what I prefer to be called. He
was influenced by a school teacher who inspired
him to continue his studies.” Her mother Anna, who
passed away recently, spent decades singing in her
church choir. “My sister Linda was a dancer in high
school, and I remember my mother taking me to see
her in a concert. It was amazing to watch her float
across the stage. My brother Barrie is a lawyer in
Detroit, but as a teenager he played in a band called
the Soul Busters. My sister Debbie was in a doo
wop group.” Of her childhood, she recalls, “They
thought I was crazy! I was always dancing around
the house!” But no one in her family expected her to
pursue a career in the theatre, least of all her mother.
“She refused to pay for my schooling because she
didn’t think it was wise for me to major in.” But
Epatha was determined to follow her dream. “So I
said, okay — and I decided that I would work and
pay for college myself, which I did.”
‘I tried very hard’
Even from her high school days, Epatha knew
that she would have a career on the stage. “I credit
my teachers as role models and mentors. I wasn’t
a great student, but I tried very hard.” She recalls
with fondness Carolyn Hardy, a junior high school
dance and gym teacher. “She was the first woman
I knew who had an Afro!”
There was one special event that Epatha recalls
fondly to this day. “It was a poetry slam, with the
artists on the stage in a circle. And each poet would
start their poem. And Miss Hardy told me to go into
the middle of the circle and improvise, just start
dancing. I said okay. And it was so wonderful!”
Epatha received a special lesson from that experi-
ence. “I understood the freedom that you need to
have as an artist. I also learned the importance of
mentors.”
While working her way through college as a
waitress, a co-worker convinced her to take a theatre
elective with her. As a result, she was assigned to
stage-manage a college production, where “it soon
became apparent that the lead actress was not
working and was about to be replaced. So I told the
director that I thought I could do the role and I was
given the opportunity.” That was Epatha’s first stage
role, and the experience convinced her that theatre
was a place where she could thrive.
Early frustrations and successes
At Wayne State University, Epatha studied under
Martin Molson, the only African American theatre
faculty member there. “Marty cast me in a studio
production of Jean Genet’s play The Blacks, and he
would use me for demonstrations in his master
classes.” She also sang and danced in mainstage
musicals such as George M! and Purlie. She recalls,
“I was asked not to audition for the role of Lutiebelle
in Purlie, since the role was already promised to a
senior.” So Epatha choreographed the show and
found opportunities working with her classmates.
“This was the era before non-traditional casting, so
nearly all of my work was in student productions
and recitals.”
After graduating from college, Epatha admits,
“I didn’t have the confidence to go straight to New
York City, so I went to Albany and worked with a
children’s theatre company. They were producing
The Miracle Worker, and I was excited by the possi-
bility of tackling a meaty role like Annie Sullivan.
Instead I was cast as Viney, the Keller family
S. Epatha Merkerson takes a
photo with an SETC Convention
attendee.
Photo: Dennis Langley
I understood
the freedom
that you need
to have as
an artist.
“
”— S. Epatha Merkerson
2024 Distinguished Career
Award Recipient
Keynote Speaker S. Epatha Merkerson chats with moderator
Michael Dinwiddie and an appreciative audience. Photo by David Dixon.
b y M i c h a e l
D i n w i d d i e
Know
Your
Worth
Spring/Summer 2024 | Southern Theatre | 13
servant, and later assigned to dance in
musical revues… Can we just say, to date
it was the worst job I’ve ever had?”
Frustrated, Epatha took the leap and
moved to New York in 1978. “The first
person to hire me was George Faison, the
Tony Award-winning director of The Wiz.”
Later, Epatha was Lonette McKee’s under-
study in the one-woman show Lady Day at
Emerson’s Bar and Grill. When Lonette left
the show, Epatha stepped into the role.
“Before I went on, I had to learn 15 songs
and 48 pages of words in six days. I had
never seen Lonette’s performance, so I had
to create from what I knew of Billie’s life.
And the director and I did not see eye to
eye. But by the time we finished, we had
connected.” One evening, casting agent
Meg Simon saw the play.
Impressed by Epatha’s performance,
Simon recommended her to director
Lloyd Richards, who was touring August
Wilson’s The Piano Lesson at the time. The
lead actress was leaving to do a movie,
and “I was brought in with just nine
days to learn the role of Berniece before
we opened at the Goodman Theatre in
Chicago.” She goes on to say, “The other
actors had been working together for quite
awhile, so I had to prove myself.”
They also enjoyed pulling stunts that
would send her into laughing fits during
rehearsal. Luckily, lead actor Charles
Dutton pulled Epatha aside when Lloyd
Richards expressed his displeasure at her
seeming lack of concentration. “I know
you guys can deliver,” Lloyd stated, “but
I don’t know about her.” Epatha realized
that her job was on the line. “That night I
concentrated and the cast was behind me,”
she says. “No more jokes and the show
went very well.”
Richards was impressed and Epatha
went on tour to San Diego and Houston,
all the while with August Wilson revising
the script. “We were on and off the road for
three years before we went to Broadway.
The whole end of the first act changed two
days before we opened in New York.” The
play went on to win the Pulitzer Prize, and
Epatha was nominated for a Tony Award
as Best Featured Actress in a Play.
TV success
Soon after, Epatha got a call invit-
ing her to audition for a new TV show,
Pee-wee’s Playhouse. “I was on my way out
the door, so I picked up all my mail and
stuffed it in my satchel.” She arrived at
the audition and asked for “sides,” pages
pulled from a script to see how actors
would read for various roles. “I was told
that there were no sides, and I should just
go in and improvise.”
All she could learn about the role was
that it was for a mail lady. So Epatha quickly
opened her satchel filled with her personal
mail and started peeling out the pieces.
“Here’s the utility bill,” she ad-libbed, “and
here’s the phone bill, and here’s something
from the Museum of Natural History — and
I started singing ‘Dem Bones.’” She was
stopped by the casting agent, who was not
amused. She was told to play it straight. But
Epatha was having fun, so she kept pulling
out her mail and comically pulling open
the envelopes, adding sound effects and
crazy moves.
Two weeks later, when she had not heard
from the casting agent, she thought, “I
messed that up.” But she did receive a call
back from the casting department shortly
after she had given up. “This time I was
introduced to the director, the producer,
and this bearded guy named Paul who
looked like a hippie.” She and Pee-wee’s
Playhouse star Paul Reubens were paired
together to audition, and his antics had her
in stitches. She pulled him aside and quietly
said, “Stop making me laugh. You’re gonna
make me lose this job.” He smirked and
said, “I don’t think so.” But he realized that
Epatha wasn’t convinced. So he continued,
“You can’t lose this job, because the show is
called Pee-wee’s Playhouse.” He modulated
his voice to a high-pitched squeak as he
proclaimed, “I’m Pee-wee!” Epatha was
shocked and pleased. But she learned from
that experience “to always know who I am
auditioning for — and with!”
my roles to be focused in a positive light,
a truthful light.” She was able to have an
impact on the show as it evolved. “I was a
voice at the roundtable,” she states. “We
had Jews and Gentiles, males and females,
Blacks and Whites, young and old. It was
literally a microcosm of the world. The writ-
ers were men who had spent years working
in district attorney offices and knew the
law inside and out. But none of them were
women, and none of them were Black. I
brought that perspective to the show.”
In one telling episode, she invited some
of her friends to attend a taping of the show.
“Fran Lebowitz, Toni Morrison, and Sonia
Sanchez came and hung out all day.” When
Toni Morrison glanced at the wall of the TV
set with pictures of criminals, she asked,
“Why are all of the perpetrators Black?”
Within minutes, several people were scur-
rying towards the board and making a
more multi-cultural display of New York
criminality. Epatha and Toni looked at each
other, pleased at the impact of Toni’s words.
Roots in the theatre
As an actor, Epatha believes, “The
theatre is really the basis for me. Every
other year I try to go back to the stage,
because there’s something about being
onstage that you don’t get when you’re
doing film or television.” She met Billy
Porter, the Tony Award-winning star of
Kinky Boots, when they both appeared
in Cheryl West’s play Birdie Blue. “Billy
told me, ‘I’m writing this play about my
life, and I want you to play my mother.”’
Then Billy presented the play. “I was
thrilled to play Maxine, a woman who
must deal with physical challenges and
the emotional upheaval caused in her
life when she learns that her son is gay.”
Fondly recalling the journey, Epatha
states, “It was a beautiful play, and I was
honored to create the role.”
One of her most fulfilling experiences
was creating the role of Rachel “Nanny”
Crosby in Ruben Santiago Hudson’s
Lackawanna Blues. “I saw it when Ruben
was doing it as a one-man show at the
Public Theater, filling up the stage with all
these amazing people from his childhood
in Buffalo.” Ruben mentioned that HBO had
bought the rights and there might be a part
for her. Once she finished her audition, the
director George C. Wolfe gave her the heads
up: “This is your part.” She was elated.
“I knew that I could really bring the role
of Nanny alive.” Playing an independent
Black woman who becomes the stable figure
for a young Ruben in a boarding house,
Epatha had the opportunity to bring all her
strength and passion to that meaty role she
had always been searching for. Aside from
the critical acclaim, she earned numerous
awards and accolades for her outstanding
performance in Lackawanna Blues.
Today, the veteran actress continues
to entertain audiences as she enters her
tenth season on Chicago Med, where she
plays Sharon Goodwin, the Director of
Patient and Medical Services at Gaffney
Chicago Medical Center. Epatha has had
the unique experience of playing the
Sharon Goodwin character in three differ-
ent series: Chicago Fire (2012), Chicago P.O.
(2014) and Chicago Med (2015).
S. Epatha Merkerson in two of her biggest TV
roles: as Reba the Mail Lady on Pee-wee’s
Playhouse (with Paul Reubens), and as Lt.
Anita Van Buren on Law & Order.
‘Make sure you have fun’
Epatha splits her time between New
York and Chicago. She offers encourage-
ment to young artists who are striving
to have careers — on stage, on film, or
behind the scenes as directors, designers
and technicians. An advocate for self-care,
she is open about the health challenges she
has faced. On Feb. 4, 1996, she quit smoking
after 23 years. And in 2003 she was diag-
nosed with type two diabetes, which she
carefully manages with diet and exercise.
When she rises to acknowledge the
applause at the end of her SETC keynote
interview — is it Reba the Mail Lady or
Nanny or Anita Van Buren or Sharon
Goodwin we see? No. It is S. Epatha
Merkerson in the flesh, inviting her audi-
ence to “take care of your instrument
and know your worth!” Her parting
message to SETC members of all ages who
embark on this wondrous journey of a life
enriched by the arts: “Make sure that all
along the way, you have fun!” n
As an actress whose career slowly
gained momentum, Epatha did a number
of pilots and films before landing on
the show that made her famous. “I did
an episode in the first season of Law &
Order in which I played a mother whose
11-month-old child is killed.” Two years
later when they were bringing women
into the precinct, “executive producer Dick
Wolf remembered me and called me in for
a meeting.” The word came back that “I
was ‘saturated’ on television because I had
done so many projects with my natural
hair. So I went home, took the twists out
of my hair, brushed it back into a ponytail,
put on a bow, and walked into the meeting.
When I showed up, Dick Wolf took one
look at me and started laughing. ‘That’s
her,’ he exclaimed, ‘that’s Van Buren!”’
Epatha did not know at the time that Wolf’s
children had been big fans of her character
Reba the Mail Lady on Pee-wee’s Playhouse.
Bringing an important perspective
In doing her research for Anita Van
Buren, Epatha learned, “There were
only four women lieutenants in all the
boroughs.” She was fortunate to meet
Lt. Barbara Sicilia, head of the New York
City Midtown North Precinct. Her first
impression of Sicilia, who met her outside
the precinct, was “that she had short black
hair, wore a shirtwaist dress, and had
a pleasant smile.” But the minute they
walked through the door, “Everything
changed. You could see the men straighten
up as we walked by. I knew that this was
Van Buren! She had to be strong. Miss
Thing was fierce!”
When they stepped into Barbara’s
private office, she looked at Epatha and
started giggling. “You have to tell me what
just happened,” Epatha implored. And
Barbara Sicilia answered, “I’m their lieuten-
ant. This is between you and me. But when
I walk out of this door, there’s no playing
around. They know I’m the lieutenant!”
Epatha appeared on 395 episodes of Law
& Order. “As a Black person, and as a Black
woman, I know how important it is for
Michael Dinwiddie (he/him) is
a tenured full professor of dramatic
writing at the NYU Gallatin School of
Individualized Study. An award-
winning playwright/composer, his
memberships include the Dramatists
Guild, the Writers Guild of America, and the National
Association of Black Journalists.
Photo: D’Ambrose Boyd
14 | Southern Theatre | Spring/Summer 2024
Spring/Summer 2024 | Southern Theatre | 15
CONVENTION KEYNOTES
Three designers were featured as part of the 2024 Panel of Distinguished
Designers at the SETC Annual Convention in Mobile, Alabama. Each designer
brought their unique stories and experiences to the Design Keynote on
Thursday evening, sharing hopes for the future of theatre, insights into the
state of the industry, and advice for students who will soon enter the field.
Scenic Designer Beowulf Boritt Gets a Wider Perspective
Beowulf Boritt is the Tony Award-winning set designer for
James Lapine’s One Act. His design for Susan Stroman’s
production of New York, New York also won a Tony as well
as Drama Desk and Outer Critic’s Circle Awards. Several
of Boritt’s other designs have been nominated for the Tony
Award including POTUS, Flying Over Sunset, and Therese
Raquin. Boritt also founded and manages the 1/52 Project,
which aims to diversify the Broadway design community by providing
financial support for early career designers from historically marginalized
or excluded groups. His book, Transforming Space Over Time, is available on
Amazon and through Bookshop.org.
Prior to the conference, Boritt was eager to
talk about the 1/52 Project. Citing the influence
of the #metoo movement and #weseeyouWAT as
indicators of the “need for more equity across the
industry,” Boritt acknowledged that these social
movements were integral in pushing him to want
to give back from his position within the industry.
“We give $15,000 grants to young designers to help
them along in the early years of their careers, and
one of our recipients from the very first year had
her Broadway debut last year. So there’s some
evidence that it’s helping.”
“When the room is more mixed both with
gender and ethnicity you just get a wider perspec-
tive. One of the magical things about theater is that
it’s all these people putting their heads together to
create something on stage, and the more diverse
those heads are, the stronger, more interesting, and
richer the product is going to be.”
Boritt’s work with the 1/52 Project continues,
supported by the contributions of other Broadway
designers, artists, and professionals — another
example of theatre artists putting their heads
together to create something magical.
Boritt said he was ambitious when he entered
the field, and conceded that the industry is
competitive and that success comes as the result of
a lot of work. However, he cautioned early career
designers against setting artificial deadlines. “You
don’t need to conquer the world by the time you’re
25 or 30 or 35 or whatever. Life doesn’t really work
that way… Some people think that those kind
of markers are important but I would say give
yourself a break and don’t put artificial deadlines
on yourself.”
Boritt emphasizes the importance of commu-
nication and making connections with people.
“We’re a social species, and if you know how to
deal with people and show up and network… you
will do better at whatever you do, but particularly
as a freelancer. [Making connections with people]
is your lifeblood. It is the only way you’re going to
keep working” in the commercial theatre.
“Be a pleasant person, and [don’t] be a jerk.”
Boritt advises early career designers who are
interested in working as assistants or associates to
be “self-starters, somebody who has enough sense
of how fast they can work and what they’re doing”
so that deadlines can be met.
“You can’t be flaky. You’ve got to show up on
time and be willing to put in the time,” something
he admits may seem to go against the grain of the
younger generation’s desire for work/life balance.
“We all need to find that [balance] for ourselves,
but I don’t think the theater is a nine-to-five job. It
has not been in my experience. I want assistants
who are willing to put in a long day when that’s
what’s needed, but when the show is going well
and everything’s fine I’ll send them home early.”
Boritt also encourages early career designers
to keep up with current technology. “The more
you know, the more you know—and the more
marketable you are.” Understanding current
model-building techniques, CAD programs, 3D
printing, and laser-cutting are just a few of the
specific skills he mentioned.
“The broader your skillset, the better.”
Costume Designer Erik Teague Thinks
Getting in the Room Is Crucial
Erik Teague is a freelance
costume designer based in
Washington, D.C., who is origi-
nally from Georgia. Previous
works include A Midsummer
Night’s Dream, As One, The
Threepenny Opera and Cabaret
(The Atlanta Opera); The Cunning Little Vixen,
La Bohéme, Ariadne in Naxos, The Jungle Book,
Odyssey, Wilde Tales, Trouble in Tahiti, The Flying
Building
Inclusive
Communities
b y J o n a t h o n
Ta y l o r
Advice and Insights from the 2024
Distinguished Keynote Designers
Above: Erik Teague,
Rachael Blackwell and
Beowulf Boritt, SETC 2024
Distinguished Designers.
Photo by Dennis Langley.
Opposite, Beowulf Boritt’s
scenic design for the 2023
Broadway production
of New York, New York,
directed by Susan
Stroman, at the Saint
James Theatre.
Photo by Paul Kolnik.
Individual photos
by David Dixon.
Spring/Summer 2024 | Southern Theatre | 17