Center Theatre Group News & Blogs

Different Coasts, Same Problems

Center Theatre Group — Tue, 25 Sep 2018 12:12:00 -0700

As part of our Community Conversation series, Center Theatre Group organized Surviving Day to Day in L.A., a panel of local economic experts and professionals on September 12, 2018. The discussion was moderated by Dr. Jocelyn L. Buckner, theatre professor at Chapman University and editor of A Critical Companion to Lynn Nottage. The subject of the evening’s conversation was engaging the issues that are pertinent in Sweat to what’s actually happening here in our own local communities in L.A. and in Southern California, as Buckner explained at the outset.

The panelists began by addressing the economic struggles many Californians face. As housing prices have continued rising amidst tumult in the job market and stagnant wages, there is a fundamental disconnect with affordability and trying to survive in this wonderful place that all of us call home explained Mark Loranger, CEO of Chrysalis, a nonprofit organization dedicated to providing resources for homeless and low-income workers struggling to maintain steady employment.

At the same time, the panelists all noted a change in cultural attitudes toward the working class. We’re seeing a disinvestment in the whole [of society] and going back to a more individualistic focus, said Alma Hernández, Executive Director for SEIU California, a union representing service workers across several different industries.

Lack of hope is one aspect of economic precarity that we don't give enough weight to.

Dr. Manuel Pastor, Professor of Sociology and American Studies & Ethnicity at USC and author most recently of State of Resistance, agreed. For my dad’s generation, there was this sense that this was an economy that was growing, there would be a chance to send their kids to college, said Pastor. There was a sense that the next generation would do better. That’s changed with the economic hardships of the last few decades. That lack of hope is one aspect of economic precarity that we don’t give enough weight to, he said.

Buckner noted that Nottage found pervasive hopelessness in Reading while conducting interviews with residents and research that would later become the basis for Sweat. So much of what she heard from folks was the phrase, ‘Reading was… Reading was this. Reading was that.’ But not ‘Reading is,’ or ‘Reading could be,’ said Buckner.

Nottage chose to focus on Reading after reading an article that listed the town as the most poverty-stricken city in the U.S. after the industrial economic downturn. Pastor noted how all too familiar that reality had become for many in the greater L.A. area. The largest concentration of manufacturing employment in the U.S. in the late 1980s was Los Angeles, noted Pastor. We had auto, steel, tires, and we were hit with successive waves of deindustrialization.

And even as the economy in L.A. has improved, declining public resources and shifting public attitudes have left the working class worse off than before. As the jobs come back, the wages are lower, the benefits are lower, healthcare costs are uncontrollable; we as a society aren’t valuing that work, said Hernández. We say there’s value in it, but then aren’t putting the resources behind it. How do we compensate for that? What others things can we do to make sure workers have dignity?

Additionally, two of the play’s characters are returning to Reading after spending time in prison. Loranger noted that economic struggles can be considerably harder for those with criminal convictions everywhere. Even after serving sentences, formerly incarcerated people face reduced rights and stigma that hinders their economic and social viability for the rest of their lives. And yet we expect that they will go back to their community of release and be a father or a mother and be contributing member of society, and yet they can’t do it, they can’t get a job, explained Loranger.

[L.A.] is place where you can really forge change because you are tackling things at the cutting edge.

Despite all of the discussion of harsh realities and concerning trends, the panelists shared a sense of hope and drive for enacting changes for the better in L.A. You drive down the same streets I drive, and there are places where if you speak English you are the minority, and most of us love that, beamed Hernández. That embracing of diversity and opportunity—this is still and place where you can dream.

I was once asked why I love L.A., and I said, ‘Because it has the world’s biggest problems.’ This is place where you can really forge change because you are tackling things at the cutting edge, explained Pastor. The reason why we’re here [at Center Theatre Group] as service providers and activists and academics is that we know that the storytelling, the deep connection, is how we get to see each other and recognize our common pain.

Loranger noted that the sharing of pain and hardship was far from just an artistic exercise or indulgence: The reason I am doing my work in L.A. as opposed to somewhere else is we live in a place that is willing to experiment and try new things, but is also willing to be self-critical enough to say, ‘What we’re doing ain’t good enough, and we’re willing to do better.’

Watch the whole conversation below.

Playwright Jocelyn Bioh Blends Comedy and Culture in ‘School Girls’

Center Theatre Group — Mon, 24 Sep 2018 16:43:00 -0700

As the title playfully suggests,

Dominique Morisseau had a similar moment while attending the University of Michigan as a theatre performance student. Morisseau told the Star Tribune:
We weren’t getting cast because they weren’t doing nontraditional casting and they weren’t doing any work by writers of color, so I decided to write my own play. … When the buzz hit me—we were totally sold out—I saw how important it was for everybody, especially the black students on campus, to see themselves and their lives reflected onstage.

Lynn Nottage also found her calling while in college at Brown University, when she took a graduate playwriting class taught by Paula Vogel (whose

Nonetheless, she thinks we might be able to get there. In response to a question about defining the American theatre, Nottage told The Interval:
I can say what I think the American theatre should strive to be, which I think is a reflection of the beauty and diversity of this culture. I think that we fail to live up to it, but I think that’s what American theatre should be: a real reflection of what’s happening today.

Bioh is optimistic about the audience for such work. She told Stage & Candor:
The theater community is thirsty for work that’s new, different, and innovative. This is what has always made the theater an exciting place to go to and it will continue to be exciting with the inclusion of stories not written by the same kind of people with the same kind of perspective.

Who is going to tell those stories? Morisseau offered some advice to the next generation of theatre makers in Breaking Character Magazine:
My advice is to think about what stories you are interested in telling in this world. What kind of stories excite you that you’d like to usher forward? Because we are ALL storytellers, whether designing the set or the lights, directing, acting, writing, stage managing … we have signed up to tell stories together. And so before you can accomplish any great theatrical feat, get very connected to who you are as an artist and what you find purpose in, and follow THAT. Find a way to not just be served, but to also be in SERVICE to others. Those are the makings for the greatest kind of artists … those who are here for reasons beyond their own self-preservation. Join the movement of bringing unheard stories to the mainstage, and be brave in your art. If it scares you, that’s a good sign to say yes!

Five Girl Squads that Are Friendship Goals

Center Theatre Group — Tue, 11 Sep 2018 15:35:00 -0700

Cher, Dionne, and Tai (from Clueless)

Maybe it was those quotable one-liners or the countless ways Cher rocked a plaid skirt that earned the 1995 coming-of-age comedy Clueless a cult following. Loosely based on Jane Austen’s novel Emma, the film follows two best friends, Cher and Dionne (played by Alicia Silverstone and Stacey Dash, respectively), as they transform the tragically unhip new girl Tai (late Brittany Murphy) into a high school it girl. In order to capture an authentic youthful voice in the script, writer Amy Heckerling actually audited classes at Beverly Hills High School to observe teenage mannerisms and lingo. Yet much of the subversive humor and over-the-top style of the film came from Heckerling’s imagination, as well as her own experiences as a student at BHHS. Did you really think teenagers in the '90s spoke with that level of sarcasm on a daily basis? As if!

Spice Girls

After releasing chart-topping hits like Wannabe and Spice Up Your Life, this British pop group literally gave meaning to girl power. Not only did the Spice Girls popularize the slogan for fans everywhere, they revolutionized the music industry for women pop stars. Yet the beginnings of the Spice Girls weren’t always so sweet. In 1994, young Victoria Beckham (Posh Spice), Emma Bunton (Baby Spice), Melanie Brown (Scary Spice), Melanie Chisholm (Sporty Spice), and Geri Halliwell (Ginger Spice) were selected from hundreds of women who had answered a newspaper ad and auditioned to be part of the new pop band. However, when entertainment managers pressured the Spice Girls into conforming to one specific look, they protested. The group stole master recordings of their songs and pitched themselves to other management, eventually landing with Simon Fuller, who would later usher them into stardom. With their distinct personalities and voices, the Spice Girls symbolize not only female empowerment but the importance of staying true to yourself.

The Toros and the Clovers Cheerleading Squads (from Bring It On)

Let’s face it, high school is one giant competition—and this 2000 comedy about competitive cheerleading proves it. Bring It On opens to one of the most memorable cheers in the history of cinema, as high school senior Torrance Shipman—played by Kirsten Dunst—anxiously dreams about being the next team captain of the Toros. Rivalry ensues when Torrance is accused of stealing a routine from another team, the East Compton Clovers, whose captain Isis is portrayed by Gabrielle Union. During the national competition, the Toros and the Clovers settle their differences on the floor, but find more respect for each other in the end. Considered by Roger Ebert the Citizen Kane of cheerleader movies, Bring It On went on to have four sequels and a stage musical with music by Lin-Manuel Miranda—which kicked off its national tour at the Ahmanson Theatre in 2011.

Destiny’s Child

Most famously comprised of Kelly Rowland, Michelle Williams, and Beyoncé Knowles, R&B group Destiny’s Child became a sensation after the release of their chart-topping single Say My Name in 1999. Their third album, Survivor, was certified four-time platinum in the U.S. and double platinum in Australia—solidifying their status as one of the best-selling female groups of all time. One of the tracks off the record, Independent Women Part I, was released as the theme song for the 2000 film adaptation of another famous trio of women, Charlie’s Angels. Yet despite their record-breaking successes, Destiny’s Child disbanded in the late 2000s so that they could pursue solo careers—a move that was met with newfound successes. Williams has starred on Broadway, the West End, and TV; Rowland was a judge on The X Factor in the U.K. and U.S.; and Beyoncé holds the most Grammy Award nominations for a woman in history—with a whopping total of 63 for her solo career and with Destiny’s Child. The trio has reunited to record and perform on several occasions, such as on Williams’s single Say Yes and during Beyoncé’s headlining performance at Coachella this year, proving that friendship always takes center stage.

The Plastics (from Mean Girls)

We can’t make a list about iconic girl squads and not include The Plastics from the 2004 pop culture phenomenon Mean Girls. In the film, Lindsay Lohan’s character, new girl Cady (pronounced like Katie), goes to great lengths to sabotage North Shore High’s most notorious girl group. Who can forget the time Cady tricked queen bee Regina George—played by Rachel McAdams—into eating weird Swedish nutrition bars that made her gain weight? Or the time Cady made sure that Regina’s right-hand woman, Gretchen Wieners, got none of the candy cane-grams, leading to the disintegration of their group? With their silly traditions (does anyone own enough pink clothing to wear it every Wednesday?) and trendy phrases like so fetch, The Plastics reminded us just how dangerous—and fragile—high school cliques can be. Mean Girls was so instantly beloved that it won several MTV and Teen Choice Awards, prompted fans to unofficially declare October 3 Mean Girls Day, and inspired a 2017 Tony Award-nominated musical of the same name.

A Director Comes Home to the Taper

Center Theatre Group — Tue, 11 Sep 2018 09:29:00 -0700

Since then, Peterson hasn’t been a total stranger to Center Theatre Group, returning to direct the 2015 revival of Chavez Ravine at the Kirk Douglas Theatre. She has also come back as a playwright, as part of a completion commission she and Denis O’Hare (with whom she co-wrote the critically acclaimed An Iliad) received for The Good Book, a theatrical, semi-historical exploration of the Bible. (The Good Book premieres at Berkeley Rep next spring.)

Los Angeles, like the rest of America, has changed since Peterson lived here last—which in her opinion has only made theatre, and this particular play, more important.

We are hungry to be in each other’s actual presence. So much of our lives can and do happen through a screen, mediated by technology. We’re watching a movie, Skyping into work, FaceTiming with our loved ones, said Peterson. While those things give us the freedom to work from anywhere, a lot of people are realizing that they are hungry to be in a room where other people are breathing along with them, watching real actors with the danger that anything could happen or go wrong. I feel that the more technology embeds itself into our daily lives, the more theatre stays necessary.

That’s particularly true in Los Angeles. There’s an abundance of great actors and writers and in L.A. people who love theatre, really love theatre, she said. Theatre in L.A. has this very special place. It’s this hand-crafted art that people are hungry for. Also, L.A. is so spread out and you have to get in your car to get anywhere, so the packed feeling you get when you sit in a theatre with a bunch of strangers is really special. She added, When you can really pull from a variety of neighborhoods in L.A. and gain a wonderful blend of folks interested in a show, that’s exciting. L.A. audiences are really enthusiastic about good, live art.

She is excited about what these audiences are going to take away from Sweat. I want them to get swept up in the story and in the lives of these characters, she said. It seems especially timely to be bringing Angelenos a play that delves so deeply into what has gone wrong in recent American history; how the economic fallout faced by so many communities has bled into every aspect of people’s lives and psyches. Peterson emphasized that one of the main triumphs of the play is its ability to take all these amazing characters and let you in to their lives and show their desperation, so by the end you really have to empathize with everybody. Peterson commended Nottage for creating a play in which absolutely every character can immediately seem like a person you know.

In a time of such political divisiveness, Peterson emphasizes this relatability and empathy the play forges onstage: The main thing that Sweat can do is that it can sort of shake up your expectations and judgements of people who are not like you, she explained. I hope audiences leave the theatre understanding that you have to really dig in to people around you and not just make assumptions about them.

Industrial Design Meets Set Design

Center Theatre Group — Mon, 10 Sep 2018 10:02:00 -0700

Through the story of a group of factory workers who gather at their local bar to commiserate, laugh, and drink, Nottage poses timely questions to the audience, as well as interesting challenges for set designer Christopher Barreca. Barreca, who has worked before with director Lisa Peterson and was last at Center Theatre Group for Los Otros, sat down to discuss his process and inspiration for the design of Sweat.

Barreca was already a fan of Nottage’s when he came on board. I’ve seen her work before, but it’s the first time I’ve designed one of her plays, he noted. She does such careful research; she kind of lives with the characters. There’s an honesty, a truthfulness to them almost like a documentary, but a fictional one. He also felt inspired by the play’s epic structure; it’s not following verisimilitude in a strict definition.

He added, I made a choice upon reading it: I—and Lisa Peterson—felt that it had to be grounded in one space, one sort of epic space. That space was the bar, but instead of following a purely realistic design, Barreca chose to hone in on how to anchor the set in what is sort of the elephant in the room: this end of the romanticized ideal of American industrialism. Whether you’re in Pittsburgh, or Cleveland, or Pennsylvania, wherever you are, these spaces are being repurposed and romanticized.

Barreca found inspiration in a little bit of everything: both research of bars but also just the mind’s eye. While working on productions for various theatres, there were several instances when the production staff kept taking me to these breweries that were always in these industrial spaces.

The big challenge was to make a set that was first and foremost a bar versatile enough to transform for the few scenes that took place in other locations and the best approach to making transitions part of the narrative that the audiences can follow. The perspective and experience of the audience was a large part of his consideration, especially given the design of the stage itself: I am interested in the architecture of the theatres themselves. I find in thrust stages—particularly like the Taper—that they are an immersive environment. The audience is part of the experience, and I like to try and look to the thrust stage and the space and find a way to make that stronger.

As some of the final touches and installations were being made to the stage, Barreca reflected on how bars serve as communal gathering spots, and therefore they end up reflecting the values of the community and the times. He hoped the central communal space he built for Sweat would impress weight of the human experience upon the audience: With the people in the play and what’s going on in our culture right now, we’re all in this together. I want it to be a space that can be warm and full of light, and can be at times extremely cold and hard.

A Festival by Locals, For Locals

Center Theatre Group — Thu, 06 Sep 2018 15:44:00 -0700

This is why, since 2005, Center Theatre Group’s 2015/2016 L.A. Writers’ Workshop member). The play—dubbed an obsessive-compulsive time-jumping tragi-comedy—follows the story of an unexpected pseudo-family reunion between an estranged father and son. Next came New Life by Dan O’Brien (2012/2013 L.A. Writers’ Workshop member), is the story of a middle-class American family struggling with the realities of institutional and racial violence.

Center Theatre Group Artistic Program Development Manager Patricia Garza explained that the goal was to spotlight the huge talent emerging from the Writers’ Workshop to the local community here in Los Angeles—including local theatre artistic directors and literary professionals—which meant selecting a group that really represented the diversity and excellence here.

The Festival ended with an evening reception, where audience members, artists—including many Writers’ Workshop community members whose works were not staged—and staff members mingled and enjoyed cocktails. The opportunity to be a part of the artistic development process was an exciting occasion for many, as was the chance to come together as a group of professionals and patrons who are deeply invested in the creation of new work in Los Angeles.

It’s amazing how much play you can get out of a reading, how much of the play is there, how much you can envision, said Center Theatre Group Associate Artistic Director Neel Keller, who also directed one of the readings. Keller noted that for playwrights, as well as for audiences, readings provide a chance to see work through an exploratory lens. Readings can seem much more alive than a full play, Keller said. Actors are still very actively discovering things; they’re making it up and discovering it as you watch them.

He added, Discovery is exactly what we’re aiming for as we support L.A. playwrights at every stage of development. Center Theatre Group wants them to think of us as their home theatre.

The Class of ‘School Girls’ Dishes

Center Theatre Group — Thu, 06 Sep 2018 13:05:00 -0700

We are rediscovering what being in a group of girls is like, said MaameYaa Boafo, who plays clique leader Paulina, a role she also originated Off-Broadway at MCC Theater. The group stepped away from rehearsals for a bit to discuss collaboration, girlhood, and what they’ve learned from being part of this production.
MaameYaa Boafo, Paulina

I got to dig deep and find out more about what my country was like in the ’80s.

How did you prepare for your role?

I think [playwright] Jocelyn [Bioh] wrote the character of Paulina in a way that was very specific for me. I have been the person who has received Paulina’s treatment in the past. Although she is especially harsh, I have met people like Paulina in the different schools that I’ve been to. I tried to really remember these kinds of people and try to understand where they’re coming from. I also had friends who went to boarding school in Ghana, and I listened to stories from them and my family [from Ghana]. The play is about all the things I’ve gone through and what I’ve experienced being a non-American who grew up outside of America.
What has it been like working with your fellow castmates?

It’s been amazing! We all recognize that School Girls is bigger than us. There’s humor in it, but there’s also things that will grab your attention, and it’s thought-provoking. We don’t take that for granted at all. We’re all just really honored to be a part of this production, so whatever any of us can do for each other, we do it.

What do you hope Los Angeles audiences will take away from School Girls?

I hope audiences will experience this story for themselves. I think colorism is one of the biggest motifs in the play, but I think there are other things that you can take away from it. I hope people in Los Angeles will have a great time and that they get to continue this thought-provoking conversation.
MaameYaa Boafo.

Abena Mensah-Bonsu, Nana

Representation—that’s what this production means to me.

How have rehearsals been for you?

Mensah-Bonsu: They have been wonderful—very exciting. We have three new cast members. Since I was in the production last year, I’m already familiar with the show we’re doing, but it feels like a completely new show for me. I’m rediscovering moments I never had before in rehearsals, and it’s very refreshing.

Is there something you’ve learned about yourself by being part of this production?

Because of the bullying that my character deals with, I am more aware of how teenagers and people are affected in general. For me, it’s about placing more sensitivity into the role. I’ve learned that I’m braver than what I thought I was. I remember one time, after a talk back [at MCC Theater], somebody asked, How do you protect yourselves as the actors [receiving the bullying]? I realized at the time that self-care is really important, as well as absolutely knowing who you are. Maybe a year ago, I knew who I was, but now I really have to be grounded in who I am—as compared to my character—so that we can tell the story and have it not affect me so easily after we leave the stage.

What has been the most rewarding aspect for you?

I am so thankful every day that I get to be on a team of such wonderful, smart, powerful, beautiful women and that I get to really tell this story about a big part of my heritage. Even though I’m only half Ghanaian, I never thought I’d be able to use the accent that I imitated my dad with for all these years. I never thought I would get to do it professionally.

Paige Gilbert, Gifty

I was just extremely excited to have auditioned with material that I felt extremely passionate about and really saw myself in.

What was the collaborative process like with the cast and creative team?

Gilbert: From day one, we were all honored by the fact that the production team was predominately women. We really stood in that, and we’re really proud of that. Building off that, we would share personal stories in rehearsals a lot of the times. I think that was something [director] Rebecca [Taichman] really opened up the room for—to feel comfortable to speak about our personal stories and what’s going on in the world that affected us. Working with Jocelyn in the room was also phenomenal, because she’s a writer and an actress. She was so giving in terms of finding certain words and sounds in the text. If she heard something in the room that she liked, she would go home and do a re-write to accommodate what our natural instincts were. I feel like we all had an equal say in creating this production.

Do you feel like you identify the most with Gifty or do you relate more to other characters in the play?

I feel like I’m learning more aspects of myself that I find in Gifty now. In my head, of course I’m not a follower, but I think that what causes someone to become a follower is a lack of self-confidence and the fact that Gifty feels like she relies on other people to help her. Now, I can say I do have those aspects in myself, but I also feel like I identify with Nana’s character. When I was in middle school, there were comments thrown at me about my looks, and I still carry them with me to this day.

What is the more challenging aspect for you: researching the play or developing your character?

I think the research aspect is pretty easy. You can go on a binge on beauty pageants alone. There’s so much information out there. As far as what’s on the page—it’s so beautifully written and a lot of answers are already embedded in the text, but there’s also such a rich backstory that fuels each scene. So I feel like creating is what I find a little bit more challenging.

(L-R): Latoya Edwards, Abena Mensah-Bonsu, MaameYaa Boafo, Joanna A. Jones, Paige Gilbert, Mirirai Sithole and Zenzi Williams.

Joanna A. Jones, Ericka

I think the camaraderie between us all is the most rewarding—it creates a safe haven of support and togetherness.

How have you prepared for the role of Ericka?

Jones: There are a few themes in Ericka’s life that I find I can relate to quite personally—like being the new girl, the complex experience of being a biracial kid, and a deep and close attachment to my mother. I’m using these similarities from my own life experience to explore Ericka’s journey and struggle.

Did you draw inspiration from your own high school experience?

Absolutely. As I mentioned, I’ve been the new girl before, more times than I’d like to count. I remember vividly what it feels like to try and fit myself in to an already established group. As we all know, high school kids can be brutal, and at that age, we don’t fully know ourselves yet. We are still developing. There is a vulnerability there that creates such high stakes.

What has the collaborative process been like with the cast and crew?

The original cast and crew have been very welcoming to us newcomers! The collaborative process has been a nice balance of respecting the incredible work done in the first production and being open to finding new things this time around. Rebecca, Jocelyn, and the cast have made it a very safe and enjoyable environment for creative and artistic exploration.

Myra Lucretia Taylor, Headmistress Francis

I just try to do the best I can when I’m presented with challenges.

How did you first encounter Jocelyn’s work?

Taylor: My first encounter with Jocelyn’s work was with her as an actor. I saw her in Men On Boats Off-Broadway, and she was so good! It was one of those, Who is that?! moments.

What has the collaborative process been like for you?

We like and respect each other so much. We’re each other’s biggest cheerleaders. Because Jocelyn’s such a good playwright, the preparation for my role was and is to read the script.

What has been the most rewarding aspect of being part of this production?

When audiences say they’re coming back and bringing their family and friends.

(L-R): Zenzi Williams and Myra Lucretia Taylor.

Mirirai Sithole, Mercy

There are mean girls and guys everywhere.

Did you draw inspiration from your own high school experience?

Sithole: I didn’t really draw from my high school experience. While we were first doing tablework, stories started coming out. We talked about times when we were bullied or if we were the bully; we really got down to the dynamics of women. I am fortunate enough to have great relationships with women. I came here from Zimbabwe and tried to fit in, or there would be instances where I didn’t fit in. So, for me, in order to understand my role, I tried to think about how someone can be so mean and cruel just to stay in Paulina’s group. I just had this general understanding of the dynamics of growing up and being different and trying to fit in.

What has been the biggest challenge for you in your role?

We’re always trying not to laugh because the play is so funny. The challenge is to not let what we did before at MCC overshadow what we’re doing now. I want to just allow whatever happened in the past to feed and guide me, as opposed to letting it be something that boxes me in.

What has been the most rewarding aspect?

I’ve never done a comedy before this! That’s so rewarding for me—to express fun and deep and important issues. To open people up and let them laugh and think about why they’re laughing. I feel privileged to be able to tell this story at this time with my own body and my natural hair. To have myself and my castmates be seen as natural, regardless of our backgrounds.

Latoya Edwards, Ama

Everyone attached to this project has worked extremely hard to bring a piece of work—written by a Ghanaian playwright and performed by a cast of all women of color—to a new audience.

How did you first encounter Jocelyn’s work?

Edwards: My first introduction to Jocelyn’s work was seeing School Girls last year. I had a friend in it, Mirirai, and I had heard amazing things about the show, so a few girlfriends of mine and I went out to see it together.

How did you prepare for your role?

When we first meet Ama, she is dealing with a major turning point/decision in her life. She’s been best friends with Paulina for quite some time and is navigating whether or not this is a healthy friendship to still be in. So, for me, I had to find the love [in this situation]—whether this was the beginning or ending in Ama’s relationship with these girls and especially with Paulina.

What has been the biggest challenge for you?

I think it’s hard stepping into a role where most of the cast members have spent time building a relationship and character history with the previous actors. The challenge for me was respecting what was done before but also trusting myself to make Ama my own.

Zenzi Williams, Eloise Amponsah

In preparation for this role, I have focused on Eloise’s wants and needs.

What has the collaborative process been like with the cast, Rebecca, and Jocelyn?

Williams: I joined the cast very recently, and it has felt like I’ve been a part of the School Girls family from the very beginning. Rebecca has provided me with space to create and learn new things about this story and this character. Jocelyn has been so open-hearted and informative about how she has created this story. I truly wake up excited to go to work in the morning.

Have you discovered something within yourself?

I’ve discovered that I have lots of memories of defining beauty as something that is outside of myself, that I needed to achieve. Although it’s been difficult, I have broken down many of those definitions and fully embraced my beauty.

What has been the most rewarding aspect of being in this production for you?

The most rewarding thing has really been working with a group of people that are so supportive and encouraging, as well as being part of a story that resonates with me and my childhood.

Stitching Together Craft, Family, and Community in Boyle Heights

Center Theatre Group — Tue, 04 Sep 2018 15:57:00 -0700

At one table stood a mother and daughter helping each other lay out fabrics to cut. Two sisters mingled around the room, translating English to Spanish and vice versa.

The Shop serves as the Boyle Heights headquarters of our costume and props departments and also as a hub for community programming. Since 2013, we’ve held free workshops and events—from backyard barbeques to puppet-making classes—for the local community.

In June 2018, we invited community members who have become regulars at our Shop events to participate in a special four-part series focused solely on fundamental sewing skills and techniques. The workshops involved the same group of seven participants throughout the month and was taught in both English and Spanish.

During the introductory session in the series, Center Theatre Group staff demonstrated to community members how to properly and safely cut fabrics from patterns and operate industrial sewing machines. Participants then practiced on the machines by working on decorative pillows. From there, participants crafted bib aprons with border finishes, tote bags, and finally, quilted table runners.

We wanted to provide community members with a buildable skill that they could continue to refine through multiple different projects, said Center Theatre Group Costume Shop Manager Brent M. Bruin, who helped design and teach the series. My hope is that they come out of this experience with the confidence to sit down on a sewing machine and do this at home.

Boyle Heights resident and artist Dula Camargo has been attending workshops at The Shop since the program’s inception and was especially excited to challenge her sewing skills. Camargo found all the projects in the series enjoyable to work on but considered the tote bag the most rewarding because it taught her how costumes and props in theatre are reinforced for durability onstage. I think we appreciate things more when we make them by hand, she said.

Another frequent workshop participant, Margarita Martinez, had spent some time sewing when she was younger and relished the opportunity to improve her skills as an adult. Martinez plans to take all that she has learned back home with her and craft projects for her loved ones. My son already gave me his order for burlap bags to make, she joked. I want to keep learning and practicing.

Those who had more advanced sewing experience served as teaching assistants. Yannel Capilla—a former fashion student—guided her younger sister through the projects and learned a thing or two about the art of teaching. I realized that when I’m helping someone else in sewing, I always have to be prepared for questions and clarifications, Capilla said. It’s exciting to be able to pass down all that I know about fashion to others.

Like the Capillas, whose parents also participated in the workshop, most of the community members were families—all eager to share a few Saturday mornings together collaborating on a common interest. As the sewing series came to an end, the group left with their custom-made creations as well as a richer understanding of their abilities as artists, educators, and creators.

This is theatre for your everyday life, said Community Liaison Estela Garcia, who helped with Spanish translations with her sister Adela. Through these workshops, we’re bridging the Boyle Heights community with theatre and also with Center Theatre Group. We all really do feel like family here.

Thanks to the Friars Charitable Foundation for supporting this program.

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