https://www.centertheatregroup.org/news-and-blogs/news/2019/november/ The latest news from Center Theatre Group in Los Angeles, home of the Ahmanson Theatre, Mark Taper Forum, and the Kirk Douglas Theatre. https://www.centertheatregroup.org/news-and-blogs/news/2019/november/an-opportunity-to-celebrate/ Mon, 11 Nov 2019 11:40:00 -0800 Center Theatre Group https://www.centertheatregroup.org/news-and-blogs/news/2019/november/an-opportunity-to-celebrate/ <p>“August writes about all the things that are innate in human nature—jealousy and nobility, love, deceit. <em>Jitney</em> has all of those things,” explained the actor, director, and writer, who last appeared at Center Theatre Group in spring 2019 in <a href='https://www.centertheatregroup.org/tickets/mark-taper-forum/2018-19/lackawanna-blues/" target="_blank"><em>Lackawanna Blues</em></a> at the Taper. “But if you look at it from the outside, it looks like a bunch of men trying to hold onto their station.”</p> <p>Set in 1970s Pittsburgh, <em>Jitney</em> is on its face about the drivers at an unlicensed taxi cab (or jitney) station fighting against the forces of gentrification that threaten to shut them down. But there is much more to the story, which is why this new production, directed by Santiago-Hudson, resonated on Broadway, where it received six Tony Award^® nominations, winning Best Revival of a Play.</p> <p>“<em>Jitney</em> is important to today’s audiences and yesterday’s audiences and tomorrow’s audiences,” said Santiago-Hudson. “We’re watching these two love stories clashing and passing each other. It’s the opportunity to see people of color wanting, needing, and achieving everything that’s called the American Dream, people of color trying to attain the most simple of lives and values—justice, liberty, freedom. That’s the conflict—that’s the challenge we’re facing from the minute we were thrown on this soil.”</p> <p> <figure class="inline-image" itemscope="" itemtype="http://schema.org/ImageObject"><img class="inline-image__img" src="https://res.cloudinary.com/dv3qcy9ay/image/upload/f_auto/v1/2019/prod_JIT/JitneyArena1109r" alt="" itemprop="contentUrl"><figcaption class="inline-image__meta"><span itemprop="caption" class="inline-image__caption">L-R: Amari Cheatom, Harvy Blanks, and Brian D. Coats. </span> <span itemprop="credit" class="inline-image__credit">Photo by Joan Marcus.</span> </figcaption></figure></p> <p>Santiago-Hudson noted that throughout all of Wilson’s <a href="https://www.centertheatregroup.org/news-and-blogs/news/2016/september/coming-full-cycle/" target="_blank" title=""> <em>American Century Cycle</em></a>, people of color are fighting “for common, basic human needs”—from <em><a href="https://www.centertheatregroup.org/about/timeline/1998-2007/#timeline-item-110" target="_blank" title="">Gem of the Ocean</a></em> (taking place in 1904) to its final installment, <em><a href="https://www.centertheatregroup.org/about/timeline/1998-2007/#timeline-item-116" target="_blank" title="">Radio Golf</a></em> (set in the late 1990s). “It’s important that the audiences come in and witness the beauty, the magnificence, the anger, the disdain, the joy, the humor, and love of people of color. ’Cause we all got it,” he said.</p> <p>Those emotions are all on display throughout the two love stories at the center of <em>Jitney</em>. The first follows a “totally tattered” relationship between a father and son “who don’t know how to bring that love together, who don’t know how to get on the same because they’re estranged and no longer know each other,” said Santiago-Hudson. “There’s another love story—one in jeopardy—about two young people with a child that are trying to figure out how to make their love a successful love,” he said.</p> <p>There are few people as intimately acquainted with Wilson’s work as Santiago-Hudson, who acted in <em><a href="https://www.centertheatregroup.org/about/timeline/1988-1997/#timeline-item-153" target="_blank" title="">Seven Guitars</a></em> and <em>Gem of the Ocean</em>, winning the Tony for his performance in <em>Seven Guitars</em>. He was also a friend. Weeks before Wilson died in 2005, Santiago-Hudson asked if he could be the person to bring <em>Jitney</em>—the only show in the <em>American Century Cycle</em> that had not appeared on Broadway in Wilson’s lifetime—to the Great White Way.</p> <blockquote class="blockquote blockquote--medium"><p>August’s writing always instills a completeness in human beings, even though they’re in a struggle. They still have nobility. They still have dignity. Rarely do we get to celebrate in that way. And August gives you that opportunity every time.</p></blockquote> <p>Wilson agreed, but had his own request: for Santiago-Hudson to perform in Wilson’s autobiographical one-man show, <em><a href="https://www.nytimes.com/2013/11/25/theater/reviews/how-i-learned-what-i-learned-at-signature-center.html" target="_blank" title="">How I Learned What I Learned</a></em>, first. “He called me specifically and asked me to do <em>How I Learned What I Learned</em> because he couldn’t complete his journey with that play,” said Santiago-Hudson. “So two weeks before his transition—when he passed—I promised him that I would.” It took a little longer than anticipated, but in 2013, Santiago-Hudson made good on the promise, starring in <em>How I Learned What I Learned</em> Off-Broadway at the Signature Theatre.</p> <p>Bringing <em>Jitney</em> to Broadway was its own journey as well. “They felt there was no need for the show to go to Broadway, and I selfishly thought, why not complete the 10-play cycle?” said Santiago-Hudson. “I feel like at this point I’m not satisfied—I can never be satisfied. Contentment is my enemy. If I get content, then I’ll never keep fighting.”</p> <p>Nonetheless, he believes he’s “paid a wonderful honor” in being a part of this <em>Jitney</em> revival.</p> <p>“August Wilson accomplished things that no other writer in America has ever accomplished,” said Santiago-Hudson. “He wrote 10 plays, and all of them went to Broadway. Now there are writers who’ve written 10 times as many plays, five times as many plays. But has every one gone to Broadway?” Wilson is “batting 1.000,” said Santiago-Hudson. “That in itself is monumental.”</p> <p>So is the work itself. “I don’t think there’s been a whole lot of opportunities for people of color, African American people—people from African descent in America—to be celebrated in such a fullness,” said Santiago-Hudson. “And August’s writing always instills a completeness in human beings, even though they’re in a struggle. They still have nobility. They still have dignity. Rarely do we get to celebrate in that way. And August gives you that opportunity every time.”</p> https://www.centertheatregroup.org/news-and-blogs/news/2019/november/working-to-make-grad-school-an-opportunity-for-all/ Tue, 05 Nov 2019 16:30:00 -0800 Center Theatre Group https://www.centertheatregroup.org/news-and-blogs/news/2019/november/working-to-make-grad-school-an-opportunity-for-all/ <p>“Higher education has never really been my path, but learning new technologies is,” said Azua. So he grabbed his backpack, returned to school, and found himself in ELAC’s theatre program. And it’s possible his higher education path won’t end there. At an event hosted by ELAC, Center Theatre Group, and the Yale School of Drama on October 4, 2019, he got a window into the process of applying to and attending a graduate program.</p> <p>“Yale on this side of the country is unheard of, so that alone is just opening the doors for East L.A. students—and other students in the area, too—to think about venturing beyond the West Coast,” Azua said. Open to current undergraduate students and early-career professionals with an interest in theatrical design, production, and management, the free event was an unprecedented opportunity to learn about graduate school options with the <a href="https://www.drama.yale.edu/" target="_blank" title="">Yale School of Drama</a>, which offers programs in multiple areas, from sound design to stage management.</p> <p>By uniquely bridging local community college students, like those at ELAC, with one of the most prestigious theatre programs in the nation, the event encouraged students to consider a future not exclusively at Yale School of Drama, but at a supportive graduate program that fits best with their career goals. The focus on design, production, and management was also unique. Students interested in disciplines like acting and playwriting typically have many more opportunities to learn about their higher education options than students in these technical areas of theatre. </p> <p> <figure class="inline-image" itemscope="" itemtype="http://schema.org/ImageObject"><img class="inline-image__img" src="https://res.cloudinary.com/dv3qcy9ay/image/upload/f_auto/v1/ELAC-YALE/IMG_0302" alt="" itemprop="contentUrl"><figcaption class="inline-image__meta"><span itemprop="caption" class="inline-image__caption">L-R: Brent M. Bruin helps ELAC student and aspiring master electrician Stephan Azua craft a top-notch professional resume. </span> <span itemprop="credit" class="inline-image__credit">Photo by Sydney Sweeney.</span> </figcaption></figure></p> <p>The event was also a chance for Los Angeles technical theatre scholars and professionals to discuss higher education opportunities with Yale faculty directly. At the same time, they received hands-on feedback and small-group guidance from experts at local institutions and organizations—including our official higher education partner, ELAC, CalArts, and our own company—at a panel discussion, reception, and career workshops.</p> <p>“We’re so proud to have ELAC as our partner, and have been continuously impressed by their commitment to career preparation and skill-building for all of their students,” said Camille Schenkkan, Center Theatre Group’s Next Generations Initiatives Director. “The opportunity to connect them to the Yale School of Drama—and to encourage not only ELAC students, but all local emerging theatre professionals, to consider a future at Yale—is deeply gratifying.”</p> <p>The afternoon commenced with an informative panel discussion between Yale faculty members Shaminda Amarakoon, Chair of Technical Design (a 2010 production management intern at Center Theatre Group) and Ilona Somogyi, Assistant Professor Adjunct of Design (who’s designed costumes for productions like <em><a href='https://www.centertheatregroup.org/tickets/ahmanson-theatre/2015-16/grey-gardens/">Grey Gardens</a></em> at the Ahmanson and <em><a href='https://www.centertheatregroup.org/tickets/mark-taper-forum/2014/marjorie-prime/">Marjorie Prime</a></em> at the Taper. The two, who themselves are Yale alumni, detailed some of the program’s features. </p> <p>“I had already done a lot of research on Yale School of Drama, but it was really reassuring getting thorough information from someone in person,” said Melissa Lubina, who’s slated to graduate from Cal Poly Pomona next spring. “It’s also encouraging to know that you don’t need to be the most polished candidate. I like that they’re looking for a broad spectrum of people.”</p> <p>Yale School of Drama notably welcomes students without prior undergraduate education or a degree. Although the program offers both master’s and doctoral degrees for those holding a degree from an accredited college, the school offers certificate and non-degree programs, too. The Certificate in Drama is equivalent to an MFA for students without an undergraduate degree—making it an approachable option for students who want to expand their career horizons immediately after finishing a community college’s two-year theatre program, like the one offered at ELAC. Technical internships, research fellowships, and special student residencies are also available to individuals looking for short-term opportunities in research and training in select disciplines.</p> <blockquote class="blockquote blockquote--medium"><p>To hear what people have to say about the work you’ve created and how to present it to the professional world is amazing.</p></blockquote> <p>After the panel discussion and Q&amp;A, attendees were invited to a short reception with food, beverages, and plenty of networking—everyone had the change to introduce themselves to Yale faculty and alumni, and learn about career development opportunities at Center Theatre Group, like our <a href='https://www.centertheatregroup.org/programs/students-and-educators/teen-and-college-initiatives/internships/" target="_blank">Internship</a> and <a href='https://www.centertheatregroup.org/programs/students-and-educators/teen-and-college-initiatives/apprenticeships/" target="_blank">Apprenticeship</a> Programs. The reception was followed by three career workshops, where students learned how to craft high-quality portfolios, resumes, and personal statements for the perfect grad school application. </p> <p>The next day, students were invited to bring their portfolios for individual reviews with Somogyi and Amarakoon. “We loved the opportunity to highlight the creativity and professionalism of local students, including those attending community colleges like ELAC,” said Schenkkan. “Receiving feedback and encouragement from graduate school faculty is an important step forward, whether students end up pursuing additional education or prepare to step into the workforce.”</p> <p>Azua, who took advantage of Friday’s informative workshops, was pleased that Brent M. Bruin, Costume Shop Manager here at Center Theatre Group and faculty member at ELAC, was able to review his resume in full, and offer constructive criticism from the perspective of someone with over 10 years of experience in the industry.</p> <p>“The feedback we got for our portfolios and resumes is astounding—just to hear what people have to say about the work you’ve created and how to present it to the professional world is amazing,” said Azua. “Everything I’ve experienced and learned today has been super valuable.”</p>