An Afternoon At The Theatre, "A Bright New Boise"

"We plop you down in a break room in Boise, Idaho for a little over four days and you watch a story unfold in which five characters' lives change forever. Their stories include polarizing topics, unexpected behavior and unfinished business."

Thus begins the director's notes in Paper Lantern's production of A Bright New Boise, which Chad and I saw earlier today. I'd not seen the show or read the script before so I had no idea what I was in for.

The first thing you notice is the incredible set designed down to the tiniest detail by John Bowhers. The lights go out and you are immediately transported.

The entire cast: Lee Spencer, Beth Ritson, Phillip Wright, Taylor Murphy Hale, and Emily Mark gave outstanding performances. There wasn't a weak link anywhere on that stage. Amy da Luz did a fabulous job of directing the production.

This production was as good as any Broadway show I've seen.

Email from Steven!

From: Matijcio, Steven
Sent: Monday, July 19, 2010 4:52 PM
To: Amy Daluz; Cheryl Ann Roberts
Subject: thanks!

Hi Amy, Hi Cheryl Ann,

I'm just catching my breath now after last week, and wanted to send you and everyone in the Paper Lantern Theatre a huge note of thanks for your performance the evening of July 15. You contributed a truly unique, vibrant and thoroughly unexpected element to the evening, and amidst my conversations, I heard numerous people talking about the performance. It provided an important piece in what became a historic evening in the history of SECCA - thanks so much for helping us to celebrate.

It was a pleasure to work with you and everyone in the cast. I'm sorry I didn't have the chance to speak with you that evening, but please pass along my best to Cheri and all the performers. Their passion and energy were unmatched.

Thanks again,
Steven Matijcio
Curator of Contemporary Art
Southeastern Center for Contemporary Art

From the Journal

Art center resumes mission to challenge community with an ambitious set of goals

By Mary Giunca | Journal Reporter
Published: July 16, 2010
(Journal photo by David Rolfe)

By 6:30 last night, Marilyn Burke had settled herself onto a grassy spot in front of the Southeastern Center for Contemporary Art with about 20 other people. "I thought half of Winston-Salem would be here," she said. "I've been waiting all year for this."

By 7, about 150 people lined the stone walk into the museum, awaiting the cutting of a ribbon and the chance to see the newly remodeled SECCA for themselves.

Eighteen months, $1.8 million and a new owner -- the state of North Carolina -- has transformed the gallery.

Larry Wheeler, the director of the N.C. Museum of Art, welcomed the crowd. "This is a new SECCA for a new time in a new North Carolina," he said. "It's going to charge up the community."

People snaked through in an orderly line peering around, as if afraid to miss anything. They took in the polished concrete floors that replaced the old carpets. They dropped business cards into a basket in order to make a live sculpture pose.

Lighted cases illuminated glass jewelry art. Patterns undulated on the walls. A dance troupe gathered in front of one of the works and performed. (Sidenote: The "dance troupe" was Paper Lantern, and they performed directly in front of the above pictured work.)

Over the course of the night, about 500 people made their way through the museum. (Sidenote: Many of us who were there last night feel this number is too, too conservative. We heard 3 times as many attended.)

"It's as if you've never been here before," said Mary Kerr, a longtime supporter of SECCA. "It's hard to even remember. They're really pressing your sensibilities."

Kerr said that she didn't see a lot of the people she usually saw at SECCA openings, and she said she thought that was a good thing.

SECCA's strategic plan lays out some ambitious goals for the museum, which closed in January 2009.

At the end of 2008, SECCA had about 128 members, and that year about 8,400 people visited the gallery.

By 2014, SECCA intends to sign up 1,200 members, achieve 80 percent capacity at activities and programs and increase gallery attendance 30 percent each year. In order to do that, it will need to reach out to the larger community in ways it never has before, longtime observers of the arts scene have said.

Last night was meant to give people a taste of what the new SECCA could be like.

Milton Rhodes, the president and chief executive of the Arts Council of Winston-Salem and Forsyth County, said that the community is ready for a new SECCA, one that will be a standard bearer.

"SECCA really has become a beacon for what the town is trying to brand itself as, a City of the Arts and Innovation," he said.

The community's roots are still pretty conservative, Rhodes said.

"Other places are changing rapidly against people's best wishes, but they're changing," he said. "We've got to move with that as a community."

Janice Ray is a teacher in the Winston-Salem/Forsyth County School system and has lived in Winston-Salem all her life. Last night was her first visit to SECCA.

"For somebody like me, who wouldn't normally come to just an art exhibit, they should try to create some kind of event, where you come and stay for the night," she said, "with music or wine tastings."

Bruce Foriest, who recently moved back to town, said he had last been at SECCA 15 years ago to see Ruby Dee perform.

He wondered why those he sees at the Diggs Gallery and Delta Fine Arts had not made the trip across town to SECCA.

"I'm going to be advocating for it," he said.

Several people said that SECCA has always been too sophisticated for Winston-Salem and likely always will be. But energy, vitality and creativity were the watchwords invoked by many arts administrators and visitors.

Rhodes said that this time around, he thinks SECCA has a chance to fulfill its potential as a place for the community to gather and experience contemporary art that will alternately engage and delight, challenge and occasionally infuriate.

"I think the town has changed," he said. "The focus is on the creative class, a knowledge-based economy.

"SECCA will push us. It will challenge our standard."

Grand Reopening!

Chris, Cheri and I arrived at SECCA right at 6:30p. We were a bit stunned that people were already gathering outside the doors. We simply walked in acting like we owned the place!

We headed straight for the band and helped Mike finish his set up. After ensuring everyone understood all sound cues, I went to find Pat to let her know we were here. I found her looking gorgeous and radiant. I realized that she was just as nervous as I was! I told her how beautiful SECCA looked and congratulated her on a wonderful job. She told me they upped their anticipated headcount from 500 to 750. From the people already gathering on the lawn, I replied that 750 was probably still a low number! Pat had some last minute preparations, as did Cheri, so Chris and I wandered over to the food. Unfortunately I was too nervous to even think about eating.

At 7p the doors were officially opened. Chris and I continued to wander around and I made mental notes as our performers arrived. I did take some time to marvel at two freeze artists, and Chris and I toured the Glasswear exhibit. At about 7:40p I made my way to a spot where I could oversee the performance. I couldn't believe how nervous I was, especially since I wasn't even performing! Chris was so good and kept me calm.

At 7:55p, as scheduled, the band took a break. I held my breath waiting to hear the a-weemas and literally felt my heart constrict when nothing happened. I turned around ready to race to the front of the building to find out what happened when Chris grabbed me. Above the din I heard the singing.

It was such a beautiful sight watching Chelsea, Nichelle, Scott, Tim, Alex, Amelia, Scarlet, Whitney, Serah, Cheri and Ann grooving through the crowd. As they moved into place, as predicted, the crowd parted not wanting to be part of the "improv". Upon realizing that Benji and Emily weren't in their line I began to panic. It was important for Emily to be there because her arrival is what cued the next song! I again turned to go racing over to Mike and again Chris held me firm. I saw then that Cheri was communicating a Plan B with the group and both Benji and Emily were fighting their way through the crowd. Emily finally hit her mark and I breathed.

The rest of the performance went smoothingly, and the crowd loved it! I was so very proud of the performers and so very honored to have been a part of SECCA's night.

Final Rehearsal

While all of the works were not installed as we had hoped on Monday, they were all in tonight. I didn't anticipate too much of a problem as I felt that our performers were seasoned enough to easily adjust to any changes. As Cheri and gang moved into formation and began the MJ piece, I noticed Chelsea was awfully close to a stalagmite looking work. Alex also got close to a work containing arrows.

Figuring that Stephen would need some reassuring, I spoke with Cheri about moving the line further back and closer to one side. It was during this conversation that Amy decided to completely take over (again!). As if she were God speaking from the Heavens, she yelled down to the cast and directed them to some pretty major blocking changes. I was extremely miffed. As the PM I had things under control! Cheri was even more pissed at the changes Amy was suggesting, and the cast was none too happy either. Fortunately we only wasted 10 minutes in determining that Amy's new vision would not work. Cheri implemented my suggestions and it worked perfectly.

After rehearsal, as we were walking back to our respective cars, Amy told me that she was just trying to calm Stephen. I didn't even respond. Her ridiculous outburst brought the entire project full circle and simply reaffirmed my decision.

Spacing Rehearsal

I was extremely nervous about tonight's rehearsal. Not only was it our first spacing rehearsal (I had crossed my fingers that all the artwork was installed as promised) but Steven and Pat would be watching. True, the performance would fit the "theatrical, song, dance" clause in our contract, but it was a far cry from the Food Court video Steven had initially sent us.

I arrived and our participants were already A-weema-weh, a-weema-weh through the gallery. I greeted Steven and Pat as Cheri and the gang moved into formation and began the "The Way You Make Me Feel" dance number. My nerves increased and I took barely a breath. The dancing was the part Steven had been hesitant. As the group broke away and started the "Funk Soul Brother" piece I heard Pat giggle. I stole a glance her way and saw that she was smiling. I cautiously glanced at Steven and he too was grinning! A couple of the SECCA architects and at least one of the artists had also gathered and were grooving to our music. They all loved the "Over The Rainbow" finale.

My nerves immediately disappeared. I knew that if these few were thoroughly enjoying the performance, the Grand Reopening crowd would too.

Meeting with SECCA

This morning Amy and I met with Steven Matijcio to discuss the improv piece that Paper Lantern will be producing for SECCA's reopening.

We were first treated to a powerpoint presentation detailing the two exhibits. Look Again is an eclectic collection of pieces with a "things aren't always what they seem" philosophy. Glassware is a collection of contemporary jewelry. I'm not usually an "art" person but Steven spoke with such a passion that I'm actually excited about seeing these exhibits.

Next we took a tour of the facility. The roof replacement is the bulk of the renovation. There are new walls, new flooring and lots of new paint. While not complete, the progress is exciting.

Lastly Amy and I listened to their ideas with regards to our performance. There are no real rules, which will allow our musical director a certain amount of creative freedom. They would like to use the performance to drive the crowd to a central point for opening remarks by their Executive Director, and as a distraction for a performance artist to vacate her particular piece. The performance shouldn't last more than 15 minutes.

It was a great meeting, and I think this project will be fairly easy. I just have to hire the right musical director and choreographer. (And I have two very talented folks in mind.)

SECCA Commission

Last week Amy received an email from Steven Matijcio, the curator of contemporary art for SECCA. They are in the process of planning a grand reopening in July. They want to make the opening a multi-disciplinary event, and are looking to commission an opening night performance that fuses theatre and song. Apparently Paper Lantern Theatre was recommended by Christine Gorelick at the Arts Council. (Thanks, Christine!)

After some discussion amongst the founding ladies, we agreed to take on the project. Since most have their plates full with Kimberly Akimbo, guess who agreed to be in charge?

Yep, I'll be the Production Manager.

Many Thanks!

Last night approximately 82 folks heard Sarah Barnhardt's new comedy routine, Tony Williamson on mandolin, Walter Holton on guitar and the beautiful vocals of Laurelyn Dossett.

For those of you who attended our fundraiser - THANK YOU! We raised more than $1,500, which will go toward our next production, Kimberly Akimbo, opening in June.

A Fundraising Concert!

Induction

So, today was my first meeting as a member of Paper Lantern Theatre Company. Not only did we discuss the fundraiser (Mark your calendars - it's Monday, March 29!), auditions and assignments for our next production (Kimberly Akimbo!), Amy also took my picture for the website.

I love that Star finds holding the lantern on my head hilarious!

Which one do you like?

Kudos for The Laramie Project: 10 Years Later

**********
Thanks for having me at the theater. It was great and Mallorie did awesome.
~DR
**********
I wanted to tell you both that you did a wonderful job tonight. Cheryl Ann, your portrayal of Judy was beautiful. The night was amazing...

Brava!
~SL
**********
It was truly a remarkable experience...
~SB
**********
Mallorie did a great job.
~CD
**********
...I really admired your performance. Specifically, I liked the simplicity of it. It was sincere and drew the audience in. I completely understand that you were a proud mom that night (and should be!!), but don’t ever sell your work short; it was solid acting.
~AL

Love and Support

Allan, Cade, Dusty, Mom, Clara, Dawson, Trena, Lynn, Tony, Rebecca, Michael, and Ben, thank you so very much for braving the crappy weather to support Mallorie and me in this personal endeavor.

Dad and Bill C. - thank you for being with us in spirit.

Extra special thank yous to Nathan, Kevin, Mary Ann, Mitchell, Brian, Jennifer, and Myla who helped spread the word.

Preliminary word was that we raised over $700 for the Matthew Shepard Foundation and close to $500 for the Adam Foundation. More importantly we told the story to a little over 250 audience members.

From YES! Weekly

The legacy of Matthew Shepard
By Keith Barber

The Paper Lantern Theatre Company’s production of The Laramie Project: 10 Years Later, a cross between a stage play and a documentary about the aftermath of Matthew Shepard’s death, was performed Monday at the Arts Council Theatre in Winston-Salem. The performance represented one of more than 150 staged readings held around the world on Oct. 12 to commemorate the anniversary of Shepard’s death.

As the dramatic reading of The Laramie Project: Ten Years Later drew to a close Monday night at the Arts Council Theatre in Winston-Salem, a photo of Matthew Shepard was projected on a large screen above the stage. For two full hours, 15 actors played the roles of the townspeople of Laramie, Wy., and all the real-life characters involved in a murder that shook the conscience of a nation. Finally, the audience got to see the 21-year-old man whose tragic death inspired a national dialogue about gay rights.

Molly McGinn then strummed her electric guitar and belted out a stirring rendition of the song “Scarecrow” in honor of Shepard. “This was our brother/ this was our son,” McGinn sang.

As the lights came up and the players took their bows, the audience rose to its feet and expressed its heartfelt thanks for a spirited performance by cast members Sharon Andrews, Whit Andrews, Ken Ashford, Tim Austin, Miriam Davie, Linda Donnell, Sheila Duell, Mallorie Grady, Michael Huie, Ari Itkin, Hardy Koenig, Preston Lane, Heidi McIver, Mark Pirolo, Cheryl Ann Roberts, Andrew R. Rush and Jeffrey West. Director Amy da Luz deserves much credit for the phenomenal performances.

The Laramie Project, a hybrid between a documentary and a play, was written by Moisés Kaufman, Leigh Fondakowski, Greg Pierotti, Andy Paris and Stephen Belber of New York’s Tectonic Theatre Project. Based on more than 200 interviews with the townspeople of Laramie, Shepard’s friends and relatives, the play also included transcripts of police interviews with convicted killers Aaron McKinney and Russell Thompson as well as trial transcripts.

Beth Ritson, one of the founding members of the Paper Lantern Theatre Company, opened the evening by sharing with the audience that more than 150 theatre companies around the nation and the globe would be performing a reading of The Laramie Project: Ten Years Later that very night to mark the anniversary of Matthew Shepard’s death.

“We are gathering to understand, to dialogue and to heal,” Ritson said. “We are gathering most importantly to remember Matthew Shepard and to play our part in this larger vision.”

On Oct. 6, 1998, McKinney and Russell offered Matthew Shepard, a gay University of Wyoming student, a ride home from the Fireside Lounge in downtown Laramie. Later, Shepard was robbed, tied to a split-rail fence, tortured and left to die. During his trial, it was revealed that Thompson and McKinney targeted Shepard because he was gay. The heinous crime drew national and international attention and eventually led to hate crimes legislation, which still languishes in the US Senate.

On Monday night, audiences around the world heard what has changed, and what hasn’t changed in the small prairie town of Laramie in the past 10 years.

“I just hope the community remembers just how ugly hate is,” Reggie Fluty, the police officer that first discovered an unconscious Shepard, said.

Deb, the editor of the Laramie Boomerang, takes a position that many of her neighbors agree with: The attack on Matthew Shepard was not a hate crime.

“It’s hard when you’re ashamed to stand up and say, ‘Yeah, we’ve screwed up,’” Fluty says.

A report by the TV show “20/20” about Shepard’s murder angers police investigator Dave O’Malley, who later discovers a memo from the show’s producer revealing a bias by the network to label the attack a robbery gone bad.

Beth, a university professor, refers to US Rep. Virginia Foxx’s (R-NC) statement that calling Shepard’s a hate crime is a hoax.

Henderson expresses remorse for his actions, but McKinney doesn’t feel anything.

“Matthew Shepard needed killing,” McKinney tells Greg Pierotti.

An actress performing the words of Cathy Connolly, the first openly gay Wyoming state representative, offers a hopeful story about the defeat of the Defense of Marriage Act, but states, “There is a lot more work to do.”

The Laramie Project: 10 Years Later is a profound epilogue and the continuation of that important dialogue. Paper Lantern Theatre, one of only two theatre companies in the state to stage readings of The Laramie Project: 10 Years Later, deserves great praise and admiration for doing so.

A Mega Audition and a Rehearsal

There's only one other show in the remainder of Winston-Salem Theatre Alliance's season that I'm interested in doing. And I'm not just interested, I am dying to do one particular role.

As soon as I read Del Shore's The Trials and Tribulations of a Trailer Trash Housewife Willadean went on my "Roles I'm Dying To Do" list. I immediately gave the script to Mikey, who added JD to his list. Since Mikey would be touring during the scheduled auditions, he and I read together for the roles after striking for Sordid Lives. I must say, he was frightening as JD.

I attended this morning's Part 2 Mega Auditions. Sordid Lives castmate April was there for the role of Rayleen, as was a KLT friend, Beth. Another KLT actress, Linda, also read for Willadean. There were two men auditioning for JD; Mike who worked backstage for The Great American Trailer Park Musical and Don, my hilarious castmate in Moonlight and Magnolias. Don was also frightening.

Overall I was very pleased with my readings. We won't find out who got cast until Wednesday. Thank goodness I've got The Laramie Project: 10 Years Later to occupy my mind.

And speaking of The Laramie Project: 10 Years Later, we had a very good rehearsal tonight. There were still some changes to the script, but they were minor. We are all definitely ready to move into the theatre tomorrow night. We need to determine if the work lights will allow ample light to read.

If you haven't reserved your ticket(s) for the reading, you need to go to Paper Lantern Theatre Company and do so NOW. Really, you don't want to miss this very important production.

It's Official!

Mallorie and I will be in the cast of The Laramie Project: Ten Years Later. It's the first acting role for Mallorie and I'm excited to be sharing the stage with her.

I'm also hugely honored to be part of this historical staged reading. Our castmates include some of the most talented folks in the Triad.

The reading will be one night only, on Monday, October 12, at the Arts Council Theatre. The performance is free, and you can reserve your tickets through Paper Lantern Theatre Company.