Theatre Design & Technology - Summer 2009 - 16

and style and dedication and we actually have a pretty good time along
the way.
When the riots happened... I don't like calling them riots because
I'm a little more optimistic than that. My mom, who is here, was here
when there were really serious riots in Cincinnati in 1969. There was a
"civil unrest" in 2001 in Over-the-Rhine because a young man, an unarmed man, had been shot. A lot of young unarmed men had been shot by
the police in those days. It was a tragedy. There was a lot of fault and a lot
of blame to go around but it erupted right in front of Ensemble Theatre.
We were forced out of our building by the police at gunpoint; they said
that we couldn't stay; they couldn't keep us safe. On that day, Ensemble
Theatre was the backdrop for the riot coverage on CNN. Imagine my joy at
getting that kind of national attention.
How do you leave your home? How do you leave what you have got
going for you? Well, our technical director, master electrician, scenic designer, props mistress, found pieces of wood from around the building,
put them over the windows. They went around and disconnected all of the
computers, turned off the exit lights. They put the place in the dark and we
went out the back door. I'm really proud to say that when we got let back
in the building a few days later, as much as I love my office staff, it was my
production staff that walked through the building with me. And I'm really
proud to say that we didn't even get a broken window.
The Ensemble Theatre's staff had already established itself as part of
the solution not part of the problem. For my professional production team
to secure our home base and reopen it, to have the courage to come in
and continue to work when everybody in the city told us to move; that is
above and beyond just being creative and wonderful people. That is about
the passion that keeps these organizations that you all work for going.
I did a show, Women of Lockerbie, a few years ago about the plane
crash over Lockerbie, Scotland. It was a tight budget and it was an epic
show. It was a Greek tragedy written for contemporary audiences. My
scenic designer decided to focus on the fact that these women in Lockerbie were trying to get the suitcases and the personal belongings of the
people killed in the crash released to the survivors so that they would have
something to remember their loved ones by. So he created a back wall of
suitcases, which we borrowed but couldn't give back because we painted
them white. We went to the Goodwill and the Salvation Army and we asked
board members and staff members to bring in their old suitcases. Then
right down in the center of the stage, he created this living, breathing,
water flow where the women washed the clothes before returning them to
the surviving families. And this river came down from these suitcases. It
was a very economical set and it was a set that changed lives. One of the
families who had lost their dad in the crash read about our production on
the Internet and they were angry about it-that somebody was capitalizing
on their loss and on this crash. When they came to the show, and they saw
that set, they said that they finally had closure, they finally had a way to
release. One of our actors, Tony Hoty, played the father in this show. (Tony
recently passed away but many of you may have seen him on stages all
across this country.) He sat with the family afterwards and they continued
a long correspondence. That is the kind of theatre that you guys create.
That is the power that you have that I don't have. I may know that I want to
do this play but I don't know from suitcases.
In fact, production people have been saving my career since one of
the first summers that I was intern in what used to be Edgecliff College.

14

theatre

design

&

technology

S U M M E R

2009

They had a summer theatre and Joe [Tilford] was like the Grand Puba of
all things good. He was in charge of the sets and everything. The first day
as an intern I was assigned to his crew and I immediately got my hair stuck
in his drill. He was really nice about it and moved me to costumes. And
then I was really excited about that because I thought sewing would be a
really good thing for me to learn how to do. I broke three needles which
wasn't a big deal, but when I broke the machine, Barbara Kay, the head of
the costume shop moved me to publicity. On my third day I managed to
put posters up all around the city. I did not break any windows. And I have
been pushing the idea of people coming to the theatre ever since.
When you look at the state of what's coming, do not be afraid. It really makes me angry when people on a radio station in Cincinnati, 700WLW,
spread so much fear and negativity. If you listen to what they say, you will
not only buy your cemetery plot but you will indeed make sure that if you
have children you will give them away because you can not possibly raise
them in this world that we live in. According to them, you can't trust anybody. Everybody's bad. When I think about the power that they have-you
can hear this station in Florida-and the power of us trying to reach 100,
200, 600 people each night, I realize what an enormous responsibility we
have to keep positive and to keep passionate. Now that's kind of tough.
I told you about the beginnings of ETC. We have gone from 400 subscribers to 1,400. We have raised a $1 million debt. I am inviting you to
come a few blocks up Vine Street and see what is possible. It is cool now.
It is safe now. My mother is here. I can not run a company or a theatre
and go to work in a neighborhood were she can not see the shows. It is
just kind of a deal that I have with her. It has been twelve years since Overthe-Rhine has been a war zone. Now it is this really hip, cool, wonderful, eclectic place that has not lost the charm for which it was originally
founded. It used to be a haven for people from all around the country who
came to work in Cincinnati, and from Germany too, and France. Over-theRhine was an affordable place to be. So I invite you to come up and see
the neighborhood and see a show.
But the point of it is that ETC's finances have broken even for the last
five years. The debt is gone. We own the buildings. Not just our building,
but we just bought the building next door to us. It used to be Poly's Big
and Tall Men's Clothing Shop and there is still belt wallpaper on the walls,
which I will show you: it's fabulous. We have condos across the street. But
we do not have a drive through crack dealership anymore on the corner.
We have had the best attended season in the twenty-three years that the
theatre has existed, the best by far. We broke single ticket and subscription records.
And then we get some bad news. One of our sponsors died; very
unfortunate. I can't really blame him. I doubt that he planned it. I doubt
that his gift to ETC is what did him in, but nonetheless... This lovely sponsor had just pledged $2 million to a $5 million capital campaign. These
buildings are really cool but they are also really fallen down. There is
plastic on the ceiling. It's very artistic. The way the walls are peeling, really
cool. So, we got a call that our $2 million savior died. Then we got a call
that the grant we were expecting for $75 thousand in operating funds was
cancelled. The granting organization changed their mind; they were sorry
but they changed their mind. So, you spend a decade and two years going
forward and then you arrive in 2009.
Where do I look? Where do I look to make next season possible? My
board is saying, you have to cut $300 thousand off of your $1.5 million



Table of Contents for the Digital Edition of Theatre Design & Technology - Summer 2009

Contents
Theatre Design & Technology - Summer 2009 - 1
Theatre Design & Technology - Summer 2009 - 2
Theatre Design & Technology - Summer 2009 - 3
Theatre Design & Technology - Summer 2009 - Contents
Theatre Design & Technology - Summer 2009 - 5
Theatre Design & Technology - Summer 2009 - 6
Theatre Design & Technology - Summer 2009 - 7
Theatre Design & Technology - Summer 2009 - 8
Theatre Design & Technology - Summer 2009 - 9
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