Theatre Design & Technology - Winter 2020 - 23

Beyond sessions, it is important
to examine relationships with vendors
and companies on the Expo Floor, to
make inroads toward more diversity in
interviewing and hiring, and to be accountable for inappropriate behavior
when it occurs. In the industry, Britton
Mauk stresses increasing opportunities.
"What, as a white person, can I do to
make sure than I am taking this play to
the best place? If you look around and
everyone is white, have a conversation.
Have a platform; be a sounding board."
Tony Hardin applauds Gateway
Junior, the program that goes into
schools in the conference city to talk to
young people about careers in theatre.
If a young person does not even see
themselves onstage, how can they hope
to imagine themselves backstage or offstage? Particularly in underserved communities, arts are often the first cut for
budgetary reasons, and talented voices
of all interests are silenced.

Planned Obsolescence

Where do we go next? The conference

can do great work for a week, but as
David Grindle asks, "How do we keep
the connections together, formally, as an
Institute?" Adds Madilynn Garcia, "How
can Gateway support its participants
past the conference, and for the rest of
their careers?" Garcia wants to extend
that access by creating a community
around the ideas of Gateway, so mentorship is passed on. She points out the
ever-changing language around inclusion and emphasizes the need for us to
advocate for those around us. As Randy
Westbrooke also advises, "Recognize
the amount of work some people have
to do on a day-to-day basis in navigating
environments, and be proactive about
what can be done." St. John adds, "Be
aware that different backgrounds and
different barriers are not faults. Not
having certain experiences is not a
fault." Echoes Phillips, "It sounds basic, but, look beyond how people look,
their names; you have to put in the
work sometimes, talk to someone who
doesn't look like you."
What is the future of the Gateway

Program? Ironically, some dare to hope
it may not always be needed. "I hope
it goes out of business," says David
Stewart. "I hope there is no need for it.
I hope we can sit and have a drink 10
years from now and say 'yep, we did it.'"
Or, as Andi Lyons declares, "I hope to
see a time when we don't need to, but
we need to."
Tina Shackleford first joined
USITT as a SMMP mentor
in 2004 and went on to serve
as the SMMP Coordinator
2013-16. She is a founding
member of the Institute's EDI Committee and
the Gateway Program. Currently, she also
serves as the management commissioner and
on the USITT board of directors.
Professionally, her stage management credits
include productions at theatres across the
country. She teaches Stage and Production
Management at Carnegie Mellon University
School of Drama and holds an MFA from the
University of California, San Diego.

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Theatre Design & Technology - Winter 2020

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