You will bring everything with you to rehearsal this Sunday, February 13
any period-esque pieces you have that would fit your character.
black or gray pants, preferably ones that you can move in. (think yoga pants, leggings, or joggers)
If you do not have any of these items, please do not go out and purchase anything.
Make sure to check out Hanah’s design ideas HERE
Rehearsal Schedule through the end of the run
Sunday, February 20th, 2-4 PM – work all scenes, look at transitions, fit actors into ‘Night Before’ ensemble scenes
***TAKE CAST PHOTO***
Monday, February 21st, 6-9 PM – work duelin extremists, music, transitions
Tuesday, February 22nd, 6-9 PM – work scenes
Wednesday, February 23rd, 6-9 PM, Run through in order, work transitions – OFF BOOK, all scenes memorized
Thursday, February 24th, 6-9 PM, Run through in order – Designer Watch
Sunday, February 27th, 2-5 PM, Run through in order- costume parade-(need all costume items)
Monday, February 28th, 6-9 PM – Tech Dress
Tuesday, February 22nd, 6-9 PM – Tech Dress – add in microphones
Wednesday, March 2nd, 6-9 PM, Tech Dress Run
Thursday, March 3rd, 6-9 PM, Final Dress
Friday, March 4th 6 PM call, 7 PM Production & Talk Back
Saturday, March 5th 1 PM call, 2 PM Production
Saturday, March 5th 6PM call, 7 PM Production – STRIKE
*Please note to expect this schedule to change, check back to this link frequently and please check your email each Friday for updates to this schedule.
Kevin Wilmott – race in America (Early February)
Christine Leonard – February Sister (February, of course)
EQUITY, DIVERSITY, & INCLUSION MATERIALS
Thank you to Kayla Sandusky for pulling this information together.
NOTE: This list is only the start of a conversation. The purpose of this is not to be the end of
your education, instead a checkpoint for you and the rest of the cast. I am open to revisions and a
conversation about everything on this document. This is an incomplete list, and we can add to it
as the process goes on, or we can use this as a jumping off point for the rest of the process.
Terms to Know
Critical Race Theory:
a group of concepts (such as the idea that race is a sociological rather than biological
designation, and that racism pervades society and is fostered and perpetuated by the legal
system) used for examining the relationship between race and the laws and legal institutions of a
country and especially the United States (Merriam-Webster)
CRT has five tenets: Counter-Storytelling, the Permanence of Racism, Whiteness as
Property, Interest Convergence, and the Critique of Liberalism. These tenets help to
highlight the origin and current manifestations of racial oppression, discrimination, and
inequality found within the fabric of American culture. (Brandman University)
The set of social and economic advantages that white people have by virtue of their race in a
culture characterized by racial inequality (Merriam-Webster)
“… by discussing the reality of white privilege, we’re not negating or invalidating other
hardships that may come with each individual’s circumstances. Rather, we intend to shed light on
the reality that white people are granted rights (whether they’re subtle or obvious), immunities,
and opportunities by their skin color, regardless of whether they asked for that privilege or not.”
— Mehak Anwar
“And here, in white racism, was a shame of truly epic proportions—the shame of white
supremacy that for centuries so squeezed the world with violence and oppression that white
privilege was made a natural law.” — Shelby Steele
Refers to the unquestioned and unearned set of advantages, entitlements, benefits and choices
bestowed on people solely because they are white. Generally white people who experience such
privilege do so without being conscious of it. (Racial Equity Tools)
Structural White Privilege: A system of white domination that creates and maintains belief
systems that make current racial advantages and disadvantages seem normal. The system
includes powerful incentives for maintaining white privilege and its consequences, and powerful
negative consequences for trying to interrupt white privilege or reduce its consequences in
meaningful ways. The system includes internal and external manifestations at the individual,
interpersonal, cultural and institutional levels. (Racial Equity Tools)
Refers specifically to the ways in which institutional policies and practices create different
outcomes for different racial groups. The institutional policies may never mention any racial
group, but their effect is to create advantages for whites and oppression and disadvantage for
people from groups classified as people of color. (Racial Equity Tools)
• Government policies that explicitly restricted the ability of people to get loans to buy or
improve their homes in neighborhoods with high concentrations of African Americans
(also known as “red-lining”).
• City sanitation department policies that concentrate trash transfer stations and other
environmental hazards disproportionately in communities of color.
the practice of making only a perfunctory or symbolic effort to do a particular thing, especially
by recruiting a small number of people from underrepresented groups in order to give the
appearance of sexual or racial equality within a workforce.
The systematic subjugation of one social group by a more powerful social group for the social,
economic, and political benefit of the more powerful social group. Rita Hardiman and Bailey
Jackson state that oppression exists when the following 4 conditions are found:
• the oppressor group has the power to define reality for themselves and others,
• the target groups take in and internalize the negative messages about them and end up
cooperating with the oppressors (thinking and acting like them),
• genocide, harassment, and discrimination are systematic and institutionalized, so that
individuals are not necessary to keep it going, and
• members of both the oppressor and target groups are socialized to play their roles as
normal and correct.
Oppression = Power + Prejudice (Racial Equity Tools)
The action or process of settling among and establishing control over the indigenous people of an
area. Refers to large-scale population movements where the migrants maintain strong links with their—
or their ancestors’—former country, gaining significant privileges over other inhabitants of the
territory by such links. (Oxford Languages)
The act or practice of appropriating something that one does not own or have a right to (MerriamWebster)
Ongoing and legacy colonialism impact power relations in most of the world today. For example,
white supremacy as a philosophy was developed largely to justify European colonial exploitation
of the Global South (including enslaving African peoples, extracting resources from much of
Asia and Latin America, and enshrining cultural norms of whiteness as desirable both in
colonizing and colonizer nations). (Racial Equity Tools)
discomfort and defensiveness on the part of a white person when confronted by information
about racial inequality and injustice. (Oxford Languages)
the making of amends for a wrong one has done, by paying money to or otherwise helping those
who have been wronged.
Unearned social power accorded by the formal and informal institutions of society to ALL
members of a dominant group (e.g. white privilege, male privilege, etc.). Privilege is usually
invisible to those who have it because we’re taught not to see it, but nevertheless it puts them at
an advantage over those who do not have it. (Racial Equity Tools)
the interconnected nature of social categorizations such as race, class, and gender as they apply
to a given individual or group, regarded as creating overlapping and interdependent systems of
discrimination or disadvantage. (Oxford Languages)
the belief that men and women should have equal rights and opportunities
belief in and advocacy of the political, economic, and social equality of the sexes expressed
especially through organized activity on behalf of women’s rights and interests
The acronym for “lesbian, gay, bisexual, transgender and queer.” Some people also use the Q to
stand for “questioning,” meaning people who are figuring out their sexual orientation or gender
identity. You may also see LGBT+, LGBT*, LGBTx, or LGBTQIA. I stands for intersex and A
for asexual/aromantic/agender. (Alia E. Dastagir)
The term ally is defined as someone who advocates for groups or individuals who do not come
from the same place of privilege as the ally. Being an ally is considered one of the first steps in
race and social justice work
Patriarchy is a social system in which men hold primary power and predominate in roles of
political leadership, moral authority, social privilege and control of property. Some patriarchal
societies are also patrilineal, meaning that property and title are inherited by the male lineage.
Threads: Weaving the Tapestry of Lawrence Freedom
Black, Indigenous, and people of color. Pronounced “bye-pock,” this is a term specific to the
United States, intended to center the experiences of Black and Indigenous groups and
demonstrate solidarity between communities of color.
It is not enough to simply be not racist, we must put in work to be anti-racist.
“[Arisha Hatch] says learning to uplift non-white voices – even those who may disagree with you
– is important for white people seeking to be anti-racist.”
“Part of being an ally and part of letting go of privilege is, I think, putting yourselves in
situations where you may be uncomfortable,” Hatch adds. “You may have a different idea,
but…you’re actively working to support organizers and activists who have been thinking about
these systemic problems for generations.”
Also, Hatch says to be an effective anti-racist, you must assess your own power – where are the
spheres where you can have the most influence?
We See You, White American Theatre
Dear White American Theatre,
We come together as a community of Black, Indigenous, and People of Color (BIPOC) theatremakers, in the legacy of August Wilson’s “The Ground On Which I Stand,” to let you know exactly what ground we stand on in the wake of our nation’s civic unrest.
We see you. We have always seen you. We have watched you pretend to not see us. We have watched you un-challenge your white privelage, inviting us to traffic in the very racism and patriarchy that festers in our bodies, while we protest against it on your stages. We see you. We have watched you program play after play, written, directed, cast, choreographed, designed, acted, dramaturged and produced by your rosters of white theatremakers for white audiences, while relegating a token, if any, slot for a BIPOC play.
We see you. We have watched you amplify our voices when we are heralded by the press, but refuse to defend our aesthetic when we are not, allowing our livelihoods to be destroyed by a monolithic and racist critical culture. We see you. We have watched you inadequately compare us to each other, allowing the failure of entire productions to be attributed to decisions forced upon us for the comfort of your theatre’s white patrons. Meanwhile, you continue to de-prioritize the broadening of your audiences by building NO relationship with our communities. We see you.
We have watched you harm your BIPOC staff members, asking us to do your emotional labor by writing your emotional labor by writing your Equity, Diversity, and Inclusion statements. When we demanded you live up to your own creeds, you coward behind old racist laments of feeling threatened, and then discarding us along with the values you claim to uphold. We see you. We have watched you discredit the the contributions of BIPOC theatres, only to co-opt and annex our work, our scholars, our talent, and our funding.
We see you. We have watched you turn a blind-eye as unions refuse to confront their racism and integrate their ranks, muting the authenticity of our culture and only reserving space for us to shine out front on your stages, but never behind them. We see you. We have watched you dangle opportunities in front of us like carrots before emerging BIPOC artists, using the power of development, production, and awards to quiet us into obedience at the expense of our art and integrity. We see you.
We have watched you use our BIPOC faces on your brochures, asking us to politely shuffle at your galas, talkbacks, panels, board meetings, donor dinners, in rooms full of white faces, without being willing to sanctity of our bodies beyond the stages you make us jump through hoops to be considered for. We see you. We have watched you hustle for local, federal, foundation and private funding on our backs, only to redirect the funds into general operating accounts to cover your deficits from years of fiscal mismanagement.
We see you. We have watched you hire the first BIPOC artists in executive leadership, only to undermine our innovations and vision of creating equitable institutions, by suffocating our efforts with your fear, inadequacy, and mediocrity. We see you. We have watched you attend one “undoing racism workshop,” expousing to funders that you are doing the work, without any changes to your programming or leadership. You’ve been unwilling to even say the words “anti-racism” to your boards out of fear of them divesting from your institutions, prioritizing their privilege over our safety. We see you. We have watched you promote anti-Blackness again and again. We see you. We have watched you say things like- I may be white, but I’m a woman. Or, I may be white, but I’m gay. As if oppression isn’t multi-layered. We see you. We have watched you exploit us, shame us, diminish us, and exclude us. We see you. We have always seen you. And now you’ll see us.
We stand on this ground as BIPOC theatremakers, multi-generational, at varied stages of our careers, but fiercely in love with the Theatre. Too much to continue it under abuse. We will wrap the least privileged among us in protection, and fearlessly share our many truths. About theatres, executive leaders, critics, casting directors, agents, unions, commercial producers, universities and training programs. You are all a part of this house of cards built on white fragility and supremacy. And this is a house that will not stand.
This ends TODAY.
We are about to introduce you… to yourself.
The Ground We Stand On.
Equity vs Equality
Equality means each individual or group of people is given the same resources or opportunities.
Equity recognizes that each person has different circumstances and allocates the exact
resources and opportunities needed to reach an equal outcome.
Real life example: The Biden Administration sending 4 at-home COVID tests per household
regardless of how many people are in the household.
LAC Performing Arts Diversity, Equity, & Inclusion Policy
We are in the middle of an ongoing effort to train all of our staff, teachers, and board members on equity, diversity, and inclusion. We will also be developing additional resources for our staff, instructors, and community members to continue building more equitable practices within our organization and community. This is a building-wide initiative.
Below are a few resources to help us understand our journey towards becoming an anti-racist organization. This list will be added to throughout the upcoming year:
- Harvard Project Implicit-Take a series of tests designed to bring awareness towards implicit bias.
- Black Lives Matter- reading list – from the Lawrence Public Library
- Black Lives Matter Suggested Reading List-from the Chicago Public Library.
- Anti-racist Art Teachers -website with lots of resources and ideas, geared towards K-12 teachers but still applicable
- Equity & Access while teaching remotely
- https://www.facebook.com/BLMLFK/ – join BLM LFK facebook group
- Native Land Map – and resources, especially for land acknowledgement.
- Design Books by Womxn & People of Color
- Anti-Racism, Equity and Inclusion Resource Archive– AIGA
- Ann Dean’s Projects with Humanities Kansas
YOUTH ACTING CORE (13 and under – will attend all Youth rehearsals)
Baily Cates Carter Fincher Elsie Neuhofel Sadie Mosier
Ben Spencer Lily Stuke Penny Salb Penelope All
ADULT ACTING CORE (14 and up – will attend all Youth AND Adult rehearsals)
Beatrix Johnson Lily Otter Caroline Von Gemert Jeffrey Stoltz
Randy Johnson Fred Winery Chloe Novesol
ADVISORY BOARD/ACTORS (Will attend Wednesdays and Sundays through January)
Courtney Shipley Kay Emerson Krystin Arkeketa Carole Cadue-Blackwood Jeanne Klein
March 4 | 7 pm
March 5 | 2 pm & 7 pm
In-Person or Livestream
For those that are not yet on our messaging app, please check out the link HERE for your computer, or check your phone’s app store.
View the cast list HERE