announcer: "Theatre Corner" is brought to you by California Center for the Arts, Escondido; University of Cincinnati, Helen Weinberger Center for Drama & Playwriting; Del Cerro Tax; Backlot Pictures; The Mental Bar; and viewers like you.

Thank you.

♪♪♪ announcer: Please welcome to the stage your host of "Theatre Corner," michael taylor.

♪♪♪ michael taylor: Welcome to "Theatre Corner."

I'm your host, michael taylor.

"Theatre Corner" is an interview series dedicated to promoting diversity and inclusion throughout the national theater scene.

Tonight we're filming in front of a live audience made up of theater students at the California Center for the Arts in Escondido, California.

So, silence your cell phones, folks.

You're entering "Theatre Corner."

♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ michael: Our first guest is the director of lighting at the Old Globe Theatre, Stevie Agnew.

Please welcome him to "Theatre Corner".

♪♪♪ ♪♪♪ michael: I like talking to you because you are a phenomenon.

What exactly does a lighting director do?

And perhaps you need to talk about a lighting designer first, perhaps.

Stevie Agnew: Yeah, so typically you hear about the lighting designer 'cause they're the ones who create the lights on stage for the shows.

I transitioned into a lighting director job and where I kind of facilitate and it's more of an administrative job where I'm working for the company and trying to help the designer accomplish what they need.

So it involves budgeting, keeping track of the inventory, managing the crews and staffs, and making sure that the theater is covered from a lighting and video standpoint 'cause a lot of that falls on--into video as well nowadays.

So the lighting designer is more in charge of creating the look, and the lighting director is more the administrative side, I would say is the biggest difference between the two.

michael: Let's take a look at you in action.

Stevie: You come in right there, and then bring the top ones in to the middle of the heart, about here.

All right.

michael: And so there, what exactly in that particular instance, what you were trying to achieve?

Stevie: So that was a show called "Frida Kahlo," that I was the lighting designer for, for Florida Grand Opera, and I was focusing lights for the show.

I fell into the world of opera probably in 2003 or '04, I started doing a lot of operas.

And so you're trying to create a mood and a atmosphere with light and you're trying to tell a story.

It's kind of like painting a picture but you're doing it with lighting and you can convey mood, emotion, you know, sadness.

All those things can be done with light, and you can also hide things with light when you're thinking about shadows and trying to make things more intimate.

So the lighting designer's job is to tell the same story that the director or the set designer is trying to tell through light.

michael: It's possible that you may be the only black staff member at the Globe now, in management.

What are the roadblocks for people of color to make it to the back of the house?

Stevie: Yeah, the Globe, we just had a director of equity, diversity, inclusion, and accessibility, so I think we're the two in management right now.

And I manage a full-time staff of five people and then a part-time staff varies between shows.

Sometime it could be 20 to 30 people, but I mean, I think that roadblock is we don't know that there are other things behind the camera.

I think that's the big hurdle, is everyone sees the person onstage and you forget there are other jobs that you can do that are behind the scenes.

And then getting into that field and finding that niche because it's so people-driven, so if you don't make a connection with people, it's hard to move forward if you don't have that connection with the director or the choreographer or with the company per se.

So it's about building those relationships and finding a way to get through the door and people tend to work with the same people over and over again.

And so, if you're not a part of that family in the beginning, it's hard to transition there, I think.

michael: So what would be your advice to someone who might have an interest, because it sounds like it's rather difficult.

So what would be the advice?

Stevie: I think the biggest thing is finding those people and I think it starts so young 'cause you have to start in high school and in college, and I know a lot of that funding, you know, has--you know, they've cut a lot of the arts funding.

But I think, if you can start early, and build that, you know, build that relationship, as I said, you know, it's a great--and me being in the position I'm in now, you know, I can reach back and, you know, try to hire people that look more like me and try to introduce them into the field because there is a ton you can do.

I mean, you don't have to do lighting for theater.

You can do lighting for buildings, you can do architectural lighting, you know, you can do commercial lighting, corporate.

So there's a vast array of different types of lighting you can do if you don't wanna end up in an administrative role which is what I've transitioned to now.

You know, there are other avenues that you can take.

And don't assume that the next job is there, 'cause you're always auditioning for the next job.

Even when you're designing a show or when you're on a show, the job you're in is a job you're auditioning for.

So I think making those connections and developing short-term memory loss I think is important, because you can't take things personal when you're in a theater.

I think you have to let it go and forget it and move past those things.

michael: We're gonna open it up for questions here.

speaker: Mr. Agnew, thank you for your words.

I am kind of curious.

I mean, you went into the theater.

What drove you to go into it almost feels like a subspecialty of lighting?

Stevie: I think I was drawn to color, to be honest.

Like, I think that was the first thing, was the way you can manipulate color on a stage was the thing that drew me into lighting.

You know, and I think most people wanna think of theater, they think of being on the stage but, you know, I picked up on lighting and color and being able to change it and manipulate shapes with color and direct people's eyes.

And, you know, I can say I absolutely love what I do and, you know, I don't look at it as work anymore.

It's just a hobby which, I think, is great.

I mean, I get to go to work and play with lighting and things all day long.

So, yeah, I think color would be the thing that drove me into lighting.

speaker: Thank you.

speaker: Mr. Agnew, for the record, for the influencers out there who don't have the theater budget, could you please tell people of color what their ideal lighting shade is.

Stevie: Yeah, you know, I mean, I would say, I'll fall back a little bit.

You know, when I did opera, you know, most of the performers tend to be Caucasian so, I mean, it's different lighting for different skin tones, and it can be tough when you have multiple skin tones onstage, trying to light for that.

But, yeah, you know, it really depends on the skin tone of the black person.

I mean, you know, I mean, some people may be more light-skinned, they may be darker, so, you know, I mean, it really depends on it.

I mean, lavenders and blues typically work well.

Warm colors work well also.

But you know, it's not one set thing, but it's definitely a part of lighting that you have to understand, is skin tone and color and how to make everyone look the same, instead of making some people darker or lighter, so.

speaker: So when you are going to start a play that's already been done in other theaters, does it come with a script of what the lighting is supposed to be, like, the script is a script, or do you have to create your own?

michael: That's a good question.

Stevie: Yes, thank you for that question.

Sometimes you will get a script that has lighting notes already in it.

And then sometimes you have to start from scratch.

I would say when I worked for the opera, just because the expense of opera is so--it's so large, that you typically rent the set, and the set--and the show will come with the set, the costumes, and a lighting designer will already be attached to that show.

And so sometimes you're just recreating what the previous person did, and then sometimes you have to start all over in the beginning and light the show yourself.

And they both can have their challenges, even recreating a show that someone else did because the theaters are never gonna be the same.

Angles are gonna change, positions of lights will change.

So they both have challenges, but it all depends on the show.

speaker: Hi, thank you for being here.

My question for you is you mentioned how usually you're one of only--if not, the only black man in your profession.

I just wanted to ask you just how does that make you feel?

Stevie: I think it comes with the responsibility of understanding that you can do anything you kind of set your mind to do, but you have to be given the opportunity, and you know, I mean, there have been countless people that I can say have helped me get to the point in my career and I think, you know, being able to reflect on that and being able to understand that you have to have someone help you get to where you're at.

And once you get there, I think it's your responsibility to go back and help others get there.

You know, I mean, I think theater is a place where you're always training someone for your job.

And some people look at that as a negative thing, but if I didn't train people for the other jobs I had, I would still be in those jobs.

So you always have to be looking to, I think, transition to the next job because every job is the next interview, but you know, I mean, I can't say if I'm the only lighting director at a regional theater, but you know, it comes at a lot of responsibility, I think, in having that understanding that it's a lot--there's a lot of responsibility in the job and, you know, and you don't wanna really make those mistakes and show others a good example.

michael: I believe you represent us well, brother.

So, thank you very much for coming here to "Theatre Corner."

And keep doing what you're doing and I really just, you know, there--you know, you never know who's--what young person is watching and learning about you, you know?

So I appreciate the line that you keep.

Stevie: Yeah, and thank you for having me.

You know, I mean, I think the last thing I would say is, you know, I mean, I would encourage everyone, you know, go take a theater course and, you know, go get involved in what's going on backstage.

I mean, you may fall in love with something and find a pathway to another career that you never thought was possible.

michael: Very good.

All right, brother.

All right.

Stevie Agnew.

♪♪♪ ♪♪♪ michael: Our next guest is the director of performing arts at the California Center for the Arts in Escondido, Julianna Crespo.

Let's give her a warm welcome.

♪♪♪ ♪♪♪ michael: Julianna, it's really good to chat with you again.

We always have insightful conversations here.

I think we should start with you describing what it is you do as a director for performing arts.

Julianna Crespo: Absolutely.

Well, thank you, michael, and also it's just so great to have you here.

So as the director for performing arts here at the Center for the Arts, I oversee and work closely with a fantastic team that makes up the Performing Arts Department.

So we operate two theaters: a 1500-seat theater that we're in now, 400-seat theater, and then we have 6 educational studios that we make available to various--for various programs throughout the organization.

And within the umbrella of these specific buildings, we have a wonderful community rentals program.

We have an inhouse productions theatrical team, and then we also do a series of community events that are free to the public.

michael: You just developed a theater program.

Who are the people involved?

Julianna: Yeah, so actually, the timing was quite interesting.

Before COVID, we had been partnering with an organization that had approached us called The Barn Stage Company and we tested out a few different models for theater programming to see if it was something that the community would respond to.

We're always, you know, as an arts organization, one of the sort of philosophies that guide how we do our work is that we serve the community that we find ourselves within.

So we listen.

You do a lot of listening.

What do people want?

What is it that our community is looking for?

And so we were getting requests for a lot more theater.

They wanted theater programming, they wanted storytelling.

And so the timing worked out really well for this theater company that approached us.

We partnered with them and tested for a couple of years.

Had a great response.

And so our board moved forward with bringing them into the organization as a part of our own programming, and that vote happened unanimously in March of 2020, and then what-- we all know what happened, right?

COVID.

And so we shut down that same month, for the most part.

But thankfully, we had some projects that we were able to keep moving forward with developing, and one of them was our theatricals productions work and also our Conservatory.

michael: So that's one of the things I'm really excited about, for you to talk about the Conservatory and the need for that Conservatory.

Julianna: Its mission, which we are still developing and will be launching this year, is to create access and pathways into the industry so that this industry can truly belong to everyone so that our-- we can tell diverse stories and often I think we know that our industry can sometimes be closed and lack access and unless you know somebody or you have, you know, someone that's sponsoring you, it can be difficult to break into the industry.

I think a second aspect that we were hearing and witnessing was that, you know, there are a lot of youth programs that maybe are in, you know, junior high or high school that are geared towards, you know, youth theater and different forms of community theater, but often, you know, you end junior high or high school and then it just kind of breaks off.

There's not, like, a clear path.

Like, what do you do next, where do you go next, if you want to continue to be a professional actor or, you know, creative?

And so we started talking about ways that we could fill that gap and create a pathway for access and, you know, it developed over time, but we were like, "We're bringing these wonderful directors and creatives and actors here for a professional production.

What if we ask them to do a master class?

What if we ask them to be available to work with or take Q&A?"

And then from there it developed into, "Okay, well, what if we took it a step further?

What if we developed an internship or apprenticeship track that allowed young or aspiring professionals to shadow over the course of a year or two years to build up their résumé and to really understand what it's like to work in this industry in various trades."

michael: So, what I didn't hear was, you know, 'cause there are black performers on the stage, but back of the house, back of the house is rather lacking.

Julianna: Yeah.

michael: You know, you go to a play and there's just a long list of names, you know, but it doesn't necessarily represent the community.

Does your program address that?

Julianna: Yeah, so that's another--and you and I have actually had some conversations about this, right?

So, you know, an aspect of representation, it's not just about who's onstage.

I mean, that's important, right?

Who's onstage is very important to the audience.

You know, do we see ourselves and our stories reflected onstage?

Absolutely, that's important.

But equally as important, is who's backstage.

Who are the people deciding what stories get told?

Who are the people who decide how those stories get told?

What are the mechanisms and the ways that we use creativity to showcase an aspect of culture or a human experience?

And, in order to do that respectfully and accurately, we need to ensure that there's proper representation in those fields as well.

We started saying, okay, what--you know, it's not enough to just post a job and hope that people find you, right?

We need to talk about what access means and not just in are they seeing the job posting?

Do they know about it?

But are our diverse communities having access to these trades?

Are they even able to get in or are they aware that you can have a career in the arts?

If you're--you know, maybe you're creative but you're not an actor.

Well, we have the tech industry that serves our theaters.

We have a whole bunch of creatives that are equally as important that, you know, write scripts and all kinds of tasks.

So our goal is, really, to create three specific trade pathways within our internship that address these three areas.

So we'll have a creative pathway that focuses on performing, acting, directing, choreography, and a few other areas.

We have the tech trade industry that we will continue to develop.

It already exists, but we'll expand on it and that includes, you know, audio and staged lighting and all sorts of trades within that area.

And then the third track will be administrative and operational which will focus on, you know, people who do the budgets, and who, you know, focus on the culture at the organization and what kind of organizations do you partner with, and what kind of stories are we gonna tell, what's the mission of the organization?

So we'll focus on also training, you know, young professionals who want to be in that part of the industry as well.

michael: In regard to, like, diversity, you know, you have an important position, but let me figure out how to say this.

I don't want to say it the wrong--but you're actually a fair-skinned, light-skinned Chicana so what is that like, serving in a position in a large regional theater?

Julianna: Well, I'm very proud of my Chicana heritage and I am grateful for the sacrifices that my family have made for me to allow to be where I am and, at the same time, I also acknowledge that because of my light skin I've had access and privileges that I think are not as, you know, extended to everyone.

I acknowledge that.

You know, and I always--I wanna take the opportunity to explain 'cause I think sometimes people misunderstand what we mean when we say that.

So I may have had hardship in my life and not everything may have been easy, but the color of my skin is not something that made it more difficult for me.

And that's something that we know is difficult and it's--may not always be explicit forms of bias that are being encountered but there are certainly implicit and subconscious bias that is faced every day by our BIPAC brothers and sisters and fellow professionals that make it more difficult for them to succeed in the industries that they choose.

My family came to the United States in the '20s when the Mexican Revolution had just ended and there were a lot of socioeconomic pressures in the United States to assimilate into whiteness.

And I was very close to my grandmother growing up and she would share a lot of what she had experienced, including that when she was in school she was not allowed to speak Spanish.

She would get beat, she would get hit if she spoke Spanish in the classroom.

And so this kind of pressure on young Mexican Americans to assimilate, to not include that part of their heritage and what they were passing on to their children, was intense.

And so it's something I often would get questioned: "Well, if you're a Chicana Mexican American, why don't you speak Spanish?"

And that's another part of explaining that it's the result of a specific type of pressure that many of us, many of our families, have experienced to assimilate and not to pass those parts of our heritage on.

Now, as I grew and became older and, you know, was of an age where I could discern a little bit more, I'd ask my grandmother questions, you know, "Why didn't you teach me Spanish?"

And she'd expand a little bit, and sometimes she wouldn't always know the answer.

She had a 6th grade education, but she was an incredibly intelligent woman and sometimes she'd say, "Well, you know, I didn't want you to have a hard life, and I thought that that would be something that would make it harder for, you know, my children and grandchildren."

And then, you know, times--it's interesting how the times change because, you know, now where we're at now, being bilingual is a benefit, right, to where you're at, so it's like the history kind of turns itself on its head and it's like, you know, now it's not that, you know, if you speak Spanish, you're looked down upon.

It's if you speak another language, it's actually a benefit to your career.

michael: So this is the point in the interview that we'll take some questions from the audience.

Right there, yeah.

Caroline: Hi, bonjour.

My name is Caroline, I'm with Mesa College Theater Company and thank you so much.

This was my first time here, actually.

My question is you mentioned reaching out to communities and having more diversity.

How do you reach out to a more diverse community?

Julianna: It's such an excellent question.

Thank you for asking that.

And I don't think there's any one answer for a specific organization that may be serving a particular part of the community, but there are some general things that I think are very important.

So you need to give the community an opportunity to voice their desires and opinions, and that can take different forms.

Some are more comfortable filling out surveys.

That's one that's--it's a little bit removed, but if that's a format that will allow individuals to give feedback, we welcome that.

A second way that we do that here is we have community subcommittees, is what they're called.

And so, these are made up of community members and professionals that are--if they're interested, they can come and join these meetings, and they can give feedback and weigh in on discussions around what kind of programming we're going to do or areas that we need to focus on for development.

And then another way that we work on facilitating a discussion, diversity and participation, is through partner organizations.

And so we will partner with other like-minded organizations that are working in and with the community in order to facilitate better conversations.

Caroline: Wonderful, thank you.

Julianna: Yes.

michael: Very good, awesome.

Thank you so much for coming to "Theatre Corner."

Julianna: Oh, thank you, michael.

michael: Thank you so much.

Julianna Crespo.

♪♪♪ michael: Thank you for joining us for another episode of "Theatre Corner."

And we'll see you next time.

♪♪♪ ♪♪♪ ♪♪♪ announcer: Support for this program comes from the KPBS Explorer Local Content Fund, supporting new ideas and programs for San Diego.

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