On Women of Color Directing DC Theatre
As artists, feminists, and people of color working in the DC Metropolitan theatre scene, we have found that our experience working with female directors of color has been very limited. Our curiosity about female directors of color led us to a little bit of research on the topic.
How many women of color have been nominated for the Helen Hayes Award in Directing and Music Direction since it’s beginning? How many women of color have won the Helen Hayes Award for Directing or Music Directing? Is there a lack of female directors being nominated? Is there a lack of directors of color being nominated? Or is this simply another example of the double hurdle women of color must jump over very often in order to receive recognition? How many women of color were actually given the opportunity to direct for the 2014-2015 season? Using HHA Nominees & Recipients advanced search options on TheatreWashington’s website, answers to these questions were found.
Since 1985, only three women of color have been nominated for the award for “Outstanding Director”(zero for “Outstanding Musical Director”). In 1997, Marsha A. Jackson-Randolph was nominated for “Outstanding Director, Resident Musical” for Studio Theatre’s HIP 2: BIRTH OF THE BOOM. In 1999, Seret Scott was nominated for “Outstanding Director, Resident Play” for Studio Theatre’s THE OLD SETTLER. In 2004, Regina Taylor was nominated for “Outstanding Director, Resident Musical” for Arena Stage’s CROWNS, becoming the first and only female of color recipient of the honor. There have been zero women of color who have been nominated for the Helen Hayes in Direction or Music Direction since Taylor’s win, including the 2015 Helen Hayes Awards.
(Photo Credit: Regina Taylor)
(Non-POC) Women have actively (though sparingly at times) been competitors in the Direction categories since the inception of the Helen Hayes Awards in 1985 when four of the six nominees for “Outstanding Director, Resident Production” were women. In 1988, Zelda Fichandler became the first woman to win the award. Several women have won since then including: Kasi Campbell, Mary Hall Surface, Marcia Milgrom, Toby Orenstein, Regina Taylor, Jane Wagner, Mary Zimmerman, and Joy Zinoman. Toby Orenstein and Joy Zinoman have both been nominated 10 times for the award.
For the 2015 Helen Hayes Awards, seven women have been nominated for Musical Direction or Director of a Play or Musical. In the “Outstanding Musical Direction-HELEN Production” category, Laura Brady earns her first Helen Hayes Nomination for her work in DANI GIRL at Unexpected Stage Company. In the “Outstanding Musical Direction-HAYES Production” category, Mary-Mitchell Campbell (along with Gabriel Mangiante) earns her first Helen Hayes Nomination for her work on BEACHES at Signature Theatre. In the “Outstanding Director of a Musical-HELEN Production” category, Melissa Baughman earns her first Helen Hayes Nomination for her work on SWEENEY TODD: THE DEMON BARBER OF FLEET STREET at Landless Theatre Company. In the “Outstanding Director of a Play-HELEN Production” category, Holly Twyford earns her 18th Helen Hayes Nomination, but her first one for directing, for her work on THE AMISH PROJECT at Factory 449. Her previous 17 nominations were for “Outstanding Lead and Supporting Actress in a Resident Play” except for her first nomination which was for “Outstanding Lead Actress in a Resident Musical”. In the “Outstanding Director of a Play-HAYES Production” three women are nominated: Maria Aitken for her work on PRIVATE LIVES at Shakespeare Theatre Company, Jessie Austrian (with Ben Steinfeld) for her work on THE TWO GENTLEMEN OF VERONA at Folger Theatre, and Kathryn Chase Bryer (with Eric J. Van Wyk) for her work on THE BFG at Imagination Stage. This is both Maria Aitken and Jessie Austrain’s first Helen Hayes Nomination. This is Kathryn Chase Bryer’s third nomination, and second for Directing (the first was for Director of a Resident Musical- RAPUNZEL at Imagination Stage in 2013). Of the 33 nominees in the 6 directing categories, only 7 of those nominated were women: 21% female, 79% male.
Men of Color have long been competitors in the Direction categories as well. In 1988, the first man of color to be nominated (and win) the award was Lloyd Richards for his work on Arena Stage’s JOE TURNER’S COME AND GONE. Since then, Richards has been nominated 2 more times, and won once more. Several other men of color have been nominated and have won as well, such as: Thomas W. Jones, II who has harnessed a total of 7 nominations and 2 wins; William Knowles who has received 4 nominations and one win; and Anderson Edwards & William F. Hubbard who have both been nominated and won once.
For the 2015 Helen Hayes Awards, two men of color have been nominated for “Outstanding Musical Director or Director”. Eric Ruffin is nominated for “Outstanding Director of a Musical-HELEN Production” and e’marcus Harper-Short is nominated for “Outstanding Musical Direction-HELEN Production”, both for their work on Theatre Alliance’s BLACK NATIVITY. This is both of their first Helen Hayes Nomination. Of the 33 nominees in the 6 directing categories, only 2 of those nominated were people of color: 6% POC, 94% non-POC.
It’s clear that Women of Color have not fared as well as non-POC women nor Men of Color in Direction. But why? Why have women of color not been able to achieve the amount of recognition that their non-female, non-POC peers have? Perhaps opportunities aren’t as readily available for women of color, and therefore the chances of being nominated are much lower.
Looking at the 2014-2015 season, it’s clear opportunities are not given to women of color. There are 209 shows this season whose directors have been announced. Fourteen of those shows are announced to be directed by 13 women of color. Jennifer L. Nelson, is announced to be directing two productions, THE CALL at Theatre J and DRIVING MISS DAISY at Ford's Theatre (After the termination of Ari Roth from Theatre J, Jennifer L. Nelson turned down directing THE CALL in solidarity and support of Ari Roth. The new director of the show is Shirley Serotsky, Theartre J’s Acting Artistic Director.). The 13 shows are, in order of performance time are:
Opening in September were No Rules Theatre Company's SEVEN GUITARS Directed by Michele Shay (the show ran September 10-28), Shakespeare Theatre Company's THE MAGIC FLUTE & VENUS AND ADONIS Music Directed by Pauline Malefane (the show ran from September 12-21), Compass Rose Theatre's A RAISIN IN THE SUN Directed by Lottie Porch (the show ran September 19-October 19), and Ford’s Theatre's DRIVING MISS DAISY Directed by Jennifer L. Nelson (the show ran September 26-October 26).
Opening in October was Forum Theatre's HOW WE GOT ON Directed by Paige Hernandez (the show ran Oct 30-Nov 23).
Of those shows, only SEVEN GUITARS was able to get any nominations.They received 4 nominations for “Outstanding Lead & Supporting Actors & Actresses in a Play - HELEN Production”.
Opening in January was Forum Theatre's THE T PARTY Written and Directed by Natsu Onoda Power (the show ran January 2015).
Opening in February are Kennedy Center TYA's ZERO HOUR: TOKYO ROSE’S LAST TAPE, Conceived, written, and directed by Miwa Yanagi (the show ran February 6-7), and Signature Theatre's KID VICTORY Directed by Liesl Tommy (the show runs February 17-March 22),
Opening in March is the collaboration between GALA Hispanic Theatre’s GALita/ Wit’s End Puppets' MAYAN FABLES/FÁBULAS MAYAS Written and Directed by Cecilia Cackley (the show runs March 9-21).
Opening in April is Arena Stage's THE BLOOD QUILT Directed by Kamilah Forbes (the show runs April 24-June 7).
Opening in May is Forum Theatre's THE SHIPMENT Directed by Caroline Stefanie Clay (the show runs May 21-June 14).
Also announced are InterAct Story Theatre's HARRIET TUBMAN: THE CHOSEN ONE Staring, Written and Directed by Gwendolyn Briley Strand, and Live Garra Theatre's AIN’T MISBEHAVIN’ Directed by Wanda Whiteside.
theatreWashington should keep a special eye out for these productions this year.
The shows than ran from September 2014 to January 2015 have received great reviews for their direction. Here are some things said about the directors:
On Michele Shay directing No Rules Theatre Company's SEVEN GUITARS
"Her direction of Seven Guitars is a sturdy bridge to the spiritual world Wilson created for his fictionalized Pittsburgh."
- DC Metro Theater Arts on SEVEN GUITARS
"No Rules Theatre Company’s production debuts at Signature Theatre under the direction of original Seven Guitars cast member Michele Shay, who was nominated for a Tony Award for her portrayal of Louise in the 1996 Broadway production. Her experience and the smarting wounds of Ferguson will make the play resonate with audiences nearly seven decades after the scene was set."
-Washington City Paper on SEVEN GUITARS
"Michele Shay’s ability to conceptualize Wilson’s universal language of love, shared dreams, spirituality and the blues projected powerfully by a strong and spirited cast is in some ways unprecedented."
-MD Theatre Guide on SEVEN GUITARS
(Photo Credit: Teresa Wood)
On Pauline Malefane music directing Shakespeare Theatre Company's THE MAGIC FLUTE & VENUS AND ADONIS
"Mozart’s score is gloriously reinterpreted by Co-Music Directors Malefane and Mandisi Dyantyis, with an orchestra of traditional African instruments—marimbas, drums, and South African percussion—played transcendently by the entire company."
-MD Theatre Guide on THE MAGIC FLUTE
"The radiant score, composed by the hugely talented music co-directors Pauline Malefane and Mandisi Dyantysis, cradled and rocked the audience throughout, with whispers and shouts and wails and rejoicings."
-MD Theatre Guide on VENUS AND ADONIS
"It is a fascinating aural experience – and then there is the music! Magnetic orchestrations by co-Music Director and Conductor Mandisi Dyantyis, from the eight wooden bar marimbas being played and the throbbing percussion of African drums, steel barrels, and the toasty, ebullient sound from the repeated blow of the kudu horn is a continuous joy ride. The unique mood and awakened atmosphere create a natural connection to one’s spirit."
- DC Metro Theatre Arts on VENUS AND ADONIS
(Photo Credit: Keith Pattison)
On Lottie Porch directing Compass Rose Theatre's A RAISIN IN THE SUN
"Producer Lucinda Merry-Browne and director Lottie Porch are currently presenting A Raisin in the Sun at Compass Rose Theater in Annapolis, MD and, as always, tears flowed before leaving the theatre. "
-MD Theatre Guide on A RAISIN IN THE SUN
"As directed by Lottie Porch and acted with grace and passion by a gifted ensemble, A Raisin in the Sun is a theatrical gift to treasure."
- DC Theatre Scene on A RAISIN IN THE SUN
"The emotionally lacerating production of Compass Rose Theater’s meaningful season opener is a poetic stroke of directing artistry in the capable hands of Lottie E. Porch-Bright. No matter how many times you have read the iconic novel or have seen a production of the play, Compass Rose’s production of A Raisin in the Sun is a stirring example of how you can never get enough of a good thing."
-DC Metro Theatre Arts on A RAISIN IN THE SUN
"With the soulful backdrop of the blues being played, Porch-Bright effectively executes a stylistic stroke of visual imagery with a vivid collage prelude of portrait character moments on stage before one word is uttered."
- DC Metro Theatre Arts on A RAISIN IN THE SUN
(Photo Credit: Compass Rose Theatre Company)
On Jennifer L. Nelson directing Ford’s Theatre‘s DRIVING MISS DAISY
“Director Jennifer L. Nelson doesn’t soup up the stage with anything extraneous."
- The Washington Post on DRIVING MISS DAISY
“one has to appreciate Director Jennifer L Nelson's decision to let the enduring work speak for itself."
-BroadwayWorld.com on DRIVING MISS DAISY
“Director Jennifer L. Nelson, aside from assembling a perfect cast, keeps the action moving with brevity that allows each snapshot scene to unfold efficiently."
-DC Theatre Scene on DRIVING MISS DAISY
“Nelson’s Driving Miss Daisy rolls start to finish like a well cared for Packard, with satisfaction and without many bumps or unwanted breakdowns."
-MD Theatre Guide on DRIVING MISS DAISY
(Photo Credit: Ford's Theatre)
On Paige Hernandez directing Forum Theatre’s HOW WE GOT ON
“Director Paige Hernandez, whose work frequently merges hip hop, dance, theater, poetry and arts education, expertly sets the emotional stakes of teens Hank, Julian and Luann.”
- BroadwayWorld.com on HOW WE GOT ON
“Director Paige Hernandez is as much choreographer as director.”
- DC Metro Theatre Arts on HOW WE GOT ON
“Hernandez, who has often explored the theater/hip-hop continuum as a choreographer, gives such moments a confident stylized physicality:”
- The Washington Post on HOW WE GOT ON
“Paige Hernandez’s production pulses with youthful energy, particularly once Kumasi, Mena, and Johnson—each one radiating a charisma measurable in megawatts—get to rhyme and dance. (Hernandez did the choreography and, with Thomas Sowers, the rap coaching, and the music numbers are buoyant and strong.) “
- Washington City Paper on HOW WE GOT ON
(Photo Credit: Noe Todorovich Photography)
On Natsu Onoda Power directing Forum Theatre’s THE T PARTY
“ The remarkably inquisitive performance, written and directed by Power and presented by Forum Theatre at the Round House Theatre’s Silver Spring stage through Saturday, is a kaleidoscopic exploration of gender issues”
- The Washington Post on THE T PARTY
“Writer/Director Power riffs imaginatively on real life stories of actual residents of DC (plus said denizens of the deep), and the storytelling she stages is as captivating as it is cathartic.”
- DC Metro Theatre Arts on THE T PARTY
“Artistic Director of the Studio Theatre, David Muse has been quoted as saying that Natsu Onoda Power is “doing some of the most exciting work in D.C.” and I couldn’t agree more. The T Party is the most original and thought-provoking work I’ve seen all season. It is timely, sensitive and respectful of the LGBT community. Most importantly, it dares you (without preaching) to be a more compassionate, educated, authentic, and empowered human being.”
- MD Theatre Guide on THE T PARTY
“If you can’t make it to the show before Saturday, keep your eyes peeled eagerly for Onoda Powers’s next production. But if you can make time to catch this fun and insightful civic project, you’ll see things you’ve never seen imagined onstage before.”
- DC Theatre Scene on THE T PARTY
“It is the auteur herself, however, Natsu Onoda Power, who deserves the highest praise for bringing to life as entertaining and original a production as The T Party. Given her directorial successes of Yellow Face and Astro Boy, it is safe to say that Ms. Power has moved beyond the amorphous and somewhat condescending title of “promising young artist” and now securely occupies an essential place in the DC theatre scene. All of us, whether as artists or audiences, should hope and pray that Power decides to stay here and continue to produce thought-provoking and uniquely theatrical work.”
- DC Metro Theatre Arts on THE T PARTY
(Photo Credit: Forum Theatre)
These six successful, phenomenal women and all the other women of color directing plays, musicals, and children's shows this season deserve our applause. They are an inspiration to all the women of color in our area who wish they could direct a professional theatre production, but simply don’t think it possible. Even those that know it is possible for them, it is a very nice sight to see someone representing for the brown girls. Hopefully one day, a brilliant woman of color could follow in the footsteps of Regina Taylor and win the esteemed award once more.
It’s important for the DC Professional Theatres to support the diversification of the community. Artistic Directors can help by picking plays by diverse playwrights and hiring diverse directors for those productions. Diverse directors will in turn hire diverse actors and designers. Providing opportunities for women of color to direct will bring forth a stronger community, and a wave of artistic resurgence.
To all the brown girls: keep doing and improving your art. You are the present of DC theatre and you deserve to be heard.
