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DocuSign Envelope ID: F6F24E9A-E685-4D51-AA37-BB7ACA9A687F <br /> ............. .directors and designers of the year I Theater I Indy Week <br /> .,.�.,,�.,.., ...,..,...�...,......,r..,�..,r <br /> Arts»Theater December 18,2013 <br /> Honoring the best plays, performers, <br /> directors and designers of the year <br /> By Byron Woods <br /> Welcome to our annual bash. We'd call it a holiday gathering, but the party's Facebook <br /> actually been in progress all year long, in theaters large and small across our Email <br /> region. Everybody brings a camera to these things, it seems—and we're no <br /> different. In the categories and lists below you'll find a series of snapshots, Tumbir <br /> candids and motion studies we've taken of an exuberant theater community Twitter <br /> ever busy in the business of creation. (No selfies. You're welcome.) Gmail <br /> Contributors to this story included INDY Week critics Kate Dobbs Ariail, Tom Favorites <br /> Elrod, Emma Miller, Zack Smith and Chris Vitiello. All winners are listed in More (293) <br /> alphabetical order. <br /> Settings... <br /> SPECIAL ASSISTANCE TO THE THEATER <br /> Ellen Hemphill, Derrick Ivey, Tim Scales <br /> We get it: It is hard enough getting your own shows up and running in the <br /> first place. That's why it's particularly notable when stage artists are able to <br /> contribute something beyond their own work to the larger community of <br /> practice as well. <br /> When Duke University gave ELLEN HEMPHILL no room to stage her newest <br /> work, she raised the funds, summoned the people power and converted a <br /> long-shuttered warehouse on Foster Street to a stately pleasure dome called <br /> 539 Muze. There she staged The Narrowing, and in December Little Green <br /> Pig produced The Man Who Was Thursday in the same space. <br /> With Manbites Dog Theater just two blocks away and the Shadowbox one <br /> block over, what could stop this development from catalyzing a downtown <br /> theater district?The bulldozer's blade, perhaps, as the commercial space is <br /> rumored for redevelopment. Still, it was fun while it lasted. <br /> Now, a few words about DERRICK IVEY—or, as critic Kate Dobbs Ariail calls <br /> him, "He who does it all." It would have been hard to see independent <br /> theater in Durham this year without witnessing his work on stage, in moving <br /> studies including The Homosexuals, The New Electric Ballroom and The <br /> Best of Enemies. <br /> But then he also designed the sets in each of these productions. And did the <br /> costumes for Ballroom. And directed the Savoyards summer production of <br /> The Pirates of Penzance. And so on, as he has for years. <br /> Ivey's "done such great work with so few resources for so many theater <br /> groups for so many years,"Ariail says, making "magic work on the stage [in <br /> a] quiet, almost self-effacing way." <br /> Here's a Zen arts-management koan: If a tree falls in a forest without an <br /> audience, it doesn't matter what kind of sound it makes. After moving here <br /> in 2010, TIM SCALES found an independent theater scene brimming with <br /> energy and talent—but frequently without much of a clue about how to <br /> market and promote its own work. A young professional arts marketer who'd <br /> already worked by then with New York's Roundabout Theatre and London's <br /> Gate Theatre, Scales saw a niche with a need—and started filling it. Ever <br /> http://www.indyweek.comAndyweek/honoring-the-best-plays-performers-directors-and-designers-of-the-year/Content?oid=3787897 1/11 <br />