2015-298-E Arts - The ArtsCenter Arts Grant

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DocuSign Envelope ID: F6F24E9A-E685-4D51-AA37-BB7ACA9A687F _ directors and designers of the year Theater Indy Week since, he's been helping a growing number of companies such as Streetsigns Center, Haymaker, Manbites Dog and Little Green Pig, independent artists including Leah Wilks and Torry Bend, Chapel Hill's Office of Public and Cultural Arts and Carrboro Film Festival all get the word out about the work they do. They have grown because he has. May that work continue. SPECIAL ACHIEVEMENT IN THE HUMANITIES ArtsCenter Stage: Series: Walt, The Whipping Man, A Civil War Christmas: An American Musical Celebration Manbites Dog Theater: The Best of Enemies ArtsCenter Stage's Jeri Lynn Schulke took a programming risk, slating a season of theatrical works to commemorate the Civil War sesquicentennial through three different perspectives. The payoff: a regional premiere in May of a music theater work that poetically placed the life of Walt Whitman on stage in his own words; October's five-star production of The Whipping Man, in which the remains of a Jewish family—two former slaves and their one-time master—find one another after the fall of Richmond; and Paula Vogel's panoramic A Civil War Christmas, which opened last week. It took two years for Mark St. Germain's stage adaptation of The Best of Enemies to premiere in the city where the events it depicts took place. When it did, it played on opening night to an audience that included surviving members of the original cast: activist Ann Atwater and organizer Bill Riddick, who risked their lives opposing racism on the streets of Durham in the 1970s, and whose struggles were depicted, before them, on stage. Historians and scholars have speculated for some time on the specific half- life of American racism. Still, one conclusion seems clear: at this date, it remains much longer than the average contemporary attention span. Depending on the ages and experiences that unite and isolate them, such a work is easily a reminder to the person in one seat—and a revelation to the person next to them. To the latter, we dedicate this citation, with a strictly confidential admission to those who weren't around in 1974. Actually, it wasn't that bad. It was much, much worse. It didn't end after 105 minutes. And it still isn't over. SPECIAL ACHIEVEMENT IN DESIGN When all elements of a show's design work to create a world, an audience moves into it. In these productions, superior design and execution across all design elements earned our highest praise.Jon Haas' multi-screen video montages and Alex Maness' audio design reinforced the time capsule that is The Best of Enemies, and Jan Chambers and McKay Coble placed Greek gods and foolish mortals in an aging combination European bathhouse and bibliotech in Metamorphoses. The filigreed and porcelain corruption of Lear was a waking nightmare, and we're still unpeeling the layers that gracefully unfolded in The Narrowing. Cabaret, PlayMakers Rep (PRC): David Bova, Heather Fleming (Makeup); Robert Dagit (Sound);Josh Epstein (Lighting);Jennifer Caprio (Costumes); Marion Williams (Set) Lear, Duke Theater Studies (DTS): Tracey Walters (Makeup); Sonya Drum (Costumes); Roz Fulton (Lighting); Torry Bend (Set) Metamorphoses, PRC: Michael Meyer, Heather Fleming (Makeup); Robert Dagit (Sound); Marcus Dilliard (Lighting);Jan Chambers, McKay Coble (Costumes, Set) Ruined, Burning Coal Theatre (BC): Aharon Segal (Sound); Matthew Adelson (Lighting); Katrine Blose (Costumes); Morag Charlton (Set) The Best Of Enemies, Manbites Dog Theater (MBD): Marissa Erickson http://www.indyweek.com/indyweek/honoring-the-best-plays-performers-directors-and-designers-of-the-year/Content?oid=3787897 2111