>> WELCOME TO BASIC BLACK.

SOME OF YOU ARE JOINING US ON OUR BROADCAST.

OTHERS ARE JOINING US ON OUR DIGITAL PLATFORMS.

I'’M PHIL APARTMENT, SENIOR INVESTIGATIVE REPORTER FOR INVESTIGATIVE REPORTING.

CALLIE CROSSLEY HAS THE NIGHT OFF.

BLACK THEATER IS HAVING MORE THAN A MOMENT.

ON THE STAGE, ACTORS AND ARTISTS OF COLOR PRESENTING OUTSTANDING WORK IN STORIES ABOUT AFRICAN-AMERICAN LIFE AND MORE PLAYS.

IT IS A MUCH DIFFERENT STORY FROM THE EARLY DAYS OF THE PANDEMIC, WHERE THEATER SHUT DOWN.

THE PROTEST MOVEMENT FOLLOWING THE MURDER OF GEORGE FLOYD CONVINCED THEATER OWNERS TO ADOPT EQUITY INITIATIVES AND OPPORTUNITIES FOR DIVERSE ARTISTS OF COLOR.

AS WE ENJOY THE RANGE OF STORIES BEING TOLD, WHERE IS BLACK THEATER HEADED?

WHO IS COMING TO WATCH?

HOW WILL BUILDING COMMUNITY RELATIONSHIPS HELP SUSTAIN THE ARTFORM?

JOINING US TO DISCUSS, DON MEREDITH SIMMONS, COFOUNDER AND ARTISTIC DIRECTOR OF THE FRONT PORTS ARCH -- FRONT PORCH ARTS DIRECTIVE.

ASSOCIATE PROFESSOR AT BOSTON UNIVERSITY.

LINDSAY ALLEN COX.

PRODUCING DIRECTOR OF THE HUNTINGTON THEATRE COMPANY.

AN THE DEPUTY DIRECTOR OF PROGRAMS ARTS BOSTON AND FOUNDER APHRODISIAC CITY.

WELCOME TO YOU ALL.

MUCH APPRECIATED.

THEATER IS CERTAINLY ONE OF MY LOVES.

HOW IS BLACK THEATER DOING IN BOSTON?

I HAVE BEEN ATTENDING A NUMBER OF PLAYS, CLYDE, TWILIGHT, A NUMBER OF PLAYS OVER THE PAST YEAR.

FROM YOUR PERSPECTIVE, HOW ARE WE DOING IN TERMS OF BRINGING IN AUDIENCES, CONNECTING, -- LET'’S START WITH YOU ON THAT QUESTION.

>> I THINK WE ARE DOING BETTER THAN WE WERE IN PAST YEARS.

I THINK WE ARE SEEING MORE PLAYWRIGHTS WHO SEE THIS WORK ALL ALONG.

I WAS A TEACHER.

I TEACH YOUNG THEATER ARTISTS COMING INTO THE FIELD.

THE WORK HAS BEEN COMING FOR MANY YEARS.

WHAT IS BEAUTIFUL ABOUT THIS MOMENT IS MORE IS BEING RECOGNIZED.

WE HAVE A LOT FARTHER TO GO.

WE ARE HEARING A LOT OF VOICES FROM PLAYWRIGHTS, DIRECTORS, WHICH WE ARE ABLE TO EMPLOY ACTORS, DESIGNERS.

IT IS A FRUITFUL, VIBRANT MOMENT.

WE USUALLY HAVE MORE.

>> WHAT ABOUT THE REST OF YOU?

>> I WOULD COSIGN EVERYTHING THAT YOU JUST SAID.

WE ARE IN A MOMENT THAT IS BETTER.

THERE ARE MORE OPPORTUNITIES FOR STORIES.

MORE OPPORTUNITIES FOR STORIES ABOUT OUR JOY AND TRIUMPH AND STRUGGLE.

WE ARE SEEING A FULLNESS OF REPRESENTATION OF WHO WE ARE AS PEOPLE OF THE AFRICAN DIASPORA.

COULD IT BE BETTER, MORE CONSISTENT?

YES.

COULD IT BE MORE HOSPITABLE SO OTHER ARTISTS WHO ARE NOT ACTORS AND DIRECTORS CAN CONTINUE TO STAY HERE AND MAKE A LIVING?

ABSOLUTELY.

>> TO MAKE A LIVING.

IS IT POSSIBLE TO MAKE A LIVING IN THEATER IN BOSTON?

>> DEPENDS ON WHAT YOU CONSIDER IN THEATER TO BE.

AS AN ACTOR, IT WAS HARD.

I TOOK A YEAR OFF FROM ARTS ADMINISTRATION TO FREELANCE.

IT IS HARD.

THERE'’S ONLY A CERTAIN NUMBER OF ROLES AVAILABLE.

A CERTAIN NUMBER OF PLAYS BEING PRODUCED THAT HAVE ACTORS THAT LOOK LIKE ME OR CHARACTERS.

IT WAS DIFFICULT.

I GOT WORK.

LUCKY FOR FRIENDS LIKE DAWN CHOOSING TO DIRECT PLAYS THAT TELL STORIES I CAN BE PART OF.

SHIFTING INTO ARTS ADMINISTRATION, YOU CAN MAKE A LIVING.

I HAVE BEEN FORTUNATE TO LAND AT THE HUNTINGTON WHERE I CAN DO THE TYPE OF WORK I HAVE BEEN DOING COMMUNITY WIDE FOCUSING THAT WORK ON ONE ORGANIZATION AND MAKING A LIVING.

PAYING MY BILLS, PAYING MY RENT.

>> YOU SAID YOU HAD TO FREELANCE TO MAKE ENDS MEET.

>> I WAS A FREELANCE ACTOR, FREELANCE DIRECTOR.

IT IS A LOT TO BE GONE THAT MANY NIGHTS A WEEK.

I HAVE A SON AT HOME.

IT WAS EXCITING 18 MONTHS FOR ME.

IT WAS REALLY DIFFICULT.

BECAUSE OF ALL OF THE JOBS YOU HAVE TO PIECE TOGETHER TO MAKE ENDS MEET AS A FREELANCE ARTIST.

>> WHAT HAS BEEN YOUR EXPERIENCE?

>> LOOK AT THE EXAMPLE YOU HAVE US ALL HERE TOGETHER.

KNOWING THE JOURNEY JOHN AND LINDSAY HAVE GONE THROUGH, GETTING UNTOWARD WOULD BE THE BIG STEP.

JUST TO SHOW THAT BLACK AND BROWN ARTIST PLAYWRIGHTS CAN MAKE A SOUND IN BOSTON.

THAT SAID, IT HAS COME A LONG WAY.

SHOWING YOUR VOICE AND BEING RADICAL IS VERY IMPORTANT.

>> WHERE ARE YOU FROM ORIGINALLY?

>> BORN AND RAISED NEAR BOSTON.

>> THAT BRINGS UP THE OTHER QUESTION I WAS WONDERING ABOUT.

WHEN YOU THINK ABOUT AUGUST WILSON, YOU THINK ABOUT PITTSBURGH.

AND YOU REALIZE IT IS NOT JUST PITTSBURGH CENTERED, IT IS THAT SPIRITUAL ASPECT OF PITTSBURGH.

PITTSBURGH NOSTALGIA, PITTSBURGH AT A DIFFERENT AIR, PITTSBURGH BLACK.

WHERE IS THE SAME TYPE OF PLAY SET IN BOSTON?

WHERE YOU MIGHT SEE THE TRAINS PASSING ON THE OLD ORANGE LINE, ELEVATED SUBWAY AND SO ON AND SO FORTH?

IS THERE AN AUGUST WILSON MOMENT FOR BOSTON?

>> WHAT IMMEDIATELY COMES TO MIND IS CAN I TOUCH IT?

FRAN IS A PLAYWRIGHT AND SCREENWRITER WHO WOULD WALK BY A STRAND EVERY DAY ON THEIR WAY TO SCHOOL AND WOULD THINK I'’M GOING TO HAVE A PLAY.

AND IT IS GOING TO AMPLIFY BOSTON AS A SPACE.

LAST SUMMER, COMPANY ONE PRODUCED THAT PLAY.

I THINK THOSE PLAYS DO EXIST.

JUST BEGINNING THE TIP OF THE ICEBERG ABOUT WHERE THEY ARE.

>> AT THE STRAND.

THAT IS PHENOMENAL.

YOU MENTIONED THE NORTON AWARDS, BOSTON THEATER -- BLACK THEATER HAS BEEN AWARDED WITH NORTON AWARDS.

CAN WE TALK ABOUT WHAT THAT MEANS IN TERMS OF MOVING FORWARD?

>> IT FELT GOOD FOR US AS THE FRONT PORCH, HAVING BEEN DOING THIS FOR SEVEN YEARS AND TWO OR THREE OF THOSE IN THIS NEW PANDEMIC REALITY WE ARE IN.

SO TO BE ABLE TO RISE AND GET THAT SHINE WAS REALLY WONDERFUL.

WE SEE THE FRENCH PORT WHERE THERE WERE MANY THEATERS FOR US.

SHE HAS RECEIVED I BELIEVE NORTON'’S EARLY AWARDS, LIKE OTHER PEOPLE HAVE.

IT IS NOT REALLY CONSISTENT.

ON MONDAY, WE WERE AWARDED WITH A DEARTH OF AWARDS.

IT WAS GORGEOUS.

OUT OF 30 NOMINATIONS.

THAT WAS REALLY WONDERFUL AND A MOMENT.

THE THING THAT WE SAY, WE DON'’T WANT TO BE THE ONLY THEATER COMPANY OR BLACK COMPANY DOING THIS.

WE WANT MORE.

SO THAT IT IS NOT THE ANOMALY, IT IS NOT THE EVENT.

IT SHOULD BE THE NORM.

THAT IS KIND OF WHAT WE ARE HOPING TO KICK OPEN.

COMPANY ONE HAS BEEN DOING THIS KIND OF WORK FOR FOREVER.

SOME OF OUR SMALLER AND MIDSIZE ORGANIZATIONS HAVE DONE IT.

IT IS HOW WE MAKE IT BETTER, HOW WE MAKE MORE OPPORTUNITIES, NOT JUST ONCE A YEAR.

THAT IS WHAT WE ARE TRYING TO HELP FACILITATE.

>> I HAVE GONE TO SEVERAL PLAYS OVER THE PAST -- SINCE THE PANDEMIC.

I ALWAYS WANT TO SAY POST-PANDEMIC, BUT WE ARE REALLY NOT THERE YET.

I HAVE GONE TO A NUMBER OF PLAYS.

THEY HAVE BEEN WELL ATTENDED.

IS IT THE CASE FROM YOUR PERSPECTIVE?

THERE IS THE NOTION OF PRE-PANDEMIC ATTENDANCE AND ATTENDANCE NOW.

>> I DON'’T KNOW THAT WE HAVE GOTTEN BACK TO WHAT THOSE PRE-PANDEMIC NUMBERS LOOK LIKE ACROSS THE BOARD.

I THINK ATTENDANCE IS CREEPING BACK UP, PEOPLE ARE FEELING COMFORTABLE COMING TO THE THEATER.

A LOT OF IT HAS TO DO WITH THE CONTENT OF THE SHOW AND WHAT IS HAPPENING.

I WAS IN A SHOW RECENTLY WHERE THE ENDING WAS NOT SPOKEN ABOUT IN THE REVIEWS.

IT ENTICED PEOPLE TO WANT TO COME BECAUSE THEY WERE LIKE WHAT IS THIS ENDING NO ONE CAN TALK ABOUT?

THAT SHOW WAS CLOSE TO SELLING OUT THE LAST FEW WEEKENDS.

I THINK PEOPLE ARE COMING BACK BUT ARE PARTICULAR ABOUT WHAT THEY WANT TO SEE.

BUT WE ARE SEEING THE NUMBERS CREEPING UP.

NOWHERE NEAR WHERE WE WERE BEFORE.

HOPEFULLY BY THIS TIME NEXT YEAR THE CONVERSATION WILL FILTER.

>> ARE BLACK PEOPLE ATTENDING THESE PLAYS?

IT HAS BEEN MORE LIKE A SPRINKLING FROM MY PERSPECTIVE.

>> I WOULD SAY YOU ARE RIGHT.

IT IS A SPRINKLE.

WE CAN DEFINITELY DO BETTER IN COMMUNITY ENGAGEMENT.

IT IS SOMETHING WE HAVE TO BROADEN OUR HORIZONS.

BUT I AGREE.

>> WEN YU CENTER IN A PLACE LIKE THIS STRAND, THERE WAS A SIGNIFICANT NUMBER OF BLACK PEOPLE THAT PEOPLE WILL COME, THE NOTION IF WE BUILD IT THEY WILL COME.

>> I DON'’T THINK THAT IS TRUE.

IN ALL OF OUR EXPERIENCE, FOR ALL OF THE ORGANIZATIONS WE HAVE BEEN A PART OF, WE BUILD IT, SOME COME, NOT AS MANY AS WE WANT.

IT IS HOW WE ENGAGE COMMUNITY AND SHOW UP FOR OTHERS TO BUILD THAT TRUST.

EVEN THOUGH THIS THING IS HAPPENING, ARE WE REACHING OUT TO THEM, MARKETING AND THE WAYS THEY WANT TO SEE?

WHERE THEY GET THEIR INFORMATION?

I DON'’T KNOW WE ARE ALWAYS DOING THAT.

I DON'’T KNOW WE ARE ALWAYS RIGHT, PEOPLE ARE CHOOSING WHAT THEY WANT TO SEE AND HOW TO SPEND THEIR MONEY AND EMOTIONAL INVESTMENT.

IT IS STILL A DELICATE ALCHEMY.

I DON'’T KNOW WE HAVE CRACKED THE CODE ON IT.

>> I CO SIGN.

THEATER IS OFTEN ABOUT THE WORK AND CRAFT, BUT ALSO BUILDING RELATIONSHIPS.

I THINK WE ARE IN A GOOD SPACE, BETTER SPACE, BUT WE ARE STILL -- THEATERS ARE STILL WORKING ON BUILDING THOSE RELATIONSHIPS SO AN AUDIENCE MEMBER DOESN'’T JUST COME TO THE ONE SHOW, BUT THE SHOWS THAT COME AFTER, THE SEASONS THAT COME AFTER, BELIEVES THEY WILL BE INVITING TO THEM AND SOMETHING THEY WANT TO SPEND THEIR MONEY ON AND TWO HOURS IN COMMUNITY WITH OTHERS.

>> LET'’S TALK ABOUT ONE FAVORITE EVERYONE HAS BEEN TALKING ABOUT.

THE AUDIENCE FAVORITE IS CALLED KISSING.

IT IS A ROMANCE.

A MULTIPLE AWARD-WINNING PLAY.

DIRECTED BY OUR GUEST DON MEREDITH SIMMONS.

16-YEAR-OLD LOBLAW SHARES HER FRUSTRATIONS WITH HER FATHER ABOUT DATING.

>> BOYS ARE STUPID.

>> BOYS ARE STUPID IS SOMETHING YOU SAY -- SOMEBODY HAS TO GET -- >> BOYS MAGE DON'’T ASK YOU OUT.

THEY WHISTLE, DAD.

CAN I HOLLA AT YOU?

SHORTY, WHAT'’S GOOD.

>> YOU SOUND LIKE YOU DON'’T LIKE IT.

>> OF COURSE I DON'’T LIKE IT.

WHY CAN'’T THEY BEE POLITE?

WOULD YOU LIKE TO JOIN ME FOR SOME TEA?

YOU DON'’T HAVE TO BE WHITE TO SAY HELLO.

>> JUST SAYING.

ONLY -- CARING FOR A SPOT OF TEA ARE WHITE.

PARDON ME, WOULD YOU LIKE ANY GRAY POOPUPON?

>> I'’M SERIOUS.

IT IS LONELY HAVING STANDARDS.

ALL DAY LONG, I SEE KIDS MAKE OUT.

IN THE CAFETERIA.

MY MATH CLASS.

THE POOL.

I HAVE NEVER BEEN KISSED.

>> THAT IS A GREAT PLAY.

>> VERY MUCH.

TO THAT QUESTION YOU'’RE ASKING, HE WROTE A PLAY THAT WAS ALSO A LOVE LETTER TO BOSTON.

SHE GREW UP IN CAMBRIDGE.

ALL OF THE LITTLE TOUCHSTONES OF THIS CITY AND ITS SUBURBS ARE IN THEIR.

IT GIVES AN IDEA TO GRAB ONTO.

A SLICE OF BLACK LIFE WE DON'’T OFTEN GET TO SEE.

AND CELEBRATING LOVE AND MORE IMPORTANTLY, CELEBRATING A YOUNG WOMAN COMING INTO HER OWN WHERE SHE IS NOT IN DANGER, WHERE SHE HAS TWO LOVING PARENTS.

THERE IS A STRESSOR ON THAT RELATIONSHIP.

BUT SHE IS NAVIGATING.

YOU ARE NEVER WORRIED ABOUT HER OTHER THAN WHAT IS SHE GOING TO DO WITH HER LIFE, WHICH SHE IS GOING TO CHOOSE.

WHAT IS GOING TO COME OF HER.

IT GAVE A LIGHTNESS I THINK WE ALL NEEDED.

>> GROUNDED IN THE CITY WE LOVE AND CHOOSE TO MAKE OUR HOME.

>> UNIVERSAL APPEAL.

EVERYONE COULD RELATE TO IT.

I ASK THIS QUESTION, WE ARE IN A MOMENT NOT JUST IN THE CONTEXT OF BLACK THEATER, BUT THE WAY WE EXPLORE THINGS LIKE HISTORY AND CULTURE IN GENERAL, WHERE SOME FOLKS, LIKE RON DESANTIS, IS PUSHING BACK AGAINST THE EARN -- INTERPRETATION OF REALITY.

OBJECTIVE HISTORY.

YOU STILL SEE A BACKLASH AGAINST SOME PEOPLE IN THEATER OF -- BEFORE THE SHOW STARTED, I MENTIONED THE SHAKESPEARE FESTIVAL, WHICH WAS RUN BY A BLACK WOMAN UNTIL THIS WEEK.

SHE HAS RECEIVED DEATH THREATS BECAUSE OF HER INTERPRETATION OF SHAKESPEARE.

TALK ABOUT THAT.

TALK ABOUT YOUR FEELINGS ABOUT HOW YOU PRESENT AT A TIME OF EXTRAORDINARY POLARIZATION.

EVEN BLACK THEATER AND THE BLACK EXPERIENCE, OR EXPERIENCES, WHEN SO MANY PEOPLE WOULD LIKE TO ERASE THAT EXPERIENCE.

>> I HAVE ONLY EVER BEEN A BLACK PLAYWRIGHT.

SO I'’M NOT SURE HOW IT WOULD GO TO A DIFFERENT CHOICE.

MY CHOICE TO BE A PLAYWRIGHT, MANY TIMES WRITERS HAVE A CALLING TO DO IT.

BUT AS SO OFTEN, IT IS MISSION BASED.

PARTICULARLY PLAYWRIGHTS OF COLOR OR WHO COME FROM A MARGINALIZED IDENTITY.

THIS IS WHAT I DO, MY JOB IS TO HIGHLIGHT AND FOSTER DISCUSSION AMONG AUDIENCE MEMBERS AND COMMUNITIES.

THERE IS NOT ANOTHER CHOICE FOR ME.

AS A PLAYER OF COLOR IN THE U.S., YOU ARE STEPPING INTO THE CHOICE TO AMPLIFY STORIES OTHERS MIGHT NOT FEEL IMPORTANT, BUT THEY ARE IMPORTANT TO THE ARTIST.

HOPEFULLY WE GIVE THE ARTIST THE TIME AND RESOURCES TO DO THEIR WORK AND THEY KEEP THE CONVERSATION MOVING FORWARD.

>> I WOULD SAY I'’M HERE AS AN ADVOCATE TO SUPPORT THE QUEENS AND KINGS PUTTING THE WORK TOGETHER.

I MIGHT NOT HAVE THE EXPERIENCE AS A PLAYWRIGHT OR DIRECTOR, BUT MY JOB IS TO SUPPORT THE WORK THEY ARE DOING AND MAKING SURE THEIR VOICE IS BEING HEARD.

MOST IMPORTANTLY ARE THE STORIES BEING TOLD.

I THINK IT CARRIES A LOT OF WHAT IS GOING ON.

WHETHER IN THE PAST OR NOW.

>> I HAVE A REPUTATION FOR NOT CATERING TO THE COMFORT OF OTHER PEOPLE.

I THINK IT IS OK TO BE UNCOMFORTABLE, IT IS OK FOR PEOPLE TO COME TO THE THEATER AND BE CHALLENGED.

IT IS OK FOR THEIR PERSPECTIVES TO BE QUESTIONED.

AND FOR ME, IF THAT IS NOT HAPPENING I'’M NOT REALLY DOING THE WORK.

THAT IS WHAT THE WORK IS.

YOU EITHER SEE A REFLECTION OF YOURSELF OR SOMETHING YOU ARE NOT FAMILIAR WITH, AND YOU LEAVE WITH SOME THOUGHTS YOU ARE GOING TO PONDER HEADING TO THE BAR AFTERWARDS OR WHATEVER YOU CHOOSE TO DO.

I AM INTERESTED IN STORIES THAT MAKE PEOPLE UNCOMFORTABLE, THAT MAKE YOU WIGGLE A LITTLE BIT IN YOUR SEAT AND THINK MORE DEEPLY.

IF SOMEONE WANTS TO DO WHATEVER VERSION OF WHAT THEY WANT TO DO, I'’M HERE FOR IT.

I MAY NOT LIKE IT, IT MAY MAKE ME UNCOMFORTABLE, BUT I REFLECT ON IT.

>> I GUESS THAT IS THE POINT OF THEATER.

NOT EVERY STORY WILL MAKE EVERYONE COMFORTABLE.

[LAUGHTER] >> I THINK YES TO EVERYTHING EVERYONE SAID.

IN MY HEAD, I'’M ALSO TRYING TO DAMP THE LINE OF CONSPIRACY THEORY WHERE I THINK HOW MANY OF THESE PEOPLE ARE ISSUING DEATH THREATS, EVEN SOLVE THE WORK, OTHER REACTING TO WHAT THEY HEARD?

A SECTION OF PEOPLE DON'’T WANT TO HOLD THE MAYOR UP TO NATURE, WANT TO FORGET ABOUT ARE VERY UGLY AND STORIED PAST.

IT IS NOT JUST ABOUT BLACK PEOPLE.

SO MANY HARMS HAVE BEEN DONE.

I DON'’T KNOW WHY WE WOULD NOT TRY AND DEAL WITH THAT AND HEAL.

I THINK IT IS A POWER MOVE.

BY THREATENING SOMEONE YOU GET TO TRY AND MAINTAIN POWER.

IT IS A SHAME THAT SHE HAD TO LEAVE.

THAT IS -- I CANNOT IMAGINE WHAT IT IS TO BE IN THAT SITUATION.

DOING SOMETHING THAT MAKES YOU QUESTION.

I THINK PART OF THE LARGER THING IS THE FORM WE DO IT IN, ESPECIALLY IN THIS CITY, THERE IS A PREACHING TO THE CHOIR.

WE ARE SPEAKING TO PEOPLE WHO WANT THIS, WHO WANT THIS WORK.

AND WHEN THEY INTERACT AND ENGAGE WITH SOMETHING THEY DON'’T LIKE, WE DEAL WITH IT.

IN OLD-FASHIONED WAYS WHERE WE ARE CIVILIZED AND WE AGREE TO DISAGREE, VIOLENTLY THROUGH DISCUSSION, NOT DEATH THREATS.

WHEN I HEAR STUFF LIKE THAT, IT MAKES ME FEEL THAT IS SOMEBODY WHO IS NOT ENGAGING WITH THE WORK.

THEY HEARD THE HEADLINE AND THAT IS WHAT THEY ARE RESPONDING TO.

>> THE PORTAL, THE WAY SOME ARE LOOKING AT THIS ISSUE, IT IS NOT JUST BLACK FOLK, BUT THEY ARE LOOKING AT THE DOOR OPEN FOR LGBTQ AND BLACK THEATER SEEMS TO HAVE OPENED THE DOOR EVEN WIDER AS AN OBSERVATION.

LET ME ASK YOU THIS WINDING DOWN.

TALK ABOUT YOUR PROGNOSIS FOR THEATER, BLACK THEATER IN BOSTON, WHICH IS NOT JUST ABOUT BLACK EXPERIENCES, BUT ALSO BLACK ACTORS AND A MYRIAD OF EXPENSES THAT MIGHT BE INTERCONNECTED WITH VARIOUS COMMUNITIES.

>> MY GOSH.

I THINK THE STATE OF BLACK THEATER IN BOSTON IS IMPROVING.

I HAVE BEEN HERE FOR 16 YEARS, THINGS ARE DIFFERENT THAN 16 YEARS AGO.

A LOT OF WORK TO BE DONE.

SOMETHING I FEEL IS MISSING FROM THE COMMUNITY IS THE HIRING OF BLACK DIRECTORS TO SIMPLY DIRECT PLACE.

NOT JUST A BLACK PLAY, BUT DIRECT PLAYS.

THAT IS SOMETHING IF I WERE TO WANT TO PUSH FOR SOME IMPROVEMENT, IN A SMALL, VERY LOW HANGING FRUIT KIND OF WAY, YOU DON'’T JUST HAVE TO HIRE DAWN TO DIRECT A BLACK PLAY, SHE CAN DIRECT PLAYS REGARDLESS OF THEIR CONTENT.

LINDSAY CAN DIRECT PLAYS REGARDLESS OF THEIR CONTENT.

IF YOU HAVE MORE DIRECTORS OF COLOR DIRECTING A VARIETY OF PLAYS, THEY ARE CASTING IT A DIVERSE WAY.

AND MORE ACTORS OF COLOR ARE GETTING WORK.

I THINK THAT THERE IS A NEED TO PUT PEOPLE IN POSITIONS OF POWER WHERE THEY CAN MAKE DECISIONS WHO ARE PEOPLE OF COLOR.

I THINK ALL OF US IN OUR POSITIONS AS PROFESSORS AND LEADERS OF ORGANIZATIONS, ARE REALLY SETTING THE TONE FOR THAT.

>> MORE BLACK DIRECTORS.

>> I PIGGYBACK OFF OF THAT.

I THINK IT IS TRUE.

BOSTON IS CHANGING IN A WAY.

THE WAVE IS MOVING PUTTING LEADERS THAT ARE ACTUALLY PUTTING THEIR FOOT TO WHAT THEY HAVE BEEN SAYING.

IT GIVES PEOPLE A DIFFERENT PERSPECTIVE IN THEIR VOICES.

IT SHOULD NOT JUST BE ON BASIC PLAYS THAT ARE BLACK.

DAWN SHOULD PRODUCE SOMETHING OUT OF THE ORDINARY.

EVEN US SUPPORTING.

THAT IS WHAT OUR MEMBERS DO.

I'’M GOING TO LEAVE IT AT THAT.

[LAUGHTER] >> I THINK BOSTON, WE HAVE SO MANY COLLEGES AND UNIVERSITIES.

I THINK AN STEP MIGHT BE TO MAKE SURE IT IS HOSPITABLE FOR YOUNG THEATER ARTISTS TO LIVE AND WORK HERE SO THERE ARE SPACES WHERE THERE IS FUNDING, THE COST OF HOUSING IS NOT SO HIGH THAT A YOUNG PERSON WHO IS JUST OUT OF BOCA OR BU OR EMERSON CAN MAKE A CHOICE TO LIVE HERE AND NOT HAVE TO LIVE WITH THEIR PARENTS.

AT THEIR PARENTS, THEY ARE MAKING THEATER IN THAT TOWN.

WE WOULD LOVE THEM TO STAY HERE AND MAKE THEATER HERE.

THAT IS GETTING BETTER.

I THINK WHAT IS BEAUTIFUL IS WE THINK OF IT SOMETIMES AS GOING TO SEE A PLAY, BUT YOU ARE REALLY SUPPORTING THE RESTAURANTS IN THE AREA, MAKING SURE THERE IS VIBRANT PUBLIC TRANSPORTATION TO GET THERE.

THE THEATER ECOLOGY CAN BE REALLY RICH.

IF WE ARE ALSO THINKING ABOUT THE ECONOMY OF THOSE SPACES.

>> CONNECTING THE DOTS.

>> TO YOUR POINT, THERE WAS A TIME WHERE I USED TO DIRECT ALL TYPES OF SHOWS.

ALL OF A SUDDEN, AND THIS IS THE WEIRD CYCLICAL -- WE NEED TO MAKE SPACE FOR THIS PARTICULAR TYPE OF PERSON, THEN THAT WAS ALL I WAS GETTING.

I FEEL LIKE WE WERE WORKING ON THE SCENE AND DOING ALL KINDS OF STUFF AND ALL OF A SUDDEN, LOKI -- LOWKEY -- >> WE HAVE A WAYS TO GO.

I WANT TO THANK YOU ALL.

THIS WAS A FANTASTIC AND NECESSARY CONVERSATION.

THAT IS THE END OF OUR BROADCAST.

THANK YOU FOR JOINING US.

STAY WITH US AS WE CONTINUE OUR CONVERSATION ON OUR DIGITAL PLATFORMS, YOUTUBE, AND FACEBOOK.