JACQUELINE LAWTON: To begin, can you tell me how long have you been acting? What was the first play that you ever worked on as an actor? What did you learn from that experience that remains with you today?
STEPHEN HATZAI: I have been involved with the theatre for a long time, since the Punic Wars I think.  I got my formal baptism in a musical production of “A Connecticut Yankee in King Arthur’s Court” as a member of the chorus.  It was at Fels Junior High School (now a senior high) in Philadelphia.  My mother made my costume, a tunic, and I had to wear tights underneath it - at 13 it was a difficult challenge.  Being a part of a group working to create something special was a wonderful experience and being on stage in front of an audience was both frightening and exhilarating.

JL: Why did you decide to get into theater? Was there someone or a particular show that inspired you?
SH: I continued being involved in shows throughout high school and college even though I was specializing in chemistry.  The right side of my brain needed exercise and math and science were not providing it; later in life that changed.   I became a former scientific and began to focus on the theatre as an educator, actor, director and technician.  I started a theatre program and helped found an arts academy in Allentown, PA while I participated in theatre in the Lehigh Valley and Philadelphia.  I am currently an Equity actor based in Philadelphia.

JL: Set in Hampton, Virginia in the 1940s, THE HAMPTON YEARS examines the impact of World War II on Jewish immigrants living in the United States and their role in shaping the lives and careers of African American students in the segregated south. This play investigates the various ways in which racism and bigotry negatively impact the arts, academia and military. Where do you feel we are in terms of race relations in the U.S.?
SH: We have come a long way, but we still have a long way to go.

JL: THE HAMPTON YEARS also celebrates and honors such extraordinary artists as John Biggers, Elizabeth Catlett, Samella Lewis, Viktor Lowenfeld and Charles White for their bold and courageous ability to overcome these challenges and create beautiful, powerful and lasting works of art. Why do you feel this play is relevant to today audiences?
SH: Art is always relevant.  Struggle in the face of obstacles is always present.  The works of these brilliant artists speak to me, move me, and would have done so even if I was not familiar with their story.  I can only imagine what their impact must be on people of color who see them.    

I was also fascinated by the ideas in the play dealing with how art is created.   Should art be created haptically or visually.  Can a work of art exist for beauty alone?  How much of themselves must an artist “put into” the work of art?

JL: Which character are you playing? What, if anything, do you have in common with this character’s passions, values, intentions or belief system?
SH: I am playing the Anonymous Art Critic and President Bridgman.   Both are dealing with something that they do not fully understand or appreciate.  The Critic denigrates the art in the show because it does not fit his model of what good art should be.  Bridgman is working for the betterment of the institution which employs him and is having trouble understanding the value of an art program in the grand scheme of things.  I have been in situations where I have not liked a play or piece of art.  I have to prod myself to really look at my prejudices and ingrained beliefs to see how they might be influencing my opinion.

JL: If there is one thing you want audiences to walk away knowing or thinking about after experiencing THE HAMPTON YEARS, what would that be?
SH: That good art transcends the race, gender, ethnicity and culture of the artist who creates it.  The race, gender, ethnicity or culture of the artist will inform a work of art but can never diminish or negate it.  The race, gender, ethnicity or culture of an observer may enhance an encounter with a work of art, but I should never never diminish or negate it. 

JL: What’s next for you as an actor? Where can we follow your work?
SH: I will be doing  several short reading with Philadelphia Theatre Collective in early March.

JACQUELINE LAWTON: To begin, can you tell me how long have you been acting? What was the first play that you ever worked on as an actor? What did you learn from that experience that remains with you today?
KHRIS DAVIS: I have been acting since I was a young boy. When I was six I told my mother I wanted to be an actress. She said sharply "You want to be an actor". I replied with genuine honesty and naïveté, "No I want to be an actress". After a brief discussion about the differences between the two, I willingly seceded. So she began to write plays for me to perform in church. Once I got to the Creative Arts HS, in Camden, NJ. My first actual play that I was in was Othello. Its because of that production I have a love for theatre. 

JL: Why did you decide to get into theater? Was there someone or a particular show that inspired you?
KD: I decided to be a theatre artist after I played Othello in high school. I was inspired to act because I liked what I saw on TV. As a child I would lay down and repeat everything the actors on TV were saying. The curse words and sexual references were a spoken silently though. I continued forward and graduated from Cheyney University of Pennsylvania, With a B.A. in theatre arts in 2009.

JL: Set in Hampton, Virginia in the 1940s, THE HAMPTON YEARS examines the impact of World War II on Jewish immigrants living in the United States and their role in shaping the lives and careers of African American students in the segregated south. This play investigates the various ways in which racism and bigotry negatively impact the arts, academia and military. Where do you feel we are in terms of race relations in the U.S.?
KD: Race relations in the U.S. is always a sensitive topic to discuss. There is a ideology that is prevalent in our society, where everything is fusing into one. Music, art, fashion, races, religions etc. However, undeniably there are still major strides that need to be taken when it comes to earnest relations between races. I believe there is an issue with closet racism that we are dealing with here in the U.S., not just black and white. So, as artists it is our duty, I believe, to be active players in changing any form of racism, or inequality, that may continue to plague us here in the U.S. through the power of art.

JL: THE HAMPTON YEARS also celebrates and honors such extraordinary artists as John Biggers, Elizabeth Catlett, Samella Lewis, Viktor Lowenfeld and Charles White for their bold and courageous ability to overcome these challenges and create beautiful, powerful and lasting works of art. Why do you feel this play is relevant to today audiences?
KD: I feel this piece is relevant simply because we all, at some point, are dealing with the progression of our environments. If that be overcoming oppression, war, famine, or sociopolitical propaganda. Art, as it is, is one of the most prolific forms of activism and change. As we seen over the course of many generations. It doesn't matter if the work is from 1302bc as storytelling and finger painting on cave walls, or 2013ad. with theatre, digital film, new colors to canvas, or new electronic forms of music. It all helped to move a society, a world, forward.

JL: Which character are you playing? What, if anything, do you have in common with this character’s passions, values, intentions or belief system?
KD: I am playing the character of Charles White. What I feel this character and I have in common is a passion to rise above. Especially as an artist, one cannot help but to stand up and out in some way, or risk losing the integrity of the art form. Charles likes to observe everything from the outside and help others make rational decisions, and to question the status quo. I feel as though we both share that sentiment.

JL: If there is one thing you want audiences to walk away knowing or thinking about after experiencing THE HAMPTON YEARS, what would that be?
KD: When audiences walk away from the reading. I want them to be unafraid to reject the whatever an institution has designed to oppress ; Unafraid to take the big steps and swim against the tide. I want them to decide to leave a legacy. Even if it be to just assist someone build theirs. Change takes a collaborative effort, and none of us can do it alone.

JL: What’s next for you as an actor? Where can we follow your work?
KD: Next I will be a part of the Quintessence Theatre' "The Chocolate and Champagne Repertory" this spring. It will consist of George Bernard Shaw's "Arms and the Man", and Moliere's "The Misanthrope". The production will be mounted April 24-May 26. You can follow me on Facebook. I would be delighted to receive support from audience members and colleagues.

JACQUELINE LAWTON: To begin, can you tell me how long have you been acting? What was the first play that you ever worked on as an actor? What did you learn from that experience that remains with you today?
TAYSHA CANALES: I’ve been acting since my first year in High School, about 10 years ago. The first play we presented was an adaptation of The Orestia that we created with the help of Epic Theatre Ensemble, in NYC. That was when I first realized that I really enjoy creating art. It felt powerful to perform scenes that I helped devise. It made me really fall in love with theater.

JL: Why did you decide to get into theater? Was there someone or a particular show that inspired you?
TC: I was a really shy young girl, but for some reason I was very interested in the stage. In elementary school I wanted to be a part of every dance show, every chorus, even part of the color guard because it meant getting up on that stage. I didn’t know anything about theater until I applied and was accepted into a performing arts High School. I just assumed they would teach me how to act and I could get to the movies later. After 4 years of study in H.S., I knew that theater was where I belonged.

JL: Set in Hampton, Virginia in the 1940s, THE HAMPTON YEARS examines the impact of World War II on Jewish immigrants living in the United States and their role in shaping the lives and careers of African American students in the segregated south. This play investigates the various ways in which racism and bigotry negatively impact the arts, academia and military. Where do you feel we are in terms of race relations in the U.S.?
TC: We definitely have a ways to go. Many are trying to leave race out of the equation; I think race is something that should be brought up and addressed. We should be able to talk about differences in cultures, not completely ignore them. The media is one source that does not help the problem. Too many stereotypes embedded in commercials, TV shows and Movies and either people are oblivious to it or just accept it.  

I find that I have a harder time accessing plays from multicultural playwrights. Why is that? I have yet to find a play that completely speaks to my soul. I’ve been out of school for almost two years now, and I have yet to play a Hispanic role. I am Puerto Rican. I’ve played and staged-read a handful of plays where I’ve played an African American. I’d have to do an extensive search in North Philly to find an outlet where I can work on a show that reflects my own culture. FAR AWAY from Center City where the arts lives.

I wish people weren’t so afraid to talk about race. My culture defines a part of who I am. I don’t want people to ignore me.

JL: THE HAMPTON YEARS also celebrates and honors such extraordinary artists as John Biggers, Elizabeth Catlett, Samella Lewis, Viktor Lowenfeld and Charles White for their bold and courageous ability to overcome these challenges and create beautiful, powerful and lasting works of art. Why do you feel this play is relevant to today audiences?
TC: John quotes a lecture delivered by Viktor, “Art is able to reflect the truth of society.” I think art does just that. Many people are afraid to really look at the truth that’s in front of them. We try to clean things up to make them look beautiful- conflicts in our lives that we struggle with, our appearance, or personalities, wars, politics. Today’s society is very superficial. What would happen if we were faced with our own realities, our own truths? I think this play is very relevant to today’s audiences because we all have tried to hide from ourselves at some point in our lives.

JL: Which character are you playing? What, if anything, do you have in common with this character’s passions, values, intentions or belief system?
TC: I am reading for Elizabeth. Elizabeth is a very strong woman. She remains passionate about her art and won’t let the world hold her back. I’ve gotten a lot of advice to stay away from theater. People have tried to detract me into a profession that would be more promising, guaranteed success and financial stability. Elizabeth’s demeanor reminds me of my ability to persevere. The success I’ve gained in the short time I’ve been a part of Philly’s theater community tells me I’ve made the right choice.

JL: If there is one thing you want audiences to walk away knowing or thinking about after experiencing THE HAMPTON YEARS, what would that be?
TC: I have to quote from the play again, “You must not compromise your truth.”

JL: What’s next for you as an actor? Where can we follow your work?
TC: This April I will be working with Simpatico Theatre Project on a newly adapted version of Lysistrata. I don’t have a website yet but it’s coming soon!

JACQUELINE LAWTON: To begin, can you tell me how long have you been acting? What was the first play that you ever worked on as an actor? What did you learn from that experience that remains with you today?
IAN LITHGOW: I have been acting professionally since I was in my early 20s. What I learned first and foremost from my early experiences as an actor was the importance of listening. Some of my favorite productions I did as a young actor are The Tempest, The Three Sisters, Hedda Gabler, The Foreigner, and Largo Desolato.

JL: Why did you decide to get into theater? Was there someone or a particular show that inspired you?
IL: Whatever initially inspired me, I was probably too young at the time for me to remember now. I do know that in my formative years I traveled the country with my parents when my father was in a touring production of My Fat Friend with Lynn Redgrave.

JL: Set in Hampton, Virginia in the 1940s, THE HAMPTON YEARS examines the impact of World War II on Jewish immigrants living in the United States and their role in shaping the lives and careers of African American students in the segregated south. This play investigates the various ways in which racism and bigotry negatively impact the arts, academia and military. Where do you feel we are in terms of race relations in the U.S.?
IL: There are about 1 million African Americans who are incarcerated. I don’t think we’re doing so good.

JL: THE HAMPTON YEARS also celebrates and honors such extraordinary artists as John Biggers, Elizabeth Catlett, Samella Lewis, Viktor Lowenfeld and Charles White for their bold and courageous ability to overcome these challenges and create beautiful, powerful and lasting works of art. Why do you feel this play is relevant to today audiences?
IL: Freedom of artistic expression I would think is an important and relevant issue at present.

JL: Which character are you playing? What, if anything, do you have in common with this character’s passions, values, intentions or belief system?
IL: I am playing Viktor Lowenfeld. What appeals to me about Viktor is his sense of loyalty, and his belief in the importance of beauty and artistic expression.

JL: If there is one thing you want audiences to walk away knowing or thinking about after experiencing THE HAMPTON YEARS, what would that be?
IL: I would hope audiences would think of the play as an inspiring true story of courage and resilience.

JL: What’s next for you as an actor? Where can we follow your work?
IL: I work mostly in Philadelphia and New York City. 

JACQUELINE LAWTON: To begin, can you tell me how long have you been acting? What was the first play that you ever worked on as an actor? What did you learn from that experience that remains with you today?
MIRIAM WHITE: Well, I suppose I can’t remember a time I haven’t been acting. I started as a ballerina at 3. When the ballet world transitioned from an emphasis on tutus to perfect body image, I realized that ballet was in fact, not my medium and began focusing on my future career as an actor. I performed in middle school, high school and went to college to earn my degree in Theatre.  I remember playing Audrey in Little Shop of Horrors. I must have been in 7th grade?!?! Never had I ever experienced the joy of having so much fun on stage… which serves as a good reminder today. No matter what the role, genre, etc…. always have fun.

JL: Why did you decide to get into theater? Was there someone or a particular show that inspired you?
MW: Embarrassingly enough, Les Miserables started my theatre addiction. I must have been 8 or 9 years old, maybe even younger. I saw the touring production at the Kennedy Center and was a goner. I remember singing Castle on A Cloud on the streets, certain that a producer would discover me. Ohhhh… man. Embarrassing. 

JL: Set in Hampton, Virginia in the 1940s, THE HAMPTON YEARS examines the impact of World War II on Jewish immigrants living in the United States and their role in shaping the lives and careers of African American students in the segregated south. This play investigates the various ways in which racism and bigotry negatively impact the arts, academia and military. Where do you feel we are in terms of race relations in the U.S.?
MW: I just finished performing a show for children at the Arden Theatre in Philadelphia. Our weekday performances were performed predominantly for school groups.  I also had the opportunity to visit the classrooms of many visiting schools as a teaching artist. While I would love to bask in the many strides we have made in terms of race relations in America, I’m reminded how far we have to go when I visit classrooms. I’m amazed at how segregated the public school system still is today. Recognizing that school systems are a reflection of neighborhoods only further proves that in some ways, we still have miles to go towards a de-segregated society.  

JL: THE HAMPTON YEARS also celebrates and honors such extraordinary artists as John Biggers, Elizabeth Catlett, Samella Lewis, Viktor Lowenfeld and Charles White for their bold and courageous ability to overcome these challenges and create beautiful, powerful and lasting works of art. Why do you feel this play is relevant to today audiences?
MW: This beautiful script tells the story and exposes audiences to brilliant but lesser known artists. The play also deals with racial issues and paints a historical picture of what the racial landscape looked like in the 40’s, told through an uncommon lens. 

JL: Which character are you playing? What, if anything, do you have in common with this character’s passions, values, intentions or belief system?
MW: I’m playing Margaret, Viktor’s wife. While Margaret does not practice her art professionally, she is a singer and cook. She believes in and supports her husband’s vision and is willing to sacrifice to make his dreams a reality. She is a strong woman, who listens and provides critical support to her partner.  I hope that I embody the strength and resiliency of this character.

JL: If there is one thing you want audiences to walk away knowing or thinking about after experiencing THE HAMPTON YEARS, what would that be?
MW: I want the audiences to think about the power of art: both for the individual and the community.

JL: What’s next for you as an actor? Where can we follow your work?
MW: Currently, I’m recharging after a 3-month stint at the Arden. In the spring, I’ll be performing in a new adaptation of Lysistrata at Simpatico Theatre in Philadelphia.

JACQUELINE LAWTON: To begin, can you tell me how long have you been acting? What was the first play that you ever worked on as an actor? What did you learn from that experience that remains with you today?
AKEEM DAVIS: I have been performing on stage for about 2 decades; I was 6 years old when I participated in a Theodore L. Gibson Oratorical contest in elementary school. I credit those early experiences on a huge stage with the development of my personal confidence and how significant it is for me as a performer. 

JL: Why did you decide to get into theater? Was there someone or a particular show that inspired you?
AD: I was an excited, talkative, eager, energetic and intelligent young kid- a teacher of mine, Ms. Theresa Newton, told me to put all of that in a poem for the upcoming oratory contest. My parents and I continued to use dramatic interpretation as an outlet.

JL: Set in Hampton, Virginia in the 1940s, THE HAMPTON YEARS examines the impact of World War II on Jewish immigrants living in the United States and their role in shaping the lives and careers of African American students in the segregated south. This play investigates the various ways in which racism and bigotry negatively impact the arts, academia and military. Where do you feel we are in terms of race relations in the U.S.?
AD: I am aware that my experience as a black man compared to my father's and grandfather's generation is much smoother in the United States. My classes in high school were very diverse and with the impact of higher numbers of brown skinned folks in prominence in every arena- political, academic, sports administration- the country has expanded in a really progressive direction. America is STILL polarized along race lines about the issues like wealth distribution, the Trayvon Martin case, Obama's road to the White House and administration so far, etc. I think there is still a wide divide between races in America. 

JL: THE HAMPTON YEARS also celebrates and honors suchextraordinary artists as John Biggers, Elizabeth Catlett, Samella Lewis, Viktor Lowenfeld and Charles White for their bold and courageous ability to overcome these challenges and create beautiful, powerful and lasting works of art. Why do you feel this play is relevant to today audiences?
AD: I think the play will be relevant to audiences today because everyone en route to accomplish anything of personal merit will face challenges and obstacles that they must overcome to realize their goals. This was true for John Biggers and Picasso and Jesus and Tupac and most certainly myself and those striving to succeed in their endeavors today. I think that theme of purposed struggle will resonate with audiences. 

JL: Which character are you playing? What, if anything, do you have in common with this character’s passions, values, intentions or belief system?
AD: I am reading John Biggers. John's FIRST scene impacted me the most. John spoke about finding Truth and relaying that Truth without compromise. I am seeking to do the same EXACT thing with acting. 

JL: If there is one thing you want audiences to walk away knowing or thinking about after experiencing THE HAMPTON YEARS, what would that be?
AD: I think that Historically Black Colleges, Universities and Institutions are incredibly distinct aspects of America's academic and social landscapes. I am fascinated by their history and think there is A LOT of critical information and drama that can be gleaned from the intersection of different races and cultures at these institutions. 

JL: What’s next for you as an actor? Where can we follow your work?
AD: Next up I will be working with Philadelphia's Applied Mechanics Company in a remount of their show "Vainglorious". The show will go up in April at the University of Pennsylvania's Annenberg Center. 

JACQUELINE LAWTON: To begin, can you tell me how long have you been acting? What was the first play that you ever worked on as an actor? What did you learn from that experience that remains with you today?
ASHLEY SPEARMAN: I have been acting for about 14 years. The first play that I ever worked on was Christopher Durang's 'Dentity Crisis, I played Edith. Prior to working on that show I had taking acting classes for about two years. Each day of the rehearsal we would have to come in with a completely different choice and voice for the character. There were also times when we were asked to swap, and take on the choices and voices of other characters. This was a great exercise because it forced me to get out of my head and be fully present in the scenes. This experience taught me the importance of trust, vulnerability, and personal awareness. Being able to trust my cast mates, giving myself permission to play, explore and discover, and being aware of my emotions/ being.

JL: Why did you decide to get into theater? Was there someone or a particular show that inspired you?
AS: I always had an interest in acting I just never had the opportunity to explore that interest until I got to college. I took my first acting class during the summer after my freshman year at Freedom Theatre here in Philadelphia, and I have been doing theatre since then. It just felt like home. There wasn't a particular show that inspired me so much as it has been my acting teachers and the actors themselves. Watching them work through their struggles and witnessing their breakthroughs, have inspired me to dig deeper and go further in my own work.

JL: Set in Hampton, Virginia in the 1940s, THE HAMPTON YEARS examines the impact of World War II on Jewish immigrants living in the United States and their role in shaping the lives and careers of African American students in the segregated south. This play investigates the various ways in which racism and bigotry negatively impact the arts, academia and military. Where do you feel we are in terms of race relations in the U.S.?
AS: I feel like the subject of race is often swept under the rug by the dominant culture. To often when race is discussed Africans Americans are always put in a position where we have to either explain or defend our worldview.

JL: THE HAMPTON YEARS also celebrates and honors such extraordinary artists as John Biggers, Elizabeth Catlett, Samella Lewis, Viktor Lowenfeld and Charles White for their bold and courageous ability to overcome these challenges and create beautiful, powerful and lasting works of art. Why do you feel this play is relevant to today audiences?
AS: This play is relevant because we can always learn and draw inspiration from the trial, and triumphs of those who came before us.

JL: Which character are you playing? What, if anything, do you have in common with this character’s passions, values, intentions or belief system?
AS: I am playing Samella Lewis. The one thing that we have in common is our strong connection family and culture. A lot of her art was in many ways autobiographical. Learning about her story reminded me of some of the stories that I heard from my grandmother of her southern up bringing.

JL: If there is one thing you want audiences to walk away knowing or thinking about after experiencing THE HAMPTON YEARS, what would that be?
AS: The only limits that exist in life are the ones that we place on ourselves.

JL: What’s next for you as an actor? Where can we follow your work?
AS: Right now I am working on new material for next year’s graduate auditions. I’m keeping my fingers crossed.

This is going to be a busy week, but I'm over the moon and looking forward to every second. On Saturday, February 16, 2013 at 8:00pm, Theatre Ariel, Pennsylvania’s only professional theatre dedicated to illuminating the rich social, cultural and spiritual heritage of the Jewish people, will be presenting a reading of THE HAMPTON YEARS as part of their annual Salon Reading Series. 

Hosted by Maureen Pelta, Department Chair and Professor of Art History at Moore College of Art, and Alan M. Feldman, Chancellor of the Philadelphia Bar Association, THE HAMPTON YEARS is a powerful work that explores the development of African American artists, John Biggers and Samella Lewis, under the tutelage of Austrian Jewish refugee painter, Professor Viktor Lowenfeld, in WWII America. 

If you're in or near Philly, I'd love to see you! Click here to purchase tickets and to learn more about the event. Seating is limited! Last season was sold out! 

Now, if you're already booked on Saturday, no worries! On Sunday, February 17, 2013 at 2:00pm, Theatre Ariel and the  National Museum of American Jewish History will present an encore reading of THE HAMPTON YEARS in conjunction with the special exhibition Beyond Swastika and Jim Crow: Jewish Refugee Scholars at Black Colleges.  Tickets are $5 and you can see the amazing exhibit. Click here to purchase tickets and to learn more about the event.

I could hardly contain my excitement when Deborah Baer Mozes, Theatre Ariel's Artistic Director, told me that the National Museum of American Jewish History was interested in doing a reading of The Hampton Years as part of the Beyond Swatiska and Jim Crow exhibit. You see, the research in this amazing, in-depth and powerful exhibit inspired this play. It's how I first learned about John Biggers and Viktor Lowenfeld. I felt that everything had come full circle in the most beautiful way. As a playwright, I'm really quite fortunate to have this extraordinary opportunity.

As you can imagine, I'm honored to share my play with Philadelphia audiences and so very appreciative of this opportunity to dig back into the script. What excites me most is that I'll be able to workshop the play with actors who are new to the play and hear it read with an audience who has no history of the play. This will really give me a chance to see what's on the page versus what's been in my head for the past year. I'll be participating in post-show discussions after both readings, which should be really useful in terms of feedback. Finally, what I learn from this weekend will help fuel rewrites for an upcoming reading at the Phillips Collection and that draft will take us into rehearsals for the world premiere. More of all of that anon!

Of course, I'll be sure to let you know how everything goes. For now, please allow me to introduce you to Deborah Baer Mozes, Theatre Ariel's Artistic Director, and to my lovely cast who comprise some of Philadelphia most outstanding, passionate and hardworking theatre artists.

DEBORAH BAER MOZES

Deborah Baer Mozes (Director) is founder and artistic director of Theatre Ariel in Philadelphia. Since the inception of the company, she has given life to over 52 new plays and created and directed Theatre Ariel's museum productions, A MUSE in the MUSEum: Journeys in American Jewish History and Heart and History, in partnership with the National Museum of American Jewish History. She was literary manager and dramaturge for the Walnut Street Theatre in Philadelphia, associate artistic director of Stageworks Touring Company of New Jersey, artistic director of the Manitoba Theatre Workshop and guest director for the Actors Theatre of Toronto. She directed critically acclaimed productions for the Walnut Street Theatre Independence Studio Season. Mozes has served on the faculties of the Reconstructionist Rabbinical College, Rowan State University, University of Winnipeg, Walnut Street Theatre School and the Institute of Contemporary Midrash. In Mozes was artist-in-residence with the Arad Arts Project in Israel. She is co-editor with Julianne Bernstein of Voices from Ariel: Ten-minute plays exploring the Jewish experience, published by Dramatic Publishing (August, 1999).

TAYSHA CANALES 

Taysha Canales (Elizabeth Catlett) is a graduate of Arcadia University with a B.F.A. in Acting. Previous Philadelphia credits include: Seek and Hide with Dragon’s Eye Theatre at Smith Playhouse, “Euphrasie” in Flashpoint Theatre Company’s Slip/Shot, and The National Constitution Center’s “Fighting for Democracy” and “Living News” theatrical exhibits. She is an Epic Theatre Ensemble Artist (NYC) as well as a teaching artist with Philly Young Playwrights and Interact Theatre. Next up: The Lysistrata Project with Simpatico Theatre Project.

AKEEM DAVIS

Akeem Davis (John Biggers) is a graduate of The Florida State University and a proud man of Omega Psi Phi Fraternity, Inc. He is from Miami, Florida and since venturing to Philadelphia in 2011 he has acted with Flashpoint Theatre Company, Philadelphia Young Playwrights, InterAct Theatre, and People's Light & Theatre Company, among others. Credits include:  
Othello, Desdemona & Iago Walk into a Bar (Ad Hoc Theatre Company), Merry Wives of Windsor (Shakespeare in Clark Park), Etched in Skin on Sunlit Night (InterAct Theatre Company), Slip/Shot (Flashpoint Theatre Company), and The Etymology of Bird (Arena Stage).

KHRIS DAVIS

Khris Davis  (Charles White) earned a BA in Theatre Arts from Cheyney University of Pennsylvania. He has been working as a professional actor working in Philadelphia since 2009 and is involved in education with the Walnut Street Theatre and the Philadelphia Theatre Company. Hailing from Camden, NJ, he takes pride in challenging the stereotypes surrounding the people and the city. Credits include, "Othello, Merchant of Venice, The Venetian twins; Quintessence Theatre Group, "Ruined; Philadelphia Theatre Company", "Curb your enthusiasm; GWCNY", and countless projects with Mike Lemon.  "I am honored to be working with a long time friend and colleagues on this new and powerful piece of work.” 

ROBERT HARGRAVES

Robert Hargraves (President MacLean/Navy Admiral) is excited to be making his debut with Theater Ariel in this Salon Reading of The Hampton Years.  Recent roles include: Billy Einhorn in Isis Productions’ The House of Blue Leaves;  Dr. Sugar in South Camden Theatre Co.’s critically acclaimed production of Suddenly, Last Summer; he created the role of Doyle in The Ugly Past at Phila. Theatre Workshop’s 4th Annual Playshop Festival and performed as real-life accused murderer Gary Gauger in The Exonerated with both Raven Hill Productions and The Ritz Theater Co. He had a successful run as Juror #8 in the Ritz Theater Co.’s production of 12 Angry Men. Other roles include: Greg in Other Hands (Luna Theater Co.), Eugene in Affluenza and Tom MacKenzie in 7 Year Itch (both at Montgomery Theater Co.), and Josef Mengele in New City Stage’s harrowing Angel: A Nightmare in 2 Acts.  Love to the BBFE.

STEPHEN HATZAI

Stephen Hatzai (President Bridgman) has been involved in theatre as an actor, director, producer, technician, playwright and educator in Philadelphia and the Lehigh Valley since the Punic Wars.  He has appeared onstage at the Folger, Villanova Theatre, InterAct, Luna Theatre, People’s Light and Theatre, Theatre Catalyst, Theatre Outlet, and the Pennsylvania Shakespeare Festival among others. The world premiere of his play Waiting for the Ship from Delos: the Last Days of Socrates was a popular and critical success at the 2008 Philly Fringe Festival. He is a former Barrymore voter and is an adjunct Professor of Theatre at Penn State Abington. He is delighted to be working on “The Hampton Years” with such a talented group theatre artists.  Steve is a proud member of Actors’ Equity. 

IAN LITHGOW

Ian Lithgow (Viktor Lowenfeld) performed most recently in the Delaware Theatre Company production of The Outgoing Tide, which enjoyed a successful run at 59E59 Theaters in New York. Other Off-Broadway credits: Boy Gets Girl at the Manhattan Theatre Club. He has worked in numerous regional theatres including the Goodman Theatre, the American Repertory Theatre, the Williamstown Theatre Festival, the Ahmanson Theatre, the Pasadena Playhouse, Studio Arena, and the Kavinoky Theatre, where he was the recipient of the 2011 Artvoice Theatre Award for Outstanding Actor in a Play (Secret Order). Ian relocated to Philadelphia one year ago, and has since worked with Theatre Ariel, the Delaware Theatre Company, the Montgomery Theater, and the Philadelphia Artists Collective.

ASHLEY B. SPEARMAN

Ashley B. Spearman (Samella Lewis) grew up in Philadelphia and is an alumnus of Temple University. Her credits include: The Last Days of Judas Iscariot, Long Time Since Yesterday, ‘Dentity Crisis, In Arabia We’d All Be Kings, Relative Strangers, Two Gentlemen Of Verona, For Colored Girls Who’ve Considered Suicide When the Rainbow Is Enuf, First Breeze of Summer, Love and Communication. Ashley was most recently seen at the 2012 PlayPenn Conference’s reading of My Tidy List of Terrors. She is very happy to be part of this production.

Over the next week, I'm going to share interviews with the artistic director and cast along with my thoughts on our rehearsal and the readings. Stay tuned!

JACQUELINE LAWTON: Why did you decide to get into theatre? Was there someone or a particular show that inspired you?
SHIRLEY SEROTSKY: I’ll speak in terms of artistic leadership for this one. The concept of an artistic director was one that I first came to understand in college. As a directing student at the North Carolina School of the Arts we had the opportunity to do at least one Assistant Directing gig away from school, my year they sent us to Atlanta to assist on a production at the Alliance Theatre. There we met with ADs, directors, and other theater artists in town—including, of course, the Artistic Director of the Alliance at the time, Kenny Leon. I remember him talking about his first years as AD of this major institution, helming what was seen as a radical overhaul—which transformed the theater from a safe regional theater catering mostly to white suburban audiences to a much more dynamic, risky, and culturally diverse theater. He reflected that while these changes alienated some audiences (indeed, subscription numbers dropped noticeably) changes were necessary to achieve a stronger future vision for the company. So, his leadership very much put Alliance on the map as a theater to reckon with, and yet others saw the change as a failure, because subscriber numbers waned. This conversation really opened my eyes to the challenges an artistic leader faces. How do we balance priorities? How do we challenge audiences without alienating them? When must we let patrons go? What is growth and what is stagnation—artistically, financially, and in terms of infrastructure? And why does growth in one of these areas sometimes hinder the growth of another?

This was an early, eye-opening conversation about season planning and artistic mission for me, one that—fourteen years later--I still think about.

JL: How long have you served as Associate Artistic Director at Theater J both in terms of title and in duties and responsibilities? What drew you to working at Theater J? What keeps you there?
SS: I became AAD at Theater J in December 2012, after four and a half years as the Director of Literary and Public Programs. I wrote a letter to Ari Roth in 2005 telling him of my interest in new plays and my admiration for the work Theater J was doing in that arena. A year later he saw my production of TWO ROOMS at Theatre Alliance, and I believe then we corresponded about viewing the Middle East through the lens of theater. I’d visited Israel in 1999, and was blissfully unaware at the time that I was travelling during a rare and precious moment of relative peace. As I caught up on reading about the region while working on that play, I also became aware of the Voices from a Changing Middle East festival at Theater J. I was a child of the 1980s and remember pretty vividly the final years of cold war fear. Around the turn of the 2000s it hit me that this would be the fear we would live with for the next generation, perhaps for the rest of my life—the uncertainty and trepidation that comes with the conflicts in the middle east and the rise of religious extremism in locations around the world. It seemed to me at the time that doing theater that looks at these big questions of faith, geopolitics, and humanity—in a way that is not boring or didactic --is the most important thing we could be doing as artists. I still feel that way.

JL: What is the most valuable lesson you learned so far? Also, what traits do you feel a successful Artistic or Associate Artistic Director should have to support the health and growth of an organization?
SS: The thing that continues to blow my mind about being an artistic leader is how many different groups of people one has to consider. Sure, directing requires great collaboration, and guiding a vision while communicating with actors, designers and the producing theater is a challenge. But add to that a board, marketing and development teams, regular patrons and friends of the theater, and any partner organizations or departments, and this becomes a sometimes daunting venture requiring good listening, even better communicating, awesome flexibility, lots of meaningful gut checks, and an amazing amount of patience.

JL: What excites you most about being an Associate Artistic Director? What do you feel your greatest challenges will be?
SS: See above. It can be a comfort to retreat into an artistic bubble and not have to worry about budgets or grants or future planning. But the more I am involved with the big-picture conversations here at Theater J, the more I learn and the more I am challenged. These are both great things.

And because of the global focus of the work we do here at the J, I find myself constantly realizing that I need to LEARN MORE. About history, about art, about music, about the Middle East, about the Sudan, about the 1970s, about theology, about the Civil War, about Jim Crow, about Sarajevo, about superheroes, about philosophy…and the list goes on. And I love this.

JL: Does your work as an Associate Artistic director pay the bills? If not, what else did you do? How do you balance your role leading an organization with your work as a director? Are you ever able to direct outside of your company?
SS: It does pay the bills. I also add some freelance directing and teaching into the mix. And yes, I am able to direct outside of Theater J, and find that when I hit the balance right the my work at the J cross-pollinates the work I do elsewhere in gratifying and meaningful ways.

JL: Looking at your body of work as an Associate Artistic director and a director in the community, how conscious were you of selecting plays by women or people of color when deciding your season? Also, when it comes to hiring administrators, designers and other directors do you take race and gender into consideration?
SS: Very conscious, but in a way that isn’t necessarily about meeting quotas or percentages. It’s something more innate than that for me. Eight of the eleven of us here at TJ are women, so the female voice within the room is very strong. Our board is primarily women, the CEO of the DCJCC of which we are the resident theater company is a woman, I think if we ever pitched a season of all male playwrights or directors it would show an odd and unfathomable disconnect. Our representation of artists of color is trickier because we are a culturally specific theater and there’s tended to be a specific idea of what some who is Jewish looks like, or what entails a “Jewish-themed” play. I have watched that idea expand and swell in the time I’ve been here, and I’m glad.

JL: DC audiences are . . .
SS: Not afraid to tell you what they think.

JL: DC actors and designers are . . .
SS: My best friends and collaborators.

JL: DC playwrights are …
SS: Storming the castles, in wonderful and important ways.

JL: DC critics are . . .
SS: Part of the bigger conversation.

JL: What advice do you have for an up and coming theatre artists who have just moved to D.C.?
SS: SS: See above! Take advantage of the opportunities that this community offers you. Meet like-minded artists that you want to work with, find a community, an artistic family. Hone in on what you, specifically, bring to this art form and know why you do it. Assistant Direct for people whose work you respect and admire—recognize what you like about how they work, and also what you would do differently. Reach out to artists you respect in the community, at all levels. Invite them out to coffee to ask them about what they do and how they do it. More often than not, they’ll say “yes”. Read, see, talk, share. Care about things other than the theater. And I’ll quote the advice that Kathy Bates, the commencement speaker at my graduation from an arts conservatory shared with us: “Get a life”. As in, a life beyond the theater. Care about the world, your friends, your family; find ways other than your work to feed your soul. 

JL: What's next for you as a director and your company?
SS: I start rehearsals for A Man, His Wife, and His Hat by Lauren Yee at the Hub Theatre in March. And Theater J starts previews for David Mamet’s Race of February 6. We’re also holding a center-wide symposium on race that should provide a forum for some challenging conversations over President’s Day weekend, February 16-17.

JACQUELINE LAWTON: Why did you decide to get into theatre? Was there someone or a particular show that inspired you? 
MARY HALL SURFACE: I actually have a moment I can pinpoint.  I was a sophomore in college, studying theatre in London.  I was standing on a landing in a Victorian Toy Theatre Museum, looking out into the street through a beveled glass window (what I still like to do best when in a museum or historic building, look out through their windows at the world.) I’d been wrestling with what do to with my love of all the performing arts, literature, cultural history, visual art and my overwhelming 20-year old desire to “do something” for the world.  Perhaps its was the prism of perspectives offered by the window of the lively street below of a city I adored and the exquisite little worlds crafted by the toy theatre makers all rolled up into one, but I remember stopping in my tracks and saying, “I got it. I’ll be an artist who makes worlds on stage and off.  I’ll make them about questions and connection, and make them deeply beautiful.”  Been working on that one ever since.

JL: How long have you served as Artistic Director at your company? What drew you to the position? What keeps you there? 
MHS: INTERSECTIONS began in 2010 as a project of the Atlas Performing Arts center to provide a prism (imagine that!) of perspectives through the arts on our lives as a richly diverse community.  I was tapped to put it all together, having directed the play that opened the Atlas (Coming Home by David Emerson Tony) and then having stayed connected to Atlas, and believing deeply in its potential.  The opportunity to help “make a world” on the Atlas stages and, just as importantly, in its meeting places that is inclusive, inquisitive, hopeful as well as challenging and perspective broadening, is why I signed on.  The continuing potential of what we are trying to do keeps me there.

JL: What is the most valuable lesson you learned during your tenure? Also, what skills and traits do you feel a successful artistic director should have to support the health and growth of an organization? 
MHS: Be open the evolution of what you are creating.  Missions expand, refine in concert with changes in the community, the culture. Listen more than talk.  Create an environment in which everyone has a stake, a claim, an investment.  Ensure that everyone in the organization can do their best work by supporting them, challenging them, believing in them.  Operate out of a sense of possibility. 

JL: What excites you most about being an Artistic Director? What is your greatest challenge?
MHS: I love the growing intersection of art forms and the collaborations that are being born from artists meeting at the festival. This fulfills one of our central goals– to connect artists across disciplines as well as age, culture and community.  At the November artist “kick-off” party, there was a palatable excitement among artists meeting for the first time, discovering potential connections.  I get the same feeling when I’m a part of the festival audience, where people who are normally not in the same room gather and have an experience in common.  Greatest challenge: there are always the financial challenges of making it all happen.  But equally, I want to deepen the dialogue with the community to ensure that the work is authentic and responsive.

JL: If your work as an artistic director doesn’t pay the bills, what else do you do? Also, how do you balance your role leading an organization with your work as a director? Are you ever able to direct outside of your company?
MHS: I see the festival, itself, as directing one giant multi-scene production, in a way.  And I work as a playwright, director and teaching artist in addition to my work as the AD of INTERSECTIONS.  I am able to do one to three other directing/writing projects per season in addition to the festival (I just completed a multi-disciplinary performance for the National Gallery of Art, FRAMED!, to complement their Roy Lichtenstein exhibit.)  This year, for the first time, I am directing a play for family audiences that will perform at the festival.  This might signal my demise.  We shall see J. 

JL: Looking at your body of work as an artistic director and a director, how conscious are you and selecting plays by women or people of color when deciding your season? Also, when it comes to hiring administrators, designers and other directors do you take race and gender into consideration?
MHS: The Atlas has a long-standing commitment to diversity in its staff and board. The entire ethos of INTERSECTIONS is built on ensuring that all voices are heard.  So we are all about projects created by artists of color and women are in full force as directors, choreographers, composers, and creators.

JL: DC audiences are ... 
MHS: Willing to be adventurous when they come to INTERSECTIONS, which is thrilling, as that’s the point.

JL: DC actors and designers are ... 
MHS: Inventive and generous in their work with INTERSECTIONS.

JL: DC playwrights are …
MHS: Being showcased at the Festival for a second year in a piece called, 360º of America: Force Majeure.  Playwrights include Katherine Akerley, Bob Bartlett, Mary Stone Hanley, Kristen LePine, Danielle Mohlman, Malcolm Pelles, Anu Yadav and Laura Zam.

JL: DC critics are ...
MHS: Part of the team, ideally.

JL: What advice do you have for an up and coming theatre artists who have just moved to D.C.? 
MHS: See as much work as you can.  Be open-minded.  Support each other.  Take advantage of all that is here (free museums, world-class libraries, remarkable nature close at hand.)

JL: What's next for you as a director and your company?
MHS: INTERSECTION opens on Feb 22.  Between now and then, I am working to help develop a number of the world premieres that will happen at the festival and to build partnerships within the community to engage audiences as fully as possible in the festival.  I’m also directing my musical (written with my long time collaborator, composer David Maddox) Sing Down the Moon with the most excellent students of Catholic University’s musical theatre program, to be produced at INTERSECTIONS.  www.intersectionsdc.org says it all.