Jacqueline E. Lawton
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Women Stage Managers of D.C.: Kate Kilbane

12/30/2013

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The Laramie Project, Ford’s Theatre. Photo by Carol Rosegg.
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The Oedipus Plays, The Shakespeare Theatre Company, at the Odeon of Herodes Atticus on the Acropolis of Athens Greece. Photo by Kate Kilbane
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Amanda Johnson as Evita & Scott Sedar as Peron, Evita, Open Circle Theatre. Photo by Ian Armstrong
JACQUELINE LAWTON: How long have you lived and worked as a stage manager in DC? What brought you here? Why have you stayed?
KATE KILBANE:
I’ve lived and worked in DC as a stage manager since 2000. Having studied political science, I moved here for a job at a non-profit in the solid waste management field. After I transitioned to theatre and became aware of the breadth and vibrancy of the DC theatre community, I’ve enjoyed living here.

JL: What excites you most about being a stage manager? What do you feel your greatest challenges are?
KK:
Watching art and the creative process take place. Learning and knowing how to overcome obstacles whether they be in the rehearsal room, during tech or even after opening. I love witnessing moments that really capture what the playwright/director/designers intended. As a stage manager, it can be challenging to identify the weakest link of a production and find ways to improve it.

JL: What traits do you feel a successful Stage Manager should have to support the health and growth of a production?
KK: Strong organizational and communication skills, being adaptable to meet the needs of a production, efficiency, punctuality and professionalism.

JL: Does your work as a Stage Manager pay the bills? If not, what other work do you do and how do you find a balance?
KK:
Yes, though I supplement my income between shows when possible with office work. After working in the office for a few weeks, I appreciate my work and love for theatre even more.  It just comes naturally.

JL: Looking at your body of work as a stage manager in this community, how conscious are you of selecting plays by women or people of color when deciding your season?
KK:
I have worked on numerous plays written by women and people of color during my career as well as plays directed by women and designed by people of color. I look for opportunities to work on productions that are interesting, challenging and stimulating, and if one by a woman or person of color comes along that meets that criteria and everything else falls into place, then I would take it.

JL: How do you feel the DC theatre community has addressed the issues of race and gender parity? How has this particular issue impacted you and your ability to work?
KK:
I think DC theatres continue to make an effort to address it. By letting new voices and perspectives be heard, I think DC theatres can help their audiences grow in understanding themselves and the world around them. I am disheartened to see very talented minority actors having difficulty finding work, and if there was one area to be addressed, that would be a focus.

JL: DC audiences are ...
KK:
very intelligent.

JL: DC actors, designers and directors are ..
KK:
very talented and hard-working.

JL: DC critics are ...
KK:
I don’t read every review but I think they are generally articulate with a strong point of view.

JL: What advice do you have for an up and coming DC based stage manager?
KK:
Check out the theaters in town to get a sense of where you might like to work and could be a good fit. Network and send resumes around town.

JL: What's next for you as a stage manager? Where can we keep up with your work?
KK:
I am currently the Assistant Stage Manager for Violet at Ford’s Theatre and next for me is stage managing The Admission at Theater J. I occasionally dabble on Facebook.

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  • Home
  • Info
    • Artistic Statement
    • Bio
    • Awards and Fellowships
    • Affiliations
  • Writing
    • Upcoming Events
    • Previous Events
    • Plays
    • Productions
    • Commissions
    • Award Ceremonies
    • Publications
  • Advocacy
    • Appearances
    • Facilitation, Workshops, and Trainings
    • Access, Equity, Diversity, and Inclusion in the American Theatre
    • Gender Equity
    • Theatre and Technology
    • Theatre Action >
      • After Orlando
      • Climate Change
      • Every 28 Hour Plays
    • Testimonials
    • Additional Resources
  • Dramaturgy
    • New Play Development
    • Production Dramaturgy
    • Dramaturgy and Script Consultation
    • Additional Resources
  • Teaching
    • Qualifications
    • Curriculum Development, Theatre Arts Integration and Teaching Artist Training
    • Philosophy
    • Experience
  • Producing
    • ARDEO
    • On Stage with the Migration Series
    • Out of Silence: Abortion Stories from the 1 in 3 Campaign
  • Media
    • Gallery
    • Good Ink
    • Media Coverage
    • Interviews
    • Press Releases
    • Podcast & Video
  • Blog
  • Contact