You have been in theater for nearly 20 years. What is it about the stage that keeps you coming back for more?
Reggie Guyton: Theater has saved my life. It gave me purpose and understanding. There's something about sinking into roles or a script that gives you a sense of distraction. During some of my most trying times, I have been involved with theater and have silently given thanks for a distraction and something to work toward. It's cleansing and healing most times.
I regard you as an expert in your field. In your opinion, what is the current state of theater in Springfield?
RG: Thank you so much for saying that, because in the vacuum of Springfield, I do not feel as though I am seen as a creative expert. From my own experience, people would like to have help or advice if it does not challenge the status quo. Most don't want advice or critique if it means that they have to go back to the drawing board or be held accountable in regards to the undertone of their choices. Due to this inflexible nature, many of the people running these organizations have allowed situations to fester, spoil and, in some cases, rot their relationship to the community. Many people are unfortunately finding that the places they thought were safe are actually more harmful.
The theater community at large has become a space that has been unsafe for many people who do not fit, and it exhausts those who wish to be committed. At this point, I truly believe that the only way some organizations are going to be able to renew trust from the community is for a sweeping change of personnel and policy.
Springfield theater largely devalues the power of diverse stories, leadership and background. Companies are lackadaisical about developing and working with new directors and mentors. There is little recruitment done and unfortunately, we keep utilizing the same people who use the same friends that they have been working with for the past 10 years. Then these friends become directors, and the cycle continues.
Furthermore, there are folks who make it known through actions and conversations that diversity and equality is not something they actually care about; it's a box to check.
One of the biggest issues with Springfield theater at large is that they claim diversity is a priority but never take initiative to do the legwork to make people of color comfortable. It's as simple as ordering the right shade of makeup when you know you have a diverse cast. But every year, at least one organization is guilty of not having the materials needed. I have to ask for shades that match our Black actors every time I direct a show, but there are always plenty of cinna beige and other variations of tan hues. It's insulting and dehumanizing. How many other ways are you going to tell us that we don't matter?
How would you like to see local theater grow or improve in the next five years?
RG: I would love to see our actors and crew members compensated. The same goes for staff, even though a few folks do[get paid]. Truthfully, I'd like another arts venue in town that invests in professional productions and/or theater workers. Springfield is in the heart of the Midwest. We deserve quality productions with believable acting, well-executed choreography and tantalizing aesthetics. We deserve shows that run for longer than two weekends and places like the Legacy Theatre and The Muni have shown us it's possible.
Tell me about your work with the recent production of The Color Purple.
RG: I actually had to play double duty as producer and stage manager. It was not how things were supposed to go (but) I promised I would make sure that TCP had what they needed and that the cast and staff could be protected during this beautiful process.
I'm not sure I did enough, to be honest. We struggled to have a comfortable budget, and we really had to work so many connections and work with so many new people in order to get this show off the ground. Many of us came out of our own pockets to make sure we'd have everything that we needed.
I am forever grateful to the folks who not only stepped in to help but who also gave recommendations. Nicole Pittman (director/vocal director) and Mariah Brooks (choreographer) did an amazing job with all the obstacles they had against them, and they deserve every accolade that is spoken about them. They and this cast pulled off a miracle, and it is because of the collective faith that they had in the process, each other and the team that they succeeded.
The thing about doing shows that casts large numbers of Black people is that most white people in the theatrical organizations don't think it can be done because most don't feel comfortable doing the legwork it requires to get the word out.
Most white people in theatre don't see Black people as marketable, and that shows through their actions, publicity and who they choose to uphold and protect. They do not do the groundwork to make connections until it is time for them to do Black shows or prove that they are not racist. The theater community is largely segregated, just like the city of Springfield. Anyone who chooses to disagree has never had a candid talk with Black thespians in this town.
In your work at the ALPLM, you take on the role of escaped slave and Civil War naval hero Robert Smalls. What goes into bringing this character to the stage?
RG: As for Small Beginnings, I will say that I am very proud of the work I have created and the music that my co-worker, Randy Skaliki, has added to it, but many people forget and forsake the fact that I am still telling a story about slavery and the abuses Black people as a whole have felt. To ensure this, even during a short amount of time, is exhausting and feeling as though my work is more valued than I am takes its toll on me. The 13-minute piece requires me to go into a state of regression, and the body most certainly remembers the generational trauma. To be able to do this work is a heavy burden, and even though it is, I'm grateful that I can bring honor to someone that history overlooks. In some ways, that is vindication enough for me.
Representation is important in all forms of art. Do you think Black actors are getting more opportunities to shine these days?
RG: I think Black performers aren't getting more opportunities unless we are choosing to create them. Otherwise, we disavow ourselves from the community that chooses not to see us. I think it's something to observe when the only shows that really thrive in this community about Black people are either connected to slavery, racism or oppression of some kind, or that use Black people for one stand-and-deliver moment.
It's even more telling when the people in leadership have no real idea or experience of what being a minority is like. Everyone suffers when this happens. The community is denied a rich and real theatrical experience full of depth and emotion, and the actors are put in impossible positions where disruptive and unnecessary sacrifices and choices have to be made.
Other than yourself, who are some up and coming actors/directors in the local theater scene that IT readers should be watching?
RG: I definitely think you should be paying attention to Nicole Pittman and Ladonna Leach. Both of these ladies are sharp, intuitive and very creative. Tim Crawford is the next in line for the Our Stage Our Voices residency.
I am also going to be co-directing with someone soon (fingers crossed) who is a veteran performer and will be just wonderful to work with. As for others... its difficult to say. Springfield Theatre Centre has some new directors coming for the season, so you'll have to stay tuned.
Do you have any general advice for anyone reading this?
RG: I have words of wisdom for the theater community at large. If you continue to ignore the calls for conversation, you'll find yourself in a situation where there is no one to call. If you continue to neglect and underserve those who continually support you, you will find yourself alone and stuck in an archaic cycle. For the sake of your future and the future of younger artists, please do not continue to let these issues fester.
