The Front Porch Arts Collective, a non-profit Black theatre company, discussed its mission and what it’s like pursuing a career in theatre, during a panel at Robsham Theater on Tuesday.
The panel featured the Collective’s Director of Education Pascale Florestal, Co-Producing Artistic Director Dawn M. Simmons, and actor Grant Evans.
The collective was founded eight years ago when Co-Producing Artistic Director Maurice Emmanuel Parent came to see Saturday Night/Sunday Morning at Simmons University. Following the show, Parent asked Simmons how they could do theatre like this all year long, as opposed to just in February, while being the ones making decisions.
Simmons remembers her response was simple: “We should start a theatre company.”
The group then discussed their ongoing production, Ain’t No Mo’. Through a series of vignettes, the 90-minute play prompts reflection from the audience by presenting a surreal, alternate reality in which the U.S. government offers to buy a plane ticket to Africa for every Black person who desires it.
“It’s immediately insane,” said Evans, who currently acts in Ain’t No Mo’, while describing their first time watching the play. “There’s no chance to warm up.”
Evans was also taken aback by the play’s vulnerability, which at first, felt exposing and raw.
“[Jordan Cooper] was saying the most intimate, silent conversations that minorities, or, queer people could have … [he] found a way to say all of those things out loud,” said Evans.
The panel then pivoted, giving insight into their individual experiences pursuing careers in theatre. Evans explained acting is not a financially rewarding career, and without a significant financial safety net, you can face quite the reality check.
“Acting is a gambler’s game,” Evans said.
The group also emphasized the importance of being kind while working as an actor. Due to the number of talented people pursuing acting, having people who will recommend you and give you opportunities is essential.
“People will hire someone they want to work with again over the most talented person in the room every time,” said Evans. “At minimum, you should be professional. At maximum, you should be gracious.”
Evans went on to describe how they got into theatre. After studying opera in high school, they were told during their senior year that they would never be able to make a living singing opera. The teacher who broke the news suggested they pivot to musical theatre, where Evans found a career.
In contrasting paths, Simmons went to school to be a writer while Florestal wanted to be an actor, but both similarly found their way to theatre by chance.
Regardless of how you end up in theatre, wholeheartedly committing to it is a necessity, according to Florestal. She described how you sometimes have to balance multiple jobs, potentially outside of the arts, to support yourself while working toward a greater goal.
“It is 20 years to become an overnight success,” said Simmons.
Despite the difficulties and anxieties associated with making a career in theatre, every panel member was passionate about how rewarding it can be.
“I am [the audience’s] first entryway into compassion, and like, f–k yeah, I can do that all day,” Evans said.
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