Category: Back Stage Blog

We are beyond thrilled to have professional Costume Designer Janine McCabe provide her artistry for our upcoming production of “A Christmas Carol,” helping us make this timeless show feel reinvented and cast in a whole new light! Hear from her about her design process below:

Share with us your story of getting into costume design. 

I didn’t find my way into Costume Design until almost my Junior year in College! I did grow up dancing so I was always onstage for that but I never wanted to be an actor and had no idea that people could have careers as a designer. No one in my family was in the arts so I focused on the other things I was good at and actually started college as an Engineering major. I grew up in NJ though and beyond the excellent academics we were able to take classes in sewing, wood working, drawing and painting, metal shop and more so when I finished high school I was a proficient stitcher and would alter and create my own patterns for garments, like my prom dress!

When I realized engineering really wasn’t my passion I transferred to the College of Charleston where I took an Intro to Theatre class and learned that the department would hire Work Study students in the shops. I marched straight into the Costume Shop and proclaimed that I knew how to sew and wanted a job. After showing the professor at the time, Mary Halloway Jollensten, some sample garments, she hired me and I was sucked into the theatre world. I started taking all the classes and realized that Theatre and design combined so many of my passions and interests – sewing, teamwork, drawing, history, fashion, sociology, psychology….I was hooked.

I started designing shows my junior year and never stopped. I went on to graduate school and got my M.F.A. in Costume Design at the University of Virginia and then spent 5 years working, learning and designing in NYC. I worked under Martin Pakledinaz for multiple years on Broadway, opera and dance while designing my own shows off-broadway and for things like New York Musical Theatre Festival with friends I made along the way. I was lucky in NYC. I never worked a non-design job. It was hard work, freelance, but I loved every bit of it!

What do you love about what you do? 

It’s the collaborative aspect that I love most. Working with a team toward this shared goal of bringing a story to life in the best way possible for the audience…I can’t imagine anything better. And it is always something new. Each play, musical, dance piece brings you to different research, expands your view, allows the opportunity to learn about different cultures, time periods and other people’s journeys.

What is your favorite time period to design costumes for?

I get asked this a lot and I am not sure I have a favorite…they are all so interesting when you really start getting into the research and details. I do love when I get the opportunity to create a look that combines periods and creates some sort of timeless feel or look of another time and place that is undefined for the audience.

Tell us about your artistic inspiration behind the costumes for A Christmas Carol. 

All Julian had to say was that he wanted a more colorful approach and I was hooked. My design style tends towards the use of saturated color and textures so this was a chance to really play with that. There were movies he mentioned where the use of color served as inspiration for the team but then getting into the historical research of the early to mid 1800s demonstrated a fantastic use of color and mixing patterns and textures in the time period.

What would you like audiences to know about the costumes for this show?

This has been a really special process for me, one because I am thrilled to have the opportunity to design with such a passionate team and be part of Julian’s last production and two, because I was able to work with two amazingly talented students who will definitely become names people know, Brandon Alston and Molly Rumph. We started the summer brainstorming, researching and working together on a number of design projects. Through a SURF grant from the College of Charleston, Molly was able to work full-time for 10 weeks as an Assistant Costume Designer. Molly and I have had a blast working on the research, colors, renderings, shopping and planning together all summer and we really are looking forward to realizing the design with the Charleston Stage staff.

Patrick Brett a Season 41 Resident Actor, has returned to the Dock Street Stage for the roles of Lurch in The Addams Family – A New Musical, currently playing, and Jacob Marley in A Christmas Carol coming November 30th. While onstage this fall he’s appeared quite “stiff” in the role of the Addams Family’s half-dead butler, you can get to know his joyful personality here!

You’re a former Resident Actor with us – welcome back! What are some of your favorite Charleston Stage memories? What have you been up to since being with the company?

It’s good to be back! Charleston Stage feels like a second home to me. There are some incredible people in this company and I’m very grateful for the opportunity to return. I was a Resident Actor in Season 41, and my experiences have shaped the kind of actor that I am today. 

My most treasured memories from those bygone days always include Colin Waters. Colin entered the program as a tour de force and quickly became a leader among our fellow Resident Actors. He was the mastermind behind our legendary Halloween costume (Inside Out), a founding member of PTO, and shared his love for his favorite day, sitzprobe. I was very proud, albeit not surprised, when he was asked to join Charleston Stage full-time as the Education Program Manager.

In the role of Beast in Beauty and the Beast I got the chance to fly with Fly by Foy during the character’s transformation from beast to man, and there’s nothing like it. I remember coming in for a training rehearsal, putting the harness on, and getting lifted off the ground by two metal wires thinner than my pinky – each one strong enough to bear 800 pounds. I’m notoriously afraid of heights, and I was so scared when the ground disappeared from underneath me. My heart skipped a beat when I was told I’d be doing three backflips while spinning uncontrollably; Oh, and simultaneously take off my Beast costume. After a few trial flights I was hooked. I’m very excited that I will be given that same chance in A Christmas Carol this year.

After the curtain fell on Beauty and the Beast I traveled around the country performing in various shows. I saw the northern lights in Alaska while slinging arctic keta at a dinner theatre run by a cruise line. I was in a two person show, sometimes in ten different schools a week. Before the year ended I had moved to Chicago to pursue acting and improv. It wasn’t long before Covid came along and my focus shifted to a different vein: survival.

During my hiatus from the stage I had a variety of different roles that I began to fill. I half-heartedly earned my residential leasing agent license and began concurrently showing luxury apartments while waking up around four in the morning for my front desk job at a fitness studio. For a time I was Chicago’s worst real estate broker. I thought about becoming a plumber, and was laid off from an HVAC company. The hustle never ended. I eventually ended up working at Second City (where Chicago goes to laugh!) as a server. My favorite job by far. 

It wasn’t until 2021 that I returned to the stage in a theme park’s production of A Christmas Carol -though long story short, Covid shut down the production and I’m not allowed to be a Harlem Globetrotter. In April of this year I returned to Alaska along with my gorgeous partner Mary Kate, who I met at Charleston Stage during our time as Resident Actors. 

I’m having a blast in rehearsal. My return feels like a wonderful bookend to the last three years and I can’t wait to see what the future holds.   

How have you been preparing to play the role of Lurch in “The Addams Family?”

Lots of grunting, especially at the dinner table. Haha – Lurch does not say anything during the show. He is a large, lugubrious presence. So I’ve been practicing standing up straight and absolutely still while looking glum. And when he does move, he’s incredibly slow. To help with that I walk on a treadmill for 15 minutes a day in his gait. I’ll tell you, it would take him well over an hour to walk one mile. I’m excited for audiences to see Lurch’s mouth. Obviously in rehearsals we were masked, but when we get to tech my cast-mates were able to see a completely new dimension to my character.

This show is very physically challenging, as with any big musical with multiple dance numbers. What has been the most difficult aspect of rehearsals for you? What has come more naturally? 

I unfortunately couldn’t arrive until a week and half into the rehearsal process: music was already learned, a few dances were choreographed, and half the show was blocked. A lot of information came at me very fast, and it was hard to not let the pressure of meeting my own expectations and standards get to me. Returning as a guest artist, I gotta show up, not throw up. I have to bring my A game. The cast was incredibly welcoming and supportive of my arrival.

As far as things go that come naturally, just standing around as Lurch. To quote my JV volleyball coach, “You can’t teach tall.”

What are your standard pre-show routines as you get ready to perform?

I don’t have any, I probably should…showing up on time, I guess.  

Tough question: plays or musicals? Why?

This is a tough question because I’m a horrible student of my craft. I was very fortunate that when I was in elementary school we’d take field trips to see children’s theater. I remember seeing Mr. Popper’s Penguins, The BFG, and Charlie and the Chocolate Factory, but I wasn’t exposed to musicals till the sixth grade. The music was a nice caveat, but I think I like watching plays more. Like: “Oh, here’s an Office style mockumentary adaptation of Henry V” (do it, you cowards). There’s some weird stuff out there and that’s the work I want to do. So throw me some monologue suggestions: the fewer words, the better.
 

Patrick would like to thank all the powers that made it possible for him to return to Charleston Stage as a guest artist. He was last seen onstage in the 2019 production of Disney’s Beauty and the Beast as Beast and could not be more excited to be back. Special thanks to his parents, MK and all friends, old and new, who have come to watch. Follow him on Instagram at @party_patbrett.

Jenna Barricklo, a Season 45 Resident Actor with us, has shined on our Dock Street stage in the role of Wednesday Addams in “The Addams Family – A New Musical,” performing until Nov. 6th. Hear from her about her preparations for the role below:

You’re a Season 45 Resident Actor with us. What have you enjoyed about your
work with us so far?
I love that I get to fulfill all sides of why I love theater! It is amazing to work with my students during the day teaching them what I know and then come to rehearsal at night and explore my acting abilities. This is such a special company that really supports us and encourages us to be brave both in rehearsal and in life. It has been so much fun getting to learn and grow as an educator and challenge myself as an actor at the same time. There are not many places where we can get both of these things at once.

How have you been preparing to play the role of Wednesday in “The Addams
Family?”
The amazing thing about performing Wednesday is there is so much source material to pull from! I have been watching the original TV show from the 1950s as well as the live action Addams Family movies. While Wednesday is a slightly different age in each iteration, six and twelve years old respectively, there is a lot to learn about her relationship with her family, what motivates her, and what makes her unique. Wednesday does not have your average coming of age story, and it’s been very fun to dive into what her upbringing was like. The original Charles Addams cartoons have been great material to learn from as well. There are so many small details in the musical that are taken right from those original cartoons.

Tell us more about Wednesday. What motivates her? What is she afraid of? How
have you been working through these things as an actor?
At this point in Wednesday’s life, she is ready to be out on her own exploring. She is definitely a daredevil, and I think she is looking for the next adventure in life – in this case, love. She is very independent and always wants to prove that she can get by just fine on her own. At the same time, though, I think falling in love proves to her that there is so much she has yet to experience and understand.

While there is not much Wednesday is afraid of, I think falling in love with Lucas makes her more vulnerable. She doesn’t know how to handle the emotions that come with letting your guard down, and I think she is afraid of letting people down. While she is very independent, she really needs her family’s approval and love in her choice to marry Lucas. She has learned to value her family above everything, and I think she is now grappling with how to let new people into her heart.

The easiest part of Wednesday for me to connect with is her love for her family. While the Addams are anything but average, their family bond is something I can strongly relate to. Wednesday’s decision of whether to leave home is a similar experience to what I am going through at the stage of life, a native New Yorker now transplanted in Charleston.

This show is very physically challenging, as with any big musical with multiple
dance numbers. What has been the most difficult aspect of rehearsals for you?
What has come more naturally?

I think the hardest part is getting Wednesday’s physicality down. All of the Addams’ move unnaturally – a little off. It is hard as an actor to resist the urge to react with your body, but Wednesday is very still – not much phases her. I had to rethink my impulses and really get into her mindset, noticing how her body language is different around her family than it is with Lucas, as he brings down her guard a little.

What has been most fun for me is any time I have the opportunity to dance. Wednesday doesn’t necessarily dance a ton in the show given her stiff nature, but I get to have my moments! I had a really fun time with Raymond, our Lucas, choreographing a little dance duet for an Act II number. Any time I got to throw in a little dance event makes my soul happy!

What are your standard pre-show routines as you get ready to perform?
The music in this show is quite a beast, especially for Wednesday, so most of my pre-show routine is making sure I’m vocally warm. I do my standard warmups as well as a few that are specific to get my voice ready for this style of show. I then sing all of “Pulled,” Wednesday’s big solo, through a straw. It’s a technique I learned from my voice teacher to get my voice exactly in the spot and positioning I need it to be in that song, and I do it before every rehearsal and performance to remind my voice what it needs to do!

Tough question: plays or musicals? Why?
I have to say musicals. The music piece of a story is what always draws me in – there is so much storytelling that comes from song and dance. It can be introspection, a glimpse into a character’s thoughts, and allows the audience to dive further into a character’s point of view.

Jenna is so excited to be joining Charleston Stage for its 45th season! She received her B.F.A. in Musical Theater from Shenandoah University. Professional Credits: Lisa (Mamma Mia!), Rosalia (West Side Story), Female Newsie (Newsies), Fannie (Mary Poppins). Jenna grew up in New York City and most recently resided in Boston! She is so grateful to her parents and brother for their endless support. Keep up with Jenna on her website and on Instagram: jennabarricklo.com / @in_jennaral

We are so thrilled with the design work that Hayley O’Brien, our Associate Costume Designer and Construction Coordinator, has sketched, sewn and built to make the characters in The Addams Family – A New Musical come to life. Hear from her about her particular design process for this spooky show!

What makes “The Addams Family – A New Musical” different from designs you’ve done in the past?

Designing The Addams Family is very, very different from previous shows I’ve done! This show is very unique since it is so dark, visually and in terms of comedy. Every member of the Addams family is traditionally dressed in dark tones, yet the humor and personality of each character is very playful and quirky, even light–as they joke about death! 

What creative inspiration did you draw from to make these designs?

During the design process the director and I really wanted to stay true to the iconic silhouettes of the original Addams family as our pop culture knows them. I referenced the illustrations of Charles Addams along with the 1964 TV show and, of course, the 1991 and 1993 films. For the Beineke family, I was mainly inspired by the classic 1950’s “All-American” family to create a distinct visual contrast between the two households that highlights their differing behaviors and tastes as well. In regards to the ancestors, I enjoyed looking through history with a costuming lens and focusing on time periods and silhouettes that would be distinct from one another and also plenty of movement for our actors to dance in.

What was rewarding about designing this show? What was challenging?

It was very rewarding to design this show with the production team and work with all actors, especially since this was the first show of the season I designed with our new Resident Actors. It was amazing watching our talented actors come in for fittings, put them in costume, then see how excited they were to transform into these characters. I really love this show, and it has been so rewarding to see it come to life and share the excitement with the rest of our cast, crew, and production team. 

The most challenging part was figuring out all the makeup for the show. Makeup and wigs are essential to creating these characters. And there’s a wide range: from spooky, glamorous makeup and a long black wig for Morticia to bald caps and full-head makeup coverage for Fester to turning a whole ensemble of actors into ghosts that are in head-to-toe grayscale! However, I found a lot of joy in this challenge of problem-solving and exploring all the possibilities!

What are you eager for audiences to see and notice in your designs when they come to the show?

I make many references to the original Addams Family that longtime fans of the characters will recognize. My interpretation infused a new variation to an old love. I am also eager to introduce the audience to a whole new group of characters: the Beineke family. The Addams are very dark and textural, while the Beinekes are brighter with pops of color. On top of that, there is an ensemble of dead, ghostly ancestors! Overall, I hope our audiences notice the fine details in every costume and enjoy this kooky group of characters!

Aline Toloto, our super-talented new Properties Supervisor, has been working particularly hard on props for this huge upcoming show! Hear more about her work as a designer and the specificities of “The Addams Family – A New Musical” here:

What makes “The Addams Family – A New Musical” different from designs you’ve done in the past?

The direction we decided to go with the Properties Design Concept for the show was not about historical accuracy, but about how we could make fun props that feel like they would belong to the members of the Addams Family. That provided a great space for my creativity and imagination as an artist that sometimes, depending on the story we are telling, is not possible in other shows. 

What has been rewarding about designing this show? What has been challenging?

Connecting this answer with the previous, it’s been rewarding to be able to freely create this world of the Addams with our design team. Yet this freedom has also proven to be a challenge! We are constantly brainstorming and problem-solving–trying different things that sometimes don’t work as expected.

What are you eager for audiences to see and notice in your designs when they come to the show?

I believe the props are the “cherry on top” in theatre. In the world we create onstage it’s the little things that complement and bring life to the overall space. The goal is not to make the audience distracted by something exuberant, but the opposite: we aim for simple details that sometimes can be imperceptible to the audience. We collaborate with the actors and let them inspire the audience to believe in the story that is being told. 

What creative inspiration have you been drawing from to make these designs?

In one of my first meetings with the Scenic Designer he told me he was interested in a spooky concept–not scary-spooky but goofy-spooky! I loved the direction he desired for this design and kept that in mind throughout the process. We also established a muted color palette with grays, purples and blues for both scenery and props, letting the light and costume designs bring brighter colors into the space. 

If there’s one thing that’s fun for a scenic designer, it’s a spooky set full of tricks and surprises. Adam Jehle, Charleston Stage’s Technical Director and Resident Scenic & Projector Designer, shares more about his design process for this quirky Halloween show:

What makes “The Addams Family – A New Musical” different from designs you’ve done in the past?

I haven’t done a show with so much outside content and source material before. In my research process I’ve found a treasure trove of ideas–I’ve thoroughly enjoyed going back and looking at the old comics, TV episodes, and movies to find inspiration to make a set design that blends the nostalgic with the new.

What creative inspiration have you been drawing from to make these designs?

The biggest inspiration I drew from was the original Charles Addams and Edward Gorey comics. Their use of texture and scale were striking to me, and I drew heavily on that idea. Another idea I found funny and interesting from the Gorey was the house being in such a dilapidated state, but to the Addams parents that was their perfect version of their house. So naturally peeling wallpaper and dirt stains were a fitting route I went down.

What has been rewarding about designing this show? What has been challenging?

I’ve felt so rewarded in seeing such a large scale show seamlessly come together thanks to everyone’s hard work and thanks to the talented cast, crew, and production staff. The team I work with in the scenic shop is nothing short of amazing, and it makes me so proud to see all that we can build when we come together.

On the flip side, ironically, the scale has been the biggest challenge. With so many locations set in this show, furniture, and props, The Addams Family – A New Musical makes for a massive design challenge to bring all those pieces together cohesively. 

What are you eager for audiences to see and notice in your designs when they come to the show?

I want the audience to leave thinking what they saw felt like the true “Addams Family,” with call backs to the original show and vintage comics. But also I want them to feel like the story and set they experienced was a fresh take on this classic series. Our Design Concept for the show is this phrase “Everything is not as it seems.” I hope audiences will take a good look at the set in each scene, because that very well may be true. You’ll be delightfully surprised by all the tricks we have up our sleeves!

We sat down with Brietta Goodman, a Season 45 Resident Actor, to hear her express how the power of live theatre has impacted her life as a human and an artist. Read on below:

I always enjoyed the performing arts as a child. It was a way for me to express myself freely as a person and as an artist. And with being the last of 8 siblings, it was my calling to be the artsy one. My first encounter with live theatre was seeing Phantom of the Opera at The Orpheum in Memphis, TN–needless to say, it was beautiful! That was the start of a tiny seed that sprouted my love for theatrics. I was a choir kid from middle school to college. Starting off, I participated in show choirs and several other ensembles throughout high school and college. My first love was music, and while it is still a big part of my life, overtime that love grew into live theatre. Aside from choir, my high school’s drama club was the most comfortable place where I felt safe and a sense of community with my peers. 

I did not pursue theatre until my second semester of freshman year in college when my professor, Sadie Shannon, said she wanted to take me to a musical theatre competition but that I had to be a theatre major in order to go. So, I changed my major from General Studies/Hospitality to Theatre. Being cast in my first musical that semester, Calvin Berger, was my first experience acting onstage, and I loved it. I enjoyed coming up with backstories for the characters and collaborating with so many talented people on and offstage. I was able to travel to New York for a week to participate in a week-long Broadway Intensive Bootcamp, which was the most eye-opening week of my college career. During that week, I realized that theatre was what I wanted to do with my life, and I’ve never felt more passionate about creating and performing live theatre than in that week. 

My love has only grown for all the wonderful elements at work on and offstage that make live theatre so amazing. To me, live theatre means community, passion, and outreach. Everyone involved is so driven and dedicated to creating one final cohesive beauty of a production that the audience witnesses. It gives me more awareness about myself and about others that I haven’t been able to find anywhere else. Live theatre doesn’t have a barrier–it can reach and affect everyone in it and those who watch it. I am so grateful to be able to create and perform art with such a beautiful community here at Charleston Stage.

Brietta (she/her/hers) is ecstatic to be a Resident Actor with Charleston Stage this season! Originally from Horn Lake, Mississippi, she received an A.A. in Theatre from Northwest Mississippi Community College with credits including: Polly Benish in Play On!, Aida in Aida, and Ellen Van Oss in Two Rooms. Recently a graduate from University of Southern Mississippi with a B.A. in Theatre with credits including: Cathy Haitt in The Last Five Years, Bunny in Detroit ’67, and Lucy Grant in Bright Star. While at USM, she was an Irene Ryan Finalist and was awarded First Place in the Musical Theatre Initiative Region IV Competition. She is so grateful for this opportunity and the support she has received from her friends and family going on this new journey! Stay Connected: https://briettagoodman99.wixsite.com/actor-performer

We sat down with Jhonika Wright, a Season 45 Resident Actor with our company this season, to hear her express how the power of live theatre has impacted her own life as a human and an artist. Read on below:

I was just 3 years old when I saw my first musical, CATS. To this day I still remember sitting in the second row, completely mesmerized that my favorite VHS tape was being performed live in front of my eyes and not on a screen.

Growing up, I always knew that I wanted to be a singer, and more specifically a Disney Channel star. I thought being on tv was the only outlet for me, until my mom put me in a theatre summer camp at 11 years old. When I realized this art combined my love for singing, dancing, and acting, I was hooked and never looked back.

Theatre has not only been a constant creative outlet and form of expression for myself, but it has shaped me into the person I am today. I discovered a love for myself through performance, as it allows me to be comfortable in my own skin and live authentically. Through theatre I discovered my voice and my desire to connect and impact those around me through storytelling and representation on and off stage. 

I believe that the arts have the capacity to save lives. The arts are our connection to our shared community and allow others to amplify their lived experiences to wider audiences. Theatre empowers us, uplifts us, and inspires us to continually give voices to those who need them. By living in others’ shoes and learning genuine expression, artists demonstrate the power of understanding. In a 2 ½ hour performance alone we have the ability to change someone’s perspective on life and the world around us, be the reason why someone chooses to go into the arts, and most importantly, make them feel seen and represented.

We are in an industry that is eye opening and constantly changing. As a performer who is a woman of color and plus-sized, I am always so grateful to represent on stage those who share these characteristics with me, and I hope to continue to impact audience members and future performers through the passion and joy of my work.

Jhonika is thrilled to be joining Charleston Stage as a Resident Actor! Originally from Maryland, she spent most of her life in Arkansas where she graduated from Ouachita Baptist University and received her Bachelor of Fine Arts in Musical Theatre. Her favorite roles include: Wendla (Spring Awakening), Cairo (We Are the Tigers), Woman 1 (Songs for a New World), Grizabella (Cats), and Yertle the Turtle (Seussical the Musical). Sending all the love to her incredible family and friends for their endless support, “This one is for you!” To keep up with all things Jhonika, you can visit her Instagram: @jhonikaaaa

We recently had the delight of sitting down to interview Crystal Campbell, a longtime educator, supporter of child and family development in the tri-county community, and member of the Board of Trustees for Charleston Stage. Hear about her beginnings with us and dreams for the growth of our theatre beyond the walls of the Dock Street.

Please share the beginning of your involvement with Charleston Stage.

I am a longtime educator and in retirement currently serving as the Executive Director of First Steps in Dorchester County, a non-profit organization supported by the state to ensure that young children are prepared for school success at age 5. Teaching has always been one of my passions, and Charleston Stage’s commitment to education is something that has always resonated with me.

I started with Charleston Stage (Young Children’s Stage Company at that time) in the 1980s–before the company was even a decade old. I was teaching 5th grade out at Sullivan’s Island Elementary School when a colleague of mine, Jean Glave, who was active in the theatre told me she thought I’d be very interested in it. She took me to the old Memminger Elementary School, where Julian Wiles (Founder and Producing Artistic Director) was hosting auditions for roles in his play, The Country Bunny. 

Julian had everyone line up to do cold readings. As I was reading the part of the Country Bunny, I messed up my lines–I think I got that part because I did, though! It was a wonderful production and I had a fabulous time. Since then, I’ve been hooked! Julian was gracious to let me teach at the TheatreSchool and offer me parts in several performances: Huckleberry Finn, A Woman Called Truth, and To Kill a Mockingbird, among others. Julian challenged me in such a powerful way–I remember in Huckleberry Finn he wanted me to play a woman in her 80s without using any aging stage makeup! I could not wear my glasses either. To rehearse the character, I observed the older women at my church and took mental notes. It was fun being so creative to prepare for each show I did with Charleston Stage.

What made you want to join us as a board member?

Becoming a board member was an answer to a prayer. In the beginning days of Charleston Stage, something Julian really strived for was to make it easy for children to come see theatre performances, so we offered (and still do!) weekday school matinees. My principal, Fleming Harris, supported me by allowing me to have leave time to do the matinee performances. Back then, Charleston County’s Superintendent allowed teachers to perform and to bring the students on field trips to the theatre. This was how I was able to perform in school matinees without compromising my teaching position at Sullivan’s Island Elementary. This was a major feat because no other theatre was trying to involve children as much, and it offered me so much joy to feel supported by Charleston Stage and my school. It was amazing having my students come see shows I was in. 

Then life happened. I moved to Columbia for a while and got more busy, but I still loved theatre. When I moved back to Charleston I knew I wanted to get back involved in it.

A few years ago I was talking to God when I looked in the mirror and said, “It ain’t over for me yet. I know I’m older, but I can still do this. I’d love to be in a performance again. I just want to be in theatre.” And that was just my simple prayer. Fast forward a week: I got a call from Julian, and before he could even finish I said yes to being on the board and getting involved again! It all feels really full circle.

What do you hope to see accomplished in Charleston Stage that you can help bring to fruition as a Board Member? 

I know that there are so many children in our community that Charleston Stage hasn’t even gotten to touch yet–families who’ve never been to a performance. I’ve taken on as much as I can to make that happen. 

One of the first things I did when I became a Board Trustee was connect Julian with First Steps, of which I am the Executive Director of in Dorchester County, and Tri-County PLAY Collaborative. Our sole purpose, in First Steps, is to help families with children 0-5 prepare for school success, and we created Tri-County PLAY in order to help families participate in cultural events within the community at little or no cost. We look at the entire family–not just helping them with childcare or purchasing school supplies, but also help them improve their status in life. 

Naturally, Charleston Stage’s CityStage program is huge for me. Ashley Palmer, our Production Manager, and Marybeth Clark, our Artistic Director Designee, have worked with some of our Resident Actors to host a theatre education program for First Steps, which is such a delight to me! When CityStage performed Treasure Island in St. George this spring, it was huge, because it’s a good hour away from downtown and many families can’t get to the Dock. The CityStage program allows us to, at a lower cost, invite families to the theatre and help provide transportation so that they can enjoy the cultural things happening in our community. 

Why is exposure to the arts integral to childhood development and the family unit?

It’s the number one thing for children ages birth to five years old. Academics are enhanced when children can learn through drama, music, and dance. I often tell the parents and educators I work with that we need a foundation to teach children their ABCs–their brains need opportunities to absorb everything. I don’t know a single child who doesn’t like jumping around, flipping, and dancing! Our job is to provide a safe environment for that all to happen in. If we want communities where people are thriving, then we have to have the arts in them–and I think drama is perhaps the best method because all you need is your body and voice to make all kinds of characters come to life–it’s the most accessible form of art.

Finally, what is your favorite show of all time?

To Kill a Mockingbird. Playing Calpurnia was just–ooh! It was perfect. I can still see myself in the green room peeking out as the busses of kids pulled up to the theatre–looking out for my own students who would see me in the shows. 

As a kid my voice was always “too loud,” I’d get in trouble at home and get kicked out of the library at Fort Johnson High School! But back in the day when we didn’t have microphones on stage, some people told me that my voice was the only one they could hear. It was so nice to have my voice celebrated in the theatre–I finally felt that my voice was an asset.

We sat down with K’nique Eichelberger, a returning Resident Actor with our company this season, to hear him express how the power of live theatre has impacted his own life as a human and an artist. Read on below:

Hope.

It allows all of our deepest buried emotions to rise to the surface; through theatre, people begin to hope again. This is exactly what this world needs: hope. 

To me, theatre provides a world of new ideas and imagination which takes me from everyday life to an entirely new place and fill me with hope. The theatre is a place where I can explore myself, lose myself in someone else’s world, and allows to undertake a journey through a time long passed.  

We all talk about Covid-19, but one positive thing it has brought us is more theatre into our homes. We’ve seen more productions filmed, more shows online, and inventive ways to express performing arts, which has greatly helped many people who don’t have the opportunity or money to see amazing productions. That said, live theatre will never be like any other! You can certainly feel something through a tv screen, but when passionate people on stage express a story to an audience, the audience has no choice but to feel what those actors are going through as they take them through a journey and leave not as they came. 

I believe it takes a strong, imaginative, hopeful human to create art. As a creator I want the audience to leave ready to make the necessary changes to think more deeply and make our world a better and safer place. All I want for everyone is to leave with hope–hope for a lifetime.

K’nique is originally from Columbia, South Carolina but moved to Brevard, North Carolina where he earned a B.A. in Music and Theatre. He is so excited to be returning to the company for a second year. His recent credits include: Kinky Boots (Lola), The Last Five Years (Jamie), Little Shop of Horrors (Audrey II), Into The Woods (Jack), Streetcar Named Desire (Stanley) and more. He is very thankful for his friends and family who have supported him throughout the years. K’nique is so excited to change lives through creating art at Charleston Stage! Stay tuned on Instagram @nique_tg3