Azuka Extras: Azuka at 20
Hello again, Azuka friends and family!
In less than two weeks, Sunset Baby will premiere as the first show of Azuka’s 20th season — 20th! Two decades telling the stories of outcasts and underdogs. I’ve mentioned this anniversary a few times on the blog, and to round out our Azuka Extras (for now!) I thought it would be fitting to celebrate this occasion before Sunset Baby gets started with a look back on those years — where was Azuka then, and where’s Azuka now? What’s changed, and what’s been there since the beginning? And what will the future look like?
For this, it only made sense to hear from the two staff members who’ve been with the company the longest — Producing Artistic Director Kevin Glaccum, and co-founder/Marketing Director Mark H. Andrews. Like viewing a tapestried history…let’s take a look into where it all started!
Azuka’s Mission: Then and Now
20 years ago…
MARK: Our very first statement read:
Azuka Theatre Collective is dedicated to the preservation of theatre as an art form by producing new/non-traditional works and collaborating with theatre artists locally and internationally. The Collective aims to participate in the promotion of creative arts education and community programs that extend beyond theatrical production.
KEVIN: In about two years, it changed to:
Azuka Theatre Collective is dedicated to producing contemporary text-based works. Azuka is committed to making theatre that reflects the true diversity of stories and therefore encourages the creation of non-traditional theatre audiences. This is Azuka Theatre Collective’s investment in the future of theatre that is vital, relevant and regenerative.
Azuka Theatre Collective’s goal is to produce theatrical works that are both visceral and thought provoking. Azuka is dedicated to producing contemporary/non-traditional works as well as revisiting classic plays with a new perspective. We are committed to creating/developing culturally inclusive text-based work and believe that theatre arts should go beyond theatrical production by participating in the cultural growth of our surrounding communities.
Quite the mouthful, right? The elevator speech was “new/non-traditional, culturally inclusive text-based theater.” I think it came from a desire to say AS MUCH AS POSSIBLE so there was maybe not as much focus as you might want. Also, the “text-based” was in response to the number of companies that were just starting at that time that devised their work (Pig Iron, New Paradise Laboratories, etc.) — the founders wanted to separate themselves from that.
Today…
KEVIN: Azuka’s mission today reads:
Azuka Theatre strengthens the connection and shared humanity among its diverse audiences by giving voice to the people whose stories go unheard.
The mission was changed during one of our strategic plans — we felt the previous one was too diffuse and no longer spoke to the direction the company had taken.
Top L to R: Kevin Glaccum, McKenna Kerrigan, Lorraine Osinski & Raelle Myrick-Hodges
Bottom L to R: Nora Berger Green, Laura Hamilton & Mark H. Andrews
The Azuka Family: Then and Now
20 years ago…
KEVIN: The company consisted of members of the Arden Professional Apprentice Class 5, so that’s Raelle Myrick-Hodges, Mark Andrews, McKenna Kerrigan, Nora Berger-Green, and Neil Wax, as well as employees of the Arden, Laura Hamilton and Lorraine Osinski.
Today…
KEVIN: In our offices — five. Myself, Mark Andrews (Co-Founder, Marketing Director), Maura Krause (Artistic Associate) Janelle Kaufman (Company Manager) and Lucas McLean (Administrative Assistant).
MARK: We also employ several box office staff during our production, designers, performers, technicians, playwrights...there are a lot of moving parts and MANY people who make it all happen!
How We Got On (2016)
The Gap (2017)
Boycott Esther (2019)
Mrs. Harrison (2018)
Where Azuka Lives: Then and Now
20 years ago…
KEVIN: The first show was done in the basement of the William Way Community Center, Philadelphia’s LGBTQ center at 13th & Spruce. The Center was a former private gentleman’s club and the basement was the club’s bar. Since Giovanni’s Room took place mostly in a bar, it was ideal. Well, almost.
The William Way Community Center — where it all began!
There was a huge air-conditioning unit in the basement, and the center said we could use the space for free...if we got the unit out of there! So we got lots of friends to do some heavy lifting and were able to use the space. After that we performed a few shows at Second Stage, which was the small theater on the second floor of The Adrienne at 20th & Sansom. At the time, Joe Koroly ran Second Stage and he was an amazing resource for small companies. The cost of the rental included him designing and building your set — it was incredible.
Today…
KEVIN: We perform all three of our shows at The Drake, one in the Louis Bluver Theater and the other two in the larger Proscenium Theater. Where have we been? Oh my! Over the company’s history we’ve performed in 15 different locations!
The mural decorating the side of The Drake; The Stage by Felix St. Fort // Photo by Steve Weinik
MARK: We’ve performed in the Playground at The Adrienne, the old Philadelphia Shakespeare Festival location at 21st & Sansom, The Latvian Society, Mandell Theater at Drexel University, one production used the streets of Old City, Theater Exiles space before the renovation, St. Stephen’s Theater (home of Lantern Theater Company), The Prince Music Theater Black Box, Plays & Players Theater, and the First Baptist Church.
KEVIN: A few of those (William Way, The Latvian Society) weren’t even set up as theaters; we created a performance space out of a big empty room. It’s wonderful to load-in to a theater that is actually a theater!
Azuka’s Plays: Then and Now
20 years ago…
KEVIN: Azuka’s first show was La Rue des Faux, which was an adaptation of James Baldwin’s novel Giovanni’s Room. We had to change the title because Disney owned the rights to the novel and wouldn’t let us perform it under the original title.
The cast of La Rue des Faux. L to R: Jeff Marsh (Madam Clothilde), Tim Heidecker (David) & Kevin Glaccum (Guillaume)
There were also constraints on the number of performances and the amount of people who would attend the production. Raelle Myrick-Hodges selected this show, and wrote the adaptation of the novel that we performed. I remember her saying she was drawn to the piece because it was about telling the truth; both to other people and to yourself. The one memory that really stays with me was there was very little in the play about the characters’ sexuality, and Giovanni’s Room is considered a groundbreaking gay novel. I spoke to Raelle about this and she added a scene that dealt with the protagonist’s sexual awakening. I think my insistence on this change was a major reason I was asked to join the company (that and the fact that I brought most of the props from the job I was working!)
Today…
KEVIN: The three shows this season are Sunset Baby, SHIP and A Room at the Flamingo Hotel.
The plays we do every season are chosen from a variety of sources; playwrights we are familiar with, the National New Play Network and its directory of plays. And of course our New Pages playwrights. We formed this playwrights group last season and were able to secure funding from the Independence Foundation to support it.
I believe one of the reasons we were able to secure the funding is that we promised at least one show a season for the next three years would be by a member of New Pages. Douglas Williams’ SHIP is the first play to come out of that group.
Lucas’ note: Want to learn more about New Pages? Check out the Azuka Extras post on it here!
An Azuka Ticket: Then and Now
20 years ago…
KEVIN: An average ticket cost $12.
Today…
KEVIN: Since the fall of 2016 Azuka has operated our box office as Pay What You Decide. This means that you make a reservation to see the show (or just walk up to the box office) and only after you’ve seen the show do you pay for it. This way YOU decide what the experience was worth you. This has enabled us to open our doors to anyone who wishes to see theater, regardless of their ability to pay. It’s also created a conversation with our audiences that wouldn’t otherwise take place; they’re literally telling us what they think of our work with their wallets. It’s been informative and fascinating.
Lucas’ note: Want to know more about Pay What You Decide? Read another Azuka Extras post on it here!
Azuka’s Dream: Then and Now
20 years ago…
Lucas’ note: What did you want to accomplish with the company — were there any specific goals you had in mind for Azuka’s place in the theatre scene, or its growth, or the kind of work you wanted to ultimately produce?
MARK: A lot of our initial focus for the company was based largely on our experience working at the Arden and the place/name they were beginning to make for themselves. It was also reflective of the theater community at the time which was really just starting to re-grow. At the time, you had the Walnut (190 years old), New Freedom Theatre (33 years old), Philadelphia Theatre Company (25 years old), The Wilma (26 years old), The Arden (12 years old), InterAct (11 years old), and a sudden surge of newbies boosted by the creation of the Barrymore Awards in 1995 and the Philadelphia Fringe Festival in 1997 including: Lantern Theatre Company, 1812 Productions, Brat Productions, Fictitious Theatre, Pig Iron, New Paradise Laboratories…
From the beginning, we knew we wanted to become a respected mainstay of the theater community, that we wanted to be active in the greater Philadelphia community and that we wanted to be a springboard for Philadelphia theater artists — with a focus on new and emerging artists.
Here’s the specific language we used to describe our objectives when we first announce the company:
By functioning as a vessel for new and emerging theatre artists and practitioners, Azuka Theatre Collective seeks to realize vibrant new theatrical forms - ranging from the whimsical to the political - created through a filter of all available artistic disciplines. To achieve this end, Azuka Theatre Collective will maintain a repertory of core dramatists, musicians and visual artists, while actively engaging in the collaborative development of new works from a cross cultural platform.
We were so young! But it’s clear we had a sense of the company’s framework from the beginning and a solid start. There are absolutely connections of that first company concept to who we are today.
Today…
Lucas’ note: What are your goals for Azuka’s future? Short-term, and over the next 20 years?
KEVIN: A couple of immediate goals: to maintain PWYD for as long as it’s fiscally viable. We’re also hoping to launch an education program over the next couple of years. Long term? SO MANY! I’d love to add another production to our calendar, we’re hoping to continue to increase compensation for everyone that works here, both administrators and artists. Of course neither of those long term goals are attainable if our audiences don’t continue to grow. We’ve had a 30% growth in our audiences since we started PWYD, and I’d love to keep that number rising every year.
That’s you! The audience — the reason this all happens. The reason this anniversary is here.
We hope to see Azuka continue to grow — because look at how much it’s grown already! We want as many people as possible to hear these stories — stories from La Rue des Faux to Sunset Baby. We want our audiences to connect and engage — whether sitting in the basement of William Way, or The Drake. Because you belong here. Pay What You Decide is such an important part of making that happen for the future, and Azuka is proud to continue that initiative — into this 20th Season…and beyond!
L to R: Lucas McLean, Janelle Kauffman, Kevin Glaccum, Maura Krause, & Mark H. Andrews
Thanks for joining us on this journey into the past, and we hope to see you at the theater very soon. Check back next week to get ready for Sunset Baby with glimpses behind the scenes. And have a wonderful weekend!
— Lucas