Celebrating the 2023 Play Right Series and Everyone Involved ~ a message from Cindi

Cindi Boiter August 7, 2023

Congratulations to the Cast & Crew of the PRS 2023 Winning Play THERAPY by Lonetta Thompson!

Cast & Crew of Lonetta Thompson’s THERAPY

Emily Deck Harrill, Ric Edwards, Marilyn Matheus, Michelle Jacobs, Allison Allgood, Elena Martinez-Vidal and center front Lonetta Thompson

Forgive me if this message still reads a little giddy but we’ve just completed the culmination of the Jasper Project’s 2023 Play Right Series and it just feels so good!

Here’s a little history. I came up with the idea for the Play Right Series in 2017 as a way to promote and support original playwrighting from SC artists while at the same time gently informing members of the community about how much time, energy, talent, and WORK HOURS go into the creation of theatre.

I have this theory that one of the reasons arts (of all disciplines) are not valued as they should be is that, due to our lack of proper arts education and appreciation in schools, among other reasons, the average working South Carolinian doesn’t learn and build their worldview knowing that in addition to art being a talent, it is also work. If the arts are not a part of one’s life, many people think of art as a hobby or something only children engage in until they grow out of it. Think piano and ballet lessons. The average person may not discern the difference in hobbyists, crafters, and artists—all important parts of our culture, but also distinctly different. They may not realize how many of their fellow South Carolinians make their livings as professional artists or in one of the unique and highly skilled jobs that fall under the profession of arts administration.

When we started the Play Right Series in 2017 with our first play, Sharks and Other Lovers written by David Randall Cook and directed by Larry Hembree, I hoped that by inviting Community Producers to become a part of the process they would act as diplomats of local theatre, sharing their experiences and encouraging others to make live theatre part of their entertainment options. The plan was—and still is—that we ask Community Producers to invest $250 each in the production of a brand-new juried play by a SC playwright with their investment going to pay a cast and crew (and playwright) to workshop that play from the first table reading to a ticketed staged reading. (Some, like Bill and Jack, donate even more.) The CPs are invited to meet with the cast and crew over the course of a month or so and take part in the workshopping of the script before serving as our guests of honor at the public staged reading.

In 2022, Chad Henderson directed last year’s winning play, Moon Swallower by Colby Quick to a SRO audience. It was almost a full production of the play.

Last night, under the direction of Elena Martinez-Vidal with stage management by Emily Deck Harrill, this year’s Community Producers and generous sponsors produced the staged reading of Therapy by SC theatre artist Lonetta Thompson. The cast included Marilyn Mattheus, Allison Allgood, Michelle Jacobs, and Ric Edwards. Illustrious SC playwright and Jasper Project board of directors member Jon Tuttle oversaw the entire project for the second year in a row and all I did was bring cookies.

***LONETTA THOMPSON (LEFT) AND EMILY DECK HARRILL***

Some of last year’s CPs were so pleased with the project in 2022 that they came back this year –thank you to Kirkland and James Smith and to the incredibly supportive Bill Schmidt for this. New CPs and sponsors included Shannon and Steven Huffman, Jack and Dora Ann McKenzie, Betsy Newman, and Amy and Vincent Sheheen, as well as new JP board members Keith Tolen and Libby Campbell. JP board president Wade Sellers and I were CPs again, as well.

This morning, messages streamed in on the group email thread Jon initiated for ease in communication, showering each other, actors, CPs, and playwright alike with congratulations and heartfelt feedback. Keith Tolen says, “I will never watch a performance the same without thinking of the work that makes it seem effortless. Thanks to all because you made it an experience that I will not soon forget.” Kirkland Smith says, “It was a wonderful experience and I very much appreciate your openness, honesty, and talent!”

It is extremely unusual for me to use the term “I” when referencing anything the Jasper Project does. That’s because without an enthusiastically working board of directors who share the same passion that board president Wade Sellers and I have about the importance of service to our fellow artists and arts administrators, we wouldn’t be able to accomplish anything. But this time, I’m so proud of how this little seed of an idea of mine has been implemented and improved upon by the generous and talented individuals who participated in Play Right Series 2023, that I want to claim it! It’s a legacy thing, but also, the Play Right Series is Jasper at its finest. An idea becomes a mission and good people play parts small and large to fulfill that mission, making it a reality.

Congratulations to everyone involved in Play Right Series 2023. In addition to everyone already mentioned, this includes board member Bert Easter, who shared some of his beautiful items from Easter Antiques at the Red Lion for the stage set, and to Ed Madden for helping Bert haul said stuff to and from CMFA; also to Christina Xan, Libby Campbell, and Kristin Cobb for working the event; to Bekah Rice for her graphic arts skills and for laying out the book that many attendees and all CPs and sponsors took home with them; to Bob Jolley at Muddy Ford Press for donating his time and financial resources to this project; and to One Columbia and Columbia Music Festival Association for rehearsal and performance space.

Clearly, we have the village that it takes to birth new art in Columbia, SC.

Chapin Theatre Company's 3rd Annual 10 Minute-ish Play Festival

Cindi Boiter July 3, 2023

Chapin theatre Company’s third annual 10 Minute Play Festival will be held on Friday and Saturday, November 3 & 4, 2023, at our new building at 830 Columbia Ave, Chapin, SC.

Submissions of short plays or sketches written by local peeps is a great opportunity to see your words come alive on stage. If selected, you will have an option of directing and/or casting your play.

Specific requirements:

Playwright must live in or be from South Carolina.
Must be 10 minutes or less.
Maximum of 5 characters
Must have minimal set and technical requirements
Keep it PG 13 or less
Should be in a "play format" and saved as a pdf, using our guidelines. Play title and page number must be written on each page
This is a blind submission, so your name must NOT be written on the script
Only two plays will be accepted by each playwright. Only one can be included in the festival
Winning plays cannot be revised after selection
All entrants must complete and submit the entry form

Submissions begin June 15.
Deadline for submissions is August 26, 2023.

Submit here!

Last Week for Play Right Series Community Producers and Sponsors to Support a Brand New Play by Lonetta Thompson

Cindi Boiter July 1, 2023

CAST OF THERAPY INCLUDES

MARILYN MATHEUS, RIC EDWARD, ALLISON ALLGOOD, MICHELLE JACOB

DIRECTED BY ELENA MARTINEZ-VIDAL

STAGE MANAGER - EMILY DECK HARRILL

You’re invited to become a Jasper Project Play Right Series Community Producer or Sponsor

As a Play Right Series Community Producer you will be a part of an elite team of art supporters who invest a modest amount of money in the production of a brand-new play (Lonetta Thompson’s Therapy) to the staged reading phase of development.

How does this work?

Every Sunday afternoon in July, starting July 9, you are invited to join with the cast, crew, and fellow Community Producers of Therapy for an enlightening and entertaining session that pulls back the curtains of theatre development and illuminates how a stageplay goes from page to stage. Your first session will offer you a private viewing of the first step in play production, the Table Reading – the first time the cast of Therapy reads their parts together for their director, Elena Martinez-Vidal.

Subsequent sessions will focus on essential ingredients in the production of a successful staged reading, such as the stage manager’s job; props, lighting, blocking, and sound; unique insights from the director; how the actors prepare for their parts; playwright perceptions from this year and past projects; and an invitation to the dress rehearsal. In addition to your invitation to gather with the cast and crew every Sunday in July, each session will also feature exciting snacks and beverages. And many more surprises each week!

Finally, you’ll take your reserved, best-in-the-house seats to a ticketed staged reading of Lonetta Thompson’s Therapy on Sunday, August 6th.

But there’s more.

Your name will be included as a Community Producer on programs, posters, press releases, and other promotional materials as well as in the perfect bound book, Therapy by Lonetta Thompson, published by Muddy Ford Press and registered with the Library of Congress, and you will take home your own copies of Therapy as a souvenir of your experience.

What is expected of Community Producers?

We hope you can make it to every exciting Sunday afternoon meeting, but we understand if you have to miss some. Each session will last from 90 – 120 minutes.

The financial commitment for a Community Producer is a minimum of $250 per person, but institutional sponsorships are also available and appreciated. You can also sponsor a student for $250 if you are unable to participate yourself.

Our hope is that you will be so enlightened and inspired by this experience that you will become a diplomat of live theatre, fresh playwrights, and the Jasper Project and encourage your friends and colleagues to participate in live theatre themselves!

Past Community Producers Include James & Kirkland Smith, Ed Madden, Bert Easter, Paul Leo, Eric Tucker, Bill Schmidt, Wade Sellers & more

Play Right Series Levels of Engagement

Community Producer $250

Invitation to attend all five PRS CP sessions on Sunday afternoons, July 2023; reserved seats for you and up to 3 additional guests to attend the premier staged reading of Therapy on

August 6, 2023; your name in the book Therapy by Lonetta Thompson (Muddy Ford Press, 2023), as well as in the program, and all promotional materials; Jasper Project gift bag

Other Sponsorship Levels

Scholarship Sponsor $250

Covers the cost of a local college student attending all Community Producer functions plus you can attend the ticketed Staged Reading on August 6th and meet your beneficiary. Your generosity will be recorded along with the Community Producers in the published play as well as in all other promotional materials and you will receive one copy of Therapy by Lonetta Thompson

Actor Sponsor $500

This level sponsors one actor and supports the Play Right Series. Your generosity will be recorded along with the Community Producers in the published play as well as in all other promotional materials and you will receive one copy of Therapy by Lonetta Thompson and an invitation for you and up to 4 additional guests to attend the premier staged reading of Therapy on August 6, 2023

Corporate Sponsors

Playwright $1000

This level sponsors the playwright and supports the Play Right Series. Your generosity will be recorded along with the Community Producers in the published play as well as in all other promotional materials and you will receive three copies of Therapy by Lonetta Thompson and an invitation for you and up to 5 additional guests to attend the premier staged reading of Therapy on August 6, 2023

Director $2500

This level sponsors the director and supports the Play Right Series. Your generosity will be recorded along with the Community Producers in the published play as well as in all other promotional materials and you will receive six copies of Therapy by Lonetta Thompson and an invitation for you and up to 6 additional guests to attend the premier staged reading of Therapy on August 6, 2023

Announcing the Cast & Crew of Lonetta Thompson's THERAPY - Winner of the 2023 Jasper Project Play Right Series

Cindi Boiter June 25, 2023

It is with great pleasure that we announce the cast and crew of the Jasper Project’s 2023 Play Right Series Winning Play — THERAPY — by Lonetta Thompson!

Elena Martínez-Vidal is an actor, director, and teacher. Recently she was in Montgomery, in 2019. The last show she directed was Marjorie Prime in 2019. Trustus Theatre is her theatrical home since appearing in a show in 1989 when the theatre was on Assembly street. She was a Company member from 1993 to 2019, then transitioned to Company Emeritus. Elena has a BA in French and Theatre Arts from Dickinson College, PA, and an MFA in Theatre: Acting from USC. She also has 30 hours of courses in Communication and a Certificate of Leadership in Higher Education from USC. By day, Elena works at Midlands Technical College.

Marilyn Matheus is a theatre artist who portrayed Modjeska Monteith Simkins in the Supper Table theatrical performance. Matheus received her BA from Kent University and her MA from South University. She is currently the Director of Media Relations at the Department of Social Services in Columbia. Matheus has appeared in many local theatre productions with recent performances in the “Freedom Rings: A Celebration of Martin Luther King Jr.” event at the University of South Carolina and A Song for Coretta at the Kershaw County Fine Arts Center

Allison Allgood has a Bachelor of Arts in Theatre Arts from Furman University and loves stage and voice acting. Some of her favorite roles in Columbia include MacBeth (Second Witch) with the SC Shakespeare Company, The Red Velvet Cake War (Elsa Dowdall) at Town Theatre, Belles (Audrey) at Workshop Theatre, and Mr. Burns: a Post-Electric Play (Jenny/Bart) at Trustus Theatre. Allison has recorded eight full-length audio books. She has a degree in counseling and works as a high school counselor

**Chris — Ric Edward (Richard Edward III)**

Richard Edward iii is a stage & screen actor based in Columbia, South Carolina. It is his mission to help his artistic community grow, and is an advocate for actors who struggle with the stigma of dyslexia, and ADHD. Special thanks to My daughter Cora Jean Calk for being the best scene partner in the whole world, and to my beautiful wife.

Not Pictured — Michelle Jacobs- Is excited to be performing again after a small hiatus. Credits includes: The Color Purple, Kinky Boots ,Cat on a Hot Tin Roof, (Workshop Theater), Hurricane Diane, By the Way Meet Vera Stark, Good People, The Motherfucker with the Hat, The Glass Menagerie, HAIR: The Tribal Love-Rock Musical, For Colored Girls who have Considered Suicide/ when the Rainbow is Enuf, (Trustus Theater) Knock Me A Kiss, Henny Penny, & Whisper @ The Movies (The NiA Company).

Lonetta Thompson is a graduate of the University of South Carolina with a B. A. in English and a Minor in Theatre. As an actor, she has performed for years on stages in Columbia and surrounding cities, most recently touring with Spark, an Outreach initiative of the SC Governor’s School for the Arts and Humanities in partnership with Workshop Theatre of South Carolina. She is a member of the NiA Company and Company Emeritus with Trustus Theatre. Prior to entering the Play Right Series, she had written a handful of short stories and one other script. By day, Lonetta is an eLearning Developer with a large insurance company. She has one daughter and one grandson.

Emily has played a variety of roles in many theatrical productions in the Columbia area. She appeared in Love, Loss, and What I Wore and the 2014 production of Evil Dead: The Musical, both at Trustus Theater. She also appeared in The Crucible (Elizabeth Proctor), Inherit the Wind, Arsenic and Old Lace, You Can’t Take It with You, and The Exonerated (Sunny Jacobs) for the Arts at Shandon series. Emily has directed and appeared in Smoke and Mirrors and All in the Timing. She designed the sound for Village Square Theater’s production of Harvey, and she’s served as Stage Manager or Assistant Stage Manager for a variety of productions over the years, including Trustus Theater’s production of The Flick and Chapin Theater’s 2022 Ten Minute Play Festival.

By day, Emily is an attorney who has a terrible penchant for run-on sentences. She holds a double undergraduate Bachelor of Arts degree in theatre and government from the College of William and Mary. She has two adult children of whom she is quite proud.

**Play Right Series Director — Jon Tuttle**

Also …

Max — Michelle Jacob — photo and bio coming soon!

You’re invited to be an integral part of this project by becoming a Community Producer — Read more about the perks and fun of community producing here!

Ready, Set, Jasper’s Play Right Series is Ready to GO! We Just Need YOU!

Cindi Boiter June 24, 2023

Following on the heels of a super-successful 2022 season when the Jasper Project’s Play Right Series launched first-time playwright Colby Quick’s Moon Swallower onto the stage with a highly sophisticated staged reading directed by Chad Henderson last summer, we’re excited to kick off the winning 2023 Play Right Series selection of Lonetta Thompson’s THERAPY!

The cast and crew are on their marks, the rehearsal hall is reserved, and the schedule is set—we just need to recruit a few more Community Producers to be able to wave the starting flag.

Are YOU the Community Producer we’ve been looking for?

What is the Play Right Series?

In an effort to enlighten and empower audiences with information about the process involved in creating theatrical arts, at the same time that we increase opportunities for SC theatre artists to create and perform new works, the Jasper Project created the Play Right Series.

The purpose of the Play Right Series is to allow a select group of volunteers insider views of the process of creating theatre art by offering limited open readings, rehearsals, and discussions of theatrical work. We can also offer folks the opportunity to actually PRODUCE A PLAY by keeping production costs low and involving community assets already in place, in exchange for an established minimal financial contribution of $250.

This also increases opportunities for theatre artists to create and participate in new art without being attached to an existing theatre organization, while providing affordable and experimental theatre experiences for new and emerging artists and their audiences; thereby expanding cultural literacy and theatre arts appreciation throughout the SC Midlands.

How does this work?

Every Sunday afternoon in July 2023, starting July 9th, you are invited to join with the cast, crew, and fellow Community Producers of Therapy for an enlightening and entertaining session that pulls back the curtains of theatre development and illuminates how a stage play goes from page to stage. Your first session will offer you a private viewing of the first step in any play production, the Table Reading – this will be the first time the cast of Therapy reads their parts together for their director, Elena Martinez-Vidal.

Finally, you’ll take your reserved, best-in-the-house seats to a ticketed staged reading of Lonetta Thompson’s Therapy on Sunday, August 6th.

And there’s more.

Your name will be included as a Community Producer on programs, posters, press releases, and other promotional materials as well as in the perfect bound book, Therapy by Lonetta Thompson, published by Muddy Ford Press and registered with the Library of Congress, and you will take home your own copies of Therapy as a souvenir of your experience.

What is expected of Community Producers?

We hope you can make it to every exciting Sunday afternoon meeting, but we understand if you have to miss some. Each session will last from 90 – 120 minutes.

If you are interested in becoming a

Community Producer or sponsor -

email playrightseries@jasperproject.org

REVIEW: Trustus Theatre's Little Shop of Horrors is a Win!

Cindi Boiter June 16, 2023

“His Audrey II is a botanical Mae West.”

Once again Trustus Theatre knocks another show out of the ballpark. The Little Shop of Horrors was born as a movie way back in 1960. Directed by Roger Corman, the film featured (among others) a young Jack Nicholson. The musical adaptation opened Off-Broadway in 1982 as Little Shop of Horrors. It went on to open in the West End in 1983, Broadway in 2003, and has lived on in numerous tours and revivals, and countless community theatre productions. It has been produced more than once on various Columbia stages, with sold-out houses each time.

The show opens in a dark and dingy Skid Row. A Greek Chorus harkens back to the girl groups of the ‘50s in the prologue It’s funny, it’s sharp and it’s beautifully choreographed.

Our hero is Seymour Krelborn, an orphan employed in Mr. Mushnik’s run-down flower shop. (Of course it’s run-down. It’s in Skid Row.) His co-worker, Audrey, joins him in lamenting their lot and wondering if there is any escape to a better life. Seymour is seriously crushing on Audrey, bless his nebbish little heart. Audrey is in an abusive relationship with a frighteningly sadistic dentist. Mr. Mushnik bemoans the lack of business and wonders if it might be time to close the shop for the last time.

On the possible last day of business at Mushnik’s, Seymour comes in with a mysterious “exotic” plant. He suggests to Mushnik that if they put the plant in the front window, it might attract the customers they’ve been sadly lacking. With Audrey’s help, he convinces Mushnik to give it a try. Wondering what to call the plant, Seymour gallantly dubs it “Audrey II.”

Sadly, Audrey II weakens and appears to be dying despite Seymour’s valiant attempts to pamper and nurture. One evening, an accidental prick of Seymour’s finger gives Audrey II a taste of her favorite treat; the way to A2’s heart is blood. And chaos ensues….

Kristan Claiborne, Abby Smith, and Mel Driggers are the “Greek Chorus as Ronettes.” They have gorgeous voices, and their tight harmonies are a counterpoint to the drab, dreary set and the drab dreary costumes and the scary underbelly of our story. “The human race suddenly encountered a deadly threat to its very existence. And this terrifying enemy surfaced, as such enemies often do, in the seemingly most innocent and unlikely of places.”

The residents of Skid Row, Seymour, Audrey, and Mushnik are all yearning for something more, something better. Audrey “can’t” leave her abusive boyfriend because she sees him as a way out. Audrey II seemingly gives these characters the answers to their dreams. But (and there’s always a “but”) at what price? How far are our loveable ragtag residents willing to go to make their dreams come true.

Jessica Fichter’s (Trustus Theatre’s executive director — see our interview with Ms. Fichter in the spring 2023 issue of Jasper Magazine) vision of the piece makes this so much more than a musical with a puppet. The inequities of society, the substandard living conditions in which a frightening number of people live, underemployment, and the greedy, vociferous specter of insatiable capitalism are brough to life with vivid clarity. The set puts the audience square in Skid Row with its haphazard angles and dim, dingy lighting. (Warning – there is a “fog” effect from time to time. Nothing major, but if your sinuses are sensitive you might want to sit further back.) Janet Kile’s costumes are realistic and evocative, and each character is dressed perfectly. Randy Moore outdid himself (again) as Musical Director. Matthew DeGuire served as Props Master, and I do hope he had a dozen people helping him backstage. What a herculean task that had to have been. Every technical aspect of this show was without visible flaw (and I say “visible” because all manner of chaos can happen without the audience ever knowing it). Every member of the crew deserves the same kudos as the cast.

And what a brilliant cast. (I’ll attempt to mention them in order of appearance.) As mentioned earlier, the “Ronettes” were perfection. Applause again to Kristan, Abby, and Mel. Katrina Patrice is stunning and funny and spot on in every role she takes on, and her blonde wig was just the right touch (IYKYK) Lanny Spires inhabited every one of his many roles to the point of disappearing completely. Jonathan Monk was the only person I could ever imagine playing Seymour. He was so pitiful and hopeful and … accommodating. Brittany Michelle Hammock was a most marvelous Audrey; her vocal quality matches her every mood and move. Hunter Boyle never disappoints. He always puts everything he has into every role he plays, and his Mushnik is no different. He is simply magical. Stann Gwynn is loathsome and despicable and delightful as the sadistic dentist, Orin. I have no idea how he managed to sing “Now (It’s Just the Gas)” while wearing a gas mask, choking, and dying without ever missing a note. He belongs in the same magical category as Hunter.

And then there’s Audrey II. This ain’t no puppet, boys and girls. This is bawdy, bodacious, beautiful Terrance Henderson in all his glory. His voice, his moves, his costumes…. His Audrey II is a botanical Mae West. He is a gift.

This was the first time I’d ever seen Little Shop of Horrors. (I’m skeeved out by puppets.) I’m so glad I saw this one. I’m going back. Everyone should see this show. It’s a perfect storm of theatrical talent, with some of Columbia’s and the Southeast’s finest appearing on and behind the stage. Don’t miss it.

NiA Celebrates 25th Anniversary with Lonetta Thompson's Play Jump at the Sun

Cindi Boiter May 22, 2023

The NiA Company will celebrate its 25th anniversary in conjunction with Family Fun Night at the Columbia Museum of Art on Friday, May 26, beginning at 5:00. There will be DJ sets from DJ B Folks, arts activities, design challenges, scavenger hunts, and food and drink available for purchase. At 6:00, NiA will reprise Lonetta Thompson’s family-friendly play “Jump at the Sun,” which it first performed ten years ago. The play explores the historical events of the Great Migration and the Harlem Renaissance along with key artistic figures like legends Zora Neale Hurston and Jacob Lawrence.

Lonetta’s play “Therapy” is next in line for the Jasper Project’s Play Right Series. Through July, she, her cast and an audience of Community Producers will meet to discuss the creation, development and marketing of a play, culminating in a public staged reading at the CMFA on August 6

Jasper sat down with Lonetta and NiA founding artistic director Darion McCloud for a quick Q and A:

JASPER:How did you get involved with JUMP AT THE SUN? I realize you’re the author, of course, but what led you and NIA together for this project?

THOMPSON: If memory serves, NiA had the opportunity to perform during the time Jacob Lawrence's The Migration Series was on exhibit at the museum and Darion graciously allowed me write something (since I was running around calling myself a writer all the time).

JASPER: Is this play connected to Alicia Williams children’s book? Or does it come straight from Zora?

THOMPSON: I wrote this over ten years ago, and I Alicia Williams' book was published in 2021. I was researching the artists from the Harlem Renaissance and came across a quote from Zora Neale Hurston where her mom used to always tell her to "jump at de sun" and thought that was the perfect title. (The full quotation is: “Jump at the sun. You might not land on the sun, but at least you’ll get off the ground.”)

JASPER: What do you hope is the principal message an audience member might come away from the play with? What do you want them to know or do or feel?

THOMPSON: First and foremost, I just want people to know these wonderful artists (a lot of whom came from the south) and how they came together and created magic. They were so gifted and talented and passionate and that community they created is still at the top of my list of times and places I would go if I had a time machine. Beyond just exposing our audience to these artists, I want people to be inspired by all forms of art and the impact it has on our lives whether we realize it or not.

JASPER: Your career as a playwright is suddenly getting a lot of sunlight, what with THERAPY going into development this summer by the Jasper Project. How does this chapter of your life feel to you as a creative person? And are there more developments afoot we should know about?

THOMPSON: I am definitely in awe of my reality right now! I've always fancied myself a writer but was hesitant to put myself out there. I was lucky to find a satisfying creative outlet by being on stage. I do have a few things I'm working on and just plan to continue to develop my voice (and confidence!).

JASPER: What occasioned NIA’s performing this play ten years ago? And why is now the right time to remount it?

MCCLOUD: I think it was more than ten years even but we’ll go with that. At that time I had a day gig as the Outreach Manager with CMA. And the Jacob Lawrence (one of my artistic heroes) Migration Series was on exhibit. So I approached Lonetta with the idea of creating a piece about The Harlem Renaissance with Lawrence’s Migration Series at the center

JASPER: Is NiA involved in/at the heart of the other activities going on at the CMA on the 26th? Or is this a consortium of many other good organizations?

MCCLOUD: NiA is one of the museum’s offerings on that day including creation stations and of course access to the permanent collection.

JASPER: Now that COVID is lifting maybe, what can we look forward to next from NiA? What changes will see from the pre-COVID NiA? Perhaps a better way to put that: it’s been 25 years for NiA: how have you grown? What have you learned? Where are you going?

MCCLOUD: After twenty-five years we grown exponentially. We first came together to give black actors opportunities. Now that mission has expanded with opportunities as the engine. That means opportunities for all kinds of actors, for audiences that don’t always get the type of work we present or can’t afford it. This idea of providing opportunities for those with little still drives us.

JASPER: You, personally, could rest on your many many laurels. Why don’t you? What motivates you? This question never expires. Your answer may change as time goes by, and if it doesn’t it needs repeating.

MCCLOUD: First, thanks for the kind words. But there is so much need. I still believe “art makes everything better” and the world is always in need of better experiences. We hope to contribute to making better fathers, better mothers, better leaders, better followers.. Yeah, all through the shared experiences of theatre…of Art.

REVIEW: Chad Henderson's HUNDRED DAYS at Workshop Theatre

Cindi Boiter May 17, 2023

This is a show for those who love live music. Even if you don’t typically like musicals this is a show for you. Honestly if you have ears and a heart this is the show for you. I’m only partially kidding, but I have a hard time imagining anyone not enjoying themselves. Hundred Days feels like a concert, but better, and tells the real-life love story of Abigail and Shaun Bengson through songs they wrote as a family band. I won’t go into details, but their love story, like most, is not easy. This musical memoir illustrates well what happens when past trauma and anxiety go head-to-head with true love.

Director Chad Henderson consistently delivers great theatrical productions to Columbia, and this was no exception. He has pulled together an excellent cast of local musician-actors, and it was obvious he had been thinking about producing this show for years. Well-known local actress and musician, Katie Leitner, was the perfect choice for lead, Abigail Bengson, and probably one of the few actors in Columbia with the vocal chops to play her. Katie along with the band elevate Abigail’s songs and put a polish on them that make them sound more modern than the original cast recordings. Her incredible voice and magnetism on stage draws you in so much so that this could have easily become the Leitner show. Thankfully, Henderson balanced the show well and cast co-star, Taylor Diveley, to play Shaun Bengson. Diveley held his own next to Leitner with equally exceptional vocal ability and a number of endearing qualities.

Making up the rest of the family band we have singer and cellist Catherine Hunsinger, front-woman for local band Rex Darling, and multidisciplinary director and performer, Bakari Lebby, on bass. Both have speaking roles throughout the show, providing levity where needed, and sing harmony on the majority of songs. At times, the harmonies in these songs were overwhelmingly good – chill inducing and magical. USC professor, musician and musical director for the show, Tom Beard, sings, speaks, and plays accordion as well as synthesizer throughout the show. Drummer and vocalist, Patty Boggs, rounds out the band with near perfect dynamics. Both are stellar musicians and great in their roles.

Musically the songs in this production run the gamut from Indie folk to electronica with several more traditional musical numbers sprinkled in. Be warned you will leave with songs from the show stuck in your head.

The hour and a half performance kept the audience’s attention the whole time, and in the age of TikTok with our ever-shortening attention spans this is an impressive feat. Patrick Faulds the lighting and set designer did an impressive job of making the stage feel like a music venue, while also keeping it interesting. There were constantly little things I noticed on stage throughout the show, and like any good modern concert, video was a big part of the performance. Screens on the stage complemented each song and reinforced major themes throughout the show.

100 Days runs through May 27th and is definitely worth the ticket price and your time. It is moving, fresh, and thoroughly entertaining. Learn more about the show at Workshop Theatre’s website.

Workshop Theatre Premieres Contemporary Musical Memoir Hundred Days Directed by Chad Henderson

Cindi Boiter May 11, 2023

“It's Columbia. We are better served by seeing something for the first time rather than a variation on what we've seen before. We've all seen that. We need new, we deserve it. We deserve the newest things now.”

- Chad Henderson

Hundred Days is a musical memoir based on a true story that premiered for the first time in 2018. This fresh, contemporary take on the goal of loving and living fully is coming tomorrow to Workshop Theatre. Running from May 12 – May 27, the show is directed by Chad Henderson with music direction by Tom Beard and a cast that features Katie Leitner, Catherine Hunsinger, Taylor Diveley, Kari Lebby, and Patty Boggs.

The show has been described as “luminous,” “exhilarating,” and “raw,” and Leitner herself asserts that “people can expect to be immersed in a multi-media, emotionally gut-wrenching story accompanied by powerful folk- blues ballads, dense and haunting harmonies, uplifting folk pop toe-tappers, and clap-along rock tunes.”

Jasper sat down one-on-one with director Henderson to get more details on the show.

JASPER: How did you decide to direct this show?

HENDERSON: This show has been a three-year journey for me. My friend and collaborator Jonathan Whitton sent me an email about this play with a message that read something like "You need to know about this. You're welcome." He was right. It is entirely the type of work I seek and savor. I kept my eyes on the licensing for the show, because in this market you are at the whims of the licensing companies. This was all before the closures of the pandemic. Fast-forward some time later, and Workshop Theatre took my submission seriously. They were willing to produce a "little musical that would be one of the hardest things to achieve." I'm so glad that Jeni McCaughan and the script selection committee committed to this production—they have been absolutely amazing to work with.

JASPER: What makes you excited about this musical, specifically?

HENDERSON: Honestly, this is the kind of work that I gravitate towards, having spent four years in a rock band and being a lover of live music. I have directed theatrical works like "Hedwig and the Angry Inch," "Spring Awakening," "Passing Strange" and "American Idiot." These all have a special place in my heart because they closely align with my personal aesthetic and have an impactful connection to the type of storytelling that moves me as an artist.

JASPER: Why this story here? Why now?

HENDERSON: It's Columbia. We are better served by seeing something for the first time rather than a variation on what we've seen before. We've all seen that. We need new, we deserve it. We deserve the newest things now. Also, love is timeless—and that is still (somehow) a revolutionary thing to explore presently.

JASPER: How long have y’all been working on this?

HENDERSON: I've been working on this for three years now in my mind. I've been dreaming of a local cast for that long as well. I'm very lucky that two of the original people I dreamed of are working on this production (Katie Leitner and Catherine Hunsinger). Even luckier to have one of my favorite collaborators, Tom Beard, reach out to me to ask, "what are we doing next." Then after a string of auditions and conversations we found the remaining alchemy that this production needed: Taylor Diveley, Kari Lebby and Patty Boggs.

JASPER: Have there been any unique challenges in this show?

HENDERSON: Once the casting was complete, the challenge fell to the actors. They have to be a band. They have to create that synergy. They also have to be open to the unknown due to the fact that the show is a live set from a band, and the story that arises from their performance must be a sneak attack.

JASPER: What’s special about your rendition?

HENDERSON: I'm me and this is me doing what I love to do: make it as hard as possible for everyone. So, while the cast is rehearsing tirelessly to become a band with 90 minutes of music and banter to memorize—while also being able to live truthfully in the moment—we have added a film element to the production. We spent three weekends filming auxiliary storytelling that is presented through on-stage media.

JASPER: Have there been any exciting “oh my god this is it” moments?

HENDERSON: I've had many "Oh My God" moments. They've happened at every rehearsal, which is a testament to this cast. Damn, they're good!

JASPER: The music in this show is described as “anthemic folk-punk music” — what can a not music-savvy person expect?

HENDERSON: If you have heard the works of Mumford and Sons, Ani DiFranco, Frou Frou, Queen, Jump Little Children, Son Volt, or anything else that sounds totally relatable but also entirely singular—that's what it sounds like. The music lifts your heart because the compositions have that effect. It's also very Americana. There's no banjo or mandolin, but plenty of cello and accordion. It also doesn't sound French. I don't know...the music is singular. It's the Bengsons [group who originally created and performed the show]. Just come hear for yourself or get a taste on Spotify or Apple Music.

JASPER: How would you summarize this story in your own words?

HENDERSON: It's about love (cue memories of Christian in Moulin Rouge). It's about the rewards, challenges, magnetisms, insanities, and fears of love. It's about the weight of commitment: the work that comes with it, but ultimately the joys.

JASPER: Why should people see this show?

HENDERSON: Simply put: It's one of the few contemporary shows you can experience in the coming months. To call it a musical is misleading. You're coming to see a band. A very good band. It just so happens they are going to make you relate to their crazy story in 90 mins flat. Also, the bar is open throughout the show because...that's just civil, isn't it? It's a show and space where you'll be comfortable, and you'll leave with plenty to talk about. You might even kiss somebody (if they consent).

It’s hard to describe what to expect, but in attending Hundred Days, you are guaranteed a once-in-a-lifetime story. You’ll laugh, you’ll cry, you’ll groove. For more details about and to get tickets, visit Workshop Theatre’s website.

REVIEW: Fairview at Trustus Theatre

Cindi Boiter May 6, 2023

So as not to “bury the lede,” this show must be seen. By everyone. More than once.

I went into Trustus Theatre’s production of Fairview with no expectations. I knew nothing about the script, except that it had a brilliant cast and director. What I got in return was one of the best productions and some of the best performances I’ve ever had the pleasure of witnessing.

Fairview has multiple definitions here. You can’t pick just one.

The play opens in the dining room of an upper-middle class family. Beverly, played by Marilyn Matheus, is preparing a dinner party to celebrate her mother’s 80th birthday. The rest of the family trickles in, some to help, some to hinder. Dayton, Beverly’s husband, Beverly’s sister, Jasmine, and Beverly & Dayton’s daughter, Keisha. It’s a pleasant, unassuming scene. (I was reminded of the Huxtable family). This is the easiest act to discuss.

Beverly is obsessed with the perfection of this dinner. More than once (or twice or thrice) she mentions she wants the evening to go well. The relationship between Beverly and her husband, Dayton, is charming. Dayton is sweet, flirty, supportive, and playful. Their affection for each other is evident, though there are numerous opportunities for Dayton to fail (intentionally and unintentionally) at some of Beverly’s requests for assistance. Jasmine, Beverly’s sister, joins the party. If Beverly is the “responsible” sister (and she absolutely is), then Jasmine is the “fun” sister. (She’d rather not admit it, but Jasmine is a bit envious of Beverly). The energy, the banter, the spirit of these three characters is infectious. Keisha, Beverly, and Dayton’s daughter, appears and that energy goes through the roof. A high school senior with a bright future ahead of her, but she’s less than excited at the prospect. The path laid out for her is not necessarily the path she would choose. So far, so…. Comfy and cozy.

Scene change. Except that the scene is exactly as the opening, sort of. This time, however, the cast members go through the identical motions but are pantomiming the scene. Their voices are not heard. Instead, the onstage scene is overlaid by the voices of individuals giving commentary about race and how those very white voices perceive it. The repeated question in this commentary is “if you could choose to be a different race, what race would you be?” The answers are cringe-inducing. Every stereotype/assumption/contradiction you’ve ever imagined is tossed about. I was embarrassed by the fact that comments such as those were being spoken aloud. The effect was one of watching a television show or movie and having people around you speak over the action.

Scene change. In which the disembodied white voices of the previous scene appear as caricatures of Black individuals, specifically Mama (Grandmother) and Tyrone, Beverly’s brother. The dinner party grows increasingly surreal, even absurdist. The pace, the energy, gets faster and faster and culminates in a bizarre food fight.

Keisha, watching in amazement/horror from the sidelines, stops the madness. And I can’t really tell you anything else or it spoils the ending. Suffice to say the watcher becomes the watched.

Exhausting. Provocative. Uncomfortable. This Pulitzer Prize winning piece takes a hard look at racism, family, privilege, and racial perspective.

Terrance Henderson’s direction is ferocious, and his casting impeccable. There wasn’t a weak link anywhere. Marilyn Matheus (Beverly) brings strength and insight to every role she plays. Deon Turner (Dayton) continues to grow from strength to strength in every show in which he’s cast. Katrina Garvin plays Jasmine to tipsy, smart-mouthed perfection. Rayana Briggs’ energy and intensity, from her entrance to show’s end, is electric. Ilene Fins, Brandon Martin, Katie Mixon, and G. Scott Wild all bring strong thought-provoking performances to the story.

Fairview runs May 4 through 7 and May 11 – 13. The May 7 show is a 2:00 p.m. matinee, other performances begin at 8:00 p.m. Talkback sessions will take place after the May 7 and May 11 performances. A grant from the NEA has been used for training sessions and support for the cast and crew.

Housekeeping: The show runs nearly 2 hours without intermission. I promise it won’t feel like it.

Libby Campbell

Jasper Magazine Theatre Editor

A Message from Cindi for Midlands Gives 2023

Cindi Boiter April 29, 2023

Please Consider Supporting the Jasper Project This Year During Midlands Gives.

Donate

Jasper is an all-volunteer 501c3 with NO paid employees and NO overhead, so your donations go directly to the Columbia, SC arts community via events and publications.

Me with Jasper Project board president Wade Sellers and Elvis (aka Patrick Baxley) at Bernie Love 2023

Welcome to one of my favorite times of the year—the time for me to report back to you, our supporters, on how the Jasper Project has been using the funds you entrusted to us over the past year. It’s a joy to celebrate what we can accomplish together with your funding and the Jasper Project’s labors of love.

I always have a soft spot in my heart for Jasper Magazine, which was the seed of the Jasper Project and remains my favorite project of all. Last spring, we published a beautiful issue featuring Lindsay Radford Wiggins on the cover and Michael Krajewski as our centerfold artist. Kristine Hartvigsen wrote the piece on Lindsay, and I had the honor of writing about Michael who, actually, was the centerfold in the first ever issue back in fall 2011. This time, however, he is fully clothed! We also featured a piece on Mike Miller’s new book, The Hip Shot, WOW Production’s first YouTube series, Quincy Pugh’s Veteran’s Day Parade painting series, Carleen Maur’s experimental filmmaking, Artists for Africa, and two new books from Muddy Ford Press, (Jasper’s original underwriter before we became a non-profit under the leadership of Larry Hembree), including Night Bloomer by Jane Zenger and More God Than Dead by Angelo Geter. We wrote artist profiles on Lucy Bailey, Diko Pekdemir-Lewis, and Rebecca Horne; Music editor Kevin Oliver compiled a jam-packed article on 10 music artists to watch in the coming year; Will South wrote a piece on Tyrone Geter and his work and life in Gambia; and I had the honor of profiling David Platts, the ED of the SC Arts commission. Sadly, we also memorialized Wim Roefs and Mary Bentz Gilkerson.

Our fall 2022 issue of Jasper featured Wilma King on the cover and Jim Arendt in the centerfold. We wrote about Wideman-Davis dance, Baba Seitu Amenwahsa, Steven Chapp and Jerred Metz, Arischa Connor’s television successes, the Soda City jazz scene, Jamie Blackburn, poet Monifa Lemons and her stint as an actor on Lena Waithe’s film, Crooked Trees Gon Give Me Wings, Carla Daron’s new book The Orchid Tattoo, Amy Brower and the life of a casting agent, new theatre editor Libby Campbell, Dustin Whitehead’s new film Hero, Elizabeth Catlett, and included several poems and music reviews.

I don’t want to give too much away about the spring 2023 issue which is releasing on Saturday May 20th at the Artists Showing Artists event, hosted by Desirée Richardson of Death Ray Robin, but if you meet me that evening at the One Columbia Co-Op at 1013 Duke Avenue, you’ll get some fresh print featuring Philip Mullen, Olga Yukhno, Bohumila Augustinova, Katie Leitner, Dick Moons, Ivan Segura, Drink Small, Alyssa Stewart, and lots of surprises

Fall Lines volume IX - Cover art by Sean Rayford — https://www.seanrayford.com/

After the magazine my next favorite project has to be Fall Lines—a literary convergence. We just released our 9th volume and issued the call for our 10th. I’m incredibly excited to announce that, in addition to the Broad River Prize for Prose, which went this year to Tim Conroy, and Saluda River Prize for Poetry, which went this year to Jo Angela Edwins, that next year we will also be offering the Combahee River Prize to a SC BIPOC writer of poetry or prose. We’ve also formed an ad hoc committee, captained by poet Randy Spencer, to study the best ways to grow Fall Lines as it moves into its 10th year.

Along the same lines we awarded the Lizelia Prize, named in honor of anti-Jim Crow poet-activist Lizelia Augusta Jenkins Moorer, to Myrtle Beach poet Maria Picone. Maria will have her poetry chapbook titled Adoptee Song, published by Muddy Ford Press through a sponsoring relationship with the Jasper Project. Board member Len Lawson managed this project.

We devoted a lot of our time last summer to the Play Right Series, a project managed by board member Jon Tuttle. The winner of last year’s Play Right Series was first-time playwright, Colby Quick. After spending the summer working with Community Producers Ed Madden, Bert Easter, James and Kirkland Smith, Paul Leo and Eric Tucker, Bill Schmidt, Wade Sellers, and myself, as well as the cast of Colby’s winning play, Moon Swallower, we presented a heavily produced staged reading, directed by Chad Henderson, at the Columbia Music Festival Association in August. We were also delighted to invite the public to the reading and, via our relationship with Muddy Ford Press, offer published copies of Moon Swallower for sale.

Jasper Friends Dick Moons and BA Hohman pose with our host, Clark Ellefson, outside the Art Bar

In December, Clark Ellefson and Andy Rodgers hosted the Jasper Project at the Art Bar on Park Street where we staged our first official Santa Crawl, inviting all comers to don their Santa suits and drink like it was Christmas. We had a fabulous time and enjoyed a delicious house-created cocktail list with a portion of each sale going to the Jasper Project. Thanks Clark, Andy, and everyone at the Art Bar!

In February, the good folks in the Capital City Playboys invited us to partner with them on the fundraiser concert event, An Evening with Bernie Love—A Tribute to Elvis. We themed the event around Valentine’s Day and welcomed more than 100 folks to the 701 Whaley Market space where Marty Fort, Jay Matheson, Kevin Brewer, and Patrick Baxley as Elvis! We also hosted artists Jamie Peterson, Gina Langston Brewer, Cait Maloney, and Lindsay Radford Wiggins who showed and sold their work. At the same time, and thanks to Lee Ann Kornegay, we had reserved the Community Hallway Gallery at 701 Whaley for the month of February to stage an art exhibit we called Love Hurts/Love Heals featuring K. Wayne Thornley and Wilma King.

In March, created a new event called Artists Showing Artists. Artists Showing Artists is an opportunity for established artists to share the spotlight with other artists who may be emerging, new to the area, or who they want to highlight. The project encourages collaboration within and between disciplines and enlightens the community about both the featured artists and the art curation process. Our first event featured Saul Seibert who invited poet Alyssa Stewart (we’re publishing her first ever published poem in the next issue of Jasper Magazine - thanks Saul!), visual artist Virginia Russo, and rapper Keith Smiley.

Our next Artists Showing Artists event will feature Desirée Richardson of Death Ray Robin as our Artist Host. I hope you can join us on May 20th to pick up a copy of the spring issue of Jasper Magazine and check out all the artists Desirée has invited to join us!

In fact, our various gallery spaces across town have grown considerably, helping Jasper to spotlight the work of artists in small, captured spaces. We do a First Thursday artist-in-residence rotation at Sound Bites Eatery on Sumter Street that has thus far included Michael Shepard, Alex Ruskell, Kimber Carpenter, Ginny Merritt, Adam Corbett, Quincy Pugh. Marius Valdes, Gina Langston Brewer, Lindsay Radford Wiggins, Lucas Sams, Colleen Crichter, and Keith Tolen.

Steven White speaking to theatre goers at Harbison Theatre

In January, the Koger Center opened a space on the second floor of their building just outside of the Donor’s Gallery for the Jasper Project to show the art of Columbia-based artists. We opened with Thomas Crouch, then Lindsay Radford, followed by Quincy Pugh. We’ve scheduled additional visual artists to fill out the remainder of 2023 and are already programming into 2024 at the Koger Center as well as at Harbison Theatre in Irmo, where we’ve shown David Yaghjian, Steven White, Michael Krajewski, Lori Isom Starnes, and are currently showing Olga Yukhno. We also keep a running gallery at Motor Supply Bistro and in the sidewalk gallery at the Meridien Building on Main Street.

I’m actually thrilled to announce that the Jasper Galleries helped put almost $18,000 into the pockets of working artists in Columbia since last March!

Board Member Bert Easter staffs the kegerator at a Jasper Project House Party

As the Jasper Project board of directors has grown, we’ve done a bit of reorganization. Christina Xan, whose work on the Tiny Gallery continues to be so efficient that we tapped her to manage all our gallery spaces, is now also serving as our treasurer. Emily Moffitt was also elected board secretary in January, just after officially joining the board, and Wade Sellers and Kristin Cobb both continue as board president and vice president respectively. Bekah Rice is officially our digital manager as well as our operations manager and, typically, our events director. We welcomed new members to the board including visual artists Ginny Merett and Kimber Carpenter, and Jasper Magazine theatre editor Libby Campbell

I’m sure I’m forgetting an event, a happening, or a party.

Please remember, it is your support of Jasper’s passion for supporting, promoting, and validating Midlands-area artists that allows us to do what we love. Thank you for your continued support.

Cindi

April 2023

Please enjoy a few more photos from the past year of the Jasper Project below —

Carla Damron at Richland Library leading discussion on her book, The Orchid Tattoo, for Jasper’s Nightstand Book Club

Featured Artist Wilma King talks with artist Gerard Erley at the Love Hurts/Love Heals art show that she shared with K. Wayne Thornley— a Jasper Project with 701 Whaley

Lisa Hammond served as the poetry judge for Saluda River Prize for Poetry in 2022’s Fall Lines

Jasper was invited by the good folks at Curiosity Coffee to arrange a pumpkin carving contest among the city’s artists — it was a huge success, a lot of fun, and we had some beautiful (and terrifying) pumpkins result!

We featured the art of the four artists on the board at Artista Vista this spring - Ginny Merett, Kimber Carpenter, Laura Garner Hine and Emily Moffitt

Olga Yukhno speaking to theatre goers at Harbison Theatre for her spring exhibit

Our 2019 project, The Supper Table, is still touring. Here it is at the Myrtle Beach Gallery of Art just after being on exhibit at the Morris Center for Arts and History

Michael Krajewski with his exhibit at the Jasper Gallery at Harbison Theatre

Announcing the Winner of the Jasper Project 2023 Play Right Series - Lonetta Thompson

Cindi Boiter April 28, 2023

Congratulations Lonetta Thompson!

The Jasper Project is delighted to formally announce that Lonetta Thompson is the winner of the 2023 Play Right Series competition for her play, Therapy.

Lonetta Thompson is a graduate of the University of South Carolina with a B. A. in English and a Minor in Theatre. As an actor, she has performed for years on stages in Columbia and surrounding cities, most recently touring with Spark, an Outreach initiative of the SC Governor’s School for the Arts and Humanities in partnership with Workshop Theatre of South Carolina. She is a member of the NiA Company and Company Emeritus with Trustus Theatre. Prior to entering the Play Right Series, she had written a handful of short stories and one other script. By day, Lonetta is an eLearning Developer with a large insurance company. She has one daughter and one grandson.

Lonetta’s play, Therapy, will be the focus of a staged reading on Sunday, August 6, 2023.

~~~

Now it’s your chance to join the Jasper Project’s Play Right Series as a Community Producer.

Are you the kind of person who always wants to know more about the art you experience?

· Why did the playwright write their characters the way they did?

· What was the director trying to accomplish by having an actor move across stage, turn their back to the audience, or break into dance?

· How did an actor make me feel the way they did simply by turning their head?

If you have a passion for knowing more, understanding process, inspiration, and impetus, and seeing how a virgin play goes from page to stage, you are a good candidate for becoming a Jasper Project Play Right Series Community Producer.

~~~

What is a Community Producer?

Community Producers are important members of the Play Right Series Team who, in exchange for their investment of a modest amount of funding, ($250 each or $500 per couple) become engaged in the development of a virgin play from the first time the actors meet until the production of a staged reading of the play in front of an audience.

During July 2023, Community Producers will gather every Sunday to explore the process of a play moving from page to stage with presentations that include

Meet the Playwright: Lonetta Thompson
Meet the Director: Elena Martinez-Vidal
First Table Reading with your host, Jon Tuttle
Behind the scenes with the Cast of Therapy
Stage managing, props, costumes, lighting, & sound with your host, Jon Tuttle

And finally, a Staged Reading before a live audience with the Community Producers front and center as our esteemed Guests of Honor*

You’ll enjoy wine, cheese, socializing, and an assortment of other unique snacks at every event, as well as Jasper Project swag bags

* For the Staged Reading, Guests of Honor will be seated in the best seats in the house, acknowledged from the stage and in all programming, promotions, and press releases, as well as on the Jasper Project website and in the Fall 2023 issue of Jasper Magazine.

Ready to sign up as a Community Producer?

Watch this space for more information or drop a note to info@JasperColumbia.com

How does this work?

Every Sunday afternoon in July 2023 you are invited to join with the cast, crew, and fellow Community Producers of Therapy for an enlightening and entertaining session that pulls back the curtains of theatre development and illuminates how a stageplay goes from page to stage. Your first session will offer you a private viewing of the first step in play production, the Table Reading – the first time the cast of Therapy reads their parts together for their director, Elena Martinez-Vidal.

Finally, you’ll take your reserved, best-in-the-house seats to a ticketed staged reading of Lonetta Thompson’s Therapy on Sunday, August 6th.

But there’s more.

What is expected of Community Producers?

We hope you can make it to every exciting Sunday afternoon meeting, but we understand if you have to miss some. Each session will last from 90 – 120 minutes.

Play Right Series History

The Play Right Series is an endeavor to enlighten and empower audiences with information about the process involved in creating theatrical arts, at the same time that we engineer and increase opportunities for SC theatre artists to create and perform new works for theatre.

Our first project in the Play Right Series was in 2017 when Larry Hembree led project members to produce a staged reading of Sharks and Other Lovers by SC playwright Randall David Cook. Sharks went on to win a number of awards and has been produced off-Broadway.

Our second play, community produced in the summer of 2022, Moon Swallower, was written by first time playwright Colby Quick and directed by Chad Henderson. Moon Swallower was performed as a staged reading at the Columbia Music Festival Association in August 2022 and subsequently performed in its entirety by USC Aiken. 2022’s Community Producers included James Smith, Kirkland Smith, Paul Leo, Eric Tucker, Ed Madden, Bert Easter, Bill Schmidt, Wade Sellers, and Cindi Boiter.

SC Playwright Professor Jon Tuttle of Francis Marion University was the project manager in 2022 and returns as to the position in 2023.

The Arts Center of Kershaw County is proud to present Godspell May 5-7 and 12-14 in Wood Auditorium!

Cindi Boiter April 12, 2023

From our friends at the Arts Center of Kershaw County:

The Arts Center of Kershaw County is proud to announce Godspell!

Focusing on the timeless power of hope, Godspell is structured as a series of parables based on the biblical gospel of Matthew. Godspell features an eclectic blend of songs, ranging in style from pop to vaudeville, as the story of Jesus’ life dances across the stage. With music composed by Stephen Schwartz (Wicked) with book by John-Michael Tebelak, Godspell was an immediate blockbuster hit upon its release in the 1970’s.

Godspell began as a project by drama students at Carnegie Mellon University and then moved to the off-off-Broadway theater La MaMa Experimental Theatre Club in the East Village of Manhattan. The show was rescored for an off-Broadway production, which opened on May 17, 1971, and became a long-running success. Many productions have followed worldwide, including a 2011 Broadway revival.

Now we are proud to bring Godspell to the Arts Center Main Stage!

Dates: May 5-7 and 12-14
Location: Wood Auditorium
Tickets: $25 (Adults) $10 (Under 18)
Showtimes: Fridays and Saturdays doors open at 6:00 for a 7:00 pm show. Sundays doors open at 2:00 pm for a 3:00 pm show.

Purchase Tickets

For more information, please visit our website or call us at 803-425-7676. Thank you for supporting the Arts Center of Kershaw County! We look forward to seeing you soon!

REVIEW: A Chorus Line at Workshop Theatre

Cindi Boiter March 23, 2023

"I’d be proud to be one of them. They’re wonderful. They’re all special. I’d be happy to be dancing in that line.” — Cassie, A Chorus Line

The 1975 musical A Chorus Line has been a beloved musical since it opened on Broadway nearly 40 years ago, and last week, it opened at Workshop Theatre. Directed by Hans Boeschen, the musical brings together over 20 local actors as it delivers the familiar plot: a tense fight for individuality veiled behind humor, sweat, and tights.

These personalities are stepped into well, for the most part, by the cast. The humor is certainly the part best received. Craig Allen and Adai’shun Cook, as Bobby and Richie respectively, are fabulous at using body language to command the stage and complement the jokes in their dialogue. Gracen Cabiness, who plays Kristine, is fantastic at facial humor, pulling out many a laugh from the audience in her rendition of “Sing.”

When it comes to embodying the almost character actor element of this play, the cast shines, but they do struggle at times in the nuance of the performances. Shelia and Val, for example—portrayed by Reign Capers and Tajiana Nechelle—are great in stepping into the shoes of confident vixens who know what they want and aren’t afraid to take it. However, when there are moments for these women to be vulnerable and for doubt to creep in, the performances don’t seem fully taken advantage of.

Though at its heart A Chorus Line is a musical about potentially losing ourselves in our journey to be seen, it’s a show outwardly focused on singing and dancing—two things this production did decently but not exceedingly well.

This cast only includes a few professional dancers, and choreographer Erin Bailey certainly did a fair job creating dance moves where every person could produce the moves and still look identical. Sometimes, however, the moves were a bit awkward, even in solo scenes that felt like a time to show off. For example, Cassie’s solo is meant to highlight her acting and dancing chops—and Katherine Brown, who portrays her, has a professional background in dancing—so it would have been nice to see some more striking, powerful movement.

That being said, Katherine Brown was a standout in the show. Cassie demands an aesthetic and energy that is set apart from the other dancers, and Brown brings this to the role. The speech in which she reveals why she has returned to the chorus line felt genuine, and her vocal performance, though not transcendent, was one of my favorites—along with Gaby Walker’s solos as Diana.

All-in-all, there were pockets of highlights in the show where someone’s voice hit just the right pitch and tone or there was a dance move that caused you to hold your breath, like Katie Page’s brief tap dance routine as Mikah during “I Can Do That.” However, looking the show as a whole, there were several hiccups with the song and dance that was exacerbated by issues with sound. The mics produced feedback at several times during the performance, and the music was a bit too loud and partially muffled the actors’ singing/talking. The visuals, though, worked well, with the traditional mirrored dance room backdrop and scattered gym bags defining the space (set by Patrick Faulds).

Further, the costume design, led by Andie Nicks, was deft, showcasing pieces that well reflected the individual character’s personas while also looking like what one simply would naturally wear to practice dance, which made the performance as a whole feel modern and real from the start—and which gave the final change into matching uniforms the punch the closing scene requires.

The one thing this performance certainly has going for it is heart. It was funny, and it was passionate. Being there as a patron was a joy, simply to exist in the audience where fellow audience members laughed out loud and ended the performance with loud claps and screams of joy and support. They made it clear Workshop is doing something right.

Overall, if you want to support the arts and local talent, it’s worth the drive to Cottingham Theatre at Columbia College to see it. Even though it is not a flawless production, it is passionate and real and showcases a group of people whose individuality deserves to be recognized.

REVIEW: The Light at USC Lab Theatre

Cindi Boiter March 19, 2023

Trigger Warning: sexual assault is a primary subject in this piece.

Spoilers ahead

You should see this show.

Loy A. Web’s script is a bit heavy-handed at times but the subject(s) and the conversations they can prompt override that. It’s filled with quick turns and twists and surprises.

The show opens in an ordinary apartment. Rashad is rehearsing how he will propose to his girlfriend, Genesis. Asaru Buffalo plays the role of Rashad, and he is perfectly charming. This opening scene is lovely and joyful and playful, and I loved it. Genesis, played by Shakori Jennings-Shuler, enters her apartment, and is not in the same good spirits as Rashad. Genesis is a school principal and has discovered that one of her new teachers, someone she admires and respects, feels that Brett Cavanaugh is being judged unfairly. Genesis is disappointed and surprised at her new colleague’s stance and wonders whether how she can reconcile herself to their obvious political differences. (I daresay that at some point in the last 9 years we all have found ourselves in a similar situation.)

Rashad tried to lift her spirits and his ploy begins to work. Genesis then accuses him of not knowing “today’s” significance. It’s revealed that it’s their anniversary. He has, of course, completely forgotten this. The engagement ring steps in as an anniversary gift. The proposal is gleefully and tearfully accepted. Joy ensues. He has planned to recreate their first date and has obtained at great cost tickets to a concert by her favorite artist. How happy can two people be?

Hold my beer.

The headliner and producer of this concert is the fictional rapper Kashif. Kashif has been a source of conflict between Rashad & Genesis before. Genesis condemns Kashif for his misogyny. Rashad supports Kashif for the good he does for the community. Genesis initially tells Rashad Kashif raped a friend of hers in college. She admits her friend did not report the rape. Rashad has been falsely accused of domestic assault; he had been a football player with a bright future. These dreams evaporated with the false accusation. He is also the custodial parent of his daughter.

Rashad implores Genesis to understand his existence as a Black man who is never afforded the benefit of the doubt. Genesis implores Rashad to understand her position as a black woman in an unending struggle to be seen and valued as being black and as a woman.

Spoiler alert: Genesis reveals it was not a friend who was raped, but herself. The opening scene set the stakes really high. I won’t tell you how it ends.

It was nice to see two young actors honing their craft. There were no bios in the program, so I have no idea about the work the actors have done previously. Ms. Jennings-Shuler needs to watch her volume and energy. There were times I lost what she was saying because she spoke so softly. Her final soliloquy was powerful, and she delivered it with anger and frustration. Mr. Buffalo needed to kick up the volume a bit; he may have been suffering from a cold or allergies. His focus on Ms. Jennings-Shuler’s monologue never faltered. He remained focused on her the entire time.

The set was completely serviceable. It would be nice to have a coat rack or a hook on the back of a door for Rashad to hang his jacket. Otherwise, there was nothing to really detract from the performances.

I saw the Thursday performance with friends who are also actors. It was a diverse group; one Black man, two Black women, and one white woman. We went out afterwards and talked and argued and discussed the show for over two hours. The disrespect and devaluation of Black men and women, the irreparable damage of false accusations, the very personal perceptions of what constitutes “rape”… it was enlightening on many levels. That’s what good theatre does - it opens the door to conversation and debate, which is how we all move forward. Unfortunately you have only two more chances to see this show. Take one of those opportunities. You won’t be disappointed.

REVIEW: The Mad Ones at Trustus Theatre

Cindi Boiter February 26, 2023

“The only people for me are the mad ones, the ones who are mad to live, mad to talk, mad to be saved, desirous of everything at the same time, the ones who never yawn or say a commonplace thing, but burn, burn, burn, like fabulous yellow roman candles exploding like spiders across the stars and in the middle you see the blue centerlight pop and everybody goes 'Awww!'"

Jack Kerouac from his autobiographical novel On The Road

Not enough has been written about platonic girl love, especially for adults. But the reality is that platonic girl love—its power and gravity and the way it can encompass a person like a cocoon—has saved many a young woman’s life, both figuratively and literally. The musical The Mad Ones by Bree Loudermilk and Kait Kerrigan (2017), on the Trustus stage through March 18, gives this beautiful and complicated phenomenon the reverence it is due.

With a tiny cast of four Trustus stage virgins, including two current USC students, Lily Smith and Charlie Grant, The Mad Ones is the story of Samantha and Kelly, played by Smith and Elise Heffner, BFFs who are separated by an accidental death. Samantha must rely on her memories of the all-important platonic girl love relationship she had with Kelly to get her through her grief and on the road to adulthood and making the next life decisions.

The working metaphor throughout the musical is that Samantha is obsessed with Jack Kerouac’s autobiographical novel, On the Road, but despite her intelligence (Sam is valedictorian of their senior class), she repeatedly fails her driving test keeping her, in essence, off the road. The brilliance of this simple metaphor plays out beautifully in the construction of the play.

Lead characters Smith and Heffner are just so much, too.

Adorable, approachable, relatable, insightful, lovable young women, Smith is a cross between Mayim Bialik and Tina Fey and Heffner is that combination of cute and fun that leaves no wonder Smith’s character Samantha adores her so. Smith plays Sam as vulnerable, but capable of getting through this period of grief with the help of the three people who she knows has her back no matter what: her boyfriend Adam, played by Grant, her mom Beverly, played by Jessica Roth, and the memories of her dead friend, Kelly. And in no way is the character of Beverly to be overlooked. Her character is refreshingly written as a bright, caring, and self-fulfilled mother who wants nothing less for her own daughter. While many writers would have fallen into the old tarpit of depicting her as a pushy parent, Loudermilk and Kerrigan seem to recognize what is at stake here and present Beverly as assertive, yes, but justifiably so. Beverly behaves in ways that every mother should aspire to.

To say the cast has vocal chops is an understatement. From Grant’s smooth dulcet crooning to Roth’s rich and powerful voice, the four vocalists take on the score bravely leaving nothing on the stage. The slight pitchiness and rare missed note were so real and genuinely offered that they almost felt scripted, as in, everyone misses a note now and then so of course these authentically imperfect characters will, as well. These young actors, as well as Roth, DO NOT HOLD BACK.

Clearly this kind of bravery in such young actors had to originate in the experienced pedigrees of their directors, Robin Gottlieb and Katie Leitner. In her playbill note, Heffner gives special thanks to Leitner as “the best teacher she ever had.” No doubt. Leitner is also the powerhouse musician and vocalist in the popular local band, Say Femme and between the two women, they have performed enough lead roles to intimidate these four initiates into paralysis. But it is evident how the directors empowered their cast with courage and the message of the script.

There were no weak links in this production. Kudos to Ginny Ives (stage manager), Ezra Pound (sound), Lorna Young (lighting), Liza Hunter (assistant stage manager), and Jim Hunter (scenic designer) for pulling off all the pieces of the behind-the-scenes puzzle that allow for a successful production. Also outstanding was music director Chris Cockrell and his band, and special thanks to the strings player whose melancholy tones were enough to elicit tears alone.

Yes, expect to respond to The Mad Ones with anything from misty eyes to ugly sobbing. But the tears you’ll shed are of the redeeming variety—the kind that wash away the pain and remind us that we grow from every obstacle we overcome.

Go see this beautiful musical and celebrate the talents of these young actors and the futures they have in store.

REVIEW: Torch Song at Workshop Theatre

Cindi Boiter January 21, 2023

Torch Song began its evolution as three one-act plays, the first of which, International Stud, opened off-off-Broadway way back in 1978. It was followed by Fugue in a Nursery the next year and finished with Widows and Children First. The three were combined into Torch Song Trilogy which made its Broadway debut in 1982. Harvey Fierstein’s groundbreaking piece took home the Tony for Best Play in 1983. In his acceptance speech, Producer John Glines openly acknowledged his lover and the show’s co-producer, Lawrence Lane. This, kiddoes, had never been done before.

Join me and Mr. Peabody in the Wayback Machine. (IYKYK) It’s the late 70’s and early 80’s. AIDS has just started to ravage the gay community, aided and abetted by the nonchalance of the straight community. (Thanks, Ron & Nancy. I digress.) We’re just over a decade past Stonewall. In this environment Harvey Fierstein spins the (largely autobiographical) story of one Arnold Beckoff. He addresses issues such as gay marriage and adoption, which were unheard of 40 years ago. Look how far we’ve come…(hold that thought)

In Workshop Theatre’s production, Arnold is played lovingly and endearingly by Julian Deleon. The show opens with Arnold in his dressing room at International Stud, transforming himself into Virginia Ham. (Pay attention to the list of drag names with which he peppers his opening monologue. You. Will. Love.) Deleon’s delivery of this exercise in self-analysis is fast and furious and funny, and absolutely spot-on. It would be so easy to turn Arnold into a caricature. This piece was, after all, written by and originally starring Harvie Fierstein. DeLeon never steps over that line. His Arnold is maddening, infuriatingly needy, manic, frustrating, and utterly and completely loveable and heartbreaking.

Arnold meets one Ed Reiss up in da clurb. Ed is a charming fellow, a school teacher who must be circumspect in all things, as we are not yet a “woke” world. Arnold falls head over heels in love with Ed, because of course he would. Because a Torch Song by definition cannot have a happy ending.

Ed is set up on a blind date with the lovely and hapless Laurel and falls head over heels into the easy out, which is to marry the straight girl of his parents’ dreams. Ed and Arnold remain “friends.” At Laurel’s invitation, Arnold visits the lovebirds at their farm in upstate New York and brings along his new love, Alan. Interesting conversations ensue.

Enter Mother. Dear, strict, conventional, conservative Jewish Mother. Hurtful, passive-aggressive, put upon Mother. Debra Haines Kiser plays this role with such conviction and passion. When she makes one jab too many and Arnold can take no more…. I thought I’d accidentally wandered into George and Martha’s study. Kiser and Deleon work beautifully off each other. Their scenes snap, one line on top of another, until we are all exhausted.

Crouch has assembled a good, solid cast. Brady Davis plays David, Arnold’s soon-to-be-adopted son. His David is such a 15-year-old gay boy – sassy, bitchy, rebellious, outspoken, and very loving. (Can we do something about poor David’s suit? He’s about to be adopted by a drag queen with mad sewing skills. Arnold would not have allowed him to leave the house in a suit two sizes too big.)

I wish Marshall Spann’s Ed had been more… energetic? Ed is supposedly so charming that both gay men and straight women cannot resist him. I wanted to see more of that charm.

Beth DeHart’s Laurel is enigmatic. She vows to have fallen in love with Ed and has come to terms with his bisexuality, but has she? Arnold and Alan visit the farm on her invitation, not Ed’s. To what purpose? Is she proving herself to herself? Is she testing Ed’s dedication to being straight? Is she deliberately taunting Arnold? There is no incorrect answer.

Taylor Diveley creates a perfectly adorable Alan with whom Arnold cannot help but fall in love. He’s a smart, gorgeous cocker spaniel puppy. You want them to be together forever and ever and ever. (This is a Torch Song)

Set, costumes, and music come together nicely. (Please make a mix-tape of the show’s music and sell it in the lobby). I tried to figure out a way to sneak the kitchen table and chairs out of Arnold’s Act 3 apartment but wasn’t able to make it work.

I shall now pick a nit. Please. Please. Please. When food and drink are mentioned in a script, have food and drink onstage. It isn’t that difficult to whip up a pot of instant mashed potatoes to put on plates and have water/tea/coffee in a pitcher or kettle to pour into cups. After all the tremendous care and effort put into a production, it’s annoying to see actors trying to block the fact that they are serving imaginary food.

Fierstein has written, and Jerry Crouch has lovingly directed a show about what we all ultimately want - to be loved and respected for who we are.

Torch Song runs through January 29.

REVIEW: Mr. Burns - A Post Electric Play

Cindi Boiter January 21, 2023

Mr. Burns, A Post-Electric Play, running at Trustus Theatre, is, to put it mildly, a challenging production. Ann Washburn’s three act 2012 dark comedy (with a score by Michael Friedman) follows a group of individuals who have just experienced an unspecified cataclysmic event (although all signs point to a meltdown of multiple nuclear power plants) which has destroyed life as they know it. Like humans throughout time, the near-strangers strive for some sense of normalcy by sharing stories. In this case, they frenetically try to reconstruct an episode of the long-running animated series, The Simpsons. The group has settled on “Cape Feare,” an episode where Bart Simpson (that spirited little scamp) is stalked by Sideshow Bob, an ex-convict who has a long-standing hatred of Bart. Based in part on the two versions of the “Cape Fear” movies, the episode follows the Simpsons as they try to escape Sideshow Bob by moving from their home to a houseboat, to no avail. Sideshow Bob appears with murderous intent, and Bart distracts him by asking for an entire production of “HMS Pinafore,” to which Sideshow Bob gladly assents.

But back to Mr. Burns: A stranger appears in the dark; guns are drawn. Suddenly, the camaraderie is broken. But the stranger proves he, too, has some sense of the Simpsons episode, and the process begins again and is enriched.

Act II finds the same group of individuals seven years later, bonded together as a theatre company, roaming the land with its version of the “Cape Feare” episode, complete with commercials. And it turns out other theatre troupes exist, and they compete for audiences of survivors by “buying” material to produce better shows. It seems cockroaches and capitalism both survive nuclear holocaust.

Act III occurs 75 years later and operates as a standalone production of what the original story has become. A Greek pageant complete with stylized masks and costumes, many details of the original “Cape Feare” episode have evolved and changed, and the production tells a story of the dichotomy between good and evil.

In the Trustus production, the ensemble cast works well together. Particular kudos go to Patrick Kelly, whose dizzily horrifying performance in Act III is breathtaking. Allison Allgood is equally strong in Act III, balancing Kelly’s necessarily oversized performance with seeming ease.

Both the simple and inventive set by Danny Harrington, and the light design by Marc Hurst enhance the dystopian script. While the staging is a bit static in Act I, it completely evolves by Act III.

As noted, this is not an easy production to take in. It is dark and dystopian in its comedy, and that may not be for you. But true to Trustus’ history and mission, it is a show that won’t leave you right away. You will likely mull it over on the way home. You will probably think about it the next day. And that’s a good thing.

Mr. Burns, A Post-Electric Play, runs at Trustus from January 20 through February 4, 2023.

Welcome to 2023! Cola-based Artists Share Their New Year’s Resolutions

Bekah Rice January 2, 2023

We often struggled with creating our own New Year’s Resolutions, so this year, Jasper turned to creators themselves to see what they hoped for their 2023s. Hoping you take as much inspiration from these as we as did!

Artists shared the simple but deep desire to create more, from the general to the specific:

“To sketch everyday” – Laura Garner Hine

“To create more art, see more art and share more art” – Keith Tolen

“To create a fresh collection of meaningful works to show by the end of the year.” – Ashley Herring Warthen

“To be more consistent and spend time in the studio every day.” – Olga Yuhkno

“To sketch a few times each week even though I am working a regular job and still in school.” – Heather Lynn Endicott

“To complete my translation of Havamal, and put together the video where I tell the story.” – Price Lassahn-Worrell

Some artists addressed the desire to return to unfinished projects – with both earnest desire and humor:

“To finish a few of the many unfinished works sitting in my studio. To find creative inspiration and spurs.” – B.A. Hohman

“My 2023 New Year's resolution is to finish all the craft projects from 2022 that I should have done in 2021, since I started them in 2020 after buying the supplies for them in 2019.” – Valerie Lamott

A recurrent theme was the desire to stop listening to the nagging voice in the back of our minds that tries to scare us or quiet us:

“To be less critical of my art and to be more open to ideas flowing in and reconnect with my inner voice.” Renee Rouillier

“To override my inner critic and follow my intuition.” – Ginny Meret

Similarly, artists shared a desire for understanding of themselves and the space they occupy:

“To respect the fact that life brings changes and art sometimes has to occupy a different position on the list of priorities.” – Mary Ann Haven

“To paint more of what I WANT to paint.” – Sean Madden

“To paint and write (about my daily experiences, culture, and cooking) on a daily basis in 2023. I could not manage to paint or write regularly in 2022 although I realize and internalize how painting and writing are effectively helpful to my inner peace and well-being (my mental health) and nurture my inner child.” – Khin Myat

The desire for self-exploration came up again and again:

“To explore new mediums, to be more vulnerable, to be more generous.” – Lucy Bailey

“To delve deeper into the world of sound & rhythm by availing myself of educational opportunities. The goal being to broaden and enhance my understanding of how sound affects us and to incorporate that knowledge into my craft.” – Dick Moons

“To play with more mix media, experiment more with oils, delve into interchangeable art with my business partner Barry wheeler who always pushes me to keep exploring.” – Michael Krajewski

“To allow Artist-Self more Exploration of Shadow Self//privately (perhaps publicly) …let those kids merge—dissolve some things and mend some others, all the while being colorful, honest and vulnerable through visual & written prophetic blabber!” – Emily Wright

And, artists expressed a desire to grow within a community, with goals for unity and collaboration:

“1. Listen to people more and work on humility as well as developing healthy, in person relationship that encourage aggressive kindness. 2. Help cultivate and create a culture of collaboration with “Columbia-Centric" artists from all mediums in order to reinforce a positive art infrastructure. 3. Finish writing and producing three original albums. 4. Stay clean and sober. 5. Serve the city.” – Saul Seibert

“To see, and be a part of, more collaboration with artists and our communities. Utilizing our talents and materials to create and unify....” – Gina Langston Brewer

The common message among these various goals is this: create what you want to create, create whenever you can, and create in constellations. The act of making something, of there now being something where there once was nothing, may often be simple, but it is magical. Go into 2023 treating yourself with grace and with the open-mind and willingness to create something where there wasn’t something before.

And Happy New Year—from all of us!

That Gentle Nudge -- CALL for SCRIPTS for Jasper's Play Right Series

Cindi Boiter November 30, 2022

DEADLINE DECEMBER 31, 2022

In an effort to enlighten and empower audiences with information about the process involved in creating theatrical arts, at the same time that we engineer and increase opportunities for SC theatre artists to create and perform new works of theatre arts , the Jasper Project is pleased to announce a new series of audience-friendly plays called the Play Right Series.

The play submission window is now open; it will close on December 31, 2022 at which time the Play Right Series committee will select a play for the next round of development.

Read submission details →

“Development,” in this case, means round-table readings and discussions with paid professional director, cast, and crew, and attended by Community Producers and other professionals, followed by rehearsals, and a public presentation of a fully realized staged reading.

The development process will be facilitated by Community Producers—audience members invested in the development process and supportive of the state’s theatrical and literary talent who exchange a modest financial contribution for the experience.*

A final version of the winning play will be published and filed with the Library of Congress, with copies distributed to the winning playwright as well as industry leaders in the area and beyond.

Professor Jon Tuttle will serve as the Project Manager for the Jasper Project’s Play Right Series again in 2023.

Congratulations to the Cast & Crew of the PRS 2023 Winning Play THERAPY by Lonetta Thompson!

Chapin theatre Company’s third annual 10 Minute Play Festival will be held on Friday and Saturday, November 3 & 4, 2023, at our new building at 830 Columbia Ave, Chapin, SC.

Submissions of short plays or sketches written by local peeps is a great opportunity to see your words come alive on stage. If selected, you will have an option of directing and/or casting your play.Specific requirements:

Playwright must live in or be from South Carolina.

Must be 10 minutes or less.

Maximum of 5 characters

Must have minimal set and technical requirements

Keep it PG 13 or less

Should be in a "play format" and saved as a pdf, using our guidelines. Play title and page number must be written on each page

This is a blind submission, so your name must NOT be written on the script

Only two plays will be accepted by each playwright. Only one can be included in the festival

Winning plays cannot be revised after selection

All entrants must complete and submit the entry form

Submissions begin June 15.Deadline for submissions is August 26, 2023.

You’re invited to become a Jasper Project Play Right Series Community Producer or Sponsor

Past Community Producers Include James & Kirkland Smith, Ed Madden, Bert Easter, Paul Leo, Eric Tucker, Bill Schmidt, Wade Sellers & more

Play Right Series Levels of Engagement

Community Producer $250

Other Sponsorship Levels

Scholarship Sponsor $250

Actor Sponsor $500

Playwright $1000

Director $2500

You’re invited to be an integral part of this project by becoming a Community Producer — Read more about the perks and fun of community producing here!

Are YOU the Community Producer we’ve been looking for?

If you are interested in becoming a

Community Producer or sponsor -

email playrightseries@jasperproject.org

“His Audrey II is a botanical Mae West.”

“It's Columbia. We are better served by seeing something for the first time rather than a variation on what we've seen before. We've all seen that. We need new, we deserve it. We deserve the newest things now.”

- Chad Henderson

Please Consider Supporting the Jasper Project This Year During Midlands Gives.

Jasper is an all-volunteer 501c3 with NO paid employees and NO overhead, so your donations go directly to the Columbia, SC arts community via events and publications.

Please enjoy a few more photos from the past year of the Jasper Project below —

Congratulations Lonetta Thompson!

Now it’s your chance to join the Jasper Project’s Play Right Series as a Community Producer.

What is a Community Producer?

Ready to sign up as a Community Producer?

Watch this space for more information or drop a note to info@JasperColumbia.com

How does this work?

What is expected of Community Producers?

Play Right Series History

From our friends at the Arts Center of Kershaw County:

"I’d be proud to be one of them. They’re wonderful. They’re all special. I’d be happy to be dancing in that line.” — Cassie, A Chorus Line

Jack Kerouac from his autobiographical novel On The Road

DEADLINE DECEMBER 31, 2022

Submissions of short plays or sketches written by local peeps is a great opportunity to see your words come alive on stage. If selected, you will have an option of directing and/or casting your play.

Specific requirements:

Submissions begin June 15.
Deadline for submissions is August 26, 2023.