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No More 10 out of 12s – Impact on the BIPOC Community | USITT Webinar Replay

Stage Directions • Industry NewsTheatre Buzz • February 24, 2021

Here is the video of the most recent USITT Community Conversation: No More 10-out-of-12s – Impact on the BIPOC Community that aired on Wednesday February 24, 2021. Costume Designer, Valérie Thérèse Bart moderated this discussion with Scenic and Costume Designer, Clint Ramos; Artistic Director, Baltimore Center Stage, Stephanie Ybarra; Director Tara Moses; and Production Manager David “dstew” Stewart as they discuss the barriers 10 out of 12’s place in the BIPOC community.

For years, 10-out-of-12 technical rehearsals and six-day work weeks have been seen by theater workers as mandatory. In trying to uphold the spirit of “The show must go on,” theater practitioners in both professional and academic settings have repeatedly pushed themselves far beyond their physical and mental limits, jeopardizing both their health and their future.

About the Moderator and Panelists

Valérie Thérèse Bart is a proud self-proclaimed “Franco-VietnAmericaine.” Born in France to Vietnamese refugee parents, she and her family eventually made their way to the US.

Costume, and sometimes scenic, designer for theatre, opera and dabbling a bit in film/TV, she sees this as the perfect way into storytelling—through characters with what they are wearing and why, and the environment they find themselves in. It makes one delve into the psychology and the thought process behind choices. Good designers approach a script as a director and actor would by asking the questions of who/what/when/where/how and why. And it makes complete sense to her that this can combines all of her favorite things: storytelling (comics/RPG books), clothing/expression (fashion design), movement/choreography (dance), mood/theme/score (music).

Bart hopes to create work that is collaborative, open-minded and truly diverse because she comes from multi-ethnic/multi-cultural backgrounds and sees the world as such. It is now more important than ever to have an all-inclusive way of telling stories and dismantle the systems that have created gatekeeping. For so long Black, Indigenous, and People Of Color’s (BIPOC) bodies and voices have either been used to advance white supremacy, pigeon-holed and segregated from mainstream, or cast aside and ignored. She firmly believes that the work we do is human representation at its core and if we are all storytellers, then we should do so in a respectable and empathetic manner.

She earned her BA from University of California in Los Angeles, her MFA from The Yale School of Drama, is a member of IATSE United Scenic Artists Local 829, as well as Wingspace Theatrical Design. Bart currently resides in New York with her loving husband Rick, their baby Étienne, and their awesome black cat, HoBart.

Clint Ramos is a designer, educator, activist, and creative producer. He is the recipient of a TONY® Award for Best Costume Design of a Play (the first person of color to win in his category) and is a current 2020 TONY® nominee for his scenic design for Slave Play. Prior TONY® nominations were for his designs for Once on This Island and Torch Song.

He also is the recipient of two OBIE Awards, including one for Sustained Excellence in Design, 3 Lucille Lortel Awards, A Drama Desk Award, An Outer Critics Circle Award, 2 American Theater Wing Henry Hewes Awards, TDF Irene Sharraf Young Master Award, Helen Hayes Award, Craig Noel Award, among other honors. He is the recipient of the Ani ng Dangal Presidential Medal for dramatic arts from the President of the Philippines-he received this honor twice. He is the producing creative director for Encores! at New York City Center.

Film credits include production design for Lingua Franca by Isabel Sandoval for Netflix. It premiered at the Venice Film Festival which chronicled the daily struggles of an undocumented Filipina transwoman in New York. And his costume design for RESPECT, the Aretha Franklin biopic starring Jennifer Hudson for MGM will be on the big screen in the Fall of 2021.

He has designed sets and/or costumes for over two hundred theater, opera, and dance productions. Selected credits include the Broadway productions of Grand Horizons, Slave Play, The Rose Tattoo with Marisa Tomei, Burn This with Adam Driver and Keri Russell, Torch Song, Once on This Island, Six Degrees of Separation with Allison Janney, Sunday in the Park with George with Jake Gyllenhaal, In Transit, Eclipsed with Lupita Nyong’o, Violet with Sutton Foster and The Elephant Man with Bradley Cooper (also West End). Highlights also include Bella, Kid Victory, Sweet Charity, Here Lies Love (NY, Seattle and at the National Theatre, London), Dry Powder with Claire Danes and John Kazinsky, Barbecue, The Good Person of Szechuan, Appropriate, Angels in America, Wild with Happy, Bootycandy and many more. He was the principal costume designer for City Center Encores! Off-Center for 7 seasons, having designed The Runaways, God Bless You Mr. Rosewater, Wild Party with Sutton Foster, Little Shop of Horrors with Jake Gyllenhaal and Ellen Greene, A New Brain with Jonathan Groff, Cradle WIll Rock, I’m Getting My Act Together…, Randy Newman’s Faust, tick, tick…Boom! with Lin Manuel Miranda and Pump Boys and Dinettes.

In New York, his designs have been seen at the Public Theater where he has designed 23 shows, New York Theater Workshop, Roundabout Theatre Company, Lincoln Center Theater, Playwrights Horizons, Second Stage, Signature Theater, Classic Stage Company, Ma-Yi, NAATCO, Clubbed Thumb, New Georges, Women’s Project, Soho Playhouse, Mint Theater, Red Bull Theater, The Asia Society, and many others.

Regional and opera credits include designs for Alliance Theater, Asolo Repertory Company, Arena Stage, Alley Theater, American Repertory Theater, Baltimore Centerstage, Barrington Stage, Berkeley Rep., California Shakespeare Theater, Chautauqua Theater Co., Cleveland Playhouse, Cincinnati Playhouse, Commonwealth Shakespeare Co., Dallas Theater Center, Denver Center Theater, Folger Theater, Geva Theater, Guthrie Theater, Huntington Theater Company, Kansas Repertory Theater, La Jolla Playhouse, Long Wharf Theater, Oregon Shakespeare Festival, Roundhouse Theater, Shakespeare Theater, Shakespeare Theater of New Jersey, Steppenwolf, Signature, Williamstown Theater Festival, Opera Theatre of St. Louis, Opera Boston, Prince Opera Theater and many others.

International credits include designs for The National Theatre, West End and the Barbican (London), O’Reilly (Dublin), Kanon (St. Petersburg), Rijksteatern (Stockholm), Thalia (Bucharest), and Tanghalang Pilipino (Manila).

Ramos is professor of design and Head of Design and Production at Fordham University. Prior to this, he was professor of scenic design at SUNY Purchase and has been a visiting professor/artist at New York University’s Tisch School of the Arts, University of California Santa Cruz, and Georgetown University. He serves on the American Theatre Wing’s Advisory Committee.

His lifelong advocacy is for an equitable landscape in theatre and film for Black, Indigenous and People of Color and for the rights of immigrants.

He holds a Master of Fine Arts from New York University where he attended on the Gary Kalkin Memorial Scholarship. He was born and raised in Cebu, the Philippines and lives in New York with his husband and daughter.

Stephanie Ybarra began her tenure as Artistic Director of Baltimore Center Stage in 2018. Prior to working and playing in the Charm City, Ybarra served The Public Theater as the Director of Special Artistic Projects, where she led the Mobile Unit and Public Forum programs. Her career started in her home state of Texas, working with Dallas Theater Center and Dallas Children’s Theater. She then fled to cooler climates, spending time at Yale Repertory Theater, Two River Theater Company, and Citizen Schools, a national after school program based in Boston. Ybarra serves as a faculty member at The Juilliard School, and repeatedly finds herself guest lecturing for artists and producing students at NYU, Yale School of Drama, and more.

During her time in New York, she co-founded the Artists’ Anti-Racism Coalition, a grassroots organizing effort to dismantle systems of oppression in the Off-Broadway community. Ybarra’s awards include the Josephine Abady Award for producing from New York’s League of Professional Theatre Women, the Congressional Award for Achievement in Excellence from Zara Aina, an international nonprofit dedicated to community-engaged art-making, and for her sustained work around diversity and inclusion, she received the prestigious Nation Builder Award from the National Black Caucus of State Legislators in 2018.

In 2019, she was named to the Yerba Buena Center for the Arts YBCA 100 list in recognition of her leadership in using her platform to enact social change. Stephanie serves on the boards of The Make Believe Association and Citizen University. She holds an MFA from Yale School of Drama.

Tara Moses (she/her) is a citizen of Seminole Nation of Oklahoma, Mvskoke, director, multi award-winning playwright, co-Artistic Director in Residence at Red Eagle Soaring, Producing Artistic Director of telatúlsa, and co-Founder of Groundwater Arts.

As a director, her work has been seen in New York, NY; Tulsa, OK; Washington, D.C.; Bethesda, MD; Oklahoma City, OK; Palmetto, GA; Edmond, OK; and Hartford, CT. As a playwright, her completed works include Sections, He’eo’o, Quantum, Bound, the adaptation of Hamlet: El Príncipe de Denmark, Don Juan, Arbeka, and Patchwork, a 10-minute play. Her plays have been produced and/or developed with American Indian Community House (New York, NY); Safe Harbors Indigenous Collective (New York, NY); Sound Theatre Company (Seattle, WA); Good Luck Macbeth Theatre Company (Reno, NV); American Indian Artists, Inc. AMERINDA, (New York, NY); Yale Indigenous Performing Arts Program (New Haven, CT); Native Voices at the Autry (Los Angeles, CA); Oklahoma Indigenous Theatre Company (Oklahoma City, OK); telatúlsa (Tulsa, OK); University of Central Oklahoma (Edmond, OK); No Peeking Theatre Company (Jersey City, NJ); Furnace Fringe Festival (Boston, MA); #BingeTheatreCompany (Washington, D.C.); and Echo Theatre Company (Tulsa, OK). Additionally, her plays have been taught and/or are currently in the curriculum at Brown University, the University of Arkansas, the University of Arizona, UCLA, University of Washington, Oklahoma City University, and Northeastern State University. She is currently commissioned by AlterTheatre Ensemble, Kitchen Dog Theater, the New Now Commission with Lauren Gunderson, and a couple other theaters that she cannot (legally) announce yet. So stay tuned, y’all.

She is a Participant in New York Stage and Film’s inaugural NYSAF NEXUS project (2021); Playwright-in-Residence at AlterTheatre Ensemble (2020/21); Cultural Capital Fellow with First Peoples Fund (2020); Invited Playwright with HBMG Foundation’s National Winter Playwrights Retreat (2020); the Native Storytellers winner with the Yale Indigenous Performing Arts Program (2019); an observer with the SDC Foundation (18/19); fellow with the Intercultural Leadership Institute (18/19); member of DirectorsLabChicago (2018); member of the Directors Lab at Lincoln Center (2017); Senior Artistic Director Fellow, Allen Lee Hughes Fellowship at Arena Stage (2016/17); recipient of the Thomas C. Fichandler Award (2016); Management Fellow, Allen Lee Hughes Fellowship at Arena Stage (2015/16); affiliated artist with Unsettling Dramaturgy; associate member of the Stage Directors and Choreographers Society; and Dramatists Guild member. She holds a B.A. in Theatre from the University of Tulsa and is expected to attend Brown University/Trinity Rep as an M.F.A. Candidate in Directing in the fall of 2021.

She is also a dramaturg, consultant, beadwork artist, and nonprofit fundraising professional – and yes, she still has free time and capacity for new projects, so please don’t stop emailing. 🙂 She is currently based on the Muscogee Creek Reservation or what is colonially known as Tulsa, OK.


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