Charlotte theater vets focus on diversity and new opportunities during the pandemic

Heading into the fall, Charlotte theaters are cautiously beginning to reopen again — with COVID-19 safety procedures in place.

While that is happening, the Observer spoke to three theater professionals — Tony Mullins of Actor’s Theatre of Charlotte, Dawn Anthony with Blumenthal Performing Arts and Alex Aguilar of Children’s Theatre of Charlotte — to hear how they had experienced the past 18 months.

We wanted to know what they’ve missed most, and what they are looking forward to as live productions and programming start to return.

Tony Mullins, Actor’s Theatre

When the pandemic hit, Mullins and his Actor’s Theatre of Charlotte colleagues had just returned from a staff retreat, excited about plans for their next season. Mullins serves as audience services manager, overseeing box office and front of house operations.

As the pandemic unfolded, the company canceled the two remaining shows of the 2019-20 season and tried to determine the next steps, since nobody knew how long COVID-19 would keep theaters closed.

In subsequent months, Actor’s Theatre worked to operate safely while continuing to serve the community.

The organization began by creating a series of streaming variety show-style productions, known as “ATC’s Neighborhood,” to tide over patrons missing the arts, Mullins said. It also helped showcase and employ local artists during a time of financial uncertainty.

Work accelerated on technological and organizational improvements started before the pandemic. For example, the company switched to a fully contactless digital ticketing system to ensure audience comfort and safety.

There’s also a new urgency in bringing more equity, diversity and inclusion into the organization.

“If we are leaders in the community, we have to be leaders in the community,” Mullins said. “We have to effect change, and we have to listen to what our artists are wanting.”

Mullins is looking forward to this season’s “Hype Man,” a play about the responses of an interracial hip-hop trio following a police shooting. It’s new territory for the company, and he’s curious how the audience will respond to it.

“I’m also excited to continue the mission with ATC to include not just African Americans,” he said, “but (also other) minorities. To get them seen and heard and feel appreciated and excited about coming to the theater.”

For Mullins, who returned full time to his office in early May, the hardest part of the pandemic has been being separated from his community: colleagues, artists and audiences.

But he believes the absence of live theater has led to renewed enthusiasm for such shows. Ticket sales were strong this summer, with flex-pass subscriptions outpacing pre-COVID-19 numbers, as the theater company readied for its first in-person production in a year and a half.

Still, there have been setbacks. Despite a fully vaccinated company and carefully implementing health recommendations, ATC’s outdoor production of “Rock of Ages,” which opened July 28 at The Barn at MoRA, was cut short when two cast members contracted COVID-19.

Mullins, who is also an actor, made his Actor’s Theatre debut in that production and was looking forward to reconnecting with audiences. He said it was painful to see the theater cancel the remainder of “Rock of Ages,” as well as the September production of “Head Over Heels,” but felt it was the right call.

Actor’s Theatre is scheduled to return to the stage Oct. 6. with “The Rocky Horror Show.”

“COVID is a very real, and dangerous thing,” he said. “And we must do our part as community leaders to protect our staff, show company and patrons.”

Dawn Anthony, Blumenthal Performing Arts

Anthony recently joined Blumenthal Performing Arts’ Education Department as its community impact manager, overseeing partnerships and developing pre- and post-show programming to serve diverse communities.

She called the past year and a half “trying.”

In February 2020, her mother — who lives with Anthony and her husband — was diagnosed with cancer. Anthony’s attention turned toward keeping her safe, as she began treatments.

At the time, Anthony worked as an independent artist, singing in jazz clubs and teaching in schools, but COVID-19 quickly shut all of that down.

Her husband’s job as a baggage handler at Charlotte Douglas International Airport required taking additional precautions. But she said it was a “saving grace” — the only steady income for the household at that time.

Anthony was grateful for donations and grants she received too, as they helped pay for groceries and gas to drive her mother for treatments.

Then in December, Anthony’s husband got the coronavirus. He was never hospitalized but suffered fainting spells and couldn’t work for months.

Anthony found herself in a caretaker role again. She was trying to stay healthy while serving as the go-between for her mother, who recently had finished her cancer treatments, and her husband, who was isolating at home. Both have since fully recovered.

Despite these challenges, her creative work continued.

Anthony directed a virtual version of her musical, “The Gift Way Up in the Closet,” adapted from her 2018 children’s book, to provide entertainment for kids at home. It won Best Short Play at the 2020 Atlanta Black Theatre Festival.

She also helped high school students prepare for the Blumenthal’s 2021 Blumey Awards as a vocal coach for the musical theater contest, and launched her own podcast, ”The Mantelpiece.”

When Blumenthal offered her the community impact position, Anthony’s extended family was visiting. They had come to watch her perform a jazz show.

She put the phone on speaker and there was “an eruption of the family,” she said, “just the joy of my family being so proud.” They knew this would allow her to expand the community work she loves on a larger scale and still give her space to perform and teach.

Providing children with access to the arts is as much a personal mission as a professional one.

“I see myself when I see these babies. And you never know who you’re going to inspire to be the next whoever. That might be because they saw a show, or they met a person or they heard a talk. And so I’m thrilled to see what’s going to happen with opportunities like this,” Anthony said.

Blumenthal is kicking off its Broadway touring season season Sept. 8 with the return of the musical “Wicked” at Ovens Auditorium. Its COVID-19 guidelines include a mask requirement and contactless entry.

Alex Aguilar, Children’s Theatre

Aguilar was performing across the Southeast with Children’s Theatre of Charlotte’s Resident Touring Company when the pandemic began. At first, he and other cast members thought COVID-19 would mean a couple weeks off.

“Nobody knew what was happening,” said Aguilar, who also had been busy charting the touring company’s adventures on social media.

But as the delay extended, the rest of the tour was canceled. The performers were furloughed with the goal of rehiring them in the fall. For the first time, Aguilar was out of a job and turned to unemployment to make ends meet.

Last September, Children’s Theatre brought back Aguilar and other touring company members to record several virtual productions. He also was offered a full-time opportunity, overseeing the theater’s social media and PR efforts. For Aguilar, the job was “a dream come true.”

Being back on stage with his castmates provided some sense of normalcy. But it also felt odd performing for a handful of silent crew members operating cameras, lights and sound.

“As actors, we’re used to feeding off of the energy of each other,” he said, “but also the energy of the audience.”

They had previously filmed shows for archival purposes. Yet capturing high-caliber recordings of live performances for a virtual audience to stream at home felt different.

“Each time we recorded a show, we learned something new,” Aguilar said. “And that’s something that I appreciated Children’s Theatre doing... It was exciting and nerve-wracking all at the same time.”

The safety protocols sometimes made it feel like they were in an apocalyptic film, he said. After sequestering at home for two weeks, they had to wear masks, submit to daily temperature checks and fill out health questionnaires every time they entered the building.

Shortly after they completed filming in December, Aguilar got COVID-19. For a few days he felt exhausted. Aguilar also lost his sense of taste for about a week and a half.

“You would think that that’s not that bad,” he said. But it was hard as someone who loves food and finds much of his cultural identity tied to it. “I’m Cuban and Dominican, so food is what I know.”

Aguilar looks forward to welcoming audiences back in person and hearing their laughter and applause again.

Children’s Theatre kicks off its season Sept. 25 with “My Wonderful Birthday Suit.” Coronavirus precautions include a mask requirement, digital tickets and enhanced cleaning procedures.

Aguilar won’t be rejoining the touring company, but will be part of “Tomás and the Library Lady,” which debuts in late January. The company plans for the entire season to be in person, but is ready to pivot again for safety if needed.

“Things have definitely changed,” he said. “but the magic of theater hasn’t.”

Season details

For more information on these theaters’ seasons:

Blumenthal Performing Arts: blumenthalarts.org

Children’s Theatre of Charlotte: ctcharlotte.org

Actor’s Theatre of Charlotte: atcharlotte.org

This story is part of an Observer underwriting project with the Thrive Campaign for the Arts, supporting arts journalism in Charlotte.

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This story was originally published September 8, 2021 at 12:30 PM.