Director Scenic Designer Costume Design Lighting Design Sound & Projection Design Properties Design & Set Dressing Scenic Art Wigs & Hair Production Stage Manager Casting Director Public Relations Technical Director Set Construction Master Electrician Production Crew Light Board Operator Sound Operator Stage Crew Key Art Production Photography |
David
Rose David Potts Dianne K. Graebner Jared A. Sayeg Dave Mickey John McElveney Orlando de la Paz Rhonda O'Neal Lisa Freed Patricia Cullen David Elzer/Demand PR Robert T. Kyle Red Colegrove, Le Sanne Bernandez/Grove Scenery Watson Bradshaw Art Brickman, Krista Lu, Jorge Garcia Angella Gasparian, Rene Parras Jr. Kathryn Horan Mark Williams Brittany Marmo, Rene Parras, Jr. Orlando de la Paz Michael Lamont |
C.P.
Ellis Ann Atwater Bill Riddick Mary Ellis Voices/choir/crowd sounds Voice Overs |
Larry
Cedar Tiffany Rebecca Royale Shon Fuller Holly Hawkins Ben Hawkins, John Favreau, Taylor M. Hartsfield, Elyssa Alexander, Madeline Ellingson, Mathew G. Wicks, Dylan David Farrs, Katie Lee, Connie J. Kim Jesus Manuel R., Lacey Beegun, Joshua Johnson Wyn Moreno, Sarah Ripper |
Charrette
is a French word meaning
‘little cart.’ The use of
the word charrette to describe a design process stems from the 19th
century,
when French art and architecture students busied themselves to finish
their
final projects. As the deadline came, charrettes (little carts) would
be
circulated through the hallways, and as they passed the rooms where the
students were working, the students would toss their projects into the
charrette to be taken to be reviewed. The word is now used, even when
the carts
are not, to describe an intensive design process.
A young Bill Riddick first heard about a charrette as an “intense, short-term problem solving tool” used by engineers when designing the construction of bridges and other large-scale projects that impacted a community. The engineers would stay in a room, listening to the opinions of their colleagues and the voices of community members. All questions and issues had to be addressed before they left the room with the final plan. “I saw it as a fascinating tool to solve community problems,” he said.
“The charrette brings the whole community together. The process starts with a steering committee and, hopefully, that steering committee is a microcosm of the community. This sent me looking for people who had status but didn’t have the approval of the, quote, people in charge,” Riddick said.
As a strategy to solve the problems associated with the desegregation of public schools, Riddick convinced Ann Atwater and C.P. Ellis to take the roles of co-chairs of Durham’s Save Our Schools (S.O.S.) charrette in July, 1971.
"Exciting doesn't state strongly enough how profound and entertaining this play is....This is an intense and valuable play that should be seen by all folk who care about an American society based on equality and respect. Go see it!" -- Edge Media Network
"One of the most important historical plays about America to ever reach the stage.” – The New York Times