BY KIRSTEN HOUSEMAN
In the present world of 2020, many things have hit and shook the world. However one major event seems to be looming over the rest, which is the Coronavirus Pandemic. During this time, we have been through lockdowns, job losses, and all sorts of uprooting trials, changing everything we know about life. One particularly affected workplace is the theatre. Many theatre makers have lost their jobs, houses, careers. Some of them were about to hit their big break, some about to start. The core of theatre, Broadway, had shut down, turning off the one light we had in our world. Though, the ghost light remained on and we stood firmly in our spots, continuing theatre virtually, and doing what we can to stick together during the COVID era. I am currently a sophomore in college, however, I was working on a show during my second semester of freshman year. I was working as an Assistant Stage Manager, on a production of Shrek The Musical here at Lycoming College. We were about to start our tech week when we were all shut down because of the virus. For me, it was one of the most devastating things I had ever experienced. I, among my many coworkers, were distraught about our show being cancelled after getting so close to the end. However, over our summer vacation, I had realized how much the theatre family had grown even closer. We supported each other, ran all sorts of virtual shows, and checked in to be there for our family. This was very enlightening, and made me feel stronger and more confident that we would make it through this, and stronger than ever because of it. Theatre across the globe is a family, and we have all come together to continue the art, despite the circumstances.
An article written by Noelle Viñas covers the response of a playwright in the times of trouble. She mentions her big fear of no income, and how the arts field had been forgotten when it was time to deal out financial aid. She chose to not try to mention her hurt, because she claimed “my hurt was everyone’s hurt.” She felt she did not have room to talk since people were losing relatives and she had simply lost a job. She mentions being encouraged to continue writing plays, but felt it was unfair because there were so many people who were left without the job to perform them. Viñas states that she felt miserable that she was unable to focus long enough to write more than a couple of pages at a time. She describes going through the stages of grief in theatre’s absence. She bounces back, talking about the importance of sticking together and mentoring the young theatre makers and letting them know that this is not permanent. She wants to focus on the bright side of where everything will be going when we start to beat back the virus. The potential plays, shows, venues, all the beautiful art that will be created because of a time where all the creative minds have come together.
Just like Noelle Viñas, I also find myself in the stages of grief with this time. I miss performing and working with people that I care about. I want to continue making art with them. Viñas was correct with the idea of focusing on the future, and the beauty that will come from this hardship. People will be strong when they need to be, and this is one of those times. New things will be coming this way, and they will pave a new foundation for even more intricate and detailed art. Theatre makers everywhere are coming together to support one another, making sure they can continue their art even if it is virtual. The world will never be the same again, but theatre will change it for the better, and show us that we are a family and we can handle anything through perseverance.
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