The

North Carolina Black Repertory Company (NCBRC) recently sat down with Asabi
(Stephanie Howard) to discuss the NCBRC, her role and the current production of
Black Nativity.

NCBRC: What is your background?

Asabi: I am a graduate of North Carolina A&T State University (with a degree in
performance) and Wake Forest University (with a masters in theatre). I earned my
doctorate at Regent University in Communication and Theatre. I started my academic
profession by teaching at Norfolk State University. I continued at Bennett College,
where I received The Board of Trustees Excellence in Teaching Award and The National
Association of Bennett College Alumnae Faculty Service Award. I presently serve as the
chairperson of the Department of Theatre and Dance at NC Central University (NCCU),
where I am a tenured Associate Professor.

As a performer, director, playwright and stage manager, I aspire to immerse herself in
nearly every aspect of theatre. I have directed shows such as Leap of Faith; Dont Bother
Me, I Cant Cope; The Color Purple; Black Mama Monologues; Ruined and Sarafina to
name a few. I also authored God Spoke My Name Maya Angelou; Slappin God in the
Face; Reaching for God with Dirty Hands and Tainted Blood and Distorted Beauty.
Among numerous stage credits, I have performed in Steal Away, Intimate Apparel,
Proposals, for colored girls... and Having Our Say. I directed Soul Rhythm; Sistahs Voices
at the National Arts Festival in Grahamstown, South Africa and The Mis-Education of Hip
Hop in Florence, Italy.

NCBRC: What is your role with the NCBRC?

Asabi: I serve as a contracted production manager for the company. I have been
working with the company since 1991 as an intern in the role of assistant stage manager
and have been working consistently with the company since that time having staged
managed numerous NCBRC productions. I acquired the title of production manager (also
called the stage production manager) as my duties expanded to often forming a
production team, training management team members, working closely with the
director, musical director, and technical director in reference to casting, lighting, and
other aspects of other production; assisting in administrative duties beyond the
production process; and helping to organize the many tour performances. Beyond
working as stage/production manager, I have had the pleasure of performing in the
companys production of Ted Langes Four Queens and No Trump in the 2011 NBTF and
in Samm-Art Williams The Last Class with the NCBRC Teen Theatre. Furthermore, I also
directed my original drama, Reaching for God with Dirty Hands and Tainted Blood with
the NCBRC Teen Theatre in 2009. Lastly, for the last two National Black Theatre
Festivals, I have served as the coordinator for the National Youth Talent Show.

Additionally, I coordinated the Collegiate Playwriting Reading Marathon for NBTF 2011
& 2013. Moreover, two of my NCCU productions have been featured in the NBTF
Collegiate Fringe - for colored girls & for black boys (my original compilation) (2013)
and The Bluest Eye (2015).

I have served in a managerial capacity for Black Nativity since its opening season.

NCBRC: Take us behind the scene and describe the preparation involved for the
performance prior to opening weekend.

Asabi: Ideally, production work from a management standpoint can be broken down
into three main periods: pre-rehearsal, rehearsal, and production. Pre-rehearsal
involves the script work, preparing for the audition process, communicating with the
chosen cast, gathering essential information, organizing production meetings,
establishing production deadlines, completing paperwork, and distributing the
appropriate information.

Next, when rehearsals begin, the ultimate goal of the management team is to ensure
that the rehearsal process is progressive and runs as smoothly as soon. Specifics include
recording blocking and taking notes for the director. This requires one being a right
hand for the director a personal duty to Ms. Robinson that I have enjoyed over the
years. Afterward, comes the heart of production work the performances. The week
prior to opening is the most hectic because all of the elements must now integrate and
effectively synergize. The stage/production manager is greatly responsible for this.

Firstly, the cast is transitioned to the actual performance place and must adjust
accordingly. Logistics of organizing the dressing rooms and back stage is important.
Secondly, ensuring clear entrance and exits, easy costume changes, and the effective
placing and handling of props become important. Then, the calling of the show takes
priority. The production manager must intricately know the show in order to call each
light, sound, and fly cue for the technical crew to execute. The task of bringing together
the technical crew, the cast, and the director can be most challenging, especially for a
cue-to-cue rehearsal, for example. A cue-to-cue rehearsal can be very long and tiring
because the cast and crew (guided by the technical director and production manager)
must go through each cue, which must be fixed if it is not right. This stop and go
process can be very tedious.

NCBRC: What are some of the challenges in bringing it all together?

Asabi: There can be many challenges in bringing all of this together. Firstly, the limited
time frame accelerates the execution and completion of all tasks. Secondly, is the
managing of people theres a whole science to that in itself. One must learn how to
deal with all personalities and be a liaison between the administration and the cast (the
director and cast) and remain loyal to both. Thirdly, effective multitasking is a must

the stage manager must be actively involved with or working on several tasks at any
given time. Lastly, the production manager should always be working thinking of a
better solution to an existing fix, problem/issue and anticipating the next possible
problem.

NCBRC: Why do you do this work?

Asabi: Creating a job description for a stage production manager in its entirety is nearly
impossible because in the end, he or she is in charge of everything (directly or
indirectly). So, I like being in charge of the artistic process (which is also one of the
reasons I enjoy directing). It excites me to witness and have a hand at bringing all of the
intricate elements together and create the wonder of theatre. Moreover, I think I do it
well.

Thus, I pride myself in any skill that I think I have mastered to a creditable extent.
Likewise, since I enjoy every aspect of theatre, management ignites all of these interests
and utilizes all of my skills. Ultimately, I do it because I love it or Im a glutton for
punishment - I prefer the former.

NCBRC: What else would you like to share?

Asabi: It has been my greatest joy to work with Ms. Robinson - to be by her side and at
her feet (literally - sometimes years ago when I was younger, I used to sit on the
floor beside her and take her directing notes). I appreciate her training and her trust.
She ignited energy or a dynamic in me that one must have to be an artist. I attempt to
rekindle my students innate creativity and ability in the same way. Her influence has
certainly contributed to my success as an artist, an educator and a director (especially of
musicals ). But equally important, she has remained my friend and mentor over the
years. Secondly, Im convinced that the NCBRC is one of a kind and the fruit of its labor
is a testament to that - there is not a festival comparable to the NBTF. Thus, I will
always be committed to the work and mission of the company.