Meet The Sponsors of Buyer & Cellar!

Elaine Faye-Barberic, Meg Kelly, and Aleta Thompson are the presenting sponsors for Buyer & Cellar.

Together, they have been involved in many productions at Clear Space Theatre Company in a wide range of capacities. Between the three women, they have been sponsors, performers, designers, directors, and even staff. This time last year, Clear Space audiences saw their creative collaboration in The Roommate, which Aleta directed and which starred Meg and Elaine. This year, they chose to come together as sponsors for this same slot in our 2025 season. We had a chance to talk with Elaine and Meg to get to know them better.

From Elaine: 

Elaine has a deep connection to Clear Space and to this specific slot in the production season, which usually is a play that showcases the talent of local area performers. “I’ve been one of the sponsors of this performance slot for several years now,” she shared. “I believe I was one of the first actors to occupy this time slot, performing The Vagina Monologues in 2017 as a one-person show. It’s a fantastic opportunity for an actor to do a deep dive into a play and character without the usual (but wonderful!) distractions of a bigger production.”

Her journey with Clear Space started nearly two decades ago. “I met the founding artistic directors at a party in 2005, and the rest is history! I’ve been working with the company ever since.”

Elaine has dedicated her professional life to the arts, not only as an actor but as a designer. “I’ve worked as a graphic, web, and exhibit designer since graduating college. I also love attending plays, concerts, and dance performances—and visiting museums wherever I travel. I even went to a museum in a cave once!”

From Meg: 

Meg joined Elaine and fellow supporter Aleta as a sponsor for Buyer & Cellar this year, continuing a growing tradition of involvement. “Aleta and Elaine have sponsored this production spot for a while now, and they asked if I’d like to join them,” Meg said. “My husband and I have been supporters of Clear Space for several years, and this felt like the perfect way to continue.”

Meg’s connection to the theatre began before she even moved to the area. “When we were visiting town, my husband and I always tried to catch a show. I moved here in 2018 hoping to work with Clear Space, and that dream came true.”

Her first performance with the company was in The Women, part of a 2019 fundraiser for the CST Scholarship Fund and the Fund for Women. “Later that year, I did Three Tall Women with Elaine. I’m so grateful to have Clear Space in my life. It’s not just an artistic home—it’s where I’ve found an amazing circle of friends.” Most recently, you may have seen her in Dial M for Murder!

A Lifelong Commitment to the Arts

Both Elaine and Meg have built their lives around theatre. “I have both a BA and an MFA in Theatre,” said Meg, who for years worked as an actor through the Actor’s Equity Association union. “The arts have been a guiding presence in my life for a long time.” Elaine echoed that sentiment: “My entire professional life has been in the arts.”

When asked what they would tell someone considering supporting the arts, both women were emphatic: “Do it!” Meg added, “Supporting the arts in your community is a gift that gives to everyone involved—and gives back to the giver in more ways than you can imagine.”

Looking Ahead to Buyer & Cellar

Neither Meg nor Elaine had seen Buyer & Cellar performed live, but both are excited to experience it in this production at Clear Space. “I’ve read about it and seen clips of other productions,” Meg said. “It seems clever and hugely entertaining. I’m especially excited to watch Christopher take on the role. Elaine added, “I’m not familiar with the play itself, but I think one-person shows are always unique. It’s hard work to carry a show by yourself, and I always root for the actor who takes on that challenge.”

Their Message to the Audience?

Their answer was clear and enthusiastic:
“Buy your ticket now!” Meg said with a laugh. “Are there even any left?* I’m sure Christopher will give a standout performance.”

Elaine kept it short and sweet:
“Do it!”

*Thanks to a performance added by popular demand on Saturday, May 31 at 2pm there are still tickets left to experience this wildly fun show.
Tickets available online here

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2025 Annual Meeting — Executive Summary

Thank you to everyone who joined us on May 14, 2025 for our annual meeting! Each year, it is our pleasure to share good news from CSTC’s most recent season and exciting updates on what is to come with our supporters. We had our largest turn out ever this year, which is a reflection of the extraordinary community support that continues to enable CSTC to be the most prolific producer of professional theater in the state of Delaware – and one of the state’s fastest growing non-profit arts organizations. Here are a few highlights we shared!

Financial Growth

• In total, revenue grew by 26.1% between 2023 and 2024, reaching $1.67 million

• Ticket sales, donations, and other earned income all saw double-digit growth

• With the year-end surplus that resulted from our success in 2024, we are investing meaningfully in 2025 in ensuring that we are providing increasingly fair and equitable wages to all artists who help bring our theatrical productions and Arts Institute to life each year. Between 2025 and 2026, the CSTC board has made a commitment to ensure that artist compensation in Rehoboth Beach can and will match rates available at comparable theaters of our size in all the major metropolitan centers surrounding our region (including DC, Baltimore, Philadelphia, and even off-Broadway in New York). This will enable us to continue to attract the highest caliber of national artists to Rehoboth Beach, and ensure our local professional artists receive the level of compensation that is commensurate with their remarkable talents.

Audience & Donor Engagement

• 24,063 audience members in 2024

• 1,293 generous donors

• 44.3% growth in subscribers in 2024

• In 2025 (to date, through April 30):

  • 37.1% additional growth in subscribership – resulting in 2025 subscriptions selling out. 
    (CSTC is already making plans to adjust the structure of our 2026 season to avoid this situation in the year ahead and better make room for ALL the patrons who want to experience our season in its entirety.)
    

  • 17.5% increase in total attendance

  • 96.6% increase in summer rep presale

  • 5 performances added due to high demand

  • 173 first-time donors

Production & Front of House Improvements in 2024

• New sound system and assisted listening devices made possible by major support from the state of Delaware, Ida & Jeff Rowe, and Vance Hudgins & Denny Marcotte, as well as many other individual donors.

• Stage automation and projection design incorporated into the production experience

• New box office, concessions display, interior curtains, a new wine program thanks to a partnership with Bin 66, and digital programs incorporated into the front of house experience

Improving Staff Benefits Structure

• SIMPLE IRA retirement fund added

• Qualified Small Employer Health Savings Arrangement created to provide health insurance for staff

• Outsourced HR consultant introduced to help ensure CSTC is operating under national best practices

2024 Arts Institute Highlights

• 358 students participated

• $12,863 in youth scholarships awarded – the largest volume of scholarships ever awarded

• 2024 Tony Party raised the most for the Arts Institute in CSTC history – a record we hope to break again in 2025 with your support on June 8!

Board Transitions

We welcomed three new board members who joined the team in January: Chris Beagle, Mat Hastings, and Brent Shoemaker.
We also thank outgoing members Jay Allen and James Berry for their invaluable service and leadership.

Market Study & New Building

We were pleased to share an update on the market study that was completed earlier this year in partnership with Theatre Projects, an internationally-respected theatre planning firm, whose credits include the National Opera in Oslo, the National Theatre in London, the Kimmel Center in Philadelphia, and performing arts center closer to home at University of Delaware and University of Maryland.

Theatre Project’s process included assessing community & market needs, identifying optimal site options, right-sizing the venue, enhancing economic and cultural impact, and developing strategic recommendations. To accomplish these goals, the study incorporated a variety of qualitative and quantitative methods: interviews and focus groups, site analysis, assessment of regional context, organizational data review, and an analysis of community surveys.

In the course of this work, through focus groups and interviews, 48 members of the community were consulted in an in-depth manner, including those closely associated with CSTC (including staff, artists, board, and members of the Producer’s Circle), civic leaders in both Rehoboth and Lewes (including elected officials, chamber of commerce leaders, HOA leaders, and others), and other regional arts leaders (representing Coastal Concerts, the Rehoboth Art League, the Southern Delaware Orchestra, Rehoboth Beach Film Society, Lazy Mary Productions, ArtSync, and more).

To assess sites, four key criteria were established as a framework: accessibility, community alignment, infrastructure readiness, and financial considerations. This work narrowed down the candidates for a viable site for the new facility to be two sites. One is on the public record currently, the current site of the Cape Henlopen Senior Center in Rehoboth Beach, on a parcel owned by the city of Rehoboth Beach, and a private site within the municipal limits of Lewes.

Both sites were assessed through a massing study to confirm they would be able to hold a facility of the appropriate size to be sustainable for decades to come. The approximate scale of the envisioned new facility is 40,000 square feet, enabling CSTC’s new performing arts center to hold two performance spaces – a 250-300 seat proscenium theater and a 75+ seat flexible seating black box – as well as a rehearsal hall, scene and costume shops, expanded front of house amenities (including a donor lounge, expanded indoor/outdoor lobby space, enhanced concessions, and an appropriate volume of restrooms), and the necessary technical infrastructure for a state-of-the-art facility. The new facility will enable CSTC to expand its programming, while also welcoming in programming from partner organizations when CSTC is dark. Adequate parking would be provided on site to support the needs of theater patrons/

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Meet Jay & Vicki Allen Presenting Sponsors Of Spring Awakening

We’re grateful for the support of Jay and Vicki, longtime Clear Space Theatre patrons and passionate advocates for the arts. They have been production sponsors for many years and this year are sponsors of our current production of Spring Awakening. We asked them to share a bit about their journey with Clear Space and what this show means to them.

What inspired you to choose to sponsor Spring Awakening?

We’ve always liked to sponsor a show that is edgy, has a message, and is not considered a mainstream show.

How did you first get involved with Clear Space Theatre?

When we moved to Rehoboth, we were looking for a theatre to become involved with. We became friends with Carl Schloegel while singing with the CAMP Rehoboth Chorus, and he introduced us to the venue. We attended shows, became season ticket holders, and soon began sponsoring housing and food for the summer artists. Jay enjoys being on stage, but with his career as a chef, he wasn’t able to commit to productions—so he applied and was accepted as a member of the Board of Directors. (Jay served on the CSTC board from 2021 through 2025.)

What role does the arts play in your own life—either personally or as a couple?

As long as we can each remember, we have been involved with music and theatre.

Jay performed in high school and sang with SPEBSQSA. He later performed with a Gilbert and Sullivan troupe. He attended Eastman School of Music and continues to perform today in both straight shows and musicals in Florida. Now that his Board of Directors term have ended, he hopes to get back on the real “boards” at Clear Space.

Vicki sang in choirs and choruses from elementary school through high school, and performed with local operas, church drama groups, and musical productions. In college, she worked backstage with set construction and costumes. She’s still active with several theatres in Florida.

We are currently in a production of Kinky Boots in Largo, Florida.

What would you tell someone who’s thinking about supporting the arts in their community?

Theatre and the arts in general are a great way to impact your community in a positive way. They provide a platform to bring people together—to grow in unity with better understanding of each other. As a bonus, you’ll become part of a group that freely gives of their time, talents, and creativity to share with others, while building lifelong friendships.

Have you seen Spring Awakening before? If so, what was your favorite thing about it? If not, what are you most excited to see on stage?

We first saw this show at the Hippodrome in Baltimore and were touched by its theme and message. We also enjoyed the music.

Spring Awakening deals with powerful and sometimes challenging themes—what do you hope audiences reflect on after seeing it?

This story, written in the late 1800s and set in Germany, is still relevant today. The setting may be different, but coming of age is still filled with anxiety. Today, the challenges of discovering your identity and wanting to fit in are made more difficult by a world bombarding you with too much information and too many idols.

What do you think makes Spring Awakening stand out or feel unique compared to other shows?

This show is filled with moments that make you think, and we hope it will inspire patrons to challenge themselves to be part of a positive change in the life of another.

What would you say to someone considering coming to see Spring Awakening at Clear Space Theatre?

Come with an open heart. Remember your own life story. Enjoy the music and go home a different person. You can help change the world, if you are willing to change your mind.

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Finding the Best Seats in 2025

From Managing Director Joe Gfaller

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Hello Clear Space friends and fans!

It’s hard to believe that we are already getting ready to start my second full season here at Clear Space – and that single tickets for the 2025 season are already on sale!

If you missed the chance to subscribe before our 2025 subscriptions sold out, you may be trying to figure out how to get the best seats for your favorite shows in the year ahead. I’d like to take this chance to help by sharing a few pieces of advice to help you still land great seats before they get snatched up. Hopefully these suggestions help ensure you have a fantastic experience in the best seats possible for our 2025 season!

1) Most productions have performances that are not part of a subscription package.

That means that for those performances, the best seats haven’t been snapped up by subscribers already! Which performances aren’t included in subscriptions, you ask? For our winter, spring, and fall shows look for Thursday morning 11am or Thursday evening 7pm shows. For our summer shows, none of the evening performances on Tuesday, Wednesday, and Thursday nights are included in subscriptions, so those are all great options to find single tickets. We also have two productions (Hairspray in the summer and A Christmas Carol over the holidays) with Saturday matinees at 2pm. Those matinees aren’t included in subscription packages, so they are also great performances to look at for great seats.

2) Some productions aren’t included in a subscription package.

Our Clear Space Gives Back production (this year, Everybody’s Talking About Jamie) is never included in our subscription packages. Neither are our two Spotlight on Young Performers productions (this year Beetlejuice JR in the spring and Annie in the fall). That means these shows are a clean slate. Some subscribers do add them to their packages, but many good seats remain available for all three when tickets for each go on sale.

3) Some seats are slightly raised, which can give you a better view.

If the first row is already sold out and you want to ensure you have a good view, I’d suggest either getting seats on the aisle of the further rows back or getting seats in rows that are raised up on risers. That allows you to be sure you can see over the heads of the folks in front of you – and can also sometimes mean a little more leg room! In the center section, seats in rows E and F are up on the risers. In the side section, seats in row C are up on the riser.

4) Seats in our side sections face in towards the thrust, not up towards the proscenium.

If you haven’t been to Clear Space before or to a theatre that performs in three-quarters thrust (with audiences on three sides of the stage), our side sections can look confusing when you buy tickets online. For starters, the seat numbers aren’t continuous like they are in the center. House right, they are all odd numbers. House left, they are all even numbers. That means if you buy seats B6, B8, and B10, they are right next to each other. Also, the seats in each of those rows face the thrust. So all seats in row A on the side form one line of seating. We hate it when someone accidentally buys seats A 10, B10, and C10 together, thinking they are next to each other when they are actually in three different rows. Please don’t let that happen to you!

5) Aisle seats and front row seats give better views, but are also deal with more traffic.

It’s true that most people prefer sitting in the front row or sitting on an aisle. However, everyone is different. It’s important to be aware that if you are on an aisle, depending on the show, actors may use that aisle for entrances or exits – or even for important moments in the show. In short: you can enjoy more leg room and unobstructed views in these seats but you also need to be mindful to pull your feet in and not to leave purses or drinks on the floor so that you don’t accidentally trip an actor. Similarly, some people love the aisle seats right by the doors to the lobby in rows C and D because it makes it easier to make a quick beeline for the restrooms at intermission. Just know that the trade off there is that it can also get pretty crowded around those seats before the show starts because you are right on the main doorway to the lobby as the rest of the patrons are coming in.

6) Obstructions can happen.

Even the best laid plans to find a perfect seat can be hampered for one moment of a performance. That’s the nature of theatre in three-quarters thrust. Directors work to make sure that audiences on all three sides can enjoy every moment of a show. But sometimes the sight lines from your seat can be blocked for a moment by a piece of furniture or an actor. Thank you for your understanding when those moments happen!

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Is there a perfect seat? For some people, perhaps! But maybe not for everyone. After all, each show is different, so the experience of sitting in the same seat changes based on how each show is staged. If you’re planning to join us multiple times this year, my advice is to try a few different seats out for size to see which seats work best for you. Then, in a future year, when you do subscribe, you’ll have a much better sense of what seat is perfect for you all season long!

We can’t wait to welcome you to the 2025 season!

Joe Gfaller
Managing Director

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CAMP Rehoboth Executive Director Kim Leisey is Excited to Partner With Clear Space!

Clear Space Gives Back 

Clear Space Theatre is proud to partner with CAMP Rehoboth as part of the Clear Space Gives Back Program! Everbody’s Talking About Jamie will raise awareness and promote the individual expression of oneself, while also raising funds for CAMP Rehoboth. 50% of all box office proceeds will benefit CAMP Rehoboth! 

A Few Words From CAMP

We reached out to executive director of CAMP Kim Leisey to discuss our partnership and here is what they had to say! “CAMP Rehoboth is very excited to partner with Clear Space Theatre for the upcoming production Everybody’s Talking About Jamie. Both celebrating drag artistry and embracing one’s authentic self promotes queer stories and people in a wonderfully positive way. This show shares in CAMP Rehoboth’s mission to envision a world where drag and art centered on LGBTQ+ identities can promote a sense of understanding for all. Not only are we excited to see this on stage, but we are also honored to be chosen as the beneficiary of proceeds from this production. We’re thankful for our partners at Clear Space Theatre!”

Forging Stronger Community Ties

We at Clear Space are so thrilled to bring this production to life, and with the help of CAMP, the impact on audiences and our community will be far-reaching. We hope you have a chance to attend one of the performances!

Tickets go on Sale December 13th!

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Thank You! Sponsor of White Christmas Jack Lingo Realtor

We are pleased to recognize Jack Lingo Realtor as a sponsor for the 2024 run of White Christmas. Thank you Jack Lingo Realtor for helping to bring this holiday classic to Rehoboth Beach! 

Jack Lingo, REALTOR® is celebrating 50 years of serving Delaware’s beach communities. With offices in Rehoboth Beach, Lewes, and Millsboro, the company specializes in residential and commercial sales, asset management, and vacation rentals. Known for their commitment to integrity and personalized service, they are a leader in the local real estate market, offering a wide range of properties to meet diverse client needs. 

You can visit their website here www.JackLingo.com

 

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Home For The Holiday’s With Edmund Bagnell – New Performance Added!

As the holidays approach, it’s the perfect time to start planning how you’ll spend them with your loved ones. This year, along with our production of White Christmas, we’re thrilled to bring also welcome back to Clear Space singer and violinist Edmund Bagnell, whose show Home for the Holidays on December 8 and 9 will add sparkle and delight to the season. Plus, a limited number of tickets remain for an exclusive private meet and greet with Edmund prior to the Sunday evening performance.

Clear Space originally scheduled performances at 7 p.m. on both December 8 and 9, but by popular demand, we’ve added one more performance: Monday, December 9 at 9 p.m. The show is a joyful 75-minute program, so enjoy a great dinner in Rehoboth Beach before and then close out your night with the show!

Accompanied by pianist Mark Hartman, Edmund’s Home for the Holidays will delight you with music and humor, featuring selections from his 2020 USA Today top ranked holiday album Christmas at Home – including seasonal favorites such as “The Man with the Bag,” “The Nutcracker Suite,” “Christmas is Here,” some original holiday tunes, and a few non-holiday surprises. If Edmund looks familiar, it may be from his years appearing here as one quarter of the sensational string quartet Well Strung!

In addition to Edmund’s three performances, limited tickets remain for a VIP reception on Sunday, December 8th, from 4:30 to 6:30 PM. Enjoy drinks and delicious catering in a private home in Rehoboth Beach just a short drive from the theater. Only 40 tickets for the reception are available, so be sure to reserve your spot as soon as possible.

Performances are Sunday Dec. 8th (7 p.m.), Monday Dec. 9th (7 p.m.), and the newly added performance on Monday, Dec. 9th (9 p.m.)!
Tickets are $30. VIP reception is an added $70 for a total price of $100.

Clear Space donors, purchase your tickets by phone at (302) 227-2270 for access to reserved seats for existing donors.

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About Edmund Bagnell

Edmund Bagnell is a diverse artist, having performed as an actor, violinist, and singer. A native of South Carolina, Edmund was cast as Tobias Ragg in the first national tour of John Doyle’s staging of Sweeney Todd, which resulted in more performances as an actor in NYC and across the country.

In 2012, Edmund became the first violinist and singer in the internationally-touring string quartet Well Strung, which released three chart-topping albums in the classical crossover genre. The band had several notable live performances on the Today Show, performed on Broadway with many notable performers such as Kristin Chenoweth and Audra McDonald, and in 2015, the band’s song “Chelsea’s Mom” became a viral hit.

In 2019, Edmund premiered and toured internationally with his solo one man show, He Plays the Violin, to rave reviews. With Home For The Holidays Edmund is excited to share yet another aspect of himself as a solo recording artist. Combining his years as an actor, singer, violinist, and band member, this album is a blend of his love for all these genres and is a personal look into what he loves about making music.

About Mark Hartman

Mark Hartman (he/him) is a New York-based pianist, coach, conductor, arranger and composer working in theater, cabaret, and concerts around the world. Mark was the Associate Conductor of Sondheim On Sondheim and Avenue Q on Broadway. Off-Broadway, he was the Music Director for The Streets Of New York (2022 Drama Desk Award Nominee, Best Orchestrations), Pageant, Silence! The Musical, Ernest In Love, After The Ball, Finian’s Rainbow, and The Irish…and How They Got That Way (also Nat’l Tour), and played keyboards for Avenue Q (Vineyard) and The Fantasticks (Sullivan St. and Orbach Theater productions). Regional credits include Asolo Rep, Broadway In Chicago, Fifth Avenue (Seattle), Goodspeed, Guthrie Theater, Old Globe, Pasadena Playhouse.

In cabaret, Mark has appeared with Lorna Luft, Chita Rivera, Jennifer Holliday, and many others. He has enjoyed a 25-year working relationship with Natalie Douglas. Mark is one of the creators of Magic To Do, a Stephen Schwartz revue for Princess Entertainment. He is one of the music directors for the Eugene O’Neill Theater Center’s Cabaret Conference. Mark is the winner of 3 MAC Awards, a We Are Puerto Vallarta Award, and the Backstage Bistro Award for Music Direction. For more info: www.hartmanmark.com.

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Thank You WSFS! Presenting Sponsor Of Our 2024 Barefoot & Bowtie Gala

We are thrilled to announce that WSFS is the presenting sponsor at our 2024 Barefoot and Bowtie Gala. Their generous support helps ensure that Clear Space Theatre can continue to inspire audiences, artists, and students by providing high-quality performances and educational experiences.  

WSFS is the oldest and largest locally headquartered bank and trust company in the Delaware region. From its corporate philanthropy to local branch donations, WSFS remains a champion of communities across the country.  With deep roots in the Delmarva region, WSFS has played a key role in creating the Rehoboth we know and love today. The minute you walk into WSFS, you will be greeted by friendly staff who enjoy helping solve your banking needs, no matter the trouble or hour. They offer a comprehensive range of financial services, from personal and business banking to wealth management and trust services. Thank you WSFS for all that you do!

Like most theatre companies, Clear Space Theatre would not exist without generous support from donors! The annual Barefoot & Bowtie Gala is Clear Space Theatre’s largest annual fundraising event! We can not thank WSFS enough for their commitment to giving back to our community and beyond.

Please consider using WSFS for your banking needs! They have our support! Visit Their Website Using This Link.

 

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Thank You David McCarthy & Associates, For Your Continued Support!

We are thrilled to announce that David McCarthy & Associates is a supporting sponsor of Clear Space Theatre’s 2024 Barefoot and Bowtie Gala! Thank you, David McCarthy & Associates, for nearly a decade of support! Their continued support is instrumental in enabling Clear Space Theatre to inspire audiences, artists, and students through high-quality performances and educational experiences.

David McCarthy & Associates, a respected real estate firm with deep roots in the Delmarva area, stands out for their commitment to providing personalized, high-quality service. Their expertise extends beyond buying and selling properties to include renovating, investing in, and managing properties. Whether you’re in the market for a vacation home, fixer-upper, investment property, or looking to sell, David McCarthy & Associates offer tailored guidance to navigate the real estate process from end to end. As a long-term supporter of the Delmarva community, Clear Space Theatre is proud to have David McCarthy & Associates as a sponsor.

Like most theatre companies, Clear Space Theatre would not exist without the generous support of our sponsors. The annual Barefoot & Bowtie Gala is Clear Space Theatre’s largest fundraiser, and we would like to extend our gratitude to generous sponsors like David McCarthy & Associates!

Please consider supporting David McCarthy & Associates! They have our support! Click This Link To Visit Their Website

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Interview With Venus In Fur Director – Carin Jean White

Following an unforgettable 9 weeks of stellar musical theatre, Venus in Fur is heating things up in Rehoboth Beach! We met Director Carin Jean White to discuss the play’s significance in today’s world. Carin shares her insights on the MeToo movement, masochism, and human interactions, hoping the play will shift perspectives and spark reflection. Read our exclusive interview with Director Carin Jean White and join us for the opening of Venus in Fur on Thursday, September 19th, 2024, at 7:00 PM!

Performances on September 19, 20, 21, 22, 26, 27, 28, 29 in 2024!

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Director Carin Jean White started acting at age 4 and directed her first play in high school. She then went on to attend Columbia University, where she earned an MFA in Directing. Favorite projects include creating an immersive theatre festival at Artpark in Western New York for an audience of over 2k, resident directing EMPIRE on Broadway (Speigelworld), and creating site specific dance-theatre pieces for DUMBO (Brooklyn) and the Prague Quadrennial (Prague). She believes that art is a powerful tool for reflection, the sharing of ideas, and developing empathy. She hopes Venus In Fur encourages us to examine human interactions and spark dialogue.

Carin Jean White is a distinguished director renowned for her innovative and thought-provoking approach to theater. Her work on Venus in Fur exemplifies her commitment to exploring complex themes and fostering deep emotional connections with audiences. White brings a unique perspective to every production she helms.

Here is our interview with Director Carin Jean White,

What is something that you think would excite our audience about Venus in Fur?

Carin: Venus in Fur is incredibly exciting because it delves into intimate and provocative themes. It explores gender and power dynamics, which are intriguing as they are evergreen themes about the human experience. And the play’s meta-theatrical elements add another compelling layer to the audience’s experience, especially when the lines between the play and the play-within-the-play begin to blur.

How does the play’s exploration of masochism and power dynamics resonate with today’s audience?

Carin: I think these themes are very relevant to today’s audience, as there is a lot more discussion of masochism, BDSM, and power dynamics- especially as it pertains to gender- in today’s popular culture. Someone doesn’t have to identify with the BDSM community to relate to these characters, themes, or topics. This play, which focuses on the interaction between a director and actress, reveals how power dynamics can shift rapidly in unexpected ways. The story is fascinating because it not only reflects historical narratives but also engages with contemporary thought on gender and sexual dynamics.

What makes the play’s themes so enduring?

Carin: The themes are timeless because they explore fundamental aspects of human interaction and desire.

Can you share what your favorite part of the play is?

Carin: One of my favorite aspects is the echo of Greek tragedy* within the play. It’s unexpected but adds a rich layer to the narrative. There’s a subtle nod to classic tragedy that enhances the play’s depth and resonance. *Greek Tragedy – When the protagonist or someone of importance and outstanding qualities falls to disaster.

How does the play relate to contemporary issues, such as the MeToo movement?

Carin: First let’s keep in mind that the play was written seven years before the MeToo movement occurred in 2017, and we are now seven years after that inciting moment. However, in my mind this play cannot be produced without considering this context. The character of Thomas, for example, represents a kind of opportunistic, misogynistic male director, and there is a kind of satisfaction in how Thomas has a bit of a comeuppance for his actions. Also, how Vanda’s power and agency are portrayed in our production is in response to the context of 2024. While the play was written in 2010, we as theatre artists must always ask “why this play, why now,” and Chris (actor playing Thomas), Eve (actress playing Vanda), and myself are working hard creating our answer to this question onstage for the Clear Space audience.

What do you hope the audience takes away from the experience?

Carin: I want the audience to enjoy the play and have fun. It’s a play that combines humor with heavy themes, providing both entertainment and thought-provoking content. Theatre has a unique power to create empathy and reflection, and I hope the audience gains insight into a part of the human experience they might not often consider and holds empathy for people whom the characters reflect.  Venus in Fur offers a chance to explore topics that some audience members might typically not discuss, so there could be an interesting opportunity for conversation.

 

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