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[0:05] Aaron Michael Ray: Hello everyone.

[0:07] Welcome back to Conversations from Away.

[0:10] My name is Aaron Michael Ray.

[0:12] I am the host, and this is the first new episode with the Broadway Podcast Network.

[0:18] So we're super excited and just wanted to give a quick shout-out to them.

[0:22] So today I have two amazing guests, two wonderful friends of mine who I've worked with extensively.

[0:31] And we have Sarah Wade with us and Azalea Fairley.

[0:35] Hey ladies.

[0:37] Sarah Wade: Hello.

[0:38] Azalea Fairley: Hi.

[0:39] Aaron Michael Ray: Do both of you mind just kind of giving us a little, just a little introduction.

[0:43] Sarah Wade: I'm Sarah, and I'm the wardrobe supervisor for the tour of Come From Away, where I have had the lovely pleasure of working with Mr.

[0:51] Aaron Michael Ray.

[0:52] And yeah, ready to go back to work.

[0:56] But for now, I'm excited to be hanging out with you guys a little bit today.

[1:01] Azalea Fairley: Hi everyone, my name is Azalea Fairley, and I am a costume designer.

[1:12] And yeah, I'm very excited to be here.

[1:16] Aaron Michael Ray: And we're so excited to have both of you here.

[1:19] I also just want to give a really quick shout-out and say happy birthday to Sarah.

[1:24] It is her birthday today, and she's spending it with us.

[1:27] So Sarah, thank you so much for spending your birthday with us.

[1:30] And also happy belated birthday to Azalea.

[1:35] Azalea Fairley: Thank you.

[1:37] Sarah Wade: Happy birthday.

[1:41] Aaron Michael Ray: So for this episode, we're going to be talking about BIPOC behind the curtain.

[1:45] And so we wanted to have kind of like a little mini-series within our series and just talk about the departments in theater.

[1:52] That's not just the cast and performers.

[1:55] So for this one we want to talk about wardrobe and costumes.

[2:00] And so the first question I'll ask to both of you is how did you get started in doing wardrobe for theater?

[2:07] Were you a performer first or did you go straight into it?

[2:10] What's your story?

[2:12] Sarah Wade: If you count high school and middle school as performing, I did perform there.

[2:18] Um that's kind of where my love of theater started but I went to college for costume design.

[2:24] I have a BFA.

[2:25] Um my first job was as a wardrobe supervisor for a ballet company in my hometown.

[2:29] So what about you Azalea?

[2:33] Azalea Fairley: I started in theater as a performer in high school and um I went to school for it at DePaul University for acting performance and um yeah I basically from there kind of just I would start making things for shows.

[2:53] Like I was always sewing for people and I was always like you don't have to put my name anywhere you don't have to tell me like just throw a special thanks in there for me in the program I guess.

[3:03] Um and yeah I was just more interested always in like the costuming aspects of everything.

[3:11] And then I went to France and I taught theater and English to kids there in middle school.

[3:17] And um when I came back to New York I was like when I came back I moved to New York and I was like oh I want to work in fashion and then I did dressing and fashion for some years and finally I just kind of made my way back to theater and realized like, oh wait, this thing that you were doing for free for so long, you can actually like make a living out of it.

[3:36] So um I started doing wardrobe in theater.

[3:40] I kind of graduated my way to design because that's what I wanted to do.

[3:46] And yeah, I've basically been doing it ever since.

[3:51] Aaron Michael Ray: Yeah.

[3:52] I love that.

[3:53] And that's so interesting because you know, so Azalea and I did Spamleton together off Broadway in 2017, and she was my wardrobe supervisor, an amazing wardrobe supervisor at that.

[4:05] And I actually didn't know that part of your journey as far as moving back here and really going into fashion, but now knowing you and knowing this part of that, it totally makes sense.

[4:16] So I just I didn't know that.

[4:19] I love to hear it.

[4:20] Um so where does someone train to work in costume design wardrobe departments for theater?

[4:28] Um I guess uh both of you kind of answered this a little bit of I was gonna say, you know, is there a school for this?

[4:35] Are there BFA programs?

[4:37] Sarah, you said you have a BFA in remind me again, costume design.

[4:42] Sarah Wade: Costume design, yeah.

[4:43] I have a BFA in costume design from Virginia Commonwealth University School of the Arts in Richmond, Virginia.

[4:49] So yeah.

[4:50] Aaron Michael Ray: Okay, are there I'm just just curious.

[4:53] I mean, are there a lot of costume or design kind of programs specifically for theater?

[4:59] Because I feel like there are a lot for fashion specifically, but I didn't know if that's kind of the same thing or yeah, there there are a lot.

[5:09] I think so.

[5:09] Yeah, definitely.

[5:11] Sarah Wade: Yeah, I certainly think that there are a lot for design, um, specifically for wardrobe.

[5:16] I can't say whether or not there are programs out there.

[5:18] I feel like there are specific programs that are more a technical focus.

[5:23] I know that wardrobe is one of those things where you can like if you come in with some skills, you can kind of like learn as you go.

[5:33] Some skills as far as like technical skills and also people skills.

[5:37] You can kind of learn and grow as you go.

[5:41] Um I know that a lot of people do internships for wardrobe.

[5:45] Uh I know that you can just kind of basically go to your local theater and be like where can I fit in in here in the costume shop or you know, what do you need me to do?

[5:56] Do you can you teach me how to do this?

[5:59] Can you teach me how to theme or you know button on or something like that?

[6:03] Um yeah.

[6:04] So you can kind of like learn as you go or you can go through one of the programs that are more technical focused.

[6:11] Aaron Michael Ray: Okay.

[6:11] I truly did not even know that.

[6:14] I think I just kind of assumed that you know if you want to go into um being a costume designer or something like that, you kind of have to go through a fashion kind of route and but I but it's good to know that there are, you know, programs and there are but it's also just as you know attainable to be a part of it if you really want to and I love that.

[6:38] I feel like I know a lot of people who whether they're in wardrobe, stage management or whatever department that's not performing, I feel like a lot of them started as performers and then just kind of realize oh well maybe this is more my lane or maybe this is more what I actually want to do.

[6:55] So it's I'm always curious to hear about how people got into those departments.

[7:02] Sarah Wade: Yeah.

[7:02] I mean, I certainly I feel like most people in theater that I know started off as performers because that's like your entree into everything.

[7:15] Um and as far as like design goes, like you can obviously go anywhere and learn how to design and like you know do your training and all that stuff.

[7:24] But I think it also might be worth clarifying that costume design and wardrobe are in the same family certainly, but two very distinctly different things.

[7:37] Um wardrobe is for like more technical uh it's more um running the show it's more kind of figuring out very weird theater problems that you would only run into in theaters like um for clothes is working with actors in the run of the show where it's costume design is more so you know figuring out like the design of the actual costumes right and collaborating with the director and all that stuff.

[8:06] Aaron Michael Ray: Um yeah just to clarify.

[8:09] Sarah Wade: Oh yeah thank you for that I mean that's good to know I I feel like I kind of just they're both in similar worlds so I think I always just kind of combine them but thank you for clarifying that difference.

[8:21] Aaron Michael Ray: I'm glad that you mentioned that.

[8:23] But in our so in Come From Away our costume department something I really wanted to uh talk about really just with this episode is BIPOC representation in the costuming world and wardrobe world as well and I remember when I started rehearsals for the tour of Come From Away I was so excited and you know, we were in rehearsals here in New York, and something I you know, something I noticed was that it's predominantly white, which you know, it it's it is what it is, and but at the same time I was so just excited to be there, and I still am excited to go back.

[9:00] And you know, then we as we were rehearsing and then we started having fittings, you know, they would call us in to go uh to get fitted, and that was when I met our amazing costume designer Tony Leslie James, and I went into that fitting room, and it was like Tony and then Devario and uh everybody was black, and it was like all of her associates who were in the room were black, and they were all fitting me for all the costumes I wear for this show.

[9:31] And I just remember walking in, like, oh my gosh, like, hey y'all, you know, like we're all here, like I see us, okay, okay.

[9:40] And that was truly I think the first time that I have like an all black costume department for a show that I was working on, and that was really special to me.

[9:55] And I just I think when I think about all the other shows that I've had that I've done, and there just was little to no uh BIPOC representation, it just it made me like that was the first time I realized like, wait, this is completely possible, you know, like there this absolutely should be part of the question.

[10:15] This should be part of you know every department really, but something I want to ask y'all is what do you think we can do to have more BIPOC representation in the costuming and wardrobe world?

[10:28] And how can we increase BIPOC employment in this field?

[10:33] Sarah Wade: I think we should start with like kids and helping them to realize this is a career you can pursue, and I think that if younger people knew all of the different facets of theater and everything that goes into it, I think that they would be more interested to knowing how everything works.

[10:52] Such a team experience.

[11:00] Um and younger people just kind of showing like this is possible.

[11:03] You can do this, you know.

[11:06] Azalea Fairley: Yeah, I completely agree.

[11:08] Start early with saying that acting is not the only thing that you can do in theater and you know, live your life and make a career.

[11:15] And if you're more interested in this, there's a place for you.

[11:21] Sarah Wade: I also think that, you know, institution-wise, maybe maybe hire more so from within.

[11:29] Like I feel like there's been a lot of experiences where I've seen people kind of get hired from outside because they're the homie of whoever such and such, where you also have, you know, this pool of qualified BIPOC people who could take on, you know, the role or whatever, who have been in like maybe an entry-level position for however many years or whatever.

[11:54] I think that maybe theaters could offer paid internships.

[11:57] I feel like that's a huge barrier for BIPOC folks to enter into this industry.

[12:04] Um yeah, and just I think that it's up to theaters to really commit to making their backstages look as diverse as they walk on stage to live.

[12:18] Azalea Fairley: Oh, yeah, totally.

[12:19] Aaron Michael Ray: I mean, I really love those responses because, you know, something that I think we're all we're all just so ready for in this moment of, you know, us still being in COVID and theater being on pause for us, you know, I think the second we we're able, we get the green light to go do shows again and start working again, you know, we're so ready to see all these changes that we've been talking about.

[12:47] But what so many people don't realize is that, you know, we also if we want to see significant changes, it's one, it's gonna take some time, and two, also kind of like both of y'all said, you know, let's start with the future, like the so that means the kids, the high school theater kids who, you know, maybe they they really just want to be involved in theater in some way, but they just don't know exactly where they fall or where their lane is, or you know, and maybe going into costume design for theater is what they want to do, going wardrobe designing, you know, or you know, that's something that they want to do.

[13:22] Azalea Fairley: And so I think it's really important for us to think about the future of where we want it to go. And it has it also has to start with the young ones. And so I think if we can get them more interested in just wanting to be involved in theater in any way, then it will open a lot more doors. And I always say, you know, I can't wait for this younger generation to just really come up in this industry as well, because we really see the future in them, and that is it only gives me optimism looking forward.

[14:01] Sarah Wade: Yeah, I mean, I completely agree. And also I feel like there's a sense of like, you know, what we're doing right now in theater is trying to work backwards so heavy, and we're trying to do all of this while we're not actually working. Um, I feel like instead of trying to work backwards, why not just like start fresh with the youth and keep it moving, you know, and also work backwards at the same time. We could do both.

[14:30] Aaron Michael Ray: Um, so I wanna ask both of you this question. Um, have you ever been pigeonholed in this industry?

[14:41] Azalea Fairley: I think there may have been times, but not really, maybe for being female. Um, I think it was hard to break into the industry at a young age. And maybe I could I could say that, but it took me a while before I was able to go out for bigger productions, I think, because I started out pretty young. But other than that, no, not for me.

[15:04] Azalea Fairley: What about you, Azalea?

[15:06] Azalea Fairley: Uh I definitely have been pigeonholed, um so often. Um, and when uh whenever I do wardrobe, I feel like I recently have been pigeonholed. Um, but for me that's been kind of a place of like this sounds very weird to say, but it's been kind of a place of slight comfort because you know, you're working on shows by contemporary black BIPOC playwrights, and um this is cool stuff that you're working on. You're working with, you know, BIPOC actors, and you don't feel so much of a need to code switch. I know that when we worked on Spamleton together, that was like truly kind of a moment that just existed in and of itself, and we would kind of talk about it sometimes. How there will never be an environment that we could be this re to be our full selves ever again, you know, backstage. Um, yeah, so I've definitely been pigeonholed into doing, you know, particular shows, and it's it hasn't necessarily been a bad thing to me.

[16:15] Aaron Michael Ray: That's interesting because you know, I feel as I feel as actors, we I when I think of me being pigeonholed, you know, I think of people only being able to see me in, you know, predominantly black shows or you know, something like that, like the color purples and the whatever. And so, you know, like I think as an actor, I don't like to be pigeonholed, and I wanted to ask both of you this because you know it's just different all around, and I knew that both of you would have different answers, which is why I wanted to kind of compare them and just really it that both of those responses really opened my eyes, and especially Azalea, when you were talking about how you know, when we were in Spamleton, it was everybody involved pretty much was BIPOC, someone of color.

Um, and you're so right. I mean, that was one of the only experiences I think where there was no code switching, there was no, it was just us completely being ourselves and us completely just knowing that we can we had a safe place. Um, and unfortunately, you know, that's not always that's not always promised in some of these shows, and I have to give a shout-out to Sarah because I feel like it from the jump, Sarah has always made me feel comfortable before going on stage. I've always loved working with Sarah, and not just saying that because it's your birthday, but you know, I mean, I'm I'm just really I'm really thankful that both of you have provided those safe spaces, even when maybe outside of those departments it wasn't. So just wanted to let y'all know that.

[18:06] Sarah Wade: Yeah. Well, you're very welcome. I also I also just want to say, like, you know, when people pigeonhole people based on like, you know, oh, I can't understand this show, or I don't want to watch this show because it's a black show and I have nothing to do with that, or like I can't understand this show because it's from like you know, a queer point of view or whatever, or all these things. I think that Come From Away, I actually have not seen Come From Away, but I know that it definitely does kind of touch on how when we kind of get pigeonholed, we kind of take away or rob ourselves and each other of each other's experiences, and like you know, some things truly are universal.

[18:55] Azalea Fairley: Um I think that like I'm sorry, you go ahead.

[19:02] Azalea Fairley: Oh, I'm sorry, I I keep wanting to just chime in because I just love everything you're saying. Um but you're so right. I mean, especially in Come From Away, I like it is a perfect definition of not judging a book by its cover, um, in every sense of the word, with all the characters, with the stories and how all the stories intertwine, and you realize, you know, the reason why these characters in the show start having so much love and compassion for each other is because they remove their prejudices and they have to remove, you know, all those layers and the and they don't it's it's when they stop pigeonholing each other into a certain place, and then they just get over that and say, Well, who are you as a person? You know, and that's a huge part of the Come From Away story. So you're completely right about that.

[19:58] Aaron Michael Ray: All right, honorary Newfoundlanders, we'll be right back.

[20:10] Azalea Fairley: Something I really wanted to bring up was there is a dance documentary that I really really love called First Position. And it's basically this documentary about these up-and-coming young ballet dancers from I think the youngest was like in the movie, I think the youngest was maybe 10 or something like that. And the oldest, I think was probably like 16 or 17. And the oldest person that was on the documentary, her name is Michaela De Prince, and she she's an American ballet dancer. She was born in Sierra Leone, and then came to America when she's a baby, uh, her and her sister. And there was this part in the documentary where Michaela is a beautiful dark-skinned ballet dancer, and her parents are white.

Uh, they adopted her and her sister. And I remember this one scene, and I will never forget this, where the mom, her mom was dying all of her tights the right color that actually matches Michaela's skin. And Michaela has vitiligo, so you know, for so she also has to think about that in addition to you know the color nude and how like you know, nude tights really just means white. And Michaela has beautiful dark skin. And so, you know, her mom was up at like two in the morning or something, just dyeing all of her tights and things like that to make sure they actually match her skin color. And my sister is also a dancer, and I don't even think my parents ever did that because I don't think they really knew how to, but also that was just one of those things where it was kind of like, Oh, I guess they just don't have their skin colors, so we just kind of have to use the darkest one or whatever. And so I'm just curious to know, and especially uh Sarah, since you've worked with the Richmond Ballet, is that correct?

[22:10] Sarah Wade: Yeah, that's right.

[22:11] Azalea Fairley: Yeah, so have you had that kind of similar experience of you know having to adjust, like making certain things the right skin color with ballet shoes and things like that?

[22:23] Sarah Wade: Yeah, so uh working at the Richmond Ballet was like my first big girl job out of college, and I learned so much there, and we had this really great dye room, and I have such fun memories of airbrushing point shoes to match skin colors, and I'm sitting in there mixing up all the right colors and doing a little test swatch and running up two flights of stairs to where the ballet studio is, creeping in on rehearsal just to try to like grab an arm or a leg to say, like, is this close enough? No, not quite, and like running back down and doing that. We had a big dye out where we would dye leotards if they needed to be uh skin color too. So um that that holds a really special place in my heart, and I think it was a good place to start to learn the ins and the outs of how much that goes into that.

[23:11] Sarah Wade: So I I feel like I haven't at least in the shows that I've done so far, I haven't had to thankfully, I haven't really had to worry so much about things, you know, costume pieces or anything being close to my skin color. Really something that we kind of joked about this, but something that I do have to worry about as me being 6'3 and size 15, I will go to my first fittings and I'll just say I am so sorry, because I this is uh just me existing will just be really hard for your job. So, you know, like break a leg on looking for shoes for me, you know, all that's kind of that's always been my biggest issue. But thankfully, both of y'all in the shows that we've done together have accommodated for my large size. I hope that no costumer has ever made you feel away about anything like that.

[24:13] Azalea Fairley: Like, that's our job to you know find the costume, do the costume, make it work for you. Like, it's not you know, whatever.

[24:23] Sarah Wade: Okay. I remember when you said that to me first, and I was like, alright, size 15 and okay. Like you know, nobody should ever make you feel bad about like what your body is or like does, or you know. Especially with the pandemic too. I feel like after we come back, especially with Come From Away, like we are lucky, we have a little bit of forgiveness and we are what we are and we will start from where we are when we get back together and make it all work. And I've been talking to the Broadway supervisor about that, about like where, you know, where we're landing and and how we're gonna adjust and we're ready.

[25:02] Azalea Fairley: So yeah, we got a lot of work to do, a lot of work ahead of us.

[25:07] Sarah Wade: I feel like this whole thing when it comes back will like just take several it'll take a long time.

[25:15] Azalea Fairley: Yeah.

[25:16] Sarah Wade: We can do it.

[25:17] Azalea Fairley: I'm ready.

[25:18] Sarah Wade: But it exact and you know what, that's why I'm so glad that both of y'all are even on this episode today, because both of you I have full faith in knowing that you know, when the industry starts up again that y'all are going to be on the right side of it and really making sure that it's more uh inclusive and so everyone feels like they belong in, you know, just even when we know as actors that the wardrobe and costume departments are making it work for us and we feel comfortable on stage and in our costume that adds so much to our performance in so many ways that I don't think y'all get enough credit for. So I feel like on behalf of actors everywhere, you know, I just want to say thank you because you know, both of y'all have gone it to so many lengths to make sure that we feel comfortable on stage and my shoes fit and you know, I don't have a loose button or something, and if something happens and we'll figure it out and everything's gonna be fine.

[26:21] Aaron Michael Ray: So thank you for that.

[26:24] Azalea Fairley: Of course.

[26:24] Sarah Wade: That's my pleasure.

[26:26] Azalea Fairley: Absolutely.

[26:28] Aaron Michael Ray: So what is one thing I have a feeling I'm gonna ask a lot of people this question on every episode. But what is one thing you wish to change in our industry when we resume after COVID?

[26:44] Sarah Wade: I think it's like a touring crew member. I would love to see more reach from my union to hire more BIPOC crew locals. And I just love to have the opportunity to work with some new and talented people in different cities that we go to. Um, I think that that would be such a great place and such a good change to see walking back into touring life.

[27:08] Aaron Michael Ray: That's actually a really good answer. I didn't think about like not seeing a lot of BIPOC crew when you're in different cities, you know.

[27:19] Azalea Fairley: Um, I think that for myself I would really love it if theaters would stop pigeonholing people and you know just allow people to if somebody is great at what they do, allow them to be great at what they do despite their experience in this world or despite how they walk through the world. Um, 'cause a job is a job. Um, also I I've really been enjoying having a life outside of theater. One thing that I used to notice like whenever I watched the Tony's is that every person who accepted something would always be like I'm so sorry to my family and to my children and you know everybody who I have you know had to neglect this past year, basically. And it's been nice to slowly get back into working. Also realize that I've been developing the relationships that I have in my life, you know, keeping up with my friendships, um, been able to you know talk more to my family, and I think that we've all taken that away from this year, but particularly in our industry, you know, eight shows a week is actually a lot.

Like I don't know if that's sustainable after this, like even just getting back to that is gonna be hard. Like I think we spoke about doing one show, starting with one show and then seeing how we feel.

[28:46] Sarah Wade: You're so right about that. I mean, we have so much conditioning to do to get back to eight shows a week because I like I don't think people who especially the people who are not in this industry at all, like we do more shows a week than there are days in the week. So, and we have one day off. So, you know, maybe maybe you know that's like not a holiday schedule, you know.

[29:15] Azalea Fairley: So, like going back, I totally agree with that. I just think that I feel like that could be a whole other episode too. Just like, you know, I think before 2020, and I was very guilty of this too of like you have to work so hard and no breaks, no vacation, whatever, not until you get to where you want to go. But also, like I saw something on Twitter today that said something like, I don't know who needs to hear this, but if you have PTO or you have vacation days, use them, you know, like I and that's just one of those things. It's like if we have those opportunities to take a break, then take a break. And COVID forced us to do that, and I think a lot of people realize, oh my God, like my life has only been work, or my life has, you know, like I have I feel like I don't regret anything that I did in the past when it comes to you know, working too much, but at the same time, I do regret not taking more time off when I knew that I needed it, or I knew that my body needed it.

[30:25] Sarah Wade: So absolutely even when it comes to just like calling out, you know, like stuff like that too. It's like if you don't feel well, then you don't have to do the show. And I know I'm saying that as a standby, but you know, it's it's like it's just it's so real. Like we don't have to, you know, not see our families for months and months or years or whatever. We don't have to push ourselves this hard all the time, you know. But like I'm really I'm really really glad that you said that.

[31:00] Azalea Fairley: Yeah, the burnout is so real to get burnt out one time a year is a lot, but I just we would just all get burnt out several times a year. I know that for me, I'm just every few months I would have a burnout and it'd just be like I can't exist in the world for like 24 full hours and then I'll go back to like doing the two gig because I freelance. So, you know, it was just it was a lot for my mental health and my body, and I just hope that like, you know, when we go back, maybe there will be some type of change with the scheduling of like, you know, as far as just how long do we spend in tech or something like that. I know that, you know, actors get breaks every now and then and whatnot, and it is a long day, but for the designers and for the wardrobe people and for all the crew backstage, it's a much longer day, um, than just like twelve hours or so.

You know, I just I've just hope that we can all like find a little bit more balance in our life because this is it's been nice to just exist and like understand that I'm a person who needs who has a body who needs things. And the pandemic it's almost like reminded me who I am without theater too, and like having time to explore other hobbies and like really harness those and I hope that like because there's a part of me that's like I hope I can still do this when I'm back on tour.

[32:24] Sarah Wade: Yeah and I need to make that more of a priority to like have that balance however I can get it, you know.

[32:31] Azalea Fairley: Yeah.

[32:32] Sarah Wade: Right through with you.

[32:34] Aaron Michael Ray: Yeah, and especially Sarah, since we've been on the road, you know, we went on I know you've been touring since before we even started going on the road. And so and there are there are a bunch of people in our company, whether on stage or or not, who have went from one tour to our tour and like I It's been like seven years for me. So this is like the first break that I've had from touring.

[32:58] Azalea Fairley: Oh so like yeah, it's been it's like my whole world turned the other direction in a good way. It's been such a good break.

[33:06] Sarah Wade: Yeah.

[33:06] Azalea Fairley: Um but it's bittersweet like everything, you know.

[33:09] Aaron Michael Ray: Yeah, absolutely.

[33:12] Aaron Michael Ray: Oh. So the last question I'll ask y'all is this and it doesn't have to be someone in your department or someone that's in even in this industry, but who inspires you the most to keep doing what you do?

[33:26] Sarah Wade: I'd have to say all of my co-workers who all come together, we're all pulling off the same amazing feat that is live theater. Um, especially my Come From Away family. I haven't ever experienced a group of people that give you the warm fuzzies every single day. And like it's just a such a special group of people and I've never had that before, which is really nice. But I also have to say the audience, like there's nothing like hearing the hush of the crowd at the beginning of the show and then the feedback at the end, and you're just like we pulled it off, we did it, like there's nothing like that. That's such a good feeling, and I can't wait to feel that again.

[34:06] Azalea Fairley: That's so beautiful. I love that the show is as heartwarming backstage as it is on stage as it's it really is.

[34:17] Aaron Michael Ray: For myself, who inspires me to keep doing what I do? I am constantly inspired by the essentially like the people who are making theater right now. Um, as far as like that work goes, you know, I'm inspired by designers that I've worked with. I'm inspired by different writers. I love Adrian Marie Brown. I love Audre Lorde so much. Um and I think that like it's important for me to continue doing this if I can t if I love it so much. Um, because I do feel like theater is a space to like I don't know if I should say this, but I feel like theater kind of inherently is a political space, and like we can figure out a lot about each other and about where our world is right now through theater and through the stuff that's being written and designed and performed and whatnot right now.

[35:21] Azalea Fairley: Yeah, so I don't want to name names, but I will name names because I feel like these artists are like kind of more intersectional. Um I think that they see they show you that you can be an activist and an artist, like let's see like Montana Levi Blanco, Tony Leslie James, of course, uh, she's incredible. Of course, Jeremy O'Harris, uh Jordan Cooper, uh, let's see, who else? Erica Dickerson, I don't know if I said Queen Jean or Cookie Jordan or Jackie Sibyl's Drury or Celine Song, or like there's there's so many amazing contemporary artists right now uh who are able to experience their work while they're here. So I really love that.

[36:06] Aaron Michael Ray: And so I first of all I want to say thank y'all so much for joining this episode. Before we uh wrap up, I really want to make sure that I said something about this. Recently, as of this week, there was yet again another um killing of an unarmed black man uh by the police, and his name is Dante Wright, and I won't go too far into it, but all I want to say is that yes, this is still happening. Yes, you know, our people who look like me are dying. People who look like Azalea are dying because just because of what we look like, and even though this was a quote unquote accident, whatever that even means, you know, it's still that still just means that another innocent black man is yet again a hashtag.

And I don't want to be a hashtag. And I don't want your loved ones who are black who are a BIPOC to be a hashtag. So all I'm gonna say is that I hope that people understand that we're not any further along than we were last summer when it comes to this. And I just really need everyone to listen, you know, obviously listen and learn, but do something, take action. I think something that is just a very easy actionable step is just having these conversations and talking about it. Maybe there's someone in your life that you know doesn't really think this happens, or you know, maybe if he complied, etc. etc. You know, this isn't one of those situations. This is another murder of a black person who didn't do anything wrong at the time they were pulled over.

And so because I don't want this to happen to me, and because I don't want this to happen to any of our uh black uh folks, I don't I just want to make sure that everyone understands that this is very much still happening, and that's all I'm gonna say on that, because you know, I wanted to make sure this podcast is about uh BIPOC behind the curtain, but if this continues to happen, then we're still gonna have to continue talking about it until it gets fixed.

[38:29] Aaron Michael Ray: So I'm off my soapbox, and I just want to say thank you so much to Sarah Wade and Azalea Fairley for joining us on this episode. I'm so glad that all three of us could be in a virtual room together because I love you both so much and I respect you both and love working with you both. So thank you so much for joining us.

[38:53] Azalea Fairley: Thanks for having me. This was really fun.

[38:54] Sarah Wade: Thank you so much for having me. Really appreciate it.

[38:58] Aaron Michael Ray: All right, everybody, thank you for listening to this episode of Conversations from Away. We will see you next time.