Time for Reflection
Looking back on a season whose hallmarks were bold, original work, game-changing physical performance, inspired technical direction and enriching musicality, our new class of Stage Awards panelists had their work cut out for them. We sat down with three of them to get to the bottom of what made the dazzling past 12 months such a feast for the senses.
Pictured: Sydney Bartunek Bender, executive director & founder of Move to Heal South Dakota, an organization that aims to enhance the wellbeing of children across South Dakota by providing healing arts, such as dance, yoga and performing arts; performer with LiRa Dance Theatre Co. for five seasons; grace dance director & instructor at Gloria Dei Lutheran Church; recipient of a 2020-21 Sioux Falls Stage Awards Special Distinction (Credit: Peter Chapman)
What did you find the most surprising about local performing arts this season?
Anna Malcolm: The thing that most surprised me was The Premiere Premieres. I went in not really having any expectations going to the show — local theatre, produced and written locally. I was blown away by not only the talent on the stage of the performers themselves, but also by the writing. I was moved, I laughed, I cried. We have a lot of talent both on stage and off stage in this town.
Mo Hurley: I was surprised by shows that I was not familiar with beforehand. God of Carnage — I’d heard the title, I knew some of the actors in it, so I knew it would be strong. But getting to see shows that I hadn’t had any experience with before, that one was the most visceral “whoa!” in becoming a favorite right away. That was fun to experience a new-to-me play. Kind of the same with Salem, which was obviously brand-new to me — I love that time period. So it was fun to see actors I know are going to knock it out of the park, but working with new material I can have a connection with. It’s always exciting.
Sydney Bartunek Bender: I did not know what I was attending when I went to Erma Bombeck: At Wit’s End. It was intimate, a small cast — I really enjoyed it and I learned a lot. It featured tons of history, and I basically fell in love with the woman. She was so empowering. And the same with Salem — all the history and the connection through our history and culture. I was pleasantly surprised by attending those shows and really enjoying them.
What do you find most exciting about the state of the arts in Sioux Falls?
SBB: I love the collaborations. So when I see things like the LiRa Dance Theatre group in Broad Cast’s Little Black Dress Revue — it makes me excited for future collaborations between organizations. All the amazing people coming together to make magic.
AM: For me, with Sioux Falls theatre, it’s exploring new works that maybe 10-15-20 years ago Sioux Falls wasn’t ready to or maybe didn’t want to explore. Monstrous was created by college grads who were seeking to do really neat, edgy, important, contemporary works that they were able to explore in college. And in the Sioux Falls theatre community at the time, there wasn’t a lot of that work being performed. What was being performed were great shows, but having that opportunity is why the company as created. So now seeing more and more of those things and falling in love with that type of theatre, audiences are craving it more. Even what’s touring through the Pavilion represents this change, too.
MH: I like that there’s an opportunity to try whatever you want within theatre and performing arts. There’s an openness for people to give you chances if you want to try directing or stage managing or writing and you have no experience with it. Not only is that available to you, but people are very encouraging of it, which is exciting. I got to experience that, and I’ve been able to relate to people in new ways — to get to act with them and then have them direct me in a different show. It’s always fun having that new mix of people. That’s what excites me most — the availability to try whatever you want and have people rally behind you to make it a success. To educate you, rather than just throwing you to the wolves. People will mentor you, and you feel really supported.
Pictured: Anna Malcolm, marketing director for Monstrous Little Theatre Company, a local theatre organization focused on producing professional, contemporary drama to explore societal issues and human nature; past performer with the Premiere Playhouse & Monstrous Little Theatre Company, in productions such as No Exit; University of Sioux Falls graduate in the communication studies and theatre programs (Credit: Peter Chapman)
What does the Sioux Falls arts scene need more of?
MH: I think something we’re making huge strides with right now, but there’s a ton of space left for improvement, is accessibility. It’s exciting to see all the ways people are stepping up. The Penguin Project that the Premiere Playhouse is doing is a really cool chance to showcase performers of all abilities. Just in the process of the little I was involved with that in year one, I realized how much space there is to improve even just logistics-wise with finding workarounds for performers when facilities aren’t as accessible. If we want people in the audience and on stage, how do we show that and make it back up what we’re saying. People have had their minds on this for a while, but it feels like we’re making a lot of steps to actualize it. I’m excited to see that continue.
SBB: Move to Heal is working towards getting cohorts of youth access to yoga, dance and performing arts. To see underserved youth who don’t have the opportunity to try out modalities of theatre or dance or any performing art on stage, or to be able to see the evolution of working with them in the K-8 range and then see them later in high school, it’s really what I want to see in my lifetime. It’s what I’m working toward. More integration with youth who don’t have access.
AM: Something I think the arts community is moving toward and I’m seeing more and more with companies like Good Night, are collaborations with performers and musicians. In our theatre productions, for so long, musicians were either canned on a track or in the pit, and now we’re seeing them more on stage and part of the shows and part of the company. It’s such an important element, and audiences are recognizing them. They’re getting the attention they deserve.
What were your highlights in the technical space from this past season?
SBB: Reefer Madness — like that whole show. My mind was like, “Okay, what’s going on?” I just thought it was unreal.
AM: The first thing that comes to mind is maybe the lack of tech in some shows and how effective the performances are, such as Headlights Theater, for example. They put on a really spectacular performance with a bunch of cars and maybe a couch. But you see exactly what they’re trying to portray and the image that they’re creating with their movement and musicians. Companies can do so much with so little.
MH: I got to just witness from backstage Young Frankenstein — all the technical elements with that, the lighting, and it was one of my first experiences sitting in on the production meetings. And hearing just how much thought goes into color schemes of costumes and how that correlates with the set. Obviously I knew that it was a hefty task, but getting to see just how much collaboration and forethought goes into that and seeing it actualized was so cool. That was a fun show that just stops you in your tracks every couple scenes. I also recently went to The Movie Game in Worthing and they had a revolve — and I’m always impressed by a revolve! I don’t know why that does it for me.
[Laughter]
Pictured: Mo Hurley, local playwright whose most recent work includes the Premiere Playhouse production of The Theater at Night; founder of Fear Falls, a monster-story radio show combining the style of ‘40s radio plays with more modern thrillers; recent director of Broad Cast Theatre’s The Ladies Foursome; performer with the Premiere Playhouse & Mighty Corson Art Players; 2021-22 Sioux Falls Stage Award winner for Best Featured Actress for The 39 Steps (Credit: Peter Chapman)
Speak to your own experiences in the arts this season.
MH: The Premiere Premieres was such a cool opportunity. Getting to work with Brittney Lewis, who directed it, was just a dream scenario, because I’m very limited directing-wise, and it was the first play I’d written. The team ended up being just perfect, because everyone was so collaborative. Brittney was on the same page about so much and very open if she wanted to change anything or try something. I loved that. It felt very much like an eight-year-old’s dream coming to life, where you get to create this magic story, people are putting it on stage and you get to actually watch it. That was a very surreal, incredible experience when it was finally staged. It was exciting, too, because that felt out of my reach. But it was open to anybody local, so it felt very neat and gets your wheels spinning about what’s possible. Knowing you have that chance to try if you want to write or direct — that there are people who can help you realize that dream.
AM: Independence was a show Monstrous has had on our list of shows we’d love to do for a long time, and this year we thought we’d finally do it. Building the cast and bringing in some new faces that Monstrous hadn’t seen before and even Sioux Falls hadn’t seen before was really fun. It’s just a really beautiful show, and Rose Ann Hofland was the perfect director for it. A cast and crew of women. It was a joy to put together and to help produce, and audiences really responded to it, which is always so rewarding to see. The cast really grew as a family, which helped in their portrayal on stage.
Speak to the state of the dance scene in Sioux Falls.
SBB: I have been in Sioux Falls since 2014, and I jumped in and was kind of in the dance-team world for a while. I was immediately with Balleraena Dance Studio, so that’s where I’ve seen a lot of the dance education evolve. And then I started my own thing in 2019, and South Dakota Ballet has popped up as well, which is a statewide outreach for dance education bringing in professional dance opportunities. And Headlights is also bringing those professional opportunities to youth and adults, including adult dance classes this summer. I think it’s really becoming more open — you have some key leaders really pushing the “go” button and driving to make it more accessible. I think there’s room to grow and get more people involved and to explain the different varieties of dance. Like what we do with Move to Heal — get safe in your body. We historically work with people who have experienced trauma, so that’s the first thing we work on. We believe once you’re there that we can work with you to find a creative expression and freedom through the arts. We’ve made so much progress, with a lot of room to grow in accessibility and piquing interest in the form.
What is the value of the spectrum of offerings here?
AM: I would say the value a widening of someone’s performing-arts patronage. It’s fun to expand what you’re exposed to — see dance, see the South Dakota Symphony Orchestra, see a play, see comedy or an improv show. Seeing different perspectives and messages that these companies are putting out there is fun and it’s important. You know, it’s fun to go see a show at 9 p.m., in a parking lot — it’s different! When I graduated college 10 years ago, there wasn’t much opportunity for artists to make money — nothing like there is now. It has worth, and they deserve it.
What makes Sioux Falls performing arts special?
AM: It’s the community. I think all of us would agree that the community of artists that support each other and celebrate each others’ successes and the lack of competition really fosters that. It’s very doable, because you’re not working against anybody, but rather with them.
MH: There’s a spirit of collaboration in Sioux Falls. You can bring up an idea and find immediately a group that is willing to go after it with you. People want to be a part of it, come watch it, support it — I’ve been surprised, too, with how supportive people are even if they can’t make a show. They will spread the word, tell friends and family to support it — if they can’t help you create it, they want to help you get eyes on it. I have a tiny podcast, Fear Falls, that’s mostly Goosebumps-y monster stories. People have been so quick to get on board to voice stories, and that’s been a very fun experience how excited people are. “I don’t understand what you’re doing, but I’ll help you out with it.” That’s kind of a cool glimpse into how ready people are to jump in on whatever you want to get started and really give it a shot.
SBB: It’s a city of mentors, and that holds true. Everyone is so supportive of a dream and want to see what they can do to make it happen. People who want to raise up, give space and give voice to things that others wouldn’t know anything about.