Our Mission & Vision
Mission: The Depot Theatre is to entertain, enrich, and educate through professional theatrical arts and related programs based in a historic train station.
Vision: The Depot Theatre will have a robust, regional, and year-round presence by creating the highest of quality programs, building strong partnerships, and enhancing community engagement while promoting diversity in all that we do.
Email Sign-up
Get the latest Depot Theatre News!
The Depot Theatre receives funding from the New York State Council on the Arts with the support of the Governor and the New York State Legislature.
With special thanks to the following for their support of the Depot’s ongoing strategic objectives: Alfred Z. Solomon Charitable Trust, Cloudsplitter Foundation, J.M. McDonald Foundation, Inc., Glenn and Carol Pearsall Adirondack Foundation, Charles R. Wood Foundation, Adirondack Foundation, Cornelia T. Bailey Foundation, Rogers Carroll Family Foundation, Brooks and Joan Fortune Family Foundation.
Depot Alumni – Back on Stage in 2021
Yvette as Ursula at the Arrow Rock Lyceum Theatre
As 2021 draws to a close, and the world of theatre is beginning to open up again in so many wonderful and exciting ways, we thought this would be a great time to check in with some of our Depot alumni and see who has begun to step foot “onto the boards” again, and what kind of theater they have been able to be a part of!
From this past season, our first fully in-person season in nearly two years, the stars of THE MOUNTAINTOP both went on to exciting projects. Yvette Clark played the evil Ursula in THE LITTLE MERMAID at Arrow Rock Lyceum Theatre, and Curtis Wiley has returned to his job in the Broadway company of the hit show AIN’T TOO PROUD, making us all proud of their triple-threat talents!
Jonathan Hadley in the National Tour of C.S. LEWIS’S, THE GREAT DIVORCE
Jonathan Hadley (39 STEPS, PETE N KEELEY) was also able to return to his pre-lockdown acting job, playing multiple roles in the National Tour of CS LEWIS’S, THE GREAT DIVORCE. The same for Julianne Godfrey (NEW YORK WATER) who was able to return to the national tour of MY FAIR LADY.
Wynn Harmon who Depot audiences will remember from THE MOUSETRAP, BALMORAL, and HARVEY is ending the year on Nantucket playing Scrooge in A NANTUCKET CHRISTMAS CAROL, and will soon head to Florida where he will appear in CAROUSEL. Take us with you to Florida, Wynn!
Amy Griffin as Mrs. White in CLUE at the Meadow Brook Theater
Depot alumni have a tendency to stick together, even after they leave the comfort and quiet of Westport. After playing Mrs. White in CLUE at the Meadowbrook Theatre, Amy Griffin (OUTSIDE MULLINGAR) directed a reading of a new musical at Music Theatre of Connecticut, and she cast Annie Eggerton (THE BIKINIS) and Annette Michelle Sanders (SOUVENIR) in the leads! Kathryn Markey and Bethany Gwen Perkins didn’t think one production of ALWAYS PATSY CLINE in 2018 was enough for them, so they did it again at the New London Barn Theatre, this time with Kathryn directing the production.
Speaking of directors, Evan Pappas (MY WAY, 2014) is now the Artistic Director of the Argyle Theatre in Babylon, LI, and he was able to successfully re-open the theatre with a full season this year – no easy feat, as our own Executive and Producing Artistic Directors can attest to. Lake Placid’s own Maggie Stiggers, who was in that production of MY WAY, as well as SAVIN’ UP FOR SATURDAY NIGHT, is the co-founder of Nikofrank Productions where she directs, writes, and produces the many hysterical videos and podcasts they create, and she is co-author of “Dear Future Producer,” now available on Amazon.
Maggie Stiggers with her book
Another actor turned producer is Depot-favorite, Beth Glover, who co-founded a new theatre company, The Adirondack Stage Rats, which performed its first shows al fresco around Saranac Lake, and last summer cast our esteemed board member Kathy Recchia in LIFESPAN OF A FACT. Always great to have more theatre in the North Country!
These are just a few Depot-ians who have begun to ply their craft once again and are certainly grateful and happy for the chance to do so. We cherish our alumni as we cherish you, our audience, and can’t wait to see you all back here next summer!
Happy New Year!
–Jonathan Hadley, Board Trustee and Actor
ALUMS: Send updates about your great work to Jonathan HERE to be included in the spring roundup!
Depot examines life of Billie Holiday
Playwright Lanie Robertson (L) joins actors Darnell White and Anna Anderson after a performance of LADY DAY AT EMERSON’S BAR AND GRILL at the Depot Theatre.
By Tim Rowland
The subset of the American population who remember Billie Holiday in her prime is precipitously dwindling, meaning we are more likely to remember her music, but not her.
Some might argue this is for the best. Even in the lengthy canon of artistic tragedy, the woman born in Baltimore in 1915 as Eleanora Fagan takes the cake.
Lying on her deathbed, she was under police guard, as if the emaciated, scarcely conscious figure under the sheets, with few remaining friends and 70 cents in the bank would rise up and do — what, exactly?
Holiday died in 1959 at age of 44, her liver finally calling it quits after a life of drugs and drink. Yet her talent was not in dispute. At the tail end of the jazz age, she patterned her voice after the sassy trumpet strains of Louis Armstrong, creating a memorable sound that sold out Carnegie Hall and earned her a trophy case full of honors — most of which were bestowed upon her after she was dead.
The Depot Theatre examines her life in Lanie Robertson’s Lady Day at Emerson’s Bar and Grill, a play that debuted 32 years after Billie Holiday’s death. Set in a small club in March 1959, just months before she died, Lady Day is but a shell of the “old Billie” who was the Diana Ross or Nicki Minaj of her day.
Holiday, at first glance, might seem to herald the lives of Morrison, Joplin, Cobain, and Parsons, whose back stories often seem just shallow and sad if they seem anything at all.
But Depot Theatre artistic director Kenney Green is not in the business of exploring the mundane. Billie Holiday’s tortured existence played out against a backdrop of nightmarish racism and abuse, as opposed to more modern-day, privileged young rock and rollers, who can be thrown into deep depression if their allowance is late.
Billie takes the stage unsteadily, supported by her pianist Jimmy Powers, played by Darnell White. As Jimmy takes his seat behind the piano, Billie cuts her eyes to him in fear, seeking assurance that the night will turn out all right, which of course it will not. This vulnerable glance might be the last we see of the real Billie before the booze starts doing the talking and the birdsong of her spine-tingling hits is interrupted more and more often by rambling sojourns into the past.
In a beautifully understated performance, White’s Jimmy lets us know that, most likely along with everyone else, he’s just about had it with Billie.
He wants the act to succeed, but he senses that ultimately it won’t — when Billie makes it triumphantly through the end of a song, his face reveals the terrified giddiness of one who has just managed to land an aircraft blindfolded.
Maybe out of respect, maybe because she’s his meal ticket, Jimmy does his best to hold the act together, enabling Billie’s addictions by making up a medical excuse when she flounces off the stage, and covering up the needle marks on her arm after she’s returned from shooting up. At one point he tries to do a little CPR on her mood, encouraging her to sing one of the old “good time songs.”
Anderson’s boozy Billie doesn’t really care what Jimmy thinks, and she makes no particular effort to make the audience like her, either. It’s way too late in her bruised and addled life for that.
While we feel pity, and maybe sympathy, for Billie, it stops there. For such a sad tale, there are no poignant moments that cause the eyes to well, or times when you want to put your arm around Billie and tell her “there there,” or, as Robin Williams repeated to Matt Damon in Good Will Hunting, “It isn’t your fault.”
She recounts many of these incidents, but laughs them off, or frames them as jokes — “I’m kidding, I’m kidding,” when you know she is not, as evidenced by her selection of “Strange Fruit,” a song about Southern lynchings so searing that in her real life shows it was saved for last so she could be quickly hustled away from the venue, if necessary.
Lady Day leaves us with a lot of sorting out to do. It blames her addictions not on white people, but on a destructive relationship with a man who asked her to shoot up to prove her love. Without children, she had nothing to nurture. Her only solace is song.
In the end, as she is plunging into the depths that are about to claim her life, we root for Billie to gather herself, to pull it together, to stick the landing one last time like the “old Billie” belting out one of her hits. Because that’s what we care about. If only we had cared more about her.
——————–
Tim Rowland contributed this review by the request of, and in collaboration with the Depot Theatre. Rowland is a journalist and New York Times bestselling author, whose humorous commentaries explore an eclectic variety of subject matter, from politics to history to the great outdoors. He and his wife Beth live on the Ausable River in Jay, N.Y.
Review: WORKING: A MUSICAL
Kenney Green (center) drives the number “Brother Trucker” along with Xavier Reyes (L) and Terry Lewis in Depot Theatre’s WORKING: A MUSICAL.
The Depot Theatre had planned its production of the Broadway musical Working back in the dark ages of 2020, which was only one year ago, yet in some ways seems like a million.
As live theater was succumbing to COVID regulations last summer, it would have been impossible to forecast that Working would in some ways be a beneficiary, since its granular examination of the American labor scene has become wildly relevant in the meantime.
WORKING is based on a book by Pulitzer Prize-winning author Studs Terkel, who, before oral histories were really a thing, let average employees tell their own stories in their own words.
His 1974 book “Working: People Talk About What They Do All Day and How They Feel About What They Do,” explored a broad cross section of jobs, from the thrilling to the mundane, and, if you squint hard enough, you can see some seeds of what has come to pass some half-century later.
Between 2020 and 2021, the modern-day labor force has been transformed, or if that’s too strong a word, at least shaken to its core by too many unsatisfying jobs chasing too few people who are still willing to do them.
Brandi Massey (center) raises the roof in her role as a cleaning lady.
Kenney Green, producing artistic director for the Depot Theatre, likes to choose works that have social relevance, and events of the last 16 months have given WORKING just that, and then some. Laments that are 50 years old sound perfectly fresh today. Art has figured out a puzzle that has bedeviled science.
Director Julie Lucido takes full advantage, giving the production a poignancy fitting with the times. Xavier Reyes, who is delightfully funny — young enough that the gravity of a dead-end job seems not to have quite registered yet — plays fast food worker Freddy Rodriguez, as the remaining cast runs in circles delivering meals in cat-chasing-tail fashion, giving a distinctly modern feel to a show that, at its inception, could never have anticipated Uber.
Xavier Reyes plays a delightful fast food worker in WORKING: A MUSICAL.
WORKING requires actors to step into multiple roles, representing jobs that are primarily, but not exclusively, the type we think of as being low pay and low reward. This can be tricky, but the cast never misses a beat — Terry Lewis, for one, is just as convincing as a hedge fund manager as he is an ironworker.
Terry Lewis as an iron worker in WORKING: A MUSICAL.
These scenes play off each other and blur the lines of what we might think of as legitimate and illegitimate careers. From across the stage a fundraising socialite (Amy Fitts) and sex worker (Brandi Chavonne Massey) ruminate on their careers in a way that leaves us wondering which really has the worse end of the deal.
Terkel’s book was published long before the modern day political catchphrase “dignity of work,” but as the laborers tell their stories, dignity, or at least a sense of recognition, is what they seek. It is hurtful to be thought of as “just” a laborer, or “just” a waitress.
Amy FItts (center) as a waitress in WORKING: A MUSICAL.
As a peppery waitress who wants to excel, Fitts soars in dance, her heavy black shoes the only reminder that for most of us, her job is anchored to the ground in thankless drudgery. When Green, who takes the stage himself in this production and is central to two of the more memorable scenes, appears as a UPS driver, he cheerfully reports that it is the random topless sunbather who gets him through the day.
Yet when Green takes the role of retiree looking back on his life, his fulfilling memories are of the time spent with friends and family — work, not so much.
Maybe that’s for the good. WORKING shows the risk in being defined by one’s career. Fitts tugs at the heart playing the role of a pinched schoolmarm, whose eyes shine when she speaks of teaching children, then dull with confusion and bitterness at a world that has passed her by, as the old order of things, which included segregation and corporal punishment are no longer tolerated.
Thani Brant (R) leads the cast in repeating the mundane tasks of a factory worker.
So too does promising young actor Thani Brant make us wonder what is to become of the factory drone who is no more appreciated than a piece of equipment. Her laugh at her position is dry and mirthless, and she makes us feel the injustice of one who has reached a dead end at such a young age.
Still, WORKING never feels heavy or depressing. It is in the main a story of resilience, and of people who have faith in themselves even if no one else does.
The score of WORKING is not as memorable as longer lasting productions, but it has its moments, and when Massey starts to sing, time stops. Lucido’s choreography is notable, be it the light playfulness of those who have not been worn down by their work, or the heavy metal-on-metal robotics of those who have.
WORKING did not last long on Broadway, but perhaps the greater question is how it arrived there at all. More social commentary than mindless entertainment, at first blush it is almost as improbable as making show tunes out of Upton Sinclair’s The Jungle.
Yet without the art of music and dance, Terkel’s oral histories might sink of their own weight. WORKING’s goal is to elevate the worker, making us see the person instead of the job. Next time we encounter a waiter or a truck driver, instead of seeing a waiter or a truck driver we may instead see a life. And, as we have learned over the past year and a half, that’s what’s important.
——————
Tim Rowland contributed this review by the request of, and in collaboration with the Depot Theatre. Rowland is a journalist and New York Times bestselling author, whose humorous commentaries explore an eclectic variety of subject matter, from politics to history to the great outdoors. He and his wife Beth live on the Ausable River in Jay, N.Y.
Six character (actors) in search of the Depot
[et_pb_section fb_built=”1″ _builder_version=”4.4.6″][et_pb_row _builder_version=”4.4.6″][et_pb_column type=”4_4″ _builder_version=”4.4.6″][et_pb_text admin_label=”subtitle” _builder_version=”4.4.6″]
A Physically Distanced One Act Play
[/et_pb_text][et_pb_text admin_label=”intro” _builder_version=”4.4.6″]
However, since we are all STARVED for live theatre, we decided forgo the usual interview format and transform their answers into a short One-act play.
Feel free to act it out in your living rooms or back yards!
[/et_pb_text][et_pb_divider show_divider=”off” _builder_version=”4.4.6″][/et_pb_divider][et_pb_text _builder_version=”4.4.6″]
PLACE:
The Depot Theatre in Westport, NY
TIME:
The end of the summer during the Pandemic of 2020
CHARACTERS:
LORI FUNK (Actor, 39 Steps & An Act of God), YVETTE CLARK (Actor, Ain’t Misbehavin’, Route 66) AMY GRIFFIN (Director, 39 Steps & actor, Outside Mullingar) SARAH OVERTURF (Stage Manager 2013-15) JONATHAN HADLEY (Actor, Pete N Keely, 39 Steps, Interim Producing Director 2014-15) and BETH GLOVER (Actor in over 12 productions, Director of Heroes and Wicked City). With some surprise guests.
(LIGHTS UP on the beloved Depot Theatre stage; the stage we all love and have seen transformed into any number of exotic places depending on the demands of the show. It is empty now. Suddenly there is the sound of a TRAIN WHISTLE. Six figures appear on the stage – all wearing masks and physically distanced, of course.)
LORI- Hey! We’re on the Depot Stage!! How the heck did we get here? I was walking in Fort Tryon Park with my husband and daughter and suddenly here I am!
BETH – (who is wearing a wide-brimmed sun bonnet) I was in the yard at my house in Saranac Lake, weeding my garden, and suddenly here I am!
YVETTE- (holding a remote control) I was in Brooklyn watching TV with my Mom and my son. Next thing I know..!!
SARAH – (wearing a headset) I was in Astoria on a Zoom call with my job and BOOM! Here I am!
JONATHAN – (holding a martini glass) I was having a cocktail on my roof in Greenwich Village! Cheers!
AMY – I was at my home in Nyack with my husband and son finally organizing my basement …..but I was thinking of my Summers at the Depot.
BETH – Me too!
JONATHAN – So was I!!
SARAH and YVETTE- Me TOO!!!
LORI – Ohhh… I think of the Depot often!
(Everyone sighs. Suddenly KENNEY GREEN, Producing Artistic Director of the Depot, appears and begins playing a jazzy tune on a baby grand piano that has also magically appeared. A second later KIM RIELLY, the Depot’s Executive Director, appears lounging on the piano.)
WHAT THEY MISS AT THE DEPOT…
EVERYONE- HI Kenney!!! Hi Kim!!!!
KENNEY and KIM- Hi you guys!!!
KIM – We certainly have missed you all this Summer!!
KENNEY – Let me ask you guys a question: What do ya’ll miss most about the Depot Summer experience?
YVETTE – You know…I’ve worked at many places but the Depot is special. I miss the mountains and the wrap around porch at the artist’s house.
LORI – The community is so lovely and supportive and welcoming. The space is perfectly quirky and charming. The gorgeous Adirondack setting cannot be beaten. The people I’ve met and worked with, and, subsequently, become great friends with, are some of the best of the best. Mix that with the chance to do what I love, and that sums up pretty much everything I miss the most right now.
AMY – The Depot is such an intimate theatre, and the sense of community is really special. The fact that the company rehearses and performs together all day and lives together in one big house creates a wonderful sense of family.
Jonathan Hadley and Sarah Overturf “working” at the Depot.
SARAH – The people, the art, the collective goal of making excellent theatre accessible to people in that area are what I miss.
BETH – The fast collaborative experience is always thrilling — rehearsing and creating in 9 days demands tight bonds both onstage and off. When it works (which is 99.99% of the time at the Depot), it is positively…. magical.
(KENNEY plays a verse of “Magic to Do” from Pippin and everyone sings along.)
JONATHAN – Absolutely! I miss the wonderful roles we get to play up here, away from the pressures of the city. Along with the Dogwood pizza and Stewart’s iced coffee!!
SARAH – Oh! The Keene Valley Farmer’s Market on Sundays is the BEST! And the Noon Mark Diner’s pies!
LORI – I want to take advantage of all those goodies once again. And, for me, ‘all those goodies’ means food and shopping. Westport, and places nearby, have fantastic restaurants, along with sweet little hidden retail gems. And I love introducing friends and family to all those places, too.
WHAT THEY’VE BEEN UP TO
Amy Griffin, obviously thinking about the Depot…
KENNEY – (playing an “up tune” on the piano). So what has everyone done to keep busy during this crazy time?
AMY – Well, drinking wine and crying was my major pastime in the beginning. It was–and is–very hard to have basically everything in your profession cancelled with no idea when it will resume.
EVERYONE – Here, Here!!!
JONATHAN – It’s so true! 100% of the theatrical unions are out of work which makes us dependent on whatever we can get from Unemployment. I was in a touring show that was cancelled and we’re just waiting to see when and IF we will be able to return to a theatre. In the meantime, I hope something will come up!
AMY – It’s so rough! But, I will say, I have rallied somewhat. I’ve now been doing a lot of acting coaching on Zoom. Thankfully, one-on-one coaching works well in that format. I’m also continuing my own study (remotely) with my voice and acting teachers. I’m also directing a Zoom play reading coming up, and also acting in a Zoom reading. So that’s what’s keeping me alive creatively!
Beth Glover – shown here wide-brimmed-sun-bonnet-less.
JONATHAN- I painted my entire apartment and read the whole C S Lewis Narnia series. But NOT at the same time!
SARAH- I tried to get caught up on script reading and listening to soundtracks. I began running (not creative, but definitely an outlet). I can’t wait until the city opens up a bit more to be able to get out to museums, music, etc.
BETH – I’ve been doing some writing and reading quite a few plays. I’ve participated in some readings of plays on Zoom and organized some. Karen, my wife/partner of 23 years…
EVERYONE: 23 years!!!!
BETH: Yep…while she and I were hunkered down here in the beauty of the Adirondacks we talked quite a bit about figuring out how to produce socially distanced theatre. We found a play for 2 actors that is PERFECT. The characters are strangers so using social distancing is natural. We are now in rehearsals and plan to hold performances in our yard (Mickey and Judy put on a show!) in late September. The audience will be limited to 20 people so they can also socially distance. A win for art! A win for theatre! A win for actors!
LORI – Taking inspiration from other friends and colleagues, my husband and daughter and I decided to do a family story time from our living room bean bag chair entitled ‘Bean Bag Story
Lori Funk and her daughter reading in their online series “Bean Bag Story Time.”
Time.’ We post the videos on Facebook. To date, we’ve read close to 50 stories for the little folks (and some big folks, too). We’ve heard from people all over the country who have enjoyed watching. The goal was to create something that could potentially spread a tiny bit of joy. Hoping we’ve done just that. Fun fact: One of the books we read was Ingredients for a Witch, written by the multi-talented John Treacy Egan, who just happened to be our fabulous director for An Act of God at The Depot last season.
YVETTE – I just did my first virtual cabaret on August 28th, “Diva of the ‘Demic” on Facebook Live. Be on the lookout because another one is coming soon! For the past six months I have been posting videos of me singing show tunes on Marie’s Crisis Café page, Marie’s Group. We took our showtune piano bar virtual when our doors closed in mid-March.
ON STAGE MEMORIES
Yvette Clark – aka “Diva of the “Demic”
JONATHAN – Being on this stage brings back so many memories. Most of them having to do with a train stopping the show!! Beth, do you remember during Born Yesterday after a long train went by, that I picked up the phone on the set and said “Front desk? Can you move me to another room that’s not so near the train tracks??” Do any of you have a good memory to share?
BETH – Oh yes!!! When we were doing Guys and Dolls, Paul Kelly was Nathan Detroit and I was Miss Adelaide, we were in the scene where Adelaide is telling him she writes her mother about the 5 children they have, when a bat began swooping down causing us to duck several times. Paul Kelly said, pointing at the bat, “Did you tell your mother about this kid? He’s trying to kill us.”
YVETTE – I was in a production of Route 66 in 2014, I believe, and one of my character’s names in the show was Vonda Carter and she was a sheriff. One day in rehearsal, Adam Michael Tilford, who was our musical director, decided that she needed theme music to enter on. Well, I can’t tell how much I enjoyed walking out to my own theme music! HA!
AMY – When I was playing Rosemary in Outside Mullingar, we had a very unexpected moment of audience participation. The play is a very unconventional love story, and in the very last scene the two protagonists finally confess their long-hidden love for each other and share a long-awaited kiss. In one unforgettable performance, the fabulous actor, Todd Cerveris, embraced me, kissed me tenderly, and we heard (as usual) the “Ahhhh” of the touched and happy audience. Then, after one beat of silence, we heard a male audience member yell out a top volume: “GET A ROOM!” Todd and I began silently laughing so hard our shoulders were shaking and our teeth clicking together in our stage kiss! Thankfully, we only had about ten more lines before the play ended and we managed to keep it together till the lights went down.
SARAH – The people have always been the highlight of The Depot for me. But if I had to pick one memory, I would have to say the chicken story, and if you know, you know!!
(Suddenly in the distance we hear the rumbling of a train.)
SARAH – Ladies and Gentlemen, as your stage manager, I must inform you that a train is coming. We’ll need to dim the lights, as is tradition. Margaret! Margaret are you here?
(MARGARET SWICK, ace Lighting Designer and Master Electrician answers from the lighting loft).
MARGARET – Sure, I’m here! I’ve spent the whole pandemic up here. It’s very peaceful.
SARAH – Can you begin to dim the lights please? It looks like our time is up here, folks.
LOOKING AHEAD
KIM – You know, no matter how bleak it seems now, we’ve got lots of plans for our theatre in the coming months, and the Depot WILL be back next summer! We can promise you that! But before you all leave one more question: is there any project you’d like to do or role you’d like to play when we are able to be back on this stage for real, sometime in the future? No promises, but we can add them to Kenney’s “potential show” list. Right, Kenney?
(KENNEY plays a fanfare on the piano and everyone cheers.)
SARAH- I know that when the train is back up and running I want to be available however The Depot needs me. I would love to stage manage in the train station again.
BETH – I’d like to play Polly in Other Desert Cities; Mame in Mame (if Depot ever started having large cast shows again); Mrs. Kitty Warren in Mrs. Warren’s Profession; Virginia in Native Gardens to name a few.
YVETTE – Anything written by August Wilson. If Fences were done, I would love to play Rose.
AMY- Oh, gosh, so many! Proof, I Love You, You’re Perfect Now Change, Good People, God Of Carnage, Daddy Long Legs, ….the list goes on and on!
LORI – Oh I’d be happy to play ‘2nd tree from the left,’ in any production at The Depot, quite honestly. But, if I had my ‘druthers,’ it would be an honor to reprise either of my roles in an upcoming anniversary season of “favorites.” hint-hint ;) I also think an all-female production of ‘Art‘ could be pretty fantastic. And, I’ve always wanted to play ‘Miss Hannigan’ in Annie. Hey, a gal can dream!
(KENNEY begins to play a dreamy version of “Dream a Little Dream of Me” on the piano as the lights slowly dim and fade to black.)
See you all next summer!
[/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section]
Message from the Producing Artistic Director
[et_pb_section fb_built=”1″ _builder_version=”4.4.6″][et_pb_row _builder_version=”4.4.6″][et_pb_column type=”4_4″ _builder_version=”4.4.6″][et_pb_testimonial _builder_version=”4.4.6″]
As the Producing Artistic Director of the Depot Theatre, I do not trivialize or take for granted this unique opportunity to stand in solidarity with the many Black artists in our industry and beyond who have shared their talents and given so much to our audiences in the North Country over our 42 year history.
You are seen, you are heard and your cries for equality do not and will not fall on deaf ears. I am in this with all of you and will continue to insist on nothing less than what is just and fair.
– Kenney Green, Producing Artistic Director
[/et_pb_testimonial][/et_pb_column][/et_pb_row][et_pb_row _builder_version=”4.4.6″][et_pb_column type=”4_4″ _builder_version=”4.4.6″][et_pb_image src=”https://depottheatre.org/wp-content/uploads/2020/06/missionvision.jpg” title_text=”missionvision” _builder_version=”4.4.6″][/et_pb_image][/et_pb_column][/et_pb_row][/et_pb_section]