Sound & Projection Design
Properties Design & Set Dressing
Wigs & Hair
Production Stage Manager
Light Board Operator
Dianne K. Graebner
Jared A. Sayeg
Orlando de la Paz
David Elzer/Demand PR
Robert T. Kyle
Red Colegrove, Le Sanne Bernandez/Grove Scenery
Art Brickman, Krista Lu, Jorge Garcia
Angella Gasparian, Rene Parras Jr.
Brittany Marmo, Rene Parras, Jr.
Orlando de la Paz
Tiffany Rebecca Royale
Ben Hawkins, John Favreau, Taylor M. Hartsfield,
Elyssa Alexander, Madeline Ellingson, Mathew G. Wicks,
Dylan David Farrs, Katie Lee, Connie J. Kim
Jesus Manuel R., Lacey Beegun, Joshua Johnson
Wyn Moreno, Sarah Ripper
Charrette is a French word meaning ‘little cart.’ The use of the word charrette to describe a design process stems from the 19th century, when French art and architecture students busied themselves to finish their final projects. As the deadline came, charrettes (little carts) would be circulated through the hallways, and as they passed the rooms where the students were working, the students would toss their projects into the charrette to be taken to be reviewed. The word is now used, even when the carts are not, to describe an intensive design process.
A young Bill Riddick first heard about a charrette as an “intense, short-term problem solving tool” used by engineers when designing the construction of bridges and other large-scale projects that impacted a community. The engineers would stay in a room, listening to the opinions of their colleagues and the voices of community members. All questions and issues had to be addressed before they left the room with the final plan. “I saw it as a fascinating tool to solve community problems,” he said.
“The charrette brings the whole community together. The process starts with a steering committee and, hopefully, that steering committee is a microcosm of the community. This sent me looking for people who had status but didn’t have the approval of the, quote, people in charge,” Riddick said.
As a strategy to solve the problems associated with the desegregation of public schools, Riddick convinced Ann Atwater and C.P. Ellis to take the roles of co-chairs of Durham’s Save Our Schools (S.O.S.) charrette in July, 1971.
"Exciting doesn't state strongly enough how profound and entertaining this play is....This is an intense and valuable play that should be seen by all folk who care about an American society based on equality and respect. Go see it!" -- Edge Media Network
"One of the most important historical plays about America to ever reach the stage.” – The New York Times