Founded in 2016, EPIC Players (Empower, Perform, Include, Create) has made its mission the inclusion of neuro-diverse talent in the professional theatre community.
Travis Burbee, EPIC's Associate Artistic Director, says that theatre is typically inaccessible to actors and live event professionals. "We wanted to bridge the gap between actors with disabilities and the professional theatre community. EPIC is a space where actors are able to receive the support they need to do their best work while also giving them the tools to thrive in other professional theatre environments," he says. While progress has been made in the industry to provide productions or specific nights during the run of a play where neurodiverse and disabled audience members will feel comfortable, according to Burbee, "EPIC is an actor driven company, and EPIC works very closely with designers, who also may have their own access needs to ensure that actors are supported. Our main focus is on making our rehearsal and educational process accessible. We also practice relaxed performances at each of our shows so folks are able to do what they need to do to engage in the show the way that works best for them as an audience member. EPIC shows are for everyone, whether someone identifies as neurodivergent or not." Actors and professionals are paid, and all educational programs are free for company members thanks to sponsors, and EPIC is home to 170 players across the country. In addition to producing several theatre works a year, including at least two originals, the company offers a mix of virtual and in person classes in the performing arts and theatre/live event design skills.
The most recent production fro EPIC Players was this holiday season's A Christmas Carol, lit by Moneé Stamp. A designer and artist, Stamp has won multiple awards for her work in lighting and in fine arts, including a SCAD Ovation award for Best Lighting Design for Top Girls in 2016, as part of the design team for Panther Women, at the South Korea Women’s Festival in 2022 and was one of three winners at Art Basel to present there artwork on a New Orleans billboard. Stamp talked to Live Design about her career and her work with EPIC.
Live Design: What made you want to be a lighting designer?
Moneé Stamp: I actually fell into lighting by accident. I was a fine artist who just knew I wanted to get a degree in painting. However, that was where I discovered my love for the canvas of the stage and the transformative power of artistic expression.
LD: What attracted you to working with EPIC?
MS: The fact that EPIC is a safe place for people who are neuro-divergent and creates a space for their talents to shine. I just thought it was beautiful. Before working with EPIC I have never worked in a space that catered to this. I had also just found out that my goddaughter was neuro-divergent and being in a space that I know would love her and respect her fully made me really proud to be that example for her.
LD: What appealed to you about designing for this Christmas classic?
MS: I just love working with EPIC, it’s always a fun time. It also allowed me to invite my students from Sarah Lawrence College to join me for the experience.
LD: How does your approach differ on projects with EPIC versus other theatre companies?
MS: There are very minor differences. I need to give a heads up before doing anything flashy or with strobes on stage but that should be kind of standard everywhere. One thing I do try to do is avoid too much lighting on their performers first day in the space. I might come in for a couple hours and create very minimal looks then allow them to have the space without me playing with lights. I think that's important.
LD: As a designer, do you have certain fixtures that are your workhorses and you turn to regularly?
MS: S4 Lustr. I just love them. I love color and as these are ellipsoidal LED instruments it allows me to have full range to play on stage.
LD: What was the most challenging part of A Christmas Carol?
MS: Working with such a small stage space. There’s so much we want to do with scenic and lighting but not everything I wanted would work.
LD: You trained at SCAD and Ohio University. Since becoming a working lighting designer is there something that you think is missing from current lighting education?
MS: The industry is changing. A lot of theatre’s are converting to fully LED spaces which is great and fun! However, most academic spaces haven’t gotten there yet and there’s a learning curve because of it. I had only used LEDs one time before graduating from grad school so although I learned a lot during my training, a lot of the LED knowledge I've been learning along the way.
The next production, EPIC Underground: Passions & Appetite, opens on February 24 at Joe's Pub at the Public.
Photo credit: Zui Gomez