Announcing Synchronicity’s Box Office Policy/COVID-19 Statement

ATLANTA, GA –Synchronicity Theatre has successfully produced live theatre with Pandemic safety conditions since October 2020. This is due to careful implementation of data-driven recommendations of health care providers and scientists; and a focus to protect the health and well-being of our actors, audiences, staff and crews. Our plans use flexibility and research to put this safety at the forefront, and respond carefully to changing conditions. Our commitment to provide a space for audiences to come together live with our artists, whenever we are safely able to do so, reflects our mission to use theatre to build community. Our consistent safety protocols used throughout the past year, developed with the Emory Nell Hodgson School of Nursing, remain in effect.

Our safety protocols include:

  • While Georgia is labeled “High Risk,” Synchronicity will require all audience members to provide proof of a Negative COVID test (taken within 72 hours – rapid tests are fine) OR proof of full vaccination to gain admittance to the theatre. 
  • We require all audience members to wear masks at all times.
  • All staff and actors are fully vaccinated. Everyone working with Synchronicity participates in daily symptoms checks and regular surveillance testing.
  • All front of house and show technical staff will wear masks at all times.
  • Our theatre has been renovated to include new air intakes into the space pulling from the outer atrium and second floor lobby, both of which draw in outside air, exchanging the air 5 times/hour. Additionally, HEPA filters which exchange the air at a rate of at least twice/hour were installed at the theatre backstage, in the lobby, and in the theatre space.
  • Our House Managers oversee careful seating procedures.

The show will go on unless a mandated shut down occurs, at which time we will notify all ticket holders and re-schedule you for a later performance. If you have any symptoms on the day of a performance, please contact us to re-schedule your tickets. We would be happy to move you to another performance or production if need be. This tool from the CDC may be helpful to you:[1]self-checker.html. We appreciate the patience from our Synchronicity community in regards to these evolving circumstances.

Synchronicity will continue to closely monitor local, state, and federal policies regarding indoor activities and plan our safety protocols accordingly. Specific health & safety protocols are subject to change and will be clearly communicated to ticket holders in advance of their performance. Please visit our website for additional information

Announcing Synchronicity Theatre’s 21-22 Stripped Bare Arts Incubator Projects

ATLANTA, GA – Atlanta’s Synchronicity Theatre is pleased to announce the four works that will be produced as part of this season’s Stripped Bare Arts Incubator Project. They are: What The Water Gave Me by Emily McClain, Jennifer Boutell, Rose Mancuso, and Gabrielle Diaz (October 27, 2021), How to Be A Lesbian by Kayla Parker (November 10, 2021), My Shell, My Shelter by Nadya Zeitlin and Peter Flamming (January 12, 2022), and The Free Woman’s Guide to Dying by Zeena Regis (May 11, 2022). Performances are free and open to a live, socially distanced audience at Synchronicity Theatre, 1545 Peachtree St NE Atlanta, GA 30309. Reservations are required. Complete project descriptions are below. Please go to to reserve tickets and for more information.

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What The Water Gave Me

By Emily McClain, Jennifer Boutell, Rose Mancuso, and Gabrielle Diaz

Performance Date: October 27, 2021 at 7:30 p.m.


Inspired by Frida Kahlo’s work of the same name centering on her self-comfort in times of grief, What the Water Gave Me is a  collaboratively written one act play exploring the themes of care-giving and motherhood through the lens of a  surreal theatrical experience: a modern day woman waking up in Frida Kahlo’s bathtub with no recollection of how  she got there (or how she travelled back in time) and discovering that Frida is convinced she is the reincarnation of  the child she recently miscarried. The two-woman play utilizes music and movement/dance elements to evoke  symbolic images of motherhood and nurturing found in Kahlo’s work, at the same time interrogating the toll those expectations take on the individual women. Throughout the course of the play, Vivian and Frida navigate their understanding of their connection to each other and bring the audience into awareness of how society’s notions of  motherhood and care-giving can become unbearable burdens that prevent women from self-actualization.

About the Artists:

Emily McClain is a professional playwright and theatre educator working at the new School of the Arts at Central Gwinnett High School. Emily is a proud member of Working Title Playwrights and the Dramatists Guild, and a founding member of Playwrights Thriving and Write Stuff Atlanta. Her play SLAYING HOLOFERNES was co-winner of Essential Theatre’s Playwriting Award and received a world premiere production in 2019. Her full length comedy JULIE’S PLACE was selected for the JOOKMS Spotlight Series in July 2020 and later went on to be a semi-finalist with the New American Voices with The Landing Theatre Company. Her tragedy TERMINUS ANDRONICUS was a finalist at the American Shakespeare Center Shakespeare’s New Contemporaries competition in 2019. Her play CHILDREN OF COMBS AND WATCH CHAINS was named a finalist for the Risk Theatre International Competition in August 2020. Her short plays have been staged at many professional theaters across the country including Mississippi, California, Wisconsin, Virginia, New York, and numerous venues in Georgia.

Jennifer Boutell has spent most of her life writing and making theatre with some fine, fine folks— including writing, directing, designing, and performing with these amazing Bodies. She was born and raised in Texas, moved to California, then New York, and now she lives in Georgia. SAG-AFTRA/AEA/DG/HRC

Gabrielle Diaz is an actress and dancer based in Atlanta.

Odelia San Diego was raised by wild dogs in the forest of Patagonia. Then this Chilean actress came to the US to steal hearts and laughs through dark comedy and auto-bio stories.

Rose Mancuso has been singing, dancing, and making silly faces inside and out of the theatre for most of her life. She has a Bachelor’s of Musical Theatre from Coker University, and continues to train/cope with the Meisner Technique at the Robert Mello Studio. Some of her recent theatrical credits include: Helena in A Midsummer Night’s Dream with Shakespeare in the Ponce, Princess Katherine in Henry V with Shakespeare on Draught, and Vanda in Venus in Fur at Pinch n’ Ouch Theatre.

How to Be A Lesbian

By Kayla Parker

Performance Date: November 10, 2021 at 7:30 p.m.


How to Be A Lesbian is a comedy one act where a queer Black woman comes out of the closet and realizes that there is much more to being a lesbian than she anticipated. Led by an omniscient male voice, the protagonist is thrust into different sectors of lesbian culture, trying to figure out where she fits in.

About Kayla Parker:

Kayla Parker (she/her) is a writer, director, and actor. After receiving a B.F.A in acting from Howard University, she moved to Atlanta, GA excited to get involved in the bustling theatre community. Parker began her Atlanta career as an acting and directing intern at Actor’s Express during the 2019-2020 season. This year, Parker is excited to have produced her short piece, “On Being Born” as a DK Fellow with True Colors Theatre Company as well as being a writer for the serialized podcast drama, Crossroads, produced by Actor’s Express. Her latest project, Maschood, is a documentary film that was commissioned as part of the Alliance Theatre’s Spotlight Studio. Parker is ecstatic to be sharing, How To Be A Lesbian on the Synchronicity stage.

My Shell, My Shelter

By Nadya Zeitlin and Ptar Flemming

Performance Date: January 12, 2022 at 7:30 p.m.


A dance / physical theatre work, combining movement, original sound score and spoken word. This work explores how the view on the concept of home shifted during the pandemic. Feeling “at home” is presumed to be a positive one: a shelter that provides safety and rest. During the pandemic though, home became a prison that we had to lock ourselves into to avoid a dangerous disease and keep our loved ones healthy. Now every day is overwhelmingly routine and exhaustingly predictable, and every time we leave home, we do it with conflicting feelings. People developed a new array of neurotic disorders: Zoom fatigue, Zoom anxiety. Online shopping, empathy fatigue and infinite scroll are our coping mechanisms. This piece examines the question, how do we adapt to these new circumstances and stay as sane as possible?

About the Artists:

Nadya Zeitlin started her artistic journey with Gabbasov Sisters Dance Theatre in her home city Almaty, Kazakhstan. Since relocating to Atlanta in 2013, she has presented her works in various venues and curated two multi-disciplinary shows herself. In 2020 she founded Bautanzt Here, a site-specific dance theatre (from Bau – “build”, Tanzt – “dances” in German). Zeitlin’s works have been selected for feature at the Modern Atlanta Dance Festival 2015 (as a winner of 24 Hours Dance competition), Eyedrum Gallery, 368 PONCE, Midtown Players Club, Fall For Fall and Spring For Spring Dance Festivals, and EnCORE among others. Her work for the Solo Theatre’s Little Prince won Best Choreography at the International Festival of Russian-Speaking Children’s and Youth Theaters in Washington, DC in May 2019. In 2020 she has been honored with a Dance Canvas and Atlanta Contemporary Choreographic Residency, was chosen to participate in Excuse The Arts program by Fly on a Wall and Windmill Arts Center, and became a Hambidge’s Cross-Pollination Art Lab Fellow (facilitating Dance Hub ATL which was a part of the Art Lab). In 2020 Nadya received a grant from City of Atlanta Mayor’s Office of Cultural Affairs to create a series of dance movies for the PANDEMIC ATLANTA initiative. To know more about Nadya, please go to

Ptar Flemming is a multi-instrumentalist, composer, and producer based in Atlanta, Georgia. He specializes in electronic soundscapes, and intricate beat-oriented textures. Ptar worked with various dance artists across Atlanta: Jacquelyn Pritz, Fly on a Wall, The Mediums Collective, Atlanta Dance Collective, Benji Stevenson, and Kit Modus among others.

To know more about Ptar, please go to  

The Free Woman’s Guide to Dying

By Zeena Regis

Performance Date: May 11, 2022 at 7:30 p.m.


She has always lived her life on her own terms, but will she be able to die that way? Cynthia has been an artist, a muse, a cult defector, a spy, a reality TV star, and so much more. But being a hospice patient is by far the hardest role. As the queen of reinvention, she is working to reinvent the deathbed. Cynthia hires a death doula to help coordinate her unconventional end-of-life plan that includes vibrators, edibles, and eclectic playlists, as well as notifying friends and lovers across the globe of her impending death. Cynthia uses her final wishes to reflect on her fabulous life and build a timeless legacy, inspiring the audience to do the same.

About Zeena Regis

Zeena Regis is a chaplain, consultant, and writer. Her training includes a Bachelor of Arts Degree in Political Science from Agnes Scott College and a Masters of Divinity from Columbia Theological Seminary, where she was honored with the HJ Riddle Memorial Book Award for excellence in pastoral care. She is the founder of the Threshold Planning Project and is passionate about ensuring all people have access to quality and culturally-responsive end-of-life and grief resources.  Zeena was recently selected as a 2021-2022 fellow in Collegeville Institute’s Emerging Writers Mentorship Program.

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In addition to the 4 projects chosen to be part of this year’s Stripped Bare series, 5 additional applicants have been invited to apply to the 360 Arts BLVD “Boost” program.

About the 360 Arts BLVD Boost program:

360 Arts BLVD is partnering with Synchronicity for the second year in a row to offer scholarships to select Stripped Bare program applicants to their BLVD Boost program.

‘The BLVD Boost’, is a unique opportunity for professionals across the creative disciplines. Over six sessions, program recipients are provided with the tools needed to take their project to the next level by developing an effective promotional package and pitch. Each participant is awarded a $500 grant, the BLVD’s Boost “toolkit”, a coach to help guide them through the process, six (6) hours of rented studio space, and a team of creatives to help them complete their package.

As part of this partnership, Synchronicity will provide one day each in our rehearsal Annex for these two projects.

Stripped Bare Applications – Now Open!

The application process is now open for the Stripped Bare 2021-22 season.

Early-career and emerging artists are encouraged to apply!

Stripped Bare is Synchronicity Theatre’s arts incubator project. Created from a desire to use our theatre space to make a home for new theatrical works, and a place for artists to flex their wings, Stripped Bare is an incubator to test-drive new ideas.

Stripped Bare is so named because this is about theatre at its core. While we value all of the artistry that stage design brings to full productions, a Stripped Bare project is not about sets, lights, props, costumes. It is about actors, words, passion, movement and ideas.

Have a great project in mind and just need somewhere to get it off the ground? Consider applying for Stripped Bare, an arts incubator project for innovative projects by emerging artists.

View the application eligibility and guidelines here

Apply here: 21-22 Stripped Bare Application

Be a SHERO and Donate to Our Playmaking for Girls $5K Alston and Bird Challenge!

“I feel free. I am me. Nobody has the ability to take over me. In here people can be whoever they want to be.”- Khaty, Playmaking for Girls Participant

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Now in its 18th year, Playmaking for Girls has impacted thousands of Atlanta’s most vulnerable populations. This theatre outreach program helps girls living in group homes and refugee communities “find their voices” as artists and creators. Playmaking for Girls is especially vital for these young women as the COVID-19 pandemic affects their lives.

DONATE TO OUR 5K CHALLENGE (June 17 through June 24)

With a generous 1:1 match challenge from Alston & Bird, you can help us reach our $5,000 goal! If we raise $2,500, they match $2,500 (dollar for dollar). All funds directly benefit PFG.

Thank you to all our Synchro SHEROes for helping us hit our goal!

As of June 25th, 2021 we have raised $5,880!


Playmaking for Girls annually impacts over one thousand people in our community, including:

  • 400 girls living in group homes or refugee communities participate, at no cost, in the Playmaking for Girls program.
  • 17 professional teachers work with participants throughout the year.
  • 5 to 10 student interns assist with the program each semester.
  • 800 community members and patrons support these young women by attending PFG performances.

Join our #SynchroSHERO Hall of Fame. Donate here.

Support the girls at this year’s Playmaking for Girls Summer Performance Thursday, June 24th at 6:30pm

“… the young actors relate to characters they created and, for the first time, maybe, have a model for working out problems before they’re really facing them. This group of girls used to expecting little and getting less quickly warms to a room full of women who won’t give up on them. “

– Jamie Gumbrecht, Atlanta Journal-Constitution Reporter

“Playmaking for Girls affirms every ounce of [the girls] beings through their loving, unconditional care and belief in these girls.”

-Inspire Shalom, Playmaking for Girls Community Partner


Synchronicity could not produce the smart, gutsy, bold theatre you know and love without our generous league of SHEROes. 

SHERO (n.) “she·ro”: A person who respects, advocates for, and uplifts women and girls.

Synchronicity SHEROes are superheroes with a mission to uplift the voices of women and girls behind the scenes and on the stage. A Synchronicity SHERO is dedicated to strengthening and sustaining a world of theatre where the voices of women are vital. Synchronicity’s “League of SHEROes” are everyday citizens who use their superpowers to support smart, gutsy, and bold theatre!

Upcoming Opportunities to be added to the Hall of Fame:

–        April 30 – Donate $50+ with your Women in the Arts and Business Luncheon registration

–        May 14th – Contribute to our Playmaking for Girls Match Fundraiser

Synchronicity Theatre Now Hiring!

Job: Synchronicity Theatre Communications and Marketing Director

Job Description:
The Communications and Marketing Director devises and implements an annual strategy for audience development and external communications. Working with the Managing Director, Producing Artistic Director and Development Director, this position will strategize institutional marketing campaigns, to achieve earned income sales goals across the organization. This very hands-on position ensures a creative and innovative process which is collaborative, under budget, on time and professionally managed. The Communications and Marketing Director is responsible for audience and stakeholder growth and increased brand presence in the community and nation-wide. This position also has a heavy sales lead generation work load.

Key competencies include: outstanding written and oral communication, fierce attention to detail, a joy of managing many moving parts, strong organization, advanced computer and design;, copy writing, social media content fluency; strong public relations abilities including press pitches, messaging/positioning, and listings. Good working knowledge of the theatre community and its resources a plus. Video editing/producing skills a plus, as well as experience with Photoshop and Canva. Experience with Spektrix or like CRMs a plus. Must be attracted to highly-collaborative work environment.

Key Areas of oversight:
• Strategy + implementation for achieving earned income goals including marketing five full productions, new play development activities including Stripped Bare, and the Playmaking for Kids after-school and camp education programs
• Press + communications including pitches, releases, and listings.
• Brand + collaterals – website, print pieces, etc. envisioning, coordination with graphic designer towards scheduling, producing and implementation.
• Social media content creation: strategy, platforms and calendar, packet for artist; work with artistic social media liaison for each project/production.
• Coordinate marketing efforts for fundraising/development events and campaigns;
• Data Analysis and implementation, including post-show analysis.
• Website content and development.
• Manage Digital and Physical advertising.
• Manage and create the program as well as donor acknowledgements, sponsorships responsibilities and (limited) ad sales.
• Poster distribution and staffing.
• Manage communication about systems and specific show concerns with the Front of House staff (working with the Managing Director and Patron Services and Development Associate).
• Set and manage opening night receptions, open dress rehearsals.
• Program editing, creation, distribution and printing.
• With Patron Services and Development Associate, oversee CRM.
• With Patron Services and Development Associate, hire, train and oversee box office staff.
• Oversee Synchronizers ambassador program.
• Along with other FT staff serve as Producer on Duty for 20% of Synchronicity performances.
• Serve as staff liaison to Brand and Brand Awareness Board committee. Work closely with board members on brand awareness and audience engagement strategies and initiatives.
• Marketing support for rentals.
• Other duties as assigned.

Key responsibilities:
Tasks for this position include (but are not limited to): designing and implementing Institutional marketing strategies, ticket sales and education sales campaigns and finding integrated channels to connect aspects of the organization; managing all press and media relationships, the creation and booking of television and billboard advertising, creation and implementation of the annual marketing plan – including all calendar elements and deadlines; overseeing the box office experience – including training front of house staff, ensuring website is up to date, managing relationships with discounted ticket vendors and partner theatres, and managing the Patron Services and Development Associate; overseeing the creation and timely printing/mailing of all season and show collaterals, working side-by-side with the rest of the staff to implement the strategic plan.

Other qualifications:
Excited to work closely with small but fierce team; strong management skills esp. of undergraduate interns; develop strong relationships with selected board members; staff liaison to Brand and Audience Awareness committee, flexibility and nimbleness. Fluency with Spektrix or similar CRM helpful.

Salary: $40,000
Reports to: Managing Director
Hours: Full time, some nights and weekends required.
Benefits: Liberal vacation and flex time options. Insurance reimbursement. Simple IRA Match plan after 12 months.

To apply please send resume and cover letter to Celise Kalke, Managing Director via email to

Job: Patron Services and Development Associate

Job Description: Patron Services and Development Associate

The Patron Services and Development Associate is the first point of contact with patrons and a resource for donors.  This position will be the on-site staff for 75% of box office shifts with five productions a year to ensure a consistent, positive patron experience, and train and oversee contract box office staff.  They will work closely with front of house and other staff producers on duty to ensure a high-quality patron experience.  Between shows, the PS&D Associate will manage group and student matinee sales and contracts and well as manage daily box office phone communication.  They will manage Synchronicity’s use of a CRM (Spektrix), through building out the season and events and support the Development Director with date tracking, data entry, list pulls, and generation of donor acknowledgement letters.  Additionally, this position will oversee subscriber and donor benefits fulfillment. Must be both independent and attracted to highly collaborative work environment. This position will work closely with the Communications and Marketing Director and the Development Director.

Key Areas of oversight:

  • 75% of box office shifts Synchronicity productions.
  • Spektrix CRM.
  • Ideate, source and track Merchandise, work with Managing Director to purchase and track inventory.
  • Oversee box office + box office/customer service during daytime hours.
  • With External Communication and Marketing Director train additional box office support staff.
  • Merchandise.
  • Box office systems, tools and communication. 
  • Student matinee correspondence and scheduling.
  • Patron and Donor questions and requests.
  • Entering individual donations and creating Donor Acknowledgement letters.
  • Managing Donor recognitions and benefits.
  • Track performance capacity and other data for Managing Director and External Communications and Marketing Director.
  • Auction support for the Women and the Arts and Business event.
  • Support Development Director and Communications and Marketing Director on events.
  • Pick-up and delivery of collaterals from printer & mail house.
  • Works with the show’s dramaturg and/or other staff members on designing and implementing creative lobby displays.

Key responsibilities:        

Key competencies include outstanding communication skills, fierce attention to detail, advanced computer design skills.  Good customer service instincts and problem-solving capabilities needed. Experience with Canva and In-Design a plus. Experience with Spektrix or other CRM a plus.

Salary:  $20,000

Reports to:  Managing Director

Hours:  Half Time; nights and weekends required. 

Benefits:  Simple IRA Match plan after 12 months.

To apply please send resume and cover letter to Celise Kalke, Managing Director via email to by April 21, 2021.

Synchronicity Theatre Interviews Mirandy and Brother Wind Playwright and Composer Michael J. Bobbitt and John L. Cornelius!

Mirandy and Brother Wind is here! So, let’s hear a deeper dive from adaptation playwright, Michael J. Bobbitt and composer John Cornelius, interviewed by dramaturg, Dalyla McGee.

If the interview sparks a desire for more, join us LIVE with Synchronicity Theatre for the Mirandy and Brother Wind Virtual Viewing Party Saturday, March 20 at 7:00 PM! Join us for a virtual viewing of the show followed by a post-show discussion with the cast, production team, and the show’s playwright and composer, Michael J. Bobbitt and John L. Cornelius.

Get tickets HERE!

Explore virtual Dramaturgy Board HERE


Dalyla McGee (DM): Why Mirandy, why now? 

Michael J. Bobbitt, Playwright (MB): “You know things are really tough right now with this pandemic and the racial reckoning of this country. And I think that our kids and all kids, need to see shows that celebrate the contributions of people of color to this country. We gave Music. We gave Dance. We gave Family. And I think Mirandy expresses that so well.”

DM: Black traditions carry so much history in song and dance, John, can you share about your process of bringing the appropriate sound to Mirandy?

John Cornelius, Composer (JC): With ‘Mirandy’ I chose the sound of wind instruments and hand-held instruments. Lots of Flute and Clarinet, Trumpets and Trombones, Acoustic Guitars, Upright Bass, Spinet Piano and lots of little percussion instruments like spoons, washboard, rattles, wind chimes. But, the orchestrations are enhanced by a rich string section, various keyboard effects and sounds. The effect is enhanced nature, since it does take place in a rural setting in the early 1900s.

DM: Why did you choose Mirandy to adapt for the stage? Was there a key jumping off point that inspired you to do so or through the process?

MB: I was at a book store with my kid.  While he was playing with Thomas, The Train, I was thumbing through children’s books on the shelves.  Since my kid is Asian and I am black, I tend to pick books that celebrate our culture.  When I saw the book cover and Jerry’s illustration, I was awestruck.   The precocious little girl, the rich texture and the fictional god-like character blowing wind all peaked my interest.  Since I was running a children’s theatre, I was always on the hunt to find stories to adapt.  I flipped the book over and read the synopsis, which was about a cakewalk and I knew that John and I HAD to write this.  The story of a kid, with ambition, the historical reference and music and dance as a plot point had to be a musical.

JC: The minute Michael said it’s about a little girl who wants to catch the wind to make him her dance partner, I was hooked. I knew I could write dance music, music for the wind, folk-inspired music and music for a quest.

DM: So many complex themes, that you glide through as if, well a cakewalk! Can you share a bit on the process of navigating these challenging topics such as slavery or cakewalks for TYA?

MB: In general, even when there are deeply important or painful issues, I try to dramatize them in a way that maintains the medium – which is entertainment.  What’s so great about theatre is that audiences can see real people navigating through whatever issue they are facing.  Mirandy is so likeable and to see her struggling allows kids to empathize and see themselves.  Even though she is a little out of touch with the former enslavement of her relatives she learns through this journey that making anyone do your bidding is not OK.  

DM: Hambone Hambone! You all do a lovely job of subtle suggestions to rich history that might be found in a single lyric! One of my favorites is « Hambone! », what’s one lyric you suggest audiences listen for?





Kinda sums up African-Americans status in the US for a long time. And, in spite of all the obstacles, we still find joy, inspiration, aspiration and reasons to celebrate! Also, listen for Mirandy to sum up her quest at the end of ‘I Wanna Dance With the Wind’, especially her shout-out to the birds!

DM: Any character that reminds you of yourself or a loved one?

MB: E’ery single one!  I write what I know.  The elders are highly based on my mother and grandmother who were interviewed when I wrote the play.  The characters that feel like me the most are Mirandy – ‘cuz I am driven, Ezel – ‘cuz I was sweet and clumsy (I broke many bones as a kid) and Brother Wind, ‘cuz I loved to dance.   

JC: Gran’Ma Beasley reminds me of my paternal grandmother, Celestine Bennett Cornelius – fiesty, but with generous nature AND my maternal grandmother, Mary Spencer Odell – keeping order around the house with a warm spirit.

DM: What do you hope families will walk away having learned from this show?

JC: I hope everyone learns (or, is reminded of) the importance of family, friendship and kindness and how they have to be nurtured to endure.

MB: Many things – to enjoy family and traditions and some of the lessons of not being mean or forcing people to do things against their will is what I hope they walk away learning.  But mostly, I want them to walk away knowing that black stories can be filled with joy and black stories can celebrate our contributions to society and not just the travesties of our traumatic history.   

Meet the Designer: Amber Brown


Designers of Color is an ongoing initiative to expand the diversity of backstage professionals in the Metro Atlanta area. The goal is to transform structural cultural bias paradigms by curating a new, holistic ecosystem that removes barriers to access, creates a pipeline from high school to design careers, and empower arts organizations to better receive and embrace BIPOC (Black, Indigenous, and People of Color) designers.

This work is done in partnership with our ever-growing list of partners, including:

Multiband Studios, South Fulton High School, Legacy Speaks, 360 Arts Blvd, Atlanta Theatre Artists for Justice, the Metro Atlanta Chamber of Commerce, KSU, Spelman and Clayton State, and others.

1. What drew you to become a designer in your field?

Ever since I was a little girl I have loved props. I’ve always enjoyed using my imagination to then create
things with my hands.

2. What project are you currently working on? Can you tell us about your design process?

I am currently the Props Designer for Mirandy and Brother Wind here at Synchro. I’m also the
swing/understudy for the same show…. which is super exciting!
My process begins by reading the play at least 3 times all the way through. Next, I start taking notes of what I
think the props should be and which character will use them. My research usually includes reading historical
documents, communicating with the set designer(s) about their vision, and watching lots of videos of
experienced prop designers.

3. What is your biggest dream as a designer?

I’ve never gotten to combine my two favorite things: baking and props! My biggest dream is to be able to do
props design on a play or musical that has a lot of eating and drinking in the script and then have to make all
of the food for the actors myself……Waitress, maybe?

4. What do you believe can be done to make sure more people of color are represented as designers in the theatre

See us, seek us out, give us chances, and mentorships! All of these things would help people of color to be
more represented in the industry, while helping us grow. There are plenty more things that can be done;
however, these are just some of the immediate ways to get the ball rolling.

Keep up with Amber Brown and her work on Instagram @abtwo_colors 

Synchronicity Theatre to Offer ASL Interpreted Performances

Hands In!, an organization based in Athens, GA will interpret three upcoming productions.

ATLANTA, GA – For three upcoming productions in the 2020-2021 season, Synchronicity Theatre will be partnering with Hands In!, an organization based in Athens, GA that produces and interprets original artistic works in American Sign Language (ASL).

All “On the Screen” ticket holders for A Year With Frog and Toad (Dec 11—Jan 3), Mirandy and Brother Wind (Jan 29—Feb 21), and The Bluest Eye (June 7—27)will be receiving links to two versions of the performance – one with interpreters and one without – in their ticket confirmations.

Hands In! connects communities by promoting accessibility in the arts and produces workshops, classes, and community events. Using two artistically-trained interpreters for each show, American Sign Language will be used to sign dialogue and to echo the emotions in the words and songs. There will always be two interpreters on screen at the same time, and they will be playing the different characters, along with the actors.

The production will be recorded and shot with up to four cameras spread throughout the theatre. Felipe Barral of IGNI Productions and Amanda Sachtleben will record the interpreters in a live performance, with possible pick-ups, then in post-production create windows that show the interpreters in a “one picture format,” interpreting the performance simultaneously.

During filming, the interpreters will be unmasked and socially distanced, or they will be wearing clear plastic masks that do not disrupt interpretation. Everyone involved will adhere to Synchronicity Theatre’s COVID-19 safety protocols.

For more information on this partnership, or to purchase $10 “On the Screen” tickets, please visit


Hands In! is a 501(c)(3) educational nonprofit based out of Atlanta, GA that aims to connect communities by promoting accessibility in the arts. Hands In! produces original works such as workshops, classes, and community events with a special interest in theatre and jukebox musicals, all of which are fully accessible in American Sign Language. Anyone and everyone can enjoy their visually immersive shows.