Clay McLeod Chapman

Clay McLeod Chapman:

But what separated the Red Room from all the other black boxes, in my mind at least, was the devil-may-care attitude towards its programming. The doors were open to anybody. And I mean anybody. If you had a show, well, the Red Room had a slot for you to fill. Bring us your poor, huddled productions—and more often than not, they did. No other theater around town gave this many undergrads, no-grads, and MFAers their first shot under the fresnels. I saw my fair share of crappy, crappy theater in the Red Room. Hell—I was responsible for my fair share of it. More than my fair share. But I also got to see the very first production by The Debate Society in the Red Room. I got to perform with Daniel Handler (a.k.a Lemony Snicket) in the Red Room. Mike Daisey. But most importantly, I got to create theatre that, regardless of how few people actually saw it, remain personal benchmarks to my own theatrical education onstage.