Alright – so today we’ve got the honor of introducing you to Candice Dickinson. We think you’ll enjoy our conversation, we’ve shared it below.
Candice, appreciate you joining us today. Have you been able to earn a full-time living from your creative work? If so, can you walk us through your journey and how you made it happen? Was it like that from day one? If not, what were some of the major steps and milestones and do you think you could have sped up the process somehow knowing what you know now?
My journey towards securing a full-time position in the arts was certainly a challenging one. I’ve been deeply immersed in the world of theater for my entire life, gradually transitioning from an actor to a director and eventually into an administrative role over the years, working with various theater companies. However, my true passion lies in using the arts to make a meaningful impact on the community, which led me to return to my hometown with the aspiration of opening my own theater.
To my surprise, an unexpected opportunity arose at the theater where I had worked during high school. Taking a bold step, I reached out to the executive director and expressed my desire to assume their role. In fact I think I actually said , “I really want your job and I was wondering if you would consider training me so I can take it?” Following several phone calls, the exchange of resumes, and an interview, I was offered the opportunity to begin my training.
My training began in November 2019, and I was promised my first paycheck on April 1, 2020. Little did I know that this date would turn out to be the ultimate April Fools’ joke. Just like many other theaters, ours shut down at the end of March 2020 due to the unforeseen circumstances of the pandemic. However, I refused to let this setback deter me. Throughout 2020, I continued to work tirelessly, without compensation, producing virtual cabarets and theater experiences. It was a period of incredible creativity and served as a testament to the question: “Would you still be doing this job if you weren’t getting paid?”
Amid the challenges and the isolation that came with the pandemic, I hatched a plan for a series of shows that could incorporate social distancing measures, and we managed to reopen our doors in April 2021. Although my initial salary was only half of what I had hoped for, I was determined to press on.
Fast forward to January 2023, and I can proudly announce that I have assumed leadership of the playhouse. This journey included four pay raises and the retirement of our executive director. Today, I can finally say that I am able to fully support myself through my work in the arts. It’s a testament to the resilience and dedication that the arts community possesses, and I’m excited to continue making a positive impact on our community through this incredible art form.
As always, we appreciate you sharing your insights and we’ve got a few more questions for you, but before we get to all of that can you take a minute to introduce yourself and give our readers some of your back background and context?
I’m Candice Dickinson, and I have the privilege of serving as the Artistic Director of HART Theater, a vibrant semi-professional theater nestled amidst the stunning mountains of Waynesville, North Carolina. Despite Waynesville’s quaint size, our theater has garnered a reputation that extends far beyond our town, drawing in enthusiastic audiences from miles around.
What truly amazes me is the extraordinary reservoir of talent and boundless passion that thrives in this region. Nothing brings me greater joy than spotlighting the incredible work of our local artists and forging pathways for them to flourish. At HART, our commitment to the arts is palpable as we stage 16 or more productions annually. Our main season, running from May to October, is adorned with Broadway classics and beloved comedies and dramas that resonate with audiences of all backgrounds.
In our winter season, we veer towards the avant-garde, welcoming community submissions that illuminate the stories our artists yearn to share or explore. One of our proudest accomplishments is our burgeoning education program, offering both spring and fall semesters along with invigorating summer camps and three to four full-scale productions each year.
As is common in the nonprofit world, we wear multiple hats with our small staff. In addition to my role as the Executive Director of the Theater, I also serve as the Artistic Director, Production Manager, and Volunteer Coordinator. Yet, what fuels my passion for this job is the opportunity to transform dreams into reality. It’s about connecting individuals with our vibrant community and providing them with a nurturing, creative space to craft their artistic visions. That, above all else, is what truly excites me about my role at HART.
In addition to my formal role, I also find immense joy in pursuing my own creative ambitions. It’s important to me to stay connected to the artistic process in a hands-on way. Each year, I make it a point to direct at least one show, relishing the opportunity to shape a production from my own artistic perspective. Whenever my schedule allows, I eagerly take to the stage, whether it’s to perform or sing, because the magic of live theater has an irreplaceable allure.
What do you think is the goal or mission that drives your creative journey?
As meta as it may sound, what really drives me is creating opportunities for people to create. That was really solidified during the pandemic, where despite the many challenges, I felt pulled to create new opportunities for myself and others to create and continue to express ourselves through performance. This realization felt like a thread woven throughout my entire life, a profound understanding that crystallized during that challenging period.
From a very young age, I was consistently immersed in creative endeavors. My parents would playfully remark that they could leave me alone in a room, confident that I would discover a way to entertain myself. Whether it involved choreographing dances to music, writing plays or sketches with my cousins and friends, conducting interviews with a video camera, or singing, I was continually engaged in the process of creation. As I matured, this inclination transformed into leadership roles, such as serving as the president of the thespian society in high school, participating in student council elections, and organizing various cabarets and performance opportunities in college. Its actually pretty crazy in hindsight that it wasn’t until my senior year that I fully grasped the significance of directing as a passion.
Consequently, my adult life became increasingly focused on producing, eventually leading me to the fulfilling path I am on today. What thrills me the most is serving as the catalyst for artistic opportunities. Expressing myself through theater, art, music, and dance has literally saved my life, and so I understand the profound impact of creating these opportunities. Despite having moved away from my religious upbringing, the concept of service has remained a guiding principle. As the leader of a nonprofit, finding joy in serving our community through artistic opportunities propels me to invest countless hours and continually challenge both myself and my colleagues.
Recognizing the importance of being part of a show at our theater, I understand that for some, it is the highlight of their year. It is my duty and responsibility to ensure that these opportunities are not only available but also fulfilling and consistent so that we are providing that much-needed safe space for members of our community.
Do you think there is something that non-creatives might struggle to understand about your journey as a creative? Maybe you can shed some light?
You know, I think folks who aren’t knee-deep in the creative world might struggle to grasp the sheer magnitude of what goes into putting on a play or musical. My job gives me this incredible buzz because it feels like I’m tapping into every part of myself – my brain, my body, and my soul.
Picture this: a year before a show even hits the stage, I’m already knee-deep in planning. I start by figuring out what the community needs in terms of a message and entertainment. Then, I look at the local talent pool to see who could pull off a stellar performance. Once I’ve got a title in mind, it’s all about applying for rights and crunching numbers to form a budget.
The next step is building my dream team. We’re talking about a director, stage manager, choreographer, music director, lighting and sound designers, set designer, costumer, props manager, and the crucial lighting and sound board operators. Once selected, we immediately begin collaborating on concept and planing auditions.
Keep in mind that there are always at least two shows simultaneously rehearsing in our spaces, so coordinating spaces and managing overlapping personnel becomes a bit of a dance. Weekly check-ins with the artistic team keep us on the right track and timeline for showtime.
Then there’s the monumental task of filling in the cast, understudies, and musicians. Oh, and did I mention the army of volunteers needed for set building, painting, costume alterations, and promotion? That’s a whole other logistical challenge.
Speaking of promotion, I’m constantly meeting with our graphic designer and marketing team. Approving graphics, brainstorming marketing concepts, organizing photo shoots, filming interviews – you name it. We’re reaching out to local sources for ads, interviews, and press releases to get the word out. Additionally, as the leader of a non-profit, I am also regularly pursuing show sponsors and building donor relations.
As we gear up for tech week, my role gets even more intense. Coordinating all these moving parts to make sure our cast is ready to hit the stage seamlessly is a bit like orchestrating a symphony.
Now, I’m organizing volunteers for ushering and concessions every single night. Six volunteers per show night! Coordinating with the wine and beer rep, ordering snacks, and prepping the space for sales becomes a whole routine.
And there’s more – coordinating a lobby art display that complements the show. That means meetings with local artists or sourcing materials, depending on the vibe of the production.
Once opening night wraps, we celebrate with a cast party, but the run isn’t over. Murphy’s Law usually kicks in, and emergencies pop up throughout the run. Sometimes, it feels like we’re putting out fires left and right, but like good superstitious actors, we knock on wood and hope for the best.
After the closing performance, we strike the set and dive into the whole process with a new show. And guess what? We do this 18 times a season. So, while I;m getting one show ready to open, I’m also knee-deep in another show’s journey, and it’s this perpetual cycle of creativity and chaos.
And I didn’t even mention the emotional and pyschological aspect of my job – working with artists comes with peoples feeling getting hurt, people struggling with confidence, or two artists clashing, and part of my job is helping those people through these feelings, resolving conflicts, and being a form of HR for each production.
It’s a lot more than meets the eye, and I don’t think people truly realize the sheer magnitude of what goes into creating live performances.
Contact Info:
- Website: harttheatre.org
- Instagram: instagram.com/hartwvlnc
- Facebook: https://www.facebook.com/harttheatrenc/
- Youtube: @harttheatre4876
Image Credits
John Highsmith