Donna Scott

Donna Scott
Independent theater producer

Donna Scott Independent theater producer

Independent theater producer

Call her crazy, but in 2005, independent theater producer Donna S. Scott thought it might be fun to laugh at the anguish women feel about their bodies. She staged The Body Chronicles, five vignettes that got women poking fun at the lengths they go to for their looks. The show was so successful it was reprised the next year with help from the Blumenthal Performing Arts Center. This summer, Scott produced The Fairy Tale Chronicles, five more vignettes that got audiences chuckling about the ridiculous racial, gender, and romantic stereotypes we are fed as children. (Maybe Cinderella didn't want to marry a man who couldn't even remember her face.) She's already thinking about what's next.

"I kept trying to figure out, other than The Vagina Monologues, why is there no other show that speaks to women about body image … . I have great parents, but I would hear stories from my friends about how [when they were overweight children] their moms would bring dessert to everyone at the table but them, and that would just kill me."

"I've never understood why men's stories are considered universal, but women's stories are chick flicks."

"Of the group of writers we have in [The Fairy Tale Chronicles], three have been produced before, but two had not. One -- Iesha Hoffman, who wrote 'Wanted: Frogs,' had never shown her writing to anybody. It feels good to be able to give people a shot."
 
"I'm tinkering with an idea about my own personal journey to finding exercise. I'm an adult-onset exerciser. I have this crazy relationship with exercise and the fact that I'm a klutzy girl and I'm not an athletic body type, and it's taken me a long time to feel like I'm an athletic person. I'm not alone in this."

Big Idea

"One of the hardest things independent producers face is finding a space where we can do shows. [Theatre Charlotte provided space for The Fairy Tale Chronicles.]  If we do have an idea, it's how can you fit it around somebody else's schedule. I saw a great space in Washington, D.C., called the Warehouse Theater. The middle of the space was a café where you could get coffee, snacks, sandwiches, and wine and beer. There were two black box theater spaces on opposite wings of it. One was 120 seats, and the other was forty-five. It was local theater companies, independent producers producing. I kept thinking, 'Wow.' That would be great if there was a space we could somehow share."





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