July 6, 2023 • 20 mins
Sean Elias is a Tony Award-nominated, internationally award-winning educator, actor, and director. With a background in both performance and theatre for community development, Sean is committed to holding space for the stories of underprivileged communities to be heard, seen, and ultimately — felt. Sean Elias currently serves as Executive Director of the DC Arts Center and as Artistic Director for Iron Crow Theatre, Baltimore's award-winning professional queer theatre. He is also the Founding Chair of the internationally award-winning Performing Arts Department at the Jemicy School - Upper School. The Jemicy School is a private school in Owings Mills, Maryland serving students with dyslexia and other language-based learning differences.
In 2021 Sean was named Voyage Baltimore's Rising Star. In January of 2022, Sean was elected Executive Director of the District of Columbia Arts Center following the departure of the previous director, who served for nearly 28 years. Sean Elias also serves as Iron Crow Theatre's Artistic Director. Under his leadership, Iron Crow Theatre has experienced its most extensive phase of growth in history, breaking every record the theatre previously held. Sean has transformed Iron Crow Theatre from a small theatre company to a rapidly growing theatrical organization increasing the annual operating budget by 600% in just under five years. Today, Iron Crow Theatre features a level of diversity never before seen on its stage, contracts more than 75 local and professional artists each season, consistently offers Equity contracts for the first time ever, continues to donate thousands of dollars to local charities in an homage to the organizations founding, and has earned 79 awards and nominations. In 2018, Baltimore Magazine honored Sean Elias as one of Baltimore's 30 Visionaries for his work with Iron Crow Theatre and its impact on the greater Baltimore region. In 2017, Iron Crow Theatre was named Best Breakout Theatre by Baltimore Magazine, and in 2016, it was named Best Professional Theatre by MD Theatre Guide. For Iron Crow Theatre, Sean has directed 8 award-winning, record-breaking, and/or critically acclaimed productions including Bare, The Rocky Horror Show, Edith Can Shoot Things & Hit Them, The Cradle Will Rock, A New Brain, and The Wild Party.
In the classroom, Sean emphasizes project-based, experiential, and interdisciplinary learning, expanding the learner's capacity to think critically and solve problems creatively. With a background in theatre education for community development, Sean's lessons promote an understanding of both craft and socio-political context in hopes of increasing the learner's civic engagement. A passionate advocate for the differentiated learner, Sean believes strongly that the art of educational drama encourages students to discover, analyze, and express themselves in ways never before thought possible. Sean's students have been the recipients of both state-wide and national championships and have been offered tens of thousands of dollars in talent-based scholarships to some of the nation's most prestigious performing arts programs. Most recently, Sean's production of The Curious Incident of the Dog in the Night-Time was one of only eight productions from across the United States, and Canada invited to perform on the Main Stage at the 2022 International Thespian Festival. This is the third time one of Sean's productions have received international recognition. Previously his production of The Laramie Project was chosen as the Maryland State Chapter Select and went on to perform at the 2020 Virtual International Thespian Festival and his production of Peter and the Starcatcher also for the Jemicy School was one of only eleven productions from across the United States, and Canada invited to perform on the Main Stage at the 2019 International Thespian Festival. Additionally, Sean has served as a Resident Teaching Artist and/or faculty member with private and public middle and high schools, the renowned Center Stage Theatre, Towson University, and continues to teach in both public and private universities and community outreach programs.
As an actor, Sean Elias has worked Off-Broadway at The New Victory Theatre in the heart of New York's Times Square, on tour, and in Equity theatres across the northeast, including the Kennedy Center for the Performing Arts, Roundhouse Theatre, Adventure Theatre, The Weathervane Theatre, Forestburgh Playhouse, and The Eagle Theatre. Favorite previous credits include Suzan-Lori Parks' Venus (Baron Docteur, Irene Ryan Nomination), The Cradle Will Rock (Rev. Salvation), Into the Woods (Rapunzel's Prince/Milky White), Joseph and the Amazing Technicolor Dreamcoat (Joseph, Perry Award Nomination), Shakespeare's Much Ado About Nothing (Dogberry/Ursula/Balthazar), and Stephen Sondheim's Assassins (Giuseppe Zangara). Sean has also performed in various cabaret venues throughout New York City, incl
In 2021 Sean was named Voyage Baltimore's Rising Star. In January of 2022, Sean was elected Executive Director of the District of Columbia Arts Center following the departure of the previous director, who served for nearly 28 years. Sean Elias also serves as Iron Crow Theatre's Artistic Director. Under his leadership, Iron Crow Theatre has experienced its most extensive phase of growth in history, breaking every record the theatre previously held. Sean has transformed Iron Crow Theatre from a small theatre company to a rapidly growing theatrical organization increasing the annual operating budget by 600% in just under five years. Today, Iron Crow Theatre features a level of diversity never before seen on its stage, contracts more than 75 local and professional artists each season, consistently offers Equity contracts for the first time ever, continues to donate thousands of dollars to local charities in an homage to the organizations founding, and has earned 79 awards and nominations. In 2018, Baltimore Magazine honored Sean Elias as one of Baltimore's 30 Visionaries for his work with Iron Crow Theatre and its impact on the greater Baltimore region. In 2017, Iron Crow Theatre was named Best Breakout Theatre by Baltimore Magazine, and in 2016, it was named Best Professional Theatre by MD Theatre Guide. For Iron Crow Theatre, Sean has directed 8 award-winning, record-breaking, and/or critically acclaimed productions including Bare, The Rocky Horror Show, Edith Can Shoot Things & Hit Them, The Cradle Will Rock, A New Brain, and The Wild Party.
In the classroom, Sean emphasizes project-based, experiential, and interdisciplinary learning, expanding the learner's capacity to think critically and solve problems creatively. With a background in theatre education for community development, Sean's lessons promote an understanding of both craft and socio-political context in hopes of increasing the learner's civic engagement. A passionate advocate for the differentiated learner, Sean believes strongly that the art of educational drama encourages students to discover, analyze, and express themselves in ways never before thought possible. Sean's students have been the recipients of both state-wide and national championships and have been offered tens of thousands of dollars in talent-based scholarships to some of the nation's most prestigious performing arts programs. Most recently, Sean's production of The Curious Incident of the Dog in the Night-Time was one of only eight productions from across the United States, and Canada invited to perform on the Main Stage at the 2022 International Thespian Festival. This is the third time one of Sean's productions have received international recognition. Previously his production of The Laramie Project was chosen as the Maryland State Chapter Select and went on to perform at the 2020 Virtual International Thespian Festival and his production of Peter and the Starcatcher also for the Jemicy School was one of only eleven productions from across the United States, and Canada invited to perform on the Main Stage at the 2019 International Thespian Festival. Additionally, Sean has served as a Resident Teaching Artist and/or faculty member with private and public middle and high schools, the renowned Center Stage Theatre, Towson University, and continues to teach in both public and private universities and community outreach programs.
As an actor, Sean Elias has worked Off-Broadway at The New Victory Theatre in the heart of New York's Times Square, on tour, and in Equity theatres across the northeast, including the Kennedy Center for the Performing Arts, Roundhouse Theatre, Adventure Theatre, The Weathervane Theatre, Forestburgh Playhouse, and The Eagle Theatre. Favorite previous credits include Suzan-Lori Parks' Venus (Baron Docteur, Irene Ryan Nomination), The Cradle Will Rock (Rev. Salvation), Into the Woods (Rapunzel's Prince/Milky White), Joseph and the Amazing Technicolor Dreamcoat (Joseph, Perry Award Nomination), Shakespeare's Much Ado About Nothing (Dogberry/Ursula/Balthazar), and Stephen Sondheim's Assassins (Giuseppe Zangara). Sean has also performed in various cabaret venues throughout New York City, incl
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
(00:00):
M and T Bank presents CEOs youshould Know powered by Iheartadia. As we
wrap up and celebrate Pride Months,Let's means Shan Elias. He is the
executive director for the DC Arts Centerin Northwest Washington, DC. Before we
talk more about Sean's center, Ifirst asked him to talk a little bit
about himself, where he's from andhis origin story. I grew up in
(00:22):
New Jersey, just about forty fiveminutes outside of New York. I believe
everyone who lives in New Jersey hasto caveat their existence by their proximity to
New York. So not too faraway from me. But then I went
to school down in Philadelphia and studiedmusical theater at the University of the Arts,
started my time as a as aperformer. And then about graduation time,
(00:48):
you're making that jump to New York. I got some cold feet,
you would say, and a littlebit the practicality set in, realizing I
probably wouldn't be able to kick myface from now until eternity. And so
I went to Emerton College for Mastersin Theater education there, which I loved.
Up in Boston, so I gotto see and experience two great cities
(01:11):
that really support the arts. Eventually, after graduation, moved down to New
York, then fell in love andthat's how I got down to Baltimore originally
and then now DC well outstanding.It's such a cool story and I love
the arts. I've been going toplay some musicals for a very long time,
(01:32):
and I don't know how many timesI've been in New York and Broadway
and also Kennedy Center and your placetoo with the DC Arts Center that we're
going to talk a lot about todaybecause as executive director over the last a
year and a half post COVID,I imagine that things are starting to get
back to normal for everybody, whichis a great thing because the theater community
got hit hard everywhere in the world, not just the United States because of
(01:55):
COVID. So we're gonna talk alot about that. But I did want
to ask you about the Iron CrowTheater because I saw that on your resume.
It intrigued me. I know you'vebeen a part I think for over
a decade. What is that?What is it all about? Yeah?
Absolutely, that's also what brought meto Baltimore. It is a queer theater,
so it's Baltimore, this professional awardwinning queer theater in Baltimore, and
(02:16):
we produce work that is either queerin construction by a queer author, contains
queer characters or queer thematic elements,or is just simply queer because whoever created
it or wants to produce it iseither says it's queer or wants to produce
it in a queer way. Andso that's our mission and our charge to
(02:37):
amplify those voices. I think it'sgreat that you do that. And I
did want to ask you a laymanquestion, and for the audience, it
doesn't know I'm heterosexual, so thisis a layman question. We've had gained
lesbian people since the dawn of time, but now that we have places where
I think there's a more of asafe space because you're working with people that
have the same experience as I imaginethat people do feel safer, They feel
(03:01):
like they can come out a loteasier. I've got a twenty year old
daughter where you know, sex,color, race is not even a nonstarter
for them, So that generations.He has a little acts together, as
you know, But I imagine whenit comes to the theater and just that
part of it that it must benice for people to have the same experiences
because we all want to relate ashuman beings, so beside feeling safe,
(03:22):
it must be a great sanctuary foreverybody that they can commiserate or celebrate their
success stories and then do something.They love the arts absolutely, and it's
an interesting fact that only about fortypercent of those who work at ironcro Theater
identify as queer. The other sixtypercent identify as being an ally and so
(03:43):
it really is a place where bothcommunities get to feel like they're a part
of one, which has always beenreally exciting for me. Yeah. Absolutely,
Okay, let's talk about the DCArts Center. I know a lot
about it because I'm only about tenminute car right away northwest DC. So
it's got a rich history. AndI know you've only been there for a
year and a half, and Iknow you know the history of it.
It's going on over three decades.So for the people that are new to
(04:06):
hearing about the DC Arts Center,tell us about the history. Sure,
So we're about three decades old,we're hitting thirty three years. Founded in
nineteen eighty nine, we're in thesame location where we began right in Adams
Morgan on Eighteenth Street, and soit really came to be out of necessity.
(04:27):
In DC, we were experiencing gentrification, and we were seeing that unless
you were of a certain cohort socialcircle, or you've graduated from a certain
program that had national prestige, yourwork as an artist really wasn't taken into
consideration as meaningful or wanted even.And so a group of individuals came together
(04:55):
to create what is now known asthe DC Arts Center to hold space for
an alternative art space that was trulyat that time you could say, under
attack, just from evolution, gentrification, whatever may be. And so that's
what we've continued to do, isto hold this space for artists who are
local to DC to do the workthat other galleries often won't show. Well,
(05:20):
that's wonderful, once again say spaceand just giving the opportunity which everybody
wants and just a shot at it. I didn't want to talk about exhibitions
on stage and some education events thatare coming up, and then I promise
that the end of our interview,and our listeners are very savvy, they
probably already googled the DC Arts.They're on the website, but we will
give the website address at the end, and we'll also tell you and shall
(05:42):
we'll share with you how you canbecome an artist member or if you want
to become a partner, because listen, when it comes to donations and putting
money back into the arts, that'sa big deal. Sometimes it's overlooked because
there are so many great charities andphilanthropic things to do out there. Sometimes
the arts is a little bit overlooked. That's my opinion, my opinion only.
So we will give you all thatinformation, but let's talk about some
of the upcoming exhibitions that people canget excited about that you're also excited about
(06:06):
shot, sure, absolutely, andso our mission really crystallized over those three
decades, and so where we arrivetoday is to foster underrepresented artists in the
greater Washington, DC area and todo so across all disciplines. So currently
we're gearing up for our annual fundraiser, which is also DC's largest open community
(06:29):
exhibition. It's called Wallmountables, andthis is a tradition that started many many
years ago and carry fourth through totoday where we actually take our gallery space,
both our main gallery and our NanoGallery and we divide the wall into
two foot by two foot squares andwe open it up to anybody in the
community, whether it be expert artists, beginning artists, mid career artists,
(06:51):
children who just want to have theirwork shown in a gallery space and have
that experience with their family and friends. Anybody can show anything by participating in
this exhibition and mount whatever they'd liketo the wall, hence the name Wall
Amountables, and so it's a hugeexhibition. It's our most anticipated exhibition each
(07:11):
year. It's the exhibition where wesell the most amount of art and so
whether you're an artist or a patron, the entire space this year is going
to be transformed and so we hopeyou'll join us for that. That's great.
You've got the calendar that's up onthe website and maybe we could talk
about what's coming up on stage overthe coming weeks and the months. So
you're excited about that, you're reallylooking forward to. Yeah, we just
(07:33):
launched a new partnership with the RoyalComedy to have them come in and really
build out our comedy programming. Wehave always done comedy in the past,
but it sort of happened around us. It was in our space, but
we weren't necessarily involved, and sowe really sat down with a group of
new improv artists and comedy makers andsaid, how can we really support that
(07:56):
community specifically? And so now wehave a huge robust comedy program. We
have Tuesday night comedy, We've gotSaturday night comedy. We've got that's great.
It's really it's wild. So Ithink that's been the most exciting.
Why not. I mean, Ithink it's one of there's so many great
stand ups that might not get theopportunity, and for you to provide a
stage for them in an audience,I think it's wonderful. So I'm glad
(08:16):
you guys made that decision. That'sreally great. Let's talk a little bit
about the education, because I knowthat's up on the website. There's a
couple of initiatives and collectives up there, and a workshop series and maybe just
once again for people are being introducedto the DC Arts Center. Tell us
a little bit about those initiatives aswell. Sure, So two of those
(08:37):
have been long standing for quite sometime, and the third one was around
in some iteration and we sort ofjust formalized it. So the Spark Club
collective think about it like a supportgroup for professional, mid career or early
artists. So we bring a cohortof six to ten artists together and over
the course of a year, they'redoing critiques, we give them opportunities to
exhibit in our gallery and a groupshow, and then they're also receiving professional
(09:01):
development, so that's something that we'rereally proud of. And then there's a
curatorial initiative and so this too islong standing, but we noticed that there
was really a need to support thosewho wanted to be a curator. So
that's an individual who curates art froma multitude of artists as opposed to an
artist who's producing their own work.And you know, there really are few
(09:22):
and far between ways to learn howto do that. There is no you
know, MFA and curation. Theremight be one, I think at MICA
up in Baltimore. And so whatwe do is we take an apprentice,
two apprentices one or two, andthen we pair them with a mentor curator
and they go through a year longprogram where the apprentices are assisting the mentor
(09:43):
on their exhibition, and then it'sreversed where the mentors assisting the apprentices and
their exhibition, So it's a greatway for us to give access to a
field that's pretty exclusive and try andbreak down some of those barriers. And
then the workshop series, so wedecided, let's all of this training that
we're offering our spark Plug collective orapprentice curators, let's open that up to
(10:05):
the public. And so now everymonth we have one of three series of
our workshops, so you can joinus to meet a curator. So we
bring in famous curators or respected curatorsfrom across the region that you can interact
with. We've got artistic process workshopswhere you're able to come in and learn
a new craft. Maybe you're aphotographer and you want to learn printmaking,
(10:26):
and maybe you're a fine artist andyou want to learn fiber. Right,
it's a way to sort of expandyour repertoire, if you will. And
then we have professional development, sothe tools and the skills that we need
to impart for artists to be successfulor continue to be successful in their careers.
Out Stanny, thank you for sharingall that. I also like to
ask our leaders out there about asuccess story and also challenges and let's put
(10:48):
a pin in success stories, becauseI imagine you've got a handful even on
the short time that you've been withthe dc arts and and all the cool
things that you've seen and we'll seein the coming weeks and months and years.
But what that said, when itcomes to your instory, what kind
of challenges are you facing right now? That's a great one. I think
it's really around expectation, and soI think the expectation of our audiences is
(11:09):
shifting. I think the expectation ofus as civic members of a city are
changing, and so in order tokeep up with those expectations first to identify
what they are. They're changing soquick and so fast, and I think
then the pandemic obviously has sort ofexpedited that shift, or at least highlighted
how quickly it can shift. Isone is one area of opportunity, But
(11:33):
then to be able to deliver,to have the resources and to deliver on
those expectations and align that with thestars, if you will, and that
the timing matches right, because ifyou if an expectation shifts and we don't
have the resources to meet it orhaven't identified it, then we're sort of
not at the table as they say, and I think that's when organizations start
(11:54):
to start to truly close. Unfortunately, as we've seen both DC in Baltimore
and so's our That's our biggest opportunity, I think, is to make sure
that we're really clear on who we'reserving, what those expectations are, and
ensuring that we have those resources atthe ready to be able to meet that
need. Thank you for that nowsuccess story. I know you've only been
(12:16):
there a year and a half,but a lot can happen. As we
all know performers, they're outspoken,they're fun, they're cool, they can
be challenging, all those kind ofthings to go with it was there one
day or one week or one monthwhere you said, you know what,
the staff and I we knocked thatone out of the park. Is something
special happened? Yeah, you knowwhat, I think, I don't like
you said. I can pinpoint twodozen of those I think over the over
(12:41):
the year where I felt that.I think what I bring it home to
though, is is what it resultedin, which I think, you know,
for thirty three years, the DCArt Center was known as primarily as
a gallery space that had a theaterin the back, and we could be
rented it to people, Yeah,but it was really a gallery space.
And I think what I am theteam of been able to do over this
(13:01):
past year and a half is reallyre educate our constituency and the public,
engage them in this notion that weare truly an arts center that's plural aarts,
and so we are doing all ofthe arts. We are of course
going to remain true to our rootsin those visual arts, but we've got
the performing arts, We've got theliterary arts, we've got the culinary arts.
I want the cinematic arts next.Right. We're really embracing this charge
(13:24):
of living up to our name asan arts center. And to see the
reaction and the excitement that that's broughtfrom the community I think has been the
biggest the biggest success that we've achievedso far. Well cool, Well,
thanks for sharing. So as wewrap up and put a bone our conversation,
Sean, And once again, ifthere's a lot of listeners who are
being abtroduced to the DC Arts Centerfor the first time ever, what's maybe
(13:45):
one takeaway you like to leave themwith. I think it's that the time
to get involved is truly now.I think for three decades, we've had
ways where you can be involved,and we've done wonderful things and we've hit
us stride of success. But nowwe're at reimagining. It's sort of a
rebirth. It's a new chapter.And so whether that's through time or treasure
(14:09):
being involved at the DC Art Center, becoming an artist member, if you
are a practitioner, now is reallythe time where that impact will be felt
and will be part of the legacywhen we tell the story of the next
chapter of the DC Arts Center,it's going to be the group of people
that are with us now that arepart of that history making. Well said,
and thank you so much for sharingall that. Okay, Now,
(14:30):
if you want to become an artistmember or a partner, maybe make a
donation, find out more about thedifferent things that you have going on there.
What is that website address and anyother social channels that people can follow
you on. Yeah, DC ArtCenterdot org and then at DC Art Center
everywhere else, so Twitter, Instagram, Facebook, you'll be able to find
(14:52):
us all by the same name andeverything like you mentioned is right on the
website and there is a big fatyellow give Today button that's on the top
right hand. Make sure you clickthat and check it out. It's very
prominent and it should be, andmake a donation because, as I said
at the beginning of our conversation,sometimes the arts is overlooked. And when
I get a chance to talk topeople in this series and I hear that
(15:15):
they're donating to the arts, italways makes me feel pretty special that somebody's
not forgetting about that part of itwhen it comes to theater and music and
all the cool things that we liketo have our kids a part of in
those extracurricular activities, and a lotof schools don't do anymore. So it's
real, it's a real must outthere. And I'm sure Sean would agree
with me when it comes to that. Absolutely. Like I said, we
(15:35):
don't have big products right that generatemassive amounts of revenue. We truly are
operating just on what we have.Will we have available the generosity of institutions
and then the generosity of individuals,and so without community buying, without that
twenty five dollar donation, truly,this art center could not exist. All
right, before we let you go, because I have to hear in the
(15:56):
business. So I'm going to askyou because I had some of my favorites.
You don't have to name one,but since you're really in the industry,
maybe a couple of your favorite musicalsor plays of all time that you
just thoroughly enjoy that still stick withyou as wonderful memories. Sure, sure,
I'll say, well, I'll mentionone that's currently on Broadway in a
revival right now that I would encourageeveryone to go see, which is Jason
(16:18):
Robert Brown's Parade. I think it'stimely. I think it is beautifully constructed.
I think the music is outrageous andreminds me of that rich, big
soul orchestral yes sound, yeah,that Broadway one's hat yeah, And so
I think it's it's really important.I think everybody would enjoy that. I
think one of my favorites because I'veseen them all in all the big ones,
(16:41):
because you and I talked in thehard green room about Cats and Phantom
and all the big ones that cameout and all the Andrew Lloyd Webber's and
they're wonderful and it's beautiful music,and of course it's very theatrical and some
of the stuff you can't believe they'redoing on stage. But about I don't
know if it's been about a decadenow, but when I saw in New
York on Broadway with my daughter andmy wife, Evan Hanson, that was
(17:03):
magical because I saw the original playersand it really you know, there's been
a movie since, of course,but that was one of the more special
ones that I think I've seen.It was just well done, and it
caught me off guard because I reallydidn't know the story and once I was
introduced to it, and I thinkthat really I don't know if it changed
Broadway, but it certainly opened upsome more doors for that kind of storytelling,
(17:25):
would you agree? Oh? Absolutely. And the fact that you experienced
the original Broadway cast, I meanthat was cool. That was cool.
The one that I wish that Iwould have saw, and I didn't because
I know more musical artists are doingtheir own Broadway plays, like Springsteen's doing
one. I wish. I wishI would have saw the Green Day one.
I saw the documentary about it,but I love shot because I'm a
(17:48):
big Green Day fan and that lookand an idiot. Yeah, and I
know that that Billy Joe actually playedhimself one night in surprise the cast,
which I thought was pretty cool thathe had done that. And in the
documentary, if anybody wants to goback and watch, because it's a whole
story about Green Day from start tofinish and what they're doing right now.
But when he was introduced by somebody, and I think it was the director
(18:10):
saying, hey, have you everthought about doing a Broadway play about yourself
in the band? And he saidyou gotta be ff and kidding, why
would want? But then when hewent there and saw some of the cast
singing his songs and acting out thelife story, he was taken immediately and
boom, let's let's do this.It's a transformational experience. You mentioned surprise.
(18:32):
There is a lot of surprise inthe arts, and I think that's
what I hope the public reminds themselves, or we could remind the public of
right, is that when you goto the arts in whatever, maybe theater,
find art gallery, unopening of closing, there is going to be something
that surprises you or should Yes,yeah, I agree that that's the fun
of the theater. So Sean,I can't tell you how much I appreciate
(18:53):
your time. I could talk foreveras you could tell about when it comes
to the theater and musical and andeverything, because I enjoy it thoroughly,
so does my family. So listen, continue success with Iron Crow Theater and
also the DC Arts Center. Wereally appreciate your valuable time, and I
hope that it's going to be amagical twenty twenty three of the rest of
the year with some great things goingon there, all some great crowds,
(19:17):
and now that you've had a comedy, I think it's a wonderful decision that
just makes it more robust for peopleto check out what you're doing there.
So thank you so much for joiningus on CEOs you should You should know
we really do appreciate your time.Of course, it was an honor.
Thank you for having me. Truly. Our community partner, M ANDT Bank
supports CEOs you should know as partof their ongoing commitment to building strong communities,
(19:37):
and that starts by backing the businesseswithin them. As a Bank for
Communities, M and T believes indedicating time, talent, and resources to
help local businesses thrive because when businessessucceed, our communities succeed.
M and T Bank presents CEOs youshould Know powered by Iheartadia. As we
wrap up and celebrate Pride Months,Let's means Shan Elias. He is the
executive director for the DC Arts Centerin Northwest Washington, DC. Before we
talk more about Sean's center, Ifirst asked him to talk a little bit
about himself, where he's from andhis origin story. I grew up in
(00:22):
New Jersey, just about forty fiveminutes outside of New York. I believe
everyone who lives in New Jersey hasto caveat their existence by their proximity to
New York. So not too faraway from me. But then I went
to school down in Philadelphia and studiedmusical theater at the University of the Arts,
started my time as a as aperformer. And then about graduation time,
(00:48):
you're making that jump to New York. I got some cold feet,
you would say, and a littlebit the practicality set in, realizing I
probably wouldn't be able to kick myface from now until eternity. And so
I went to Emerton College for Mastersin Theater education there, which I loved.
Up in Boston, so I gotto see and experience two great cities
(01:11):
that really support the arts. Eventually, after graduation, moved down to New
York, then fell in love andthat's how I got down to Baltimore originally
and then now DC well outstanding.It's such a cool story and I love
the arts. I've been going toplay some musicals for a very long time,
(01:32):
and I don't know how many timesI've been in New York and Broadway
and also Kennedy Center and your placetoo with the DC Arts Center that we're
going to talk a lot about todaybecause as executive director over the last a
year and a half post COVID,I imagine that things are starting to get
back to normal for everybody, whichis a great thing because the theater community
got hit hard everywhere in the world, not just the United States because of
(01:55):
COVID. So we're gonna talk alot about that. But I did want
to ask you about the Iron CrowTheater because I saw that on your resume.
It intrigued me. I know you'vebeen a part I think for over
a decade. What is that?What is it all about? Yeah?
Absolutely, that's also what brought meto Baltimore. It is a queer theater,
so it's Baltimore, this professional awardwinning queer theater in Baltimore, and
(02:16):
we produce work that is either queerin construction by a queer author, contains
queer characters or queer thematic elements,or is just simply queer because whoever created
it or wants to produce it iseither says it's queer or wants to produce
it in a queer way. Andso that's our mission and our charge to
(02:37):
amplify those voices. I think it'sgreat that you do that. And I
did want to ask you a laymanquestion, and for the audience, it
doesn't know I'm heterosexual, so thisis a layman question. We've had gained
lesbian people since the dawn of time, but now that we have places where
I think there's a more of asafe space because you're working with people that
have the same experience as I imaginethat people do feel safer, They feel
(03:01):
like they can come out a loteasier. I've got a twenty year old
daughter where you know, sex,color, race is not even a nonstarter
for them, So that generations.He has a little acts together, as
you know, But I imagine whenit comes to the theater and just that
part of it that it must benice for people to have the same experiences
because we all want to relate ashuman beings, so beside feeling safe,
(03:22):
it must be a great sanctuary foreverybody that they can commiserate or celebrate their
success stories and then do something.They love the arts absolutely, and it's
an interesting fact that only about fortypercent of those who work at ironcro Theater
identify as queer. The other sixtypercent identify as being an ally and so
(03:43):
it really is a place where bothcommunities get to feel like they're a part
of one, which has always beenreally exciting for me. Yeah. Absolutely,
Okay, let's talk about the DCArts Center. I know a lot
about it because I'm only about tenminute car right away northwest DC. So
it's got a rich history. AndI know you've only been there for a
year and a half, and Iknow you know the history of it.
It's going on over three decades.So for the people that are new to
(04:06):
hearing about the DC Arts Center,tell us about the history. Sure,
So we're about three decades old,we're hitting thirty three years. Founded in
nineteen eighty nine, we're in thesame location where we began right in Adams
Morgan on Eighteenth Street, and soit really came to be out of necessity.
(04:27):
In DC, we were experiencing gentrification, and we were seeing that unless
you were of a certain cohort socialcircle, or you've graduated from a certain
program that had national prestige, yourwork as an artist really wasn't taken into
consideration as meaningful or wanted even.And so a group of individuals came together
(04:55):
to create what is now known asthe DC Arts Center to hold space for
an alternative art space that was trulyat that time you could say, under
attack, just from evolution, gentrification, whatever may be. And so that's
what we've continued to do, isto hold this space for artists who are
local to DC to do the workthat other galleries often won't show. Well,
(05:20):
that's wonderful, once again say spaceand just giving the opportunity which everybody
wants and just a shot at it. I didn't want to talk about exhibitions
on stage and some education events thatare coming up, and then I promise
that the end of our interview,and our listeners are very savvy, they
probably already googled the DC Arts.They're on the website, but we will
give the website address at the end, and we'll also tell you and shall
(05:42):
we'll share with you how you canbecome an artist member or if you want
to become a partner, because listen, when it comes to donations and putting
money back into the arts, that'sa big deal. Sometimes it's overlooked because
there are so many great charities andphilanthropic things to do out there. Sometimes
the arts is a little bit overlooked. That's my opinion, my opinion only.
So we will give you all thatinformation, but let's talk about some
of the upcoming exhibitions that people canget excited about that you're also excited about
(06:06):
shot, sure, absolutely, andso our mission really crystallized over those three
decades, and so where we arrivetoday is to foster underrepresented artists in the
greater Washington, DC area and todo so across all disciplines. So currently
we're gearing up for our annual fundraiser, which is also DC's largest open community
(06:29):
exhibition. It's called Wallmountables, andthis is a tradition that started many many
years ago and carry fourth through totoday where we actually take our gallery space,
both our main gallery and our NanoGallery and we divide the wall into
two foot by two foot squares andwe open it up to anybody in the
community, whether it be expert artists, beginning artists, mid career artists,
(06:51):
children who just want to have theirwork shown in a gallery space and have
that experience with their family and friends. Anybody can show anything by participating in
this exhibition and mount whatever they'd liketo the wall, hence the name Wall
Amountables, and so it's a hugeexhibition. It's our most anticipated exhibition each
(07:11):
year. It's the exhibition where wesell the most amount of art and so
whether you're an artist or a patron, the entire space this year is going
to be transformed and so we hopeyou'll join us for that. That's great.
You've got the calendar that's up onthe website and maybe we could talk
about what's coming up on stage overthe coming weeks and the months. So
you're excited about that, you're reallylooking forward to. Yeah, we just
(07:33):
launched a new partnership with the RoyalComedy to have them come in and really
build out our comedy programming. Wehave always done comedy in the past,
but it sort of happened around us. It was in our space, but
we weren't necessarily involved, and sowe really sat down with a group of
new improv artists and comedy makers andsaid, how can we really support that
(07:56):
community specifically? And so now wehave a huge robust comedy program. We
have Tuesday night comedy, We've gotSaturday night comedy. We've got that's great.
It's really it's wild. So Ithink that's been the most exciting.
Why not. I mean, Ithink it's one of there's so many great
stand ups that might not get theopportunity, and for you to provide a
stage for them in an audience,I think it's wonderful. So I'm glad
(08:16):
you guys made that decision. That'sreally great. Let's talk a little bit
about the education, because I knowthat's up on the website. There's a
couple of initiatives and collectives up there, and a workshop series and maybe just
once again for people are being introducedto the DC Arts Center. Tell us
a little bit about those initiatives aswell. Sure, So two of those
(08:37):
have been long standing for quite sometime, and the third one was around
in some iteration and we sort ofjust formalized it. So the Spark Club
collective think about it like a supportgroup for professional, mid career or early
artists. So we bring a cohortof six to ten artists together and over
the course of a year, they'redoing critiques, we give them opportunities to
exhibit in our gallery and a groupshow, and then they're also receiving professional
(09:01):
development, so that's something that we'rereally proud of. And then there's a
curatorial initiative and so this too islong standing, but we noticed that there
was really a need to support thosewho wanted to be a curator. So
that's an individual who curates art froma multitude of artists as opposed to an
artist who's producing their own work.And you know, there really are few
(09:22):
and far between ways to learn howto do that. There is no you
know, MFA and curation. Theremight be one, I think at MICA
up in Baltimore. And so whatwe do is we take an apprentice,
two apprentices one or two, andthen we pair them with a mentor curator
and they go through a year longprogram where the apprentices are assisting the mentor
(09:43):
on their exhibition, and then it'sreversed where the mentors assisting the apprentices and
their exhibition, So it's a greatway for us to give access to a
field that's pretty exclusive and try andbreak down some of those barriers. And
then the workshop series, so wedecided, let's all of this training that
we're offering our spark Plug collective orapprentice curators, let's open that up to
(10:05):
the public. And so now everymonth we have one of three series of
our workshops, so you can joinus to meet a curator. So we
bring in famous curators or respected curatorsfrom across the region that you can interact
with. We've got artistic process workshopswhere you're able to come in and learn
a new craft. Maybe you're aphotographer and you want to learn printmaking,
(10:26):
and maybe you're a fine artist andyou want to learn fiber. Right,
it's a way to sort of expandyour repertoire, if you will. And
then we have professional development, sothe tools and the skills that we need
to impart for artists to be successfulor continue to be successful in their careers.
Out Stanny, thank you for sharingall that. I also like to
ask our leaders out there about asuccess story and also challenges and let's put
(10:48):
a pin in success stories, becauseI imagine you've got a handful even on
the short time that you've been withthe dc arts and and all the cool
things that you've seen and we'll seein the coming weeks and months and years.
But what that said, when itcomes to your instory, what kind
of challenges are you facing right now? That's a great one. I think
it's really around expectation, and soI think the expectation of our audiences is
(11:09):
shifting. I think the expectation ofus as civic members of a city are
changing, and so in order tokeep up with those expectations first to identify
what they are. They're changing soquick and so fast, and I think
then the pandemic obviously has sort ofexpedited that shift, or at least highlighted
how quickly it can shift. Isone is one area of opportunity, But
(11:33):
then to be able to deliver,to have the resources and to deliver on
those expectations and align that with thestars, if you will, and that
the timing matches right, because ifyou if an expectation shifts and we don't
have the resources to meet it orhaven't identified it, then we're sort of
not at the table as they say, and I think that's when organizations start
(11:54):
to start to truly close. Unfortunately, as we've seen both DC in Baltimore
and so's our That's our biggest opportunity, I think, is to make sure
that we're really clear on who we'reserving, what those expectations are, and
ensuring that we have those resources atthe ready to be able to meet that
need. Thank you for that nowsuccess story. I know you've only been
(12:16):
there a year and a half,but a lot can happen. As we
all know performers, they're outspoken,they're fun, they're cool, they can
be challenging, all those kind ofthings to go with it was there one
day or one week or one monthwhere you said, you know what,
the staff and I we knocked thatone out of the park. Is something
special happened? Yeah, you knowwhat, I think, I don't like
you said. I can pinpoint twodozen of those I think over the over
(12:41):
the year where I felt that.I think what I bring it home to
though, is is what it resultedin, which I think, you know,
for thirty three years, the DCArt Center was known as primarily as
a gallery space that had a theaterin the back, and we could be
rented it to people, Yeah,but it was really a gallery space.
And I think what I am theteam of been able to do over this
(13:01):
past year and a half is reallyre educate our constituency and the public,
engage them in this notion that weare truly an arts center that's plural aarts,
and so we are doing all ofthe arts. We are of course
going to remain true to our rootsin those visual arts, but we've got
the performing arts, We've got theliterary arts, we've got the culinary arts.
I want the cinematic arts next.Right. We're really embracing this charge
(13:24):
of living up to our name asan arts center. And to see the
reaction and the excitement that that's broughtfrom the community I think has been the
biggest the biggest success that we've achievedso far. Well cool, Well,
thanks for sharing. So as wewrap up and put a bone our conversation,
Sean, And once again, ifthere's a lot of listeners who are
being abtroduced to the DC Arts Centerfor the first time ever, what's maybe
(13:45):
one takeaway you like to leave themwith. I think it's that the time
to get involved is truly now.I think for three decades, we've had
ways where you can be involved,and we've done wonderful things and we've hit
us stride of success. But nowwe're at reimagining. It's sort of a
rebirth. It's a new chapter.And so whether that's through time or treasure
(14:09):
being involved at the DC Art Center, becoming an artist member, if you
are a practitioner, now is reallythe time where that impact will be felt
and will be part of the legacywhen we tell the story of the next
chapter of the DC Arts Center,it's going to be the group of people
that are with us now that arepart of that history making. Well said,
and thank you so much for sharingall that. Okay, Now,
(14:30):
if you want to become an artistmember or a partner, maybe make a
donation, find out more about thedifferent things that you have going on there.
What is that website address and anyother social channels that people can follow
you on. Yeah, DC ArtCenterdot org and then at DC Art Center
everywhere else, so Twitter, Instagram, Facebook, you'll be able to find
(14:52):
us all by the same name andeverything like you mentioned is right on the
website and there is a big fatyellow give Today button that's on the top
right hand. Make sure you clickthat and check it out. It's very
prominent and it should be, andmake a donation because, as I said
at the beginning of our conversation,sometimes the arts is overlooked. And when
I get a chance to talk topeople in this series and I hear that
(15:15):
they're donating to the arts, italways makes me feel pretty special that somebody's
not forgetting about that part of itwhen it comes to theater and music and
all the cool things that we liketo have our kids a part of in
those extracurricular activities, and a lotof schools don't do anymore. So it's
real, it's a real must outthere. And I'm sure Sean would agree
with me when it comes to that. Absolutely. Like I said, we
(15:35):
don't have big products right that generatemassive amounts of revenue. We truly are
operating just on what we have.Will we have available the generosity of institutions
and then the generosity of individuals,and so without community buying, without that
twenty five dollar donation, truly,this art center could not exist. All
right, before we let you go, because I have to hear in the
(15:56):
business. So I'm going to askyou because I had some of my favorites.
You don't have to name one,but since you're really in the industry,
maybe a couple of your favorite musicalsor plays of all time that you
just thoroughly enjoy that still stick withyou as wonderful memories. Sure, sure,
I'll say, well, I'll mentionone that's currently on Broadway in a
revival right now that I would encourageeveryone to go see, which is Jason
(16:18):
Robert Brown's Parade. I think it'stimely. I think it is beautifully constructed.
I think the music is outrageous andreminds me of that rich, big
soul orchestral yes sound, yeah,that Broadway one's hat yeah, And so
I think it's it's really important.I think everybody would enjoy that. I
think one of my favorites because I'veseen them all in all the big ones,
(16:41):
because you and I talked in thehard green room about Cats and Phantom
and all the big ones that cameout and all the Andrew Lloyd Webber's and
they're wonderful and it's beautiful music,and of course it's very theatrical and some
of the stuff you can't believe they'redoing on stage. But about I don't
know if it's been about a decadenow, but when I saw in New
York on Broadway with my daughter andmy wife, Evan Hanson, that was
(17:03):
magical because I saw the original playersand it really you know, there's been
a movie since, of course,but that was one of the more special
ones that I think I've seen.It was just well done, and it
caught me off guard because I reallydidn't know the story and once I was
introduced to it, and I thinkthat really I don't know if it changed
Broadway, but it certainly opened upsome more doors for that kind of storytelling,
(17:25):
would you agree? Oh? Absolutely. And the fact that you experienced
the original Broadway cast, I meanthat was cool. That was cool.
The one that I wish that Iwould have saw, and I didn't because
I know more musical artists are doingtheir own Broadway plays, like Springsteen's doing
one. I wish. I wishI would have saw the Green Day one.
I saw the documentary about it,but I love shot because I'm a
(17:48):
big Green Day fan and that lookand an idiot. Yeah, and I
know that that Billy Joe actually playedhimself one night in surprise the cast,
which I thought was pretty cool thathe had done that. And in the
documentary, if anybody wants to goback and watch, because it's a whole
story about Green Day from start tofinish and what they're doing right now.
But when he was introduced by somebody, and I think it was the director
(18:10):
saying, hey, have you everthought about doing a Broadway play about yourself
in the band? And he saidyou gotta be ff and kidding, why
would want? But then when hewent there and saw some of the cast
singing his songs and acting out thelife story, he was taken immediately and
boom, let's let's do this.It's a transformational experience. You mentioned surprise.
(18:32):
There is a lot of surprise inthe arts, and I think that's
what I hope the public reminds themselves, or we could remind the public of
right, is that when you goto the arts in whatever, maybe theater,
find art gallery, unopening of closing, there is going to be something
that surprises you or should Yes,yeah, I agree that that's the fun
of the theater. So Sean,I can't tell you how much I appreciate
(18:53):
your time. I could talk foreveras you could tell about when it comes
to the theater and musical and andeverything, because I enjoy it thoroughly,
so does my family. So listen, continue success with Iron Crow Theater and
also the DC Arts Center. Wereally appreciate your valuable time, and I
hope that it's going to be amagical twenty twenty three of the rest of
the year with some great things goingon there, all some great crowds,
(19:17):
and now that you've had a comedy, I think it's a wonderful decision that
just makes it more robust for peopleto check out what you're doing there.
So thank you so much for joiningus on CEOs you should You should know
we really do appreciate your time.Of course, it was an honor.
Thank you for having me. Truly. Our community partner, M ANDT Bank
supports CEOs you should know as partof their ongoing commitment to building strong communities,
(19:37):
and that starts by backing the businesseswithin them. As a Bank for
Communities, M and T believes indedicating time, talent, and resources to
help local businesses thrive because when businessessucceed, our communities succeed.
Popular Podcasts
Stuff You Should Know
If you've ever wanted to know about champagne, satanism, the Stonewall Uprising, chaos theory, LSD, El Nino, true crime and Rosa Parks, then look no further. Josh and Chuck have you covered.
The Joe Rogan Experience
The official podcast of comedian Joe Rogan.
Dateline NBC
Current and classic episodes, featuring compelling true-crime mysteries, powerful documentaries and in-depth investigations. Special Summer Offer: Exclusively on Apple Podcasts, try our Dateline Premium subscription completely free for one month! With Dateline Premium, you get every episode ad-free plus exclusive bonus content.