Broadway ReFocused is in conversation with Equity Stage Manager, Peter Royston. Peter is based in New York City and originally from the Bay Area. His credits include: Blue Man Group, The Public Theater, The Lark, Oregon Shakespeare Festival, San Jose Repertory Theatre, Theatre Works, among others. Since 2017, Peter has become a vocal advocate and ally to the disabled community, specifically through his lived experience as a White Gay man with Cerebral Palsy. In this podcast, we learn about his journey and new ways to support the disabled community in the theatre business. You can follow Peter on Instagram: @PeterRoyston

Conversation with Peter Royston - Episode 9

Spencer Williams: Today we get to welcome Peter Royston, an equity stage manager, and we're really happy to have you here today. So welcome Peter.

Peter Royston: Thank you. I'm excited to be here.

Spencer Williams: So today we're going to talk a little bit about ability. We're going to talk about equity on Broadway and what your experience has been becoming a stage manager.

So why don't we just go ahead and start right there. How did you become an equity stage manager?

Peter Royston: Yes. I started stage managing in college before that time I had planned to be an actor and a singer and I was trained in opera and my second year of college, I had a choice between going to see theater class and a stage management class.

And my advisors suggested I take stage management. At the beginning of it, I was assigned to show and I was like, I don't like this. What am I doing? I hate this. But by the end of it, I loved everything about it as being a part of the whole process from beginning to end, having a relationship with the actors and the directors and the designers and knowing about everything at all times, it just made me feel good.

I love having the answers and seeing the full picture and also seeing all the details. And so from there, I got my choice of shows to do the next year. And then I was the production stage manager for the theater festival, my final year. And then from there I started working as a non-equity, ASM or production assistant, and worked my way up in equity status.

Spencer Williams: Now, what show did you get your equity card with?

Peter Royston: It was a show called Sensei at Marin Theater Company and it was, it was an intense show. There was, one of the actors was tortured on stage but it was also the combination of, I worked pretty much consistently at that theater for two years. And so that was sort of towards the end. And I got offered an  equity contract. And, from there, I also worked regionally in the Bay area and I got to work at San Jose Rep and Theaterworks and then I also did some work in the opera.

Spencer Williams: Awesome. How many years have you been in Equity?

Peter Royston: Since 2007?

Spencer Williams: Oh, awesome. That's great. So one of the fun things that when I was looking at your resume was that you also worked on Oklahoma at Oregon Shakespeare Festival. It was a fun kind of connection because earlier in this podcast we had the opportunity to talk to Tatiana Weschler who was Curly in that production of Oklahoma.

So why don't we just kind of connect those dots? Like, what was your experience at OSF? Why don't you tell us a little bit about that?

Peter Royston: Just hearing you say Oklahoma, and every time I hear that, think about Oklahoma, I get emotional. And, I first heard about that production going up the year before in 2017, there was a Playbill ad saying that Bill Rausch was going to do this groundbreaking or this historical interpretation of Oklahoma. And I was like, I have to be there. I didn't know if I would get to see it, but, or were if I would be able to be a part of it, but I was like, there's some way I need to be a part of this production. And, before that, just like what Oregon Shakespeare Festival, just being someone who grew up on the West Coast, it was like, it was a place that I've always wanted to work and hear about and just like hearing a full season to get -- to get regular work and just the company that was built there, it definitely was someplace that I always had a goal of being able to work there. And, there was an ad for that they were looking for ASM's for that season. I submitted and I didn't hear anything from them. It was actually at the beginning of the year of 2018 and I got a call from the production stage manager and they asked if I was interested and it was, and I was just like, Oh, like, Oh my gosh.

And, it was one of the most intense or thorough interview processes that I went to but then I came out and I would say that also for me, a special thing that was personal for me, it was, it was the first show that I openly talked about my disability. So before 2017 I really worked to just be like a passing able-bodied person and never discussed anything that was different about me.

So, occasionally, I'd worked on shows and somebody would notice like a month after and be like, why are you limping? Because I can walk in some people and like be very minor or, I was in a very supportive environment and I never had a time really where aphasia kicked in for me. And so nobody noticed.

And it was new terrain for me going to Oregon Shakespeare Festival because I was trying this out and seeing how to talk openly about what I needed, but also trying to hold myself accountable and be there for the show and being part of this amazing group of people.

And I just know like every day we were in rehearsal, everybody from, it was a part of it, just want it to be there. Everybody was there for a reason and the show meant something to everyone. And it was just, so impactful. 

Spencer Williams: It does sound like an amazing experience -- onstage and backstage, and then also in the audience. For our listeners I do know some of your backstory, but why don't you, if you feel comfortable with talking about your disability and kind of what that process was for you to tell others, especially in, in the theater community. 

Peter Royston: So for me, what I think is most noticeable I have limited mobility in my right side. So I type one-handed. If I need to do cues, I'm really doing that one handed. There are ways that I can practice and do some things with my right hand. But if I want to ensure that like a cute switch gets set exactly right. I need to figure out how to do it just with my left hand. And, and I can walk and I can do most things with both legs, but I do have a limp, so, and also sometimes like stretching up to certain things could be a little bit challenging.

And I think the thing that is most kind of a thing that I need to be aware of. Off the bat now and to discuss is that I have aphasia when I'm tired -- which means that my speech might get slurred. And also there might be errors in an email or something. So if there's a major, a large email or an introductory email I would probably have somebody else check that even if I had gone over it multiple times. I can literally look at the worst when it, when it's kicked in and I will see something else. That's just something that I work out with my team or let them know that this might happen. For the most part so far, it's usually been that like other statements were like, Oh yeah, I worry about that all the time - that happens to me. Like, I make errors like that. And I'm like, yeah, but it's not, it's not exactly the same.  It's been reassuring and it felt good to speak openly about and learning how to navigate that when I feel like aphasia is cutting in where if I need something, it's how to advocate for myself.

Spencer Williams: Yeah, absolutely. I read a piece that you wrote back earlier this year, and I want to quote a little bit if that's okay.

Peter Royston: Yeah

Spencer Williams: You write "I am baffled with how our culture, our society, and even our theater community view disability. Disability is  complex and I hope the conversation will shift. Disability is not a disease. It is not something to be frightened about. And if I can't get verification that I will be the first stage manager on Broadway with cerebral palsy. I am damn sure I'm the first one willing to talk about it." What was that like to write those words down and kind of put that out in the universe?

Peter Royston: It felt really good to speak up. I've had an interesting experience since 2017, like trying to be clear about my goals and my intentions, and also seeing things like, "Oh, I am really special". And I should talk about this and why haven't I talked about this before and what challenges have I had in past work that maybe it would have gone differently if we'd all worked together differently, or if I had discussed my disability upfront and so that, and like held other people accountable to. I think a lot of people, even in the disabled community, are figuring out the language to talk about these issues. And, I was just a part of the Crip Camp virtual experience, which was a group of disabled people that came together during the summer and led a weekly series and that was eye-opening because everyone is still working through these questions and these issues.

And we're still trying to find the words to use and how to clearly think about it. And I think the challenge with disabilities that it is so varied and there are so many different aspects to it, but it's not being discussed. And I keep on wondering why there's no discussion about it specifically in stage management.

 When I said those words, I was frustrated because I wanted to kind of know where our industry was. Last fall I started at Blue Man Group and I was also curious if anybody was disabled as a stage manager there. And I couldn't find out any real information because that information is considered private.

So people don't discuss, like are afraid to disclose their disability. That's considered private information, that's personal information. And I think there's also a discrepancy between what is a disease where like a health concern and disability, and there's variety in that. And so, I'm just surprised because I wanted to find out if there had ever been a disabled stage manager on Broadway and nobody, there's no articles about it.

There's no information about it. This year I have, since that article, I've got to look at the stage management survey. So there, there are people that volunteer to be a part of the survey. And also the Equity came out with their diversity report which has some information. So based on the people that respond, there's about 5% of stage managers who identify as somebody having a disability.

But there's also a percentage of people that won't disclose that information, which I also think is interesting that people are afraid to talk about their disability or that they'll be judged unfairly on work. They'll be seen as not being capable enough. And I think that's why it's even stolen, but it'd be tricky for me. It's like, where do I hold myself accountable and Peter, you need to work harder. And when is that like internalized ableism? That is actually like, no, I'm actually doing the right job. I think it's actually this way, this company's set up where if somebody else needs to actually, we need to set this up differently.

Spencer Williams: It's amazing to listen to you and to hear your journey through that process, I'm sure like: super difficult to know when to speak up when to not. So it's really inspiring on that side. I mean, I will say, I was so happy that you reached out to me because it definitely was like one of my blind spots as I've created this course and everything that I didn't have someone on the show that we were talking about ability, but we were there talking about race and we were talking about sexuality and gender and all these other different issues and how they intersect. So I was so pleased that you reached out. So even just reaching out to me and letting me hear your voice and hopefully others was really impactful. So thank you.

Peter Royston: I think it's, it's really interesting because it feels like talking about disability. I mean, disabilities definitely overlooked. And the recent, percentage of the population is 25% of the population is considered a disabled person. And yet we discussed this issue of a marginalized group, so infrequently and it's usually left out of the conversation and it intersects with so many of the other different marginalized groups.

It's very important to talk about, but yet somehow there's still a hurdle that we have to get over including that in the conversation.

Spencer Williams: What can the industry do to become better supporters and ultimately advocates for persons with disabilities in the Broadway community?

Peter Royston: I think the major challenge is to actually give time and space and listen, and also open your mind up. I'm really humbled and excited about a lot of the conversations that have happened in this year or based on social issues and, and things... But there's also, I hope that there'll be more space for people to consider actually how we function and how we set up our industry and structures. There's so much routine and like what we do and how we set up our tech schedules and how we set up our rehearsal and what is required of certain people before rehearsal process and after and when you're given that information and I know for me, when people send me all their work at the very last minute like the day before rehearsal is very hard for me to just like process. I can do that. but also there's an expectation. I feel like in some groups that that's just how you operate and that's how you show that you're a good stage manager or you're a good theater practitioner. And for me, I love to have things done way in advance and make sure that they're there and feel secure in it because I know that I need to check myself. I want to be thorough. I want to have a full experience. And I hope that more gatekeepers and leaders of companies will think about those issues. During this time. And as we start to reopen and I mean, definitely in New York, they like the basic fact of actually making spaces accessible for all people with disabilities.

And that's not necessarily just with finding ramps for people in wheelchairs. There's so much more to being accessible and inclusive and inviting us to the table and then just creating a ramp into a rehearsal space or into a theater.

Spencer Williams: Right. Those are some good suggestions. I mean, I think you just, I think there is an expectation on stage managers to literally get all of their work right at the last second. And then, okay, here you go. And work all the hours up until the first rehearsal and then after rehearsal, I've definitely spent many a time with the stage manager after rehearsal 

Peter Royston: And some of that about building up a team, which is why I always, I think that's an interesting thing. We usually, when I meet other stage managers or we're first getting to know each other, or if it's a new team, you usually talk about like style, Oh, that's their style. Like we'd do things this way. And part of that is really wonderful. And so it would be, I think, what it is a nice segue into talking about the ability is that that's really what we're talking about. It's like everyone has their own style and their strengths. And just because the one person may not be the strongest in this aspect, they can, they also offer this wonderful gift. Like I know the energy I bring to a theater space or to a production. And I know that human component and also seeing those patterns that maybe other people don't catch. But they're really good at other things that step up in certain other areas that I'm not.

Spencer Williams: Of course. Right. What would you like people to understand about persons with disabilities in the theater community?

Peter Royston: I mean, first and foremost, we are people and we also have strengths and weaknesses just like you. And, I hope that people will continue to see and I hope that people will be awakened to the fact that there is validity and strength in having a diverse team of people. And that includes different types of people with disabilities, not just someone with cerebral palsy, but also having a deaf actor to also potentially having somebody on the team that is blind to also having someone in the wheelchair that those different lived experiences add value, and that they have super powers that people who are able to bodied don't have.

Spencer Williams: I love that. I'm kind of sitting in that for a second because I love the idea that, that, you know, it's not just about one disability. It's about bringing everyone to the table and then the table suddenly becomes richer with content and information and lived experience and all of those different things. And I think specifically in the theater I'm learning that when you're telling stories, those variety of voices is like one of the most important things that they need to be on both sides of the table. So I love that. Do you believe that the industry can or will change around ability and you know, what would be the first steps around that?

Peter Royston: I feel a lot of hope this year. And especially recently, it's been wonderful to have people that are also leading our country that actually say disability in their speeches. And that talk about that. And I think that's one thing that to be, to remember, you're reminded that this is a group of people that does not get talked about, and that is also overlooked.

And I have hope and faith in that. And that's brought me some joy. I'm still concerned or questioning if all the space and conversations are being held. And if people are actually asking, or looking at how they can make their theaters more accessible or the way that they structure their processes in a different way and open that up.

And if people are actually looking at the full story, but I do, see that things are changing. And, I think people like my other friends and colleagues, the more people that can speak up and tell their own experiences and this will also help. And so I think when they, when people start to rise up and tell their stories and explain their certain circumstances and situations, that we will all be better.

Spencer Williams: In your professional experience, what's been a, an experience that you've had that has been super supportive and inclusive, and an example for others to use for the future?

Peter Royston: I mean, in terms of companies that I've worked for, like Oregon Shakespeare Festival, it was the very first that I think was really actively working to have an inclusive space and deal with diversity and inclusion and equity and having safe spaces and people to talk to. And that you had open dialogue and communication. I felt that and I think the production of Oklahoma that I was a part of reflected that. One thing that I do also find admirable about that company is even when I was interviewing in the same, how I admired how that company was set up and I've heard what a joy, it was and a privileged to work there from my other friends and colleagues that everybody kept saying, yes, we, but we still have work to do. And that I think there's not an ending to dealing with these issues and that there's so much gray in them. But I do believe that the Oregon Shakespeare Festival will definitely set up that space. And, another company that I worked for recently was The Lark and we did a stage reading semi production of a new play that was through the Apothiki Company with Greg Mazola.

And I always say the name incorrectly, but it was "Every Link a Heart Does Dangle" and we had a disabled main character. We had space to tell the story and work on the play. And that was just very clearly set up the guidelines of what this production that we were doing, what we were focusing on, that we weren't going to focus on. We had some basic staging and a few props but we were not going to be doing the scene changes and we were not going to do very much. We're going to try and tell the story in a brief way, but it gives us space for us all to still work well together. And it was an inclusive environment where every time we had table work, we all had a voice even the stage managers and that was also a really wonderful experience.

Spencer Williams: Oh, that sounds great. I have to say I'm really sad that I didn't get to go to see Oklahoma now that I've basically felt I've lived it this semester, but I'm sad I didn't get to see it.

Peter Royston: It was, 2018. I had an Oklahoma on the brain and I also got to see the St Anne's version and both productions talk to each other, and we're both trying to poke the same or burning the candle at the opposite ends. And they were both so important. And specifically when the St. Anne's Warehouse production was performed at St. Ann's Warehouse. That experience there was so impactful and that production also had a really important story for me about disability and how that related to it. And I've obsessed about both of those productions ever since.

Spencer Williams: Can I ask about what the story was for the revival version of Oklahoma?

Peter Royston: In the production at St. Ann's Warehouse, Annie is in a wheelchair and there was an interesting discussion of how she felt about herself as a disabled person, and then also how others treated her.  I was surprised at the time when I first saw it because I was waiting for someone to be like, "Oh my God '', like I, I heard like the story that, that I, like, I was waiting for somebody to write about that. Everyone talked about Ali Stroker being in a wheelchair, but nobody talked about what it meant for, you know, Ado Annie to be a disabled character in that lens. I always found that interesting or curious, and I don't know if that's just because they wanted to leave it up to different people and to have their own experience. Some people were just viewing, you know, Ado Annie, as you know, Ado Annie and you weren't really supposed to see her as a disabled person. But for me, when I first saw it, I thought it was just so impactful to see that reflection in this darker version of what the story could tell. And then to have the flip side of feeling like if people could see both of them back to back seeing this idealized utopia society that was created and Oregon Shakespeare Festival, it was like, it's like what I, after I saw St. Ann's Warehouse, I was like, I need to see my production again to cleanse myself.

It was so impactful. And I think some people got some similar experiences and that I think it was also very individual and the darkness for different people, but it spoke to me on a very personal level about disability and how you view your worth and how others view your view.

Spencer Williams: Interesting. I wonder if part of that conversation that wasn't heard was because there's probably not a lot of disabled theater writers out there in New York city, right? That we're missing some voice there, which then doesn't enable the conversation in that platform.

Peter Royston: Yeah. I mean, definitely like having representation in all aspects of our industry is important. And I, I think I was part of a recent conversation where it was that there were a few writers that were talking about how they were overlooked by their outlets, like for even just reporting about disabled stories and like, why do you have to talk about disabled stories and why should a disabled person tell the story instead of an able-bodied person. I think that is why.

Spencer Williams: If you had all of the gatekeepers of Broadway listening to this podcast, what would you say to them?

Peter Royston: I would hope that all of the gatekeepers would consider what they really want and to actually live by the missions that they state. I love theater and seeing everyone's mission statement that we're inclusive and open to all people embodies regardless of age, race, disability and our basic list and those Mission statements. And I know some of them have been revised now, but I hope that you will actually take time and ask your fellow colleagues who are disabled what their experiences and what you can do to make things better because it isn't, I don't have all the answers and neither does one other disabled person and that there needs to be more conversations about what is needed or what could be done better and I hope that you will keep working to make things better. And you have to actually allow yourself to be held accountable and ask others to hold you accountable and to open up space and to allow that to be available. It's one thing to say that you're inclusive and are offering a seat at the table to everyone, but it's us another step is doing that.

Spencer Williams: Yes. At the end, we always do a 10 quick fire question. That's a fun way to get to know you a little bit better. So what was the first musical you ever saw?

Peter Royston: The first musical I ever saw was A Chorus Line.

 Spencer Williams: Favorite musical of all time.

Peter Royston: Wicked.

Spencer Williams: A musical guilty pleasure?

Peter Royston: Watching different Elphaba's perform "Defying Gravity".

Spencer Williams: Favorite cast album?

Peter Royston: I feel like I've heard other people struggle with clarifying one, but, I definitely listened to Wicked a lot and In the Heights.

Spencer Williams: A favorite piece you have stage managed?

Peter Royston: Oklahoma was very special most recently. I was very fortunate though, my first year, like as an ASM to be a part of some really meaningful productions too.

Spencer Williams:  What's your personal dream in the theater

Peter Royston: To just to stage manage and to be a part of meaningful work that changes the world.

Spencer Williams: That's a great, great answer. What TV show are you binging right now?

Peter Royston: I just finished binging Killing Eve. 

Spencer Williams: And then finally, our last question, what's a quick snapshot or moment you miss about live theater.

Peter Royston: I miss sitting in a dark theater waiting for the show to start.

Spencer Williams: That's the moment, huh? A good one. That's a good one. Well, thank you so much for reaching out and talking with us today. It's been a privilege to hear your story, to learn more. I'm excited that these conversations are also happening, but I appreciate you speaking because you know, your voice is really important in this conversation. So thank you.

Peter Royston: Thank you for inviting me. It's been, it's been a pleasure.