When we first set out as Hub City Theatre Company, our mission was clear: to bring quality, affordable theater to Jackson and establish the city as a thriving hub between Nashville and Memphis. Over time, we’ve worked hard to build an artistic home where both our audience and our actors can engage with stories that entertain, challenge, and inspire. But beyond just the shows we produce, it's about creating a space for conversation, growth, and theater that pushes boundaries.
I've attended the Southeastern Theatre Conference (SETC) every year since 2017, and I’ve always walked away inspired. In 2024, I had the opportunity to present a workshop on our production of A Midsummer Night’s Dream, and after that success, I knew the conference was the perfect opportunity not only to represent Hub City but to connect, learn, and share what we've been doing with fellow theater professionals and enthusiasts. This year at SETC in Baltimore, I was joined by Alfred Custer II, James Matthew Wyatt, and Jacob Beals—each of us bringing our expertise, passion, and experience to the table.
We didn’t attend SETC just to watch from the sidelines—we went there to teach, spark new ideas, and share the journey we've been on. For me, I first became intrigued with found space theater at an SETC workshop, so it felt fitting that Hub City would return to share what we’ve learned. Hub City Theatre Company presented two workshops that we’re incredibly proud of, and we hope that they’ll continue to inspire the theater community we’re so grateful to be part of.
The first workshop, Found Space: Theatre with Hub City Theatre Company, was all about thinking beyond the traditional stage. From the start, we’ve focused on producing shows in non-traditional spaces; whether that’s a coffee shop, an oration hall, or even a local park. Found space theater is about taking the environment around you and transforming it into something that tells a story, inviting the audience to experience something fresh and immersive.
Alfred, James Matthew, and I led the session, sharing our experiences of creating theater in spaces that weren’t initially intended for performances. We walked participants through the process of choosing a space, designing for it, and connecting with an audience in a more personal, intimate way. The session was lively and engaging, sparking great conversations on how a space itself can become a character in a story.
For us, the heart of this workshop was about sharing our own experiences, including challenges-turned-opportunities, moments of serendipity, and the lessons we've learned along the way. Sometimes, the best productions come from embracing the limitations of a space and letting creativity fill in the gaps. There’s no “one-size-fits-all” when it comes to found space theater, and we were excited to share our approach and hear from others about their own journeys with non-traditional venues.
The second workshop we led, Producing a Musical with Many Technical Challenges, dove into a particularly tricky aspect of theater production: how do you produce a full-scale musical when your technical resources are limited?
James Matthew and Jacob took the lead on this one (with Peyton Mehr Facetiming in to contribute), sharing real-world experiences from our production of Ride the Cyclone in the basement of the Carnegie, a space that lacks the built-in infrastructure of a traditional theater. We discussed strategies for managing sound issues, sightlines, lighting challenges, and ensuring the audience can hear every note and feel every emotion, even without high-tech equipment.
A major focus of this workshop was showing how flexibility is key. With the right approach, even a bare-bones setup can be turned into something magical. We emphasized creativity, resourcefulness, and collaboration between the creative and technical teams, all working together to make a production work in a non-traditional space. (Remember those old tvs acting as our projections? And the spinning wheel of death used instead of a fly system?)
We were thrilled by the engaged group of participants who really dove into the topic. By the end of the session, everyone walked away with practical techniques and a renewed confidence in their ability to tackle technical challenges, no matter the setting.
What I loved most about SETC wasn’t just the chance to present our work—it was the opportunity to connect with so many theater professionals who share the same passion for storytelling and innovation. From veteran directors to emerging artists, the conference was a powerful reminder of how theater can bring people together, spark new ideas, and inspire collaboration.
At Hub City, we believe in community—not just within our own productions, but within the broader theater world. SETC reinforced our commitment to fostering connections and learning from one another. We left Baltimore with not only new knowledge and ideas but also new connections!
Returning from SETC, I feel energized and inspired by everything we learned, the people we met, and the conversations we had. Hub City Theatre Company is at a point where we’re looking ahead—not just to our next production, but to the future of our work as a company. We’ve always known that the best way to move forward is to embrace challenges and learn as we go, but events like SETC remind us that we’re not alone in this journey.
In the months ahead, we’ll continue producing shows that push creative boundaries, offer new opportunities for our actors and audience, and provide a platform for voices and stories that deserve to be heard. We’ve got big plans for the future, and I can’t wait to share them with you.
Thank you to everyone who attended our workshops, to those we met at SETC, and to our ever-growing community of theater artists and supporters. Together, we’re shaping a future where theater is more than just entertainment—it’s an experience, a conversation, and a shared journey.
As we continue to bring “odd shows in intimate spaces” to Jackson and beyond, I’m more confident than ever that the work we’re doing is part of something bigger.
