RETRO-SPECTIVE
Looking Back, Moving Forward.
by Montserrat Mendez
12/2/2024
12/2/2024
It’s nearly impossible, for me at least, to tease apart Retro Productions and Heather Cunningham; they seem more a single breathing organism than two separate entities. To say Heather Cunningham is one of my best friends is also, in some strange and wonderful way, to say Retro Productions is one of my best friends. Our lives orbited the same universe for a long while before we finally crossed paths, and when we did, when I saw her in A Runner Stumbles Off-Broadway, I knew, as surely as I know my own name, that I would someday write for her.
That’s something I do early, you see. I pick my muses. Those actors who so profoundly impress me that I’m compelled to imagine stories for them, to craft roles that draw out the peculiar magic they possess. But to write for them, I have to know them, know the quiet rhythms of their being, the contours of their passions and fears. Heather was one of those rare muses, and through our friendship, I came to know Retro Productions as well.
Retro is not just a theater company to me. It’s a home of sorts, a place that has, time and again, delivered joys that outshine the offerings of most independent theaters. Heather and I share so much in common, but most thrilling is our shared need to dig into the marrow of this nation’s history, to unearth the stories that explain, at least in part, why we are the way we are. Heather does this through her exquisite excavation of 20th-century plays and her commissions of works that reveal the heartbreak and quiet triumphs of our collective past.
I had the honor of serving as an associate producer for Bettye and the Jockettes Spinning Records at the Holiday Inn, a production that stands out in my memory not just for its artistry but for its remarkable professionalism. Months before we opened, marketing materials and graphics, my particular charge, were already in development. Heather respected my time but never shied away from calling me out when I fell short. She demanded the best, not out of ego, but out of love, for the work, for the craft, for the theater. And that, I think, is where my deep affection for her lies. We are, both of us, hopelessly devoted to our crafts, striving always to honor them with our best. It’s a love born of respect and admiration, of a shared belief in the transformative power of storytelling. And it’s a love that, like Retro and Heather, feels utterly indivisible.
And now, as we find ourselves on this Giving Tuesday, I’d like to share one more thing. To mark the 20th anniversary of Retro Productions, I had the distinct pleasure of interviewing Heather Cunningham—a conversation as rich and layered as the company she’s built. It is my hope, and my humble ask, that you consider donating today, not just to celebrate two decades of extraordinary work but to help set Retro on its path for the next twenty years of art, history, and wonder.
You can find ways to donate to Retro Productions by going HERE.
Without further ado…
That’s something I do early, you see. I pick my muses. Those actors who so profoundly impress me that I’m compelled to imagine stories for them, to craft roles that draw out the peculiar magic they possess. But to write for them, I have to know them, know the quiet rhythms of their being, the contours of their passions and fears. Heather was one of those rare muses, and through our friendship, I came to know Retro Productions as well.
Retro is not just a theater company to me. It’s a home of sorts, a place that has, time and again, delivered joys that outshine the offerings of most independent theaters. Heather and I share so much in common, but most thrilling is our shared need to dig into the marrow of this nation’s history, to unearth the stories that explain, at least in part, why we are the way we are. Heather does this through her exquisite excavation of 20th-century plays and her commissions of works that reveal the heartbreak and quiet triumphs of our collective past.
I had the honor of serving as an associate producer for Bettye and the Jockettes Spinning Records at the Holiday Inn, a production that stands out in my memory not just for its artistry but for its remarkable professionalism. Months before we opened, marketing materials and graphics, my particular charge, were already in development. Heather respected my time but never shied away from calling me out when I fell short. She demanded the best, not out of ego, but out of love, for the work, for the craft, for the theater. And that, I think, is where my deep affection for her lies. We are, both of us, hopelessly devoted to our crafts, striving always to honor them with our best. It’s a love born of respect and admiration, of a shared belief in the transformative power of storytelling. And it’s a love that, like Retro and Heather, feels utterly indivisible.
And now, as we find ourselves on this Giving Tuesday, I’d like to share one more thing. To mark the 20th anniversary of Retro Productions, I had the distinct pleasure of interviewing Heather Cunningham—a conversation as rich and layered as the company she’s built. It is my hope, and my humble ask, that you consider donating today, not just to celebrate two decades of extraordinary work but to help set Retro on its path for the next twenty years of art, history, and wonder.
You can find ways to donate to Retro Productions by going HERE.
Without further ado…
Retro Productions is celebrating its 20th anniversary—a huge milestone! What do you think has been the key to the company's longevity and success?
Force of nature? Pure will? Existential fear? I joke, but actually that last one might be the answer. My own personal fear that if I stop my life won’t have meaning, or if I stop my soul won’t be fulfilled!
Looking back, what was the initial vision for Retro Productions, and how has that evolved over the past two decades?
How much time do you have? Before Retro was Retro, before it was even retro, it was River Heights Productions. OK, we’re getting into serious history now - are you ready?
Just over 20 years ago I was just another actor going to auditions where I felt I was either never considered or I was better than the work I was being offered. Like, tons of plays that were being produced before they were truly ready, or productions of royalty free work like Shakespeare being produced by people who really didn’t have a grasp of the material. It was during one such production that I had my lightbulb moment. One of the actors, whom I had shared the stage with twice that summer in similar productions, looked at me and said “Man, I’m tired of making other people’s shit look good” and that was when I realized I could make my own shit look good.
A month later I was in a production of a play that could have used some more development. Backstage in the dressing room where I waited for my one small, but I thought powerful scene, one of my castmates and I discovered a yellow spined Nancy Drew Mystery from the 1970s. We laughed and read and reminisced about our love of Nancy, and her friends George and Bess, and the simpler time at play in those stories and how it always worked out in the end. By the time the run ended we knew we wanted to bring Nancy to the stage.
The rest of the story is very long and full of twists and turns, including the addition of a third producing partner, but let’s just say that despite some early wins we ultimately could not get the character rights. In the meantime, we had raised money (we were accepted into the International Fringe and were running headlong into production when we finally hit the royalties wall) and we needed to do something with it. Since our idea to bring Nancy to the stage was coupled with my particular interest in the past and history (and because the stories received a re-write and re-publish starting in the 1950s) we had decided our “Girl Detective” play would be set in the 1950s. Looking at that I said “Hey, why not take this money we raised and start a theater company - we could do plays set in the 20th Century which wouldn’t be that far off of what we were planning to do with Nancy Drew.” So that’s what we did.
We did our first production shortly thereafter in a storefront theater, and a second a year later. Unfortunately, the partnership wasn’t working out so after a very long and drawn-out discussion of how to move forward, I left with the mission, changed the name to Retro Productions, and started out on my own.
Force of nature? Pure will? Existential fear? I joke, but actually that last one might be the answer. My own personal fear that if I stop my life won’t have meaning, or if I stop my soul won’t be fulfilled!
Looking back, what was the initial vision for Retro Productions, and how has that evolved over the past two decades?
How much time do you have? Before Retro was Retro, before it was even retro, it was River Heights Productions. OK, we’re getting into serious history now - are you ready?
Just over 20 years ago I was just another actor going to auditions where I felt I was either never considered or I was better than the work I was being offered. Like, tons of plays that were being produced before they were truly ready, or productions of royalty free work like Shakespeare being produced by people who really didn’t have a grasp of the material. It was during one such production that I had my lightbulb moment. One of the actors, whom I had shared the stage with twice that summer in similar productions, looked at me and said “Man, I’m tired of making other people’s shit look good” and that was when I realized I could make my own shit look good.
A month later I was in a production of a play that could have used some more development. Backstage in the dressing room where I waited for my one small, but I thought powerful scene, one of my castmates and I discovered a yellow spined Nancy Drew Mystery from the 1970s. We laughed and read and reminisced about our love of Nancy, and her friends George and Bess, and the simpler time at play in those stories and how it always worked out in the end. By the time the run ended we knew we wanted to bring Nancy to the stage.
The rest of the story is very long and full of twists and turns, including the addition of a third producing partner, but let’s just say that despite some early wins we ultimately could not get the character rights. In the meantime, we had raised money (we were accepted into the International Fringe and were running headlong into production when we finally hit the royalties wall) and we needed to do something with it. Since our idea to bring Nancy to the stage was coupled with my particular interest in the past and history (and because the stories received a re-write and re-publish starting in the 1950s) we had decided our “Girl Detective” play would be set in the 1950s. Looking at that I said “Hey, why not take this money we raised and start a theater company - we could do plays set in the 20th Century which wouldn’t be that far off of what we were planning to do with Nancy Drew.” So that’s what we did.
We did our first production shortly thereafter in a storefront theater, and a second a year later. Unfortunately, the partnership wasn’t working out so after a very long and drawn-out discussion of how to move forward, I left with the mission, changed the name to Retro Productions, and started out on my own.
"We did our first production shortly thereafter in a storefront theater...
|
CATHOLIC SCHOOL GIRLS
by Casey Kurtti Directed by Felicia Lipchik Starring: Elizabeth Burke, Blaine Cook, Heather E. Cunningham, and Kimberly Greene. 2005 Photo by Paul Gell |
and a second a year later."
MRS. CALIFORNIA by Doris Baizley
Directed by Megan R. Wills
Starring:
Elizabeth Burke, Heather E. Cunningham, David DiLoretto, Matilda Szydagis, Jim Kilkenny, India McDonald, and Kristen Vaughan.
2006
Photo by David Anthony
Directed by Megan R. Wills
Starring:
Elizabeth Burke, Heather E. Cunningham, David DiLoretto, Matilda Szydagis, Jim Kilkenny, India McDonald, and Kristen Vaughan.
2006
Photo by David Anthony
Since becoming Retro Productions, and because I am the artistic director and I make the decisions, we have been able to stick to our mission of “Retro Theater.” All of the plays we produce can only exist within their 20th Century time periods. But as I have worked, and gotten older, and maybe it’s ego but maybe it is also other parts of my identity at play, I have also added other requirements to my choices.
Mainly I look for strong roles for women and female identifying actors (truthfully that was always important as River Heights was helmed by three strong women); I look for ways to open casting as I have become more aware of diversity issues in theater (I was so naive when I started); I have begun to wade in the water of new play development (as long as the play fits the mission); and while I have never had anything other than production as part of my mission, I have recently added an unspoken sub-mission of (I hope) creating a new generation of theater goers. Many of these plays are the plays I was raised on, and I feel strongly that kids become theatergoers not just because of “children’s theater” - but because of access to good stories.
Mainly I look for strong roles for women and female identifying actors (truthfully that was always important as River Heights was helmed by three strong women); I look for ways to open casting as I have become more aware of diversity issues in theater (I was so naive when I started); I have begun to wade in the water of new play development (as long as the play fits the mission); and while I have never had anything other than production as part of my mission, I have recently added an unspoken sub-mission of (I hope) creating a new generation of theater goers. Many of these plays are the plays I was raised on, and I feel strongly that kids become theatergoers not just because of “children’s theater” - but because of access to good stories.
"Many of these plays are the plays I was raised on, and I feel strongly that kids become theatergoers not just because of “children’s theater” - but because of access to good stories."
AND MISS REARDON DRINKS A LITTLE by Paul Zindel Directed by Shay Gines Featuring: Wynne Anders*, Christopher Borg*, Heather E. Cunningham*, Rebecca Holt*, Amanda Jones*, Sean J. Moran* and Sara Thigpen*. 2017 Photos by Connolly Photo NYC 
BENEFACTORS by Michael Frayn Directed by Peter Zinn Starring: Heather E. Cunningham, Matthew Semler, David Ian Lee*, and Kristen Vaughan. 2010 Photo by Alisha Spielmann |
A DAY IN THE DEATH OF JOE EGG by Peter Nichols
Directed by Peter Zinn Starring: Greg Oliver Bodine*, Becky Byers*, Heather E. Cunningham*, Emily Jon Mitchell*, Matthew Trumbull* and Kristen Vaughan. 2013 Photo by Connolly Photo NYC |
Your work often focuses on reviving lesser-known plays and overlooked stories. How do you select the productions you bring to life?
As I mentioned above - I was raised on a lot of these plays. I have a fairly extensive library and I read a lot. I look for evidence of plays from these time periods in magazines, “Best Plays,” and monologue books and then try to dig up scripts from libraries and publishing houses.
I also have a particular disease which is… shopping for used books. I say this partially joking - I am a collector. Specifically I collect girls chapter books of the 20th Century. It actually starts for me with Nancy Drew. I was a Drew-head from a young age and I kept all those books from my childhood. Then I started accumulating more during the time when Retro was River Heights. I have since branched out to other series, including (but oh no - not limited to) Betty Gordon, Ruth Fielding, Cherry Ames, Beverly Gray, and my holy grail, Peggy Lane. But also it helps in the play department to hit the drama section of any good used book store - especially those that allow for older and out-of-print titles.
But that’s not what you asked me - you didn’t ask me how do I find the plays - you asked how I do I select them, which starts with finding them. But once that is accomplished… I have a mental checklist. 1) Does it fit the mission? 2) Do I like it? I learned the hard way that if I don’t love it I should not produce it. 3) What are the women’s roles like? 4) Is it producible on a small scale? (There are sub questions to this one, like “does the set have to be realistic?” or “can the cast be doubled?” or “how many overall costumes are required?”) And lastly, 5) Has it been done to death? If the answer to all of these questions are in line with my goals, then begins the hunt for who holds the royalties.
As I mentioned above - I was raised on a lot of these plays. I have a fairly extensive library and I read a lot. I look for evidence of plays from these time periods in magazines, “Best Plays,” and monologue books and then try to dig up scripts from libraries and publishing houses.
I also have a particular disease which is… shopping for used books. I say this partially joking - I am a collector. Specifically I collect girls chapter books of the 20th Century. It actually starts for me with Nancy Drew. I was a Drew-head from a young age and I kept all those books from my childhood. Then I started accumulating more during the time when Retro was River Heights. I have since branched out to other series, including (but oh no - not limited to) Betty Gordon, Ruth Fielding, Cherry Ames, Beverly Gray, and my holy grail, Peggy Lane. But also it helps in the play department to hit the drama section of any good used book store - especially those that allow for older and out-of-print titles.
But that’s not what you asked me - you didn’t ask me how do I find the plays - you asked how I do I select them, which starts with finding them. But once that is accomplished… I have a mental checklist. 1) Does it fit the mission? 2) Do I like it? I learned the hard way that if I don’t love it I should not produce it. 3) What are the women’s roles like? 4) Is it producible on a small scale? (There are sub questions to this one, like “does the set have to be realistic?” or “can the cast be doubled?” or “how many overall costumes are required?”) And lastly, 5) Has it been done to death? If the answer to all of these questions are in line with my goals, then begins the hunt for who holds the royalties.
I have a mental checklist. 1) Does it fit the mission? 2) Do I like it? I learned the hard way that if I don’t love it I should not produce it. 3) What are the women’s roles like? 4) Is it producible on a small scale? (There are sub questions to this one, like “does the set have to be realistic?” or “can the cast be doubled?” or “how many overall costumes are required?”) And lastly, 5) Has it been done to death? If the answer to all of these questions are in line with my goals, then begins the hunt for who holds the royalties. |
THE BUTTER AND EGG MAN by George S. Kaufmann
Directed by Ricardo Rust Featuring: Heather E. Cunningham*, Rebecca Gray Davis, Shay Gines, Sarah K. Lippmann*, C.J. Malloy, Ryan McCurdy*, Chad Anthony Miller, Ben Schnickel, Seth Shelden, Brian Silliman*, Alisha Spielmann*, and Matthew Trumbull* 2015 Photos by Connolly Photo NYC |
THE BALTIMORE WALTZ by Paula Vogel
Directed by Peter Zinn
Starring:
Greg Oliver Bodine*, Heather E. Cunningham*, and Ricardo Rust*
2013
Photography by Ric Sechrest
Directed by Peter Zinn
Starring:
Greg Oliver Bodine*, Heather E. Cunningham*, and Ricardo Rust*
2013
Photography by Ric Sechrest
What role do you think Retro Productions plays in preserving and highlighting historical and cultural narratives through theater?
I love this question and this thought! I would love nothing more than to think Retro plays a part in preservation! But if I’m being honest - I don’t think we have that kind of influence. You kind of have to have a bigger footprint than we have for something like that, don’t you think?
That said, there are a lot of lesser-known 20th Century works that are wonderful plays and some of them were even ahead of their time. Watching some of them now reminds us that while, yes, we’ve come a long way, and we still have far to go, we have accomplished something. And I don’t think you can be a well-rounded person and not know, or at least be aware of, some of the minutiae of the 20th Century. That is, not just the big important historical dates, but also the cause and effect of some of those dates.
One of my personal earliest breakthroughs regarding history was about WWII and had nothing to do with the politics of war. It was the day I learned that the reason that ladies’ hemlines rose during the war was due to fabric rationing. So if Retro helps younger audiences in that regard, I’m thrilled for it. I recall doing a pop culture glossary for the MARY, MARY playbill and using a young colleague at my day job as an arbiter of whether something was obscure enough to include.
Certainly, there were things even I had to look up - but there were some that she had not heard of that shocked me: Leonard Bernstein, Schraft’s, WUTHERING HEIGHTS! These are important cultural touchstones, and I sincerely hope they will not be forgotten.
I love this question and this thought! I would love nothing more than to think Retro plays a part in preservation! But if I’m being honest - I don’t think we have that kind of influence. You kind of have to have a bigger footprint than we have for something like that, don’t you think?
That said, there are a lot of lesser-known 20th Century works that are wonderful plays and some of them were even ahead of their time. Watching some of them now reminds us that while, yes, we’ve come a long way, and we still have far to go, we have accomplished something. And I don’t think you can be a well-rounded person and not know, or at least be aware of, some of the minutiae of the 20th Century. That is, not just the big important historical dates, but also the cause and effect of some of those dates.
One of my personal earliest breakthroughs regarding history was about WWII and had nothing to do with the politics of war. It was the day I learned that the reason that ladies’ hemlines rose during the war was due to fabric rationing. So if Retro helps younger audiences in that regard, I’m thrilled for it. I recall doing a pop culture glossary for the MARY, MARY playbill and using a young colleague at my day job as an arbiter of whether something was obscure enough to include.
Certainly, there were things even I had to look up - but there were some that she had not heard of that shocked me: Leonard Bernstein, Schraft’s, WUTHERING HEIGHTS! These are important cultural touchstones, and I sincerely hope they will not be forgotten.
"That said, there are a lot of lesser-known 20th Century works that are wonderful plays and some of them were even ahead of their time. " 
GOOD BOYS AND TRUE by Roberto Aguirre-Secasa Directed by DeLisa M. White Featuring: C.K. Allen, Stephan Amenta, Heather E. Cunningham*, Rebecca Gray Davis, Ryan Pater* and Moira Stone*. 2015 Photographer: Connolly Photo NYC |
WHAT I DID LAST SUMMER by A. R. Gurney
Directed by Ric Sechrest Featuring: Lauren Coppola, Heather E. Cunningham, Lauren Kelston, Tim Romero, Ben Schnickel, and Aubrie N. Therrien. 2007 Photo by Lisa Arielle Allen |
MARY, MARY by Jean Kerr
Directed by Shay Gines Featuring: Heather E. Cunningham*, Desmond Dutcher*, Chris Harcum*, Meghan E. Jones, and Robert Franklin Neill* 2019 Photos by Connolly Photo NYC |
"So if Retro helps younger audiences in that regard, I’m thrilled for it. I recall doing a pop culture glossary for the MARY, MARY playbill and using a young colleague at my day job as an arbiter of whether something was obscure enough to include." |
Theater has changed so much over the last 20 years. How do you feel Retro Productions has adapted to shifts in the industry, particularly regarding representation and inclusion?
Yeah - so much. Twenty years ago, I should have been aware of a lack of inclusion and diversity in theater, but I was so naive. But in the last decade there have been many cultural movements as well as theatrical ones - from BLM to 50/50 in 2020. They have, albeit slowly, opened my eyes to the fact that as artistic director I have to do more. But one of the things I started to realize as I made room for more actors of color and female playwrights among others is that as a plus sized woman I am rarely presented in the entertainment industry as anything other than “best friend” or “clown;” as a middle aged woman I am rarely presented as anything other than “mother;” and as my body ages and begins to have mobility issues my possibilities get even narrower.
And so, as I navigated my own casting in my productions, I began to see myself as someone who was also able to play “passionate ally,” “explorer,” and “lover.” Not everyone agreed with me - in fact one very vocal audience member at our production of MARY, MARY loudly exclaimed how miscast I was. But in that same role I was nominated for an acting award and got great reviews, so, poo on that guy.
But… That experience showed me a unique position that I am in when working with playwrights. If a role is being written for me, I can ask that the role be written as a plus sized woman. Because in addition to no one being able to say I’m miscast in the role - I have created a role for other women of size who will never, ever be miscast in it due to their size.
Yeah - so much. Twenty years ago, I should have been aware of a lack of inclusion and diversity in theater, but I was so naive. But in the last decade there have been many cultural movements as well as theatrical ones - from BLM to 50/50 in 2020. They have, albeit slowly, opened my eyes to the fact that as artistic director I have to do more. But one of the things I started to realize as I made room for more actors of color and female playwrights among others is that as a plus sized woman I am rarely presented in the entertainment industry as anything other than “best friend” or “clown;” as a middle aged woman I am rarely presented as anything other than “mother;” and as my body ages and begins to have mobility issues my possibilities get even narrower.
And so, as I navigated my own casting in my productions, I began to see myself as someone who was also able to play “passionate ally,” “explorer,” and “lover.” Not everyone agreed with me - in fact one very vocal audience member at our production of MARY, MARY loudly exclaimed how miscast I was. But in that same role I was nominated for an acting award and got great reviews, so, poo on that guy.
But… That experience showed me a unique position that I am in when working with playwrights. If a role is being written for me, I can ask that the role be written as a plus sized woman. Because in addition to no one being able to say I’m miscast in the role - I have created a role for other women of size who will never, ever be miscast in it due to their size.
" I began to see myself as someone who was also able to play “passionate ally,” “explorer,” and “lover.”
WE ARE A MASTERPIECE by Gina Femia
Directed by DeLisa M. White Featuring: Heather E. Cunningham*, Pilar Gonzalez, Sam Heldt*, Chad Anthony Miller, Ben Schnickel, Ric Sechrest*, Sara Thigpen* and Matthew Trumbull* 2018 Photos by Connolly Photo NYC |
ON THE VERGE OR THE GEOGRAPHY OF YEARNING
by Eric Overmeyer Directed by Sara Thigpen Featuring: Kelsea Baker, Heather E. Cunningham*, William Franke*, Felicia J. Hudson*. 2022 Photos by Connolly Photo NYC |
Many of your productions explore intimate, often complex, human relationships. How do you think theater can help us better understand ourselves and our society?
I think all entertainment media have the capacity to teach us about ourselves and society. However, I think theater gets an extra gold star by way of the audience having to go out of their way to be in a room with the artists. It creates a connection that you do not get when you are watching a screen - even if that screen is in a theater. Screens create distance between people and in live theater that distance is diminished and that creates a more intimate atmosphere, even if you are in the last row of the largest Broadway house. When that happens, if you are really listening, you will learn something about yourself by your own reactions to the story.
I think all entertainment media have the capacity to teach us about ourselves and society. However, I think theater gets an extra gold star by way of the audience having to go out of their way to be in a room with the artists. It creates a connection that you do not get when you are watching a screen - even if that screen is in a theater. Screens create distance between people and in live theater that distance is diminished and that creates a more intimate atmosphere, even if you are in the last row of the largest Broadway house. When that happens, if you are really listening, you will learn something about yourself by your own reactions to the story.
'I think all entertainment media have the capacity to teach us about ourselves and society. "
THE RUNNER STUMBLES by Milan Stitt
Directed by Peter Zinn
Featuring: Jim Boerlin*, Becky Byers, Nat Cassidy*, Heather E. Cunningham,
Casandera M.J. Lollar, Joe Mathers, Christopher Patrick Mullen*,
Alisha Spielmann and Ric Sechrest*.
2011
Photos by Matilda Szydagis
Directed by Peter Zinn
Featuring: Jim Boerlin*, Becky Byers, Nat Cassidy*, Heather E. Cunningham,
Casandera M.J. Lollar, Joe Mathers, Christopher Patrick Mullen*,
Alisha Spielmann and Ric Sechrest*.
2011
Photos by Matilda Szydagis
|
WHEN YOU COMIN' BACK, RED RYDER?
by Mark Medoff Directed by Ric Sechrest Featuring: David Blais, Heather E. Cunningham, Dave T. Koenig, Casandera M. J. Lollar, Christopher Patrick Mullen*, Ben Schnickel, Matilda Szydagis*, and Richard Waddingham* 2009 Photo by Kristen Vaughan |
|
THE TENDER TRAP
by Max Shulman and Robert Paul Smith Directed by David Storck Featuring: C. K. Allen, Heather E. Cunningham, Matilda Szydagis*, Alex Herrald, Jim Kilkenny, Casandera M. J. Lollar, Elise Rovinsky and Ric Sechrest* 2008 Photo by Kristen Vaughan |
|
"And then there is the challenge of convincing people that it is worth their time to see something that maybe was written in the last century."
What challenges have you faced as an artistic leader in maintaining Retro’s mission and artistic integrity?
I feel the challenges are more external than internal.
The biggest challenge is always fundraising. No matter how many people come forward it’s never enough, no matter how much those donations yield, it’s never enough. We always need more money. And New York just keeps getting more expensive.
The second challenge, although for me this is the fun one, is figuring out how to do more with less. Necessity being the mother of invention, and all that jazz. I mean, sure, it would be great to throw money at every problem, but we simply can’t because, see above.
And then there is the challenge of convincing people that it is worth their time to see something that maybe was written in the last century. And while I see so many reasons to do it - a lot of people do not.
With Retro Productions being rooted in the past, how do you strike a balance between honoring history and staying relevant to modern audiences?
Unless the subject matter of the play is 100% historically documented you have artistic license - and even if it is - you have artistic license.
Now, I happen to be someone who wants to get the details right - but the details I’m concerned with are usually the shape of the chair leg, the silhouette of the skirt, the orchestration of the song - those are the details that I need us to get right. When it comes down to it there’s always going to be someone who says, “Women didn’t do that then,” or “My grandparents lived through the great depression and they never would have acted that way” (that last one is an actual comment I received on a production of a published play, but I digress). To those kinds of statements, I say “Throughout time there have been extraordinary people who have lived simple but extraordinary lives. Some women did do that, and yes, your grandparents certainly might have acted that way. You don’t actually know because you weren’t there, and they didn’t make it into the history books for it.”
So, one way we make the play relevant to an audience is by showing them the world they think they know - but at the same time we do it with the style and design (and often the mores) of a past time. Often humans actually need the distance of time to understand and relate to something in themselves.
On those odd times that I am working with a playwright from scratch we get to decide the rules of the world. So, during our last production, BETTYE AND THE JOCKETTES SPINNING RECORDS AT THE HOLIDAY INN, I suggested to Christie Perfetti Williams that since she was writing a comedy, and did not really want to include some historical realities of the time, that she take a rule out of the Schitt's Creek writer's room. On Schitt's Creek they decided that in their world there would be no homophobia. So, I said to Christie - Yes, your play takes place in 1956 in Memphis and that was not a perfect place. There was homophobia and racism everywhere… outside. But the play you are writing takes place entirely within the walls of WHER and you get to decide that it is a safe space if you want it to be. So she wrote a play in which the radio station was a safe space that had love for everyone in it regardless of race, creed, age, size, or sexual orientation - there may be homophobia and racism outside the front door - but inside, we are all safe and loved. And I think that is one of the really special things about the play.
I feel the challenges are more external than internal.
The biggest challenge is always fundraising. No matter how many people come forward it’s never enough, no matter how much those donations yield, it’s never enough. We always need more money. And New York just keeps getting more expensive.
The second challenge, although for me this is the fun one, is figuring out how to do more with less. Necessity being the mother of invention, and all that jazz. I mean, sure, it would be great to throw money at every problem, but we simply can’t because, see above.
And then there is the challenge of convincing people that it is worth their time to see something that maybe was written in the last century. And while I see so many reasons to do it - a lot of people do not.
With Retro Productions being rooted in the past, how do you strike a balance between honoring history and staying relevant to modern audiences?
Unless the subject matter of the play is 100% historically documented you have artistic license - and even if it is - you have artistic license.
Now, I happen to be someone who wants to get the details right - but the details I’m concerned with are usually the shape of the chair leg, the silhouette of the skirt, the orchestration of the song - those are the details that I need us to get right. When it comes down to it there’s always going to be someone who says, “Women didn’t do that then,” or “My grandparents lived through the great depression and they never would have acted that way” (that last one is an actual comment I received on a production of a published play, but I digress). To those kinds of statements, I say “Throughout time there have been extraordinary people who have lived simple but extraordinary lives. Some women did do that, and yes, your grandparents certainly might have acted that way. You don’t actually know because you weren’t there, and they didn’t make it into the history books for it.”
So, one way we make the play relevant to an audience is by showing them the world they think they know - but at the same time we do it with the style and design (and often the mores) of a past time. Often humans actually need the distance of time to understand and relate to something in themselves.
On those odd times that I am working with a playwright from scratch we get to decide the rules of the world. So, during our last production, BETTYE AND THE JOCKETTES SPINNING RECORDS AT THE HOLIDAY INN, I suggested to Christie Perfetti Williams that since she was writing a comedy, and did not really want to include some historical realities of the time, that she take a rule out of the Schitt's Creek writer's room. On Schitt's Creek they decided that in their world there would be no homophobia. So, I said to Christie - Yes, your play takes place in 1956 in Memphis and that was not a perfect place. There was homophobia and racism everywhere… outside. But the play you are writing takes place entirely within the walls of WHER and you get to decide that it is a safe space if you want it to be. So she wrote a play in which the radio station was a safe space that had love for everyone in it regardless of race, creed, age, size, or sexual orientation - there may be homophobia and racism outside the front door - but inside, we are all safe and loved. And I think that is one of the really special things about the play.
"Unless the subject matter of the play is 100% historically documented you have artistic license - and even if it is - you have artistic license. "
|
STILL LIFE a documentary by Emily Mann
Directed by Ric Sechrest Starring: Heather E. Cunningham, Erik Potempa, and Kristen Vaughan. 2007 Photo by David Anthony |
|
WOMEN AND WAR by Jack Hilton Cunningham
Featuring: Lowell Byers, Heather E. Cunningham, Lauren Kelston, Casandera M. J. Lollar and Elise Rovinsky. 2012 Photography by Ric Secrest |
|
"Throughout time there have been extraordinary people who have lived simple but extraordinary lives. Some women did do that, and yes, your grandparents certainly might have acted that way. You don’t actually know because you weren’t there and they didn’t make it into the history books for it.”
AN APPEAL TO THE WOMAN OF THE HOUSE
by Christie Perfetti Williams
Featuring:
James Armstrong*, Heather E. Cunningham*, Shaun Bennet Fauntleroy, John Graham, Laura Killeen, Daryl Lathon*, Elise Rovinsky, Ben Schnickel and Ric Sechrest*
2014
Photographer: Connolly Photo NYC
by Christie Perfetti Williams
Featuring:
James Armstrong*, Heather E. Cunningham*, Shaun Bennet Fauntleroy, John Graham, Laura Killeen, Daryl Lathon*, Elise Rovinsky, Ben Schnickel and Ric Sechrest*
2014
Photographer: Connolly Photo NYC
THE DESK SET by William Marchant
Directed by Tim Errickson
Featuring: Heather E. Cunningham, Douglas B. Giorgis*, Stuart Green, Anne Shapland Kearns, Ric Sechrest*, Alisha Spielmann, Matilda Szydagis*, Aubrie Therrien, Matthew Trumbull*, and Kristen Vaughan.
2010
Photo by Jordana Zeldin
Directed by Tim Errickson
Featuring: Heather E. Cunningham, Douglas B. Giorgis*, Stuart Green, Anne Shapland Kearns, Ric Sechrest*, Alisha Spielmann, Matilda Szydagis*, Aubrie Therrien, Matthew Trumbull*, and Kristen Vaughan.
2010
Photo by Jordana Zeldin
So, she [Christie Perfetti Williams] wrote a play in which the radio station was a safe space that had love for everyone in it regardless of race, creed, age, size, or sexual orientation - there may be homophobia and racism outside the front door - but inside, we are all safe and loved. And I think that is one of the really special things about the play.
BETTYE AND THE JOCKETTES SPINNING RECORDS AT THE HOLIDAY INN
by Christie Perfetti Williams
Directed by Sara Thigpen
Featuring: Tracey Beltrano*, Heather E. Cunningham*, Joe Mathers, Marie Elena O'Brien*, Alisha Spielmann*, Matthew Tarricone, Morgan Nadia Williams.
2024
Photo by Reed Yurman
by Christie Perfetti Williams
Directed by Sara Thigpen
Featuring: Tracey Beltrano*, Heather E. Cunningham*, Joe Mathers, Marie Elena O'Brien*, Alisha Spielmann*, Matthew Tarricone, Morgan Nadia Williams.
2024
Photo by Reed Yurman
|
In what ways would you like Retro Productions to contribute to culture and the broader theatrical landscape in the next 20 years? Oh my. Well, that’s a tough one. It would be fun to work directly with more playwrights to develop more work but that was never my MO. I would love to find out years from now that someone discovered something of value because of Retro. Or to learn that some young adult is now a theater goer because they saw one of these plays as a kid - like I did. |
DEAR RUTH by Norman Krasna
Directed by Richard Roland** Featuring: Becky Byers, Heather E. Cunningham, Shay Gines, Douglas B. Giorgis*, Joe Mathers, David Sedgwick*, Alisha Spielmann, Matilda Szydagis*, and Matthew Trumbull* 2011 Photo by Kristen Vaughan |
If you could collaborate with any playwright, past or present, who would it be, and why?
You mean, besides you? ;)
I felt very fortunate to have produced two of Sally Nemeth’s plays. She was a truly lovely writer and the times I spoke with her (long distance phone and email) she could not have been nicer. I was just devastated when I heard of her passing. She had moved to the other coast and was writing for television and so had not written any more plays by the time I found her work, but I always wished there was another Retro Nemeth production. Her work was feminist and she had a sense of both outrage and simplicity that I admired. At the heart of her work there was mourning and heartbreak and beauty.
You mean, besides you? ;)
I felt very fortunate to have produced two of Sally Nemeth’s plays. She was a truly lovely writer and the times I spoke with her (long distance phone and email) she could not have been nicer. I was just devastated when I heard of her passing. She had moved to the other coast and was writing for television and so had not written any more plays by the time I found her work, but I always wished there was another Retro Nemeth production. Her work was feminist and she had a sense of both outrage and simplicity that I admired. At the heart of her work there was mourning and heartbreak and beauty.
MILL FIRE by Sally Nemeth
Directed by Angela Astle Featuring: Mark Armstrong, Heather E. Cunningham, Cliff Jéan, Lauren Kelston, Jim Kilkenny, Mike Mihm, Aimiende Negbenebor, Elise Rovinsky, Kristen Vaughan. 2008 Photography by Kristen Vaughan |
HOLY DAYS by Sally Nemeth
Directed by Peter Zinn Starring: Lowell Byers, Heather E. Cunningham, Joe Forbrich* and Casandera M. J. Lollar. 2009 Photography by Jordana Zeldin |
One interview hardly seems sufficient to encompass over twenty years of art, ambition, and sheer determination. So I leave this article here, not as a definitive chronicle but as a moment of reflection, something that, like fine wine or great storytelling, requires a bit of digestion.
We live in dark times now—a moment in history when burying the past has become almost fashionable, a convenient way to sidestep its lessons, its uncomfortable truths. But the past is where the great lessons lie, where we see ourselves most clearly and where we find the keys to understanding what brought us here. Retro’s work feels more necessary than ever, digging through the strata of our shared history and holding it up to the light, with all its cracks and beauty intact.
In doing so, they remind us that facing our history is not a burden but a privilege, an act of courage and creation. And in tracing the arc of Retro Productions—not in the strict linearity of a timeline but with the emotional ebb and flow that great art demands—I find myself admiring Heather Cunningham even more.
I do owe her a play—this much is clear. What Retro has built is no small thing. It is monumental, a testament to what happens when passion meets persistence, when the past and present entwine to forge something truly extraordinary.
And so, I step away from this page, humbled by their history and hopeful for their future. Here’s to the next twenty years.
We live in dark times now—a moment in history when burying the past has become almost fashionable, a convenient way to sidestep its lessons, its uncomfortable truths. But the past is where the great lessons lie, where we see ourselves most clearly and where we find the keys to understanding what brought us here. Retro’s work feels more necessary than ever, digging through the strata of our shared history and holding it up to the light, with all its cracks and beauty intact.
In doing so, they remind us that facing our history is not a burden but a privilege, an act of courage and creation. And in tracing the arc of Retro Productions—not in the strict linearity of a timeline but with the emotional ebb and flow that great art demands—I find myself admiring Heather Cunningham even more.
I do owe her a play—this much is clear. What Retro has built is no small thing. It is monumental, a testament to what happens when passion meets persistence, when the past and present entwine to forge something truly extraordinary.
And so, I step away from this page, humbled by their history and hopeful for their future. Here’s to the next twenty years.
TO DONATE TO RETRO PRODUCTIONS
GO HERE
Learn more about Heather Cunningham
Bio:
Heather E. Cunningham is primarily a stage actress located in New York City. She is the winner of the 2014 New York Innovative Theatre Award for Outstanding Actress in a Lead Role and has been nominated for the same award in 2019 and 2011 as well as Outstanding Ensemble that year. In 2007 she was named a Back Stage East "Performance to Remember."
Heather has performed off Broadway for The Bleecker Company and New York Theatre Workshop and off-off Broadway for Nylon Fusion Theatre Company, The Brick, MTWorks, the Soundtrack Series, Metropolitan Playhouse's Living Literature Festival, Boomerang Theater Company, TOSOS, Young Playwrights, Threads New Works Series, Kef Productions, The Vital Theatre, and New York Play Development, among others. In addition to regional theatre and national tours, her residency at the historic Hedgerow Theatre included appearances in over a dozen productions. Heather has performed in cabaret venues around New York City, and her solo debut "Boy Wanted" was performed at Don't Tell Mama in New York City in 2003. In October 2003 she and two other women formed River Heights Productions. They had their first production in March of 2005. When RHP disbanded Heather continued its mission statement renaming the company Retro Productions. In 2025, Retro celebrates its 20th year producing indie theater. To date Retro has been nominated for a total of 34 New York Innovative Theatre Awards, winning three and being named the 2017 Caffe Cino Fellowship Award Winner for Outstanding Continued Work in Off-Off Broadway.
Heather is a proud member of the Mozzlestead Development Team, SAG-AFTRA, Actors' Equity Association, and Retro Productions.
Heather was born in Brooklyn, New York. Her father, Jack, is a former set designer and his play, Women and War, is published by Samuel French. Her mother, Rebecca, is a retired professor of costume design and construction at Brooklyn College, as well as the author of the costume text The Magic Garment, Principles of Costume Design. Always knowing she wanted to be in the theater, Heather won many performance scholarships to both the Berkeley Carroll School where she went to 7th through 12th grades, and Denison University, where she graduated with a Bachelor of Fine Arts in Theatre Performance. Heather's first public performance was singing "Away in a Manger" for Christmas Services when she was so young she barely remembers it.
Heather E. Cunningham is primarily a stage actress located in New York City. She is the winner of the 2014 New York Innovative Theatre Award for Outstanding Actress in a Lead Role and has been nominated for the same award in 2019 and 2011 as well as Outstanding Ensemble that year. In 2007 she was named a Back Stage East "Performance to Remember."
Heather has performed off Broadway for The Bleecker Company and New York Theatre Workshop and off-off Broadway for Nylon Fusion Theatre Company, The Brick, MTWorks, the Soundtrack Series, Metropolitan Playhouse's Living Literature Festival, Boomerang Theater Company, TOSOS, Young Playwrights, Threads New Works Series, Kef Productions, The Vital Theatre, and New York Play Development, among others. In addition to regional theatre and national tours, her residency at the historic Hedgerow Theatre included appearances in over a dozen productions. Heather has performed in cabaret venues around New York City, and her solo debut "Boy Wanted" was performed at Don't Tell Mama in New York City in 2003. In October 2003 she and two other women formed River Heights Productions. They had their first production in March of 2005. When RHP disbanded Heather continued its mission statement renaming the company Retro Productions. In 2025, Retro celebrates its 20th year producing indie theater. To date Retro has been nominated for a total of 34 New York Innovative Theatre Awards, winning three and being named the 2017 Caffe Cino Fellowship Award Winner for Outstanding Continued Work in Off-Off Broadway.
Heather is a proud member of the Mozzlestead Development Team, SAG-AFTRA, Actors' Equity Association, and Retro Productions.
Heather was born in Brooklyn, New York. Her father, Jack, is a former set designer and his play, Women and War, is published by Samuel French. Her mother, Rebecca, is a retired professor of costume design and construction at Brooklyn College, as well as the author of the costume text The Magic Garment, Principles of Costume Design. Always knowing she wanted to be in the theater, Heather won many performance scholarships to both the Berkeley Carroll School where she went to 7th through 12th grades, and Denison University, where she graduated with a Bachelor of Fine Arts in Theatre Performance. Heather's first public performance was singing "Away in a Manger" for Christmas Services when she was so young she barely remembers it.
