A note from an Undergraduate Research Assistant on the eve of her graduation

Erin Birthchfeild (She/Her) Undergraduate Research Assistant 

Is a graduating Theater Major with a focus in Directing. She was the 23/24 President of the Mason cast of Alpha Psi Omega Theatre Honor Society and Development Manager for the Mason Players. Recent Directing work at Mason includes Thrive or What you Will and Assistant Director for 9 to 5 the Musical and Hunchback of Seville. Erin is graduating from GMU this May and is looking forward to the future. Connect with Erin on Linkedin https://www.linkedin.com/in/erin%2Dbirchfield%2Da340112b2/


As Research Assistant for the LORT Comparison Project this year, I have learned a whole lot about the LORT Theater system and the range of different performance spaces and the various ways they are grouped together, whether it be LORT Grade, stage configuration, or any of the other data we have been collecting.  

In October, I began working on this project collecting publicly available information from LORT D theater websites.  The data I was most often able to find was stage shape, audience capacity, and mission statement.  Occasionally there would be information on square footage, special stage features (trap, turntable, etc.), but from the websites alone, there have been lots of gaps in our data, as is natural for this stage of our research.  

Something that has particularly struck me is how different spaces can be within the groupings at this level.  LORT D spaces vary dramatically, particularly with stage shape and audience capacity, while, as we move on to LORT C, there is a definite drop off in stage variation.  For example, LORT D spaces with thrust configurations, have audience capacities ranging from 75 to over 750.  There are also a large number of thrust and flexible spaces.  In our LORT C category, there are 20 theatres and over half have proscenium configurations.  Though we have not yet started on LORT B and A, I am confident that this trend continues.  As theatres have more status and funding, they also have more established programming and are seemingly more likely to have more traditional large proscenium spaces.

In January and continuing throughout this semester, we have begun contacting theatres directly with the goal of filling in the gaps in our data.  We have begun with simply asking for stage drawings, but will continue asking for further information as the project continues.  

As my time as research assistant concludes, I am excited to see the future of this exciting project!

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