Feature: CODY DULL and Stage Left Productions
A Jewel in a Beautiful Box in the West Valley
By: Jeanmarie Simpson Apr. 27, 2021
Set Design Erik Reid, Costume Design Cody Dull, Lighting Stacy Keller
ABOUT CODY DULL
Originally from Columbia Falls Montana, Cody began doing theatre at the age of 16 on a whim. After participating in the school's state-winning speech and debate team Cody auditioned and got a part playing Dale, a high school jock (go figure), in his high school production of A Midsummer Night's Midterm. He then took it a step further and auditioned for the Whitefish Theatre Company's Production of Pirates of Penzance and ended up getting cast as one of the bumbling cops. The director saw his potential and helped Cody get an audition with the Bigfork Summer Playhouse, where he ended up getting cast in Joseph and The Amazing Technicolor Dreamcoat and working backstage for Little Shop of Horrors. Cody began directing at the age 18. The first show he directed was Oscar Wilde's The Importance of Being Earnest. From the get-go Cody embraced the advice to go big or go home. The show ended up not being the best experience from actors quitting after getting better offers, to rehearsal venues canceling, but Cody prevailed and did the best he could. That experience didn't stop him - it made him work harder and do better. After attending community college, Cody transferred to Nebraska Wesleyan University in Lincoln Nebraska to continue his theatre education. Fun fact! He drew this college (yes drew) out of a hat. He knew that to get more experience he would have to leave Montana and he did. He got in a car and drove the 1200 miles to Lincoln having never been to Lincoln before except for a college visit two months prior. The first year at this college was very rough having never been away from home by himself and the college not being all roses and cherry blossoms. Cody ended up dropping out for a couple of years. Then one night, while working overnight at a Gas station, Cody's professor came in early one morning to get the paper to read a review of "Pippin." After he left Cody realized that he needed to get back to college and he did.
Again working harder and doing better Cody gained the respect of the theatre professors and became the first in his family to have a college degree. After graduation, Cody spent the summer in Scottsbluff Nebraska as a Prop Master for Theatre West. (You got to pay our dues, right?). After that summer Cody drew a city out of his hat and, along with his newly found love Rodney, moved to Scottsdale Arizona. Cody worked with a few theatres before finding his true home, Stage Left Productions. Cody truly believes that people come into your lives for a reason and he has many people that he would like to thank first and for most Rodney who is 100% supporting of his career choice. One of my favorite quotes is from the play "I'll Eat You last: A Chat with Sue Mengers" it goes, where would we be without those people who believe in us, those brave souls who take a second to glance our way and say, "What the f**k, Why not?"" Cody has many of those souls in his life, Skip, Riley, Nancy, Linda and of course, his mother who was his biggest fan.
ABOUT STAGE LEFT
Stage Left was founded in 2016. It's first production was "Exit Laughing" the show opened in May of 2016. Stage Left's first home was Ventana Lakes Yacht Club in Sun City where it performed for two years, then Stage Left also partnered with Paradise RV resort Ballroom. In 2018 Stage Left signed a lease and began construction on its current location in the Bell Mar Plaza. The first show to open in its new space was an Arizona Premiere of Steve Martin's Musical "Bright Star" in May of 2019 Since its inception stage left has produced 41 productions both adult and kids. We have served 15000 patrons have worked with over 500 actors and crew and has performed almost 300 performances. This year's holiday show "Tuna Christmas" will be stage left's 50th production.
Mission Statement
Stage Left Productions was created to provide an outlet for creative community involvement while seeking to produce quality entertainment.
Thank you for taking the time to answer my questions today, Cody.
You are very welcome my pleasure. Thank you for taking the time to ask them.
The unpretentiousness of your mission is impressive, especially in light of the consistent excellence and grand body of work you've achieved in such a short time. I wonder if your humility contributes to your ability to do so much great work so steadily.
I would definitely say that my humility has contributed to my work. I love theatre plain and simple. I enjoy reading it, I enjoy watching it, I enjoy producing it. I love how theatre can tell a story of human connection in a world full of technology theatre is needed now more than ever! I have always enjoyed people, getting to know them, talking to them, you would be amazed by the sheer joy on someone's face when you remember their name or a little fact about them. I think that definitely helps me work so steadily. I often pride myself on the fact that I can name almost all of the season ticket holders by name. It's very important to know people and to connect with them whether they are patrons, crew, or actors.
I've only been to your new venue - can you unpack how the design came to be, et cetera? It's a beautiful space, so elegant and comfortable for patrons.
When it came time to design the layout, I really didn't have a design in mind. I did know that I wanted the seat to be raised so that there wasn't a bad seat in the house, I was mainly thinking of the patrons. The wonderful gentlemen at Duo Design in Phoenix came up with the idea of the curved walls and the relaxing colors of the theatre. I can't tell you how many people are amazed when they walk into space for the first time. They are taken back that this isn't just some small theatre in a strip mall. I wanted it to be beautiful and simple.
I haven't been backstage - is it as user-friendly for the actors as it is for the audience?
The backstage isn't as grand as the audience seating however there is just enough space for the actors to do their job. When you walk into the theatre there is a hallway to your left and that wraps around to the other side of the audience there is space for hair and make-up and four dressing rooms much like ones that are in changing rooms in clothing stores actors have a little table and mirror and a plug in to do what they need to do. There is room on both sides of the stage for sitting.
Your programming thus far seems designed for mass appeal, and it looks as though you have a strong patron base. Do you have plans to delve into original work at all?
I am interested, yes. However, I feel that it's very hard to find really great originals. I really try my hardest to pick great scripts, ones that are well written, have excellent character development, and most importantly something our patrons can connect to. There are so many other wonderful theatre companies that offer original work and they do a great job producing those works. I guess overall I like the scripts that we produce to be a little more developed. Yet if the script is well written and isn't too avant-garde I would consider it.
Can you describe your criteria for choosing the plays you produce?
Much I already covered on the question above but to elaborate more. I like good solid scripts much like how Joan Crawford and Bette Davis liked to act in great scripts. I like to produce great scripts. I lean toward small casts of fewer than 10, stories that people can relate to. We definitely do many of what I like to call "dramedies," ones that have comedic and dramatic elements. I like for the patrons to get sucked into the stories we tell. and yes sometimes we throw in some shows that are meant to be pure entertainment. My main goal however is to tell great stories whether it be a classic like Cat On A Hot Tin Roof or a more contemporary play like Velocity of Autumn.
Did you start out as a non-profit, when the company was founded in 2016?
Yes, the company received its nonprofit status in February of 2016 and we haven't look back :)
I assume you're the founding artistic director. Is that correct?
Yes, I am the founding artistic director and darn proud of it :)
You don't have any fancy degrees in entrepreneurship or management, yet your steady progression is astounding. I realize that you love theatre and obviously have enormous talent and skill, but how in the world are you SO ORGANIZED AND RESOURCEFUL?
I feel having a BFA in Directing is a strong degree to have in order to be a good director you have to be well organized, a good listener, and a leader. I actually have a minor in business and History. I have always had the ability to switch from business to artistic with no problems. You have to be well organized and well-rounded to run any organization. You also have to have a passion for what you're doing otherwise it's no fun. :)
How did you know to choose the nonprofit route?
We choose the non-profit route because we feel that giving back to the community is important and it grounds the theatre with the community.
Also - you don't have a background with AEA contract work, yet you have been hiring guest artists and seem to be on track toward an SPT, at minimum. To what do you attribute your savvy???
We only did one show with an AEA actor, as of now we have no plans to work with AEA actors. Not that AEA is bad, it was a wonderful experience yet there are so many wonderful and talented non-AEA actors in the valley that can mesmerize and captivate our audiences. I attribute my savvy by working with such actors that make my vision of the productions come to life. We do pay our actors well considering we are a small company. Actors are treated well with the utmost respect and most importantly they play a very vital role in the creation process.
We are an independent professional theatre. We pay our actors decently. We are up there with most other theatres in the valley. Community theatre implies that no one gets paid including the director. We mainly rehearse Saturdays during the day between 4-10 hrs and some evenings for 3 hrs. Performances usually run 3-4 weeks depending on the year.
For more information, visit www.stageleftaz.com.
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