{"id":113482,"date":"2024-08-20T11:18:37","date_gmt":"2024-08-20T15:18:37","guid":{"rendered":"http:\/\/www.bu.edu\/cfa\/?post_type=bu-article&p=113482"},"modified":"2024-12-13T16:18:28","modified_gmt":"2024-12-13T21:18:28","slug":"beyond-the-classroom-gregg-wiggans","status":"publish","type":"bu-article","link":"https:\/\/www.bu.edu\/cfa\/news\/articles\/2024\/beyond-the-classroom-gregg-wiggans\/","title":{"rendered":"Beyond the Classroom: Gregg Wiggans (CFA’25)"},"content":{"rendered":"\t
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Boston University MFA directing student Gregg Wiggans (CFA’25) worked with Drama Desk and Obie Award-winning Director Jack Cummings III on Stephen Sondheim’s Follies at Carnegie Hall. Photo by Grace Copeland<\/p>\n\t\t\t\n\n\t\t\t\n\t\t\t\t

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\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\tCollaborating with a theater dream team: My experience associate directing Follies<\/em> at Carnegie Hall\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/h1>\n\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\t\t

In CFA\u2019s Beyond the Classroom Series, music, theatre, and visual arts students at BU share their professional work experiences. These Terriers express how the resources at BU prepared them for success beyond the classroom.<\/em><\/h4>\n\t\t\t\t\t\t\n\t\t\t\t\t<\/div>\n\n\t\t\t\t<\/div>\n\n\t\t\t\n\t\t<\/div>\n\n\t\t\n\t<\/div>\n\n\t\n
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August 20, 2024<\/div>\n\t\t\n\t\t\t\t
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Beyond the Classroom: Gregg Wiggans (CFA’25)<\/h2>\n\n\n\n

Backstage in New York City’s Carnegie Hall, photos of past performers can be found, from great musicians to speakers, and even Albert Einstein! For MFA Directing student Gregg Wiggans<\/strong> (CFA’25), standing on the same floor that these individuals stood on was a moment to remember. A reminder that “my work is [also] valid to someone.” <\/p>\n\n\n\n

What was Gregg doing backstage at Carnegie Hall? This summer, Gregg associate directed Stephen Sondheim’s Follies <\/em>at Carnegie Hall<\/a>. The concert series, put on by Transport Group Theater Company<\/a>, showcased a lineup of 50 actors – including 14 Tony Award winners and 38 nominees – and a 30-piece orchestra. The one-night show sold out Carnegie Hall in less than 24 hours. <\/p>\n\n\n\n

Gregg recently spoke with CFA about his experience working with Drama Desk and Obie Award-winning Director Jack Cummings III, Music Director and Conductor Joey Chancey, Artistic Producer Hannah Oren, and a cast of Broadway actors on Follies<\/em>. He cherishes the experience and found himself working with a dream team of “all-hands-on-deck” artists. He also shares an important lesson learned… it’s okay to celebrate one’s work as an artist. Actually, it’s needed. <\/p>\n\n\n\n

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From left: Jack Cummings III (Director, Follies and Artistic Director – Transport Group Theater Company), Gregg Wiggans (Associate Director, Follies), and Hannah Oren (Artistic Producer, Transport Group) at Carnegie Hall.<\/p><\/figcaption><\/figure><\/div><\/div>\n\n\n\n

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From left: Hannah Oren (Artistic Producer, Transport Group), Gregg Wiggans (Associate Director, Follies), and Theresa Flanagan (B\u2019way Stage Manager, Camelot, Corruption)<\/p><\/figcaption><\/figure><\/div><\/div>\n<\/div><\/div>\n\n\n\n

Q&<\/span>A<\/h2>

WITH GREGG WIGGANS (CFA’25)<\/h4><\/div>\n

CFA:<\/span> Tell us about your time Associate Directing Follies<\/em> at Carnegie Hall.<\/span><\/h3>\n\n\n\n

Gregg:<\/span> Associate directing Stephen Sondheim’s Follies<\/em> at Carnegie Hall on June 20th<\/sup> was a chance I seized. The concert series, put on by Transport Group Theater Company<\/a>, showcased a lineup of 50 actors, including 14 Tony Award winners and 38 nominees; all accompanied by an impressive 30-piece orchestra. The mega wattage of talent SOLD OUT Carnegie Hall in less than 24 hours. It was wild.

As an Associate Director, I collaborated with Music Director and Conductor Joey Chancey, Drama Desk and Obie Award-winning Director, Jack Cummings III, and Artistic Producer, Hannah Oren. It was truly a dream team of \u201call-hands-on-deck\u201d artists.<\/span><\/p>\n<\/section>\n\n\n\n

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CFA:<\/span> How did you learn about this opportunity, and what steps did you take to secure it?<\/span><\/h3>\n\n\n\n

Gregg:<\/span> I have worked with Director Jack Cummings III, as Associate Director, on over 10 off-Broadway and regional theater productions. We\u2019ve developed new musicals together, as well as, revisiting \u201cAmerican classics\u201d with a contemporary examination. With every collaboration, Jack encourages me to step up to our industry and to be seen. He is a great champion and mentor. His process allows us all to learn in the moment. That collective ownership allows the \u201csuccess\u201d of Follies<\/em> at Carnegie Hall to be a truly shared success.<\/span><\/p>\n<\/section>\n\n\n\n

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From left: Gregg Wiggans (Associate Director, Follies)<\/em>, Theresa Flanagan (B\u2019way Stage Manager, Camelot, Corruption<\/em>), and Jack Cummings III (Director, Follies<\/em> and Artistic Director – Transport Group Theater Company). Photo by Grace Copeland<\/p><\/figcaption><\/figure><\/div><\/div>\n\n\n\n

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Drama Desk and Obie Award-winning Director Jack Cummings III. Photo by Grace Copeland<\/p><\/figcaption><\/figure><\/div><\/div>\n<\/div><\/div>\n\n\n\n

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CFA:<\/span> What are some of your accomplishments from this experience?<\/span><\/h3>\n\n\n\n

Gregg:<\/span> Carnegie Hall alone is a huge sense of accomplishment. Backstage they have old photos of everyone who has been on that stage: great musicians, speakers, and even Albert Einstein. If only for a day, I stood on the floorboards of greatness.
 
The experienced artists, from Jennifer Holiday, Beth Level, to Christine Ebersole, Katie Finneran\u2026 every performer in Follies<\/em> is a Broadway star. Talking with each artist and observing how each artist approached and interpreted the material was a learning experience that surpasses any classroom setting. Masterclass performances were given at Carnegie Hall.<\/span><\/p>\n\n\n\n

CFA:<\/span> How did the coursework at CFA connect with your experience at Carnegie Hall?<\/span><\/h3>\n\n\n\n

Gregg:<\/span> The MFA Directing program<\/a> here at BU allows opportunity for you to try ideas and pivot, quickly. Entering a high-pressure situation where you have less than 24 hours to stage a concert adaptation of Follies<\/em> with a cast of 50 and orchestra of 30 \u2013 you must be willing to try something else. Ideas are flexible; other artists’ questions and experimentations only strengthen the process, sharing the ownership of production. This is true if you\u2019re an undergraduate, Master’s student, or Tony Award winner.<\/span><\/p>\n\n\n\n

CFA:<\/span> In what ways do you think this career opportunity has helped you prepare for your work beyond BU?<\/span><\/h3>\n\n\n\n

Gregg:<\/span> I am not sure how this will help me prepare for my career or work beyond BU exactly \u2013 Please someone tell me!

What I do know about this opportunity is, it was important for me. For some reason, I needed the personal validation of standing on that stage, with those artists to know that I CAN. I can hang with the best of them. I can be the artist that legends, whom I respect, turn to and say, \u201cWhere do you want me to go?\u201d Or \u201cWhat are we thinking for this moment?\u201d It does something to your confidence. I made the team!<\/span><\/p>\n\n\n\n

CFA:<\/span> What did you learn about yourself?<\/span><\/h3>\n\n\n\n

Gregg:<\/span> Except for [social commentator] Fran Lebowitz, I think most artists have some degree of imposter syndrome. I know that true in my case and I think moments like Carnegie Hall are gentle reminders that my work is valid \u2013 to someone. And that\u2019s not to be underestimated. It can be easy for an artist to live in a protective shell to immune themselves from criticism- because we will always create and there will always be criticism. It\u2019s okay to celebrate your work. In fact, it\u2019s necessary.<\/span><\/p>\n<\/section>\n\n\n\n

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I think most artists have some degree of imposter syndrome. I know that true in my case and I think moments like Carnegie Hall are gentle reminders that my work is valid \u2013 to someone. And that\u2019s not to be underestimated. It can be easy for an artist to live in a protective shell to immune themselves from criticism- because we will always create and there will always be criticism. It\u2019s okay to celebrate your work. In fact, it\u2019s necessary.<\/div>