My play: Angels in America

I did not write Angels, Tony Kushner did, but I desperately want to produce it at Bryn Mawr College. I have poured my heart and soul into planning this piece and I’m still being held back, mostly by sheer lack of support. I’m inches away from being able to book the space, just waiting on permission from above. I still need crew members, though!
What do you need?
My crew needs include:

Assistant director–flexible duties, but the basic outline is thus:

• Auditions: manage technical side—getting forms to people, getting people where they’re supposed to be
• Rehearsals: Run warm-ups, make sure someone has set up the rehearsal space (the ‘set’), take blocking and direction notes, keep track of the timing of the show and of breaks, run the prompt book/fill in for missing actors
• Tech: Make sure actors are present and ready to start, give fifteen-minute etc. warnings
• Performance: Arrange for the running of the box office

Props manager–does what it says on the tin. Also keeps an eye on the set dressing and quick costume changes.
Light board and sound board ops–responsible for setup, breakdown, testing, and operations of the light board, projector, and sound board.
Running crew, at least 2–mostly gets the set on and off, fill in where hands are needed

I am extremely organized and good with management, and I will not waste your time calling you when I don’t need you or scheduling unnecessary meetings. I want to keep this manageable for my designers, so I have much of the preproduction work already done.

Why Angels?
Angels in America’s tagline is “A gay fantasia on national themes” which about sums it up perfectly. It’s about people being beautifully complicated, flawed humans during the AIDS crisis, and also nonmetaphorical angels. It’s funny, serious, painful, and exhilarating.
It’s a two-part play, each part fully capable of being a four hour show, so those who want to do both parts usually do them in repertory or adjacent seasons. I want to do Part 2: Perestroika. Why Part 2? Millennium is a story of degradation, and works fine as a story on its own, but it’s almost misleading to leave it there when you know the plot of Perestroika, which is a story of getting your shit together. Harper gets more agency, Mormon mother Hannah makes friends with Prior, and Belize finds someone to say Kaddish for a man he hates. Plus more angels and Prior going to Heaven to yell at them about how bad their plan is.

See a trailer made from the HBO series

More complete synopsis:
Angels chronicles the intersecting lives of seven people living through the AIDS crisis. During the first part, Millennium Approaches, Louis leaves his boyfriend Prior after Prior is diagnosed with AIDS. Thankfully, his old friend Belize is there to help him stay sane. Meanwhile, closeted Mormon Joe deals with his Valium-addicted wife Harper, who wants the truth, and a job offer in Washington. Roy, Joe’s heartless boss, is diagnosed with AIDS, and Hannah, Joe’s mother, could react better when her son calls her up to tell her he’s a homosexual. But, strangest of all, Prior is having visions…
Perestroika picks up where Millennium leaves off. Prior is visited by an angel with a bizarre story of human unpredictability having driven God away, leaving the angels to run Heaven. She names Prior as the prophet chosen to tell the people to stop moving. Belize is worried about his friend, but he’s soon distracted when Roy comes under his care, followed by the ghost of Ethel Rosenberg, who wants to watch her murderer die. Joe leaves Harper and ends up with Louis, but while Louis is wracked with guilt over leaving Prior, Joe couldn’t be happier. Hannah comes in from Salt Lake to try and salvage the mess of her son’s household, and does succeed at rescuing Harper from a nervous breakdown and the cops, and Prior when he collapses on her doorstep. When the angel returns for Prior, he refuses the job, and she takes him to Heaven to confront the other angels.

You really wanna do this show, huh?
I’ve never fallen in love with a play like this before. I have put enough of myself into it already that it will hurt like losing a lover if I have to cancel it, no exaggeration.
The honest truth? Depression took away my ability to be excited about things, and even though I’m on the right meds now, I can still only access excitement, real interest, in two things. This is one of them.

This is a really complicated play, what makes you think you can do it anyway?
I’m good at what I do. That’s not narcissism, honestly, I have terrible self esteem but there are two things I know I am good at and those are writing poetry and directing plays. I’m detail oriented and well-prepared and I grew up in this business, literally. My mother’s been directing plays since I was five. I’ve been directing things since I was thirteen, and one of those (at fourteen) was a feature length movie I wrote. I’m twenty-one now; I’ve learned a lot. I’ve been planning this show for over a year. I already have a set design, a props list, a sound effects list, etc. I know I can get the rights, I’ll barely have to build anything, and I know where to go for answers when I have problems. I just physically can’t be in twelve places at the same time, so I have to delegate.

I want to read quotes from the show and see the process of you agonizing over this show. 
On Tumblr:
In chronological order (click this one for quotes)
Most recent first

I’m too busy.
If you’re directing or stage managing a show in Spring, or if you have five classes and a job, yes, you are. Otherwise, I can probably find something for you to do that will only involve you being busy next February or March. Show dates will not conflict since it’s so early–everyone else does their plays in April. Again, I will keep the process as streamlined as possible so as not to cause delays.

Wait, when is this?
Yeah, I can’t book Goodhart in April or May, and I don’t want to produce a show and write a thesis at the same time over fall, so it’s a year-long production. Auditions, tablework, and most of the rehearsals in fall, late rehearsals, tech, and performances in February or March, depending on when I get space. That spread-out schedule means I don’t have to get as much done in as short a time, so everyone gets to be less busy.
EDIT: I'm currently arguing with facilities peeps. This timeline may be entirely wrong. I'll get back to you on that.

Okay, I’m sold.
If you go to Bryn Mawr and you know my name, you have my email address already. If you don’t know my name, you could private message me, but ask anyone in theatre there and they probably know who’s trying to do Angels.