S4E5: A Broadway Stage Manager Reflects on His Humble Upbringing and Undergraduate Education at Ball State | (Brandon Allmon-Jackson, Stage Manager and Storyteller)

During Brandon Allmon-Jackson’s major theatrical productions, he is never seen by the audiences. But as a stage manager fulfilling his dream of working on Broadway, he’s the person most responsible for making sure big acts—including The Music Man, Back to the Future, and Sunset Boulevard—go off without a hitch.

In the years since he graduated from Ball State in 2012, Brandon has applied the skills he learned in the classroom, along with his dedication and drive, to stand out in the competitive world of commercial theatre. He’s also dedicated himself to providing more opportunities for artists of color.

In this episode, Brandon talks about how the confidence he built and connections he made at his alma mater helped him advance professionally. In less than 10 years, he’s gone from stage managing regional theater and cruise ship performances to working on the biggest shows on Broadway. 

Brandon also reveals why he’s grateful for his humble Southern upbringing and how, by mentoring the next generation of talent at Ball State, he’s giving back in a way that upholds the promise of Beneficence. 

If you enjoy this episode, please leave a review to support the show. 

Transcript

[GEOFF MEARNS]

Hello and welcome back to our Call to Beneficence. My guest on the podcast today is Brandon Allmon-Jackson. Brandon graduated from Ball State in 2012 with a Bachelor of Arts degree from our nationally recognized Department of Theatre and Dance. And the skills he uses every day on the job—these are the skills he developed as a student at our university.

Currently, Brandon is a stage manager based in New York. He made his Broadway debut working as an assistant stage manager for “The Music Man.” So some of my loyal listeners may recognize the name of that production because Sutton Foster and Hugh Jackman starred in that show. Sutton is a visiting instructor here at Ball State, and she was previously a guest on my podcast in 2023.

During my conversation with Brandon, I'm going to ask him more about his experience working on “The Music Man,” along with other roles he has held professionally in theater and entertainment. But first, I want to mention that Brandon visited our campus this month as the featured speaker during our Unity Week, which is a popular campus celebration that illustrates our University's commitment to inclusiveness. During his visit, we recorded this conversation, and I'm grateful for this opportunity to get to know Brandon better and to introduce him to my listeners.

Brandon, welcome and thank you for joining me today.

[BRANDON ALLMON-JACKSON] 

Oh, the pleasure's all mine. Thank you so much.

[GEOFF MEARNS]

Good. So welcome back to campus. And so I want to ask you some questions later about your experience at Ball State and your career in theater. But let's first talk a little bit about your childhood. Where did you grow up?

[BRANDON ALLMON-JACKSON] 

So I grew up in Little Rock, Arkansas. I consider myself a little bit of a country boy. I am from the South and I love that about myself so much. And I think as I've gotten further in my career, that southern side has definitely come out. [laughs] But yeah, so I grew up in Little Rock and I'm kind of a half city, half country boy because there was Little Rock.

But also a majority of my family lives in a little bitty town called Selma, Arkansas, which is, uh, down in the southern region. That's where a lot of my folks are. And we would take trips down there about every two weeks. We would stay for the weekend. And when I think of childhood, when I think of the happiness of my childhood, the first thing I think of is those trips down the Selma. You know, if I was lucky, I would leave school just a little bit early because it was a two hour car trip and reading in the car, and which I could do back then. I cannot do that now. But getting down there and, seeing all my cousins—I have so many cousins—and we would just play video games, we would explore. I was so adventurous. I just wanted to see everything that was there. We have so much land down there and it was a farm. So of course we would get into a lot of trouble because we like to mess with the cows and the bulls and all of the pigs and all of the livestock that we have down there and run through the cornfields and run through all the countryside.

And it was it was just so amazing. We would take the four wheelers and just go driving around. There is a creek down there off of the Mississippi River that we would explore. I mean, a lot of it we weren't supposed to be doing, but I was obsessed with just all this land. I just felt so naturally immersed in it.

And of course, I was making up stories in my head of, you know, what all of this was. And I think that really started my kind of my interest in storytelling ... was just being immersed in all of this.

[GEOFF MEARNS]

So it sounds like you've got a great fondness for Arkansas. But, so then tell us how you first heard about Ball State and how your journey, your personal journey, led you here to Muncie and to our campus.

[BRANDON ALLMON-JACKSON] 

So we moved to Fishers, Indiana, when I was 12. My dad's job moved us up here. So I went to Fishers Junior High and I went to Hamilton Southeastern High School in Fishers and, it was a great school, great theater program. We actually had two theaters there. We have the little theater, which is where we had the plays. And then there was the big auditorium, which is where the musicals were held. And of course, I was involved in the theater department, and it was ran by Mary Armstrong at the time, who we called Ma. And I learned a lot about lighting. We would build our sets every weekend. It was called set construction. So every Saturday we had to be back at school at like 10 o’clock in the morning till like 5 o’clock that evening, building the sets for like a month, for all the productions. So I knew pretty early on that I wanted to go into theater, that I wanted to study it, that I wanted a career in that. And I didn't want to go too far away from home. I wanted to be close enough to where I could visit and still see my family, but far away enough to where I felt independent.

[GEOFF MEARNS]

And so Muncie and Ball State kind of fit that bill because of the program, too.

[BRANDON ALLMON-JACKSON]

Exactly. And the program I...you know, I wanted to go somewhere that not only understood me as a person, but also had a reputable department. And Ball State checked off all of those things.

[GEOFF MEARNS]

So when you were talking in high school, I'll get to Ball State in just a second. When you're in high school, were you always backstage supporting the performers, or were you also a performer?

[BRANDON ALLMON-JACKSON]

In high school, for the most part, I was always backstage. We didn't really have like a stage manager, but there was like the student assistant who was helping with the production. I did lighting for a lot of them, and I think I did sound once. I did video a few times, and then one time it was my senior year—actually, no, I was in one of the musicals ...I was in “Guys and Dolls” sophomore year, I think? I cannot believe I did that. Yeah. I was singing on stage in “Guys and Dolls,” but the one that I remember the most was we did “Of Mice and Men” my senior year. It was the senior production. I think you have to be a senior to be a part of it. And I played Crooks in “Of Mice and Men,” and I had an afro at the time or had braids. And so I had them out and I had my hair like, blow dried and they colored it silver. But because it was such an intricate process, I couldn't take the silver out. So for three days I had this silver gray hair and looked like, you know, a 75 year old man.

[GEOFF MEARNS]

Walking around the neighborhood in the hallways in school.

[BRANDON ALLMON-JACKSON]

Yeah, yeah. You know, it was promotion.

[GEOFF MEARNS]

Yeah, yeah. So turning now to Ball State, I've often heard from my colleagues in the theatre department that, they refer to each other, they refer to the relationships that we have with the students who are studying theatert as family. So tell me about some of the professors in the department, or and maybe at the university overall, who guided you through your undergraduate experience, who you look back on as having had a significant influence on your career as well as your life?

[BRANDON ALLMON-JACKSON]

Well, my very first time I came to Ball State was when I had to interview for the production option for directing. And, that's when I met Karen Kessler, who is still here. And she was my advisor. She was a mentor, and she's someone that I think I can call a friend now. She guided me along the process of discovering who I was as a person and also as an artist, as a director. And what kind of leader that I want it to be. 

She helped me find out so much about myself and about the kind of stories I wanted to tell and how I want it to tell them. And I was kind of a little bit of a weirdo back then, in my early 20s, which is totally fine. But instead of trying to pull me away from that, she helped me lean into that because that is what made me unique. And that's what made me me. So I really appreciated that. 

And, you know, we'll talk about this later, but how I pivoted from directing later, of course, I was always emailing Karen and I was like, what am I doing? What's happening? I’m supposed to be directing, I want to stage manage. This is so weird, what's happening? And she always called me kiddo. She was like, kiddo, calm down, take a breath. You've learned so many skills while you were here. Use those skills now to figure out, is this something that you want to do and are you fine with? But I would totally reach out to her if I was nervous or had questions about something.

[GEOFF MEARNS]

Yeah, that wisdom from her experience helped guide you through that. So as I mentioned in the introduction, you graduated in 2012 and you quickly had an opportunity to work at the Phoenix Theater in Indianapolis. And I understand and maybe this is what you're kind of alluding to, that that that experience changed your career aspirations, kind of what you wanted to do.

[BRANDON ALLMON-JACKSON]

Yeah. So that really changed the trajectory of my career and really, the rest of my life, up until this point. So I, immediately after graduation, I reached out to the late Bryan Fonseca, who was the artistic director of the Phoenix Theater at that time. And they were directing or they were putting on their production of “Next to Normal,” which is one of my favorite musicals.

And one of the things I learned about being at Ball State is being proactive. If you want to, you know, be involved and kind of get your foot in the door, you have to go out and try to do that. So I immediately reached out to Bryan, because the worst that you can get is a no, and I didn't get a no. I got a we can't pay you because there wasn't really an assistant directing position, which is what I was asking him to do. But Bryan was great, and he was like, you know, why don't you come along? You can learn because it was a LORT theater. It's a regional theater with professional actors. So it's kind of like an unofficial intern.

And I did learn a lot, and it was a great experience. But like I said, obviously assistant director for that, but the stage manager, who I got along with, she was great. She was calling the show for some of their matinees when they had rehearsals for their next show. So they asked me, because the director, once the show opens, the director's job is pretty much done. So I was available again. They said if I wanted to substitute stage manage those rehearsals that were happening downstairs. And I was like, absolutely sure. I don't know what this entials—

[GEOFF MEARNS]

New opportunity, new skills, right? 

[BRANDON ALLMON-JACKSON]

Yeah. So I went down there and I ran those rehearsals. And I remember sitting in that room for that very first rehearsal, which technically was my first time stage managing, and it just felt so correct. It was using a different part of my brain than I was using when I was directing. And I enjoyed helping the actors with their lines, calling breaks, making the report, working on the schedule, keeping everything on track.... like that fascinated me. 

And, you know, I was blessed that after that, they asked if I wanted to stage manage their next main stage production, which was “Clybourne Park.” And so “Clybourne Park” was my first actual professional stage managing because I was paid for that.

[GEOFF MEARNS]

So from that, after you, you kind of decided to pursue a career in stage management, and you were working in regional theaters all across the country, from Connecticut in the Northeast, back home to your home state of Arkansas. What was that experience like as you moved from different theaters?

[BRANDON ALLMON-JACKSON]

Every regional theater is so different. But the thing that I found that I love about regional theater is that it has that family aspect, because those people, it's a staff and they're there all year round. Some of them have been there for several seasons, for decades even. So they kind of know how it runs and they've always been so inviting, welcoming you into their little family. And the fun thing about regional theater is that you're able to kind of do different things. You can kind of explore the work a little bit in a way that you can't do as much on Broadway, because regional theaters run what they run by subscribers. They are audiences who continue to go...so you can like, do different things and experiment. And I had so much fun with that. I met so many people, and I think pretty much each regional show that I did kind of led to the next job, and even led to me going to Broadway. One of my first jobs at George Street Playhouse was actually from an alum from Ball State, who had me be his assistant stage manager.

And the person who was starring in that show also directed a show at Arkansas Repertory, which is where I originally met him. So everything kind of like, is connected. And I always tell students, your current job is your audition for the next job—whether you're directing, stage managing, acting, designing, or whatever, you have to do your absolute best. You have to show up and do the work and thrive because you're going to be remembered whether for the better or for the worse, and you want to make sure it's for the better, because that's going to help you get the next job.

And with this industry, you always have to be thinking about the next job. Because theater is so ephemeral, this industry is so ephemeral. It's going to ... things are going to end, and you want to make sure that you're able to keep it going for as long as you can.

[GEOFF MEARNS]

To keep that....so I hope you'll share that advice while you're here on campus. I know that you also come back to help mentor our students, that the best way to get the next really good job is to be outstanding with what you're current job is.

[BRANDON ALLMON-JACKSON]

Absolutely. 

[GEOFF MEARNS]

So after those years in regional theater, you pivoted in your career, you became a stage manager working aboard various Royal Caribbean cruise ships. What was it like to be on a cruise ship and wake up in different places, different ports, almost every day?

[BRANDON ALLMON-JACKSON]

It was some of the most fun I've ever had in my entire life. I did it for about five years and it was thrilling and difficult and complicated and hard and horrible and wonderful and just every single thing, every single adjective out there, that's what it was. It was so perfect for that point in my career, in my early 20s, just a little bit after graduation. I learned so much, and you have to learn it fast because it's a very fast-paced environment. They have their mainstage shows, which is kind of more traditional, like Broadway style shows. They also have their aqua theater, which is kind of like a Cirque du Soleil type show. So there's divers, there's dancers on these lifts that are going into the water, there are people underwater. There are people flying through the air. You have 17 meter high divers. You're calling lighting cues, you're calling automation. I think it was working on those shows that really taught me how to be a good show caller, and really taught me patience and how to kind of, like, take a breath and call the show and be brave, but also be professional and be very careful because those were crazy shows.

[GEOFF MEARNS]

Sounds like the learning curve was pretty steep there. Did you always did you think while you were doing this I could do this forever? Or was it really like, I can only do this for a short period of time, and my goal is to do something else.

[BRANDON ALLMON-JACKSON]

I think at the time I was like, I'm loving this. I could do this for a long time, especially because I started out as just a regular stage manager. Then eventually I was promoted to the production stage manager, so I was running some of the venues. I met a lot of my closest friends. I got to travel the world. I got to have overnights in St. Petersburg and in Stockholm and Copenhagen. My 24th or 25th birthday was at the Arctic Circle. So the 24 hour sun—

[GEOFF MEARNS]

Pretty good way to spend your 20s...

[BRANDON ALLMON-JACKSON]

I know right? It was really wonderful. But it did get to a point where, because the contracts would be anywhere between four months to seven months, I would come back in between each contract and do a show in New York. And I got to a point where I was like, okay, I am missing New York, I'm missing theater on land. I'm missing land.

[GEOFF MEARNS]

Right? Some kind of stability and predictability. So when you say you're missing New York, was Broadway your ultimate goal? Was that kind of where your sights were?

[BRANDON ALLMON-JACKSON]

Yeah, I think the main goal was always to go to Broadway. It's different for everyone, you know, some people want to stay in cruise ships, some people want to stay regional, some people want to stay touring. But I did want to eventually make it to Broadway. I remember always watching the Tony Awards and being like, that's what I want to do. That's where I want to go. And, you know, watching the Tony Awards at Radio City Music Hall, a lot of times growing up, I would see them at Radio City and I'd be like, oh, that's where I want to work. That's all I want to be.

[GEOFF MEARNS]

So in preparing a little bit for this conversation, I came across a group called Broadway & Beyond. It’s a networking group to help aspiring and current stage managers of color find work in the theater. Did you engage with that group and the members of that group? Did that help you?

[BRANDON ALLMON-JACKSON]

Broadway & Beyond really much changed my career. Lisa Dawn, who is one of the founders, she is a production supervisor with Disney Theatrical. I met her during “The Circus in Winter,” actually, which was developed here at Ball State before it went on to KTCF and won awards and went over to Goodspeed, which is where I worked on it there.

Lisa Dawn is also someone who I consider a really great mentor, but she developed this program which pretty much helped so many stage managers of color because for the longest time it was “Where are the stage managers of color?” And the belief was, there weren't really any. But this program came along and there we all were. It was like, no, we just need to do the work to find and welcome us in. So there would be networking events where before the event you filled out, if you wanted to meet production stage managers in general, managers that were involved with Broadway, regional or touring or theme parks or cruise ships, and you get to be in a room virtually or in person with these people, with four other stage managers at a time with your resume, and talk about your skills and your experience with these people. You know for so long, everyone always asked, how do I get a seat at the table? How do I meet these people? And now we have this program where you get to be in the room with them and kind of pitch yourself, and that is eventually what led me to my first job was I made a memorable enough, I had a good interview, and people remembered me. And people reached out to me past that for different shows. And that's what led to my Broadway debut eventually. 

[GEOFF MEARNS]

Yeah. So that's another piece of advice I suspect you'll share with our students is building those relationships. That network of relationships is so critical to those future opportunities. So you referenced a moment ago your Broadway debut, which was serving as an assistant stage manager in “The Music Man.” And Jennifer and I had a chance to see that production a couple of years ago. It ran from, I guess, December of ‘21 through January of ’22 So I think we saw it in March of ‘22, at which stage of the development of that show did you join the production?

[BRANDON ALLMON-JACKSON]

So I joined it officially in August of 2021. It was delayed. The opening was delayed because of the pandemic. So there had already been a lot of work put in. I think it had been cast and they had done some workshops before. So we were doing one more dance prepo (preparation) before we started full rehearsals that November. So at that point in August, we were just really workshopping the first three numbers. Hugh hadn't even really joined for that particular workshop. It was more of the ensemble members, just piecing together all of that so that we could just put Hugh into it when we all reconvened back in November, with the full company. It was a large company, with over 50 performers themselves.

[GEOFF MEARNS]

I remember the final show, really, after the play itself is over. There's a couple of singing and dancing numbers, and the number of performers on the stage was enormous.

[BRANDON ALLMON-JACKSON]

Yeah, it took up the whole stage. And that's a big stage. It was at The Winter Garden, which is one of the biggest stages on Broadway. And it was full because there were so many people and children.

[GEOFF MEARNS]

Yes, it was a great show. Did you have a chance when you were working on that show—did you ever meet or work with Sutton Foster?

[BRANDON ALLMON-JACKSON]

Oh, absolutely. [laughs]

[GEOFF MEARNS]

As you know, she's got a great connection here. 

[BRANDON ALLMON-JACKSON]

I know, yeah.

[GEOFF MEARNS]

She’s been an instructor here for a couple decades, I think. 

[BRANDON ALLMON-JACKSON]

Yeah. So she, I think she was just starting out here at Ball State, right around the time that I was leaving. So I did meet her when she was here, when she was coming in to teach some of our master classes. So it was a big surprise for her when I popped up in “The Music Man,” and I was like, oh, hey, remember me. And it was so cool to have, you know, worked with her as a student, as me being a student here at Ball State, and now we are professional peers. We had cues backstage where we’d do the chirp, chirp, and we had moments where, of course, we would always discuss Ball State, and it was always just so cool to be working with her on that production.

[GEOFF MEARNS]

Yeah, she's such a wonderful—obviously an extraordinary talent, but a wonderful woman. And we're so fortunate to have her continue to engage with us and with our students. So you know, I probably should have asked this a little bit earlier, but why don't you describe a little bit more of the difference between a director and what the responsibilities are of a stage manager?

[BRANDON ALLMON-JACKSON]

So the director is going to really develop the show. They decide what the vision is, um, you know, they work on the staging. A lot of times they're involved with the casting of the show and they, they kind of build that show and they have all of the artistic decisions that go into it. The stage manager ... Our job is to keep that vision going. Because like I said earlier, pretty much once the show opens, the director is on to their next project. But the stage manager, and part of the thing that drew me to this career in stage managing, is that we are in the trenches, and we have to keep that train moving for however long that it's supposed to keep going—

[GEOFF MEARNS]

And kind of executing the creative vision of the director.

[BRANDON ALLMON-JACKSON]

Exactly. And keeping it how the director wanted it to be from the beginning. And, you know, on a surface level, we are, you know, we're at rehearsals and we're learning the show as well, and taking blocking notes and building cues. You know, like I said, calling breaks, scheduling, getting people fitted and all these things. And then on the actual production, we are running what's called a deck track. So that is, you know, calling places, making sure you have everyone there, there are set pieces that move, calling clears for safety, getting people to where they need to be. And there's a calling stage manager who is calling the cues of when the lights change or when the automation change, or scenery moves, sometimes music cues and entrances and things like that. So it takes a lot of focus. It's actually one of my favorite part to do, is calling the show. But it does take the entire building in order for it to happen. And a good stage manager is able to work with all those departments and make sure they all fit together.

[GEOFF MEARNS]

Must be pretty stressful during one of those shows, when folks like me are just sitting out there watching these productions, and you're working pretty hard back behind the stage.

[BRANDON ALLMON-JACKSON]

Yeah, there's just as much choreography happening backstage as there is on stage to keep it moving.

[GEOFF MEARNS]

So is there a single stage manager and then one or more assistant stage managers?

[BRANDON ALLMON-JACKSON]

Yeah. So typically you'll have what's called a production stage manager. And then they will have what's called their first, which sometimes we just refer to as a stage manager. And then if it's a musical like “The Music Man,” there were two assistant stage managers, to kind of make all of that happen. “Back to the Future” was the same way. It was such a big show that we had three stage managers on deck, and then one person calling the show, and then we rotate throughout.

[GEOFF MEARNS]

Yeah. So you've had the privilege of working with other famous names, Sutton Foster, Hugh Jackman, I understand you also worked on the revival of “A Dollhouse,” which starred Jessica Chastain. When you're back there, I know not necessarily when you're in the middle of a show, but are there times when you're preparing for a show or when you're just relaxing you, you know, you're kind of pinching yourself, saying, I can't imagine this kid from Arkansas who went to Ball State is now really kind of managing these productions with these remarkable stars.

[BRANDON ALLMON-JACKSON]

That's almost exactly how I think of it. What you said...this country boy from Arkansas is now working on Broadway. It blows my mind every day. I am so blessed and so fortunate to be able to do this. And, you know, my story is just a testimony that if I can make it from Little Rock to the biggest stage in the world than anyone else can do it. Before the show starts, sometimes I run outside to grab my coffee. I cannot start my show without my coffee. But when I run outside to grab it, I see the lines circling around the building and people getting their tickets and people getting ready to go in. And it's those moments where you're like, because it's so easy to kind of forget there’s an audience out there until the end and you hear, you know, their applause.

But like that excitement of just seeing them ready to see the show, they're coming to see your show. There's really nothing like it. Like, I cannot describe that feeling. I get to see that every night.

[GEOFF MEARNS]

And you get to know that you're you bear some responsibility to ensuring that that performance is going to meet their expectations.

[BRANDON ALLMON-JACKSON]

Exactly.

[GEOFF MEARNS]

Yeah. And the pathway from that rural Arkansas to Broadway ran right through Muncie, Indiana and Ball State University.

[BRANDON ALLMON-JACKSON]

It sure did.

[GEOFF MEARNS]

So what production are you currently working on, and tell us, where do you think you're headed next?

[BRANDON ALLMON-JACKSON]

Right now, I'm on “Sunset Boulevard,” one of the assistant stage managers on that show. And that is my third time working with, Jamie Lloyd. And Jamie is known for—his shows are...he takes a classic show or an older show and revives it with new ideas and it's a little bit edgier. So “Sunset Boulevard,” of course, we know and love Norman Jasmine and the giant staircase and all the big, fabulous costumes. And in this show there is no set. And she's in a dress slip the whole show. So it's very different. It's very unique. It presents a lot of challenges because, I don't want to spoil anything, but because of the walk around, that some people know about, we have that, there's a lot of live video aspects to the show. On top of the challenging score. Beautiful score. So it is so much fun. It's such an exciting show as that.

[GEOFF MEARNS]

And that's already now, that show is running already?

[BRANDON ALLMON-JACKSON]

Yeah, we are running, through July, at the Saint James Theatre.

[GEOFF MEARNS]

Great. And, you brought me before the conversation, an autographed copy of that playbill. So thank you very much. I will treasure that gift.

[BRANDON ALLMON-JACKSON]

You’re very welcome. 

[GEOFF MEARNS]

So let's now talk about what brought you back here to Muncie on a very, very cold January day. You you've been asked to deliver a presentation, the keynote address, during our annual celebration of Unity Week. And you'll do that, this evening. What does it feel like now? Removed by about 12, going on 13 years, to come back to campus and have an opportunity to speak to faculty, staff and students on this important occasion?

[BRANDON ALLMON-JACKSON]

It's very surreal because it's hard to believe it's been that long. And it's so interesting coming back as an alum with experience that I get to share. Because sometimes I forget that I'm not a student here anymore and that I don’t have class to go to, and when I come here, as soon as I saw the campus again, I was like, oh yeah, this is where—this is where my dorm’s over here. Oh wait, no, it's not, not anymore. Or it's like, oh, I gotta go to class. Wait, no, I don't. It's fascinating and I love the students here and I love working with students. I love being able to share insight. And I think especially now, especially today, that students are going to be looking for a lot of inspiration, and it means the world to me that I get to share that with them and, provide insight, inspiration, experience and, talk about my story with them and share that with them. Like, I am so honored, and it's hard to believe that that's happening.

[GEOFF MEARNS]

And you will be a wonderful testament to the fact that there's potential for them to fulfill their professional aspirations and find meaning in their lives.

[BRANDON ALLMON-JACKSON]

Absolutely.

[GEOFF MEARNS]

Yeah. So I want to end our conversation with a question that I ask all of my guests. And as we walked over here on this very, very cold day, we walked by Beneficence. That's, as you know, the iconic statue, that graces our campus, even on these cold days and Beneficence is a reminder of the quality and our commitment to doing good for other people through service and philanthropy.

And certainly you coming back to campus is a reflection on your continuing commitment to beneficence. So as you reflect on what is still a relatively young life and young career, what does beneficence mean to you, Brandon?

[BRANDON ALLMON-JACKSON]

Well, I had to walk past the statue when I first came back, because when I—I was a tour guide here and an orientation leader. And of course, we always started by Beneficence and spoke about her. And the big thing is that her arms are reaching out to bring you in. And that symbolizes everything that Ball State is and everything that I thrive or strive to be. As a professional and also just as a person, those moments at work where things just seem so hard and so difficult, I always had to remind myself that it's not just about me, that by me being here is opening doors to so many others, especially other stage managers of color. That what I am doing is for the next generation, and that gives me the strength and the hope to keep going.

Becoming part of the alumni ambassadors, which, Kayla Davion, who was also a graduate from the department, getting to always directly work with the students and be advocates for them and speak with them and mentor them and guide them. That was so important for me, because otherwise, what's the point? You know, it's not just about putting a show up on stage, it's about making sure people feel welcome and invited and that they can do it too.

The most important thing is providing that hope.

[GEOFF MEARNS]

Well, Brandon, thank you for joining me for this conversation. I’m grateful for your time today and deeply grateful for your continuing engagement with our campus and particularly with our students. Congratulations on your great career and good luck this evening.

[BRANDON ALLMON-JACKSON]

Thank you so much.