Remember to Have Fun

Today, I met with a middle school class that is one of the most energetic I've had this year. They were working in randomized, small groups on a "final" performance project that ended with about 8 minutes left in the period. As I sat in the back of the auditorium marking the final group's rubric, the class - all of whom were sitting together in the first three rows - began to laugh and joke around with one another. A few students began performing on stage. They were doing funny bits, acrobatics, singing... I was in awe. A few turned around and asked if I was okay. It seems that I was sitting there rather comically with my mouth open just taking it all in. I walked to the front of the room as the circus died down and told them that was the most incredible eight minutes I'd witnessed all year. A few of them wondered if they were in trouble. Quite the opposite, I told them. I was just enjoying watching them let loose and have so much fun with one another.

I try to keep the classroom fun. I'm lucky because theatre is built to be that way, but sometimes things can get a little too serious, or a little too formatted. Their display was a great reminder that sometimes we just need to let loose and have a good time... especially in school.

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Winding Down

Photo by Richard Pasquarella on Unsplash

Seven days more until summer. June 21. Coincidentally, that is our last day of classes. I am especially looking forward to this one and to having time over summer for the preparation of new programming and to revise curriculum for 2022-2023.

These last days of school are always interesting. With middle school, it's about keeping things "normal" while battling the students' ever-growing feeling of summer freedom.

In the high school, there's more a sense of winding down. As tests and projects come due, we all breathe a bit easier and reflection takes the stage. I love sitting with classes and asking general questions: How are you? How did things go? What worked? What didn't? What would you like to see/do next time? What can we do better?

These conversations over the last five school days brought excellent ideas and suggestions from students that I can't wait to put into action. It's great how this work always comes back to the core finding that has become my mantra: "take them seriously". They've begun taking themselves seriously, too, and the awakening that has begun is going to be fun to watch develop in the next school year!

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We're Back!

Well, hello there! Long time, no see... and I'm just going to get this in before another month passes us by.

When I last left you, were we just getting into the thick of things with the high school musical. I'm happy to say that the experience was excellent and left us with positive vibes all around. I learned a lot from the experience and came away with some good data; I hope to write more about those things in the future.

For now, I'll say that the work begun in 2019 has successfully revitalized and grown our theatre program. Students are more engaged, families and faculty are excited, and there's all around good will toward our work. We've laid a solid foundation from which to grow and, yesterday, I received the gift of comfort being told that my contract will be renewed for next year. That's a huge weight off my shoulders! And, this is the first time in five years I've had that information before June. Now, we can turn attention toward next year with a confidence and certainty we've never had before.

In the meantime, I will return to school on Monday (after a surprise second bout with Covid right at the end of spring break) and the last two week of A Midsummer Night's Dream rehearsal at the middle school. I'm meeting wtih the musical collaborators to plan, not just for next year, but for two years at two schools. It's a great opportunity that I'm blessed to have. Can't wait to see what happens next!

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The Gifts of Planning & Collaboration

This school year presented a unique opportunity to direct plays on both sides of the MS/HS complex. At the end of January, we closed the middle school musical production of Rock of Ages: Youth Edition while the high school production of Oklahoma! was in full swing. Having collaborators on both projects made this a smoother transition than one might expect. I am grateful for their flexibility while I swung back and forth between the two projects.

It seems this arrangement may continue into next year with additional directing opportunities. It sounds like a lot of work (and it is), but an incredible way to further develop the theatre programs in both schools. An added benefit will be the time I've been given to plan.

Choose any number of quotes about the importance of planning here. The most difficult challenge in the process this year was being handed the reigns to the middle school shows a month into the school year. Again, having a collaborator made that process easier. The addition of time gives us the ability to reflect on this past process and to make adjustments for the year ahead. I already have a few ideas in mind and am excited by the possibilities.

It is a unique arrangement to be in charge of theatre programs at two schools. Perhaps some of you reading this post may have experience with this. Any suggestions or advice you may have are greatly appreciated!

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End of Summer (or Expecting Another Shoe)

My summer ended this past Wednesday when I reported to school for the first of two professional development days. It was good to be back and I am excited by the prospects of another year with my students. However, there is a lingering, nagging sense that feels out of place for me - one that I can't quite put a name to. It isn't positive, but it also isn't completely negative. Maybe it is an internal warning not to get too excited.

Obviously, the last two years brought challenges that completely changed what I do, but we've also moved forward. I was thrilled to learn that my course load at the high school has increased to five Theatre classes (with 50 combined students). That's almost a 500% increase in students from the one class with 11 students in my first semester just two years ago. How we've been able to build a program through a pandemic is beyond me. Perhaps its just that we kept going?

Yet with that excitement there's also a dread that something else will pop up. It's like I'm looking over my shoulder expecting the next big disruption. Perhaps it is best to say I'm entering the year excited as always, but much less energized,... not a great feeling, but one that can bring growth. I know I'm not alone in these feelings and so I wish all the best for my fellow teachers this year. Hang in there!

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Building Connection and Understanding

The stereotype of athletics vs. arts is a tired one.

I realize that the tension is present in some schools and communities, but I believe it is time to move past that. If education is truly for the benefit of the whole child, then creating a culture (in school, at home, in the neighborhood, wherever...) where a student's participation in athletics, arts, and academics is paramount.

I am fortunate to be in a school district where that idea is a reality. There are great people in the athletic department and administrative chairs who see the value in what we do in the arts programs. I frequently connect with coaches to ensure students can be on stage and on a team. Many of those same students excel in Honors and AP level coursework, too. However, it takes work. It requires conversations and sacrifice and recognizing the common ground between us. In my school, we've done this through conversations (largely on social media, of all places) about leadership and coaching and the values we seek to instill in our students. (I've posted about my perspective on what school theatre is for here and here).

Whether you have the privilege to be in an environment like mine, or struggle in a place that does not see the value in arts education, I encourage you to reach out to community. Ask questions of stakeholders and detractors. Identify areas of common ground. Use your advocacy tools to demonstrate that value. Nothing is a panacea, but is a place to start. 

I'm curious to hear from you. What are relationships like where you are? How can we work to build understanding and connection among programs, activities, and factions that are traditionally viewed as opposed to one another?

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Thinking Digitally

When school went virtual last March, our winter musical performance was put in hold. This happened everywhere, of course, but we were hit especially hard because the call to postpone came just minutes before the end of the school day - just 3 hours before students would return for hair & make-up on opening night. The experience resulted in an incredible story of resiliency starring my students, but that's for another time.

Without a live event, and the uncertainty of what lay ahead, the creative team began exploring options to showcase the students' work in another way. We considered a scaled-back concert, outdoor performances, and inevitably some kind of stripped-down streaming presentation. Circumstances kept changing and, unfortunately, we ran out of time. The show was cancelled and in deference to the seniors, we decided not to repeat the show again the following year. One thing haunted me throughout the experience - if we had just recorded one dress rehearsal, we could have worked with the licensing company to present it online. Lesson learned. I would not make that mistake again.

This past winter, we forged ahead with the goal of a live performance, but with digital/streaming as a backup plan. I recorded something at least once every week as a way to document what we were doing behind the scenes and to get the audience acclimated to watching online... just in case.

We had plenty working against us, both Covid and non-Covid related. Eventually, the decision was made to film the show and stream online. The final two weeks were a unique experience that none of us will forget. While the result wasn't we wanted, streaming the show had plenty of positives. For one, we were able to have a show where we couldn't last year and likely wouldn't under the circumstances we faced. Also, being online expanded our audience beyond the doors of the auditorium to reach far away relatives, friends, and other theatre people who would not have seen the show live. Plus, the students had the unique experience of watching their performances "in real time".

On September 13, we will be 18 months removed from the first day of Covid quarantine. That is a long time to endure without an art program and I saw our survival in the push to keep doing something. In the professional field-at-large, there are organizations who found ways to continue producing their work digitally while others have struggled to survive. I get it. Theatre is live performance and doesn't always translate well to the screen (an irony that my middle school students pointed out when we were virtual), but surely that is better than nothing.

I've seen concern from some theatre artists via Twitter that some organizations and communities are moving away from digital presentation as buildings begin to open up again. It is surprising to see that given how successfully companies like the National Theatre in London, among others, had done so. I realize that the collaborative nature of theatre and the copyrights, licenses, contracts, and other elements provide a hurdle as currently constructed. Surely, with digital technology so prevalent and easy to access we should continue to explore ways to not only make the art accessible during times of inaccessibility, but more equitable, too.

PS - My assumption is that visual artists and organizations fared better during quarantine as digital is inherently visual. The art teacher at my school did an excellent job getting her students' work out online even though there was a large learning curve for her to do so). However, that is not my field and I really don't know the realities of the visual art world and would love to hear from some of you about that!

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Social Media Take-Over for Arts Ed NJ

August already?

It's been a busy couple of weeks for me and there's a lot on my mind. Just 30 days to the first in-service for me, which means I will spend more time focused on school prep this month. There are a few things in particular that I'm eager to explore. This week (August 2-6), I will touch on some of them during a social media takeover of the 
Arts Ed NJ accounts. Come join the conversation!

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Drive and the Student Actor

This past week, I began reading Daniel Pink's book, Drive. (I know that I'm late to the party on this one, but many things happen only when it's time). I'm one chapter in and already a fan of Pink's thesis that human motivation is not necessarily driven by rewards (money, fame, praise, etc). There's something more intrinsic involved. That makes a lot of sense to me and I'm eager to find out more.

One quote from the first chapter really hit home for me: "If you need me to motivate you, I probably don't want to hire you." While the source comes from a "business leader, who didn't want to be identified", I immediately related it to casting actors and team building in the collaborative realm of theatre. I've adapted that into the quote in the graphic on this post. It's harsher than what I would say to a student, but it is easy to imagine it being said outside of the school setting and in the "real world" - professional theatre and beyond!

Student actors often ask me what they can do to really stand out in an audition. Whether that audition is for me or for another director, I tend to give two pieces of advice: make a choice and be open to direction. It's less about being the best and more about being eager to work. If you're not eager or excited to do the work necessary to perform in a show, then you're going to have a hard time doing that work. It goes for theatre; it goes for anything.

Sometimes people just aren't "into it" and, for some things, that's fine. When it comes to school theatre, I want to work with anyone who wants to put in the work to create an exciting experience with me. What I look for in student artists are motivation and excitement. However, I don't expect anyone to be as excited about the work as I am. (I LOVE this stuff).

More to come as I keep reading, I'm sure!

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Who is school theatre for?

Back in March, I wrote a post exploring my initial thoughts about the role of a school theatre program within the larger school community. A few weeks later, I created a brief survey that I sent to the membership of my high school drama club to gain insight on students' perspectives of the program and its function. About 20% of the students who received the survey provided a response. The results were generally what I expected:

students participated in their school theatre program as a creative outlet and because it was a place where they felt comfortable to be themselves

Those within the drama club frequently refer to it as a "family". I've only been at the school for two years, but what I've seen supports the kind of inclusion you might assume when you read or hear that word.

On the flip side, families can be exclusive groups, too. The next logical step is to explore the perception of the program from those who are outside the family... or is it?

Who is school theatre for? The quick and obvious answer is it is for the students who are active members; however, the primary function of the club is to present stories that are seen by those who exist outside of the family. It is an interesting tight rope to maneuver. That dichotomy also makes school theatre an incredible training ground for collaboration, empathy, and leadership.

More on that in a future post. In the meantime, I would love to hear your thoughts on this. How do you balance the need for school theatre to serve its students members and the community audience? Is there a point where one may take precedence over the other?

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Goodbye is Bittersweet

Yesterday was the last day of the school year and I said "goodbye" to students (and a colleague) with whom I had the honor of working these past two years. We've been through some unusual and emotional moments together, most of them Covid-induced, but also that's the nature of doing work in the theatre:

the people you work with become like family.

Saying goodbye has always felt bittersweet; although I think that's only become a recent revelation for me. More often it feels sad and uncertain. I could see that in the seniors as they teared up, or had the first moments of uncertainty as they talked about what lies ahead. Graduation is a celebration of what has been accomplished, but Commencement is the beginning of something totally new. The 8th graders embraced that change as they join a family they've been destined for. The seniors are leaving the nest for things unknown.

One thing that I've found comforting in my "advanced age" is the ability to offer my students the assurance that while leaving high school (and everything they've ever known) can feel sad, there's a whole new world of possibilities waiting for them.

I can't wait to see what they do next.

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What Makes a "Good" School Theatre Program?

The end of the school year is awards season; my relationship with awards is complicated. Before entering the classroom full-time, I ran a youth playwriting competition and adjudicated forensics and dramatics festivals for middle school and high school for many years. My thoughts on the many sides of these experiences is fodder for another post; this is about how a recent awards show has led me to marvel at the culture and consistency within a handful of local high school theatre programs.

Two common things I've noticed are significant student involvement and the presence of a Thespian troupe. These likely go hand-in-hand as Thespians includes a variety of service initiatives and performance festivals to feed hungry theatre students' appetites. Then I wonder about each of those students... what draws them to theatre, or drama club? What is the motivator for putting in so much time and energy to these projects? And then I take a view from the other side: does having so many students involved in a drama club mean it is a "good" one? I'm not normally one for subjective terms like "good" or "bad", but the subjectivity is what is interesting. What makes a theatre program and/or drama club a "good" one for students?

Just the other day, one of the Honors Acting students asked what first got me into theatre. I told the old story about being an 11 year old working with his uncles in summer stock, but then took a moment to really think about why I kept going back. What made me invest so much into the theatre that over 30 years later I'm still so drawn to it and so passionate about it?

It was the one place where I felt like I belonged.

It was the one place where I felt like I was really good at something.

That would be my answer to the student's question, but also may answer my question: what makes a "good" high school theatre program. But is it really that simple? I'd love to hear what you think.

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Musical Chosen!

This week, I put in a licensing request for the winter musical at the high school. It is an unconventional choice that will surprise the students and challenge them to work on things they haven't in a long time. I'm excited by it and looking forward to beginning the work.

Unfortunately, that work must wait. I've learned from experience to get the final confirmation that we're good to go before getting to far ahead. In the meantime, I will binge on the soundtrack and make notes as they come along.

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"Make Up Your Mind, Make Up Your Mind, Laurey!"

A few weeks ago, I posted about engaging my theatre students in a conversation about their ideas for next year's winter musical. The email I initially sent spawned some great email exchanges and eventually we met for a "face-to-face" conversation over Google Meet. I was hoping the talk would give me some insights into their ideas about what makes a good musical (which it did), while also leading me toward a solid decision about next year's show (which it did not).

Their ideas about what to do varied widely. They seem to want more "serious" material; there was also a lot of talk about shows like Mamma Mia! and Shrek. I don't know that you can get a wider span from "serious" to Shrek. One thing I enjoyed seeing was how seriously they took the conversation and that they acknowledged how difficult it could be to select something that met so many factors. I'm a proponent of being open in my process so they can learn these things. I just wish it had brought me closer to a definite selection.

The choreographer and I have some ideas, so I am confident that we will choose a show soon. I wanted to get the students' input in order to build interest and increase participation in a program that was in decline when I began there last school year. In that sense, this was a "win" for us as a program. I loved how invested they were in some new ideas like drama club swag and smaller projects between shows. Those will be interesting ideas to continue exploring as we start the new year.

For now, I'm back to the drawing board... but leaning closely toward some more "classic" shows. They haven't done many of these in a while and I think there are a few that offer more "serious" fare than the more modern titles they threw around. One title mentioned in an email did not come up in conversation the way I thought it would. It seems a revival of an R&H standard piqued some interest, which I loved because I'm a proponent of R&H's work as experimental and darker musical fare. It was fun to hear it discussed that way. I will be adding the show to my ever-expanding and eclectic perusal list.

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Student Voice and Musical Choice

Last weekend (April 22-24), we wrapped up our winter musical production of Disney's The Little Mermaid with an online streaming performance. My students worked tirelessly to make it happen and while we all preferred sharing with a live audience, the experience of watching the show with their families and friends made it even more special. I'm proud of the work they did and deeply appreciated the support, excitement, encouragement, and congratulations sent by teachers and peers to the cast and crew. It is the sum of the experience that will have the greatest impact; it is why I love doing this work so much.

Unfortunately, I can't publicly share the whole show, but here is a sneak peek video that I put together ahead of the performance last week. You can also see the "tribute" video for last year's production of Into the Woods, which we weren't able to produce because of Covid.

Those who know me will find it no surprise that I am already working on the musical for next year (I can't rest, but I also love doing this so much). I'm also reflecting on the drama club as a whole and exploring ways to expand its work and elevate its visibility within the school community. To my joy and surprise, the students are thinking about these things, too.

Last week, I sent out a student survey to get some insight from the entire drama club membership. Of the 72 students listed, only 20 have replied so far, but I also noticed these responses were from students who were not actively involved. I followed up with the cast and crew of the most recent show and openly asked for their ideas about what show to do. I gave them some factors that I consider when making a selection and encouraged them to do the same. Those factors were:

• who is/may/may not be involved?
• what are the strengths of that group?
• what provides a new experience, or challenge for the group?
• do we have the technical capability/time/interest?
• variety (for example, following comedy one year with tragedy the next)
• what will an audience come to see?*
• what is appropriate for both audience and actors?

This lead to some interesting email exchanges and I was encouraged by how deeply students were thinking about their choices. Then one of our graduating seniors wrote to me as the representative from a group that had been discussing this in a group chat. And the play titles were very interesting. So, I asked the student to meet with me and the dance teacher to talk further. I'm so glad that I did!

What the conversation revealed is that the theatre students have an profound desire to do more serious work. Their choice of a classic, golden era musical was particularly intriguing. The dance teacher and I are using this insight to explore other titles we originally felt might be uninteresting. We also have a conversation with a larger group of students planned for Tuesday. I think this is an incredible opportunity for us to build and grow together by holding each other accountable.

We do a lot of talk about student-driven work, student voice, student inclusion. If this has taught me anything it is how important those things can be when they are put into action.

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No Rest for the Weary

Because I can't rest, my first hours of spring break have been consumed with what musical to do next year. Mind you, we haven't even finished post-production on the video for this year's show.

I love what I do and can't wait to get back into action. Even the planning process excites me so much!

What to do? What to do?🤔

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Mentionable and Manageable

Two years ago, I shared this quote with the TYA class and it became a touchstone for students throughout the year. With Mr. Rogers as our guide, we began to feel more comfortable with the idea of exploring life questions with young people. I did not think to include it in class this past fall, but the sentiments permeated the course and the thoughts and projects generated by the students were similarly contemplative of what can be explored through children's theatre.

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The Role of Theatre in Schools

March 12 is a dubious date in my school theatre program. There are two reasons for this distinction:

1. March 12, 2020 - opening night for our winter musical, Into the Woods, which was postponed due to Covid just minutes before the end of the school day
2. March 12, 2021 - the final day of filming our Covid-restricted winter musical, Disney's The Little Mermaid

There may be many things to say about redemption and tenacity when you look at those two dates together like that. It was certainly the message that I repeated to the students as we pushed toward the end of filming through a variety of Covid-, and non-Covid-, related delays and hiccups and issues and roadblocks. But what I think is more interesting, and likely more important, is the influence those experiences will have on the students who lived them. The past two years have been difficult, which makes it easy to view them negatively; however, there is strong positive flip-side to that story. I'm curious how it will be perceived by my students and how it will play a role in their futures.

That leads me back to a question that I love to explore: "what is the role of theatre in schools?"

School theatre saved my life; there are others who have told me the same thing. Participation in theatre programs has benefits within a student's future artistic life as well as within the "real world". That has been seen in research published in Youth Theatre Journal and in my own doctoral dissertation. Now I'm curious to learn how school theatre programs can play a role within the larger school community. What is the perception of these programs from participants and non-participants? How do school theatre programs influence the overall function of a school? What happens with theatre programs are not present, or suddenly seek to exist? How about when they are first built, or "revitalized" after a significant absence?

Looks like I have some reading to do... and surveying my students for their stories... uh oh! Is this another research project in the works?

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