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ITO Sid Gunasekaran Talks Staging Success

Sponsor — Fri, 22 Sep 2023 17:35:48 +0000

Breaking Cultural Stigmatization and Redefining Career Paths in the Arts

As the warm sun descended beyond the horizon and the first chords of music filled the air, Staging Success reaffirmed its commitment to empowering aspiring artists. Through its most recent “Serenades & Sunsets” event, the nonprofit led by high school senior and 2023-24 International Thespian Officer (ITO) Sid Gunasekaran showcased an evening of artistry, inspiration, and scholarship awards. Here Sid shares how his efforts aim to break down societal barriers for young artists.

Q. What led you to create Staging Success?

Sid Gunasekaran: You know, I’ve had the privilege to dabble in different worlds—business ventures like Dallas Shoe Plug and, of course, the arts. Each experience was a stepping stone that led me to appreciate the transformative power of creativity. But I noticed that in minority communities, particularly in my South Asian culture, pursuing the arts is often stigmatized. There’s this emphasis on conventional career paths like engineering or medicine, which led me to recognize a void that needed filling. That’s how Staging Success was born.

Q. Can you elaborate on the stigmatization in your culture around the arts?

Sid Gunasekaran: Certainly. In many South Asian communities, the arts are often viewed as a “lesser” career or something that should be relegated to hobby status. People forget that the arts are not just about self-expression they’re also a pathway to countless opportunities. Take me, for instance; I’m a high school senior interested in business. But it’s my background in the arts that has given me the unique perspective and skill set to succeed in whatever endeavor I choose. I want Staging Success to break down these societal barriers and reshape how our culture perceives the arts.

Q. So how does “Serenades & Sunsets” play into this mission?

Sid Gunasekaran: “Serenades & Sunsets” was a multi-faceted event that served as a microcosm of what we aim to achieve. We had young artists from diverse backgrounds who were not just given a platform but were also provided with scholarships. The event itself was enveloped in a rich atmosphere that celebrated their talents, making it a transformative experience. The setting sun that evening symbolized the end of an era of narrow thinking about the arts and the rise of new opportunities.

Q. Can you tell us about the role of business in your endeavors?

Sid Gunasekaran: Business is not separate but rather integral to fulfilling our mission at Staging Success. My business experience has taught me strategy, structure, and most importantly, how to bring resources together. We are in the planning stages of launching four more events this year, serving to expand our reach, get more artists involved, and ultimately generate more resources for scholarships and mentoring programs.

Q. What would be your message to aspiring artists and skeptics within your culture?

Sid Gunasekaran: To the artists, I say, let your art speak for you. Prove the skeptics wrong and pave your own path. To the skeptics, it’s time to realize that art is not just a form of expression but also a form of empowerment. By limiting our views on what is ‘acceptable,’ we not only stifle creativity but also close doors to endless possibilities.

Te debut event collected voluntary donations, all of which are slated to benefit the Educational Theatre Foundation. A blend of advocacy and art, “Serenades and Sunsets” sets a precedent for Staging Success’ plans for the 2023-2024 season, which Sid promises will be equally impactful and ambitious.

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Theatre In Our Schools

Natalie Koking — Sun, 12 Mar 2023 23:51:20 +0000

Teaching theatre in our schools, it’s proven, is positively life-changing for students. The art form teaches vital 21st-century skills that we use on and off the stage, in the classroom, and in our everyday lives. The skills learned through performing arts strengthen communication, technical, interpersonal, and problem-solving skills—all while fostering joy, creativity, and connections.

The Educational Theatre Association (EdTA) advocates passionately for theatre education for all. We see firsthand how students’ lives change because of their involvement in theatre, and we know how much communities thrive when they engage with the stage. We’re spreading the message far and wide about #TheatreInOurSchools as a year-round movement … and we’re posting now because March has unofficially been when focus has been magnified on the movement. You’re invited to join the efforts!

WHAT IS THEATRE IN OUR SCHOOLS?

Theatre in Our Schools is a program that equips students, teachers, parents, and other advocates with tools to help decision makers understand the power of theatre education. The month of March is designated as a 30-day stretch of concentrated activities in schools and surrounding communities, with the media, and even with legislators focused on shining a light on the value of theatre education.

Even though we dedicate our communications and content to amplifying the Theatre in Our Schools message in March, we can advocate for its inclusion all year long.

HOW YOU CAN ADVOCATE

Photo credit David Slaughter Photography Network

Staying active on the socials (Facebook, Instagram, TikTok, YouTube) is a great way to keep the message alive about the benefits of theatre education. Pro tip: Know where your intended audiences hang out and reach them there. If you’re a student who’s applying to higher education, it’s also an easy and engaging way to showcase your theatrical skills and experiences. Learn more in our blog, Social Media as a Tool for Success.

Here are a few ways to join the conversation, digitally:
#1 Follow EdTA and International Thespian Society on Facebook and Instagram
#2 Use the hashtag #TheatreInOurSchools when posting relevant content on your channels
#3 Engage with Thespians and educators around the country who are using #TheatreInOurSchools (or the former hashtag #TIOS) by liking, commenting, following, and reposting content (because remember that social media is about being social)
#4 Send content to friends, family, and other followers to put the message on their radars.

When it comes to creating your own content, just think about how much theatre education is already present in your life. You likely attend classes, work on projects, perform in or work on productions, attend shows and events, read and watch industry news, and even follow the careers of your favorite theatre artists. Whatever you post, and however you post it, be sure it’s authentically and uniquely you (and remember to include the #TheatreInOurSchools hashtag).

Get Started with These Ideas for Advocacy

● Share behind-the-scenes photos and videos of rehearsals
● Post a blog about a meaningful theatre experience, an industry topic that fascinates you, or any other theatrically driven subject
● Show how theatre skills have supported your non-theatre activities
● Document your journey with learning a new theatrical skill, like sewing, lighting design, directing, vocal techniques, stage combat, etc.
● Post visuals of your experience in theatre classes, workshops, conferences, field trips, and other relevant activities
● Share memories about your journey or life in theatre
● Publish quotes from industry figures, historical players, lines from plays, or lyrics from musicals that inspire and encourage you

Keep in mind, there are some limitations when it comes to documenting material that’s protected by copyright. For example, you shouldn’t record a live performance for your personal channels, unless you have specific permission to do so. You can learn more about these important details in our blog, Copyright in Theatre.

STAY VOCAL AND VISIBLE

To achieve the goals of Theatre in Our Schools, we theatre artists and educators need to stick together as a community and advocate for ourselves and others. Use your social channels to provide resources, share insights, publish content that makes an impact, and stay vocal and visible about the power of theatre education.

Natalie Clare is a regular contributor to Dramatics.org. She is a freelance writer, arts and culture reporter, and content marketer who lives in Cincinnati. Visit her here.

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Artists Who Advocate

Natalie Clare — Fri, 02 Sep 2022 21:26:47 +0000

As one of the willing artists who advocate for all to see, you can’t help but fall in love with Jamie Barton when you meet her on her socials. She rocks a edgy and colorful personal style, and in her Instagram bio she describes herself as a “[p]roudly queer opera singer into drag queens, bluegrass, social justice, equality, and cats.” She’s a 2022 Grammy nominee, as well as an empowering artist who uses her platform to connect with and inspire others. We highly recommend you check her out and click “follow!”

ARTISTS WHO ADVOCATE…IN OPERA!

Barton is a mezzo-soprano vocalist who has performed nationally and internationally in concert and in operas. Hailing from rural Georgia and raised on bluegrass music, she’s a graduate of vocal studies at Shorter College and Indiana University Jacobs School of Music. She began her career in musical theatre and has indicated that she’d love to return to the genre as Mrs. Lovett in Sweeney Todd, as Charlotte in A Little Night Music, and as The Witch in Into the Woods.

Notable opera credits include Carmen in Carmen, Brangäne in Tristan und Isolde, Fricka in Das Rheingold, Orfeo in Orfeo ed Euridice, and many others. She has performed at the Metropolitan Opera, Teatro Real Madrid, Washington National Opera, the New York Philharmonic, Carnegie Hall, John F. Kennedy Center for the Arts, and with symphony orchestras of Atlanta, Baltimore, Dallas, Iceland, Oulu, Pittsburgh, and Toronto, among many others.

GROUNDBREAKING CAREER MOMENTS

Barton’s path to professional success has certainly been an inspiring one. She’s paved her way through the traditionally conservative world of classical music by staying true to who she is and shaking things up along the way. Here are some highlights:

June 2013: The first woman to win both first prize and the song prize at the BBC Cardiff Singer of the World Competition, which is a distinguished classical music competition.
April 2015: Won the Richard Tucker Award, one of opera’s most prestigious honors. The foundation which selects the winner explains the award is given to “an American singer poised on the edge of a major national and international career, and it is hoped that the award acts as a well-timed catalyst to elevate the artist’s career to even greater heights.”
September 2015: Featured in the New York Times (NYT) while performing in Anna Bolena at the Metropolitan Opera. The NYT called her “opera’s nose-studded rock star.” The profile also described her as “a leader of a new generation of opera stars.”
2018 and 2020: Won BBC Music Magazine awards. In 2018, she received the Vocal Award. In 2020, she received Personality of the Year.
September 2019: Headlined “Last Night of the BBC Proms,” and performed “Rule, Britannia!” while waving a rainbow flag in celebration of the LGTBQ+ community. The song is a classically British song of patriotism (like the song “God Bless America” in the U.S.). The Proms is a prominent classical music fest.
September 2021: She performed as Carmen alongside Stephanie Blythe as Don Jose, Carmen’s romantic counterpart. The pair brought a non-normative, genderfluid element to the classical stage.
2022: Nominated for a Grammy Award for “Best Classical Solo Vocal Album” for Unexpected Shadows, which she made with composer/pianist Jake Heggie and cellist Matt Haimovitz.

EMPOWERING OTHERS ON SOCIAL MEDIA

Alongside her critically acclaimed musical talent, Barton stands out in the world of classical music for her social activism. Her Instagram, in which she boasts over 23,000 followers, engages in dialogue about body positivity, LGBTQ+ rights, social justice, and equality. She identifies as bisexual and frequently publishes content designed to uplift women, queer people and members of other marginalized communities. Last June, she published a video of her singing “Somewhere Over the Rainbow,” accompanied by an on-screen sign language interpreter. She captioned the post, “In case you’re as angry and heartsick as I am over… well, Everything… here’s a little moment of love and community to pause your scroll.”

Part of Barton’s appeal comes from her honesty and vulnerability about unique career challenges. She’s posted about how “nerve-wracking” it can be to trust a designer in creating costumes for her as a plus-sized performer. She calls out assumptions and stereotypes about casting choices that favor certain groups over others. Her candidness about her experiences and her frankness about social topics generate and continue important conversations that push the industry toward a more inclusive and progressive environment.

Recently, Barton lent her talents and influence to Ukrainian relief efforts. She performed in a special concert at the Met in which the ticket sales and album sales supported relief efforts. She also ran a personal matching campaign on her social media, through which she and her followers raised over $9,000 for organizations providing aid to the citizens and country of Ukraine. She wrote in an Instagram post on March 8, “The grand total that you guys submitted in donation receipts to organizations providing aid to the citizens and country of Ukraine was a WHOPPING $4522!! WOW!!! I matched that told in a donation to [CARE] in the same amount, which means *together*, we have sent $9044!! Bravi tutti, y’all. Thanks for banding together to help people who are truly in need right now.”

At the same time, Barton delights in publishing behind-the-scenes content that shows how much she simply loves what she does. Take, for example, a video in which she explains (with excitement!) a prosthetic eye wound created by her hair and makeup artist. It’s part of her character as Eboli in Don Carlos. When she finishes the video, she reveals the prosthetic and says humorously, “Look at that… gnarly, gnarly, Princess Eboli!” It’s the kind of “insider” content that thespians, artists, and performers alike recognize and appreciate.

Barton is also a volunteer with Turn The Spotlight. Their mission reads, “We offer mentorship by and for exceptional women, people of color, and members of other equity-seeking groups, with a particular interest in supporting artists who are using their talents and skills to strengthen their communities and pursue social justice.”

With so many accolades and so much charm, Barton’s star has not only risen but continues to shine very brightly — and it’s a star in which many young artists can find inspiration. Follow her @jbartonmezzo on Instagram, Facebook, Twitter and YouTube. Visit jamiebarton.com.

Natalie Clare is a freelance writer and regular contributor to Dramatics. Visit her work at nataliecwrites.com.

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Democracyworks Contest

Cameron Krouch — Fri, 12 Mar 2021 19:24:19 +0000

Cameron Krouch of Thespian Troupe 7888 at George Ranch Hihg School in Richmond, Texas, is the first runner-up of the 2021 Thespian Democracyworks essay competition.

The Educational Theatre Association has joined with other national arts education associations to launch the Arts ARE Education advocacy campaign, an initiative that will emphasize the need for schools to continue to fund and grow arts programs in their districts in 2021-22.

One of the important messages the campaign emphasizes is the ways in which theatre education creates safe spaces for students. Therefore, this year’s Democracyworks prompt asked students to share why theatre education matters to them and their school community by answering this question: “How does theatre support your social and emotional well being and foster a welcoming school environment?”

“LEAP AND THE NET WILL APPEAR.” This quote hovers in my head each time I step on stage. As my high school theatre department’s mantra, this quote has guided students under my director since he began teaching.

As students, we often hesitate to take risks and make bold choices. However, the theatre department at my school has been my haven when I feel lost, upset, or need encouragement. When my dad suffered a major accident last year, they were there to support me when I needed it. When I felt like I could barely make it through the days, they were there to lift me up.

The institution of theatre supports social and emotional well-being by ensuring that each student has a place to discuss their issues without being judged for them and fosters a welcoming environment within the school by ameliorating the level of acceptance and care within the surrounding communityL

Without the arts, students at schools would lack a cathartic experience that allows them to forget their stressors and express themselves in their community. When I step on stage, I transform. I forget about my homework assignments and tests and become a different person, connected and concerned about those around me.

Most importantly, theatre students love one another. Theatre teaches people not to judge others based on what they see on the surface; to look for the subtext behind each person.

Each musical and play is a collective effort that focuses on each person taking care of one another. Whenever someone has a problem on or off-stage, the theatre community rallies around them and shows them that, no matter what society tells them, they belong.

People see themselves represented in theatre. My theatre community has become a group of people I can rely on to support me in my endeavors and to lift me up when I fall. Even during a global pandemic, the theatre community has found ways to produce art, keeping students engaged during a time when mental health issues are on the rise. Without theatre, many students would not have an outlet to express themselves at home, where they may not be able to express themselves comfortably.

The stage allows us to reflect on important events in our community in a way that causes audiences to question their beliefs. The Broadway musical The Band’s Visit is an excellent example of this. The musical contemplates the nuances of opposing cultures and ideologies without explicitly mentioning either. It focuses on the one thing that connects us all: being human. Theatre is one of the most important art forms on the planet because it allows people to see themselves represented when they otherwise might not.

My high school ensures that we discuss the social relevance of each piece we perform, noting its importance. As my director says, it is our job “to hold a mirror up to society.” Our current one-act play features the phrase “laugh, be moved, but don’t leave unchanged” on the front of the script. I think that’s an important reminder of what our purpose is as actors: to show the world the importance of acceptance and loving others for who they are.

The theatre department at my school is one of the most welcoming places I know of. Everyone is absolutely accepting of each other. Theatre departments are also catalysts of change within the community. Many theatre troupes participate in Trick or Treat So Kids Can Eat, providing food to underprivileged kids, and donate to Broadway Cares / Equity Fights AIDS. My theatre troupe chooses an organization to donate to each year, most recently Cameron Boyce’s charity Thirst Project. Theatre troupes are a cornerstone of community improvement and set an example for others to follow.

Theatre has been home to beliefs that challenge the norm and push the envelope for centuries. Without it, people would lack a place to express important social themes. Whether it’s Elphaba belting Defying Gravity in Wicked or Elle Woods reminding us we can overcome challenges in Legally Blonde, theatre shows people they’re capable of more than they can imagine. Theatre is the ghost light of the world. Without it, our lives would be dark.

Editor’s Note: Learn more about the Democracyworks Essay Contest here.

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Redefining “Together”

Savannah Brown — Fri, 05 Mar 2021 15:00:00 +0000

Savannah Brown of Thespian Troupe 6303 at Timber Creek High School in Orlando, Florida, is the winner of the 2021 Thespian Democracyworks essay competition.

THE DAYS PASSED excruciatingly slowly. I would wake up to the sound of an alarm at 9 AM and do my virtual schoolwork, take a walk around the block, then fiddle on my phone in bed. I would go to sleep at midnight, or whenever I grew tired. I begrudgingly told myself each morning that I was somehow content with my new life; content with being alone in my room for most of the day, content with events I had been eagerly anticipating for months being canceled instantly, content with massive amounts of hard work culminating in nothing

Savannah Brown

As the days passed—first one week, then two, then more months than I could keep track of—my routine stayed much the same, and my isolation deepened. There was no news but of death, destruction, and discrimination. Both the literal and figurative diseases that plagued society came to light at once, and everything else was seemingly consumed by darkness.

This was my experience, at the beginning, one that I shared with nearly everyone. But the ending is what distinguished mine from the rest, shared with but a few people: the cast of Shakespeare’s Othello.

Come June of 2020, my new routine was rather unchanged. I woke at the same time, to the same alarm, but instead of reliving my personal version of Groundhog Day, I entered a sacred (virtual) space: the theatre.

Our stage was a screen and our script was the only thing recognizable about the entire production. We were separated by miles and microphone delays, but we were together. Just ‘together’ was enough, but the theatre never stops at enough.

Instead, we redefined, together, what it was to live in 2020. It was not a hindrance to our normal lives, it was an opportunity to make changes and learn how to be flexible. It was hard to remember that I was logging in to the daily video call and not teleporting to a real rehearsal room, because I had the same safe space I had missed during the pandemic. Through journaling, discussion, and performance, we regained all that we had lost in the previous months.

Together, we were healing. Theatre heals the sick and the hurt, the betrayed and the broken. It always has.

Theatre healed on September 13, 2001, when the doors of 23 Broadway theaters reopened less than 48 hours after the unthinkable tragedy of 9/11. Theatre healed my hometown of Orlando, Florida, on June 12, 2016, when Tony Award nominees wore ribbons and reminded the world that “Love is love” following the deadly shooting at the Pulse nightclub. Theatre healed on February 14, 2018, when students at Marjory Stoneman Douglas high school lost their teachers and classmates but gained the knowledge that they were part of a much larger community.

Theatre healed me and my castmates when we were able to create something beautiful after months of melancholy. Theatre heals every day, offering those who have nothing a place to belong and thrive.

The arts alone could bring people together again after months of government-mandated isolation. Regardless, many individuals were socially secluded before it was obligatory, but the allure of theatre has always been enough to draw them out and give them the gift of belonging.

My first elementary-school play induced my metamorphosis from the quiet girl who sat alone on a playground bench and did not speak, to the one reciting lines onstage in an extravagant costume. Each time I return home to the art form that defined me, I notice the same transformation occurring in others. Lifeless teens into cheerful ones, stressed-out students finally at ease. In theatre class and rehearsals, everyone belongs, both in school and the world as a whole.

Little else but theatre could claim to be truly diverse, where individuals of all walks of life come together to tell the same story. Little else could truly transport individuals, onstage and off, from their imperfect lives to a better one.

It is a necessity to offer as many people as possible the chance to experience what it feels to be wanted, to be supported, to be part of something bigger than themselves; it is a necessity to have theatre in schools.

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Make Your Voice Heard

James Palmarini — Thu, 25 Feb 2021 18:00:00 +0000

MARCH IS Theatre in Our Schools Month (TIOS) and a perfect opportunity to make your voice heard after a year like no other. To do that, you need to know what you’re talking about — theatre in this case — and why you feel so strongly about it. In other words, you must become an advocate.

Getting involved in TIOS is a great place to start. On the TIOS web page, you’ll find all the tools and resources you’ll need to promote theatre in your school and community. Along with sponsoring TIOS, the Educational Theatre Association is a founding partner of Arts ARE Education, a new national advocacy campaign on behalf of arts education. The campaign has a series of actionable tools — a pledge, a resolution, and template letter for state legislators — that allow advocates of all ages an immediate way to indicate support for arts education in their communities.

As part of the campaign and TIOS, EdTA is sponsoring Virtual Capitol Hill Week to make the case for equitable access to theatre education for all students. Student and teacher members will meet with their senators and representatives to present the organization’s federal legislative appropriation and support requests for FY2022. Check out how to get involved.

In the meantime, you’re going to learn how you and your fellow students can become your school’s go-to theatre education advocacy group. You are probably as busy as ever, COVID-19 or not. But the need to advocate on behalf of something you believe in can’t wait — advocacy is simultaneously about the present and future, particularly now. Along with the tragic loss of lives, the pandemic has prompted economic hardship that has cost thousands of people their jobs and upended education, including arts programs in schools like yours throughout the country.

GETTING STARTED

Most of the tools and guidance addressed here are available in EdTA’s Rapid Response Advocacy Center page. To begin, start with three steps that will form the foundation of your advocacy strategy going forward. There are always choices being made about how education will be conducted at the federal and state level. But the decisions that will most immediately impact theatre education in your school are likely being made at the local level. So the three steps of advocacy we are addressing here are imagined at that grassroots level of decision making. Keep in mind that most of the local strategies detailed can also be applied at the state or national level.

1. Analyze your school or district’s need for change.
Step back and consider how theatre is perceived by your school leaders, teachers, other students, parents, and your community. Are your shows well attended? Is your program robust and active, with curricular classes, with parent and alumni support, and annually supported financially by the district? Decide what are both the strengths and weaknesses of your theatre program, and why both characteristics are true.

You might consider doing a program SWOT analysis that will help you determine the strengths, weaknesses, opportunities, and threats of your school theatre program. Whether the answers to these questions are not as positive as you think they should be, or you decide that your program is in excellent shape, your advocacy should move forward. Advocacy can be about improving things or about making sure that they continue in their positive and productive state. Plus, things change, sometimes unpredictably in a way that puts a school program at risk, so you want to be ready.

2. Form a committee and assign roles.
To start planning your advocacy strategy on behalf of your program, identify and recruit your team of students. In some ways, this is your first bit of advocacy — convincing them that they need to step up to protect the theatre program that has been so important to them.

Regarding creating committees, you do this all the time as a member of a theatre production and anytime you lead a group project in class. None of us are good at everything — assigning responsibilities for different tasks will make your advocacy efforts stronger and more sustainable if you have like-minded advocates. You and fellow theatre students are the walking, talking embodiment of why theatre education should be available to every child — you have learned great communication skills, are poised before an audience, and know how to tell a story. These are all key traits of effective advocates.

The roles you assign can range from researcher and writer to public speaker and social media director, basically anything that will help you organize and activate an advocacy campaign. And by the way, like any other school group, brand yourself. You want everyone to know who you are what your essential purpose is. It can a simple as the “Smith High School Student Advocacy Task Force” or something more clever — just make sure that the word “advocacy” or “advocates” remains in the title.

3. Develop your campaign plan.
Start by answering this question: What exactly do you want? You need to define your advocacy “ask” in such a way that it is clear to your team and can be succinctly communicated to the decision makers who are empowered to effect the change needed to achieve your goals (more on those decision makers in a minute).

It’s OK to have multiple requests, but they should all be girded with an overarching and focused need that you can state in a single sentence. For example: “We would like the Smith Board of Education to allocate $5,000 to the Smith High School Theatre Program in the 2021 district budget.” A secondary request might be, “We would like $1,500 of the Smith High School annual funding to be dedicated towards the purchase of new lights for our auditorium.”

Whatever your ask is, create a plan with short and long-term goals. Perhaps your short-term goal is to simply get a meeting with the principal, and your long-term goal is to gain a commitment from the school board for funding support for the coming school year. Even more strategic, think beyond a year and what you and your committee envision might be needed to support your program long after you have graduated. Committed advocates are always looking ahead beyond their own interests and needs.

THE SIX ACTIONS OF ADVOCACY

Once you have analyzed your school’s theatre program, activate your team and follow these six actionable advocacy steps.

1. Research your facts and figures.
As theatre people we are an emotional group. We wear our passion on our sleeve and in our hearts because we care about the people we know and work with and the stories we watch or tell onstage. But in the advocacy game, you need to keep your emotions in check — available at the right time in an advocacy meeting — but only after you have presented a measured facts- and figures-based case in support of your advocacy request.

To do that you must do your research. Maybe someone in your committee loves research — it demands patience and double-checking for veracity, and it doesn’t hurt to have skills in statistics and money management. It could be something as simple as annual audience attendance figures, or revenue generated, or perhaps the number of theatre students in the program who went on to college or professional careers. More complex would be a comparison of funding across arts areas within the school over a several year period.

Gathering school-based data should part of a long-term strategy that can become embedded into your program long after you have graduated. For national research-based data on the value of theatre education, check out the Rapid Response Center.

2. Educate yourself and your team.
Once you’ve gathered your facts and figures, go into study mode and master them or, in theatre parlance, get “off book” and prepare yourself to share them with a decision maker. As a theatre student, you are adept at storytelling; that skill will serve you well in your advocacy — but only if you know what you are talking about. You and your committee need to be on the same page, so it’s critical that everyone prepares with the same information and messaging.

Remember how we talked about being able to communicate what you want in a single sentence? An “elevator speech” is a boiled down version of all your study and preparation. If there’s interest during a meeting, you can share the in-depth information that supports your ask, either as part of an oral presentation or as a “leave behind” document that your decision maker can reference later. Even if you do cover the facts and figures in your formal presentation, sharing documents is always a good idea — you educated yourself and now, in turn, you’re educating someone else.

3. Identify key decision makers and allies.
Like theatre, advocacy is an ensemble endeavor. You need to know who the key decision makers and influencers in your school and district are. The list of decision makers generally is this: board of education members; the district superintendent; principals and other school-based leaders such as curriculum directors; and parent-teacher organizations. Reach out to them on a regular basis. Invite your principal, superintendent, and school board members to your productions — even if they don’t take you up on your offer, they will at least know who you are and that you are actively working on behalf of theatre education in their schools.

Your allies and supporters are everyone who believes that theatre is just as important to your school and community as you do. Start with your fellow students who aren’t necessarily active advocates but do care about the school’s theatre program. Move on to the parent booster group and the community members who are regular patrons of your shows and fundraisers. Cultivating them can be as simple as sharing reports of your activities through social media or posting some of your facts and figures about the value of theatre in your school in show programs — whether that’s digital or print. Your allies will be important when there is a moment of crisis — perhaps an unexpected layoff of a teacher or proposed elimination of an advanced theatre class — and there is a need to act quickly and know exactly who to call or email to help you make your case. In the big picture, you will also need them when the school board or other decision-making body meets annually to determine budgets, classes, and staffing.

4. Make your first meeting with a school decision maker or community organization.
You’ve gotten this far, so now you and your team are ready to try out your newfound skills. Begin modestly if you must. You may be eager to meet with the president of the school board or the district superintendent, but consider starting with the program’s booster group or parent-teacher organization. This first meeting doesn’t have to be about a request. Rather, regard the meeting as an opportunity to share your group’s work thus far — your facts and figures about program success and the research-based data you have gathered. The goal is to make your group visible and to let your decision makers know that you would like to be considered a resource and sounding board when decisions are being made about the school’s theatre program.

5. Be ready to make a direct request for support.
This might, as noted a moment ago, focus on a short-notice concern that needs immediate and decisive action, or it could be something that addresses a larger need — such as updates to the school’s theatre space, additional staff, or classes — that would likely be included in the district’s yearly budget process. Whether you are presenting before an individual, such as the principal or superintendent, or the entire school board, you should designate one member of your group as chief spokesperson. This individual is responsible for stating your advocacy group’s position and why. You may get 30 minutes, or you may get 5; your spokesperson should be prepared for both time frames. One way or another, that spokesperson must state, clearly and specifically, what the group is asking for. It’s easy to get caught up in your facts and figures and to forget to actually state your ask.

Important: You want to be heard, but you must also be prepared to listen. People who are empowered to make decisions regarding what and how students are educated in the community have an enormous responsibility. It’s not an easy job, so assume they have you and your fellow students’ best interest at heart. Hear what they have to say, what their positions are, and why. No matter the outcome of your advocacy, be prepared to try again. And never burn your bridges with your decision makers. It will not help you to criticize their positions or, even worse, belittle them personally. Upon completing your presentation, your group should thank the decision maker or group for their time and state that you are available to help the school and district best determine future support for the school’s theatre program. In other words, your advocacy should be positive, not negative.

6. Tell your story.
We’ve talked a lot about the importance of facts and figures — things like the success of your school’s theatre students, the economic impact of the program, and research-based data — but the most important advocacy tool you have is yourself and your theatre story. Always be ready to share that story, whether it be with another student, parent, board member, or legislator. This is where your passion can make a powerful personal statement about what theatre education experiences can do for an individual student like yourself. Maybe a role brought you out of your shell, or you learned to be a leader when you were a stage manager, or perhaps you felt like you belonged for the first time when you met the cast and crew of your first show. Whatever your story, it’s why you became an advocate in the first place — you are who you are because of theatre, and now you want to make sure that every student that follows gets the same opportunity to create their story. Good luck and keep advocating.

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Power to Change

Allison Dolan — Tue, 02 Feb 2021 18:30:00 +0000

THESPIANS: Make your voice heard.

That was a common theme throughout the Diversity, Equity, and Inclusion Crash Course workshop at Thespian Nation Live, the International Thespian Society’s first multistate virtual chapter festival.

Hosted by the 2020-21 International Thespian Officers (ITO), the workshop provided a safe space for students of different races, abilities, and backgrounds to share their experiences and desire to improve representation and access in school theatre — and the theatre world at large. With ITO chair Isabelle Snyder and ITO Maura Toole as workshop moderators, a panel of students and educators discussed why inclusion matters, and what students can do to drive positive change. The students:

Nazarene Campodonico, Troupe 5120, Salem High School in Georgia
Lena Dougherty, Troupe 8938, Wildwood Catholic High School in New Jersey
Rosanna Gao, Troupe 7486, Great Neck South High School in New York
Paris Manzanares, Troupe 3183, Hanford High School in Washington
Hannah Sasek, Troupe 632, Canby Union High School in Oregon
Mara Sims, Troupe 6944, Columbus School for Girls in Ohio

Here’s what they had to say about representation and affecting change.

Why representation matters

Inclusion starts with representation. When you see yourself represented onstage or offstage, it opens your mind to those possibilities for yourself. And seeing diversity helps you understand others’ experiences.

“Not seeing characters who have disabilities in theatre makes it harder to relate to [disabled people],” said Hannah Sasek, who has physical disabilities and identifies as non-cisgender. “People need to realize that other people exist.”

“There have been a lot of times when resources aren’t available you have to take it into your own hands,” said ITO Lena Dougherty, who wrote about her experience as a hard-of-hearing actor in her winning Democracyworks essay in 2020. “But that gets tiring.”

How different races and abilities are represented in theatre matters, too. The students discussed the frustration that comes when theatre elevates stereotypes, includes token characters, and focuses on a single dimension of a race.

“There’s so much more to being Black than slavery and the Civil Rights movement. The whole story doesn’t need to be about the minority identity,” said Mara Sims, who’s Black. “Representation is important. Good representation is even more important.”

ITO Paris Manzanares talked about her recent experience in a school play where the school received permission to portray her role as a transgender female — like her — instead of a male. When that news was greeted with applause, she noted that no one would think to cheer if a traditional male role was changed to female or vice versa. “When we tokenize [diverse characters], it kind of ruins it,” she said.

“As children, we need more representation. It starts right here with those of us on this call. We can become the change we wish to see,” said Nazarene Campodonico, who’s Latina.

What you can do

So how do you become that change? The student panelists advise standing up and speaking up.

“The first step is to talk about it and see what we can change. I began a nonprofit called Music for Change to spread positivity,” said Rosanna Gao, who advocates for Asian representation on Broadway. “Write to our Senators. If we are making noise about this issue, change will occur.”

“Change is not going to happen overnight, but you have to have those hard conversations that you wouldn’t usually put yourselves into,” said Dougherty. “Speaking up for those who can’t speak for themselves is important.”

And get comfortable with discomfort. “Please know that stuff is going to be hard,” said Sasek. “People in this community are here to support you and we will continue to do this kind of work.”

Sims talked about the unintentional hurt that can come from white people skirting around sensitive questions. “Don’t be afraid to ask,” she said. “If you’re aiming for representation, it’s so much better to ask and pre-empt the damage and harm.”

Finally, don’t stop fighting for change. “Stay mad. Stay passionate. Stay engaged,” said Manzanares.

Want to get involved with ITS diversity, equity, and inclusion efforts? Reach out to the ITO on Instagram. You also can help support underrepresented student leaders by asking friends and family to donate to Broadway Licensing’s Send-A-Leader Diversity Grant program.

The post Power to Change appeared first on Dramatics Magazine Online.

Share Your Story

Allison Dolan — Wed, 26 Jan 2022 18:00:00 +0000

Thespian Brannon Evans got a once-in-a-lifetime opportunity in 2019 when she was invited to read lines with the cast of Broadway’s To Kill a Mockingbird in front of an audience of elected officials, friends of theatre, the show cast, and production team at a special event in the Library of Congress. She got there with her DemocracyWorks winning essay about the inspiration she gained from being in her school’s Mockingbird production.

The 2022 DemocracyWorks Essay Competition is open now! If you need convincing to enter, let these previous winners share their experiences.

DemocracyWorks Competition Gives You a Platform

The winning essay will be published here on Dramatics.org. We can work with you to create a short video, too, that we will share on social media. You can take your passion for theatre advocacy to the Thespian Nation and other theatre-loving followers.

“Sharing my theatre story for DemocracyWorks has helped me to spread my message of inclusion in the arts to a national audience,” says 2020 winner Lena Dougherty. “As a hard-of-hearing actress and singer, I am passionate about helping everyone find a place where they can be their authentic selves. I am grateful that I had the opportunity to have my story heard and read by people all over the world. I hope it has encouraged others to open their circles to people who are different.”

Brannon says her DemocracyWorks experience helped her recognize her power and her story’s significance. “Before that moment, I didn’t really think anyone cared or would really get much from hearing my experiences and perspective. But after sharing my essay, I have heard that it helped some people gain the confidence to share their own stories. It gave validation to others who felt seen after hearing it.”

SHARE YOUR LOVE OF THEATRE

The DemocracyWorks Essay Competition gives you the opportunity to advocate for something you love, and to share how theatre education has been a lifeline for you and has made an impact on you.

“Advocating about the arts just made me fall even deeper in love with it. I clearly love theatre and am passionate about it because I am studying it and want to pursue a career and life in it,” says Brannon, who went on to study theatre in college. “Being able to put into words that love and passion and share with others why they should care was very important and impactful for me because it solidified the importance of what I am doing. It was also so inspiring to be advocating for something that I loved with people who loved it just as much as I do.”

DEVELOP YOUR ADVOCACY SKILLS

The competition winner earns the right to take part in the National Arts Action Summit, sponsored by Americans for the Arts, and virtually visit with legislators to talk about the value of arts education. The winning essayist takes part in all scheduled events, including legislative training on current arts issues circulating on Capitol Hill.

If you’re interested in getting training on how to advocate for the arts effectively, Brannon encourages you to apply. “I also would apply if you just want to learn. I absorbed so much knowledge and experiences from that weekend,” she says. “There was just so much about the arts and the legislative aspect of arts education that I was not aware of, and I got to understand the importance of the education I take for granted, that others don’t have access to as easily.

“The experience helped me learn the full scale that my advocating can happen on. Yes, this specific experience was on a national level, but it reminded me of the importance of local advocacy and advocacy in my school as well. The training gave me the tools to express the importance of theatre education and what my representatives could do to support that.”

FORM CONNECTIONS WITH OTHERS

At the National Arts Action Summit, which is happening virtually this year, the winning essayist will have the opportunity to make connections with arts advocates from throughout the country, and to meet with their legislators on behalf of a wide range of arts issues, including arts education.

“At the Summit I got connected with the ITO and met other students who I still am in contact with. I also met my senator and representatives and made that type of connection,” Brannon says. “There were so many people at the events who all shared the same love of theatre and arts education in general, and we got to exchange stories and contact information, which was amazing.”

Now it is time to get writing. The 2022 essay writing prompt is:
How has theatre helped you build resiliency in your personal life and academic studies?

Learn more about the DemocracyWorks Essay Competition and apply online by noon on February 18, 2022.

The post Share Your Story appeared first on Dramatics Magazine Online.

Five Questions with Cameron Holder

RaeNosa Onwumelu — Wed, 29 Jul 2020 21:01:36 +0000

WHEN CAMERON HOLDER is not talking about theatre, she is talking about leadership. While Holder did not pursue the latter passion until her sophomore year at Grimsley High School in Greensboro, North Carolina, it has since become equally important to her.

Cameron Holder, recipient of the Broadway Licensing Send A Leader Diversity Grant. Photo courtesy of Cameron Holder.

According to Holder, “Leaders are people who help others and their community ― and encourage others to do the same.” Recognizing a lack of representation of student leaders of color in her school, the Thespian Troupe 7993 inductee became the junior varsity cheer captain, a homecoming dance committee volunteer, and Guilford County Superintendent’s Student Advisory Council member. Now that the rising senior has found her footing in diversity-based leadership, Holder advocates for more leaders of color in theatre.

This spring she was awarded a Broadway Licensing Send A Leader Diversity Grant, established by the International Thespian Officers to increase opportunities for students in diversity-based leadership, service, and social justice activities at the Thespian troupe, chapter, and national level. The grant enabled Holder to attend the 2020 Virtual International Thespian Festival, where she spent her first day in the student leadership workshop, Through the Leadership Lens.

During the workshop, Holder joined fellow Thespians to distinguish her leadership style, enhance skills as a collaborative team member, and identify best practices for maximizing arts advocacy in schools. After experiencing the student leadership training, Holder is more encouraged to advocate for theatre spaces that support all leaders ― no matter their color, creed, or religion.

What sparked your interest in theatre?
In elementary school, I went to see Mulan Jr. at the Starr Theatre [in North Carolina]. The actors were so talented. When the show was over, I knew I wanted to be involved in theatre. Theatre became [a place of] escape for me, where I felt like I was in a different world. I wanted to bring that feeling to others.

How many times have you attended the International Thespian Festival?
I have attended the International Thespian Festival three times because I have had amazing opportunities. During my freshman year, I was part of the Next Generation Works Thespian Filmworks program. I also performed a duet scene and 21 Chump Street as part of the Chapter Select showcase. During my sophomore year, I was awarded the Doug Finney Grant. And this year [as a junior], I participated in Virtual ITF through the Broadway Licensing Send A Leader Diversity Grant. Again, theatre is a place that gives me the opportunity to escape the world I live in, even for a fraction of a second. So, I want to continue to be part of every leadership experience I can to better myself as a leader.

How did your first leadership experience affect your perspective on leading others?
When I was the JV cheer captain, I learned a lot about myself as a leader. Working with my classmates ― having that level of respect with your peers and with people older than you ― was hard but worth it. I also loved it when someone asked me for help. It takes courage to ask for help, so you begin to see someone else’s growth and determination as a leader.

What are your three favorite moments from the virtual student leadership program?
My top three moments would have to be the last breakout room, talking to [Broadway actor] Alton Fitzgerald White, and listening to the ITO candidates’ speeches. The first workshop drew me into the whole experience. I did not know what to expect, so I came in open-minded and excited to see everyone. I was pleased with the outcome.

What advice would you give Thespians interested in pursuing the leadership program?
Do it! It is so much fun and a great time to learn about interesting things. I am so happy that I was part of such a wonderful event full of amazing leaders. It made me excited for the future.

Learn more about International Thespian Society student leadership programs and the Broadway Licensing Send a Leader Diversity grants online.

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Cameron Holder appeared first on Dramatics Magazine Online.

Five Questions with Maura Toole

Anita Martin — Thu, 23 Jul 2020 14:45:08 +0000

MAURA TOOLE shines onstage. Her favorite roles include the Tin Man in The Wizard of Oz, an ensemble member of 21 Chump Street (performed in 2018 at the International Thespian Festival as the North Carolina Chapter Select production), and Agnes in She Kills Monsters.

But this Thespian shines equally bright in offstage leadership roles. In 2020-21, Toole begins her third year on the board of Troupe 7993 and as a Student Thespian Officer for North Carolina (her second year as chair), in addition to a second term as an International Thespian Officer.

Outside of theatre, Toole founded both the Girls in STEM and philosophy club at her school. She also helped organize and lead the March for Our Lives event in Greensboro in 2018. She continues to work with them and with Moms Demand Action, and she mentors elementary students through Guilford County Schools.

When not in a theatre, Toole loves to be outside. “On a nice day, you’ll probably find me in a hammock reading a good book,” she said. “I also have a massive love for backpacking and am lucky to live close to the Appalachian Trail, where I spend part of my summers every year with my backpack and my friends.”

Toole develops her love for philosophy, political science, and public policy by working on political campaigns and advocating for arts education. But she always finds moments to indulge in chocolate ice cream and dance parties with family, and she plays a mean “Hey, Soul Sister” on the ukulele.

When and how did you first become interested in theatre?
I was so lucky to attend the A+ Kids Theatre Camp at my school as an elementary and middle school student. The camp director, Mr. Selassie Amana — also my P.E. teacher and a former New York actor — directed junior musicals that we performed for our parents at the end of camp. This immersion into theatre as a very young person and ability to see my teacher’s obvious passion for it massively encouraged my love of performing. I have worked the last three summers as a counselor and assistant director at this camp in hopes of encouraging other young people to feel the same excitement I felt being onstage.

How did you become interested in becoming an International Thespian Officer?
Theatre and quality theatre education have always played a big role in shaping me into who I am becoming, and I have seen theatre shape castmates and friends since stepping onstage for the very first time. It is important to me to serve communities that have given me so much joy and taught me resilience, collaboration, and servant leadership. I was interested in becoming a Thespian officer for this reason: I wanted to give back to a community that had given me so much. In my time as an ITO, it has been incredibly encouraging to experience that Thespians all over the country and all over the world share my excitement about making quality theatre education accessible and engaging for every student.

What do you think makes a good leader?
To me, a great leader is always thinking about ways they can learn and grow and ways they can help others grow. They are unafraid to take risks and unafraid to fail. A great leader can demonstrate their passion through energy that encourages everyone around them to be the best versions of themselves. They are always willing to ask questions. And they are incredibly resilient and quick to recognize strengths in teammates and delegate. It has been amazing to identify and experience these qualities in students with whom I have interacted and worked as an ITO, and to whom I can look as examples for developing my leadership skills.

What do you look forward to in your second ITO term?
I hope to work with the International Thespian Student Leadership Council to evaluate the effectiveness of the student leadership resources developed [in 2020]. But I am most excited to work with STO and PTO boards to equip them to be political advocates in their chapters, as arts funding is in question in so many parts of the country right now as a result of the economic recession. My hope is that the new ITOs can teach a series of workshops with student leaders about arts legislation and how they can encourage other students in their chapters to take nonpartisan action in favor of arts education funding.

It would be incredible to work with chapters to assist students in working with their local and state legislators because grassroots movements like these are very effective right now and would give Thespians immense agency. I am excited that this can all be done virtually because there is no better time than now — when we are isolated and when public school programming may be in question — for students all over the country and all over the world to learn to be advocates.

As an ITO this coming year, I also hope to work with the board to digitize more leadership and advocacy resources, such as video workshops we would teach at chapter events this year.

What advice would you share with other Thespians?
As a theatre student and Thespian, there is always so much to learn, especially when we least expect there to be. Keep your eyes wide open and approach every opportunity as a way to soak it all in, to learn as much as you can, and to always be growing.

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Maura Toole appeared first on Dramatics Magazine Online.