Revue
News from the Program in Educational Theatre
DEPARTMENT OF MUSIC AND PERFORMING ARTS PROFESSIONS
PUBLISHED TWICE A YEAR, WINTER AND SUMMER • NUMBER ELEVEN • WINTER 2008
It has been an unusually robust
Back on campus many dynamic
year in the Program in Educational
courses were offered under the
Theatre. As we near the end of
inspired teaching of David
2008, I reflect back on the cre-
Montgomery, Christina Marin, Edie
ative and academic journeys of my
Demas, Russell Granet, and Kevin
colleagues and students with awe.
Bott. I taught a Character Study
By Jennifer Pytleski
As is demonstrated in
class that was filled
this overflowing
with teachers from all
Airplane coffee had never tasted so
newsletter, much has
over the country.
good! Settling into my seat, buckling
been accomplished and
Guided by David
up, ready for the Heathrow Airport
should be celebrated.
Montgomery and
landing, I exhaled and laughed at
This summer, our
Nancy Swortzell, The
myself, letting go of the weeks of
three study abroad pro-
New Plays for Young
worry, financial aid paperwork, visa
and Brazil presented
Dr. Nan Smithner,
Interim Program Director
extremely varied learning
Audiences Series proreadings by Y York,
Lois Lowry and R.N. Sandberg.
breadth of the educational theatre
The Looking for Shakespeare
field: from active classroom teach-
youth ensemble produced a won-
ing in London schools and visits to
derfully creative interpretation of
the professional theatre; to com-
A Midsummer Night’s Dream as a
munity engaged theatre and the
radio play, directed by alumna
devising of original works in
Sharon Counts.
The fall semester began with an
study of Rainbow of Desire and
exciting production series begin-
Forum Theatre in the exuberant
ning with the 24 Hour Play Festival,
and diverse Brazilian culture.
where a variety of provocative new
continued on page 2
INSIDE
NYU students at the Samuel Beckett Theatre
on Trinity College’s campus in Dublin, Ireland
duced three staged
experiences representing the
Dublin; and finally to an in depth
continued on page 2
Voices in
The Class Project
| O N S TA G E |
PHOTO COURTESY OF DAPHNIE SICRE
grams in London, Dublin
PHOTO COURTESY OF JENNIFER PYTLESKI
Study Abroad:
Reflections on
Three Abroad
Programs
FROM THE DIRECTOR
By Karl C. Leone
Usually, it takes one or two days after your
show closes to get used to having free time
again, wipe away your tears, and respond to
Robert Keith brings to life a character
in The Class Project while James
Webb watches.
thoughtful emails from friends praising your
job in the play. Since closing The Class
4 The Art of Adaptation 7 A Midsummer’s Night Radio Play 11 III: An Exemplary Process 13 Profile: Ralph Lee
continued on page 8
2 NEW YORK UNIVERSITY
Study Abroad: Reflections on Three Study
FROM THE DIRECTOR
continued from page 1
continued from page 1
wherein experts in the field men-
dents, felt like small events and I was
blown away with the results. The
tored student playwrights in
application, passport misplacement,
feedback I took in from the students,
works were created, directed and
developing their work. The entire
packing for three different climates
each other, and Damian and Desiree,
performed. I had the privilege of
weekend was expertly produced
(England, Ireland & Brazil) and mak-
on our own personal aesthetic as
trying out my character acting in
by doctoral candidates Teresa
ing my way through the incredible
facilitators, illuminated precise points
this festival, which was at once
Fisher and Amy Cordileone,
list of course books that were stuffed
that I knew I needed to work on. This
challenging, stimulating and inspir-
whose inspirational leadership
into my bag in the overhead com-
pushed me forward as both an edu-
ing! The Educational Theatre com-
made the weekend feel like a cre-
partment.
cator and an artist. Damian’s class
munity turned out en masse to
ative explosion.
exuberantly support the work of
Our Shakespeare to Go
was a role model for how theatre, as
a tool and art medium, can be used
Ensemble is booked for the year
Classroom Drama in Education I & II
throughout all subjects and creates
in NYC schools, performing their
Sitting in the Welsh House, my eyes
entry points into whatever you are
ble of The Class Project, under the
new rendition of Twelfth Night,
taking in the dark old wood, English
teaching. At one point, the teachers
direction of Joe Salvatore, was
directed by Erica Giglio (EDTA)
paintings displaying the history of
and students were in role as scien-
hard at work developing an in
and Sarah Jo Wylie (ETED). Our
the building and people, the smell of
tists in a top-secret lab, researching
depth interview theatre piece on
Prison Theatre Initiative has been
wonderful sweets, tiny biscuit-like
evidence of a new species, (working
class and socioeconomic status.
dynamically engaged in a
The group engaged in research,
Physical Comedy and Clowning
studied the necessary techniques,
workshop at Woodbourne (led by
did the interviews, developed the
me, with Erin Kaplan and Brady
intensive choreography which
Ovson, both EDTC), as inmates
framed their work, and brought
create a performance collage
real individuals to life on stage.
replete with slapstick and red
All this sounds so fluid, but
noses, indeed incongruous
indeed it required many hours of
images in a correctional facility.
the artists.
In the meantime, the ensem-
enormous dedication and cre-
As I prepare for the upcoming
ative input from the ensemble,
Puerto Rico Intersession course,
and the director and his ener-
Theatre Practices, I look back at
getic staff of assistant director,
the year and try to catch my
dramaturge, stage managers and
breath — and then look forward
designers. The result was an
to many more experiences —
amazing production that was
such as our upcoming Forum on
compelling, moving and wonder-
Theatre Pedagogy: Teaching the
fully visual.
Art Form from April 23rd to 26th
We then experienced Theatrix!
in a new action packed weekend
PHOTO COURTESY OF JENNIFER PYTLESKI
London June 22-July 11, 2008
NYU students studying at London with Dorothy Heathcote
2009. Mark your calendars!
Many thanks to our team of
meat pies, plush green upholstery
from the story by Shaun Tan, The
manifestation, beginning on
dynamic doctoral students who
chairs, and all of the students, staff,
Rabbits). The power of education
Friday night with a panel of pro-
work in the office this year — Amy
and teachers listening to Nan
and encouraged imagination trans-
fessional producers who talked
Cordileone, Teresa Fisher, Jennifer
Smithner, NYU Director of London
formed that classroom setting
extensively about the nitty gritty
Holmes, Desiree Hamburger,
Study Abroad 2008, warmly wel-
beyond what even the best lesson
of bringing theatrical works to
Daphnie Sicre, and Kevin Bott.
come us, my heart could barely take
plan could envision. I was over-
the stage, moderated by doctoral
And thanks to all of you in the
it all in! Desiree Hamburger, NYU
whelmed by possibilities.
student Leslie Smith. This was
Educational Theatre community
academic advisor and adjunct
followed on Saturday by readings
for your insight, inspiration and
instructor for the program, caught
room experiences, we had work-
of six new ten-minute plays,
dedication to our field.
my eye and we both smiled and
shops led by Dorothy Heathcote,
acknowledged the excitement that
Gavin Bolton, Fiona Lesley, Jonothan
was in the air.
Neelands, Dan O’Neill, Rebecca
My classroom placement, along
On top of the remarkable class-
Patterson, and the team of Nan,
with three other NYU students, was
Desiree, Martin Heaney and Jonothan
in the Friars Primary Foundation
Heron, which filled my journal with
School under the classroom teacher
tangible ways to approach a signifi-
Damian McBeath and his year 5 stu-
cant assortment of drama classroom
Performing Arts Professions
dents. Desiree was our tutor and
tools. Workshops were set up to
Number Eleven, Winter 2008
between her and Damian, we
allow us to participate as student,
received incredible individual and
teacher, artist and observer, so that
group support. The lessons that we
we could reflect on the complete
created, all inspired from the stu-
process and methods being present-
Revue
News from the Program in Educational Theatre, Department of Music and
Editor-in-Chief: Jennifer Miranda Holmes | Copy Editor: Daphnie Sicre
Steinhardt School of Culture, Education, and Human Development
Joseph and Violet Pless Hall, 82 Washington Square East, New York, NY 10003
STEINHARDT SCHOOL OF CULTURE, EDUCATION, AND HUMAN DEVELOPMENT 3
ed. We discussed with these educa-
Beckett Theatre, there was an object,
tional theatre icons what they had
representing each of us, a story
written and dialogued about the dif-
behind it and three weeks for all of
ferences in American and English
us to take in the telling, listening and
school systems. Our individual aca-
discovery of those stories and the
demic and tutor meetings provided
ones around us. With that and our
very personal reflection moments,
opening reception where we met our
processing of goals, new challenges
faculty, Jerry Maraia, Joanna Parkes,
and risks to think about, and that lux-
Chrissie Poulter and Declan Gorman,
ury of TIME with our faculty to share
we jumped into a journey of engage-
our experiences.
ment with our community.
On most evenings we would gath-
PHOTO COURTESY OF JENNIFER PYTLESKI
Abroad Programs
The workshops in this program
er outside our flats and head toward
delved into the stories of our envi-
different theatre venues, via the tube,
ronments, heritage, places we call
bus or walking. Such an experience
home, cultures within a community,
to be in the National Theatre, the
choices, options and expression
Barbican, the Royal Court, the
through language, plays, literature,
Donmar Warehouse, the Courtyard
pictures and paintings. We traveled
(in Stratford Upon Avon) and, my
to Dundalk and created environment
personal favorite, The Globe. While
inspired texts, lead by Declan
watching The Merry Wives of
Gorman and members from the
Windsor, seeing the sky above me,
Upstate Theatre, on the sea shore
standing in my groundling seat, RSC
and sand dunes that immigrants
actors running, dancing and singing
arriving to Ireland would have first
so close to me, I could see their cos-
seen. A bus tour through Belfast, lead
groups. Joanna’s passion for what
chalk outlined grass track, on my last
tume stitching, I connected intensely
by Jonathan Harden from Queen’s
she does, the children she works with
morning at Trinity College, I felt
with what had brought me to theatre
University, challenged our lenses as
and importance of theatre as an edu-
ready for my next step and clear
in the first place and why I continued
artists and sightseers. How do you
cation tool, was hugely motivating.
about my presence within Educa-
to want to work with and in it!
engage with a new place, people,
Ireland July 13-August 1, 2008
Community Engaged Theatre &
Ireland Sea outside of Dundalk: Christopher Hartman, Sara Pencheff, Jennifer Pytleski,
Joe Salvatore and Adam Crescenzi walking away.
How do you engage with a new place,
people, and the stories that live in that space?
Our group also had the pleasure
tional Theatre. Joe kept us focused
and the stories that live in that
of spending the afternoon with NYU
on our next goal, and asked us to
space?
alumnus Nora O. Stillman, currently
clearly articulate how we planned to
the Education Director for TEAM
engage with what we were learning.
Also in Belfast, we worked with
Youth Theatre In Education
Tom Magill and his team from the
Educational Theatre Company. We
Thinking about what happens when
Entering the Trinity College Campus,
Educational Shakespeare Company
were again stimulated by the theatre
I allow myself to be fully engaged
walking through the dark tunnel
Ltd. In this workshop, we participated
“games” most of us had long ago
created goose bumps on my arms
leading to the historic courtyard
in a condensed course of creating
learned, but reexperienced through
as I completed my final lap.
opening that Oscar Wilde and
films of our own stories using the
participating in them ourselves, and
George Bernard Shaw (and MANY
facility. Surrounded by the ornament-
engaging with the themes of immi-
Brazil August 2-15, 2008
more!) had also walked into, I
ed walls featuring the paintings cre-
gration, home and family.
Augusto Boal’s Rainbow of Desire
dropped my army surplus green duf-
ated by the prison groups that Tom
fle bags from my sore shoulders and
does workshops with, we listened to
ate in, to the people we had as our
whatcha need to say.” John Mayer’s
I took in this new space I was about
the men who have embraced and felt
tutors, from the community centers
song, which had followed me and my
to engage with. I had never realized
liberated by this therapeutic work.
we visited, to the group tours, to the
NYU colleague, from the airport in
written assignments, each event in
Ireland, to the layover in Newark, NJ,
grass could be so green, clock towers
Joe challenged us to connect with
From the restaurants or pubs we
“Say what you need to say. Say
could sound so beautiful, and a dorm
how we engaged with the work, to
the program had a communal goal
now was greeting us as we touched
could feel like home so quickly. I
reflect on what came up for us, and
and insight into the country of
down in Rio De Janeiro, inviting
knew this program would invite me
to push ourselves while listening to
Ireland and the complex options and
exhausted travel laughs from the
into yet another realm of educational
our resistance. He emphasized the
views of the population that live
both of us. My final destination of the
theatre.
importance of taking care of our
there. The incredible organization of
summer was happening. I had
community and presented a strong
Joe and Jerry allowed me to relax
reached Brazil — the thick humid
NYU Ireland Program Director,
example of what gifted guidance is
into the hectic program schedule and
heat, bright orange and yellow col-
requested that each of us bring an
to me.
breathe into all the elements that
ors, gasoline street smell, large
were being introduced. Our final
cashew tree leaves on the sidewalks,
At the beginning, Joe Salvatore,
artifact to share, collected from
While in Dublin we worked with
where we just had been. He instruct-
Joanna Parkes, using Brian Friel’s
devised pieces brought all we had
a language completely foreign to my
ed us to step back, look at the map,
play, Translations, to develop pre-
been taking in to full circle and they
ear. As my eyes took in this new city,
containing artifacts placed in the
show and post-show workshops
continue to create new ones for me
country, and world, through the
areas they came from. In that small
using group generated themes
to process.
window of my taxi, quickly merging
rehearsal space in the Samuel
geared towards specific community
Running around the thick, green,
continued on page 14
4 NEW YORK UNIVERSITY
Happenings
The Art of Adaptation
Beyond the Book: A Practical Symposium on Adapting the Young Adult Novel for the Stage
Each panelist provided a very
By Jonathan Shmidt
different viewpoint on the
process. Lowry and O’Neill discussed the importance of honor-
evocative theatre for young audi-
ing the world created by the
ences is adapted from popular
author, while embracing the capa-
children’s literature. This genre of
bilities of the stage. O’Neill dis-
theatre allows young people to
cussed the difficulty in creating
experience the stories they have
new art out of familiar work. She
read and the characters they
explained the delicate balance of
cherish in a completely new way.
retaining the essence of the origi-
Bringing children’s and young
nal work while at the same time
adults’ literature to life on the
bringing artistry to the page. She
stage can be incredibly rewarding
argued that it is essential that the
when successful, but the process
staged work becomes a new
of adaptation provides a chal-
piece of art that enhances, if not
lenging task for the artistic team.
reinvents, the original written
Through the adaptation, the
story. Otherwise, there is no rea-
to watch the staged reading of
artists must stay true to source
son to recreate the work in the-
Gossamer, and witness the realiza-
material while at the same time
atrical form. As the artistic
tion of a staged adapted work.
shed new artistic light on the
director of a theatre that pro-
During a post-performance talk-
piece. This delicate balance pro-
duces new work for children,
back, Lowry, O’Neill and Foote
vided the launching point for
Foote discussed the process of
shared the specific ways in which
Beyond the Book: A Practical
identifying a successfully adapted
they were able to work together
Symposium on Adapting the Young
script and mounting a profession-
to bring Gossamer to life. In order
the success of these changes to
Adult Novel for the Stage, hosted
al production of the work, while
to fill out the characters and cre-
the script. This proved to be
by NYU Steinhardt as a fitting
McEneny focused on the process
ate a successful script, Lowry
extremely helpful in tracking the
close to the New Plays for Young
of adapting and producing works
relied on the help of a dramaturg
shape of the characters’ journeys
Audiences Series.
of literature for the stage with
(in this case, O’Neill). She dis-
through the play.
students as an exercise in play-
cussed the challenge in convert-
writing.
ing the narrative of a novel into
sium allowed teachers, teaching
The series featured staged
readings of two popular young
adult novel adaptations: Eggs by
PHOTOS COURTESY OF DAPHNIE SICRE
Often the most successful and
Cecily O’Neill works with NYU students Jonathan Schmidt, Steven McIntosh, and Jessica
Huchital during the symposium.
Finally, participants were able
Participants present a frozen image.
The Beyond the Book sympo-
active dialogue. As dramaturg,
artists, and theatre professionals
Y. York (based on the novel by
O’Neill led the participants in an
O’Neill focused on the emotional
to explore the tools necessary to
Jerry Spinelli), and Gossamer by
active exploration of the process
journey of each character in the
create successful adaptations for
Lois Lowry. These works repre-
of adaptation. Provided with the
story over the course of the play,
the stage. Whether the process
sented two sides of the coin in
source material of a popular
and the stakes of their obstacles
occurs in the classroom or on the
adaptation. York, a playwright,
ghost story from a current British
along the way. Upon her sugges-
professional stage, the art of
worked with another author’s
children’s book, participants
tions, Lowry changed around the
adaptation must first and fore-
original source material by adapt-
explored several different chal-
order of certain sections, and
most rely on the power of theatre
ing Eggs. Gossamer was adapted
lenges in adaptation, including
added or changed specific dia-
to reinvent the story on the page.
for the stage by the original
the reasons a company may
logue. Director Foote supported
Rather than creating an experi-
author, Lois Lowry. At the sympo-
decide to produce a work, and
this technique and helped the
ence in which the child is able to
sium, drama specialist Dr. Cecily
the ways in which text can be
adaptation along by allowing the
say “This is exactly how I remem-
O’Neill, director Stan Foote (artis-
brought to life. O’Neill demon-
team to actually watch each char-
ber it,” a successful adaptation
tic director, Oregon Children’s
strated devised adaptation
acter’s arc through the play.
offers new viewpoints and artistic
Theatre), middle school teacher
through dramatic activities and
During several rehearsals he
interpretations that launch the
John McEneny, and Lois Lowry
process drama techniques which
asked the actors to run the
young adult audience into a
sat on a panel to discuss the chal-
were used to activate sections of
scenes by character, rather than
dialogue about the adaptation
lenges and rewards of adaptation.
the text and the story.
sequentially, in order to highlight
itself.
Following the panel discussion,
STEINHARDT SCHOOL OF CULTURE, EDUCATION, AND HUMAN DEVELOPMENT 5
E D U C AT I O NA L T H E AT R E P RO F I L ES
International Students:
Working Together … Building Community through Applied Theatre
Educational Theatre graduate stuBy Anne Richie S. Garcia
dents, have joined us. We feel sad
that we might not become part of
“Take care of yourself!” “Keep in
this project’s implementation,
touch!” “Stay warm!” “Send pic-
because many of us will return to
tures!” “Be careful!” These are
our home countries after graduat-
many of the things I heard as I
ing, but we are more than thank-
embarked on my journey to New
ful that people who trust in the
PHOTO COURTESY OF DR. CHRISTINA MARIN
York City. Touching down in the
Big Apple, I headed to the
doorstep of New York University. I
was excited for my first class in
the Masters Program in
Educational Theatre. It soon
became a nerve-wracking game
of survival in this concrete jungle.
I got lost on campus searching for
my classes. I got lost in the subway more times than I can
From right to the left: Anne Richie Garcia, Ya-Ling Chao, Nari Kim, Min-Jung Lee,
Chung-Min Yin, Delia Meyer, Yi-Wei Chang.
remember. In class I felt lost every
time I didn’t understand the
power of theatre to open dialogues will take over. As our program director, Dr. Philip Taylor,
affirms — Applied Theatre is ART,
which stands for Action,
Reflection, and Transformation.
The quote in the Applied
Theatre I syllabus, which is from
an aboriginal activist group in
Queensland, reads, “If you have
come to help me, you are wasting
your time. But if you have come
Chao and Nari Kim.
sickness, belonging, academic
because your liberation is bound
Sadly, the proposal to employ
pressure, anxieties, differences,
up with mine, then let us work
Everybody around me seemed to
applied theatre through the OISS
and culture shock. Most impor-
together.” Yes, as international
get things that I did not. All sorts
of NYU was postponed for a while
tantly, we held on to the ultimate
students, we are working on this
of anxieties and insecurities
amidst deadlines to meet, grades
goal of the proposal — to provide
proposal to end the struggles of
crawled into bed with me and my
to look after, and survival issues.
a safe space where students could
international students who have
From the end of the spring to
come together face-to-face, speak
come to study on foreign soil. But
the start of the Fall 2008 semes-
up about their feelings, listen to
beyond that, we strongly believe
ter, Dr. Marín never gave up on the
each other with open minds, and
the common challenge of leaving
Applied Theatre, taught by Dr.
possibility that the international
acknowledge the fact that no
our own corners of the world to
Christina Marín, a life-changing
students in the Educational
international student is lost in the
study at NYU reinforces that there
experience. Our main assignment
Theatre Program could work on
subway, confused during classes,
is a safe space for us where we
for this class involved employing
the project proposal and hope for
awake until late at night, and feel-
can bring our experiences togeth-
applied theatre activities in
its implementation in partnership
ing homesick on a Sunday morn-
er and understand the relevance
schools, institutions, or organiza-
with the OISS.
ing alone.
to where we came from and
humor used by my classmates.
early morning homesickness was
unbearable.
But spring came, and with it
tions throughout New York City
We found ourselves spending
We are so happy to have found
where we are now.
with diverse populations. I was
long hours together over potluck
new people in the group. Dr.
inspired to develop a project
dinners and bottomless fruit juice.
Marín’s emails about when and
to share what has become of our
intended to incorporate applied
We verbalized the importance of
where to meet up and finalize the
lives through the study of
theatre methods in the Seminar
applied theatre to international
project proposal never fail to
Educational Theatre echoes the
for International Students in
students coming to NYU while
color our inboxes. Even Fan, who
words of Filipino hero, Andres
Steinhardt, as well as among
also considering the proposal’s
has graduated and is now in
Bonifacio, Father of the
interested international students
potential relevance to U.S. stu-
Taiwan, gets them and always
Revolution (Ama ng Katipunan)
through the Office for
dents at NYU attending the study
sends us his encouragement.
who said, “If not here, where?
International Students and
abroad programs.
Colin from Taiwan, Min-Jung Lee
If not now, when? If not us,
from Korea, Delia Meyer from
who?”
Scholars (OISS) at NYU. Many stu-
Also, we brainstormed a list of
dent expressed interest, including
activities we believed would culti-
South Africa, and Karl Williams
ST Fan, Yi-Wei Chang, Ya-Ling
vate dialogue on issues like home-
from Jamaica, all first year
Our strengthened commitment
6 NEW YORK UNIVERSITY
Happenings
LEAD FOR CHANGE: THE CONFERENCE OPPORTUNITY
By Manuel Simons
“This victory alone is not the
change we seek—it is only the
chance for us to make that
change.” At the climactic moment
PHOTOS COURTESY OF DR. CHRISTINA MARIN
of his historic campaign, speaking
before a crowd gathered in
Chicago’s Grant Park, Presidentelect Obama acknowledged voters’
mandate for change and heralded
the start of a transformational journey. His victory speech suggested
that effective leaders help amplify
all voices—youth, senior citizens,
women, people of color, queer peoDavid Montgomery, left, presenting his dissertation at AATE; Manuel Simons, right, reading part of David Montgomery’s dissertation
ple, people with disabilities, and
others too often forced into the
at its Research Awards last July.
margins—while they bridge racial,
His presentation at the AATE
economic, political, and religious
Conference summarized extensive
divides. Echoing Gandhi’s words,
case studies of English, Science,
Obama reminded us that he is not
and Social Studies teachers working
the change we seek, but that we
with teaching artists in middle
must be the change we seek.
school drama residencies. As
As theatre educators and practi-
conference participants read
…Effective leaders help amplify all voices—
youth, senior citizens, women, people of color,
queer people, people with disabilities,
and others too often forced into the margins—
while they bridge racial, economic,
tioners, how do we lead for
excerpts from the transcripts in
change? Which great divides might
which teachers expressed their
be bridged by educational theatre?
individual perspectives within
In remarkable efforts throughout
drama residency experiences, a
the country and abroad,
spectrum of views emerged that
foster a greater understanding of
dents to seize opportunities to pro-
Educational Theatre students and
characterized teachers’ intrepid
multiculturalism. The lessons were
pose research presentations, pan-
faculty are engaging in conferences
journeys from discomfort and
anchored to literature, such as Toni
els, and workshops at academic
and community organizing efforts
anxiety to ease and ownership of
Morrison’s The Bluest Eye, as a cat-
conferences. She is also co-chair of
that speak to the capacity of our
arts-integrated curricula.
alyst for the development of stu-
the 2009 AATE/ATHE Conference
dent-devised work, exploring the
Committee. Ph.D. student Daphnie
work to conquer divides and ignite
At the 2008 AATE Conference,
political, and religious divides.
change. Our research presenta-
Educational Theatre students and
intersections of literature and multi-
Sicre commented, “I was actually
tions, workshops, and panels
alumni highlighted the synergy
culturalism. Scott Lupi’s panel,
really intimidated to propose any-
address real and perceived divi-
between dramatic and academic
“Beyond the Stage: Methods of
thing for a conference, but thanks
sions in the arts and education,
material, and the transformative
Study Guide Writing,” invited sever-
to Christina Marín´s encourage-
drama and the curriculum, culture
and educative power inherent in
al Educational Theatre profession-
ment, I went ahead and tried it. I
and identity, nation and individual.
this combination. Alumni Jennifer
als, including Jennifer Nario, to
just thought, what the heck, the
Visiting Assistant Professor
Nario and Scott Anthony Lupi each
discuss multiple approaches to
worst that can happen is that I
David Montgomery demonstrated
chaired workshops that capitalized
study guide writing. Examples from
don´t get selected. But to my sur-
this agency for change in his disser-
upon arts-integrated models.
established theatre companies
prise, I did, and I was able to travel
tation research efforts to bridge
Jennifer’s workshop, “Inspire, Get
were deconstructed as compelling
to Atlanta to present an ethnodra-
gulfs between artists and educators.
ED! Arts Integrated Learning in
enrichment tools that bridge per-
ma at the AATE conference.” Sicre’s
His dissertation, Living an Arts
Community Partnerships,” show-
formances with educational goals
presentation, “Sak Pase? Nap
Partnership: The Experience of
cased a project spearheaded by
and learning standards.
Boule,” illuminated the experience
Three Middle School Classroom
Hartford Stage, which united urban
Teachers in a Drama Residency, was
and suburban students in ensem-
Assistant Professor Christina Marín
American college students.
recognized by the American
ble-building, theatre literacy, and
has consistently supported and
Locating its investigation at the
Alliance for Theatre and Education
storytelling activities designed to
encouraged her colleagues and stu-
Leading for change by example,
of seven first-generation Haitian-
continued on page 14
STEINHARDT SCHOOL OF CULTURE, EDUCATION, AND HUMAN DEVELOPMENT 7
A Midsummer Night’s Radio Play: Looking for Shakespeare
PHOTO COURTESY OF TERESA FISHER
| O N S TA G E |
By Teresa Fisher
This past July, a group of eighteen
adolescent actors descended upon
the Provincetown Playhouse with
one goal in mind — to perform a
Shakespeare play. For some, it was
their first experience performing the
A Midsummer Night’s Radio Play.
Bard’s work. For one actor, it was her
aliens were really attacking the
occurred in conjunction with the
world. In New York City, one can visit
other two tasks and was that of
the Paley Center for Media (formerly
forming a cohesive ensemble.
the Museum of TV and Radio) to
The youth split into five groups
both learn about the history of radio
and created five separate commer-
and listen to old radio programs.
cial jingles. They were created in the
While radio drama is rare today, due
style and vein of the radio commer-
to the strong presence of television
cials of the 1930s and 1940s, but
and movies, the recent innovation of
with a fantastical twist, as befitting
podcasts that are downloaded onto
the theme of the play. The main
first time performing in any play.
Pelkey, returned for her final summer
iPods and similar devices are reminis-
sponsor of the show was “Titania’s
Others were veteran Shakespearean
with LFS to whip everyone into
cent of those days of radio drama.
Bower” where one could buy bou-
performers. All were participating in
shape as the Production Stage
Perhaps the best-known contempo-
quets of flowers for that special
the annual Looking for Shakespeare
Manager, while I had the pleasure of
rary radio drama is Garrison Keillor’s
someone. Other sponsors included
Program. Artistic Director Joe
producing the production for the
A Prairie Home Companion.
Moonshine Timepieces, a pocket
Salvatore had put together an
first time.
impressive team of theatre artist
Why produce a radio play with
Why direct a radio play?
watch that both tells the time and
adolescent actors today? From a
answers questions; Box O‘ Tricks, a
educators to work with the youth
According to our director, she chose
practical perspective, there are gen-
box of magical tricks to help get
ensemble. Director and Educational
a radio play format for a couple of
erally less costs involved in a radio
even with practical jokers; Goddess
Theatre alumna Sharon Counts led
reasons. One, she enjoys radio and
play, even one staged in a theatre. If
Products, skincare products to make
the group. While this was her second
radio theatre. Two, she likes experi-
one is creative, sound effects are rel-
any woman look divine; and Globe-
time with the LFS program, it was
menting and exploring the theatrical
atively easy to produce. Costume
sphere, a handy pocket map that
her first at the helm. Alumna, Sarah
possibilities in voice and sound that
and set costs are minimal since the
keeps the user from getting lost.
Bellantoni, who had also worked with
occur in radio plays which open up
focus is on the audio. Actors can
Each commercial was introduced by
LFS in the past, assisted her.
different areas of one’s imagination.
also play multiple parts more easily
an announcer (who also introduced
Dramaturg and adjunct professor,
Unlike live theatre or television and
through disguising their voices;
each act of the play) and included
Jenni Werner, a veteran of the LFS
movies, which create the visual world
hence a smaller cast can be utilized.
text and music written and arranged
program, joined them. Graduate stu-
of the story, radio allows the listener
Actors can also do all of the sound
by the ensemble. The commercials
dent, Jackie Donnaruma, joined the
to create their own view of the
effects, thus creating more opportu-
were clever, creative, and lots of fun.
program for her first time as an
world. The performers and producers
nities to be on stage. Radio plays
They helped ground the play in the
intern assisting Sharon, Sarah, and
of radio plays provide the dialogue,
also allow actors to explore their
time period of the 1940s, gave the
Jenni, in working with the actors as
sound effects, and music to tell the
voices, expand their creativity to cre-
youth an opportunity to showcase
well as helping out backstage during
story. For example, the sound effect
ate sound effects, and understand
their ingenuity and creativity, and
performances. On the design side,
of a door opening and closing and
better a medium that has changed
helped keep the audience engaged
we were joined by Kate Ashton as
the sound of footsteps approaching
significantly since its inception. In a
in the concept of the radio play.
Lighting Designer, alumnus and
or receding let the audience imagine
fun and exciting way, actors can
adjunct faculty Daryl Embry as Set
someone entering or leaving a room.
learn about the history of radio and
fully in the production through their
Designer, adjunct music faculty Tom
Perhaps the best-known radio
radio drama. They are challenged to
commercials, their creation of sound
Beyer as Sound Designer, and Marion
drama was Orson Welles’ War of the
use their imaginations in ways they
effects, and their acting. For having
Talan as Costume Designer. With the
Worlds, which caused widespread
generally are not asked to do in our
only twenty days to rehearse, their
exception of Tom, the rest of the
panic when it aired in 1938. It was so
very visual society. This tapping into
ability to memorize their lines, create
design team had worked with LFS in
realistic that people tuning in to the
another part of their creativity can
and memorize their sound cues, and
the past. Recent alumna, Katie
show after it started feared that
help them broaden their minds and
develop compelling characters was a
their understanding of themselves
tribute to their hard work and the
and their world. They also learned a
work of the educators working with
different style of acting.
them. This production of A
PHOTO COURTESY OF TERESA FISHER
In this production, the ensemble
The entire cast on stage after the show
The actors invested themselves
Midsummer Night’s Radio Play was
of actors had three tasks. The first
an entertaining and unique produc-
task was learning the Shakespearean
tion of one of Shakespeare’s most
text. For this, they were led in various
produced plays, A Midsummer
exercises by their director, assistant
Night’s Dream. It provided its actors
director, dramaturg, graduate stu-
with an opportunity to explore parts
dent intern, and their Artistic
of their imagination little tapped
Director. The second task was to
elsewhere, as well as reminded both
learn about radio drama so they
actors and audience members of the
could create advertising commercials
importance of entertainment value in
with jingles to be placed between
radio drama as a powerful theatrical
acts of the play. The third task
form.
8 NEW YORK UNIVERSITY
| O N S TA G E |
Voices in The Class Project
continued from page 1
first play rehearsal I’d experienced.
Reading the play taught us, as
Instead of receiving a fresh script
researchers, how to transcribe an
else besides the production. I can-
the company received a book enti-
interview from a tape to a per-
not stop thinking about my fellow
tled Class Matters, a collection of
formable monologue. Each section
company members/friends, the
New York Times essays about the
of an interview we chose was tran-
process we took as a company to
class issues plaguing American life.
scribed verbatim and broken down
create the play, and especially the
We would use selected stories from
into sentences (or often words)
impact The Class Project has had on
Class Matters as inspiration for
based on each pause and breath the
the NYU community and beyond.
movement pieces and research spe-
interviewee took while speaking. As
I’ve come to realize that this play
cific class issues. The company was
an actor, watching Smith’s perform-
has a life of its own, which is still
also informed that we would not
ance was nothing short of inspiring.
very well alive and present for
just be actors in this process, but
To see Smith seamlessly transform
those who were both a part of the
researchers too. Our research would
herself from role to role was the ulti-
production and those who wit-
consist of conducting interviews
mate example of how this form is so
nessed the production. The Class
with people who live and/or work in
effective, bringing life to a play in a
Project is not just an interview the-
NYC, who had a desire to discuss
way that I have never seen before.
atre piece about class and socio-
their issues with class and socio-
After watching Smith’s work in Fires
economic status, but has opened
economic status. The company had
in the Mirror, anticipation grew in our
many eyes to these issues that
to pass an online Human Subjects
company to begin experimenting
affect each American everyday. The
Tutorial in order to conduct inter-
with the genre of interview theatre
Class Project presents personal top-
views. The Human Subjects Tutorial
that Smith so brilliantly exemplified
and sizes thus creating different
ics, ideas and issues that most of us
was a guide to conducting fair, safe
and Salvatore was so passionate
perspectives and ideas on our work.
have dealt with.
and productive interview sessions.
about.
Getting to know and accept each
The process in creating this pro-
Director Joe Salvatore gave us a
One of the more difficult parts
PHOTOS COURTESY OF DAPHNIE SICRE
Project a few days ago, I still cannot
find myself thinking about anything
Sarah Misch portrays a teacher while James
Webb looks on.
other’s individual standpoints was
our first form of research and
duction from scratch was short and
final warning that in order for this
of the rehearsal process was reveal-
demanding. With less then two
production to work that we would
ing our own personal issues with
allowed us as researchers/actors to
months to develop a play that
have to be dedicated and passion-
class and socioeconomics in
have compassion and understand-
would raise questions and get audi-
ate about the process. Not one of
rehearsal exercises. Coming from a
ing for those we interviewed.
ences thinking, it was important to
us backed down at the offer to cre-
predominantly white and wealthy
Without this, we would have never
forge ahead in our experimentation.
ate The Class Project, and from
community where discussing your
made the voices and stories of our
Our first rehearsal was unlike any
there a group of nine actors
own socioeconomic status was
interview subjects come to life and
became a company.
impolite made it extremely difficult
reach our audience members. If we
for me to open up about my own
did not believe or sympathize with
with the form of interview theatre
issues with class and socioeconom-
the stories of our interviewees, who
we read and screened Anna Deavere
ic status. As rehearsals went on, my
would?
In order to become more familiar
It is bizarre referring to our
interviewees as “characters,” espe-
One of the more difficult parts of the rehearsal
process was revealing our own personal issues with
cially after knowing so much about
their histories and lives from their
interviews. As actors, we are taught
class and socioeconomics in rehearsal exercises.
to create our character’s purpose,
going through the “who, what,
Carolyn Burke shares a moment while Karl
Leone witnesses her story.
Smith’s exemplary interview theatre
comfort in revealing my own per-
when, where and why” of the char-
play Fires in the Mirror, which she
sonal experiences loosened. I found
acter. So what do you do as an
both wrote and performed. Fires in
myself being able to dig deeper
actor when the “character” you are
the Mirror is a solo interview theatre
into the work and developing a very
playing has already given you all of
piece that examines the rivaling rela-
individual perspective in my com-
that information through an inter-
tionship between the black and
pany. The beauty about our compa-
view? You spend hours upon hours
Jewish communities of Crown
ny is that it was comprised of very
listening to the tape recorded inter-
Heights, Brooklyn, after a series of
diverse actors/researchers who
views memorizing speech patterns
incidents led to the deaths of one
each brought a different perspec-
and deciphering the subtext of
young black child and a young
tive into rehearsals, which made
what your “character” is really try-
Jewish man. Fires in the Mirror was
experimentation fun and progres-
ing to say. You take the process in
particularly important for us to both
sive. We were a combination of dif-
developing your character a step
read and watch because it laid the
ferent educational levels and
further and, in my eyes, psycho-
framework for our production.
backgrounds, ethnicities, shapes,
analyze them. While studying your
STEINHARDT SCHOOL OF CULTURE, EDUCATION, AND HUMAN DEVELOPMENT 9
“character’s” speech pattern, it is
sionate about presenting and rais-
astounding to find how telling a sin-
ing questions about the issues that
lated by our audience members
gle “um,” “like,” or slight pause in
surround class and socioeconomic
during the talk-backs, individually
conversation can be of your inter-
status in America.
and as a company, we found new
tions, and new perspectives articu-
view participant. That pause could
After numerous sold out per-
discoveries in our performances
be all it takes for me to decide how
formances it was clear that our play
each night, allowing the play to
my interviewee feels toward a cer-
had really hit home for the NYU
ascend to greater heights than
tain topic or issue. Only when you
community. If the number of tickets
what it had been a night earlier.
can discover the reason why your
sold did not prove that our show
interviewee decided to say “like”
had been a success in reaching our
The Class Project are lingering for
three times before admitting that
audiences, the post performance
people because of the elections,
he was in fact gay, can you perform
talk-backs did. After a select num-
but this play goes far beyond poli-
your interviewee as a character.
ber of performances, the company
tics and deep into culture, identity,
This seems to be the difference
engaged in talk-backs led by dra-
history, and the people we sit next
between performances on Saturday
maturg Daphnie Sicre and Joe
to everyday on the subway.
Night Live and those in an ethn-
Salvatore. With a show like The
Whether you enjoyed it or not, this
odrama. The difference being that
Class Project, that is designed
play in particular packs a very per-
SNL renders caricatures of individu-
around different perspectives, it
sonal punch, a punch that will force
als for pure entertainment where as
was interesting to hear the com-
you to question how class and
in an ethnodrama, the performance
ments, questions and ideas put
socioeconomic status issues affect
is rooted in character development
forth by our audience members.
you and those around you. One
based on an individual’s speech
The reactions to the play proved it
thing I have learned from both
pattern, subtext of a conversation,
got the audience thinking about the
researching and acting in The Class
and capturing your character’s
issues presented and even about
Project is the power of an individual
“essence” to give a perspective on
the form of interview theatre itself.
voice. My only hope for those who
them. Only then will the issues we
a specific topic. The latter is made
One of the more interesting talk-
witnessed the production would be
care about, such as the ones that
to dramatize data in order to pres-
backs was after a student matinee
to feel empowered to have their
surround class and socioeconomic
ent certain topics or issues. In our
where the response to the play was
own voices and stories heard, as
status in America, begin to be
case, director Salvatore was pas-
strong. Thanks to the ideas, ques-
well as listening to those around
addressed.
Tyler Eccleston-Grimes shares how we all live in bubbles in New York City as the entire cast looks on.
Maybe the ideas expressed in
Robert Keith, Karl Leone and James Webb
share the stage in a moment from The Class
Project.
10 NEW YORK UNIVERSITY
| O N S TA G E |
Theatrix!
Instant Gratification
with directors. We were paired up
has suffered heartbreak knows, the
would have made a wonderful
and the challenge began. All the
only way you can put a voodoo doll
scene in our own play. He was on
directors had brought objects
and teenagers together is with
the floor with an umbrella and I
Merely a month after my epic move
along with them that had to be
some story about a man and rejec-
was pacing around talking to
to New York City, still homeless and
implemented in the scripts and
tion. Thus I had the basic plot of
myself. But there was of course a
overloaded with graduate studies, I
could prove to be inspirational for
my play.
method to our madness and
decided to let loose and take part in
some. Next, we were assigned
a 24 hour play festival! Why ever
actors and their descriptions; these
hours of coffee, a large number of
What joy and euphoria at having
not? That’s the beauty of NYU,
would be essential in providing
cigarettes and two writers finding
completed a mini masterpiece
being able to take advantage of
characters for the plays. Everything
solidarity in the library. What is
(debatable) in such little time. The
wonderful opportunities such as this.
was potluck, which in a way made
most frustrating about trying to
scripts would now be handed to
Little did I know that it would result
it easier. When someone takes
write a piece of drama so quickly is
the directors and actors for the fol-
in my rolling around on the floor of
away the necessity to make deci-
that often the dialogue or any
lowing 12 hours and true to its
Bobst Library at 4 am on a Friday
sions your brain just goes into
movement you may be describing
name, 24 hours later at 7 pm on
night, being awake for 30 hours
auto-pilot, working with what you
seems forced and the only way to
Saturday night, Theatrix! intro-
straight and actually managing to
have. Along with my director, I
remedy this is by actually saying it
duced our new plays in the Black
write a play in 12 of those hours.
picked a voodoo doll, three female
out loud, or physically blocking the
Box Theatre.
However, I loved every moment.
actors, two of whom were
movement yourself. I think if any-
teenagers and another who could
one had seen David, one of the
be aged 35. As every woman who
other writers that night, and me, we
By Guleraana Mir
The whole process started at 7
pm Friday when the writers met
What ensued next is about 12
around 6 am my piece was finished.
Finding the Intentions Behind the Words on the Page
atre has been through acting. I love
the script. As the three of us
Leslie assisted me in dismantling
the stage and the entire collabora-
worked together, I felt a part of the
the script line by line. What did I
tive process. For a number of years,
team as much as I have when I
mean by this line and that
This past November, I was excited
I had been writing down ideas for
assumed the role of an actor.
moment? Why does the character
to be one of seven playwrights in
plays but I had never done any-
However, I was responsible for the
take action or not? I was feeling
the Theatrix! Writers’ Workshop
thing with them. Then Theatrix!
words on the page. Getting an out-
vulnerable and exposed as I began
produced by the Program in
came along.
side perspective is essential with
to take responsibility for what I had
written works, but since I am new
written. Leslie was like a geologist
By David Altman
Educational Theatre. I had submit-
In the workshop, every play-
ted a script that was birthed from
wright was teamed up with a men-
to this, the workshop helped me
leading me to the substrata of my
the Theatrix! 24-hour Instant
tor playwright. I was paired with
begin to steer and navigate as well
script. He may as well have been
Gratification Festival in September
Leslie Smith who skillfully guided
hold the reigns.
yelling out, “Excavate! Find the lay-
of 2008. In the bowels of Bobst
me away from my usual perspec-
library, I pounded out a draft armed
tive of actor towards that of a play-
new experience. Creativity is the
have some breakthrough in the
only with a handful of prompts and
wright. Leslie helped me set aside
same in all forms of expression. The
workshop. But I began to under-
vending machine coffee. When my
my crutch of dwelling on the physi-
key is how to get there. Beware the
stand how vital it is to ask and
script was accepted in the Theatrix!
cality in my script so that I could
guises of ‘no.’ ‘No’ has quite the
answer the essential questions
Writers’ Workshop, I got to face it
study the intentions behind the
wardrobe of convincing exteriors
about what I write.
again.
actions. At first, I was resistant
that conceal its true nature of hol-
mainly because it was a new way of
lowness, however comfortable they
ing away from the digressions,
wright. I only began writing at the
thinking. I just wanted to do the
may be. Successful theatre is not
orstaying away from the avoiding.
beginning of the fall semester.
script as opposed to revise it.
comfortable. I know this as an
The one-day workshop gave me a
actor. How do I learn this as a play-
jolt of what it means to ask and
wright?
answer a question immediately, to
To be clear, I am a novice play-
Artistically, my background is in the
It was the first time I had ever
The workshop was a fresh and
visual and performing arts.
been a part of a theatre workshop
Photography and sculpture have
in which I was the author of the
been a part of my life since I was a
script. In addition to Leslie and
cating with honesty and humility —
child. And for the last thirteen
myself, Jennifer Pytleski also partic-
key elements in creativity. And
years, my main connection to the-
ipated. She played the Woman in
that’s where it got interesting.
Ideally, everyone is communi-
ers! Confront them!” Now, I didn’t
One of the challenges is stay-
look at everything that I write and
take responsibility for it.
STEINHARDT SCHOOL OF CULTURE, EDUCATION, AND HUMAN DEVELOPMENT 11
| O N S TA G E |
III: An exemplary process
interview/text-based theatre and
By Ryan Mark Weible, EDTA
protect artists in the creative
process through artist-centered
No single process better exemplifies or bookends my experience as
feedback.
When the project received the
a Master’s candidate in the program
opportunity to perform in Pless
in Educational Theatre at New York
Hall’s Black Box Theatre, I was
University than Professor Joe
asked to come on board as a
Salvatore’s play III, a project sup-
Production Stage Manager and join
ported by a 2006 Steinhardt
the collaborative team: Troy Hourie
Professor Salvatore bravely exposed his unfinished,
letter-based, work to the class as an
PHOTOS COURTESY OF EMILY STORK
opportunity for students to gain insight into
a collaborative theatrical project, mid-process.
Research Challenge Grant in Arts
(Set Design), Emily Stork
and Culture. The play “explores the
(Lighting/Projections Design),
fifteen-year relationship between
Benjamin Johnson (Sound Design),
the photographer George Platt
Traci DiGesu (Costume Design),
Lynes, the writer Glenway Wescott,
Katie Pelkey (Co-Production Stage
and the MoMA curator and publish-
Manager), and Amy Turner
er, Monroe Wheeler” (www.three-
(Sound/Projections Operator).
theplay.com).
One of my first courses in the
After a successful run at NYU, III
was honored by an invitation to
program (Spring 2007) was
perform in the famous Cherry Lane
Professor Salvatore’s Styles of
Theatre for the 2008 New York
Acting & Directing II. Toward the
International Fringe Festival, bring-
end of this course I was introduced
ing with it an extended family and
to two things that have since
support system: Blake McCarty
shaped my life in tremendously
(Sound/Projections Operator),
positive and inspirational ways.
Heather Heels (Light Operator), and
The first was when Professor
Derek Collard (Company Manager),
Salvatore bravely exposed his unfin-
where it received yet another
ished, letter-based, work to the
honor: the Overall Excellence Award
class as an opportunity for students
for Outstanding Play.
to gain insight into a collaborative
Not only was each and every
theatrical project, mid-process. The
step of the process incredibly edify-
cast, which included, in addition to
ing, it was equally fulfilling to be
Joe Salvatore, Educational Theatre
part of a theatrical process that
graduates John Del Vecchio and
exemplifies its potential: collabora-
Daryl Embry, presented 15 minutes
tive, creative, provocative, thought
of the early stages of III. Secondly,
provoking, and family-forming, it
Professor Salvatore also brought
was everything one could ever
dramaturg and collaborator Jenni
dream of in an educational and the-
Werner (adjunct instructor in the
atrical career. I could not have been
Program in Educational Theatre)
more fortunate to be part of one of
with him, who introduced and
the most incredible teams with
facilitated Liz Lerman’s Critical
which I’ve ever had the pleasure
Response Process.
and honor to work — all of whom I
The exposure to these processes
instantly instilled a passion as both
an educator and an artist to create
John Del Vecchio and Joe Salvatore in a scene from III
now consider family.
Daryl Embry, Joe Salvatore, and John Del Vecchio argue about their future relationship in III.
12 NEW YORK UNIVERSITY
Student, Faculty and Alumni Achievements and Awards
ALUMNI
production: La Muela del Rey
“Shadow Puppetry in the
Julian Lazarus (EDTC) presented at
Jamie Boileau (ETED 2008) teach-
Farfán/The Toothache of King Farfán.
Classroom” at the 2008 Puppeteers
the AATE conference in July. His
es Theatre and English at Brooklyn
There she performed a song from
of America Regional Festival at the
topic dealt with ‘Empowering
Democracy Academy, a new trans-
the show at the HOLA Awards gala
University of Maryland. She current-
Students with Power Tools,” and
fer high school for “overage, under-
on the evening of September 15th
ly performs at the Swedish Cottage
talked about how to create a tech
credited” students in the city.
where the guest of honor was actor
Marionette Theater in Central Park
theatre program in a High School.
and HOLA Awardee John
and is featured as the voices of
working on creating original charac-
Leguizamo. La Muela del Rey
Wendy and Nana in their new pro-
Scott Anthony Lupi (ETHR 2008),
ter and identity pieces, which will
Farfán/The Toothache of King Farfán
duction of “Peter Pan.”
currently the Assistant Director of
culminate in collaborative dramatic
won 4 additional HOLA awards and
works.
has recently been invited to per-
Catherine Hanna (EDTC 2008) and
Youth, presented Road to Carnival:
form as part of the 2009 National
Simnia Singer-Sayada (EDTC 2008)
A Cultural Celebration at the Face
Annette Cortés (EDTA 2006)
Puppet Festival in Atlanta, GA (July
met in the EDTC program at NYU in
to Face conference this past
recently left her full-time position as
2009). As she sent this information,
the fall of 2006 and developed the
October.
Education Director for the Society
she was in Atlanta, GA with Teatro
performance Shalom Sahbity—a
of the Educational Arts, Inc. (Teatro
SEA performing La Cucarachita
dialogue and movement piece
Dr. David Montgomerty (PhD
SEA) after 3 years, to turn her focus
Martina/Martina the Little Roach at
about their personal experiences of
2007), Visiting Assistant Professor,
back to performance and to consult
the Center for Puppetry Arts for
the Middle East. Most recently, they
received the Brooklyn Arts
for arts education organizations on
18 performances.
were accepted to present their per-
Exchange “Passing It On Award” for
formance along with a workshop at
excellence in arts education.
For
this first trimester, her students are
a freelance basis. She continues to
Education for Periwinkle Theater for
work with Teatro SEA as a per-
Dr. Edie Demas (PhD 2006)
the Performing the World 2008
former and education consultant.
Director of Education at New Vic,
Conference. To learn more or
Monique Peaslee (EDTC 2006) cur-
This past year, she served as the
received the Brooklyn Arts
contact them visit: www.shalom
rently works as the Arts Education
Training Director for AMIGOS de las
Exchange Award. Additionally, the
sahbity.com
Coordinator at the Hopkins Center
Americas, where she trained and
Americans for the Arts will present
prepared 41 high school and college
their 2008 Arts Education Award to
Thomas Ferlisi (ETDC 2007) has
Hanover, NH. In her position She
age tri-state area volunteers for a
the New Victory Theatre.
currently relocated to the
partners with local K-12 students
Maryland/DC Metro Area, where he
and teachers to bring world-
summer of immersive community
for the Arts at Dartmouth College in
service in Latin America. She was
Enza Giannone (EDTA 2005) is
teaches kindergarten in Takoma
renowned theater artists to their
also honored to have received the
currently teaching at The Greater
Park Elementary School. He is also
classrooms. She also leads work-
HOLA Award (Hispanic
Hartford Academy of the Arts in
acting as a substitute teaching artist
shops educating teachers on bene-
Organization of Latino Actors) for
Hartford, CT.
at the Imagination Stage in
fits of incorporate the arts into
Bethesda Maryland.
their curriculum.
Outstanding Performance by a
Featured Female Actor for her per-
Honey Goodenough (EDTC 2006)
formance in Teatro SEA’s brand new
presented a lesson entitled
continued on page 16
Alumni Profile: Teach the Play, and Get Out of the Way
Macbeth’s characters, plot points,
However, afterward, a teary-eyed
experience should be largely self-
and themes. With only a single
teacher approached, thanking me
directed. In this case, I didn’t have
class period to work with, I was in
for making a difference with this
to impose an agenda or manufac-
Recently, I was assigned a routine
no position to responsibly explore
special group. I have never been
ture some cathartic experience. All
pre-show workshop for seventh
the students’ personal connections
more proud of what I do.
I needed to do was use sound
graders preparing to see Macbeth.
or reactions. But how could I
Two months earlier at their school,
ignore them?
By Michael Yurchak
a student shot and killed a class-
I taught my usual lesson, paus-
Our work in the classroom
affects people in whatever way
educational theatre praxis: teach
the play, and get out of the way.
they want or need or are ready
mate because of his sexual orien-
ing occasionally to ask questions:
for—just as our work as actors can
Michael Yurchak (EDTC 2004) is an
tation. Preparing for the workshop,
Had anyone ever felt ambitious,
provoke one night’s audience to
actor and teaching artist with
I couldn’t avoid correlating the
jealous, vengeful, betrayed, differ-
respond so differently than the last.
Center Theatre Group and the Will
play’s bloody events with the
ent, alone? This would have been
Jonothan Neelands said, “Our
recent tragedy.
appropriate inquiry for any group
goal as teaching artists is to pro-
Angeles. In New York, he taught for
of middle-schoolers. There was no
vide access, not excellence.” We
The Roundabout Theatre Co. and
mention of the school’s tragedy.
offer a way in; from there, the
The New Victory Theatre.
I was nervous. My job was to
prepare the students by exploring
Geer Theatricum Botanicum in Los
STEINHARDT SCHOOL OF CULTURE, EDUCATION, AND HUMAN DEVELOPMENT 13
FACULTY SPOTLIGHT
He explains, “I did my first outdoor
Ralph Lee
production, and it took place all
over the Bennington College campus . . . It was the first time I saw
masks and giant puppets in an out-
By Honey Goodenough (EDTC ‘06)
door setting. They seemed to take
ronment. The juxtaposition of this
wander into the basement of the
totally fabricated, artificial object in
Education Building, follow a long
a natural setting gives the mask or
corridor, turn left through the door-
puppet a kind of life it simply does
way, and walk down a ramp,
not have indoors. “There are many
straight into the hot, cramped
challenges when performing out-
scene shop to find Ralph Lee and
doors.” Lee explains: “Having strong
his Mask and Puppetry class. In this
visuals really helps because it gives
makeshift classroom, students learn
the audience something compelling
to make plaster casts of their faces,
to focus on. It encourages actors to
sculpt alter egos, and learn to
use a relatively broad style of act-
breathe life into glue and paper
ing to reach their audience.”
mache. As described by Chris
Hartmann (EDTC), “There is a won-
PHOTO COURTESY OF DAPHNIE SICRE
on a powerful vitality in that enviTo find NYU’s best-kept secret,
In 1976, a group of Lee’s
Bennington students asked him to
derful sense of camaraderie…as we
be the Artistic Director of the
hesitantly show off our latest cre-
Mettawee River Company. Lee
ations. We are . . . talking and dis-
explains, “One of the goals of the
cussing and creating in a
company was to bring theatre to a
wonderfully safe environment cre-
rural area in upstate New York…
ated and hosted by Ralph Lee.” Lee
where there was little access to live
Ralph Lee working with Paula Ohaus and Betsy Goldman.
not only teaches mask and puppet
theatre. They had produced a sea-
him here at NYU.” She admits to
Village. Lee explains, “When it
making, but he also shares his artis-
son of one-acts, performed in town
being “a little star-struck” in her
became necessary to move it to a
tic techniques and skills which fuel
halls with moderate success, but it
first few classes.
major avenue, I felt the mood of
his broad theatrical style.
was hard to get people to come
It is Lee’s creative style that has
mystery and fantasy I had sought
indoors.” Over time they evolved a
captured the attention and enthusi-
after could no longer be sustained
as a child growing up in Middlebury,
form of outdoor theatre which
asm of many New Yorkers as well.
in this new environment and it was
Vermont. He graduated from
incorporates masks, giant puppets,
Lee is also known for having start-
time to move on.” New York’s
Amherst College in 1957, and stud-
and live music. Most of the produc-
ed several NYC Halloween tradi-
Village Halloween Parade has con-
ied dance and theatre in Europe for
tions are based on myths and leg-
tions, including the Greenwich
tinued long past Lee’s involvement,
two years on a Fulbright
ends of the world’s many cultures.
Village Halloween Parade and the
and 2008 marks the parade’s 35th
Scholarship. Upon returning to the
Throughout the years, Mettawee
Silent Film/Procession of Ghouls
year of celebration.
United States, Lee acted on
has performed in New York City at
Extravaganza at the Cathedral of
Broadway, off-Broadway, and in
the Garden of the Cathedral of St
St. John the Divine. The motivation
Cathedral of St. John the Divine,
regional theatres. He has built
John the Divine, La Mama, HERE
to start the Halloween Parade was
Lee and his lovely wife, Casey,
masks for the New York
Art Space, the Jim Henson Puppet-
two fold, The Theatre for the New
transform the space into a haven
Shakespeare Festival, Lincoln
ry festivals, the Bowery Poetry
City had been asking Lee to create
for masked goblins, ghouls, and
Center Repertory Theatre, The
Club, and many other venues.
a Halloween performance. As he
creatures of all sorts. On Halloween,
Ralph Lee first created puppets
As the Artist-in-Residence of the
Living Theatre, the Erick Hawkins
One of the results of his gentle
explains “I was raising kids in the
the Cathedral shows a silent film
Dance Company, and created the
nature and passion for storytelling
city at that point, and they didn’t
accompanied by the Cathedral
“land shark” for NBC’s Saturday
has been an increasingly growing
really have a positive way of chan-
organist. At the end of the film,
Night Live. Lee is perhaps best
and devoted audience for the com-
neling their Halloween energy.
masked characters emerge out of a
known for pioneering many theatri-
pany’s work in the many towns
However, I was not only interested
cloud of smoke and into the crowd.
cal traditions such as the outdoor
where they annually perform. One
in providing something for kids . . .
Dramatic lighting, live music, and
performances of The Mettawee
such devoted fan is Jordan
but for everybody in the communi-
creatures of all shapes and sizes,
Theatre Company, the Greenwich
Cardinale, who studied with Lee
ty.” This type of community
delight the crowd with their spooky
Village Halloween Parade, the
this past fall and is currently earn-
engaged theatre not only benefited
mood and comical interactions.
Halloween Celebration at the
ing BA at Gallatin. She grew up in
the spectators, but as the police
Having participated in this year’s
Cathedral of St. John the Divine,
upstate New York, near where Lee’s
reported, it also lowered the crime
festivities, I can attest to its eerie
and the Holiday performance of
theatre company is based. For
rate on Halloween. The parade
magnificence. The best surprise was
“The Little Engine that Could” at
Cardinale, Ralph Lee was a house-
evolved and grew over twelve
finding that this Halloween tradition
the New York Botanical Gardens.
hold name. She says, “I’ve grown up
years, but the crowds eventually
has also become a sort of annual
Lee first became fascinated with
on his work and have respected him
became so large they could no
reunion for Lee’s performers,
outdoor performances while teach-
since a very young age. Of course, I
longer be accommodated by the
friends, and students, although
ing at Bennington College in 1975.
jumped at the chance to work with
small tree lined streets of the West
continued on page 14
14 NEW YORK UNIVERSITY
Study Abroad: Reflections on Three Study
FACULTY SPOTLIGHT
Ralph Lee
continued from page 3
cereals joining them, making each
morning feel like a Thanksgiving
continued from page 13
there were still many like myself
in and out of the highway lanes, I
meal. The contrast of our mornings
realized I was holding my breath.
to the community and city life
Arriving at the Copacabana
around us that we would witness
Hotel, doormen coming out to help
from the bus window was stark and
for the first time. The atmosphere
with our luggage, keeping the pick
unsettling. It brought up questions
behind the scenes was jovial and
pockets away, men opening the
for me of how I would choose to
friendly; everyone enjoyed the
huge glass sliding doors in the fancy
engage with this city, the people
bewitching spirit of Halloween. Lee
lobby we would be calling home for
who lived here, the life happening
has created a fantastic community
the next ten days, I checked in. The
around me, and the fancy secluded
of committed performers. “Honest,
gathering that night on the hotel
place in which I slept in each night.
impassioned, and elegant” are just
roof by the pool was highlighted by
a few words that friends and col-
the introduction to Augusto Boal.
team of Jokers, who had been
leagues use to describe him and his
Then the tired group of students ral-
working with him for 18 years, edu-
lied together to find food, figure out
cated and launched deeper under-
the bus system, buy water, engage
standing of Theatre of the
with some of the locals, pick up at
Oppressed (TO) for me. All confu-
least how to say “thank you” in
sion or frustration left my body as I
PHOTO COURTESY OF DAPHNIE SICRE
who were enjoying the experience
work.
Brian Voelcker, who has performed with Lee for more than 10
years in various productions,
describes Lee’s artistic style, “It’s
storytelling in its truest form.
There’s no smoke and mirrors.
There’s nothing high tech that’s
happening. It’s a very human expe-
Ralph Lee teaching Masks and Puppetry
rience. . . he gets right to the
Our classes with Boal and his
Portuguese, and then pass out in
was given a structure and invitation
our rooms.
to engage with each session, my
We began each day filled with
incredible colleagues and the
the lavish breakfast buffet in the
interns at the Centro de Teatro do
hotel. Fresh mangos, papayas,
Oprimido (CTO-Rio). Boal’s center,
pears, bananas, pineapples, and
located in the Lapa district in Rio,
essence of what he’s trying to say.”
“a true studio class where we work
apples lined the counter with
warmly presented us with a wel-
Voelcker also performs in Lee’s
on our own projects, receive feed-
breads, sweets, eggs, meats and
coming first day lunch, all of us
annual production of “The Little
back from Ralph, and get a lot of
Engine that Could,” which can be
artistic freedom.” As for his style of
seen at the New York Botanical
teaching, Karl O’Brian Williams
Gardens in the Bronx. There are
(EDTC) says that Ralph Lee men-
three actors in the show dressed as
tors his students “in a manner that
train engineers, who not only con-
makes you still feel ownership of
duct the trains, but also conduct
the creative process.” While Lee
the story transitioning from their
encourages creativity, Williams
role as storyteller to puppeteer.
states “ neither does he hold back
Voelcker explains that the pup-
on critique that indicates where you
peteers do not hide from the audi-
may encounter problems. Nothing
crossroads of culture and identity,
other dramatic activities that
ence , as in conventional puppet
however is ‘unfixable’ - he meets
it examined how the process of
explored participants’ relationship
shows, “but the focus shifts to the
you at whatever stage of the
growing up Haitian-American
to change movements.
toys when [the toys] start talking.”
process you are and guides you to
shapes and is shaped by one’s
This year “The Little Engine that
next step.” Lee’s open and collabo-
place within the
Theatre alumna Christiana Moore
Could” returns for its 13th season.
rative style makes him an excellent
community.
and I co-presented “Acting with
“We have literally watched families
facilitator for students beginning
grow up over the years,” Voelcker
their own artistic journey.
Lead for Change: The Conference Opportunity
continued from page 6
in India as a foundation for
process drama, image theatre, and
I, too, was encouraged by
In October, Educational
Conscience in the Face of
Christina Marín to share my work
Oppression: Queer Voices and
at academic conferences far and
Diversity Education in
reminisces, “we recognize them at
Lee reflects on his 21 years of
this point, and they recognize us.”
teaching at NYU, “I must say the
wide. She convinced me that I
Participatory Democracy,” for an
quality of students has improved so
could lead for change through
international audience gathered at
Education has been fortunate to
wonderfully over the years... and
presentations that influence and
the Learning Democracy by Doing
have Lee, a pioneer of community
the amount of enthusiasm they
contribute to the educational the-
conference at the Ontario Institute
engaged theatre, as a member of
have, the resources, and the ability
atre field. As a result, I presented
for Studies in Education at the
their educational team since 1987.
to work hard has been very gratify-
“Acting with Conscience and
University of Toronto, Canada.
Lee teaches his students the skills
ing…” His advice to young artists
Inspiring Change: Walking in
Performance excerpts of my play,
they need to create larger than life
and teachers is to “have courage. . .
Gandhi’s Footsteps” at AATE. This
Queer in the U.S.A., directed by
creatures of their own. Sheila
know that what you’re doing is the
workshop imagined pivotal
Christiana Moore, served as a
Bandyopadhyay, who is earning an
most important thing in the world
moments in Mahatma Gandhi’s
basis for dramatic activities, which
MA from Gallatin, describes the
to invite people to engage in the
campaign of non-violence to end
encouraged participants to chal-
mask and puppetry course as being
artistic process!”
the tyranny of British colonialism
lenge homophobia and identify
The Steinhardt School of
STEINHARDT SCHOOL OF CULTURE, EDUCATION, AND HUMAN DEVELOPMENT 15
Abroad Programs
seated on a long table, rice, beans
ting taller and feeling proud of the
new ideas he wanted to try. It was
four leaf clover alarm clock, ran-
and fruits, water being drunk out of
change they had just made. All of
yet another incredible experience of
dom foreign coins, postcards and a
coffee mugs, all different shapes
these forums were in Portuguese
being able to ask questions and
camera full of memories, tube pass,
and colors, offering our taste buds
with costumes and crude cardboard
work with the people that created
Brazilian stones, I am amazed at
new flavors as conversations went
props. Through the physicalization,
this form of theatre. The history, tri-
how blessed I was to be a part of
from one end to the other. It was a
these three NYU Summer Study
picture I will keep in my heart for a
Abroad programs. I can’t imagine
long time. This was a very special
Through the physicalization, emotion and
Boal and his crew work throughout all of Rio (and the world) in pris-
doing it another way. Being a participant in different communities,
group of people.
pantomime, I was overwhelmed with the
learning and sharing, and listening
weight of what Boal and his group
to the full lives of the people you
are having this experience with,
ons, mental institutions, homes,
worked with every single day.
orphanages, political venues, mar-
THAT is what I want to continue in
my life. The hard lessons in
kets, schools, etc. Being able to see
patience, pushing past the my per-
these forums happen in Brazil was
indescribable. The strength, power
emotion and pantomime, I was over-
als and errors, discoveries and con-
sonal resistance, articulating myself
and concreteness of working with
whelmed with the weight of what
tinued challenges, were amazing to
as an educator and artist, working
forums to stimulate dialogue, to
Boal and his group worked with
hear from Boal and his team. The
with a community of artists, stu-
expose Brazilian laws that keep
every single day.
days with them flew by and soon it
dents, leaders from all around the
was our final dinner where we
world were opportunities I had
whole groups of poor people,
Back at CTO, the afternoon ses-
depressed and out of work, and to
sion always started with Boal taking
found ourselves in a massive,
always craved. As I settle back into
help people move from being a vic-
any of our questions and he would
ornate, three level samba club
being in New York City, my summer
tim into a “rehearsal for the revolu-
help clarify the Brazilian rules or
where live music and mouth-water-
memories overtake my brain, so I
tion” was in front of me. I saw the
cultural norms they were challeng-
ing food created a festive feel
have started a new journal and a
transformation of an audience mem-
ing in the forums. Boal used our
around us.
new list of goals with my colleague
ber, once they had jumped into the
workshop sessions to outline
forum, return to their bench now sit-
Rainbow of Desire and also explore
notebooks, journals, ticket stubs, a
Now” at the top.
with the oppression of queer
performances as a means to
the youth during the Breaking
stories of family. They described a
people towards more inclusive and
dialogue and plan action around
Walls, Building Bridges: Gender &
greater appreciation for opportuni-
participatory visions of democracy.
the creation of safe spaces for
Social Justice Conference hosted
ties such as these, whereby educa-
Educational Theatre graduate
queer youth. A forum theatre per-
by the Center’s Youth Enrichment
tional theatre practitioners assume
student Alex Santiago-Jirau pre-
formance developed by the group
Services (Y.E.S.) Program.
the mantle of leadership and
sented “Breaking the Silence: Using
explored how allies and youth facil-
Theatre of the Oppressed
itators can begin to dismantle
across political, social, and religious
Techniques to Explore Issues of
oppressive systems that negatively
divides, Simnia Singer-Sayada (Ed
expressed by the Shalom Sahbity
Identity and Oppression with
impact the lives of LGBTQ youth.
Theatre ‘08) and Catherine Hanna
workshop participants, one of
Sitting on my bed at home,
Leading for change by reaching
Ryan’s insightful phrase, “Be Here
become agents for social change.
This power and potential were best
(Ed Theatre ‘08) presented Shalom
whom wrote: “…the audience was
Transgendered, Questioning
tion: “Conference participation
Sahbity (Peace My Friend), a collage
comprised of people with many
(LGBTQ) and Straight Youth” at the
helped me continue to develop my
performance of storytelling, dia-
different backgrounds, yet I felt
October 2008 Performing the
work with both youth facilitators
logue, movement, music, and
that everyone stood on common
World Conference in New York City.
and queer youth; I met a colleague
media, along with a post-perform-
ground: feeling alien when you
Alex explained that participants
from NYU Gallatin and we created
ance workshop, at the Performing
want to feel at home, and trying
“explored issues of identity and
the Queer Youth Forum Project, a
the World Conference. Shalom
to reconcile with family and
oppression with LGBTQ and
group devoted to providing NYC
Sahbity speaks about Arab/Israeli
traditions.”
straight youth, and they brain-
queer youth a space for perform-
relations by honing in on the per-
stormed ways in which theatre can
ance and action.” The two are cur-
sonal stories of its creators. Image
divides? How do we lead for
bridge ideological divides.” From
rently facilitating a series of
theatre techniques and storytelling
change? We might simply look
historical events, as well as person-
workshops with young people at
practices allowed audience/partici-
to one another to find our
al and communal stories of oppres-
the NYC LGBT Community Center
pants to respond to the piece
answers.
sion, participants devised
in preparation for a performance by
through encounters with their own
Lesbian, Gay, Bisexual,
Alex reflected on his presenta-
How do we bridge the great
16 NEW YORK UNIVERSITY
Student, Faculty and Alumni Achievements and Awards
continued from page 12
Victoria Row-Traster (EDTC 2007)
dacy examination this fall.
in October. In April 2009, he will be
the Curriculum and Publications
Jennifer Holmes (Ph.D. Candidate)
presenting a paper on Latino
2009, Black Widow will be staged
Manager for the New Victory
presented a workshop on
stereotypes in the play Men on the
at Florida A&M University and
Theater, also presented with Scott
“Unconventional Techniques to
Verge of His-panic Breakdown by
entered into the Kennedy Center
Lupi, Road to Carnival.
Teach Acting” at the National
Guillermo Reyes at the National
American College Theatre Festival.
Communication Association
Popular Culture Association
Also, at the Black Theatre Network
Conference in San Diego.
Conference in New Orleans. Also
Conference, he presented a paper
along with Gallatin graduate stu-
entitled, “Theatre of the Oppressed:
CURRENT STUDENTS
in Orlando, Florida. In January
Dennis Baker (EDTC) attended the
Katie Issel (EDTC), Jennifer
dent Leigh Thompson, he has
Using TO techniques in the acting
New Leaders for a New Century:
Pytleski (EDTC), Rachel Shapiro
founded the Queer Youth Forum
curriculum of a youth theatre
A National Conference and
Cooper (EDTA), and Daphnie Sicre
Project (QYFP) a Theatre of the
program.” With this paper, he won
Mobilization for Emerging Theatre
(Ph.D. Student) will be presenting
Oppressed group for queer youth
first place in the Young Scholar’s
Leaders.
at the Acting and Directing
through the Y.E.S. Program at the
(graduate division) competition
Symposium and the Pedagogy
LGBT Community Center in NYC.
and a $250 cash prize. He present-
Jim DeVivo (Ph.D. student) taught
Symposium at the Mid Atlantic
The young people presented a
ed this paper to a room of 50
two professional development
Theatre Conference in Chicago in
Forum Theatre performance explor-
academicians and theatre practi-
workshops for teachers this fall.
March, 2009.
ing gender issues at the Breaking
tioners from around the country.
Walls, Building Bridges: Gender and
Those workshops were “Playwriting
Across the Curriculum,” sponsored
Erin Kaplan (EDTC) presented a
Social Justice Conference on
by the Speech and Theatre
paper at the Crossroads Graduate
December 6th at The Center.
AWA R D S
Association of NJ, at the annual
Conference.
Daphnie Sicre (Ph.D. student) will
William Vorenburg Memorial
Scholarship
NJEA Convention in Atlantic City,
Sarah Misch (ETHR)
and “Process Drama in the
Natasha Y McLeod (ETHR),
be presenting a paper on
Classroom” at Liverpool High
Daphnie Sicre (Ph.D. student), and
Shakespeare in Spanish at The
School in Liverpool, NY (Jim is a
Karl Williams (EDTC) collaborated
American Comparative Literature
Paula Ohaus (EDTC)
member of the Liverpool HS Class
with the Museo del Barrio to create
Association conference at Harvard
Myoung-Cheul Chung Scholarship
of 1995).
an original devise piece for the
University, March 26-29, 2009. She
Jim DeVivo (EDTC Ph.D.)
Three Kings Day Celebration.
was also recently nominated as the
Lowell S. and Nancy Swortzell
Co-Chair of the Multicultural
Graduate Scholarship
Christina Devlin (EDTC) and Teresa
Fisher (Ph.D. Candidate) presented
Alexander Santiago-Jirau (EDTC)
Committee for AATE and the Latino
workshops at Performing the World
was elected President of the Board
Focus Group Graduate representa-
Daphnie Sicre (EDTC Ph.D.)
this past fall. Devlin presented
of Pedagogy and Theatre of the
tive for ATHE. She will have her first
Lowell S. and Nancy Swortzell
Theatre of the Oppressed tech-
Oppressed, Inc. He presented
article published in TYA Today, Fall
Graduate Scholarship
niques and Fisher conducted a
“Breaking the Silence: Using
2009.
roundtable and spoke about theatre
Theatre of the Oppressed to
in therapy.
Explore Issues of Identity and
James Webb (Ph.D. student) wrote
Oppression with LGBTQ and
a full-length play entitled Black
Teresa Fisher, Jennifer Holmes and
Straight Youth” at the 2008
Widow. It received a reading at the
John Socas all passed their candi-
Performing the World Conference
Black Theatre Network Conference
Revue
News from the Program in Educational Theatre,
Department of Music and Performing Arts Professions
Steinhardt School of Culture, Education, and Human Development
Joseph and Violet Pless Hall
82 Washington Square East
New York, NY 10003
James Webb (EDTC Ph.D.)
Lowell S. and Nancy Swortzell
Graduate Scholarship