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Revue
News from the Program in Educational Theatre
DEPARTMENT OF MUSIC AND PERFORMING ARTS PROFESSIONS
PUBLISHED TWICE A YEAR, WINTER AND SUMMER • NUMBER TEN • SUMMER 2008
Study Abroad: What is Puerto Rico?
Community and Art
FROM THE DIRECTOR
the semester:
In our January intersession, 15
our exciting spring semester, and
students traveled to Puerto Rico
the multitude of projects happen-
for an intensive two-week course
ing in our dynamic Ed. Theatre
where they studied with leading
community, I thought about how
Puerto Rican artists and educa-
very far we as theatre
tors, saw performanc-
artists and educators
es, reached out into
have come on the path
the community —
of humanistic exchange.
interacting with youth
Recently I was asked by
groups and teaching
Dr. Lawrence Ferrara,
in a public school. A
Director of our
record of this journey
Department of Music
and Performing Arts
Dr. Nan Smithner,
Interim Program Director
Professions, to compile a
excited to be able to speak the language in a foreign country. Then I
realized that while Puerto Rico may
Deborah Hunt’s masks look on as students work.
be Spanish-speaking, and its bright
colors, warm weather and sun-
foreign country, I was still in the
drenched beaches might feel like a
United States.
continued on page 3
clip by students
reach” components in our pro-
Sicre (see link page 10).
| O N S TA G E |
Theatrix!
In late February, we experi-
was thrilled to discover that our
enced the poignant production of
body of faculty and students is
Kindertransport, directed by Dr.
delving deeply into an interwoven
David Montgomery. In addition to
palette of initiatives that reach out
eight shows, nearly 200 high
to the community, as well as
school students learned about the
bringing many students and audi-
Holocaust in our matinee series,
ence members in to see our shows
where in post show talkback ses-
and participate in conferences and
sions, they met members of the
INSIDE
stepped off of the plane was that
everything was in Spanish, I was so
award-winning video
Christina Rodriguez and Daphnie
workshops. Here is a sampling of
The first thing I noticed when I
can be seen on the
summary of “inreach and outgram. Through my investigation, I
By Erin Kaplan
PHOTO BY DAPHNIE SICRE
the lives of others? As I pondered
continued on page 2
By Teresa Fisher
PHOTO BY DAPHNIE SICRE
What does it mean to truly affect
Two years had passed since I last directed a play, so I
jumped at the opportunity to direct a production in the
Theatrix! One-Act Festival this spring. In choosing
which show to direct, it somehow seemed fitting to
Erin Kaplan holds Jen
Alger as she says her
last words during
Feiffer’s People.
revisit the first play I ever directed. Fifteen years ago,
I directed The Problem, by A.R. Gurney, as part of a
5 Applied Theatre at NYU and Beyond 7 Shakespeare: Page, Stage, Engage 8 NYU Steinhardt’s Kindertransport
continued on page 3
2 NEW YORK UNIVERSITY
FROM THE DIRECTOR
her team of work-study helpers.
Sandberg, and Y York. This sum-
Vockins’ organization,
mer we will continue to offer
Rehabilitation through the Arts
Kindertransport Association who
courses on the Washington
(RTA). In planning my sessions, I
very large group of MA candi-
had lived through this time. In
Square campus, as well as
decided that a full-fledged physi-
dates into our ranks, divided
February and April we experi-
through four dynamic study
cal theatre workshop, with exten-
among four master’s degree pro-
enced compelling storytelling
abroad programs in Uganda,
sive movement and voice work,
grams, as well as three new doc-
events, one by adjunct and cura-
London, Ireland, and Brazil.
might be most beneficial for the
toral candidates. Due to the
group of male inmates. This
untiring efforts of Joe Salvatore
continued from page 1
tor of the series, Regina Ress,
Exciting developments
This fall we will welcome a
followed by performances by
occurred in course work and cur-
turned out to be a good instinct,
and his recruitment team (Kevin
Heather Forest and Carmen
ricular planning as well. Dr.
as the men playfully engaged in
Bott, Teresa Fisher, and myself),
Deedy. In March, our Theatrix!
Christina Marín’s Applied Theatre
eclectic movement, vocalized
we have tripled the number of
Festival offered three exciting
students completed fieldwork in
wildly, improvised with text, cre-
incoming undergraduate candi-
productions directed by doctoral
settings that included the Harvey
ated poetic dreamscapes, and
dates for the Fall.
student Teresa Fisher, undergrad-
Milk High School, New
lifted each other grandly in phys-
uate sophomore Scott Bartelson,
Alternatives for Children, Inc.,
ical graphics. Accompanying me
from the seat of the interim pro-
and undergraduate senior Mimi
and the Brooklyn Young Mothers
were my physical theatre masters
gram director for the year 2008,
Lui.
Collective. Additionally, in
students Erin Kaplan and Dawn
while our esteemed leader Dr.
adjunct professor Stephen
Slegona MacDonald, who
Philip Taylor is on sabbatical. The
extremely successful
DiMenna’s class, Creating Theatre
approached the work with great
contents of this newsletter will
Shakespeare Forum, directed and
with Young People, our students
generosity, dynamic energy, and
reveal the achievements of alum-
coordinated by Professor Joe
worked on the new production of
profound sensitivity. Founders
ni and the many honors and
Salvatore, with expert assistance
the MCC Youth Company,
Fellow and doctoral student
awards recently given to current
from doctoral students Desiree
Uncensored, which was presented
Kevin Bott also continued his
colleagues and students. Indeed,
Hamburger, Amy Cordileone, and
at the Zipper Theatre in May. For
work with inmates at Sing Sing
those of us working in the
masters student Blake McCarty.
the new Dual Certification
this spring.
Program in Educational Theatre
Including presentations, perform-
Degree in Theatre and Social
ances, and workshops from inter-
Studies, Dr. David Montgomery
While the role of program direc-
tude to Drs. Nancy and Lowell
national scholars and experts, we
continues to develop a partner-
tor requires immediate and con-
Swortzell, founders of our pro-
also presented performances by
ship with (Out)Laws & Justice to
tinuous decision-making and
gram in 1966, for their prescient
our own touring company
work with middle school teach-
planning, I would like to thank
awareness that Educational
Shakespeare-to-Go!, as well as
ers in establishing an interdisci-
my full-time colleagues David
Theatre would continue to reach
the Shakespeare Youth
plinary curriculum integrating
Montgomery, Christina Marín, and
out extensively and have an
Ensemble, who had worked
history/social studies, language
Joe Salvatore for their great will-
exciting impact on educational,
intensively with students from
arts, and drama.
ingness to collaborate, discuss,
cultural, and global communities
and work as a team this semes-
in the 21st century.
In April we hosted the
Salvatore’s class, Shakespeare’s
The highlight of my semester
do profoundly extend our grati-
has been my work at
ter. We also have had brilliant
Woodbourne Correctional
ongoing support from our
Plays for Young Audiences series,
Facility, continuing on with the
superb group of doctoral stu-
featuring new works by play-
group taught last year by Dr.
dents, and Administrative
wrights Lois Lowry, R.N.
Philip Taylor in Katherine
Assistant Rochelle Brown and
Theatre II, this semester.
In June we presented the New
Thus I send you my greetings
Revue
News from the Program in Educational Theatre, Department of Music and Performing Arts Professions
Number Ten, Summer 2008
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
— Dr. Nan Smithner
Interim Program Director
STEINHARDT SCHOOL OF CULTURE, EDUCATION, AND HUMAN DEVELOPMENT 3
Study Abroad: What is Puerto Rico? Community and Art
involve some sort of destruction. It
continued from page 1
is as though only with the tearing
What is Puerto Rico? Is it a state? A
down of our preconceptions of how
commonwealth? A territory? A
things should be, can we see what
country? This question seemed to
they are.
If it is the stories that define us,
on the trip. In meeting artists of
then the performance of dancer
every medium, the prevailing ques-
Tersea Hernandez, was certainly rel-
tion seemed to be one of self-iden-
evant. Her notion of “parada” or
tification revolving around this and
“stop” was a challenge to us all to
other questions.
stop talking about our stories and
We met artist Antonio Martorell,
start acting on them. Her experi-
whose exhibition of items recov-
ence as a citizen of “PRUSA” or
ered from his burned home were
Puerto Rico/ USA asked the ques-
stunning. These items posed the
tion of who we are in connection
question, “What is beauty?” Maybe
with our land and nation.
the stories that we use to define
If it’s our land and nation that
ourselves are what make us beauti-
define us, then the youth theatre
ful, and many of those stories often
group, Jovenes Del Noventa y Ocho
| O N S TA G E |
C.J. Schwartz and Greg Shane learn from Deborah Hunt during the mask making course.
(Youth of 98), undoubtedly had
by reaching out to our community.
something to add to our experience
Maybe it is the community that
as they reflected, through devised
defines us.
theatre, upon the violence they saw
What struck me most about the
in their culture. They challenged the
community-based theatre in Puerto
contemporary notions of the lack-
Rico was just how much of a “com-
adaisical youth culture, seeing
munity” it was. Everyone knew
themselves as fully realized
everyone else, had worked with
activists.
them, supported them, and came to
If activism is what defines us,
Antonio Matorell’s work at the museum.
PHOTOS BY DAPHNIE SICRE
appear in each and every adventure
Ed. Theatre students perform for the local
high school.
see their performances. It is as if the
then Teatreros Ambulantes, facili-
people there are in constant conver-
Theatre, taught by Javier Cardona,
tated by Dr. Rosa Luisa Márquez,
sation with one another about the
and Mask Making with Deborah
had a great deal to teach us as they
state of their nation and themselves
Hunt, we learned to explore and
enacted Boal’s forum theatre,
through their art. The open and lov-
take risks. We took what we were
addressing issues of oppressive
ing manner in which they worked
experiencing and applied it to our
education systems, family struc-
made them both teachers and stu-
final performances. Most important-
tures, and sexual politics. As we
dents of individual experience,
ly, what we took with us was much
intervened, trying to influence the
which is ultimately the supreme
more: learn and teach by doing,
outcomes of the scenes, we saw
goal of educational theatre.
watching, trying, failing, succeed-
that success could be best achieved
Through our courses in Physical
ing, and creating our art.
Theatrix!
continued from page 1
one-act festival in the theatre
undergraduate program of my alma
mater. I don’t recall how I happened
upon the play, but I soon fell in love
with its wittiness and satire,
although the boundaries it pushed
did scare me.
As I thought about that directorial debut, I remembered the fight
to find rehearsal space, the negotiation for casting actors from a limit-
ed pool, and the personal struggle
new knowledge and experiences
satirized in the play? Fifteen years
to find my way as a novice director.
gained from years of directing, as
ago, I ignored them out of igno-
Overall, I recall thoroughly enjoying
well as from my time here in the
rance and embarrassment. Now,
that arduous process of directing
Educational Theatre program
older and wiser, I had a chance to
and the joy of creating an enter-
steeped in the work of Augusto
take a fresh look at the play and at
taining show in which my actors
Boal and others? Given my renewed
my directing style. What an amaz-
also strengthened their acting skills
appreciation for the power of the-
ing opportunity!
through the rehearsal process.
atre to educate as well as entertain,
The wonderful aspects of being
how would that awareness translate
part of a Theatrix! production
dered how I would feel about
into my directing or would it? Most
include spending time with fellow
directing that same play today. How
importantly, how would I deal with
students in both creative and edu-
would I approach it armed with my
the gender and racial stereotypes
Given that experience, I won-
continued on page 4
4 NEW YORK UNIVERSITY
Happenings
Arts Education — To What End?
By Dawn McDonald
PHOTOS BY DAPHNIE SICRE
As Educational Theatre students, we are constantly exploring how
Kyla McCracken and Jen Alger watch the neighbors through the window during Feiffer’s People.
the arts can be used to teach people in unique and progressive ways.
The conference “Arts Education — To What End?” held at NYU on
March 7-8 investigated this issue and attempted to determine the role
of arts education in an era of standardized testing, shrinking budgets,
and educational reforms that purport to keep teachers accountable
and to leave no child behind. Arts educators from around the world
converged for a day of lectures and workshops in multiple arts disciplines. Among them were our very own doctoral candidate Desiree
Theatrix!
Hamburger and doctoral student Jennifer Holmes who gave a talk
continued from page 3
explored the role of drama in education through the world of Harry
called “The Sorting Hat: A Closer Look at Drama in Education,” which
Potter. Additionally doctoral candidate Amy Cordileone’s lecture
cational endeavors. While there is
“Frierian Mud” highlighted “the professional struggles of working
always a lot of negotiation around
across continents” as experienced through her work with school chil-
use of space and scheduling, as
dren in Uganda. Edmund Chow, a graduate of the Educational Theatre
well as casting actors from a limited
EDTC program, presented his model for prison arts programs in his
pool, there is also a plethora of sup-
lecture “Exploring (Dramatic) Principles for Sustainability: Lessons
port, sharing, and laughter.
from a Singapore School.” These lectures, as well as the others I
Directors Scott, Mimi, and I were
attended, gave fine examples of how people are currently using their
all able to learn from each other as
art to make a difference in the world, and demonstrated why the arts
well as from our actors, our design-
should be given more attention in our schools.
ers, and the Theatrix! board. There
As I reflect on the conference, however, I find myself returning again
are few things more gratifying than
and again to the same question. Now that we know WHY arts education
seeing your work and the work of
should be a bigger part of our education system, HOW can we make that
fellow students come together suc-
a reality? The day before the conference, Mayor Bloomberg announced
cessfully on stage.
that, according to a survey, only four percent of the city’s elementary
We each chose a very different
schools meet the state’s requirements for arts education.
project to produce, which showed
Perhaps you are asking yourself: What can I do about it? I am simply
off some of the breadth and depth
one person. What difference can I make? The answer is: More than you
of our educational understandings,
think. As I learned at the conference, change can begin with a gesture as
interests, and processes. I can only
small as telling a friend about what you do. This was suggested by Joan
speak for myself, but looking at
Gurney’s play through the lens of
Lisa Vasfailo and Alexander Kranz argue about
what to do with “the problem?”
oppression, for example, as well as
ment with my actors, provided for a
much richer production than the
in five years, followed by how theatre education could be. She then asked
I can’t wait to be part of the
next Theatrix! production!
then, it was, however, a much more
superficial one. While the difference
may not be obvious to the casual
observer, I hope the extra work and
thought we put into the process, as
us to come up with one action we would take within three days that
would move us in the direction of our vision. We went around the room
and shared our goals. This became our contract; our promise to do
one I directed fifteen years ago.
While I had a successful production
“Theatre Education on the Verge of Change: A Call to Action” by having
audience members close their eyes and envision how the world could be
utilizing my counseling knowledge
in the process of character develop-
Lazarus of the University of Texas-Austin who concluded her lecture
something concrete to bring about change.
In addition to The Problem, Scott
That is what I challenge you to do. What will you do today or
Bartelson (BS ETHR) directed
tomorrow to help make arts education more of a reality in our
Feiffer’s People by Jules Feiffer, and
schools? Start a conversation with an administrator at the school
Mimi Liu (BS ETHR), directed Who
where you work, approach a school that you know does not have a
is Chasing Whom! by Lynne Alvarez.
theatre program, present your own program ideas at an arts conference, or maybe just research and get involved with organizations
well as the opportunity for the
whose mission is to advance the presence of the arts in our schools.
audience to discuss the play with us
The size of the action you take is not what matters. What matters is
via the talkbacks, deepened the
that you take action. That is the lesson I took away from this confer-
experience for all involved.
ence, and it is what I hope you take away from this article.
STEINHARDT SCHOOL OF CULTURE, EDUCATION, AND HUMAN DEVELOPMENT 5
Happenings
Applied Theatre at NYU and Beyond
By Daphnie Sicre
create a ten-minute performance
celebrating the Chinese New Year.
Using Environmental Theatre,
Many students in the Educational
Improvisation Theatre, and
Theatre program are donating
Sculpture Theatre techniques, he
their time to create workshops for
created a ten-hour workshop span-
the campus community and
ning four days that included partic-
beyond. From Laban movement
ipants from Columbia University,
technique development, to incor-
Pace University, NYU Tisch, and the
porating basic dramatic activities,
fashion and brand management
to teaching play therapy, or pro-
industry in China and Taiwan.
moting social justice, students are
Creating a performance piece was
educating their peers and the
only the tip of iceberg, as Fan feels
community.
the process is more important than
In September, Dr. Christina
the product. “Theatre-based tech-
Marín offered a workshop to the
niques can really improve aware-
entire Educational Theatre com-
ness and trigger potential power,”
munity on how to enhance work-
said Fan, “and by doing these
shop skills and encourage students
workshops, we can motivate more
to create, co-facilitate, and offer
people to contribute to others. It is
their services all over campus and
not only about training those non-
beyond. In her session, she pre-
performers to create and present a
be prepared to give the partici-
ativity rather than operating from
sented possible activities, presen-
performance but rather about
pants something concrete they
fear or intimidation.”
tation styles, and the importance
encouraging participants to explore
can take back with them, or they
of processing and planning in
different cultural backgrounds.”
feel that you’ve wasted their time.
advance.
Students from Columbia University, Pace University, and NYU Tisch perform for the
Chinese New Year. PHOTO COURTESY OF ST FAN
Doctoral student James Webb
conducted workshops in Laban
They want to make their jobs easi-
Movement Technique for professor
has run a series of workshops all
er and more fulfilling, not just hear
Joe Salvatore’s Shakespeare Youth
privilege of observing Dr. Marín
over campus and afar. Fisher has
your cool ideas.”
Ensemble and professor Nancy
conduct a workshop for NYU’s
presented at the American Alliance
Office of Residential Education.
for Theatre and Education and the
facilitated a workshop with Dr.
Masters candidates Anna Scanlon
Afterwards, I was inspired to cre-
Pedagogy of the Oppressed con-
Marín is MA candidate Naomi
and Manuel Simons provided a
ate my own workshop and help
ferences. She said: “I’ve taught
Tessler. “I’ve learned how to listen
free teaching artist workshop
educate others around campus on
basic dramatic activities to use
to participants, engage individuals
based on the work they created
issues of social justice and identity.
with a group for ice breakers. I also
and help foster community and
when developing educational cur-
Dr. Marín referred me to a few
taught how to create board games
encourage self-expression. I have
riculum for Kindertransport.
organizations around school;
that use dramatic activities. I have
also learned to pick up on peo-
Undergraduate student, Issac
granting me the possibility to run
also helped facilitate two diversity
ple’s cues, when to move on to a
Polanco and graduate student
my own workshops using Theatre
workshops at NYU — one during
new exercise, when to stay
Blake McCarty have also helped
of the Oppressed techniques to
Welcome Week and one for the
focused on what we’re working
facilitate and run workshops in
teach students about social justice,
Silver School of Social Work’s
on, and how to be present and
their residence halls. They, too, are
educate teenagers on self image
January orientation.” Doing this
genuinely aware and in tune with
using theatre techniques to spread
issues, and promote the teachings
type of work has taught Fisher
my participants and myself.”
social consciousness, create a
of Martin Luther King, Jr. using
patience and time management;
Tessler feels that facilitating these
communal environment, and edu-
Image Theatre. I loved sharing my
two skills that she will be able to
workshops promotes community
cate their peers.
knowledge and seeing how we
apply once she becomes a profes-
and fosters unity, and she says, “In
learn from one other.
sor: “I learned that there is never
workshops, the hierarchy that can
Theatre student, I am impressed
Before this workshop, I had the
Sheng-Tao Fan, a graduate stu-
Doctoral student Teresa Fisher,
Another student that has co-
Smithner’s Physical Theatre course.
As an educator and Educational
enough time, and that you should
accompany being a teacher is
with the quality of work my col-
dent in Educational Theatre from
plan to do a very small piece of
mostly obliterated and everyone
leagues are doing, the willingness
Taiwan, was asked if he would work
something rather than try to chew
can share on a more open and
to share their time, and the passion
with students from the NYU
off a huge chunk of your work. I
honest level and work from a
to continually educate others inside
Taiwanese Student Association to
have also learned that you should
place of truth and love and cre-
and outside the classroom.
6 NEW YORK UNIVERSITY
E D U C A T I O N A L
T H E A T R E
P R O F I L E S
Between Lesson Plans and Downing Caffeine, Future Teachers Emerge:
An Undergraduate Teaching Experience
tion, student teaching became the
favorite age range to work with,
about the power of theatre and
final hurdle that we had to jump
while others have discovered that
the power of education than we
before we attained success. At
the classroom is not a good fit.
ever thought possible, but most
If one entered the infamous Pless
first it was truthfully quite terrify-
Some who thought they could
importantly we have learned
Hall Lounge, it would be easy to
ing. We were worried about being
only deal with the little ones have
about ourselves.
spot the Educational Theatre
only two or three years older than
discovered that they like working
undergraduate senior. We are the
our students. We had fears about
with teenagers. Others have firmly
watched multitudes of graduate
ones wearing slightly rumpled,
bumping heads with our cooper-
stated that they will never moni-
students come and go. We have
yet professional clothing, with
ating teachers. We even won-
tor recess again. We have learned
seen eight mainstage performanc-
lesson plans and half finished
dered if our professional
how to adapt and think on our
es, observed the hiring of numer-
journals piled around us. We are
wardrobe would sustain three
feet, throwing out days’ worth of
ous faculty members, and spent
the ones proof-reading each
months of constant use. But with
work and creating something
thousands of hours in the Pless
other’s resumes and drowning in
only a final semester to go, most
amazing in minutes. We have cre-
Hall Lounge. We took advice, gave
caffeine. We are actors, singers,
of our fears have been squashed
ated process dramas and
advice, and created advice. We
stage managers, and dancers, but
and we are now focusing on our
tableaux, spreading the educa-
entered the program on the
this year, most of all, we are stu-
triumphs.
tional theatre jargon to bemused
threshold of adulthood and, four
teachers all over Manhattan and
long years later, we are leaving
Brooklyn. We have learned more
it … as teachers.
By Amy Russell
dent teachers.
After three years of prepara-
During our time in front of the
class, many of us have found our
The undergrad seniors have
Internships Considered:
Dress Rehearsal for Life after Graduation
Consider your internship a dress
ten to twenty hours each week
worked 18-20 hours per week, and
rehearsal and ask questions and
over a six-month period. I spent
my duties included: researching
observe others. Take notes. Make
eight hours per week in the office
themes and dramatic activities for
Every year, students at Steinhardt
choices about yourself as a future
assisting the Director of
performance-based “School
consider the possibility of work-
professional. Check in with your
Education and Outreach, John
Tools” (the New Victory-branded
ing on an internship. They ask
mentor or your boss throughout
Michael DiResta. I spent an addi-
curriculum guide), observing in-
themselves: Will an internship
your internship to assess your
tional three to eight hours with
class teaching artist workshops,
actually prepare me for the real
performance.
the MCC Theater Youth Company
participating in teaching artist
in workshops, play readings or on
training, ushering for student
By: Carolyn Wright, EDTC ‘08
world? Or should I jump right into
My personal experience as an
a real job? My answer is short and
intern this past academic year has
theatre field trips. The internship
matinee performances, assisting
simple: an internship is worth it.
been extremely rewarding.
coincided with my academic work
during weekend family work-
Participating in an internship will
I organized my schedule so that I
in Stephen DiMenna’s course here
shops, and participating in brain-
provide you with practical, hands-
could intern with both MCC
at NYU, entitled Creating Theatre
storming sessions. While working
on experience in your field of
Theater and New Victory Theater.
with Young People. I found it
with New Victory Theater, I
interest that will prepare you for
MCC Theater is an off-Broadway
helpful to be able to make con-
learned how to develop a teach-
professional life. The key to find-
theatre that produces new works
nections between the administra-
ing artist residency with an
ing the internship that suits you
and has its own youth company
tive, academic, and creative
accompanying curriculum guide
best is research and commitment.
that focuses on acting and play-
aspects of working with young
and how to incorporate education
writing. New Victory Theater is a
people. While working with MCC
and theatre programming.
cial to think of yourself a part-
company that specializes in the-
Theater, I learned how to plan,
time employee during your time
atre for children and families and
administer, and direct an after-
been excellent additions to my
with the company. Your selected
presents about twelve shows each
school youth company program.
coursework at NYU. I encourage
company is giving you the per-
season.
As an intern, it will be benefi-
fect forum to practice for the real
My internship at MCC Theater
My internship at New Victory
Clearly, these experiences have
all students to take advantage of
Theater was with the Education
the opportunities that New York
world, so take advantage of the
was with the Education and
Department and differed from my
City has to offer with its thriving
opportunity and do your best.
Outreach Department. I worked
experience at MCC Theater. I
arts education scene.
STEINHARDT SCHOOL OF CULTURE, EDUCATION, AND HUMAN DEVELOPMENT 7
Happenings
SHAKESPEARE: PAGE, STAGE, ENGAGE
By Desiree Hamburger
NYU Steinhardt’s Program in
Educational Theatre brought
together more than 150 educators, artists, and scholars for a
three-day forum exploring the
performance and teaching of
Shakespeare in the 21st century.
The forum took place on
Thursday, April 24 through
Sunday, April 27 at NYU’s Kimmel
Center for University Life.
Entitled “Shakespeare: Page,
Stage, Engage,” the forum included moderated paper panel presentations, workshops, and
Acclaimed actor Denis Holmes receiving his Honorary Award from Dean Mary Brabeck
Jennifer Holmes performs a speech from Richard II as presenter Karen Libman looks on.
moderated scene presentations
from Shakespeare’s plays. The
presenters included representatives from the Folger Shakespeare
Library, the Brooklyn Academy of
Music, Shakespeare & Company,
and the Oregon Shakespeare
Festival, among other academic
institutions and performing arts
MA candidate Manuel Simons with presenter
Rebecca Patterson and husband Xavier
Patterson.
companies from around the
world.
Ryan Weible and Mike Blackman
perform a scene from Romeo and
Juliet.
Forum attendees addressed
four overarching questions as part
of their presentations: Why is
Shakespeare still part of our theatrical vocabulary? How are we
approaching Shakespeare’s canon
in the 21st century? To what
extent does his canon fit into our
ever-changing and multicultural,
globalized landscape? And why is
Shakespeare’s work a fundamen-
Carolyn Wright and Daryl Embry perform a
scene from The Taming of the Shrew.
Alumni Pietro Gonzalez and
Gregory Shamie catch up on old
times.
Recent alumni Scott Lupi, Victoria Row-Traster, and
Christina Zagarino with MA candidate Jonathan Shmidt.
tal component of English and theatre curricula?
The forum also featured
performances by the Program in
Educational Theatre’s touring
Shakespeare-to-Go! Company
and the Shakespeare Youth
Ensemble.
PHOTOS BY DAPHNIE SICRE
Roger Rees, Jennifer Holmes and Joe Salvatore
after Mr. Rees’ Keynote Speech
Dr. Nan Smithner welcoming presenters, alumni,
and honorary guests.
Dean Mary Brabeck and Dr. David Montgomery
discuss future projects for Educational Theatre.
8 NEW YORK UNIVERSITY
| O N S TA G E |
NYU Steinhardt’s Kindertransport: Lighting a Candle in the Darkness
talkback. One student, who seemed
By Jonathan Shmidt
perplexed but focused during their
stories, finally raised his hand and
“We old ones invest our
future in you...”
asked, “Can you tell me what war
this is? Where did this happen?”
The importance of keeping these
—Kindertransport, Diane Samuels
stories alive, especially with the
next generation, became shocking-
transcend the stage, reach out, and
ly clear in this moment.
PHOTO COURTESY OF JONATHAN SCHMIDT
When a theatrical work is able to
have a deep impact on those who
witness it, the experience becomes
an opportunity to educate through
theatre. NYU Steinhardt’s production of Kindertransport not only
deeply affected the cast and crew
who brought it to life, but was able
to leave a mark on its audience by
passing on the legacy of a story
Cast members and KTA members gather around Peter Kollisch as he shares his personal items
from World War II.
Over the course of our time with
the remarkable Kinder, we realized
that in twenty or thirty years, this
type of dialogue will no longer be
possible. Only artifacts will remain.
How will stories like this one be
told when those who experienced it
first-hand are no longer present to
share their legacy? How will we be
able to pass on this history of intol-
that must be told.
Not many people know that
cast and crew of our production
Kindertransport as children. In
erance and discrimination so that
right before the onset of World
were given the incredible gift of
addition, we welcomed members of
we can prevent genocide from ever
War II, roughly 10,000 Jewish chil-
preparing for this production in the
the “Second Generation,” or chil-
happening again? Echoed by the
dren were sent away from their
same way.
dren of the Kinder. On the stage of
character Faith in the play, “Who’s
families and put onto trains bound
On our second day of rehearsal,
the Provincetown Playhouse, we sat
going to be able to take care of
for England, hoping to escape the
the company had the rare opportu-
in a circle and spent the afternoon
their memory?” In working on this
oppression of the Nazis. Britain
nity to spend the afternoon with
listening to their stories. These indi-
production, and witnessing the
allowed these refugees into the
individuals whose lives were forever
viduals shared their lives with us,
educational potential of theatre, it
country, and many were taken in by
changed by World War II and the
and gave our cast and crew insight
became clear to me that one pow-
foster families, who offered to help.
Kindertransport. We met our
into their experiences as children,
erful answer to these questions can
Diane Samuels’ moving play chroni-
guests through an organization
as well as the long lasting effects of
be found in the creation of art.
cles the journey of one of these
called the Kindertransport
these events throughout their lives.
Through theatre, we are able to
children, Eva, and explores the
Association (KTA), which has
emotional ramifications of this
reunited several survivors of this
with these individuals, we launched
and challenging ideology. In this
experience throughout her adult
rescue mission later in life. Our
into rehearsals knowing that we
way, we are able to illuminate sto-
life. In writing the play, Diane
group of guests included several
had the opportunity to bring an
ries that need to be told to each
Samuels interviewed several indi-
Kinder, individuals who escaped
important story to the community.
generation.
viduals who were saved through
Germany, Austria, and
But our mounting of this play was
the Kindertransport as children. The
Czechoslovakia through the
Deeply affected by our time
pass on the torch, inspiring change
not enough. We realized that our
PHOTO COURTESY OF JONATHAN SCHMIDT
work with the KTA could not end in
Members of the KTA and the cast of Kindertransport pose after a talkback workshop.
our rehearsal process.
Jonathan Shmidt is an MA candidate
Understanding the educational
in the Educational Theatre program.
potential of our work, several of the
Along with Ph.D. student Daphnie
Kinder agreed to participate in talk-
Sicre, he served as an assistant
backs with our audiences following
director on this production as well as
each performance. These incredible
dramaturg, under the direction of
moments of conversation and shar-
Visiting Assistant Professor David
ing between the audience, the cast,
Montgomery.
and the Kinder proved to be a
thought provoking and emotional
dialogue for all.
Perhaps the most moving of
these experiences occurred during
a talkback following our student
matinee performance. After watching the production, our high school
audience intently listened to the
stories of two Kinder during the
STEINHARDT SCHOOL OF CULTURE, EDUCATION, AND HUMAN DEVELOPMENT 9
Kindertransport: Telling the Story
| O N S TA G E |
I’ll Have a “Shakespeare-to-Go,”
with an Extra Side of Drama!
By Jessica Schechter
It’s hard to believe that only three
By Erica N Giglio
months ago I was in the
Educational Theatre office sitting
Who are these Shakespeare-to-Go! people you speak of? We are an
on the couches across from Carolyn
first time. As we began to read the
ensemble consisting of both undergraduate and graduate students in the
Dana Kraft and Jessica Schechter open
Kindertransport through storytelling.
Educational Theatre Program at NYU. We tour to schools throughout
New York City, and make Shakespeare accessible to students of all ages.
story of a little German Jewish girl
For many of the audience members this is not only the first Shakespeare
PHOTOS BY CHRISTOPHER NICHOLS
named Eva, we both choked back
tears. It was clear that an incredible
journey was underway. Little did we
know that just a couple of days
later, we would become united
through embodying her life and her
story. While over the break I concerned myself with line memorization and the learning of multiple
accents, it was not until our second
rehearsal that the reality of the
Dana Kraft and Jessica Schechter perform
one of the final scenes from
Kindertransport.
Kindertransport really took effect.
(assistant director), Katie Pelkey
Diane Samuels writes in her
(production stage manager), and
preface to the play that while the
the stage crew, everything became
exact details of the play are not any
possible. Their generous accommo-
one person’s story, “most of what
dations made me grateful that,
happens, did happen to someone,
unlike the Jews in Germany during
somewhere.” On our second day of
the Holocaust, I would not miss out
rehearsal, we were fortunate
on any opportunities because I was
enough to see some of the faces
Jewish.
behind the 10,000 stories, as we
The show itself is emotionally
met with several members of the
charged, and really affected me as
Kindertransport Association (KTA).
an actor and a person. The play
That’s when the realization kicked
challenged me to deal with ques-
in that we are not just telling Eva’s
tions of assimilation, guilt, religious
story, but their stories as well.
conviction, and identity. These were
These were real people who sur-
not just the character’s struggles,
vived through one of the most
but mine as well.
tumultuous times in human history,
After nine emotionally charged
and they are an integral part of our
performances, the final dialogue of
history. After the KTA members
the last scene rang especially true
shared their experiences with us,
at the final Sunday show. As the
the cast as a whole gained a much
characters of Faith and Evelyn lock
greater insight into their characters,
up the attic of haunted memories,
as well as a profound understand-
Evelyn says to her daughter Faith,
ing of how important it was that
“All done in here?” to which she
these stories be told.
replies, “Yes we are.” The chilling
Working on this production was
sound of the Ratcatcher resonates
an experience like no other. I had
as they exit, sending the message
never dreamed that I could be a
that the memories of the 10,000
part of any of the department
Kinder can never really be locked
shows due to my Sabbath obser-
up. Though the show may have
vance, but thanks to the incredible
closed, the powerful experience of
understanding and creative think-
working on Kindertransport will
ing of David Montgomery (direc-
remain with me, and the impact of
tor), Jonathan Schmidt (dramaturg,
Eva’s story on my life will never be
assistant director), Daphnie Sicre
forgotten.
performance they have ever seen, but it may be the first stage production they ever experience.
This semester, the Shakespeare-to-Go! Company (STG) is performing
The Tempest, a play packed with themes of greed, freedom, justice, and
magic. Under the direction of Joe Salvatore and assistant director Blake
McCarty, our challenge as an ensemble is to bring the text to life. Thanks
to our directors we are meeting that challenge in each school that we
visit.
Part of being an STG company member involves creative problem
solving. What about a large wooden ship, which sways in the wind, being
blown from large industrial fans set in the stage
wings? While this sounds
exciting, STG has the
PHOTOS COURTESY BY BRITT SHUBOW
Wright reading the script for the
challenge of creating the
same effect for the audience with no budget at
all. We have to be able to
create a full production
of special effects, costumes, and set design.
Everything is actor-generated, and though the pro-
Lauren Lydiard, Erica Giglio and Britt Shubow enjoy
rehearsing outside.
duction is “minimal,” the effect is
extraordinary. Our voices become the
whistles of the storm; our feet stomping the floor bring out the thunder; our
hands pounding our thighs elicits the
deluge of rain. No lights, no massive
ship, no water, no fans, sometimes no
stage at all. Just us, and the problem is
solved.
I am always amazed during the postproduction talkbacks at
Sarah Pencheff stays in character despite
the cold.
just how much students
of all ages comprehend
and retain. Their intuitive questions and reactions are indicators that
the company has succeeded in our mission. It
just goes to show that
Shakespeare is timeless,
and the tradition of
keeping his works alive,
especially for our youth,
is imperative.
Members of Shakespeare to Go, Lauren Lydiard, Britt
Shubow, Blake McCarty, Brendan Boland, Christina
Rodriguez, Erica Giglio, Annie Sugarman, Amy Russell,
Meghan Riley, Sarah Pencheff, Jennifer Cunha gather
outside for a photo opportunity.
10 NEW YORK UNIVERSITY
Student, Faculty and Alumni Achievements and Awards
ACHIEVEMENTS
Ami Formica (EDTC 2008) presented
a paper entitled, “Shakespeare and
Young People: To Contemporize or
Not to Contemporize?” at NYU’s
Steinhardt’s forum, Shakespeare:
Page, Stage, Engage.
Dr. Robin Levenson (Ph.D. 2007)
graduated with a Nomination for
Outstanding Dissertation. Her dissertation, “Acting in Translation,” is interdisciplinary, and explores the nature
of translation for the stage from the
Jennifer Nario (ETHR 2007) present-
Manuel Brian Simons, (EDTC 2008)
MJ Phillips (ETED 2008) was the
ed “Stories of the Covenant House of
presented “Acting with Conscience
Banner Bearer for the Department of
New York: Using Theatre for Social
and Inspiring Change” at the National
Music and Performing Arts
Advocacy” at the AATE Conference in
Union of Jewish Lesbian, Gay,
Professions at the Valedictory
Vancouver, BC. This year she will
Bisexual, Transgender, Queer,
Celebration at Radio City Music Hall.
return to AATE in Atlanta, GA to pres-
Questioning, and Intersex Students.
ent, “Inspire, get ED! Arts Integrated
He presented the same workshop at
Learning in Community Partnerships.”
the Pedagogy and Theatre of the
Donna Kelly Romero (EDTC 2006)
presented “The Play’s The Thing:
Teaching Hamlet in the Secondary
Classroom” at the NYU’s Forum,
Shakespeare: Page, Stage, Engage.
Oppressed Conference in Omaha, NE
in May, and again in Atlanta, GA at
AATE, “Acting with Conscience:
Walking in Gandhi’s Footsteps.” In
October, he will present, “Acting with
Conscience in the Face of Oppression:
Isaac Polanco (ETHR 2008) has been
awarded the NYU President’s Service
Award for extraordinary and positive
impact on the University community.
He is also this year’s recipient of the
2008 NIA Award Lorraine Hansberry
Artistic/Performance/Fine Arts Award
for outstanding participation and
accomplishment in drama, dance,
point of view of the actor, in the last
Alexander Santiago-Jirau (current
Queer Voices and Diversity Education
four plays of Anton Chekhov.
EDTC) will be appearing as a guest
in Participatory Democracy” with
Routledge Publishers has asked her
lecturer for “Reading Against the
Christiana Moore (EDTC 2007) at the
for a proposal for a book based on
Grain: Looking at Coser y cantar by
Transformative Learning Center,
and Daphnie Sicre (Ph.D. student)
the dissertation. In June 2007, she
Dolores Prida” Spanish in
Ontario Institute for Studies in
were the Steinhardt Photo Essay
presented a piece comparing transla-
Performance: Theatre, Department of
Education in Ontario, Canada.
Winners, for photo essay on the
tions of Anton Chekhov’s Three
Spanish, Drew University, Madison, NJ.
Sisters, complete with English actors
He also facilitated a workshop on
playing the scenes to an international
“Breaking the Silence: Using Theatre
audience at the University of East
of the Oppressed Techniques to
Anglia in Norwich, England. The con-
Explore Issues of Identity and
ference was called “Staging
Oppression with LGBTQ and Straight
Translated Plays,” and included well-
Youth” at the 14th Annual Pedagogy
known playwrights, actors, translators,
and Theatre of the Oppressed
and scholars from around the globe.
Conference in Omaha, NE. In July, he
Amy Cordileone (Ph.D. student) was
Now she is an assistant professor of
will facilitate another workshop enti-
awarded the Outstanding
acting and voice at Oklahoma City
tled “Creative Learning, Creative
Achievement and Citizenship Award
Professor Joe Salvatore was awarded
University.
Work: Preparing Young People for
in the Graduate Ed. Theatre Program.
a 2008 Steinhardt Faculty Challenge
Jessica Rodriguez Lisboa (EDTC
2006) will be leading a dialogue entitled “Teacher/Researcher” on collaborative classroom research at the
Pedagogy and Theatre of the
Oppressed Conference in Omaha, NE
in May.
Jerry Maraia (EDTC 2005) presented
a workshop on “The Art of Change:
Exploring Culture, Theatre, and the
Development of Young People” at the
Performing the World Conference in
Tarrytown, NY with Jennifer Holmes
(Ph.D. student) this past fall. He will
also be presenting another workshop
entitled, “Interdisciplinary Multigenre
Projects in the Middle School
Classroom” at The National Council of
Teachers of English in San Antonio,
TX in fall 2008.
Careers in the Arts” at the National
Career Development Association’s
Global Conference in Washington, DC.
Finally, he will be facilitating the
Dani Synder (Ph.D. 2008) will be the
new Assistant Professor of Theatre
History and Dramaturgy at Illinois
Wesleyan University.
vocal, and/or the visual arts.
Christina Rodriguez (EDTA 2008)
Puerto Rico Intersession.
(www.steinhardt.nyu.edu/photo_
essays/puertorico2)
Amy Russell (ETHR 2008) won the
John W. Withers Award for outstanding scholastic attainment and for
AWA R D S
Teresa Fisher (Ph.D. student) was
awarded the GSO Steinhardt
Outstanding Student Star Award.
upholding the highest ideals of service, loyalty, and devotion to her school
and graduating class.
Grant in the Art and Culture category
for his project “Open Heart: An
Interview Theatre Exploration of Gay
Men and Open Relationships.”
Careers in the Arts Summer Institute
Anne Richie S. Garcia (EDTC) earned
for Educators for The Center for Arts
a Steinhardt Dean’s Grant for Student
Education in New York City in August.
Research for 2008-2009.
Daphnie Sicre (Ph.D. student) pre-
Desiree Hamburger (Ph.D. candidate)
leadership, superior scholarship, and
sented “Shakespeare in Spanish” at
was awarded the Steinhardt Teaching
humanitarian principles.
NYU’s Forum, Shakespeare: Page,
Excellence Award for Part-time
Stage, Engage. In May, she traveled to
Faculty.
Adelaide, Australia to present a paper
Dr. Christina Marin (Assistant
on “Revisiting Caldwell Cook; a con-
International Honor Society in
Professor) was awarded the GSO
temporary perspective on his work
Education, in May 2008.
Steinhardt Outstanding Faculty Star
and how it could apply to an urban
Award.
school setting today” at GENER8
Simnia Singer Sayada (EDTC 2008)
has received the E. George Payne
Award in recognition of outstanding
Manuel Brian Simons (EDTC 2008)
was inducted into Kappa Delta Pi,
Lisa Vasfailo (ETHR 2008) was the
Steinhardt baccalaureate ceremony
Drama National Conference 2008. In
Katie Pelkey (ETHR 2008) was
student speaker at Radio City Music
July, she will be presenting “Sak Pase?
awarded the Outstanding
Hall.
Nap Boule” an ethnodrama exploring
Achievement and Citizenship Award
Haitian-American voices in drama
in the Undergraduate Ed. Theatre
with her former students at the AATE
Program.
Conference in Atlanta, GA.
STEINHARDT SCHOOL OF CULTURE, EDUCATION, AND HUMAN DEVELOPMENT 11
FACULTY SPOTLIGHT
Where Are They Now?
Russell Granet
Profiles of Recent Alumni
The Educational Arts Team (EAT), including four NYU alumni (Carmine
Tabone, ‘78; Dom Buccafusco, ‘82; Sobha Kavanakudiyil Paredes ‘03;
and Peter LaBrusciano, ‘05), is completing a three-year Arts-inEducation project funded by the United States Department of
Education. EAT developed 40 lesson plans integrating drama with language arts and social studies for twenty-eight 4th and 5th grade classes in the Jersey City Public Schools. Independent evaluators from Seton
Hall University found significant academic and pro-social improvement
for the 550 participating students in contrast to a control group of the
same number. Evaluation findings and a handbook of the lessons that
address New Jersey’s Core Curriculum Content Standards are available.
By Adam Crescenzi
Russell Granet humbly credits his
achievements in the field of educational theatre to his great formative
experiences as a graduate student in
NYU Steinhardt’s Educational
Theatre Program. While at NYU, he
directly applied the theories and
concepts he learned at night to his
own practice as a teaching artist
during the day in New York City
Nicole (Nikki) Kaplan (EDTC 2004) is now working in a children’s the-
public schools. While obtaining his
atre, Imagination Stage, in Bethesda, MD. She works in the education
master’s, Granet volunteered with
department as an administrator, teaching artist, and director of several
NYU’s Creative Arts Team, an experi-
youth theatre productions a year. Her biggest passion is working on the
ence that increased his awareness
Speak Out On Stage Jr. Program, a year-long program for 4th-6th
and interest in serving populations
graders working with a professional playwright, music composer, and
with disabilities and special needs.
director to create an original musical that “speaks out” to issues and
To this day, Granet states,
topics important to those students. The students are exposed to the
“Regardless of what I’m hired to do,
entire process of theatre, from a play’s conception to a professionally
whether it’s public speaking or guest
supported production. They learn the values of ensemble and artistry,
lecturing, and regardless of what
and are given the opportunity to voice the loves, fears, and concerns of
program I’m dealing with, I always
their lives. www.imaginationstage.org
push for kids with disabilities.”
Donna Kelly Romero (EDTC 2008) welcomed her son, Thomas James,
in March ‘07. She is currently teaching English at Villa Maria Academy in
Malvern, PA, and writing for Philadelphia Maven Magazine
(www.philadelphiamaven.com). She returned to NYU to present a workshop at the Shakespeare Forum in April.
After he received his Master’s
degree in 1995, Granet took a position as the Director of Education at
the American Place Theatre, where
he had the opportunity to developing new curricula. While running its
Christina Neubrand (EDTC) is currently working at St. John’s Episcopal
Literature to Life and Urban Writes
School in Dallas, TX where she is spearheading the Drama Department,
programs, he learned the necessity
as well as an Arts Integration Initiative. Christina works with young peo-
of quality throughout the work one
ple from kindergarten through 8th grade and has initiated 20 theatre-
produces, especially when one’s
integrated projects within the school’s curriculum. The school’s 7th and
target audience is children and
8th grade drama elective has performed three full-scale productions
adolescents. As he says, “In order
thus far, Improv 2007, Everyman, and Bye Bye Birdie, and Shakespeare’s
for quality to exist in their work,
Showcase in the Park is slated to cap off the school year.
kids have to see quality work.” Also
while there, he achieved a milestone: he’s been to every last stop
on every subway line in order to
bring the arts to overlooked
Cultivating the Garden State
By Jim DeVivo (EDTC 2001,
incoming Ph.D. Student) and
Alex Sarian (EDTC 2008)
schools on the outskirts of New
in the city’s backyard: New
Jersey. We form two-thirds of the
York City.
Ultimately, Granet’s experience
Education Department at
at American Place Theatre inspired
Playwrights Theatre of New
him to develop systemic changes in
Jersey, a 501(c)(3) non-profit,
the arts within the educational sys-
It has been a joy in past newslet-
professional (Actors’ Equity) the-
tem. This passion led him to a
ters to read about the wonderful
atre in Madison, New Jersey. This
prominent role as Director of
things that Educational Theatre
is Jim’s sixth year with the com-
Professional Development with the
students and alumni are doing
pany (his first as Director of
Center for Arts Education (CAE),
around the world. We are excited
Education). Alex began as the
the largest fundraising organization
to tell you about what’s going on
continued on page 12
for arts education in New York City.
Working alongside the Department
of Education, he spent ten years
diligently crafting quality-sequential
arts programs. Because of his conviction, not only for theatre, but for
all art forms — visual, music, dance
— over 300 schools have now been
served by the CAE’s qualitysequential arts programs.
Throughout this experience, Granet
recognized a steady arc within his
own learning curve in the field. His
subsequent goal centered on the
question, “How do we maintain and
cultivate leaders in the field of education?” This goal led him in March
2007 to create his own company,
Arts Education Resource. A national
and international program, Arts
Education Resource functions as a
primary resource for schools and
cultural organizations. It focuses its
efforts on students with disabilities,
access to the arts for everyone, and
making assessment accessible.
Granet’s work in the field of education has led him across the globe,
to such countries as Egypt,
England, Kenya, Tanzania, and
Turkey, but he always finds time to
return to the place that provided
the launching pad for his career. He
firmly believes that what has led
him to where he is today was his
ability to “recognize opportunities,
seize opportunities, and remain
connected to other graduates of
NYU’s Ed. Theatre Program.” In
1995, Granet was asked to design a
course for NYU entitled Drama with
Special Education Populations, a
course he continues to teach today.
In fact, his presence within the program as a faculty member, mentor,
and friend is something that
Steinhardt students whole-heartedly appreciate. “I think Russell’s
greatest strength is his ability to
continued on page 12
Cultivating the Garden State
SUMMER EVENTS
continued from page 11
Writers Project provides hands-on
workshops led by professional writ-
Education Associate in January
ers-in-residence to students in
NEW PLAYS FOR YOUNG AUDIENCES
2008. We’re also teaching artists
schools and community centers
Provincetown Playhouse returns this June for its eleventh season with three
for the theatre.
throughout the state, reaching over
new plays and a graduate course in play development. Public readings are
Playwrights Theatre (PTNJ) is a
15,000 students annually.
performed each weekend with an open forum discussion following each
community of writers, theatre
Sunday performance. This program honors the traditions and history of the
artists, and arts educators commit-
son for us. PTNJ teaching artists
Playhouse where the early plays of Eugene O’Neill, Susan Glaspell, and
ted to Developing the Dramatic
are wrapping up in-school writing
Edna St. Vincent Millay in addition to a host of other playwrights were first
Imagination® of audiences and stu-
residencies in poetry, prose, and
presented. However, this series devotes its efforts to the development of
dents of all ages. PTNJ advocates
playwriting. Some residencies
new works for children, youth, and family audiences.
the creative process through the
include a Language-in-Motion
writing and performance of all gen-
assembly where actors from our
PERFORMANCES
res of literature. The New Play
roster will go in to the schools to
Saturdays at 3 pm and 7:30 pm / Sundays at 3 pm
Development program assists new
rehearse and perform staged read-
work and new writers for the stage
ings of the students’ work.
through a comprehensive program
Conducting rehearsals at the
of readings, workshops, and main
school provides a unique opportu-
stage productions. Educational pro-
nity for the young writers to con-
WHAT CAN’T BE SEEN by R.N. Sandberg (The Odyssey) directed by
grams extend creative experiences
tinue with the writing process by
Joe Salvatore (Faculty, NYU). June 14 – June 15, 2008. Appropriate for
and process-oriented learning to a
attending rehearsals and interact-
teens and older.
broader community through resi-
ing with the director and cast. We
dencies in schools statewide and
have found great success employ-
through onsite classes. PTNJ values
ing college students and recent
these dual focus areas equally, and
graduates as our actors, thereby
encourages its community to par-
introducing many college actors to
TICKETS: $5 for adults and free for children, high school students, or with a
ticipate fully in both. The Education
the possibilities of educational the-
valid NYU ID. For reservations, please call 212 998 5867. The Provincetown
Programs introduce students of all
atre. Plus, performing for children is
Playhouse is located at 133 MacDougal St.
ages and backgrounds to the possi-
an excellent experience, as children
bilities inherent in thinking and
comprise some of the best audi-
communicating creatively. PTNJ’s
ences imaginable.
EGGS Based on the novel by Jerry Spinelli by Y York (The Forgiving
Harvest). Directed by Rob Goodman (First Stage Children’s Theatre,
Milwaukee). June 7 – June 8, 2008. Appropriate for ages 8 and up.
GOSSAMER by Lois Lowry, based on her book of the same name. directed
by Stan Foote (Oregon Children’s Theatre, Portland). June 21 – June 22,
2008. Appropriate for ages 7 and up.
SYMPOSIUM
Spring is festival/assembly sea-
BEYOND THE BOOK:
TRANSFORMING YOUNG ADULT NOVELS FOR THE STAGE
Sunday, June 22nd, 2008
A dynamic, one-day symposium exploring the challenges and rewards
involved in adapting popular literature for the young audience.
Symposium contributors include: author Lois Lowry, director Stan Foote,
FACULTY SPOTLIGHT
Russell Granet
drama specialist/dramaturg Dr. Cecily O’Neill.
continued from page 11
Schedule:
reflecting on the experience he
created for us and the questions he
9 am
Panel Discussion, moderated by Dr. David Montgomery
model great teaching — prepara-
posed.” But perhaps EDTC student,
11 am
Coffee Break
tion, action, reflection,” says Lizzie
Steven McIntosh, sums Russell’s
11:30 am
Helping the Playwright: Developing the Story, hands-on
Hetzer, an EDTC student. “Russell
contributions to the field best
workshop by Dr. Cecily O’Neill
pointed out to us that it’s not
when he says, “If arts education
1:30 pm
Lunch on your own in Greenwich Village
about having a ‘special education’
was a body, I’d certainly place
3 pm
Performance of Gossamer by Lois Lowry (included in ticket)
teaching style — it is just about
Russell at the heart, because of
4:15 pm
Post-Performance talkback, moderated by Joe Salvatore
good teaching.” EDTC graduate,
how much his work supports prac-
5:30 pm
Reception and symposium close
Chrissy Moore, echoes these senti-
titioners and programs throughout
Cost: $35.00
ments: “He stated on the first day
New York City.” I echo Steven’s
Deadline to submit registration form: Monday, May 19, 2008
of class that the goal for the
words when he states that Russell
Spots for the symposium will be confirmed by June 3, 2008.
course was to make sure we had
Granet is “a priceless resource to
the tools to teach any student who
anyone who has anything to do
stood in front of us. In my own
with progressive education.”
practice, I find myself continually
LOOKING FOR SHAKESPEARE 2008:
A MIDSUMMER NIGHT’S DREAM
Directed by Sharon Counts (EDTA 2006)
July 25 and 26 at 8 pm, July 27 at 3 pm
Provincetown Playhouse, 133 MacDougal Street
TICKETS: $5. For reservations, please call 212 998 5867.