There is no question that there are racially charged words in the musical Ragtime, just as there were in the novel upon which it is based. In telling the story of black characters, of Jewish characters, of Irish characters at the turn of the 20^th century, these words are integral to portraying the racism and bigotry that were rampant in that era. The artists who created the show – Terrence McNally, Stephen Flaherty and Lynn Ahrens – and the many who have since staged and performed it, understand the ugliness that is inherent in that language and have not deployed it lightly.

In the two decades since Ragtime debuted on Broadway, it has been produced countless times and in countless venues. A most affecting concert version was performed this summer on Ellis Island, the very site where many immigrants entered the United States for the first time.

A production at Cherry Hill High School East in New Jersey, scheduled for March 10, is now facing censorship over the racial epithets embedded in the script. While the school says it is prepared to go forward with the show, it will do so by making unauthorized alterations in the text. In a statement, the school district said:

The Cherry Hill High School East community is approaching the production of this show from a learning disposition. Within our educational community we have been engaging in a dialogue regarding the offensive language in the show. We are indebted to the Cherry Hill African American Civic Association as well as individuals in our community for joining us in this discussion regarding the use of bigoted language in the script. After a very open and productive meeting between representatives from the East Staff and the Cherry Hill African American Civic Association, we confirmed the decision to remove offensive language from the enacted script. In addition, all students at Cherry Hill High School East will participate in learning activities stemming from Ragtime in an effort to use our history to further expose the ugliness of racism. We apologize for any negative impact that the potential inclusion of the racist language had on members of our community and we are thankful that we have educational leaders, student leaders, and community leaders with whom we can partner when concerns arise.

There will be a board of education meeting this evening in Cherry Hill where this topic will be addressed as well, albeit on an agenda that currently runs to 28 pages.

What the district has failed to address in any of its statements, or in interviews with NJ.com or the Philadelphia Inquirer, is that by making any changes to the script, they are in violation of both copyright law and the licensing agreement for the show. It is not the purview of anyone to alter a dramatic work without the author or authors’ approval, whatever their rationale. If it is the intention of the school board to affirm the school’s stated position, their legal counsel would do well to inform them that the school is predicating its action on a legally untenable premise and could well result in the loss of the right to produce the show.

Audra McDonald and Brian Stokes Mitchell in the original Broadway production of Ragtime

That said, it is important to understand that while schools shouldn’t endorse hate speech or action against any group, the enacting of our unfortunate racial history is not the same as propagating the language that was part of it. (This recalls a similar situation in Connecticut in 2011 over Joe Turner’s Come and Gone and the use of the n-word.) Informed of what is taking place at Cherry Hill High School East, Brian Stokes Mitchell, who was a Tony nominee for creating the role of Coalhouse Walker Jr. in Ragtime and won the Tony as Best Actor for Kiss Me Kate, in addition to receiving The Isabelle Stevenson Award from the Tonys for his charitable work on behalf of The Actors Fund, spoke to Arts Integrity about the importance of Ragtime and its language.

“It needs to be acknowledged,” said Mitchell, “that whether the people who complained are African American or white, I understand why they would be upset, given the tenor of the times and what’s been in the news. If this was an African American family, we must acknowledge that these words at this time represent a very old wound that has been freshly scraped open. There is a renewed feeling among some people that they can say terrible things against ethnicities, against women, against the LGBTQ community. For those in communities that have been historically marginalized, there is now the real belief that there is a segment of the population that feels newly empowered to be offensive. I understand and acknowledge that.”

“But,” he continued, “that is what the show is about. It is about terribly ugly things that happen to people and how they surmount that. Our country has an ugly history with race.”

“To take the ugly language out of Ragtime is to sanitize it,” Mitchell declared, “and that does it a great disservice. People should be offended by those words. But it’s not done in a way that glorifies the people saying it. Rather, it allows the show to take people on a journey. It’s Coalhouse’s journey, it’s Sarah’s journey, it’s the journey of the 20^th century and it’s still our journey today. The n-word is still thrown around without empathy.

“Ragtime is about how we get through ugliness, how we talk together, work together, get through it together. The show takes us to the next steps. That’s what our country needs to do.

[Edit, January 27: A 31-word quote from Mitchell that originally appeared here has been removed at his request, as he felt it was unclear when set down in writing, particularly after seeing it taken out of the entirety of the piece and used as his sole comment on the matter. He has offered a deeper clarification of his thoughts which appear at the end of this post.]

Mitchell observed that, regarding the school making alterations, “Changes are an infringement of copyright. It would be very unfortunate if because of this choice, the show can’t be done.”

Mitchell recalled a visit he made to Columbia High School in South Orange NJ in 2015, where he spoke with students about the show. Citing a question from the student who was playing the story’s most bigoted character, Willie Conklin, who expressed his discomfort at having to use the n-word, Mitchell said he reminded the student, “It’s not you saying it. It’s the character.”

In a follow-up letter to the school, Mitchell wrote:

I had been out of RAGTIME for a year when it played its last performance at the (then) Ford Theatre on 42nd Street. I wrote a letter to the company saying that although it was sad to see such a magnificent Broadway show close, the good thing was that RAGTME would no longer be the exclusive property of Broadway professionals. Now it would live where it really belonged – in the hearts, minds, hands and mouths of community theatres, college theatres and high school theatres EVERYWHERE.

Mitchell also recounted a six-page, single spaced letter he received from a young white man in Florida during the show’s original run. Saying that it was page after page about this man’s ordinary existence, leading Mitchell to wonder why the letter had been sent at all, he said that in the very last paragraph, the man that, after seeing Ragtime, “I realized I’d been a racist all my life and didn’t even know it.”

“You cannot have that experience if the language is toothless,” said Mitchell. “If you take that out, there’s nothing to have repercussions against. You have to take the ugly with the beautiful.”

While school officials have made a decision, it is not irrevocable. If there is the opportunity for further conversation—with the school, with the school board, with parents, with students, with the Cherry Hill African American Civic Association—Mitchell has offered to participate (and can be reached through the Arts Integrity Initiative). Because, he says, “They should do it [Ragtime, original language intact], be uncomfortable with it, and talk about it. One of the great things about this show is the discussion it engenders.”

Update 1/24 2 pm: To express support for an uncensored production of Ragtime at Cherry Hill High School East, click here to sign a petition.

Correction 1/24 3 pm: This post previously referred to the character of “Willie Conklin” as “Willie Calhoun.”

Addendum, 1/27 2:45 pm: Brian Stokes Mitchell has offered further thoughts and clarification on his remarks on the situation in Cherry Hill in writing, and they appear here in their entirety:

The original comments I made were in response to the High School’s desire to alter Ragtime’s script (specifically the excision of certain racial slurs) that could possibly lead to the loss of the right to perform the show due to copyright infringement issues. In addition, I was making a point about how the contextual use of those racial slurs sets up the trajectory of the characters in the show. It is the ugliness in Ragtime that gives the cathartic power to its tragically beautiful ending.

That being said, I want to acknowledge that I don’t know the specific issues that the parents who brought up the complaint are having. I also don’t know the opposing arguments of the parents who wish to do the show with the racial slurs intact or what the school district officials are facing. I do know that I am glad that this conversation has been initiated and engaged by the community and I am heartened to learn that the local NAACP is also involved in the process. I deeply respect and understand that there is concern about the brutality and offensive language in the show, particularly given the divisive nature of our present political climate. Although these are difficult times we are living in, I have faith that the conversations the Cherry Hill community is poised to have and their dedication to the welfare and development of their children will guide them on the best path to take.

What I can attest to is my personal experience with Ragtime and its cathartic and transformative power on an audience. I have experienced firsthand how Ragtime specifically (and I think art in general) has an amazing ability to heal by opening hearts and minds to the plight and concerns of fellow human beings whose lives and experiences might otherwise be marginalized, dismissed, or made not to matter.

Despite living in a time of overt racism, sexism, fear and xenophobia, the various characters of Ragtime each find their own individual sense of empowerment, understanding and interconnectedness. Together they confront something that is ugly, negative and dispiriting  and ultimately transform it into something beautiful, positive and inspiring.

I think those are good lessons to teach and to learn.

I sincerely wish the community of Cherry Hill the greatest success as they grapple together with the very issues that we face together as a nation.

In an era of constrained school budgets, it is not all that unusual – albeit quite problematic in terms of diversity and equity – to find schools charging students and their parents “activity fees” to offset certain expenses, particularly in extracurricular pursuits, notably athletics. When the Board of Education of the Harford County Public Schools in Maryland voted on June 13 to impose a $100 per student activity fee on extracurricular drama programs in area high schools, and raised the fee charged to sports participants to the same rate (having previously been $50), it wasn’t, at a glance, necessarily seen as a targeted attack on the arts. But there’s much more to it, based on statements made by the school board subsequent to both to this decision and a vocal but failed appeal from drama participants and supporters made at the next school board meeting.

“Titanic” at Bel Air High School (Photo by Chuck Bowden)

According to several members of the community apprised of the plan, which has not yet been formally issued, at Harford schools, students will be charged the fee if they want to perform – offstage participants are exempted, creating two classes of theatre kids. Students will be charged the fee per show, so if they appear in a play in the fall and a musical in the spring, for example, it will cost their parents $200. [see update below]

Unlike sports, the school system has only token funding for extracurricular drama – the programs are all largely self-supporting. So young performers are being taxed a regressive tax if they want even a moment under theatrical lighting in front of an audience, and the money generated goes not so much to defray the cost of productions, but rather to shore up a hole in the Harford budget. Interscholastic sports, on the other hand, have a $2.9 million allocation in the county’s school budget. Indeed, the motion and vote to levy a fee on drama came at the end of a board meeting where county swim teams and their supporters successfully lobbied to save their pursuit in Harford Public Schools.

Why target student performers to raise an estimated $50,000? That’s hard to say, because neither local news reports nor direct inquiry by Arts Integrity has yielded any significant explanation from the people who imposed the fee. An e-mail with questions about the decision, e-mailed to Barbara P. Canavan, superintendent of schools, yielded a reply from Jillian V. Lader, manager of communications for the school system, stating, “The decision to require a participation fee from students involved in the extracurricular drama program was made by the Board of Education of Harford County on Monday, May [sic] 13, 2016.” Ms. Lader then directed Arts Integrity to communicate with the board via a contact form on the district’s website, to which there has been no reply after more than a week. Worth noting: Barbara Canavan is not only the superintendent of schools, but also the secretary/treasurer of the board, and as such was certainly party to the decision process regarding drama. Direct e-mails to several of the board members also received no reply.

Students protest before June 27 board of education meeting (screen capture from ABC2 report)

While the school system was keeping fairly mum about the decision, their actions spurred others to become vocal. Ryan Nicotra, who works at Baltimore’s Single Carrot Theatre, attended Bel Air High School in Harford County and lived in the area for, as he put it, “25 of my 26 years,” has organized the unincorporated Harford County Arts & Culture Alliance in the wake of the board’s initial decision on June 13. Working with students, parents and other advocates, Nicotra mobilized some 250 supporters to attend the June 27 board meeting to advocate against the new fee. According to a report in The Baltimore Sun, “More than 50 Harford County students, parents, teachers, alumni, even school board members, pleaded with the Board of Education Monday to rescind a $100 fee to participate in high school drama programs, but their efforts could not sway board members.”

Later in the article, The Sun reported, “[Board Vice President] Voskuhl, a former Bel Air High principal, stressed HCPS is not alone among school systems in the U.S. for charging student participation fees. At the previous board meeting on June 13, he made the motion to double the sports activity fee and to re-establish the drama fee, which along with other non-sports activity fees approved in 2013 were rescinded by the previous board.” So it appears these fees come and go depending upon who is elected.

Describing a bit of the conversation at the June 27 meeting, Juniper Ernest, a member of the parents’ association for the Bel Air High School drama group and parent of a rising junior and rising freshman at the school, wrote:

“Several of the board members spoke to say that they agreed that the original proposal was in fact a poor and inequitable decision. That it will prove detrimental to students and that they need to provide more opportunities for kids to get involved instead of putting up barriers. One of the board members seemed especially moved hearing from students who expressed what being in a drama company means to them and the impact it has had upon their lives. This board member stated that we can’t keep punishing kids with fees because of our budget deficit.”

“The 25th Annual Putnam County Spelling Bee” at Fallston High School

Nicotra is undeterred by the results of the June 27 meeting. He outlined plans being undertaken by his coalition of students, parents and community members, saying, “In the past two or three weeks, I’ve probably made well over 100 phone calls and probably bought 40 cups of coffee. I have been trying to talk to as many parents and teachers as I can, but also partners at the state and national level, people that work with the state department of education, talking with people who have been on the board before and had some valuable insights into the best approach.”

“From a legal standpoint,” Nicotra continued, “we have a small legal team that’s working on a formal appeal to the state board of education, which is qualified and able to overturn a decision made by a local school board if it is either illegal, arbitrary or capricious. We feel that the manner in which the motion was made, passed and upheld indicates that it was an arbitrary decision. It’s murky whether it was also capricious. It’s not illegal; these fees exist here and elsewhere. But that it would be introduced without public comment, or input or even any sort of justification for budget projections indicates that it was put together very quickly.

“We’re also working to see whether this is worthwhile to pursue an equity suit against Harford County board of education because specifically in Harford County there is a huge poverty correlation with race. The schools in Harford County that would be most directly impacted by this and most hurt would be schools that also have disproportionately high minority rates and minority students.”

Also vigorously advocating against the fee is Bel Air High School student Olivia Bowley, a rising junior. In addition to being one of the more than four dozen people who spoke at the June 27 board of education meeting, she wrote an open letter about the situation to Broadway World, which published it on July 5, in which she expressed her concerns over the new policy.

In correspondence with Arts Integrity, Bowley wrote:

“They are estimating $50,000 revenue from pay to play fees from drama. But to be completely honest, that estimate seems unrealistic. There are 10 drama companies in the county. The Bel Air Drama Company, to which I belong, is the most robust of all of them. Our company averages about 100 kids for the year. Many of the other drama companies are still in their infancy or in a rebuilding state, with very little student involvement.

“What is completely frustrating to us is that we are the only ‘club’ being assessed a fee.  There are dozens of clubs in our high school and drama was singled out as the only one to be lumped in with the sports in the ‘pay to play’ fee.”

Regarding specific costs to the schools for drama, Bowley explained:

“I can only speak to our school – Bel Air Drama Company, until recently was self-funded – we would put on productions with the cost of the ticket sales. The only cost the school would incur – outside of the stipend to pay the drama directors (which I believe is $ 2,400 annually, split between two people) would be any associated HVAC costs, etc. for production weeks.

“That being said, for the first time in 2017, the drama company ticket money raised will go to the school and not the drama company.  Previously, the drama company kept those funds and used the proceeds to absorb the costs of the putting on the productions — set, lights, costumes, etc.  For 2017 and going forward, the school will retain the money and will reimburse the drama company for appropriate expenditures associated with putting on a production.  I can tell you that our drama company charges $10-12 per ticket per production.”

While teachers are often precluded from, or cautious about, speaking against student policy, Robert Tucker, the drama teacher and advisor of extracurricular drama programs at Edgewood High School wrote directly to the school board following the initial passage of the fee. His letter read, in part:

“The benefit of the extracurricular drama activities are numerous and varied. Students involved in the arts regularly exhibit higher order thinking skills. The drama programs challenge students to practically apply every subject they student. Mathematics are applied through designing circuits for lighting plots, or designing a sturdy base for a set element. English is utilized when carrying a scene, history for dramaturgy, even FACS are utilized for the creation of costumes.

“I am very concerned about this proposal for several reasons. Chief among them in equity. Along with Aberdeen, Havre de Grace and Joppatowne, this school serves a population with a lower average income and socioeconomic power. This policy would disproportionately affect the schools with the Rt. 40 corridor, and prohibit those programs where they are needed most. Simply, this punishes those who may be too poor to pay $100.”

While the board of education has not officially issued details of their plan, The Sun has noted that with preexisting fees, students who qualify for free student lunches don’t have to pay activity fees. The net result was an increase in the number of high school students applying for free and lower priced lunches. Inevitably, students who don’t quite qualify get caught in between by both lunch costs and the activity fees.

In an e-mail to Arts Integrity, Tucker described the $100 fee as “staggeringly prohibitive.” He asserted, ”There is evidence that pay to play programs stifle participation in extracurricular activities, especially among the economically disadvantaged.”

“Letters From Sala” at Edgewood High School (Photo by Deborah Johnson)

Tucker also wrote, “Placing a barrier on participation in extracurricular activities puts students in danger. These groups were the original GSA/LGBTA groups for many students my age and older, providing a safe place for people to identify as themselves. Drama clubs still do this in ways other groups do not.”

Advocacy efforts as described by Nictora are still, in many ways, at their earliest stage. But in addition to what he outlines, a petition seeking to have the activity fee for drama reduced or eliminated was started on Change.org, originated by Taylor Casalena, who just graduated from Harford Technical High School. While it began before the June 27 meeting, it remains active for those who want to express their support for Harford drama and to speak against the activity fee.

Juniper Ernest spoke of both the concerns and the resolve that she sees in the community:

“I am thankful that our family will be able to provide our kids with the fee required so that they can participate. We do know many families at Bel Air and other schools, however, who will not be able to participate if the fees remain. That has caused my daughter and I to take action and speak up. We are advocating on behalf  of other students. We believe that the stage should be accessible to ALL kids, not just those who can afford it. We are so disheartened that our Board of Education thinks it is acceptable to put barriers in the way that would prevent kids from participating in something so vital and worthwhile. We feel very passionately that the arts are something that should be supported and celebrated in our schools and we will not stand idly by while our school system makes cuts to arts programs and discourages kids from experiencing the arts by imposing fees to participate.”

On Wednesday, July 13, Harford Property Services, a business in Havre de Grace, announced that it would cover the activity fees for all students participating in the drama program at Havre de Grace High School, a significant commitment considering that the board of education hasn’t fully detailed how the fees would be levied. In a statement provided to The Baltimore Sun, HPS president J.D. Russell said, “Our students and their families should not be burdened with fees in order to gain the benefit of participating in extra-curricular activities. For many families with two or more school-age children, each participating in multiple programs through the school year, the financial weight is too heavy.” HPS is to be applauded, however there are nine other high schools in the district.

Fundamental questions for the Harford Public Schools board of education remain. How did they decide to levy this tax on drama performers only, leaving other arts programs or for that matter any school activities others than drama and sports untouched? Was there proper notice given of the intent to introduce this fee, to allow for community input, or was it an improperly introduced spur of the moment decision to plug a hole in the school budget? Is it the school board’s intent to progressively add other activities to the roster of those paying fees, transferring school expenses directly to parents of the students who are participating or requiring them to raise money on their own to maintain equity for all students? Since this decision originally came in a meeting that lasted until 12:30 am, and where the subject wasn’t on the agenda, the board of education can’t claim transparency. Since no impact study was provided, the board can’t claim any foundation for how this will affect drama in the region’s ten high schools.

They’re not the first governing body with educational oversight to do so, but the Harford Public Schools board is teaching terrible lessons to their students and their community. They’re suggesting that budgetary expedience takes precedence over informed decision and due process. They’re passing the buck arbitrarily, ignoring the multi-faceted value of drama as an educational tool, even if it is classed as an extracurricular activity. It seems as if they just wanted to go home one night after a long meeting, and they decided to stick it to the kids who they assume will pay anything to be on stage. After backtracking on their plans for the swim team, they’re now holding fast when it comes to drama.

Fortunately, the show’s not over – in fact, it may still be in the first act of several more to come. If Nicotra, Bowley, Tucker, Ernest and their many allies in Harford County – and beyond – succeed, the school board may yet realize what a short-sighted, anti-arts, anti-education measure they adopted. Ultimately, members who imposed this tax will have to answer for their decision, if not now, then in two years, when it’s time for the next school board elections, and when many of the kids affected by this action will be eligible to vote. They’ll likely want to vote in people who don’t treat any of the arts as a cash cow to milk for money to pay for other shortfalls and, who don’t channel some questionable vaudeville promoters of old, acting like they want their budgetary palms greased before they’ll let any act on stage.

Note: some of the photos accompanying this article were discovered through public sources, but did not all appear with credits for the performers or photographers. They will be immediately updated, or withdrawn if need be, upon request.

Update, October 11, 2016: Following a visit to Harford County yesterday, Arts Integrity learned that the pay-to-play fee is per student per year, not per production, as previously stated. However, the policy, which can be found here, caps fee for student involved in sports at only two years; no such cap is in place for drama.

“I knew y’all would come. It’s the rest of the world I couldn’t have anticipated.”

Lin-Manuel Miranda (all photos by Howard Sherman)

That was what Lin-Manuel Miranda admitted about his extraordinary recent success with the musical Hamilton to some 200 high school drama teachers in a session on July 7, just two days before he was to leave the cast of the show. He was speaking at the Broadway Teachers Workshop, an annual summer program for theatre teachers from around the country, in a wide-ranging discussion that took him from elementary school to the present day. While questions came to Miranda at first from the moderator Patrick Vassel, the associate director of Hamilton, the session was predominantly Miranda responding to questions directly from the teachers.

For the benefit of all of the teachers (and students) who weren’t there, here are some highlights from Miranda’s remarks, slightly condensed and edited for clarity. Among the material not included here are any topics covered in my prior interviews with Miranda, both for Dramatics magazine and this website.

On being a teacher post-college

When I was about to graduate Wesleyan in 2002, I called Dr. Herbert [Miranda’s high school mentor] and said, “I have a BA in theatre arts, can I come substitute teach at Hunter for a living?” He said, “I’ll do you one better we actually have a part time English position.” So I taught seventh grade English my first year out of school.

There’s nothing better than the people who taught you becoming your friends suddenly being on the other side of that divide So that was enormous fun. And I loved it, I loved my students. I had two seventh grade English classes and I still follow them and they’re still in touch.

They offered me a full-time position at the end of the year and I could kind of see the Mr. Holland’s Opus life ahead of me and I said, ‘I’ll kick myself forever if I don’t even try to work on this musical I’d already been working on called In The Heights.’ I’d already met Tommy [Kail, Hamilton’s director], we were workshopping In The Heights in the basement of the Drama Book Shop while I was teaching. I basically quit teaching part time to be a professional sub, which is much more precarious because you don’t know if you’ll make rent month to month. But it’s much less draining, so your time is free to write.

Lin-Manuel Miranda

So I really was a professional sub until In The Heights opened on Broadway. Elementary school Spanish, physics, science – in the physics classes I’d be like “who wants a song”? I didn’t know what I was talking about. But it was enormously life-changing and it’s in the DNA of everything I do now.

A huge impulse from Hamilton is that impulse to teach. Because what you learn when you’re a teacher, in a lot of ways it’s different from being a performer. You go into being a performer because you get that itch that only applause can scratch. What you realize when you’re teaching is tactually the best moments when you’re a teacher is when you’re laying back and the kids are making the connections for themselves and all you do is keep the ball in the air. You watch them make the connections with each other and my best teachers always did that. You’ll know when those neurons are firing and things are happening and you just get to watch it. They’ve got the information and they’re making the connections, they are debating.

So that was enormously useful as well, because I think the best actors know how to listen. They don’t just scratch that itch that applause provides, they listen to their fellow castmates and they hold them up. They realize they’re twice as strong when they are in an ensemble than when they’re center stage and in the spotlight. Those are the lessons I’ve learned from being a teacher and a performer and they’ve been essential, really essential.

On his earliest musicals and the influence of mixtapes

I wrote four musicals in college. Only one of them was In The Heights. I wrote another one called On Borrowed Time, which was my senior thesis, which if I have my way you’ll never hear. I wrote a jukebox musical called Basket Case; I wrote the book and it was all 90s songs. It was about a school shooting and it started with “Jeremy” by Pearl Jam and it ended with the shooting to “Black Hole Sun” by Soundgarden. In it was “Barbie Girl” and Destiny’s Child.

It actually came as a result of listening to mixtapes of music I liked in the car. They were starting to form the spine of a story in my head which is sort of how I write scores. I’m really grateful that I was a teenager in a time when to impress a girl you made her 90 minutes of cassette music and that’s an art form unto itself, is it not? Draw the cover art, you have a rise and a fall, you can put in skits. It’s not like a CD, they have to listen to it in the order in which you have arranged it. That is a musical score. It’s usually the musical score of, ‘Why don’t you like me?’

But it’s also a way of making friends, a way of showing of your tastes, or a way of getting a friend into music that they don’t really know about, My knack for eclecticism in music is born of the mixtape era.

On student audiences at Hamilton

Lin-Manuel Miranda at the Broadway Teachers Workshop

To an insane degree, the best shows are the student shows, because they’re prepped. They know what they’re coming to see. You don’t realize how much life has beaten you up until you see a bunch of kids see a show. The things they react to wouldn’t occur to you to react to.

There’s a moment where an American spy passes another spy a letter and a redcoat comes and just twists her neck and pulls her away. It’s not on the album, it’s a physical moment, it’s just before “Right Hand Man.” Adults watch and they go, ‘oh, this is a transition, it’s a stage transition, this is information we needed to know.’ When kids see that moment they go “OH!” Honest. Life hasn’t beat them up yet, they can actually be surprised and afraid and annoyed. It’s such live ammo to have an audience of students but it’s so much more rewarding because they’re there for all of it.

They’re there for Anthony being gorgeous because he’s gorgeous, so when he says “Let’s strip down to our socks it’s like, “Aaah!” – ten kids just started puberty. Twenty girls just started puberty and ten guys just figured something out. ‘Oh. Oh this. I know this about myself now.’ The inverse is true for Jasmine. Jasmine did one of our video Ham4Hams and the overwhelming comment was from teenage girls saying, “I’m so gay, I’m SO GAY.” That’s because they’re in love with her.

All this is to say the student matinees are just thrilling because the reaction is completely unguarded. When our characters pass away there are honest to god hitching sobs. We get that from adult audiences too, but its harder to get to you. It comes unbidden from these kids.

The enthusiasm during the rap battles, holy crap! Rap battles are the lingua franca of these kids. I mean there’s YouTube channels devoted to rap battles, Wilmer Valderrama telling “Your mama” jokes on MTV, so to see the founders snapping on each other, it’s revelatory to them and they’re getting the food of what they’re fighting about almost in spite of themselves. We really tried, we’re threading the needle of, “This is what the debt plan is really about.” This is what they’re for and this is what they’re against – and also ‘I’m going to put my foot up your butt.’ Oh! It is that thing of being able to fly in both directions, therefore all of it, if one thing doesn’t get them, something else will.

If we start from the point that these founders are human and what we’re trying to uncover is as much humanity [as we can] in two hours and forty-five minutes, what does that mean about the rest of your history textbook? It’s the beginning of a discussion and that’s very exciting. It’s not ‘we spoon feed you a musical and you love history.’ This musical unlocks that history is written by the victors and so what does that mean for history, what does that mean in your mind.

On failing and learning from failure

Lin-Manuel Miranda

There is so much liability for a teacher. There is so much you’re not willing to go out on a limb on, because you don’t know what’s going to come back to you. I felt very lucky that I found teachers that were willing to show up and be present so we could have a student run musical. That’s huge.

I learned how to corral a group of kids when you couldn’t hire them or fire them. If someone missed rehearsal, what could I say? “You’d better come back or…you just really need to come back!” You learned how to get everyone involved in something and do it for the sake of it, as opposed to for a grade or for cool points. It’s about making a great thing and learning to inspire your peers. I think probably half the things I did were probably artistic failures, but they were met with support and I think that’s the sort of important thing.

That’s how we figure out who we are and what we like and what we respond to. One of the great lessons I took away from film and theatre is to watch everything critically. If you’re in a show and you hate the show, don’t turn your brain off. ‘Why isn’t this show working?’ I find myself often imagining my own scenes on the ashes of a failed show that is happening in front of me in real time. ‘What about this isn’t working? Is it the performance, is the set distracting you from the performance, is the set too much for the plot?’

Continue to think critically when you’re watching any piece of art, because even if you say, “I wish I had those two hours of my life back,” you’ll know a little bit more about your taste, about who you are as an artist, about what you respond to. So it’s never really a waste of time. I think that’s a good perspective to have both when it’s creating things that don’t work or seeing things that don’t work.

On policy makers, politicians and the arts

Lin-Manuel Miranda

What I am finding is Hamilton has become a Rorschach test for our nation. Every candidate has been compared to every character in my show. Depending on which way you lean, either Trump or Hillary is Burr, and that’s OK, that’s fine. It’s good for us to have shared things to discuss. That is one of the places where the arts help us, to have water cooler moments in a time when everybody curates their own reality, right?

I think what we’re finding with social media is we have some shared moments but actually they allow us to go into our own windows and take our lessons from that. I’m always grateful for the way the arts can engender empathy. That’s the biggest thing that we can do that a politician, unless they’re really good, can’t do. We can let you into someone’s life and make you feel like you spent a hundred years with Eliza Schuyler Hamilton and been in her world, and that’s going to change you somehow, in a good way or a bad way. That’s what the arts can do.

Music is our secret weapon. It sneaks in past your defenses, it doesn’t matter who you vote for. If you’re not crying at the end of Hamilton or at the end of The Color Purple, you’re not a human. [The arts have] the ability to engender empathy and to see world views beyond our own. When you can’t shut out people as the other, that what the arts can do that nothing else can do.

On writing Hamilton

Lin-Manuel Miranda

I think a part of me is always trying to write the ideal school show. So much of my life, from elementary school, was “What’s going to be the school play.” So there’s a part of me that’s always trying to answer that calling in my work now. That’s my ideal for what a great show is.

The watchword, the phrase I went by is “The personal is political.” It’s not enough to have a song about the debt plan for the capitol, how does it advance our story, how does it advance our characters. If it doesn’t it goes. We get away with all of the information that’s sneaking into your kids’ brains because Burr is like, “Everyone’s in that room, why can’t I be in that room?”

If the personal is political you can get away with anything. That’s the fun of it. It’s making sure you as long as you’re moving the story along, we can feed in as much stuff as we want, they won’t even know they’re learning. They just want to know what happens. We had to be very ruthless about that.

On the big takeaway from Hamilton

What’s the proverb? “May you live in interesting times.” I don’t know that it gets more interesting than right now. I don’t know if that’s a blessing or a curse. To be honest, it vacillates every day. I think that your kids are going to look to you to make sense of all this. We’re all trying to make sense of it. That’s an enormous responsibility, but it’s also an enormous gift.

We get 1,360 kids to see the show a few times a year. They’re not all going to become theatre teachers, they’re not all going to write musicals or songs. But what they do have to reckon with when they see Hamilton is that Hamilton made the most of his time, he made the most of his less than 50 years on this earth.

Charge your kids with that, the notion that life’s a gift, it’s not to be taken for granted, it’s not to be taken lightly You’re born with gifts and you’re born with an honesty that can never really leave you. What are you going to do with your time? What are you going to do with your time on this earth?

I remember being a teenager and thinking, ‘We have so much time, we have time to kill.’ Man, what I would do to get that time back. I think the continuing awareness that being here is a real gift, that whatever is happening in the world, make the most of it and sink your teeth into whatever you’re doing. That’s your biggest charge and the rest flows from there.

*   *   *

Disclosure: I presented four sessions on censorship in high school theatre at the Broadway Teachers Workshop in 2015, for which I received a $600 honorarium. BTW did not solicit this post, but agreed to my attendance at my request.

Casting Notice for American Idiot at Enfield High School

“Welcome to a new kind of tension.
All across the alienation.
Where everything isn’t meant to be okay.”

The details are very sketchy. The drama director hasn’t yet responded to a call or e-mail. The school principal said that he “wasn’t comfortable” talking about it without the approval of the superintendent, which he did say he would seek. The licensing house that handles the rights for the musical has not responded to an e-mail inquiry about approved changes (although the company’s president is overseas). An anonymous source who provided some background materials won’t be named publicly because they fear recriminations against their child in the school system.

But here’s what’s known: the Enfield High School Lamplighters, in Enfield CT, were scheduled to perform the musical American Idiot this spring, with auditions set for January 13 and 14, with callbacks on January 15. Performances were set for early May.

On January 17, Nate Ferreira, faculty director of the Lamplighters, sent a general e-mail to the school community which included the following statement:

As most of you know, we had a drama club meeting this past Wednesday to discuss the details of producing “American Idiot” as our final show this school year. Due to the mature content of the original production, I have been working with the publisher to modify the script, to ensure that it would be appropriate for a high school group to perform.

This project was very successful, and we feel that the modified script and production notes maintain the integrity of the show, while removing profanity and the more adult scenarios in the original Broadway production. The publisher is even starting the process of turning our edited version of the script into their official “School Edition” of the play, to allow other high schools to easily perform this play in the future.

As I’ve stated at our student/parent meetings during the past two school years: this extended production process was intended to allow us to work on a show that most of the kids were extremely excited about, while continuing the award-winning Lamplighters tradition of exploring serious issues in a mature and responsible way. In the same way that our presentation of the student-authored and directed “Happily Never After” last year did an excellent job of handling the difficult issues of domestic abuse and justifiable homicide, “American Idiot” opens discussion about many issues of young adulthood.

Unfortunately, a very small number of extremely vocal people have complained about our choice of production. This led to Mr. Longey [principal Andrew Longey] and I meeting on Friday to discuss a change in our choice of production. To be clear, Mr. Longey did not force us to change – he and I took a long and careful look at all aspects of the show, and all arguments on either side. At this late stage it is very difficult to switch to a different play, but I do feel that it is best for us to set aside “American Idiot” for the time being. I want ALL of our club members to be able to be a part of our musical, and I want to be absolutely certain that the play happens at all.

Billie Joe Armstrong in American Idiot on Broadway

Currently, the last post on the Lamplighters Facebook page is a reference to a meeting on January 20. There is no announcement of a new show for the spring.

While hopefully more details will fall into place, there is someone else who would like to see the production of American Idiot go on. I reached out to Christine Jones, who designed the set for the Broadway production of American Idiot, in an effort to make Green Day frontman Billie Joe Armstrong, the composer and lyricist of the show, aware of the situation. Armstrong sent back the following message through Jones in a little over an hour’s time, and reportedly also posted it on Instagram (it is reproduced here precisely as he wrote it):

dear Enfield high school board,

It has come to my attention that you cancelled your high school theater production of American Idiot.

I realize the content of the Broadway production of AI is not quite “suitable” for a younger audience.

However there is a high school rendition of the production and I believe that’s the one Enfield was planning to perform which is suitable for most people.

it would be a shame if these high schoolers were shut down over some of the content that may be challenging for some of the audience. but the bigger issue is censorship. this production tackles issues in a post 9/11 world and I believe the kids should be heard. and most of all be creative in telling a story about our history.

I hope you reconsider and allow them to create an amazing night of theater!

as they say on Broadway ..

“the show must go on!”

rage and love

Billie Joe Armstrong

P.S. I love that your school is called “Raiders”

Mr. Ferreira seems to have followed every appropriate step in the process of planning this show for Enfield High, but the production has been suspended. Yet he is still hoping that American Idiot will be done at some point. So is its author, who has apparently granted permission to alter the work to make it more appropriate in a school setting. Perhaps there’s still room for dialogue, and Enfield High can still give its students the opportunity to take on challenging, modern work.

If indeed a few parents resulted in spoiling this experience for all of the Lamplighters, that would be a real shame that denies opportunity to many in order to satisfy the views of a few. I’d rather at this turning point, the school was directing the students where to go – towards work that will help them grow as performers and as people, towards work that provokes rather than palliates. I hope they’re allowed to have the time of their lives with American Idiot, sooner than later.

Update, January 25, 10:45 pm: In an article in The Hartford Courant that went online an hour ago, the Lamplighters director Mr. Ferreira represents his intended revisions to the text of American Idiot in a markedly different framework than he did in his e-mail to the school community. Per The Courant:

Ferreira said the performance included “a lot of swearing,” which Ferreira said he’d hoped to limit or eliminate pending approval from the publisher. “There’s some heavy drug use and graphic sex scenes, not things we were going to depict to the extent they did in the original show.”

This is a far cry from the tone of Ferreira’s e-mail, which declared:

“I have been working with the publisher to modify the script, to ensure that it would be appropriate for a high school group to perform. This project was very successful, and we feel that the modified script and production notes maintain the integrity of the show, while removing profanity and the more adult scenarios in the original Broadway production. The publisher is even starting the process of turning our edited version of the script into their official “School Edition” of the play, to allow other high schools to easily perform this play in the future.”

In my original post, I said it seemed that Ferreira had followed the appropriate steps, and now by his own admission, that is clearly not the case; he did not have approval to make any changes, he had not undertaken a successful project that would influence future productions. While I think there may still be opportunities for Enfield students to benefit from performing in American Idiot, they cannot do so in any version not fully approved by the authors and their representatives.

I don’t support a small number of parents ending the opportunity for the majority of the Lamplighters, but I also don’t support Ferreira’s effort to aggrandize his own sanitized version of the text. This has been a lose-lose proposition at Enfield High: the show has been shut down without being properly defended, and there has been an effort to misrepresent to the community that Ferreira’s text was authorized and even praised, obscuring the authors’ rights and copyright protections.  Unfortunately, the students lose as well.

Update, January 26, 6:30 am: I received the following e-mail from Nate Ferreira at 1:55 am this morning, more than 17 hours after I first attempted to contact him, 14 hours after Principal Longey said he could not comment without the approval of the superintendent, 11 hours after my original post went online, and three hours after the previous update was posted. It is reproduced in its entirety precisely as it was received (except for the lack of paragraph spacing, which is a formatting problem on my site).

Thank you for reaching out to me. I’m sorry that I didn’t see your email until after you had finished writing your post.

Here are some more details regarding our decision not to perform American Idiot. As the director of the school’s drama club, I was very excited to produce American Idiot, and to explore the issues raised by the material.

Due to the fact that some of our club families were not comfortable with their kids being involved in the show, it was my decision to perform a different show. This was not a decision forced on me by the school administration, it was simply what i felt was best for our club membership. Many of the kids were disappointed by this decision, but others were happy because this would allow them to be involved again. I had also begun to feel that the material itself would be better served if I were to stage American Idiot _unedited_ with another local organization, and encourage the families who still wanted to do the show to become involved with it there.

My decision to change the show came prior to finalizing the contract and payment, prior to any rehearsal, and prior to casting or auditions. As with any show that would require edits for a high school group, I had a full list of changes that I felt were necessary to the dialogue, and they would have had to meet approval by the publisher. I made several phone calls to MTI during the past year, and their staff were extremely helpful in explaining the procedures for requesting edits.

I stand by my decision to change our choice of production, and I have always felt that the school administration has been supportive of our efforts.

That being said, I am elated that people like yourself are fighting for the freedom of thought and expression that is so vital to the arts. Your coverage of our situation has helped to shed light on the issue, and to spark serious discussion in our community. Mr. Armstrong’s support has likewise invigorated our students. Although we will not be performing American Idiot for our end of year production, you can be sure that the Lamplighters will continue to push boundaries and explore serious issues.

Thanks again,

Nate Ferreira

Director, Enfield Lamplighters

This post will be updated as additional information becomes available.

Thanks to the National Coalition Against Censorship, which first became aware of this situation and brought it to my attention.

Howard Sherman is director of the Arts Integrity Initiative at The New School College of Performing Arts

American Idiot at Enfield High casting notice

“Welcome to a new kind of tension.
All across the alienation.
Where everything isn’t meant to be okay.”

The details are very sketchy. The drama director hasn’t yet responded to a call or e-mail. The school principal said that he “wasn’t comfortable” talking about it without the approval of the superintendent, which he did say he would seek. The licensing house that handles the rights for the musical has not responded to an e-mail inquiry about approved changes (although the company’s president is overseas). An anonymous source who provided some background materials won’t be named publicly because they fear recriminations against their child in the school system.

But here’s what’s known: the Enfield High School Lamplighters, in Enfield CT, were scheduled to perform the musical American Idiot this spring, with auditions set for January 13 and 14, with callbacks on January 15. Performances were set for early May.

On January 17, Nate Ferreira, faculty director of the Lamplighters, sent a general e-mail to the school community which included the following statement:

As most of you know, we had a drama club meeting this past Wednesday to discuss the details of producing “American Idiot” as our final show this school year. Due to the mature content of the original production, I have been working with the publisher to modify the script, to ensure that it would be appropriate for a high school group to perform.

This project was very successful, and we feel that the modified script and production notes maintain the integrity of the show, while removing profanity and the more adult scenarios in the original Broadway production. The publisher is even starting the process of turning our edited version of the script into their official “School Edition” of the play, to allow other high schools to easily perform this play in the future.

As I’ve stated at our student/parent meetings during the past two school years: this extended production process was intended to allow us to work on a show that most of the kids were extremely excited about, while continuing the award-winning Lamplighters tradition of exploring serious issues in a mature and responsible way. In the same way that our presentation of the student-authored and directed “Happily Never After” last year did an excellent job of handling the difficult issues of domestic abuse and justifiable homicide, “American Idiot” opens discussion about many issues of young adulthood.

Unfortunately, a very small number of extremely vocal people have complained about our choice of production. This led to Mr. Longey [principal Andrew Longey] and I meeting on Friday to discuss a change in our choice of production. To be clear, Mr. Longey did not force us to change – he and I took a long and careful look at all aspects of the show, and all arguments on either side. At this late stage it is very difficult to switch to a different play, but I do feel that it is best for us to set aside “American Idiot” for the time being. I want ALL of our club members to be able to be a part of our musical, and I want to be absolutely certain that the play happens at all.

Currently, the last post on the Lamplighters Facebook page is a reference to a meeting on January 20. There is no announcement of a new show for the spring.

Billie Joe Armstrong in American Idiot on Broadway

While hopefully more details will fall into place, there is someone else who would like to see the production of American Idiot go on. I reached out to Christine Jones, who designed the set for the Broadway production of American Idiot, in an effort to make Green Day frontman Billie Joe Armstrong, the composer and lyricist of the show, aware of the situation. Armstrong sent back the following message through Jones in a little over an hour’s time, and reportedly also posted it on Instagram (it is reproduced here precisely as he wrote it):

dear Enfield high school board,

It has come to my attention that you cancelled your high school theater production of American Idiot.

I realize the content of the Broadway production of AI is not quite “suitable” for a younger audience.

However there is a high school rendition of the production and I believe that’s the one Enfield was planning to perform which is suitable for most people.

it would be a shame if these high schoolers were shut down over some of the content that may be challenging for some of the audience. but the bigger issue is censorship. this production tackles issues in a post 9/11 world and I believe the kids should be heard. and most of all be creative in telling a story about our history.

I hope you reconsider and allow them to create an amazing night of theater!

as they say on Broadway ..

“the show must go on!”

rage and love

Billie Joe Armstrong

P.S. I love that your school is called “Raiders”

Mr. Ferreira seems to have followed every appropriate step in the process of planning this show for Enfield High, but the production has been suspended. Yet he is still hoping that American Idiot will be done at some point. So is its author, who has apparently granted permission to alter the work to make it more appropriate in a school setting. Perhaps there’s still room for dialogue, and Enfield High can still give its students the opportunity to take on challenging, modern work.

If indeed a few parents resulted in spoiling this experience for all of the Lamplighters, that would be a real shame that denies opportunity to many in order to satisfy the views of a few. I’d rather at this turning point, the school was directing the students where to go – towards work that will help them grow as performers and as people, towards work that provokes rather than palliates. I hope they’re allowed to have the time of their lives with American Idiot, sooner than later.

Update, January 25, 10:45 pm: In an article in The Hartford Courant that went online an hour ago, the Lamplighters director Mr. Ferreira represents his intended revisions to the text of American Idiot in a markedly different framework than he did in his e-mail to the school community. Per The Courant:

Ferreira said the performance included “a lot of swearing,” which Ferreira said he’d hoped to limit or eliminate pending approval from the publisher. “There’s some heavy drug use and graphic sex scenes, not things we were going to depict to the extent they did in the original show.”

This is a far cry from the tone of Ferreira’s e-mail, which declared:

“I have been working with the publisher to modify the script, to ensure that it would be appropriate for a high school group to perform. This project was very successful, and we feel that the modified script and production notes maintain the integrity of the show, while removing profanity and the more adult scenarios in the original Broadway production. The publisher is even starting the process of turning our edited version of the script into their official “School Edition” of the play, to allow other high schools to easily perform this play in the future.”

In my original post, I said it seemed that Ferreira had followed the appropriate steps, and now by his own admission, that is clearly not the case; he did not have approval to make any changes, he had not undertaken a successful project that would influence future productions. While I think there may still be opportunities for Enfield students to benefit from performing in American Idiot, they cannot do so in any version not fully approved by the authors and their representatives.

I don’t support a small number of parents ending the opportunity for the majority of the Lamplighters, but I also don’t support Ferreira’s effort to aggrandize his own sanitized version of the text. This has been a lose-lose proposition at Enfield High: the show has been shut down without being properly defended, and there has been an effort to misrepresent to the community that Ferreira’s text was authorized and even praised, obscuring the authors’ rights and copyright protections.  Unfortunately, the students lose as well.

Update, January 26, 6:30 am: I received the following e-mail from Nate Ferreira at 1:55 am this morning, more than 17 hours after I first attempted to contact him, 14 hours after Principal Longey said he could not comment without the approval of the superintendent, 11 hours after my original post went online, and three hours after the previous update was posted. It is reproduced in its entirety precisely as it was received (except for the lack of paragraph spacing, which is a formatting problem on my site).

Thank you for reaching out to me. I’m sorry that I didn’t see your email until after you had finished writing your post.

Here are some more details regarding our decision not to perform American Idiot. As the director of the school’s drama club, I was very excited to produce American Idiot, and to explore the issues raised by the material.

Due to the fact that some of our club families were not comfortable with their kids being involved in the show, it was my decision to perform a different show. This was not a decision forced on me by the school administration, it was simply what i felt was best for our club membership. Many of the kids were disappointed by this decision, but others were happy because this would allow them to be involved again. I had also begun to feel that the material itself would be better served if I were to stage American Idiot _unedited_ with another local organization, and encourage the families who still wanted to do the show to become involved with it there.

My decision to change the show came prior to finalizing the contract and payment, prior to any rehearsal, and prior to casting or auditions. As with any show that would require edits for a high school group, I had a full list of changes that I felt were necessary to the dialogue, and they would have had to meet approval by the publisher. I made several phone calls to MTI during the past year, and their staff were extremely helpful in explaining the procedures for requesting edits.

I stand by my decision to change our choice of production, and I have always felt that the school administration has been supportive of our efforts.

That being said, I am elated that people like yourself are fighting for the freedom of thought and expression that is so vital to the arts. Your coverage of our situation has helped to shed light on the issue, and to spark serious discussion in our community. Mr. Armstrong’s support has likewise invigorated our students. Although we will not be performing American Idiot for our end of year production, you can be sure that the Lamplighters will continue to push boundaries and explore serious issues.

Thanks again,

Nate Ferreira

Director, Enfield Lamplighters

This post will be updated as additional information becomes available.

Thanks to the National Coalition Against Censorship, which first became aware of this situation and brought it to my attention.

Howard Sherman is director of the Arts Integrity Initiative at The New School College of Performing Arts

Les Misérables at Lakeshore Collegiate (Photo by Darren Calabrese for The Globe and Mail)

If you haven’t been reading Toronto’s The Globe and Mail every weekend this summer, then you likely haven’t come across J. Kelly Nestruck’s terrific series in which he followed a single high school theatre production of a non-musical adaptation of Les Misérables from start to finish.

It no doubt benefited the youthful-looking Nestruck that he would stand out vastly less among a gaggle of high schoolers than say, me, and it appears to have allowed him unfettered access to the process, the logistics and the emotions that are part of any theatrical production, let alone one in a high school. While Kelly wasn’t undercover at Lakeshore Collegiate Institute, I like to imagine his series as the journalistic equivalent of Cameron Crowe’s original book Fast Times at Ridgemont High, but one set entirely in the drama group.

Because I write so often about crises and conflict in high school theatre, I found Kelly’s series essential, not solely because of one part’s focus on what is “appropriate” for a high school production. It is in my memory the most sustained piece of major mainstream newspaper reporting on high school theatre since Jesse Green wrote about the field for The New York Times in “The Supersizing of the School Play” back in 2005. But Nestruck’s series goes vastly farther than Green’s article in its depth.

Since I am not given to aggregating content, I’d prefer to think of what follows merely as an index, with excerpts that in no way give a full sense of the range of the complete articles and the stories they tell, in the hope that you’ll use this post as a guide to the Globe and Mail’s entire series. (The headline of each section will take you to each separate article.) I think for anyone who cares about theatre – not just high school theatre, but the entire field and it’s future – it’s a must-read.

It’s also my way of asking Kelly to take a bow.

*   *   *

Part 1: A quest to re-discover the magic of theatre, starting in a high-school drama studio

Last fall, approaching my seventh anniversary at the newspaper, I was in crisis about the art form that I had loved since I, myself, was a teenager.

Watching plays at Stratford, or in Toronto, or in Calgary upwards of 200 times a year, I had begun to worry about what I was seeing in the seats around me and on the stages in front of me.

I worried I was writing about an art form still dominated by white directors and playwrights and performers in a country that increasingly was not.

I worried that theatre was becoming an elitist art form whose major institutions were increasingly out of reach of even the middle class, that the core theatre audience was staying white and getting older – and that my profession was swiftly becoming as idiosyncratic and outdated as a mechanic for penny farthings.

Most worrisome of all: I began to lose faith that theatre was worth fighting for. I wondered if the “magic” I had always ascribed to live performance just was a myth I had bought into, and whether more complex and better-told stories – ones that reflect and engage with and interrogate the country and the world we live in – could actually be found on Netflix for a fraction of the cost.

Part 2: Finding a role that fits, on stage and in life

Drama teacher Greg Danakas settles behind a small desk, while 25 students from Grade 10 to 12 gather around him in a circle on the floor. “Let’s read this frikkin’ play!” he says – and you’d never guess the Tim Hortons coffee in front of him was decaffeinated.

“Is anyone Instagramming this?” asks Bradley Plesa, the Grade 12 student who will be playing prisoner-on-the-run Jean Valjean.

Listening to these kids immerse themselves in their characters for the first time, it’s clear how much work – and learning – is ahead of them.

The students pause every page or so as Mr. Danakas defines words such as “cleric” or “consumption” or explains a historical event referenced in the play, like the July Revolution. “It’s a French revolution, not the French Revolution,” Mr. D says – a recurring refrain for the rest of rehearsals.

It’s also clear, however, that Lakeshore’s acting students are up for the challenge. (Unlike me – I reluctantly declined Mr. Danakas’s kind offer to play author Victor Hugo in his dystopian production of the play.)

Part 3: Student actors learn the art of paying your dues

It’s easier for some students at Lakeshore Drama to pay dues than others. Lakeshore, a high school located in south Etobicoke, is not only representative of Toronto’s cultural diversity – but also the city’s economic diversity.

Allan Easton, the school’s new principal, explained the catchment area to me one day over a surprisingly delicious lunch prepared by the culinary-arts students. In the 1980s, Lakeshore was formed by the amalgamation of three schools – an academic-oriented school in a higher-income area, a technical school in a more blue-collar neighbourhood and a third in the centre that was what Mr. Easton calls a “classic public school catering to whoever.”

The demographics of the school still reflect that mix: There are students who live near the water and come from families with incomes that may be significantly six figures, and there are students who live to the east in Toronto public housing. That class disparity is often apparent in the Les Misérables cast – one student contributes to discussions of the play by talking about what she learned on a trip to France, while another shares his experiences growing up in foster care like Cosette.

Many have part-time jobs they struggle to balance with rehearsals – but that hold different importance from person to person. Certain students are saving up to go to expensive universities abroad; others are earning money to help out at home.

Part 4: Censor and sensibility: What’s appropriate for a middle-school matinee?

Mr. Danakas’s most popular production to date was a stage adaptation of Dracula inspired by the 1998 Wesley Snipes movie Blade. It featured 17 vampires who were – in Mr. D’s words – “dressed like prostitutes,” watching the action unfold from scaffolding.

Dracula sold out Lakeshore’s 600-seat auditorium all three nights it played in 2005 – and Kathleen McCabe, the principal then, wrote Mr. D to praise him.

“I am sure that producing a high school play may have limited your true creativity because of the censoring that I imposed on you,” she wrote in the letter, which Mr. D has framed and hung on his office wall. “However, you were able to design an amazing play and keep it on the edge.”

Times have changed, however – and now it’s Mr. Danakas who has to censor himself. “I wouldn’t be able to do Dracula now,” he says with a sigh.

The drama teacher is continuing to deal with fallout from his relatively tame, gender-bending Three Musketeers from last year.

Mr. Danakas had d’Artagnan – who wants to join the Musketeers – played by a female student and decided to deal with the implications of dropping a woman into the jocular world of 17th-century French swordsmen.

Athos, Portho and Artemis gradually gained respect for d’Artagnan, but they behaved chauvinistically toward her in the early scenes. “I thought it was totally harmless, juvenile silliness,” Mr. D says.

That’s not what a couple of local middle-school teachers thought of the groping and crude gestures with épées, however. They pulled their classes out of a matinee due to the sexual slapstick.

Part 5: Set up to fail? Less drama in schools could hurt theatre industry

As opening night of Les Misérables gets closer and closer, more and more people become involved beyond Mr. Danakas’s Acting Class – and more and more elements move outside of his direct control. Cosmetology students are working on the hair and make-up; business students are planning front-of-house operations; and the after-school sewing club is making long, black skirts for all the young women to wear in Mr. D’s non-musical, dystopian take on Victor Hugo’s classic tale.

On top of that, Timothy O’Hare, Lakeshore’s shop teacher, runs an entire for-credit class devoted to the design and construction of the set. I pop by the Toronto high school one morning in early May to see them at work. Instead, I find a handful of students studying or on their phones under the supervision of a substitute teacher, while a documentary about the history of sneakers plays unwatched.

Mr. O’Hare – who is much-loved by his students and doesn’t seem to mind his nickname “Mr. No Hair” – is away with much of the class at the Ontario Technological Skills Competitions. Grade 11 students Lamisa Hasan, Nicholas Latincic and Shamar Shepherd – who all had to stay behind for various reasons – happily leave the doc behind to talk to me about how they collectively designed and built the Les Misérables set.

Part 6: Tale of the red tape: Even in high school, bureaucracy can frustrate art

Allan Easton, the patient and good-humoured new principal at Lakeshore, walks me through some of what is holding up Mr. Danakas’s production. The worry about the fog machine is that it will set off the smoke detectors. The detectors could be bypassed, but then staff would have to be paid to walk around and look for fires – $1,200 in overtime for three nights.

Painting the floor, meanwhile, could be a problem because it might impinge on the skilled trades. “I can’t ever be seen to be taking a union job away from anybody,” Easton explains.

Health and safety concerns also complicate Les Misérables. I remember climbing up on ladders to help hang and focus the lights in my high school auditorium, but Lakeshore’s 1950s-built catwalks are off-limits to all (teachers aren’t even supposed to get up on a ladder, so an adult volunteer did that work on borrowed scaffolding). “Even our caretakers have to have ladder training before they can use a ladder safely,” Easton says. “We’re a very litigious society now.”

As for budgeting, Mr. Danakas used to roughly estimate his ticket revenue, but now sales have to be carefully projected. “ ‘It should be fine,’ isn’t something I can go with any more,” Easton says, with a sympathetic shrug. “Accountability is huge – more than it was in the past. … Taxpayers’ money, right?”

Part 7: Masters of the house: The payoff that makes the gruelling weeks of drama worthwhile

Even at Les Misérables though, it’s clear different audience members want different things. There’s Caroline Buchanan, for instance, described to me as the ultimate drama mom. Not only is her daughter, Samantha Dodds, playing Madame Thénardier, but her partner, Jim Ellis – a 60-year-old management consultant and part-time voice-over artist – has been conscripted to play the role of Victor Hugo.

Ms. Buchanan was one of the first in line to make sure she got good seats – and was primed for a moving experience. “I don’t know why, but it’s very emotional for me,” she says. “There’s so much lead-up – and you see what they all go through. And now it’s here.”

Sara and Alexander Plesa, Bradley and Samantha’s parents, are more skeptical about theatre in general. “I’ll be completely honest, where I’m not the ‘drama mom’ is that school comes first, grades come first and this comes last,” says Ms. Plesa, who works in a civilian role for the Toronto Police and affectionately calls her kids “drama brats.” “I’ll fight with Bradley to the end of time on that – and Mr. Danakas.”

But the Plesas have had a number of personal setbacks over the past year, with Mr. Plesa’s cancer diagnosis, cruelly, coming just as he was on the verge of being hired by the police. Their children’s performances tonight have surprised them – particularly boisterous Bradley’s deeply centred Jean Valjean.

“You wouldn’t know that their life has been the way it has been [lately] by watching that,” Ms. Plesa says. “It’s almost flooring to me: Is that my son?”

Part 8: Exit stage left: Lakeshore Collegiate’s drama students take a final bow

I came to Lakeshore with a naive point of view. I really did want to renew my faith in theatre after becoming frustrated with professional theatre in this country – and rediscover the joy of theatre I had felt as a high school student myself. But you only get to be a teenager once. And what I found when I looked at high school drama through an adult critic’s eyes were things I hadn’t noticed the first time around. I found an acting class that wasn’t fully representative of the racial diversity of its school, and that it was easier for students from certain economic classes to participate than it was for others.

I found a high school theatre with less money and less audience than it used to have, and more hoops to jump through, set up by administrators and unions. I found bureaucracy and I found self-censorship – and I found art’s value being sold with the language of business.

But what I ultimately discovered at Lakeshore is that the dissatisfaction that I’ve been feeling about the professional Canadian theatre I cover as a critic isn’t really about theatre at all, but about the wider society that theatre exists in and reflects. If theatre and democracy have indeed been linked since ancient Greece, then it makes sense that theatre would suffer from the same problems as our democracy – which is also unfair and bureaucratic and filled with leaders who speak to taxpayers instead of citizens.

*   *   *

Again, bravo to everyone – the teachers, the students, the administrators, the parents and the reporter. Bravo.

All excerpts from the series High School Drama by J. Kelly Nestruck from The Globe and Mail, originally appearing between July 3 and August 21, 2015.

Howard Sherman is director of the Arts Integrity Initiative at the New School for Performing Arts.

When it was all said and done, three student-written short plays, part of an evening of playlets, monologues and songs, went on as scheduled at Cherokee Trail High School in Aurora, Colorado. But in the 10 days leading up to that performance, the students claim they were told the plays and one student-written monologue were canceled. The students successfully garnered the attention of a local TV station, the National Coalition Against Censorship, and the Arts Integrity Initiative at the New School for Drama over the impending cancelation.

However, the school claimed the shows were never canceled and that the students misunderstood, but first delayed the performance of the pieces in question and then rescinded that delay, which would have pushed the plays to a later date. The school cited lack of proper process for approval, issued permission slips to the parents of all participating students and sent a broader memo to parents regarding the content of the pieces, defining them as “suitable for mature audiences.” Amidst this, rumors suggested that some contemporaneous school vandalism was the work of the drama kids. One student-written monologue was canceled entirely because the student’s parents reportedly denied approval for it to be performed.

What precisely triggered all of this activity around brief student-written plays? LGBTQ subject matter.

*   *   *   *

The cast and creators of “Evolution” at Cherokee Trail High School

Students in Cherokee Trail’s Theatre 3 class developed the “Evolution” evening under the banner of their student-run Raw Works Studio, working on them both in class and after school for more than a month. According Theatre 3/Raw Works students – including Josette Axne, Kenzie Boyd, Brandon McEachern, Dyllan Moran, and Ayla Sullivan, with whom I shared phone calls, texts and e-mails at various times beginning April 16 – they were informed by the school’s Activities Director Christine Jones on April 15 that because of the LGBTQ content in the student written works, the pieces could not be performed and would be excised from the pending performance set for April 24.

The students immediately took action, reaching out to the local media, setting up a Facebook page called “Not Original,” contacting the National Coalition Against Censorship (which in turn contacted the Arts Integrity Initiative), all over their understanding that the plays were being cut from the performance. After first speaking with Axne, I spoke and corresponded primarily with Sullivan in the first few days.

By the time Channel 9 in Denver, NCAC and Arts Integrity made contact with the school’s administration on April 16, Principal Kim Rauh had prepared a response, which portrayed the situation in a different light. It read, in part:

The student written plays will be performed at Cherokee Trail High School. The decision that was made was to postpone the date of the performance to allow our theater process to be completed.  Students were invited to meet with us to work through the process and give the necessary time to work through all of the “what ifs” and attempt to be proactive as opposed to reactive and to plan for success. With every production there is an element of both directorial and administrative review and approval. The plays were submitted after the due date for final approval for the original performance date.  We have extended the process timeline to allow the plays to be performed at a later date at Cherokee Trail High School.

Channel 9’s account of the situation, the only significant local news story, was reported on the evening news on April 16, stating that the pieces would now be performed on May 9.

*   *   *   *

“Not Original”’s Facebook post about school vandalism

On Friday morning April 17, shortly before 8 am Colorado time, I received, in the space of ten minutes, an e-mail and phone call from Ayla Sullivan. She was deeply concerned that an act of vandalism at the school overnight was being attributed to the Theatre 3 students, even though she said it had been covered up before students arrived at the school that morning, so that not only were she and her classmates not involved, they didn’t even know the nature of the vandalism. Sullivan asked how the drama students should address this, and I advised them to tell the truth and make clear their position about whatever had occurred. Ten minutes later, the following message was posted, as a screenshot from a cellphone, to the “Not Original” Facebook page:

The vandalism we are now aware of that happened earlier this morning was not done by any member of Raw Works Studio and is not affiliated with the Not Original Movement whatsoever. Due to none of the members even seeing this vandalism, we do not know what it says and if it is even related to us. Whatever the markings say, we can not see it because it was covered as early as 6:45 this morning.

If someone wrote something that is related to Not Original through vandalizing public property, we absolutely oppose it. We do not support vandalism, violence, or hate speech. We do not support this action. We are, and have always been, a peaceful movement.

This is not the way towards change. This is not acceptable.

To date, the students say they haven’t heard anything more about the vandalism. It was a brief source of anxiety, but not central to the dispute.

*   *   *   *

On April 17, I sent a series of questions about the events of the past two days to Principal Rauh, copying Tustin Amole, the director of communications for the school district. It was Amole who responded, very promptly. Describing the reasons and process for what was happening with the plays, she explained:

All student performances are subject to administrative review prior to rehearsals beginning. The teacher is responsible for submitting material for consideration. I do not know how soon prior to that the students finished the plays. Regardless of when the materials are submitted, there is a long-standing process which must be followed.

In cases where the material may be mature or sensitive, the school meets with the parents of the students involved to make sure that they have permission to participate. We would then inform the broader community so that they are aware of the subject matter and can make a decision about whether they want to come and perhaps bring younger children.

Because I had pointed out that the new date set for the student written works (all of the other pieces were to be performed as originally scheduled) conflicted with tests for Advanced Placement and the International Baccalaureate, Amole wrote me:

In our effort to ensure that the students have the opportunity to perform the plays, we selected a date that allowed time for the process. We understand concerns about the timing, but this is the only available opportunity before school ends.

Following this exchange, I wrote again to Amole, inquiring as to the school’s specific concerns about the material, which had gone unmentioned. She replied:

The plays concern some issues around sexuality and gender identity. We would not censor the subject matter, but do work to ensure that all parents were informed and give consent for participation, and that attendees know the nature of the material. In other words you would not take children to a movie without knowing what it is about, nor are you likely to allow children to participate in an unknown activity. In the Cherry Creek School District, parents are given the option of reviewing activities, books and other materials and asking for alternatives if they object to what is assigned.

As for when the review process had begun, she responded:

The conversations with the students began when the material was submitted to administrators for review. We were looking for alternative dates to complete the review process when some of the students decided to call the media. Because they did not have that class yesterday, they were unaware that a new date had been determined. Had they waited to talk to their teacher during the next class, they would have been informed. They also always have the option of coming to the principal to express their concerns and they chose to call the news media instead. We regret that they chose not to work through our long established process.

That same day, the students told me, there were two meetings with Christine Jones, who outlined for them the plans for going forward.

*   *   *   *

After all of this, imagine my surprise when, just before 5 pm Colorado time on Monday, April 20, the NCAC and Arts Integrity Initiative received the following e-mail from Ayla Sullivan:

We have officially gotten our show back! Thank you so much for your help and support. Your belief in us is the only reason we have this. Thank you.

I wrote Rauh and Amole minutes later, to find out how the timetable had been restored to the original date. Amole replied two days later, sharing the communication that was going out to parents that day, which read in part:

I wanted to take this opportunity to communicate an update regarding the Theatre 3 production at Cherokee Trail High School, Evolution. Evolution contains a series of vignettes including songs, original student works and published scenes centered around the theme of love, some of which contain topics that may be considered best suited for mature audiences.

Because we are not putting topics on the stage, but rather actual students with actual feelings it was our desire to ensure that we had the time to adequately communicate the nature of the production with our parents and community members to help ensure the safety and well-being of all involved. The events of the past week have allowed us to do so and as such the administration, director and students have determined that we can perform the show on the originally scheduled date of April 24.

In response specifically to me, Amole added:

As of now, we do not have permission from all of the students’ parents to participate. While we continue to work to obtain the required permissions, we will honor the parent’s wishes, as per district policy. The performances of those students who do have parent permission will go forward.

*   *   *   *

Graphic design for “Evolution” at Cherokee Trail High School

On April 24, the following student written pieces were performed as part of “Evolution”: A Tale of Three Kisses by Kenzie Boyd and Brandon McEachern , Roots by Dyllan Moran, and Family: The Art of Residence by Ayla Sullivan and Brandon McEachern. The evening was, in the words of Dylan Moran, in an interview with KGNU Radio that he gave the day of the performance, about “how love evolves, both through time and within ourselves.”

On April 29, five days after the performance, I spoke with the students to ascertain how the performance had gone. They reported attendance in the neighborhood of 300 people, which while it only filled the orchestra section of their theatre, they said was comparable with other performances of this kind, and they seemed satisfied with the turnout. But had there been, when it was all said and done, any censorship of the work?

Brandon McEachern replied, “The only thing that was asked to be changed was certain curse words. There was no content change. It was just not having the word ‘shit’ or something like that. Those are the only changes they asked for the shows.”

“Certain words were allowed to fly in certain shows that weren’t allowed in others,” Moran continued. “It was very touch and go. There wasn’t any set rule. We’d be performing and it was like, ‘That one’s not OK,’ and we’d move on. Life Under Water did have changes, not as extensively as the original ones, probably because it had already been produced.”

I wondered, given the representations of Amole on behalf of the school district, whether the students had in fact misunderstood their conversation with Jones on April 15, given all that had transpired since. The unanimous reply of Boyd, McEachern, Moran, and Sullivan was that they hadn’t.

“It was very clear to us, on the day, that the show would not be happening,” said Moran. “There was no editing, there was no pushing it to a later date, there was no discussion about it. It was only when we got involved with the media that they changed their story and said, ‘No, we are going to push it back. We told them we were going to push it back, they just didn’t listen to us’.”

Sullivan continued, “There was also the sense of, when we were approached later, that Friday, which was April 17, by our activities director, that we were being guilt tripped, that we didn’t give her the benefit of the doubt and we immediately met with the media outlets and tried to make this a bigger thing than what it was – that it was our fault for misunderstanding, which never happened. It was very clear.”

When asked if it was made clear to them why there was concern over the material, Sullivan said there was a single reason given, that it was about “how the community would react to LGBT representation.” The students said it was on Friday that they were told by Jones that if they could meet all the necessary requirements by Monday, in terms of parental permission, the school leadership would reconsider the May 9 plan.

Had the students anticipated any pushback against the student written shows? “When we were going through the entire process,” McEachern said, “I didn’t think the school would tell us that these were controversial issues and it would make people uncomfortable. I just thought it would go on like a regular show. I didn’t think there would be any backlash.” Sullivan added that once the news broke, “there was nothing but support.”

Referring to sentiment within the school, Boyd said, “I think immediately, as soon as we found out, that there was an immediate buzz on Twitter, everyone from school and even from out of state, that were talking about this and how disappointed they were in the school. I think it was definitely at first – the whole situation is definitely a lesson for schools in general and even for society in general, to really look at people and look at what they’re saying versus what they’re doing. Because everybody’s always talking about equality, equality, equality but then when they actually get the opportunity, it gets shut down pretty fast. So I think it’s a big lesson, but I also think that in a positive manner other than just lessons, it really brought everyone together, because I’ve never seen this school so united.”

*   *   *   *

But what of the student-written monologue, Ever Since I Was A Kid? The students I spoke with, who explained that it had been cut because the parents of the student author had declined to give permission, spoke freely of the piece. They shared that it was a personal account of a teen who was in the process of gender transition. It suggests that this piece was, at least in part, what Amole referred to on April 22 when she wrote me that not all permission slips had been received.

I must note that I spoke to the author/performer of “Ever Since I Was A Kid” on April 20, before it was clear that  parental permission was being withheld and that the piece in question would not be performed. Because the situation had changed and I was not able to speak with this student again, I have withheld the content of our interview because, despite sending messages through the other students, I could not confirm whether the author was still comfortable with my using our conversation. The students I spoke with said their classmate was permitted to perform in other parts of “Evolution,” just not with the original monologue.

*   *   *   *

As much as I have tried to reconstruct the timeline of this incident, it is clear that the students’ account and that of the administration differ. The students say they were told originally, in no uncertain terms, that the student-written pieces were being cut. The school maintains that they simply needed time to put the work in context.

Missing from this report is any account of the circumstances from either the Theatre 3 teacher, Cindy Poinsett, or the Activities Director, Christine Jones. Because it is typical in most schools that faculty and staff do not speak to the press without approval, and because after the first response to my inquiry to the principal, all responses came from the school system’s spokesperson, I did not attempt to contact either Poinsett or Jones. Should either of them choose to contact me directly, I will amend this post to reflect their input.

I have to say that throughout this period, the students I spoke with were remarkably poised in their accounts of what took place. While as I noted, the school was very responsive to my inquiries, there is one notable shift in the timeline they created: on April 16 they said it would take three weeks to put everything in place in order to allow the student written pieces to be performed. Two business days later, everything had been accomplished that allowed the pieces to go forward as originally scheduled.

That the original “solution” would have excised these pieces from the April 24 performance and isolated them as their own event, that May 9 was initially the “only” possible date on which they could do so, suggests that the administration was responding on the fly, in response to external inquiries. If the students had misunderstood what they were originally told, why on April 15 didn’t the school simply say that all would go on as planned if the students brought in signed permission slips by April 20, as they ultimately did, instead of promulgating a new date?

I also have to wonder why, as has so often been the case when potential incidents of censorship arise in high schools, was the initial reason given for the action the assertion that an approval process had not been followed? The students say they had been working on the pieces for more than a month and were never given any deadline or reminded to get their materials in by a certain date. Is Principal Rauh suggesting that the students and their teacher had been keeping the work under wraps? Was there a disconnect between the teacher and the activities director, or between the activities director and the administration?

At the root of this incident remains the skittishness that schools have regarding any public representation of LGBTQ issues and lives to their community at large. While opinion polls show that six out of every ten Americans support marriage equality, that percentage jumps to 78 percent for people under 30. Presumably that is at least the same for the general acceptance of LGBTQ Americans overall, although to quote a New York Times editorial, “being transgender today remains unreasonably and unnecessarily hard.”

So it seems that whatever precisely took place at Cherokee Trail, it derives from the students having a more evolved attitude towards equality than the school fears the local adult community may hold. How long will students be required to get permission before they can tell true stories of their own lives and the lives of those around them? When will all schools stand up for student expression of their lives and concerns on the stage from the outset, and stand firm against those who continue to oppose the tidal wave of equality that will inevitably overtake them?

*   *   *   *

I asked several of the students what the ultimate takeaway was from their experience.

Sullivan said, “We got a lot of positive support and had a positive show, but my biggest concern is that now that our department has made a name for itself for doing original content, the administration is going to create a harder process, a new deadline. I’m concerned that student-written work will not be able to be performed the way it should, that now they will have something of a deadline process to fall back on and use that to censor other voices and censor experiences in that light. That kind of worries me, because we’ve already seen an attitude of they don’t want this to continue and they don’t want to have to deal with this again.

“I definitely feel that our principal and our activities director have found that this has created such a mess that they don’t want student-written work to continue, that they don’t want Raw Works, the studio itself, to be representative of the theatre department anymore and that they don’t want student-directed student works.”

Boyd picked up that thread, saying, “I don’t think it’s as much concern about it continuing, as much as they’re going to make it so hard to continue that we’re going to have to stop ourselves. I definitely think there’s been so much backlash on them now that they can’t just say no more original work, but I do think that the process next year is going to be a lot harder to the point that it may be impossible to put on original works.”

When I pressed the students on whether anything explicit had been said about the future for student written work, McEachern said, “Right now, it’s just a concern of ours. They have not said anything.”

In my last communication with Tustin Amole, I asked whether the events surrounding “Evolution” would have any impact on the Theatre 3 class, Raw Works or student written plays in the future, and received the following reply:

Our process will remain unchanged. As I have already explained, it is the standard process that has worked well for us for a long time.

The class also will be unchanged. Students will be able to write and perform their own work.

So for now, all we can do is watch and wait until next year, to see what stories get told at Cherokee Trail.

Howard Sherman is director of the Arts Integrity Initiative at The New School for Drama.

There were, in my estimation, many interesting people at the first performance of Almost, Maine in Hickory NC this past Thursday night.

Almost, Maine program cover for Hickory NC

To begin with, there was the author, John Cariani, who had come out to support the production, something he can’t do very often given how frequently his show is produced around the country. There was Jack Thomas, who produced the New York City premiere of Almost, Maine a decade ago. There was the doctor who had helped to found OutRight Youth of Catawba Valley, a support center for LGBTQ young people in this rural North Carolina region, which the performances, in part, benefited. There were the two women who were part of the local “Friends of the Library,” who knew little of the show but just wanted to support the effort. There was a high school drama teacher from the Raleigh-Durham area who had driven two and a half hours to see the show – and had to drive home that very night.

Oh, and there was the guy out on the street as I entered the building who was carrying a cross and shouting about how we were all going to hell for supporting homosexuality, and that God had very specific intentions for how humans should use their genitalia in relation to one another – though he was somewhat less circumspect than I just was in his phrasing.

Blake Richardson and Jonathan Bates in the scene “They Fell” from Almost, Maine

This production of Almost, Maine in Hickory was originally to have been produced at Maiden High School in nearby Maiden NC, but the show was canceled, after rehearsals had begun, when the school’s principal buckled to complaints about gay content and sex outside of marriage, reportedly from local churches (one made itself known publicly shortly before performances began). Due to the determination of Conner Baker, the student who was to have directed the show at the high school and ended up performing and co-directing, and with the tireless support of Carmen Eckard, a former teacher who had known many of the students since she taught them in elementary school, the show was shifted to Hickory, where it was performed in the community arts center’s auditorium.

Ci-Ci Pinson and Nathaniel Shoun in “Where It Went” from Almost, Maine

There were shifts in casting due to schedule changes, due to the show no longer being school-sanctioned, due to the need to travel 15 miles or so to and from Maiden to Hickory. But nine young people, a mix of current and former Maiden High students and a few students from local colleges, made sure that Catawba County got to see Almost, Maine, the sweet, rueful comedy that is hardly anyone’s idea of dangerous theatre.

Save for Cariani and Thomas, I hadn’t anticipated knowing anyone at the show that evening, though I had been in communication with Eckard and Baker since the objections first arose at Maiden High. But I was very pleased to spot Keith Martin, the former managing director of Charlotte Repertory Theatre, now The John M. Blackburn Distinguished Professor of Theatre at Appalachian State University, who I knew from my days as a manager in LORT theatre, but hadn’t seen or spoken with in more than a decade. Keith’s presence had a special resonance for me, because nearly 20 years ago, before the cast of Almost, Maine was born, he had been at the center of one of the most significant and ugly efforts to censor professional theatre in that era, namely community and political campaigns to shut down Charlotte Rep’s production of Angels in America, a national news story at the time which saw lawsuits, injunctions, restraining orders and even the de-funding of the entire Charlotte Arts Council, all in an effort to silence Tony Kushner’s “Gay Fantasia on National Themes.” The efforts failed, but left scars.

Keith Martin

I spoke with Keith a few nights after we saw Almost, Maine, and even as he recounted – and I recalled – the fight over Angels, he told me of two other censorship cases in North Carolina in the 1990s. The first, with which I was familiar and which played out over much of the decade, began in 1991, when a teacher named Peggy Boring was removed from her school and reassigned due to her choice of Lee Blessing’s play Independence for students, which was deemed inappropriate by administrators. Boring didn’t accept the disciplinary action and brought suit against the school system, which went all the way to the Supreme Court, which ultimately let stand a lower court decision which said that Boring’s right to free expression did not extend to what she chose for her students, an key precedent for all high school theatre and education.

The second occurrence which Keith told me about took place in 1999, when five young playwrights won a playwriting contest at the Children’s Theatre of Charlotte – but only four of the pieces were produced. The fifth, Samantha Gellar’s Life Versus the Paperback Romance, was omitted to due its inclusion of lesbian characters. The play was ultimately produced locally under private auspices and also got a reading at The Public Theater in New York with Mary-Louise Parker and Lisa Kron in the cast, but in the wake of the Boring case and Angels in America, it couldn’t be seen in North Carolina in a public facility or produced using public funds.

As we talked, as he told me firsthand accounts of situations both known and unknown to me, Keith was very concerned that I might focus too much on him when I sat down to write. It’s hard not to want to tell his story – or, perhaps, his stories – in greater detail. But since we both went to Hickory to celebrate Almost, Maine and the people who made it happen, here’s just a handful of the very smart and pertinent thoughts he shared.

Why had he made the hour-long trip to Hickory? Because, he replied, “When one of us is threatened, we as a theatre community are all at risk.”

Why is this important even in high school? “Teenagers aged 13 to 17 are, I believe, among the most marginalized voices in America today,” said Martin. “It’s ironic, because they’ve developed a sense of place, they have a spirit of activism, but they’re not yet of a legal age to give voice to their passion.”

Regarding efforts to minimize controversy in theatre production, Keith said, “Theatre has always been the appropriate venue for the discussion of difficult subjects and it provides a respectful place where people of goodwill who happened to disagree about different sides of an issue can see that issue portrayed on stage and then have a healthy, informed debate.

Is there something special about North Carolina that led to these high profile cases emerging from the state? “Angels in America was portrayed as having happened in a southern, bible belt town. But what happened after that?” Keith asked me, going on to cite the controversies and attempts to silence Terrence McNally’s Corpus Christi at Manhattan Theatre Club and My Name is Rachel Corrie at New York Theatre Workshop.

The team behind Almost, Maine in Hickory NC, including playwright John Cariani

As I said at the beginning, there were many interesting people at the opening of Almost, Maine. I suspect the students in the show didn’t know, or even know of, Keith Martin, and this post is one small way of putting their work in a broader context that he embodies in their state. I have no doubt that there were other people with personal experiences and connections relating to what the students had achieved, and it’s pretty much certain that neither they nor I will ever know them fully. But just as Keith said to me in our conversation that, “these kids need some recognition that their efforts have not gone unheard,” it’s important that they know that their theatrical act of civil disobedience does not stand alone, be it in North Carolina or nationally. The same is true for everyone who had a hand in making certain that Almost, Maine was heard over the cries of those who wanted it silenced.

In one of my early conversations with Conner Baker, as we discussed her options, her mantra was that, “We just want to do the play.” She and her classmates and supporters did just that, in the least confrontational way possible, but in doing so their names belong alongside those of Peggy Boring, Samantha Gellar, Keith Martin and many others in the annals of North Carolina theatre, at the very least.

I’ll leave you with one last connection between Keith Martin and Almost, Maine. The SALT Block Auditorium where the show was produced is located in an arts center which is the former Hickory High School. Keith Martin attended that very school decades ago and performed on the stage where Almost, Maine was produced last week. The role he recalled for me when asked? The title character in The Secret Life of Walter Mitty. I suspect that even James Thurber’s famous daydreamer couldn’t have imagined the controversy surrounding Almost, Maine…or its happy ending. Maiden’s reactionary, cowardly loss was Hickory’s heroic gain.

Hands on a Hardbody at Houston’s Theatre Under The Stars

Are these my “best” blog posts of 2014? I couldn’t say. All I know is that they’re my most read, from a year in which page views on my site more than doubled over 2013.

Certainly 2014 was a year in which my writing found more focus, and whether the most-read posts bear out readers’ interest in that focus, or are simply a byproduct of a somewhat narrower range of subjects, I also don’t know. But if you’ve only discovered me part way through the year, or only read me sporadically, maybe there are a few posts here that escaped your attention, and if you’re interested, this will save you some scrolling and clicking.

Curtain call for Little Shop of Horrors at Jonathan Law High School

Before I start the official list, I want to bring your attention to a post which finished just out of the Top 10, the sad and yet remarkable story which bears out the sentiment “the show must go,” even when the show is a high school musical and when one of the cast members is murdered. To me, this story encapsulates so much about what theatre can offer, even at the worst times.

May 5: On Stage In Milford, With Sweet Understanding

Here’s the full rundown of the Top 10, in publication order, with some related posts included in my comments so as not to be too repetitive. Clicking on the titles will take you to the individual pieces.

January 22: Who Thinks It’s OK to ‘Improve’ Playwrights’ Work?

Was I surprised by this instance of unauthorized text alterations to a Brian Friel play at the Asolo Rep? Yes. But this turned out to merely be the precursor to a more widely-known incident yet to come, in Texas in June. Still, it was evidence that the issue of copyright and author’s rights isn’t just about high schools tinkering with “inappropriate” content – it can happen anywhere.

March 3: When A Theatre Review Condescends

It’s not usually fair to criticize a critic for a review of a production, since it’s their opinion, so when I wrote this piece taking a Philadelphia critic to task, I tried to do so on the basis of text and fact, not opinion. I received a lot of response about this piece, a great deal of it privately.

March 26: How You Can Save Arts Journalism Starting Right Now

Some found my stated “solution” overly simplistic, so either I failed to make, or they failed to recognize, my point about arts journalism lasting only as long as the metrics bear out an interest on the part of readers.

May 28: A Whispered Broadway Milestone No One’s Cheering

If you find me rather grouchy every Monday at 3 pm, it’s because that’s when the Broadway grosses are released, with one or more shows variously pronouncing the achievement of a new “sales record.” A number of outlets report these figures week in and week out, even though there’s usually a limited amount of actual news that matters to anyone outside the business. The “season” and “annual” compilation figures tend to provoke me even more, due to the perpetually positive spin even when the real story can be found by looking just a bit more carefully at the numbers.

June 3: When The Audience Bellows Louder Than Big Daddy

I was a bit surprised that this piece got the attention it did, as I wrote it after several West Coast outlets had already reported on this incident. Why my account drew lots of eyes I’ll never know, but I do hope it’s used in many arts management classrooms to speak to the essential nature of a well-trained front of house staff, no matter what size your theatre may be.

June 13: Into The Woods With Misplaced Outrage

The movie’s out. Now people can like the changes or not, but at least they’re judging the complete work, not stray accounts (which even Sondheim ended up disavowing). I’m seeing it on New Year’s Eve, FYI.

June 20: Rebuilding “Hardbody” At A Houston Chop Shop

I remain the only writer to interview Theater Under the Stars artistic director Bruce Lumpkin about his reworking of the text and score of the musical Hands On A Hardbody. The theatre pretty much circled the wagons as soon as my piece came out, even declining to speak with American Theatre magazine when Isaac Butler looked at the incident and the issue a few months later.

June 26: Under-The-Radar Transition at Women’s Project Theater

Let’s hear it for anonymous tips! I was the first to report this story, an unpleasant account of the ousting of an artistic leader by a board that sought to portray it as a voluntary separation (foreshadowing the scenario between Ari Roth and Theater J just this month). I do find myself wondering why the outcry over Theater J has been so much greater, when the Women’s Project situation had some notable similarities.

September 19: In Pennsylvania, Director Is Fired Over School “Spamalot”

This was certainly the biggest school theatre censorship story of the year that I covered, as it played out over the course of nearly four months, from when it was first reported in the local Pennsylvania media. It was the final, unfortunate post that received the most attention, but for those who don’t want to start at the end, two other highly read posts on the situation in South Williamsport PA were “Trying To Find Out A Lot About A Canceled Spamalot” (July 15) and “Facts Emerge About School ‘Spamalot’ Struck Out Over Gay Content” (August 21). I wish I had written a blunter headline for the latter story, because it revealed that school officials had indeed lied about the reasons behind the cancelation of the show, and I regret not calling them out as strongly as possible. To my knowledge, they have not been held to account for spreading disinformation.

October 21: How To Fail At Canceling The Most Popular Play In High School Theatre

While the school was let off the hook for buckling under to outside pressure because the students took matters into their own hands, it’s encouraging to know that their production of Almost, Maine is only weeks away, as detailed in “Falling For ‘Almost, Maine’ in North Carolina in January.”

Though I don’t place it in the official Top 10, because it’s a compilation rather than something I actually “wrote,” my piece chronicling the censorship and restoration of work by my friends at the Reduced Shakespeare Company as they embarked on a tour starting in Northern Ireland is also one of my most read for 2014.

January 26: “The Reduced Shakespeare Controversy (abridged).”

Finally, my thanks to you for reading, clicking, liking, favoriting and sharing, and for your comments on the posts themselves, on Twitter and on Facebook. It’s truly appreciated.

Many of you already know the story of the Maiden High School production of John Cariani’s Almost, Maine, shuttered by school officials this fall due to the content of a single scene in which two men discover that they love one another. The cancellation rightly got a great deal of attention, not least because Almost, Maine is the most popular new play done in high schools nationally, a widely accepted work that hit a wall in one North Carolina town due to the school administration caving in to their own worst instincts and to outside pressure, even though the source of the pressure managed to remain under the radar.

So in the season of love and good cheer, it seems the optimal time to affirm that Almost, Maine will go on next month, with students taking the show off campus, producing it independently in a nearby town with the help of Carmen Eckard, a former teacher who taught a number of the students when they were in elementary school.

Hosted by the United Arts Council of Catawba County, Almost, Maine will be presented at the SALT Block Auditorium in Hickory NC on January 15, 16 and 17 at 8 pm. While there have been some shifts in the cast, the production will feature seven current Maiden High students, two recent graduates and a Maiden High student as stage manager. Conner Baker, the student who was directing the show at the school has joined the cast, so she’ll be co-directing the show with a local attorney, William Morgan, who previously directed the show at an area community theatre.

Many familiar with this story will also recall that in order to produce the show independently, Eckard and Baker launched a Kickstarter campaign that sought to raise $1,000 to cover expenses. That effort yielded over $6,500 in funds, and with program ad sales, the production is sure to bring in yet more revenue by mid-January. In a bright silver lining to the cloud cast by the school’s censorship, the bulk of the donations to the production will be shared by the Arts Council and OutRight Youth Catawba, which seeks, in their words, “to reduce the isolation felt by LGBTQ youth by providing a sense of community and developing programs and services to counteract the prejudice and oppression that LGBTQ youth often face.”

Both tickets and program ads are available from the production’s website: http://almostmaiden.com

As for a fall show at the high school, I’m told there was no replacement once Almost, Maine was nixed. That’s a loss for every student at the school and a black eye for every administrator, school board member and community member who worked to shut down Almost, Maine. I can only hope they’ll all make the short trip from Maiden to Hickory to support the show and the students who kept it going – and to, in part, counteract a narrow-minded decision that gave in to suppression of young people’s ambitions and lives, rather than standing for love.