There is a sad irony in hearing that a play about repairing relationships and rescuing people from racist ideologies through listening was shut down at a New Jersey high school less than 10 minutes into its performance, with silencing standing in opposition the act of hearing. The play’s title? Rift, or White Lies.

Currently in production at Luna Stage in West Orange NJ, playwright Gabriel Jason Dean’s Rift is the story of two half-brothers’ encounters while one is incarcerated, and their meetings after a long silence resulting from the convicted brother’s embrace of white supremacy. It is a strongly autobiographical story, echoing that of Dean and his own half-brother, who, as Dean explains in a playwright’s note, was sentenced to life in prison plus 40 years for murder and other felony charges in 2000.

The presentation at Montclair High was only to be of one scene of the play, its third, accompanied by discussion of the issues within it. Luna Stage artistic director Ari Laura Kreith, who commissioned and directed the production, said that the company approached several schools about bringing students to the show, but the offer to bring the show to Montclair High was a unique offer, as the school doesn’t typically have the funds to arrange school buses for field trips; the company also solicited outside funds to cover their expenses for taking the two-actor play to Montclair. Montclair High accepted Luna Stage’s opportunity, with a local news outlet reporting that it was targeted for students in the school’s Center for Social Justice program (CSJ) and the Civics and Government institute (CGI).

In an email chain with Montclair educators in advance of the school presentation, Kreith included a detailed synopsis of the play, as well as a content note regarding the scene which included: “White supremacy, physical violence (including a discussion of violence and staged injuries—no physical violence takes place on stage), mention of sexual violence (discussion/not staged), prison, discussion/examples of racism and sexism.”

Kreith was on hand for the Montclair presentation of Rift’s scene three, and verbally provided the same notice previously given to teachers in writing for the assembled students and teachers. Recalling the day, Kreith said, “I introduced the whole piece as being about a character who had become a white supremacist while in prison, and that the other character has choosen not to speak to his brother for 12 year and then resumes contact.”

Referencing Dean, who was interviewed with her, Kreith continued, “I talked about you in 2020 and your sense that maybe the moral thing to do was not to shut your brother out, but to attempt to re-engage and try to see what could be accomplished by listening and talking. I definitely talked about how he became a white supremacist in prison that the piece was about your journey to try and to shift that.”

Despite the advance cautions, Kreith describes a series of rapid events unfolding in the span of perhaps ten minutes once the scene began by her account, the timing corroborated by the participating actors. An email request to Jeffrey Freeman, the school’s principal, for an interview received no response.

Very quickly after the start, Kreith says that someone came to get her saying the performance needed to stop and bringing her straight to the principal. According to Kreith, one teacher believed that the actors had spoken the n-word from the stage and raised an alarm, though the play does not contain the epithet. When the teacher spoke with Kreith and Freeman and was assured they had misheard, they seemed satisfied.

Nonetheless, when Kreith returned to the auditorium, she almost immediately witnessed a different faculty member getting on to the stage in order to stop the show. Matt Monaco, playing the character referenced in the script as the “inside brother,” recalled the moment saying, “Blake [Stadnik, playing the outside brother] and I are in the middle of the scene. It’s getting to the point where we are starting to get into a deep conversation about James Baldwin. The scene ends in a type of catharsis. Unfortunately, we weren’t able to get there. But we were working our way towards that and the teacher jumped on the stage and is filled with some passion and concern. She says, ‘I’m sorry, we need to stop.’ Blake and I exited the theater out into the hallway.”

Stadnik described the moment adding a personal detail, saying “I’m actually legally blind. When I’m on stage, really, the only person I have any semblance of seeing is Matt. So I’m very focused on him. But you can kind of feel when the audience is there with you. You could tell that there were several students – I mean, many actually more than several – who were sitting forward, engaging. When it was stopped, I was just confused. I wanted to make sure that because I can’t see it, I wanted to make sure everyone was okay, because we are dealing with some intense topics. And if anyone has experienced these sorts of things in real life, I wanted to make sure that they weren’t having any sort of traumatic event.”

Monaco concurred with his impression of the student response, saying, “I was feeling quite moved and touched by the active listening. I’ve performed for high school students before and this was a completely different experience. They were engaged. And I even looked at some of them, eye to eye. They were in it.”

Monaco said that the teacher who had mounted the stage continued to speak after the actors had exited into the hallway, but that only partially hearing what was being said, and prompted by a student who came into the hallway to express upset over what had happened, he felt compelled to return to the stage.

“I was driven to walk out there,” he describes, “and just apologize for any confusion or concern that may have entered the room. I apologized to her. I said, ‘I’m sorry for barging in here. I just want to tell everybody what this play’s about, where this was going.’ I couldn’t leave that way. I had to go back out there and explain what this what this play is about and where we were headed before we were silenced.”

Kreith said at that point she and the actors were told they must leave and did so. It’s her understanding that conversation may have continued in the auditorium, but she and the actors were not privy to it.

Subsequent to the presentation and its abrupt cutoff, Luna Stage has offered complimentary tickets to any Montclair High students wishing to see the entirety of Rift, and she says that several have begun to take her up on her offer. The two actors, Kreith and Dean, in conversation, were clearly struggling with the experience.

Kreith immediately attributed the problems to a lack of communication. She believes that while the email chain arranging the presentation included a number of teachers, not all of those who brought their students on Monday were part of that communication.  Kreith suggested that the cutoff came from “a moment of panic.” They agreed that what has happened must be an opportunity, as the presentation intended, to open up communication both on the topic of the play and for opportunities like their presentation to remain available at the high school.

After listening to the actors and director recount the experience, Dean, who was not present at the school and relied on various reports, including one on a local news site, said his perspective on the incident had changed.

“I’ve moved from my anger to having sympathy for this person. This person who’s an educator who is –in the time that we’re living in, in the in the in the world that we’re living in – struggling with what kinds of conversations can I am I allowed to have with these kids? The idea of suddenly having to contend with white supremacy, childhood abuse, trauma – all of that puts that body in a place of fear puts, that body in a constricted place, rather than an embracing place. So I can understand that. But at the same time, if we could have gotten to the end of the scene, perhaps some catharsis could have occurred.” Both Dean and Kreith were emphatic that what transpired should not provoke a situation where teachers or administrators are demonized or penalized, only that something positive come out of a difficult moment.

The Luna Stage cohort has, to date, not been told exactly why the performance was stopped, but what is evident from their retelling is that while the school admirably chose to bring in work that raised important issues, it appears to have not properly contextualized that work in advance for students and teachers, resulting in misunderstanding and silencing. The school now has a responsibility for transparently addressing what occurred and making certain that the shutting down of ideas, on the page or in performance, doesn’t become an accepted part of their pedagogy. Better internal communication between the administration and teachers is essential.

Nonetheless, even in truncated form, Rift made a connection that showed the students were more than mature enough to handle the content. Kreith shared one email she received from a student, which read in part, “I saw part of the performance yesterday while in school and was very disappointed when it was abruptly stopped. I feel like the play reflects the reality of the world we live in, I thought the actors were great, and overall I really enjoyed the part of the performance we got to see. A group of us would like to see the show Sunday at 3:00pm. I don’t know exactly how many people yet, but I thought I would just reach out to make sure there are seats available. Apologies on behalf of my teachers for cutting your performance short and thank you for allowing us the opportunity to see what we missed.”

While his half-brother may not know about the incident at Montclair High, he is fully embracing of the play. Dean related, “He sent the guys an opening night message, to say, thank you, thank you for this work.”

As for his brother’s white supremacist beliefs, Dean says, “He has moved away from it. He’s moved away from the ideology, and he’s moved away specifically from acts of violence in prison. The rift that existed between us has been mended as a result of this project, of writing this play. The play leaves us with ‘I don’t know what’s going to happen tomorrow,’ but he knows about it and has been changed by it as have I.”

“There is more than one way to burn a book,” wrote Ray Bradbury, in an afterword to his novel Fahrenheit 451. “And the world is full of people running about with lit matches.”

It is no small irony, consequently, that Bradbury’s classic tale of book burning, written in the wake of Germany’s affinity for book burnings leading up to and during World War II, finds itself banned at times in the present day. Book challenges and resulting book bans may not send a plume of smoke into the sky, but the goal is the same: to make it difficult for people to be exposed to certain ideas, to control what they may learn and think. Another classic of thought control, George Orwell’s 1984, often finds itself alongside Bradbury’s novel where such censorship takes root. Both appear on PEN America’s dataset of some 5,800 books banned in US schools between July 2021 and June 2023.

There are multiple compendiums of banned books in schools that have been developed by different organizations. In addition to the expansive list from PEN America, The Washington Post studied trends within book challenges numbering roughly 1,000, drawn from 150 school districts during the 2021-22 year, publishing their results in a multistory report on December 23. Days earlier, on December 20, the Orlando Sentinel listed 673 books removed from classrooms in Orange County, Florida this year alone, primarily due to new Florida laws which require school media specialists to remove books with pornography or so-called “sexual conduct.”

The 673 books from Orange County described many of the same trends as those summarized by the Post and PEN: young adult books, books with LGBTQIA+ content, books by authors of color. Among the authors whose works were placed into review were Maya Angelou, Margaret Atwood, Gordon Parks, Ovid, Marcel Proust, William Styron, Kurt Vonnegut and Alice Walker; among the perhaps more unexpected titles are Jude the Obscure by Thomas Hardy and A Tree Grows in Brooklyn by Betty Smith.

It’s impossible to know what books are in Orange County schools but presumably the number and range is considerable. US News says the district serves over 200,000 students and has 91 middle schools and 60 high schools. That said, it’s not unreasonable to expect that the source of the challenges matches the profile ascertained by the Post in its study, which revealed that 60% of the book challenges came from only 11 people. 

Within the 657 books detailed by the Orlando Sentinel, it’s worth noting that a small number of plays were placed under review. They are, in alphabetical order by author:

Four Plays by Aristophanes

Dance Nation by Clare Barron

The History Boys by Alan Bennett

The Bridges of Madison County by Marsha Norman and Jason Robert Brown

The House of Bernarda Alba by Federico Garcia Lorca

The Collected Plays by Lillian Hellman

M. Butterfly by David Henry Hwang

The Beauty Queen of Leeanne by Martin McDonagh

Sweat by Lynn Nottage

Equus by Peter Shaffer

The Food Chain byNicky Silver

That’s right: in Orange County, Florida, students currently can’t read three Tony Award winners for Best Play, as well as a major work by a Pulitzer prize-winner, let alone a collection of plays by one of the earliest major dramatists in world history. There is no indication as to the specific reason why these books have been withdrawn or what universe of books these were drawn from. Is the list so short because the district hasn’t provided schools with a representative sampling of play texts or because the individuals lodging complaints simply haven’t focused their attention in that direction?

Curiously the significantly longer PEN list for 2022-23 doesn’t show any dramatic works, suggesting something in their methodology may be at play, though prose works by writers who are strongly affiliated with theatre can be found, including Alan Cumming, Tim Federle, Lupita Nyong’o, and Adam Rapp; a manga edition of Hamlet also appears. If for some reason PEN has extracted dramatic works intentionally, then they have done the field a great disservice, since the challenging or banning of any text must be brought into the light.

The presence of play texts in school classrooms and libraries is essential, because even in districts where drama has escaped the censors’ eyes, there simply are too few production opportunities for students to be exposed to the breadth of dramatic literature. Incidents of production censorship make the news intermittently, but my own workshops reveal how many titles are refused for production by school officials, and yet more aren’t even proposed by teachers who fear blowback for even suggesting them.

In the wake of the Orlando Sentinel article David Henry Hwang wrote on the social media platform Threads, “Proud to have my play banned in Florida! When the MButterfly movie was banned in China in the 1990s, this led to everyone there wanting to see it. Remains to be seen how Floridians react.”

Nothing would be more gratifying than to find that bans only increase the popularity of the works under fire, sending students to public libraries and bookstores to seek out the forbidden fruit. If that were the case, we’d see authors clamoring to be banned. But once a book is banned, even if the ban generates attention, time passes and attention eventually fades, while the book remains unavailable as part of an educational experience, whether in a classroom or in a school library.

As expansive and valuable as all three reports are, those from PEN and the Washington Post are surely not fully representative of the full extent of book challenges and bans across the country, since they rely on various forms of public records releases, external submissions in response to requests, and direct discovery through interviews. As with so many such cases, they still must be looked at as the tip of the iceberg and, when it comes to dramatic works, as largely insufficient, except to highlight the degree to which a relatively small activist group of narrow-minded people want to dictate what literature can be accessed by young people who are inquisitive, broad-minded and in search of thoughts and stories beyond those that have passed some manner of purity test invented by unqualified individuals on censorious crusades.

As the Sentinel and the Post note, challenges don’t always result in bans and some works may yet be restored to school shelves. That’s why the only response is to support the books and the opportunity for expansive learning – and to watch for where theatre is being silenced, be it in performances, or just as text on shelves in schools.

“It was brought to the District’s attention that the current production contained mature adult themes, profane language, and sexual content,” reads the communication from Sherman High School in Sherman, Texas. “Unfortunately, all aspects of the production need to be reviewed, including content, stage production/props, and casting to ensure that the production is appropriate for the high school stage.”

The scurrilous, sensual, and shocking show in question? Rodgers and Hammerstein’s Oklahoma! The date of this communication? November 6, 2023.

It would be easy to simply find this ludicrous. Oklahoma! is, after all, widely considered to be the first musical of the modern era, a landmark of marrying song and story. It was a long-running smash that was seen as representing the best of America in its original run, which overlapped with World War II; there are many stories of military inductees seeing the show just before they were sent over to the war in Europe, or as the first thing they did when the returned stateside. Oklahoma! as Americana may gloss over the subject of how the territory was opened to white settlers by banishing the indigenous residents, but it’s worth noting that the musical was faithfully based on a play by Lynn Riggs, a member of the Cherokee nation.

The widescreen movie in 1955 starred Shirley Jones and Eddie Albert among others, and has been played and replayed on television, home video and streaming seemingly ever since. There have been multiple Broadway revivals and it’s popular outside the US as well; over two decades ago, a production at London’s National Theatre made a star of an unknown Australian named Hugh Jackman.

Oh, and Oklahoma! was the single most popular musical in US high school theatre nationally in the 1960s and 1970s, before falling into the second position in the 1980s and 1990s. That’s the salacious tract that Sherman, Texas officials feel they need to clean up for public consumption. Presumably they will next be coming for that cesspool of sin, Annie. Mind you, Sherman High has produced Oklahoma! at least twice before, the most recent production coming less than 10 years ago.

Looking deeper into the school’s statement comes this peculiar language: “There is no policy on how students are assigned to roles. As it relates to this particular production, the sex of the role as identified in the script will be used when casting. Because the nature and subject matter of productions vary, the District is not inclined to apply this criteria to all future productions.”

What’s that about precisely? It’s about the fact that last week, the powers-that-be at Sherman decided that students must be cast according to the gender which they were identified by at birth, and in the case of the trans male student cast as Ali Hakim, that meant Max Hightower was being removed from his role with zero clarity as to whether he would receive any other role, as most assuredly wouldn’t get one according to his gender identity. This despite the fact that Oklahoma! has been open to cross-gender casting for a number of years, as well as multi-racial casting, so it is not trapped in the limitations of the era in which it was first produced by rigid rights holders.

Philip Hightower, Max’s dad, retells the story of how this casting edict was shared with parents, saying that he received a call last Friday from the school principal, explaining the new policy that was being imposed. After this brief call, Hightower immediately tried reaching Max’s guidance counselor, so the student might have some immediate support when informed of the decision. Reaching a different counselor, as Max’s was unavailable, Hightower asked for a copy of the new policy. Hightower says the counselor seemed completely flustered and had no idea where to find such a thing.

“I do want to stress this,” says Hightower, “because I think it really shows the current state of education, especially in Texas. This guy wanted to empathize with me, like really on a personal level. He would start all these sentences about caring and never finishing. The one that sticks out the most is he said, ‘You know, man to man,” and there was a long pause. ‘Father to father.’ He never finished. They’re terrified. They’re terrified of this situation, they don’t know what to do.”

Hightower said that on getting home from work, he expected to find a profoundly upset Max. But that wasn’t the case.

“I realized I should have thought better because I know Max,” said Hightower. “Max is a fighter, The first thing he said to me when I came in was something along the lines of, ‘Can you believe this shit?’ I said, ‘Max, what do you want me to do?’ I told him, I’d reached out to the local news. And he said, “I want to fight.”

While initially, going into the weekend, local media was slow to pick up on the story, but after Hightower and his wife posted their accounts of the situation on social media, they were met first with a groundswell of local support, and then local outlets began to do interviews. As of Tuesday afternoon November 7, The New York Times was on the case.

But does Hightower think the decision can be altered?

“No,” he flatly declares. “You don’t know these people. These people here have the majority and they know it. And they don’t care. I mean, we’ve seen it every day.”

Brett Boessen, parent of another Sherman high student, his daughter Lucy, who was cast in the play, says the recent actions have given him a new perspective on what’s happening in his community.

“This one decision,” said Boessen, “more than any other decision that I’ve seen, that the school has made in the past year or two, has got me really thinking that school board elections are important. There are some people on the board right now who need to be removed when the next election happens in the spring. This just is not a way to protect and nurture students in the school system. It sends absolutely the wrong message to students about how the school board thinks about them and everything else.”

Boessen, who was speaking as a parent but happens to be the chair of the Communication, Media, and Theater Department at Austin College, was also skeptical of what might be done.

“I would hope that the parents would be upset about this in sufficient enough numbers to be able to make some kind of change,” said Boessen. “But I’ll be honest, I think a lot of people have real fears right now. Maybe some of them are unfounded. But maybe some of them are realistic about the kind of pushback and reprisal that people make on social media, but then through social media in the real world might have against people who speak out and who say something about these kinds of policies. So I’m not holding my breath that the community will stand up and say, ‘Absolutely not, this is this is wrong, get this fixed right away.’ I don’t know that that will happen. Even if there is a kind of majority sentiment, I think a lot of it is probably silent.”

As if the motivations of the school administration and board were not self-evident in their attempts to suppress and deny trans identity, it’s worth noting that the Sherman school district has adopted a program called “Stand in the Gap.” It is described on the Sherman Independent School District website in detail, but the following stands out:

For this year, we’re going a step further and asking our church congregations and community to “Stand In The Gap” for us. Stand in the gap between the challenges of this world and our staff and students through prayer.

The gap is ostensibly the place where families and communities have “failed,” taking in loco parentis far beyond its intent to a place of superseding the parental role. This alignment of church and state, as opposed to separation, suggests that Sherman has taken a theological approach to education, going on to outri ght ask for prayers for staff and students. Even though one of their tenets is “protection from harm,” such protection is being decided selectively, presumably something that can be lain at the feet of the school superintendent, Dr. Tyson Bennett, who signed the Stand in the Gap policy. They appear not to be concerned about protecting trans and queer students, or students who just want to find a good part in a show.

There are some dark elements of Oklahoma! that director Daniel Fish emphasized in his radical reworking of the show for a production that played to acclaim in New York and London, and on national tour. But high schools aren’t pursuing that interpretation. Someone has suggested to Sherman High officials that such darkness must be rooted out, such as the wanton Ado Annie, who perhaps kisses a few too many men, or the scantily clad women tacked up in Jud Fry’s shed. In keeping with the time period in which it was written, Oklahoma! is decidedly chaste, if not completely sanitized.

In their statement, Sherman High suggests a production will go forward, after these troubling elements have been addressed. But they should be reminded that they can’t simply alter the work to suit their tastes, and of course they’ve really brought these elements up as a smokescreen to distract from their retrograde attitudes about student identity.

Will a production happen, delayed by a few weeks? That remains to be seen, and there’s a school board meeting at the beginning of next week, but according to Phillip Hightower, a significant number of cast members have already quit the production. So Sherman may not only clean up Oklahoma!, but eradicate their school musical. Perhaps that’s what they really want. But that’s not what’s best for their students. That’s why voices in Sherman, when it comes to transphobia and censorship, contrary to Ado Annie’s plaintive cry, must say “No!”

For an update on this post, read “Oklahoma! Santized for Your Protection” posted on November 11. Click here.

For the resolution of this situation following a school board meeting, posted on November 14, click here.

“What’s the deal with all this high school theatre?”

That’s the kind of comment—spoken, written or tweeted—I’ve been getting regularly over the past four years since I began writing about instances of censorship of theatre in American high schools (and, on occasion, colleges). To be fair to those who may be skeptical about the extent of the problem, I myself have been surprised by the volume and variety of issues raised over the content of shows being done—and, in some cases, ultimately not being done—in school-sponsored theatre.

But between writing about these incidents, and directly involving myself as an advocate in some of them, I’ve come to believe that what’s taking place in our high schools and on our campuses has a very direct connection to what is happening (and will be happening) on professional stages.

So here are nine common questions that have arisen as my advocacy has increased, and some answers—although, as every attempt at censorship is different, there aren’t any absolute answers.

1. Why is there so much more censorship of high school theatre these days?

There’s no quantitative study that indicates the policing of what’s performed is any greater than it was 10, 25 or 50 years ago. Everything is anecdotal. But the Internet has made it easier for reports to spread beyond individual communities and for news-aggregation sites uncover and accelerate the dissemination of such stories. It only takes one report in a small-town paper these days to bring an incident to national attention; that was a rarity in the print-only era.

2. Isn’t this just a reflection of our polarized national politics?

School theatre censorship doesn’t necessarily follow the red state/blue state binary division, because the impulse can arise from any constituency. While efforts to quash depictions of LGBTQ life—as with Almost, Maine in Maiden, N.C., or Spamalot in South Williamsport, Pa.—may be coming from political constituencies galvanized against the spread of marriage equality, or from certain faith communities which share that opposition, that’s hardly the only source. Opposition to Sweeney Todd, both muted (in Orange, Conn.) and explicit (in Plaistow, N.H.) was driven by concern about the portrayal of violence in an era of school shootings and rising suicide rates, while Joe Turner’s Come and Gone was challenged by a black superintendent over August Wilson’s use of the “n-word.”

3. What’s the real impact of school theatre on the professional community?

The Broadway League pegs attendance at Broadway’s 40 theatres in the neighborhood of 13 million admissions a year and touring shows at 14 million a year. TCG’s Theatre Facts reports resident and touring attendance of 11 million. That totals a professional universe of 38 million admissions.

Based on figures provided to me by half a dozen licensing houses, there are at minimum 37,500 shows done in high school theatres annually, and conservatively guesstimating three performances of each in 600 seat theatres at 75-percent capacity, that’s more than 50 million attendees. In both samples, the numbers don’t represent the total activity, but high school theatre’s audience impact is undeniable, both as a revenue stream for authors and as a means of reaching audiences who might not see any other theatre at all.

4. Does it really matter what shows kids get to do in high school?

While there are valuable aspects to making theatre that apply no matter what the play choice may be, many schools view their productions as community relations, frequently citing that they want to appeal to audiences “from 8 to 80.” While the vast majority of students in the shows, and their friends who come to see them, will never become arts professionals, they are the potential next generation of audiences and donors for professional companies. If they are raised on a diet of Alice in Wonderland and The Wizard of Oz (both currently very popular in the high school repertoire), how can we expect more challenging work , new work, or socially conscious work to sustain itself 20 years on?

5. Are school administrators fostering an environment in which censorship flourishes?

I’m unwilling to accept the idea that our schools are run by people who fundamentally want to limit what students can learn—or perform. But they are operating within a political structure topped by an elected board of education, and can be subject to political pressure that often makes the path of least resistance—altering text or changing a selected show, in most cases—the expedient way to go. Unless an administrator (or a teacher, for that matter) is independently wealthy, they can’t necessarily afford to risk their job fighting for the school play that may have challenging content. That said, students at Newman University rebelled against administration-dictated text changes, reverting to the script as written for the latter two of their four performances of Legally Blonde in November.

6. Isn’t this a free speech issue?

In a word, no. Schools have the right and responsibility to determine what is appropriate activity and speech under their control, and just because students are exposed to all manner of content in the media and even in their day-to-day lives doesn’t mean that schools can or must permit it, either in classrooms or performance. That The Crucible is in countless high school curriculums does not necessarily prevent it from being censored as a performance piece, despite the seeming double standard.

The same stringent oversight that affects school theatre is also often directed at school newspapers and media. However, while some school systems attempt to control all student speech, it is a First Amendment violation to infringe on student speech to the media about their dissatisfaction with the actions of a school, including censorship. Drama teachers, who are best equipped to make the cases for the shows they choose, are usually prevented from doing so by employment agreements which prohibit them from discussing school matters without the express approval of the administration, typically the superintendent.

7. Don’t shows get edited all the time in schools for content?

In all likelihood, shows are constantly being nipped and tucked by teachers and administrators to conform to their perception of “community standards,” whether it’s the occasional profanity or entire songs. But that doesn’t make it right, and it is censorship. Aside from violating copyright laws and the licensing contracts signed for the right to the show, it sets a terrible example for students by suggesting that authors’ work can be altered at will, undermining the rights of the artists who created the work.

Some writers and composers have authorized school editions or junior versions of their shows for the school market to recognize frequent concerns and to keep from denying students the opportunity to explore their shows. But the rights must lie with the authors, not each and every school. If that isn’t made clear early on, how can we expect to fight censorship anywhere?

8. When a show is canceled and then successfully restored through a public campaign, is that winning the battle and then losing the war?

That’s a genuine concern of mine—that once there’s a public battle over theatrical content, the school will thereafter clamp down even harder and apply greater scrutiny forever after to drama programs, academic or extracurricular. At the Educational Theatre Association’s national conference this past summer, one attendee asked the others if there were shows that they believed would be great for their students but which they couldn’t even raise as possibilities. Every single teacher in the room raised his or her hand. So the incidents that become public—ones in which a show is announced, then has approval rescinded—are the tip of the iceberg. Drama teachers and directors are already having their choices limited, often by self-censorship. There’s much more work to be done, but if blatant examples don’t come to light, it may never be possible to galvanize support for school theatre that challenges students to do great work and great works.

9. Can professional artists and companies make any difference when incidents of censorship arise?

Local theatres—professional, community and academic—make superb allies in fighting against censorship. Institutions and individuals within communities that are respected for their art occupy a position from which to speak out forcefully and effectively for school theatre programs. Whether it’s a nearby artistic director or a one-time resident who has gone on to a professional career, they bring a history and authority that will speak to both the local populace and the media. The vocal support of the Yale School of Drama and Yale Rep with the aforementioned Joe Turner, and of Goodspeed Musicals and Hartford Stage in the case of Rent in Trumbull, Conn., were key factors in the ultimately successful efforts toward restoring those shows to production.

In closing: The first time I inserted myself into a school theatre censorship debate in 2011, I assumed it was a one-off. I did not realize at the time that I had found a cause. Each time an incident comes to a conclusion, regardless of whether the outcome was, from my point of view, positive or negative, I think that surely the message is getting out there and this will be the last time. But then comes the phone call, the e-mail, the tweet, from someone I’ve never met and possibly never will, saying that a show is threatened or has just been shut down. And I begin my introductory speech, which is unfortunately well-honed at this point.

“This is no longer about education,” I say, “this is no longer about art. This is now a political campaign.” And off we go.

This post first appeared at AmericanTheatre.org

To say that Newman University’s production of the musical Legally Blonde was performed with its book and lyrics intact this past Saturday and Sunday would seem to be a wholly unremarkable event. But because that wasn’t the case at Thursday and Friday’s shows, the fidelity of the latter two performances is rather more intriguing. How did a university production suddenly shift away from censorship halfway through a four performance run? How, to paraphrase a lyric from The Producers, did Legally Blonde go right?

*   *   *

Newman University in Wichita, Kansas is a Catholic school with an undergraduate enrollment of 2,795, according to data from the U.S. News and World Report online rankings. It was founded by a religious order, the Adorers of the Blood of Christ as a women’s college in 1933, becoming co-ed in 1965.

The theater program at Newman is in just its fourth year. It was only in 2013 that students could declare as theatre majors, and the program currently has 18 majors and 12 minors. The school boasts two theatres and the theatre program produces four shows each year. Past productions include Lend Me A Tenor, Iphigenia in Aulis and in Taurus, Measure For Measure, and this fall’s Buried Child. Director of Theatre Mark Manette notes that there have been some rumblings about the content of some of the department’s productions in the past, including sexual content in Tenor and Pippin, citing one 2012 letter to the school newspaper saying that the school was producing plays with “a heaping helping of sexual innuendo.”

In announcing Legally Blonde, Manette felt he was choosing a mainstream, modern show for his students, aware that it is one of the most popular musicals in high school theatre. Save for making some very minor script emendations – “god damn” is a problem at a faith-based university, for example – the show went into rehearsals using the script as written. In the words of senior C.L. Smet, a theatre major who was cast as Paulette, “There were very light hints of censorship early on, but only the type of things that we are used to. In most shows we are asked to take out all instances of using the lord’s name in vain because we go to a Catholic university.”

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Manette’s purview over the theatre department does not require him to submit his play selection for approval to the university. But with rehearsals underway, he was called to the Provost’s office on November 6, in order to address rumors that had begun to swirl about the content of Legally Blonde.

“When I was called into the office I was told that our production featured live masturbation, drug use, and two guys kissing,” said Manette. “My response was that the show features none of these things. But the seed of the rumors could be traced to the two changed lines:  ‘Masturbatory emissions’ and ‘Get you high and laid’.”

Although Manette clarified the show’s content, he was still asked to make changes to the script. “I was told that I had to make the changes or else,” said Manette. “I did send a letter to the Provost stating that I had signed a contract not to make any changes to the script. He took that up the ladder, so to speak, and told me to go forward with making changes.”

C.L. Smet and Trevor Farney in Legally Blonde at Newman University (Photo courtesy of Newman University)

According to Smet, “Nothing seemed weird until a few days before tech week started, when individual cast members started being pulled aside and told that we had to change lines.  For instance, my line ‘What’s she got that you don’t got, three tits?’ had to be changed to ‘three boobs’ ­ this was a very minor change compared to many others but was still frustrating and unnecessary right before tech week.  We were told by our director, music director, and the head of our department that these changes were from the administration directly.  We were told that several higher-ups…were lodging complaints about the content.”

“We were also told repeatedly not to raise hell about the issue, because if we were to dig too deep we might cause more harm than good,” Smet related. “Obviously, however, we decided to pursue the matter. I was one of the loudest about my disappointment with the administration.  I attempted to have a meeting with the President of our college.  However, when I told them it was regarding Legally Blonde censorship, I was told she ‘didn’t speak to students,’ which I find very hard to believe.  Many other students were confused and bothered by the censorship.  A few of them were willing to just lay low and let it pass, but most of my fellow theatre majors saw the utter illegality of the changes and wanted to do something to help.  Apart from the legal issues, many students were just sad that at the college level we were expected to perform a watered-down play, as if the world would end if somebody say “masturbate” on stage.  It was a very frustrating and confusing time for everybody involved.”

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On the evening of the first performance, the school newspaper, The Vantage, published its weekly print edition with a lead story on the censorship of the Legally Blonde text. The story was assigned by the paper’s editor-in-chief, senior Matt Riedl – who happened to be a member of the Legally Blonde ensemble.

“It was my decision as editor-in-chief to pursue the story,” said Riedl. “It wasn’t something that was being brought out by the administration. We thought it was our responsibility. Every viewpoint can be voiced. There had been a few voices that had been pro-censorship, but we thought it was important that every viewpoint be represented.”

The story by Delaney Hiegert, ran with the headline “Legally Blonde Censorship Rankles Cast Members,” as well as a subheadline, “Illegally Changed?” It cited Provost Michael Austin confirming that the show would be a censored version.

There were at least six lyric changes to the musical, as well as multiple dialogue changes, in order to make the play more appropriate for all audiences, he said. The changes involved taking out any sexually derogatory remarks, references to sex and drugs, any use of the word “Christ,” and most all cursing.

For instance, Elle Woods’ line “masturbatory emissions” has been changed to “accidental emissions,” and Professor Callahan’s line, “Get you high and laid,” has been changed to “Get you entertained.”

“When we do plays, we are inviting not just the campus, but the community to come watch,” said Austin. “We have to be very careful to represent the values of the institution.”

The Vantage article spoke not only to the changes to Blonde, but the greater potential impact of the censorship on the theatre program. Quoting freshman Trevor Farney:

“I loved being a part of Buried Child. I love the directors and the people I’ve gotten to work with,” Farney said. “But I don’t want to act in something that’s just going to be a watered-down version of what it should be. In Legally Blonde, the censorship is annoying but it doesn’t hurt the production that much. But if the censorship continues, I don’t even know if I’d want to stay in the program. And that’s a shame.”

The Vantage story made the alteration of the Blonde script a campus-wide issue. Riedl cited that the piece received 1500 page views on the paper’s website, in contrast to the prior month’s top story, which had only 700. He noticed that in some places, in particular the theatre’s lobby, someone had flipped the papers upside down in their racks, so that the headline wouldn’t show. He said that his girlfriend reported sitting in the theatre pre-show and watched as many people read the paper’s front page.

“The article in the Vantage was huge,” said Smet. “It had a massive impact around campus and the entire Wichita theatre community.  The outpouring of support was awesome, and it encouraged the cast to continue fighting.”

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Legally Blonde at Newman University (Photo courtesy of Newman University)

The first two performances of Legally Blonde at Newman contained the mandated cuts and substitutions imposed by the administration. But C.L. Smet says that change was already afoot.

“Once the Vantage article was published, cast members became even more open about not being okay with the censorship,” Smet said. “For our Saturday performance we returned 100% to the written word of the script – we did the play that was actually written.  We joked that it was the first Legally Blonde performance we’d done, and after the show we all had a group bonding moment celebrating the uncensored show.”

Riedl described the decision in similar terms. “We decided to perform the musical in its full uncensored form on Saturday and Sunday,” he said. “It was kind of a group decision. We had a little meeting before our performance on Friday and we talked about it. The coverage was getting so widespread and everyone was talking about it so we decided we weren’t going to put up with it any longer. We were going to subvert the order to change.”

The student motivated changes don’t precisely jibe with the account from Provost Michael Austin.

“We ended up not making the changes,” said Dr. Austin. “They went on according to script. We looked at what might be possible but decided that we’d do it the way it was in the script.”

Austin did say that the issue was a major one for the school, saying it was “hotly debated and discussed.” He said that he attended the show on Sunday and that the show was performed as written, but could not speak to whether the complete text was in use at all performances.

Riedl professed surprise when informed that the administration had withdrawn its requests for text changes. “Really? That’s interesting,” he said. “Because I was under the impression it was a cast decision. There’s definitely some confusion there. I had not heard that. That’s very interesting.”

Riedl went on to recount a moment during the Saturday night show, during the song, “Blood in the Water.” “‘Get you high and get you laid’ was supposed to ‘get you entertained,’ he recounted. “From the stage, I heard someone whisper, ‘I thought that was supposed to be censored.’ It took some power to not break character from that.”

With somewhat conflicting stories about how the show was restored to its original text, Manette seemed to walk a careful line about what had taken place. He ascribed the choice to the students, noting that, “The people who had called for the censorship were not the ones behind the decision to do the show as written.”

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The issue of censorship is not an off-limits topic on the Newman University campus. It’s worth noting that all freshman this year were assigned to read Ray Bradbury’s Fahrenheit 451, the now classic novel in which censorship is taken to its ultimate extreme, with all books being sought out and burned by “fireman,” forcing lovers of knowledge into clandestine circles designed to preserve knowledge and texts.

“There is artwork all over the building regarding censorship related to that novel,” Manette said. “Most members of the faculty and audience were appalled at the idea of censoring a production.   Two pieces of art work across from the entrance of the theatre were mysteriously taken down on opening night – one was a nude – and they were miraculously replaced after the show closed.  Coincidental?”

Smet told a similar story. “There was a great deal of other censorship happening in our arts department — nude paintings and “controversial” art work were removed from the hallways against the art department’s will.  The entire fine arts sector of Newman was upset that they were being censored.  Many people told us they supported us ‘fighting the power’.”

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It’s unclear precisely where the complaints about Legally Blonde began and it’s also not certain exactly when or if approval was given to perform the show as written, as it was at the latter two performances. Precisely who in the administration really wanted the show edited remains somewhat vague, and no one with direct knowledge would speak to it on the record. But certainly the students took matters into their own hands, perhaps with the tacit approval of some members of the school administration.

Dr. Austin was quite clear about lessons learned from the imbroglio.

“Generally, I can say that the incident was not handled well,” he wrote to me, “for which I take full responsibility. We will not be suggesting changes to plays in the future, nor do we have any plans to exercise prior restraint on plays chosen by the Theatre Department.”

Austin’s statement is very encouraging, suggesting that Mark Manette will be able to continue to build Newman University’s theatre department and give his students the opportunity to work on a wide range of shows – as they were written. For the staff of The Vantage, they’ve gotten proof of the power of independent journalism to foster change. As for the cast of Legally Blonde? They’ve demonstrated that the words spoken on a stage matter, and that the words of authors come first.

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Note: interviews for this article were conducted through a combination of voice interviews and e-mail correspondence. The word “said” may apply to both voice and e-mail communications.

Based on the commentary I was seeing in online articles and social media comments yesterday, someone had just painted a mustache on the Mona Lisa. No one seemed to care that Da Vinci had decided to it himself.

I’m referring to the outpouring of dismay over the news that some changes had been made to the storyline and score of Disney’s upcoming film of Stephen Sondheim’s Into The Woods. Mind you, no one has seen the film as of yet; the response resulted from a New Yorker “Talk of the Town” piece in which Sondheim spoke of the changes, and more to the point, from online articles based on that story which extracted out the specifics of the pending changes without the full context of the original report, which regrettably is behind The New Yorker’s paywall. Therefore it’s the secondhand reportage which seems to have reached the widest audience and sparked a healthy flurry of unhappiness.

I for one would like to state that I’m shocked – shocked, I say – to find that the creative and commercial forces behind the film adaptation of a stage work have mandated changes in the original material (for those immune to written sarcasm, I mean to say that I’m not remotely shocked). The litany of stage material (or for that matter books, true life stories and even prior films) that has been slightly altered or radically reworked for movie consumption is endless. But even minor changes become the fodder for endless online investigation, interpretation and instantaneous outrage, the currency of so much digital derision by the faithful. And it’s not even an online phenomenon – I remember the furor that arose when Tim Burton had the temerity to cast Michael Keaton as Batman in the 80s, even for what was a major reworking of material that had been reduced to camp 20 years earlier on television.

That Disney might want to homogenize some of the spikier elements of Into The Woods should have come as no surprise to anyone familiar with the company’s brand, which has a long history of altering fairytale stories, from Snow White and Sleeping Beauty to Once Upon A Time and Maleficent. Yes, I am one of the many who revere Sondheim’s work, and the man, but just as the removal of “The Ballad of Sweeney Todd” from that film adaptation didn’t ruin the story on screen, I’m at least willing to wait to see Into The Woods before I critique its choices, whatever the rationale. And let’s face it, after almost 30 years, it’s not as if film companies were fighting for the right to bring the material to the screen.

What frustrates me much more in this scenario is the way in which the details of changes have been excised from their context in The New Yorker. Sondheim’s revelation came out of a conversation with high school teachers which touched upon some of the problems they face in trying to produce challenging work at their schools, by Sondheim and others. While reporter Larissa MacFarquhar is glib about opposition to Sweeney Todd (“the teachers were smut and gore idealists”), she does report on the portion of the conversation specific to Into The Woods. In particular, she relates how the teachers told stories of opposition to elements of infidelity and sexuality in the Sondheim-Lapine piece, and how Sondheim compared the attitudes of school administrators to those of Disney executives. (I asked the organization that arranged the conversation, the Academy for Teachers, whether a recording of the full session had been created, but founder Sam Swope said they had none, that the New Yorker account was accurate and that the censorship discussion was only a small part of a wider-ranging talk.)

When a teacher explains that she must always present bowdlerized versions of musicals (please look up that odd word if you don’t know it), the article reports:

“Can you let them read the original and then discuss why, say, Rapunzel is not allowed to die in the adulterated version?” Sondheim asked.

“We do that, but they just get angry. They feel censored–they don’t feel trusted.”

“And they’re right,” Sondheim said. “But you have to explain to them that censorship is part of our puritanical ethics, and it’s something that they’re going to have to deal with. There has to be a point at which you don’t compromise anymore, but that may mean you won’t get anyone to sell your painting or perform your musical. You have to deal with reality.”

Now I’m not entirely comfortable with Sondheim’s conflation of censorship with marketplace realities, since censorship is performed unilaterally by people in power against those without influence, whereas creative alteration in a commercial setting results from negotiation – and money is at the root of the decisions on all sides. Into The Woods wasn’t taken unwillingly from Sondheim – he sold it. I trust that he has safeguarded the essence of the show. But I agree that the impulse to homogenize for the marketplace does indeed come from a puritan ethic, as does school censorship, both cases where adults take a patronizing view of what young people can handle – though in the case of a Disney film, they’re trying to reach audiences much younger than the participants in high school theatre programs in a big tent effort.

It is the stage alteration in schools that perpetually worries me. In cases when creators or rights holders have authorized “junior”or “school” versions of stage works, they are active participants in the excision of “challenging” material,” and while perhaps that’s also a market-driven decision, I like to think that it also occurs in the best interests of allowing to students to take on work which would otherwise be wholly off-limits in a school setting. Regardless, I worry about the academic gatekeepers who mandate these changes, which may vary from school to school or state to state, and in far too many cases are done at the school level without any approval from the licensing house or creator. That’s where censorship is truly taking place and insidious. It’s where the idea that anyone can alter a stage text at will is born, much to the consternation of authors, and their representatives at the Dramatists Guild, in the U.S.

As Sondheim notes in the New Yorker piece, “If you look at most plays, it’s like the sonata form in music–if you screw around with that, you’re taking your life in your hands.”

It is clear in the article that Sondheim is an active participant in the film of Into The Woods, whether his resulting choices are grudgingly mercenary or willingly collaborative is hard to assess. Regarding the removal of the Baker’s Wife’s liaison and the song “Any Moment,” the article reports one educator’s distress and Sondheim’s acquiescence.

“Stick up for that song!” a teacher called out.

“I did, I did,” Sondheim said. “But Disney said, we don’t want Rapunzel to die, so we replotted it. I won’t tell you what happens now, but we wrote a new song to cover it.”

As with any adaptation of a prior work, changes are inevitable. Fortunately, the new version doesn’t change the source, and in the case of Into The Woods, Disney’s film won’t yield a whole new stage text. I do worry that schools will interpret the screen revisions as permission to alter their own productions, which is in fact illegal; I’ve been struck by how often opposition to Sweeney Todd has arisen from the film’s gouts of bloods, which suggest that gore is essential to the show, when even John Doyle’s Broadway revival dispensed with obvious blood-letting, so the films do suggest a template to the public. What is very likely to occur from the Into The Woods film is that people beyond the core fan base for musicals will be introduced to the genius of Sondheim and, perhaps, that even more schools will do the show – according to the approved text.

It may be fun join in online outrage, but it’s an impotent act in a case like this. The film will be what Disney wants it to be. Why not put those efforts to better use, and direct them to supporting live theatre and making sure that the teachers whose genuine concerns sparked this kerfuffle have the opportunity to tackle brilliant and challenging work with their students, their schools and their communities. That’s where your voice can make a difference, in advancing the cause of arts education and in the battle against true censorship whenever it arises.

Addendum, June 23, 2014: One week after The New Yorker article came out and five days after the online furor began, Stephen Sondheim released the following statement about changes to Into The Woods, which largely negates the cuts he said would be happening. It reads:

An article in The New Yorker misreporting my “Master Class” conversation about censorship in our schools with seventeen teachers from the Academy for Teachers a couple of weeks ago has created some false impressions about my collaboration with the Disney Studio on the film version of Into the Woods. The fact is that James (Lapine, who wrote both the show and the movie) and I worked out every change from stage to screen with the producers and with Rob Marshall, the director. Despite what the New Yorker article may convey, the collaboration was genuinely collaborative and always productive.

When the conversation with the teachers occurred, I had not yet seen a full rough cut of the movie. Coincidentally, I saw it immediately after leaving the meeting and, having now seen it a couple of times, I can happily report that it is not only a faithful adaptation of the show, it is a first-rate movie.

And for those who care, as the teachers did, the Prince’s dalliance is still in the movie, and so is “Any Moment.”