Lin-Manuel Miranda and Quiara Alegría Hudes, authors of “In The Heights” (photo courtesy of New Dramatists)

The casting of the upcoming production of In The Heights at Porchlight Music Theatre in Chicago, in particular a non-Latinx actor in the leading role of Usnavi, has provoked a great deal of comment and controversy. On August 9, Victory Gardens Theatre hosted a public forum, “The Color Game: whitewashing Latinx stories,” which drew a full house and an even larger online audience to explore the issues of race, ethnicity, authenticity and representation provoked by the Porchlight casting and an earlier production of Evita in Chicago; reporting from the Chicago Tribune and Chicago Reader on the forum expanded its reach yet further). The event had been preceded by multiple online essays on the subject, including posts by Trevor Boffone, Tommy Rivera-Vega and Jose T. Nateras, as well as two reports (here and here) from Arts Integrity as the situation unfolded, and a commentary by me, writing in my capacity as interim director of the Alliance for Inclusion in the Arts.

On Sunday evening, August 14, Victory Gardens artistic director Chay Yew shared, via Facebook, a post that was headed, “Just Got this from Lin-Manuel and Quiara.” Readers have noted that it seems to be coming from a single voice, but Hudes’s preface addresses that:

I will be swamped returning from vacation and may not get a statement out, I wanted to forward you my email interview thread with Diep Tran for American Theater at the end of July when this happened. Lin stood behind my comments in this thread then, and I assume that still stands. Here are some of my most relevant comments, cut and pasted for continuity which I am comfortable with them being posted publicly, in the context of “excerpts from her interview with Diep Tran for American Theatre Magazine.”

For those seeking more clarification about Miranda’s position, I was in touch with him with him following the publication of the American Theatre article; he had been on vacation when the controversy over Porchlight’s casting emerged. Responding to an offer to add his own thoughts, he wrote, referencing Hudes’s comments in the the article, “I honestly can’t improve on her words. She speaks for us both.”

Hudes’s full statement to Yew is as follows:

I am not familiar with Porchlight but based on them being Equity, then I can only assume this is a professional theater company. Within the context of professional productions, casting the roles appropriately is of fundamental importance.

The fact is that creating true artistic diversity often takes hard work. Concerted, extra effort. It takes time and money. You cannot just put out a casting call and hope people come and then shrug if they don’t show up. You may need to add extra casting calls (I do this all the time), to go do outreach in communities you haven’t worked with before. You may need to reach out to the Latino theaters and artists and build partnerships to share resources and information. You may need to fly in actors from out of town if you’ve exhausted local avenues, and house them during the run. When faced with these expensive obstacles, an organization’s status quo sometimes wins because it’s cheaper and less trouble. The Latino community has the right to be disappointed and depressed that an opportunity like this was lost. It can be very disheartening, as an artist and as an audience member.

The sad fact is that even in New York, where we Latinos abound, the theater world often reflects a much more closed system. I’m talking onstage and off.

For decades, the vast majority of Latino roles were maids, gang bangers, etc etc. It’s demoralizing, obnoxious, and reductive of an entire people. It’s a lie about who we are, how complicated our dreams and individuality are.

Chicago has a historic Puerto Rican and Latino community. Its history as a hub of Latino migration is beautiful and robust. I’ve had the honor of working in Chicago numerous times and getting to know a deep pool of diverse talent there. Artists like Eddie Torres founded Latino theater companies to create opportunities where there were none. The Goodman houses a Latino theater festival frequently, and they did a beautiful job casting my play The Happiest Song Plays Last. DePaul recently hosted the Latino/a Theater Commons festival. Chicago is poised to be at the forefront of these issues!

I am proud to have written complex roles for actors of many ethnicities: Latino, African-American, White, Asian-American, Arab-American. I have stumbled at times. But I continue to commit to nuance and specificity as the core of the dramatic impulse, and the gateway to the human experience.

I have been in a lot of rooms where people give lip service to being committed to diversity. But that’s different than doing the hard work that it often involves.

I do not hold these views as strongly with educational and non-professional productions. I’m happy for schools and communities who do not have these actors on hand to use In the Heights as an educational experience for participants of all stripes.

I have had the pleasure of working with directors of many backgrounds on my work. Women and men, Latin@, Asian American, African American, bicultural, and white. I have purposely tried to work with the widest range of directors possible, aesthetically and culturally speaking, and this broad group of collaborators has enriched my vision as an artist.

I have chosen directors based on many considerations: aesthetics, artistic mission, their connection with a given script, their history of excellent casting and designer collaborations.

Rather than demand a particular background for a director of my work, I try to encourage Artistic Directors and producers to consider hiring woman directors and culturally diverse directors THROUGHOUT their season–not just for the “Latino” play or “women’s” play. Directors of color should be hired to do EVERYTHING. They should be directing Shakespeare and Moliere and Ibsen and Cruz. Not just Cruz.

This post, in a slightly different form, first appeared on the website of the Arts Integrity Initiative.

“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

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.

I am angry and I am sad. But I am not entirely surprised.

Earlier this morning, Dawn Burch, drama director at South Williamsport Area Junior/Senior High School in Pennsylvania, was fired from her position. By e-mail. The reason given? “Job performance.”

It doesn’t take a detective to figure out what’s really going on. At the beginning of July, Burch asserted that her musical choice for this school year, Spamalot, had been nixed by the school due to its gay content. School officials vehemently denied that was the case.

In late August, Keystone Progress and I received copies of school e-mails between Burch, principal Jesse Smith and superintendent Mark Stamm regarding the decision. An e-mail from Smith from the end of June cited “homosexual themes” as the reason for canceling the show.

So now, less than a month after the administration’s efforts to hide their own actions were revealed, Burch suddenly loses her job. Save for holding auditions and beginning rehearsals for the school’s fall play, Alice in Wonderland, she has barely undertaken her job for this year, as prior to that it was summer break. When exactly did these job performance issues come to light? Awfully coincidental, no?

I believe Burch has been fired for telling the truth. Burch has been fired for not being willing to accept that gay life was not something to be hidden away, not something to be ashamed of, not something to be afraid of. It hardly takes another Right-to-Know request to put together the pieces.

I wanted to interview Burch about what has transpired, but she was too emotional to say much more than the bare facts of the firing as cited above, except to express concern about what would happen to the fall play and to the students already cast, who were looking forward to being in the show. Will it still happen? Who knows. But even on a difficult day, Burch’s main concern was for the students. She may not be a teacher (and therefore has no tenure), but putting the needs of students first is a sign of an excellent teacher, accredited or not. There are many ways to teach.

It’s worth noting that at a Board of Education meeting a week and a half ago, conversation regarding the Spamalot issue was expressly deferred until this coming Monday, September 22. So it’s quite remarkable that this decisive action took place even before the South Williamsport community could discuss the issue publicly; that they were denied any opportunity to speak before the issue was resolved and that it became a referendum on Burch’s performance, rather than about condoning homophobia and then hiding that fact. Will the topic still be discussed Monday night? Perhaps. But there’s going to be a lot of discussion in the past tense when it comes to Burch.

Perhaps we’ll all be surprised. Perhaps overwhelming support for Burch will be in evidence on Monday night. Perhaps the Board of Ed members will discover that this is an issue that will be a factor when they run for reelection. Perhaps parents will make clear that they can’t trust the word of the board chair, the superintendent and the principal, given their efforts to obscure the truth in this situation. Perhaps the press will cover the fallout of this firing with rigor and depth, and a truer picture will emerge.

I don’t know how the students will feel, or what they’ll be told about the loss of their drama director. I don’t know how they’ll react, or if they will at all. But just as kids are smart enough to intuit a great many things from a very early age, I suspect many of them are going to realize that they’ve just been given a lesson in right and wrong, in honor and duplicity, in the politics of fear and silence. They’ve seen just how badly their elders can behave in the name of protecting them. I hope they’ll see through it as well.

And I hope they’ll realize that Dawn Burch is a hero. I think plenty of people already do.

Even if I were to attend the Board of Education meeting of the South Williamsport Area School District in Pennsylvania this coming Monday, September 22, I couldn’t speak. That’s because the district only allows comment from residents and taxpayers, and I am neither. Even if I were permitted to speak, I very likely would only be permitted to make a statement, since many school boards allow public comments at meetings, but don’t necessarily engage in dialogue. I have no idea what the practice is in South Williamsport.

I remain very concerned about the school’s decision to cancel the musical Spamalot due to, in the words of Principal Jesse Smith, “homosexual themes.” This is no longer an issue about play choice, but about institutional bias. As a result, I have a lot of questions I wish I could ask, both at that meeting and elsewhere in South Williamsport, about all that has transpired over this clear effort to suppress any portrayal of gay life at the Junior/Senior High School, even in a piece as non-doctrinaire as a Monty Python musical.

So all I can do I toss my questions out into the universe, hoping that perhaps a resident or taxpayer might ask them, or speak to them, before Monday night, during the Board of Education meeting itself, and afterwards.

1. Principal Jesse Smith: when this story was first reported, a quote was falsely attributed to you, which has rightly been corrected and/or excised. In school e-mails, you expressed concern that this falsely attributed statement made you look like a bigot. However, the central issue remains – you don’t think it appropriate for homosexual characters or relationships to appear in a school show. This leads me to ask an obvious question: do you personally support or oppose equal rights for all people – gay, straight, bisexual and transgender? Do you personally think the portrayal of gay characters in Spamalot is inappropriate in a school setting, or are you acceding to the opinions and wishes of those who do?

2. Superintendent Mark Stamm: internal e-mails from the school have you declaring that Mr. Smith’s original decision on this issue is “sound.” Therefore, it’s only natural to ask you the same question put to him: do you personally support or oppose equal rights for all – gay, straight, bisexual or transgender?

3. Board of Education chair John Engel: On July 3, regarding the initial assertions that Spamalot was canceled due to gay content, a story from PennLive/Patriot-News said, “Homosexuality did not enter into that decision, Engel said.” The released e-mails prove that homosexuality was the reason for the decision. So, were you given false information by school district staff that led you to make this incorrect statement, or were you attempting to obscure the facts? As an elected official, what is your position regarding the dissemination of incorrect information to the public by any member of the school staff or school board?

4. WNEP Television: You first reported the story of the cancelation of Spamalot and, regrettably, that story contained a noteworthy error which proved distracting. Several days later, you aired a second story about the community coming together. However, since then, you have not reported on the story at all, even after multiple sources revealed that indeed it was the show’s gay content that provoked censorship. Is this fulfilling your responsibility as a source of local news? Have you scared yourselves away from covering an important story?

5. PennLive.com/Patriot-News: You also wrote about the Spamalot controversy when it first broke in July, but have not written about it since the school e-mails were revealed. Why do you not consider those facts newsworthy, especially since they contradict material you previously reported?

6. The news staff of the Williamsport Sun-Gazette: Why did it take a blogger and a progressive advocacy organization to bring forward the truth of the reasons for Spamalot’s cancelation through Right-to-Know requests? Given the information you published originally, it was clear there were varying accounts, and there was an obvious way to clear things up. Why didn’t you do this on your own? Why, once the e-mails were revealed, did it take you another 10 days to report the story?

7. The editorial page staff of the Williamsport Sun-Gazette: Since your paper ultimately wrote about the release of e-mails which made clear that Spamalot was canceled due to its “homosexual themes,” and prior statements from school administrators had been designed to obscure that fact, you have not mentioned this issue at all – either with any letters to the editor or an editorial. In fact, you haven’t offered an editorial about this situation at all since the story first emerged in early July, even though you have managed 10 pieces relating to the Federal government, including terrorism and the IRS, among many others, in that time. Why haven’t you written a word about a case of anti-gay bias in your own backyard?

8. Superintendent Stamm: When you spoke to the Sun-Gazette about the released e-mails, you spoke about statements being taken out of context. However, as the Right-to-Know administrator for the district, you were personally responsible for redacting the context in the e-mails, presumably with advice of counsel. Is it reasonable to complain about lack of context that you blacked out? Also, you defended Mr. Smith’s signature on a check for the rights to Spamalot by saying the attached contract was folded. Is folded material a legitimate excuse for not understanding why disbursements are being made?

9. To the (claimed) South Williamsport area parent who contacted me via my website: You wrote, “I have a child that attends the So. Wmspst school district and would never want him exposed to that sexual sin. There are still parents and students and many members of our community who do not agree with homosexuality or gay marriage… We have freedom of speech also-I don’t want to see our innocent children exposed to that. They don’t need to grow up thinking that it’s normal. Some of us still have morals. Keep it out of South!” Your freedom of speech absolutely does guarantee you the right to express your opinions. However, a public school has the responsibility to prepare students for life and to teach them about the world beyond their local community. Do you believe that your disagreement with aspects of the world can dictate what students learn and perform?

10. All officials and residents in South Williamsport: national news reports on this issue have the potential to leave a lasting image of your town as one that does not believe in inclusion and equality. Will you make a public effort to assure members of the local, regional and national community that South Williamsport accepts, respects and welcomes all people as equals, without regard to gender, age, race, religion, disability or sexual orientation?

I realize that my questions go far beyond the scope of a Board of Education meeting. But that meeting is as good a reason and opportunity as any to start raising these questions, since they arose from a school issue. Now all I can do is hope that they get asked.

Among the many responses I’ve received to my accounts of the censorship of the musical Spamalot at South Williamsport Junior/Senior High in Pennsylvania was a tweet from Dane Rooney, an English teacher and drama director in Shenandoah PA, who spoke of his own school’s Spamalot. I invited him to e-mail me with more information, but instead of a handful of bullet points, I got an essay. I asked if I could share his communication and, with a few adjustments by Dane for wider readership, this is his account of productions of both Spamalot and The Producers at this Central Pennsylvania school of less than 500 students across six grades. – Howard Sherman

BY DANE ROONEY

Ever since I was in kindergarten, I wanted to act and direct. Coming from Shenandoah – a small town in the hard coal region of Northeastern Pennsylvania – opportunities to act were scarce. Even entering high school, there wasn’t a consistent theater organization. That is until 2001, when I was a sophomore and my brother Colin was in seventh grade. We joined the club and performed in Grease, and since then, the Shenandoah Valley Drama Club has produced a musical every spring. I graduated college and was hired as an English teacher at SV in 2007. I also began directing the musicals.

The Shenandoah Valley High School cast of Monty Python’s Spamalot with the visiting ambassador of Nigeria.

Every single year I hoped that Monty Python’s Spamalot would become available. Hours before the opening of Grease in 2001, we watched Monty Python and the Holy Grail to relieve some of our nerves. It became a ritual for a while, and so when Colin and I saw the Broadway tour in Hershey in 2008, I felt that one year, the SVDC would have the opportunity to produce the hit comedy. Colin passed away that year from meningitis, so producing Spamalot took on a deeper meaning than just a silly comedy.

Just like South Williamsport High School planned for their 2015 production, SVDC wanted to produce Spamalot after success with How to Succeed in Business without Really Trying. Once the rights were available in PA in February of 2013, the Shenandoah Valley High School principal and superintendent approved the show without any “school edition” edits or optional dialogue/lyrics, which Eric Idle makes available through Theatrical Rights Worldwide. The administration and school board trusted me with the show’s material and felt that it would be a great production choice. On April 19^th 2013, the Shenandoah Valley Drama Club became the first high school in Pennsylvania to produce Monty Python’s Spamalot.

Not only was I excited to direct one of my dream shows, but the students were thrilled about the choice to perform in Spamalot as well; many of them already loved the film version. Typically high school drama clubs have a majority of girls in the cast, however over the last four years, our drama club has become a predominantly male cast. The show fit us perfectly: the cast, the humor, the edginess, and that certain strangeness in most Python works.

Though Shenandoah is an even smaller town than Williamsport (located about 60 miles from us), no questions were ever raised about the gay marriage or the gay characters in the show. In fact, I was more concerned about the song “You Won’t Succeed on Broadway” which is a song poking fun at Broadway and the large Jewish community involved in Broadway productions.

Danny Schaffer and Eric Rooney at the wedding of Sir Lancelot and Prince Herbert at Shenandoah Valley High School’s Spamalot

The students who played Sir Lancelot and Prince Herbert (the couple who get married at the end of the show) treated their characters with seriousness and humor. Both actors were nominated for Best Comedic Actor at our local high school awards, and the senior who played Lancelot (and other various characters) won the award. “His Name Is Lancelot”, the song in which Lancelot comes out of the closet, was by far a crowd favorite. The trick was casting some of the most charismatic students in our school as the gay male rumba dancers. I assembled four football players, the school mascot, and a class clown and we tried to keep it as much of a secret from the student population as possible. We worked countless late night hours at dance rehearsals, working around their sports schedules. When they appeared and the song began, I could hardly hear the music; the crowd burst into an uproar of applause, laughter, and cheers. I’m not even sure if they know the impact they had on the drama club, the student body, and the community; but I hope they know now and I know they were proud to portray gay characters in such a great scene and I am proud of them for doing it so bravely.

This song and this play became a highlight for our drama club. The audience loved the show and, to up the ante even further, we chose to perform The Producers the next year (April 2014). Because of the success of Spamalot (in which our cast size was about 30), we had over 60 kids in seventh through twelfth grade make the cut for the cast of The Producers. With stellar comedic actors, we pulled off another edgy musical, even topping Spamalot according to most audience response.

Angelo Maskornick as Roger De Bris and Eric Rooney as Carmen Ghia in Shenandoah Valley High School’s The Producers (Photo by Mary Sajone)

In The Producers, the students who played Roger De Bris and Carmen Ghia, the gay director and his partner/assistant, were so believable that audience members were “aww-ing” at some of the more tender moments between the pair. During the song “Keep It Gay” in which Roger explains that all theater must have something gay in it, the members of Roger’s production team pulled audience members onto the stage to join in the dance and conga line. The audience couldn’t stop laughing and enjoying themselves. On our final performance, the junior who played Roger went all out after “Springtime for Hitler” by laying a surprise kiss on his onstage partner, sending the audience into an uproar that nearly resulted in a premature standing ovation. It was as if our audience wanted them to be as affectionate as any straight couple in a high school musical.

However, I heard of one concerned comment that was made. Someone was worried about any closeted seventh grader watching upperclassmen portray gay characters in a satiric way. This person’s concern was that a closeted youngster might feel even more afraid to be themselves. I, however, feel passionately that, by choosing shows with gay characters and portraying them in a truthful way, we lighten the weight that a closeted seventh grader holds on his or her shoulders. Seeing a popular junior and sophomore act as a loving gay couple in a successful show like The Producers allows that seventh grader to fear no more; it allows a community to accept, to laugh, and to love. It also opens the doors for other actors to expand the roles they audition for in upcoming years, to make it okay to play any type of role. The high school actors playing gay characters in both Spamalot and The Producers performed for the thrill of acting, entering the stage with humor and bravery; what they never expected is that when they took their final bows, they left that stage heroes.

This year, we estimate that 80 to 90 students will be auditioning for the musical – that’s nearly a fifth of the school’s population. We have become the most popular and largest organization in our school, including all sports and extracurricular activities. Theater is alive and well at Shenandoah Valley High School.

As an educator, it is my duty and an honor to provide my students with everything they need to succeed. It is my job to ensure the safety of my students, and that means creating an environment free of judgment, prejudice, and hate. This story of how the SV Drama Club includes gay characters is one that I’m proud of, but the fact of the matter is, it never needed to be explained or justified over a year ago when we produced it. I am happy to share our story if it means that a high school may stop and think about the harm they are doing upon their community and student body if they decide to exclude a show based on the show’s inclusion of gay characters.

The fact is this: Spamalot is a perfect show for any high school, and if you’re lucky, it will have an astounding effect on your students, community and organization as it did at Shenandoah Valley High School.

Once each year, the world turns its eyes to Williamsport and South Williamsport PA, as young athletes from around the globe compete in the Little League World Series. This year has garnered particular attention for the wunderkind pitcher Mo’ne Davis, whose story has united people across any manner of gender or racial lines, through the talent and grace of a single young woman. Less publicly and widely known, however, was that over this summer, the administration of the South Williamsport Area School District and the town’s Junior/Senior High School had been working against the very spirit of inclusion and diversity that is in abundant evidence on the town’s ball fields. (My previous reports were posted on July 2 and July 15.)

It was first reported by the local television station WNEP on July 1 that the school principal had canceled plans for a production of the musical Spamalot, slated for the 2014-15 school year. The reason cited, according to drama director Dawn Burch, was the musical’s gay content, which includes a same sex wedding. While a particularly incendiary statement in that initial report, about homosexuality not existing in the community, was attributed to principal Jesse Smith, it was declared inaccurate by all parties, and excised as of July 3.

The Sun Gazette of Williamsport, on July 3, reported that Dr. Mark Stamm, the district superintendent, denied Smith ever made the excised statement, though Stamm never spoke directly to the broader issue of the show being canceled over gay content. He also declared that the production had not been approved according to district policy.

Because Burch, acting on advice of counsel, would not release her communications with Stamm and Smith to corroborate her account, I became one of at least two parties to seek access to the school’s internal communications about the show under the State of Pennsylvania’s Right To Know Law. I received the materials in question yesterday, August 20; the metered postmark was August 18.

In brief, the materials make clear that Burch was telling the truth about Smith’s statements, namely that “homosexual themes” were the reason the show was being rejected, and that despite Stamm’s assertions as the story went public, it would seem Burch had very likely gone through the proper channels in seeking approval for the show or at the very least honestly and openly believed that approval had been given.

Cause of Cancelation

Regarding the assertion that Principal Smith had cited gay content as a cause for canceling the show, I quote first from an e-mail Smith sent to Burch on June 27, 2014 at 10:58 am. The first three paragraphs are redacted and only the following can be read:

“Finally, you told me late in the school year that you were looking to perform Spamalot for your spring 2015 musical. I have some concerns such as a guy sending another guy a message on girl’s underwear and a gay wedding to be performed. If you are still planning to perform this then we will need to talk.”

A cover letter to the materials provided to me by the school’s Open Records Officer – Dr. Stamm – states that six e-mails between Stamm, Smith and/or Burch on the dates June 27 through June 30 were withheld because they contained some combination of a) performance evaluation, b) written criticism of an employee and/or c) identifies child then aged 17 years or less.

Whatever was said in those e-mails aside, Smith sent an e-mail to Burch on June 30, 2014 at 7:27 am asking her to choose a different musical. He questioned the appropriateness of Spamalot as follows:

“I am not comfortable with Spamalot and its homosexual themes for two main reasons:

1. Drama productions are supposed to be community events. They are supposed to be performances that families can attend. To me, this kind of material makes it very hard for this to take place. I don’t want families to be afraid of bringing small kids because of the content. I don’t want members of the community staying home because they feel the material is too risqué or controversial.

2. I think that choosing productions with this type of material or productions that may be deemed controversial put students in a tough spot. I don’t want students to have to choose between their own personal beliefs and whether or not to take part in a production.”

So Mr. Smith feels that love is controversial, that homosexuality is risqué. He feels that people might be afraid of exposing children to it. To that I say: Mr. Smith, your statements condone the homophobic members of your community and seek to consign every gay resident to second-class status. Yet their love is not something to be feared or hidden any more than any romantic relationship of yours or Dr. Stamm’s or my own. You are coddling those who would seek to suppress and condemn, instead of setting an example of respect, equality and inclusion.

Yes, by statute Pennsylvania is inconsistent in its position on LGBT issues, in that marriage is legal for all, regardless of the genders of the couple, however the state doesn’t yet afford equal rights protection regardless of sexual orientation. But Smith is teaching lessons seemingly drawn from outdated textbooks. The law will catch up soon enough with society, either on the state or federal level, insuring equal rights for all. Stamm’s position that Smith’s decision regarding Spamalot “is sound” (e-mail from Stamm to Burch, June 30, 2014 at 1:12 PM) can be taken to mean that he condones the same discriminatory attitudes that would erase gay life, in any context, from the school’s stage. As an aside: the Motion Picture Association of America’s Ratings Board may share the school administration’s general view on representing homosexuality, according to critic Stephen Whitty of The Star-Ledger.

Approval of Spamalot

The earliest materials provided to me by the school district are dated June 27. As quoted above, Smith acknowledges that he had a conversation during the school year with Burch about her intention to produce Spamalot, and expresses specific reservations. However, there is no correspondence indicating prior approval, leaving conflicting accounts by Burch and Stamm in the press.

This leads to the very last item in the materials I received: a check dated May 12, 2014 to Theatrical Rights Worldwide, the licensing house, for $1,935, with the note “For Spring Musical – Drama.” It is signed by Jesse Smith. In an statement to me as I began exploring this situation, a representative of Theatrical Rights confirmed to me that an executed license was in place between the company and the school for Spamalot. The school also provided a copy of the Spamalot contract, signed by Burch, dated May 7, along with the check request (which did not specify the show title, only “Spring Musical License/rental/materials).” So how did a check get signed by Smith and sent to the company for a show that ostensibly wasn’t approved? Would Burch submit a check request for a musical that hadn’t been approved for Smith’s signature?

Any school administrator who has any experience in licensing theatrical material is certainly aware that payment is made in advance, not following a production. A Facebook events post shows that the school’s 2014 musical, How To Succeed In Business Without Really Trying, was produced in March of this year. So it is exceedingly unlikely the check could have been construed to be payment for that production two months in arrears. The school provided me with check requests and check duplicates for perusal copies of other shows that Burch looked at, perhaps to suggest that there was confusion, but there’s only one contract, and the only check other than the one that corresponded to the Spamalot contract that over $100 was the license fee for this fall’s play production.

I can draw only two possible conclusions. The first is that Burch had secured the proper approval, albeit verbal, for the production of Spamalot, and Smith’s concerns only arose roughly six weeks after he signed a check for the rights. In that case, he was backtracking on his prior approval and Stamm’s comments reported on July 3 were either misinformed or willfully meant to obscure the events. It would be very interesting to know what prompted Smith’s change of heart, if that is the case. When did Smith discover content he objected to, and how?

The second possibility is that Smith signed a nearly $2,000 check to license a show he hadn’t approved. In my training and experience, anyone with financial responsibility is expected to know what they’re paying for. A common practice is for a check request, along with either an invoice or a contract (or both) is attached as backup to a check ready for signature. I cannot speak for the business practices of the South Williamsport School District, but if this is the truer of my two scenarios, then it appears Smith didn’t follow a fairly standard fiduciary protocol and review the license he was paying for, and now wants to distract from that oversight by blaming Burch, who appears to have been operating openly and in good faith.

Now What?

With Jesse Smith’s statements about suppressing the representation of homosexuality at the school now public, perhaps he will speak about the entire situation; he has not done so publicly to date. Both Smith and Stamm should repudiate their positions – and acknowledge the truth of Burch’s original assertions – or they must deal with being known as educators who appear to deny the truthful, honest lives and loves of many of their students past, present and future, as well as the LGBT community locally, statewide and even nationally.

From my perspective, I don’t understand why, once they knew they had to reveal their positions as a result of the Right-to-Know requests, Stamm and Smith didn’t own up to what had taken place and get out ahead of the story with an apology. Instead, they have left it up to me and others to reveal the truth, which will no doubt be picked up and explored by yet more who care deeply about equality in our society. They would do well to immediately consult with local LGBT groups about establishing a Gay-Straight Alliance at the school in the next few months, to demonstrate their commitment to the open acceptance of all of their students. They should also make clear that Burch may produce plays, musicals or both that include “homosexual themes.”

And where does this leave Dawn Burch, a drama director who couldn’t quietly accept the administration’s exclusionary position and spoke out? Well as this news was first breaking, on July 3, 2014 at 8:39 am, Dr. Stamm wrote to her that, “The feedback we received from the community, both local and national, is being given appropriate consideration. Whether or not you are able to return as the drama director, is a decision that you will have to make.” It is important to note that Burch is a contract employee, not a teacher; she has no tenure. I hope the school system stands by letting her decide her future and that she stays on to run the theatre program, for the benefit of all the students, not just those whose lives find favor with those in power. And no matter what shows she puts on – in correspondence disclosed, she did express a willingness to consider other shows for the coming year, but not without the source and the reason for the change in selection being known – I look forward to visiting South Williamsport to applaud her.

*   *   *

I e-mailed Dr. Stamm and Mr. Smith last evening at 6:43 pm, asking if they would speak with me on the record about the situation, setting a 9 am deadline. As of 9 am this morning, neither had responded. When I reached Burch by phone last evening, she declined to comment further on the situation. Should any of the parties contact me for an on-the-record conversation subsequent to the publication of this post, I will add to it here or write additional posts as warranted.

Years from now, when the musical Wicked is eventually made available for school and amateur productions, will some high school administrator declare it inappropriate? After all, among its many plot strands is the story of (spoiler alert) the manipulative Madame Morrible, a school headmistress who schemes against those in Oz who don’t conform precisely to her standards, be they green girl or anthropomorphic animal. It’s a terrible portrait of pedagogy gone wrong and surely doesn’t foster the collaborative, supportive relationships that school leaders must seek with each successive generation of students, as well as with their faculty and staff. From that perspective, it’s seditious.

I’m reminded of this element of Stephen Schwartz and Winnie Holtzman’s massively popular musical as I consider the challenges to high school theatre that I’ve read about, heard about and involved myself in. Recently, I was engaged to deliver the opening keynote at the Educational Theatre Association’s (EdTA) annual conference for high school teachers. During the question and answer session that followed, one attendee asked the others how many had had shows turned down when they sought approval for them. Roughly a quarter of those in the room raised their hands. In follow-up, they were asked how many had wanted to do certain shows, but didn’t even try because they were sure they couldn’t get approval. Virtually every teacher raised their hand.

Because I don’t believe that these teachers had all been contemplating Oh! Calcutta!, I find myself wondering about their internal decision-making, their self-censorship. Surely they weren’t considering shows which would be blatantly inappropriate in a school setting, so what are those shows that they thought would be good for their students, but which they didn’t even dare raise as a possibility? That might make for an interesting survey in itself.

Of course, what’s acceptable to the powers that be at one school, in one town, may be considered problematic in another. Earlier this year in New Hampshire, Sweeney Todd was canceled at Timberlane High School (since reversed) even as another school just a few towns away readied their production of the same show. In 2012, Sonja Hansen lost her position directing shows at Loveland High in Ohio after her production of Legally Blonde was declared inappropriate, yet according to the EdTA’s annual survey, its was the fourth most popular musical in high schools nationally.

So I’m very interested in the new “Public Performance Policy” that has been put into place at the Junior/Senior High in South Williamsport PA, where a production of Spamalot has been canceled by the principal for reasons that remain unclear. The drama director Dawn Burch asserts that Principal Jesse Smith stated, in an e-mail, that the show’s gay content was a factor. Smith himself has been silent since this story broke, and while the school administration has taken exception to one element of the first report about the issue (since corrected), it has yet to produce the e-mail in question to clear things up. Two “Right To Know” requests have been filed seeking that e-mail and related documents; one of those requests is mine.

The timing of the Public Performance Policy, revealed last night at a meeting for the school board, is certainly no coincidence, coming between the initial assertions of anti-gay bias and the release of clarifying materials. As read by the school superintendent, Dr. Mark Stamm, it states:

General Guidelines: Public performances serve as a capstone project for students to showcase their dedication, determination, and talents for their peers and for their families. Performances must be age appropriate for participating students and audiences. Material that is generally considered offensive, suggestive, or demeaning based on race, religion, age, gender, or sexual orientation is not appropriate for school performances.

The first sentence of the policy, describing “showcasing dedication, determination, and talents,” is nicely affirmative ­– until one notices that there’s no mention of learning or growth, which would seem essential in any school activity, even at South Williamsport, where the drama program is extracurricular, and the drama director an outside contractor, not a teacher. That said, any adult working with young people in a leadership position is a teacher, accredited or not.

However, it’s worth noting that there is a mission statement for the drama program on the school’s website which admirably speaks to deeper value. It reads:

Our mission is to provide students with the opportunity to better themselves through the Arts. Whether it is onstage or backstage, in the production crew or artistic departments, theater helps all people more deeply understand our place in our modern, multicultural, globalized world.

As an aside: finding the drama information on the school website isn’t entirely logical. While there’s a section for clubs, which includes “Yearbook,” “Chemistry,” “Student Council” and “Songwriters and Musicians,” it doesn’t include “Drama.” The Athletic Program has its own site, with its own URL separate from the school district’s. But “Drama” falls under “Departments,” along with “Guidance” and “Nurse,” to which it seems wholly unrelated. How very odd to set it apart in this way.

But returning to the Public Performance Policy, the second sentence isn’t particularly troublesome, so long as it is not used as a justification to infantilize students by feeding them dramatic pabulum. But it’s the third sentence sentence where things turn tricky. While the phrase about not demeaning any parties is admirable (although in their seeming haste, they neglected disability, among other concerns), the language which begins the sentence is limiting, yet vague. “Offensive” and “suggestive” are completely subjective, presumably to be determined according to Justice Stewart’s famous phrase about what constitutes obscenity: “I’ll know it when I see it.” But no two people probably agree about what is offensive, or what is suggestive.

If this policy is meant to be general guidance for teachers (and contractors), shouldn’t it be constructed as such? Wouldn’t it be better to use affirmative language about supporting and advancing society through inclusive representations of race, religion, age, gender, or sexual orientation, instead of saying it simply won’t demean people on those grounds? As it is now, the policy seems more a declaration for the public, and a very general yardstick that teachers might be struck with should they violate its amorphous tenets. Since the school already has a practice of the principal approving the drama productions, it seems that process would presumably address content concerns, based upon reading the text and exploring productions and educational materials from other schools as aids, but in an open dialogue that would negate the need for future Right To Know inquiries. That said, I don’t favor shows going to any manner of public vote, and school boards shouldn’t decide play selection any more than they tell a coach what athletic plays to run.

I wonder, however, where the concerns were when the South Williamsport High School did Grease and Once Upon A Mattress? Certainly there are those who would find the plot points about pregnancy out of wedlock in those shows both offensive and suggestive. Grease, frankly, is rife with suggestiveness, at least as I construe it, but I don’t happen to find it offensive; but it was more than enough to cause a school in Missouri, following a 2006 production, to cancel the next show on the schedule: The Crucible. What about Urinetown, produced at the school in 2009? All that talk of toilets and body functions must have offended the sensibilities of some in South Williamsport. The world’s most famous teen suicide story, Romeo and Juliet, was staged, but I wonder whether the school provided educational programs and material to students and the public about the dangers of romanticizing exactly the sort of behavior Shakespeare depicted?

Was everyone sanguine with the following plot points, drawn from two synopses on the website of the licensing house Music Theatre International:

Soon after, attractive and seductive women appear and slowly surround him (“With You”). At first, Pippin is enjoying the romanticism, however, the mood quickly changes and the women bombard him. Pippin is pulled into numerous exotic orgies.

*  *  *

Audrey has forgotten her sweater, and Orin slaps her around for it…. Orin then pulls out a container of laughing gas, complete with a gas mask and puts it on himself to get high… Seymour feeds Orin’s body parts to the plant.

Obviously they passed muster, because Pippin and Little Shop of Horrors were produced at the school before Dawn Burch was hired. With this new policy, could any of the aforementioned shows be done again? Indeed, since there are – sad to say and sad as it is – still people who find homosexuality offensive, would LGBT life in any play or musical be precluded from the South Williamsport stage in deference to their reactionary sensibilities?

At the EdTA conference, I repeatedly counseled teachers to cultivate open and honest communication about their work with their department heads, their principals, even their superintendents if possible. Support for sports seems a given at our schools, but support for all of the arts, and it seems theatre in particular, must be developed over time – and started anew each time a key leadership position changes personnel.

When cancelations emerge from behind school doors into the public consciousness, locally and nationally, genuine rifts inside school communities and even entire towns are always possible, with long-lasting and detrimental effects on drama programs. Some schools, such as in Everett MA, do away with drama altogether, deciding a fair and open discussion about dramatic value is simply a nuisance – and therefore the program is as well. Yet are sports shut down when a student is seriously injured, publicly? No. In the case of football, it remains celebrated, even as data on traumatic brain injury mounts, because athletic prowess and competition is honored. It is the thought and expression of theatre that seems to be the dangerous undertaking in so many instances.

Another question I now field with some regularity is whether it’s wise to speak up publicly about these conflicts, bringing them broader attention than they might otherwise receive. My response is that it does carry risk, but if people believe in the power of theatre to not only entertain but educate, in the best interest of the participating students first and foremost, staying silent only allows repression to flourish, and for students to be consigned to the blandest, safest, time-worn work possible. And doesn’t Wicked (among countless works of literature) teach us about the dangers of people working behind the scenes, censoring, excluding, supposedly in the best interest of the community at large?

Having cited Wicked twice, let me finish with a few lyrics that hark back to L. Frank Baum’s Oz stories. I think this pair of couplets, devised by master satirist Tom Lehrer almost 50 years ago, speak simply and directly to slippery words like “offensive” and “suggestive.”

On July 2, I wrote about a situation at South Williamsport, Pennsylvania’s Jr/Sr High School, where a production of Monty Python’s Spamalot, slated for 2015, was canceled, reportedly due to its gay content. A number of news items and opinion pieces were written about the cancelation, with particular attention paid to a statement that homosexuality doesn’t exist in the community. However, the television station which first reported the story subsequently repudiated that portion of its report, saying the statement had not been made. They stood by the rest of their account, which relied primarily on an interview with Dawn Burch, the school’s drama director.

So, nearly two weeks later, where do things stand?

As originally reported, Burch asserted that the principal’s cancelation was attributable to gay content in Spamalot, which he communicated to her in an e-mail. Burch sought legal counsel regarding her right to release that communication, and she has yet to share it, presumably on the advice of counsel. So the reported smoking gun that could prove or disprove anti-gay bias on the part of the South Williamsport district and/or the school administration has not been revealed.

However, the state of Pennsylvania has very clear “right to know” laws, available to both state residents and non-residents alike. Consequently, this morning, I filed a request for all documents and communications regarding the musical, in particular any communications between Burch, superintendent Dr. Mark Stamm, principal Jesse Smith and the licensing house Theatrical Rights Worldwide. According to Pennsylvania law, upon receiving a request, an agency has five days in which to either accede to or deny a request, with subsequent appeals processes.

As I was filing, I learned from a press report that another entity had filed the same type of request on July 10. While the source of the request was not identified, based upon their submission date, they should get an answer by tomorrow or at the latest Thursday, depending upon when exactly they submitted it. Without knowing who requested the material, it’s impossible to know whether they will make the response, successful or not, public. But at this point, I’m in the secondary position for an answer.

In the meantime, Equality Central PA had held a conference of support for gay rights on July 3 in Williamsport, which was attended by superintendent Stamm and school board president John Engel, as well as Dawn Burch. The event was by all accounts a positive one. But additional news reports included statements which suggested that Spamalot was only one play under consideration and had not in fact been selected and approved. Yet the superintendent said the play was canceled to avoid controversy, without specifying what he found to be controversial. While officials can’t even agree on whether the play was ever approved or was in fact canceled, the lack of approval claim is in direct contradiction of the statement I received from licensor Theatrical Rights Worldwide, that made clear that a license had been granted, which surely required both a contract and an advance payment (I don’t imagine any school enters into contracts for multiple shows while they wait to make a final decision). While Burch may have signed the agreement, surely someone from the district with authority signed the deposit check; it will be interesting to learn who approved that payment.

Last night, at a school board meeting in South Williamsport, the receipt of the first Right To Know request was acknowledged. However it appears the only public comment beyond that was that it had been referred to “the district’s solicitor.” As expected, they’ve lawyered up. For the record, my attorney received my e-mailed records request concurrently with the school district.

FYI: here’s an interesting tidbit. Under Pennsylvania’s Open Records Policy, every state and local agency must appoint an Open Records Officer. For the South Williamsport School district, that officer is Superintendent Stamm, not an outsider, ombudsman or impartial arbiter. I can’t help but suspect the documents won’t be quickly forthcoming.

And so, we wait, either for Dawn Burch to be assured that by releasing the e-mail she will not be putting herself at professional or personal risk or liability, or for the school system to release the e-mail, voluntarily or compelled to do so by law, the content of which they have not explicitly denied.

To be continued.

Addendum, July 19, 2014: When I got home last evening, I had mail from the South Williamsport Area School District, dated and postmarked on July 16. It acknowledged receipt of my request for records under the Right-to-Know Law and said that the request was under review. However, it was most specifically a “Notice of extension for time to respond to request,” citing the following reasons: 1) “Your request for access may require redaction of public records,” and 2) “A legal review is necessary to determine whether the requested record is a public record subject to access under the law.” The letter further states that, “The School District expects to provide a response to you on or before Monday, August 21, 2014. If the school district fails to provide you with a final decision within that time period, your written request is deemed denied.” It is signed, “Dr. Mark Stamm, Superintendent and Open Records Officer.”

And so, in accordance with the applicable Pennsylvania law, I must wait. If the request is denied, I have the right of appeal, at which point the Pennsylvania Office of Open Records becomes involved. As I wrote previously, I doubted I’d get an immediate, affirmative response to my request, so while this is frustrating, it is not surprising. I suspect that many people don’t have the patience to see freedom of information and open records requests through to the end. However, I am not one of those people.

Addendum, July 31, 2014: Equality Central PA has issued an update regarding their press conference from July 3 and their written offer to work collaboratively with the South Williamsport Area School District “in order to foster a more inclusive environment for all students.”  The update states, in part: “Dr. Stamm responded to the letter promptly, and Equality Central PA is now in discussions on how this new partnership will move forward together. As next steps are determined, details and updates will continued to be shared.” The update concludes with a note, stating, “It has been made known that two separate organizations have filed “Right-To-Know requests relating to the e-mails from Principal Smith to drama director Dawn Burch. Equality Central PA is not involved in those inquiries, but will share whatever information becomes available.”