New Play Development with CCNY Educational Theatre Graduate Students by Louise Schwarz

Over the summer, I held a virtual cold reading and discussion of a new one-act play that I wrote called Waiting for Glory. The play is about a team tasked with casting a new show and forced to hold open calls – with ridiculous results. The participants were mostly CCNY Educational Theatre graduate students, but I did invite a few other friends of mine who are actors and teachers or teaching artists, both locally and nationally. The mission was to think through the play for an educational theatre market; I’ve been writing plays for decades, but I have not typically written plays primarily for that context. I work in college admissions for The American Academy of Dramatic Arts and the high school I graduated from didn’t have a theatre program at all so I’ve only recently been directly exposed to high school thespian festivals (main lesson learned so far from my festival visits: I’m jealous!)

(All photographs courtesy of Camp Ballibay)

In advance of the reading, I posed several questions to think about within the educational theatre framework, and then posed them again when we started in the post-readthrough discussion. What age group can you see doing this? As the hypothetical director/teacher, is it easier for you if the French scenes are divided into actual scenes to make scheduling and planning simpler, or is it better to build in a fast flow of transitions right into the text without delineating everything, in order to prevent multiple clunky scene transitions? Are there any red flags, is there anything problematic, is there anything that would get pushback from administration or parents? I was trying to tailor the play so that it would be easy to use on the festival circuit, and I know there’s a whole canon of popular plays with large, flexible casts and simple sets that run about 35-40 minutes, and it’s a very specific genre. Knowing that’s a thing, however, does not mean I’m very familiar with it! As a result, I was eager to hear from teachers who are pretty steeped in that catalog (or from teachers-to-be who remember it well as students), partly to hear if it fits that mold, but also to hear if anything in my play is already overdone or, conversely, if anything in my play might feel like a fresh take in that world.

It was a great group because we had such a wide range – a longtime suburban Arizona high school teacher whose students have placed and won in multiple thespian festivals all the way to professional actors who work as teaching artists in the NYC public school system. They were speaking very different languages, so it was exciting to hear their thoughts! It was also great to hear some of them suggesting building in more opportunities for directors to do big, grandiose things while others were begging me to simplify. It really drove home how dissimilar these worlds can be, and how much depends on resources and buy-in and leverage. Unsurprisingly, the more tenured drama teachers were definitely the ones pushing for the most simplicity! I heard that loud and clear, and it seems like the best approach is to make it as simple as possible with room for anyone with bigger ideas (or budgets) to go loftier, rather than making it complicated and forcing drama educators to do the work of paring it down. There were also polarized responses to the appropriateness of a few small bits of content, and we discussed ways that I could write in alternatives for teachers working in more conservative spaces. This also really drove home for me how critical it is for drama educators to be in community with each other, especially since so many are in very isolated roles at their schools.

The cherry on top of starting the summer bringing the CCNY folks into the development process of Waiting for Glory was that the summer ended with a production of it! Fellow CCNY Educational Theatre graduate student Alex Bernui heads up the Theatre Department at Camp Ballibay for the Arts in Northeastern Pennsylvania, and they made it happen!

I got a real treat when they shared the performance video with me – the play has 21 characters but these kids managed to pull it off with just 7 actors! They did such a wonderful job. Having its first production at an arts camp was particularly meaningful to me, since arts camp was where I cut my own teeth on drama as a kid (not to mention spending ten summers as an adult running the theatre department of a New Jersey arts camp).

In its current stage, I’ve revised Waiting for Glory down to two versions: a shorter, festival-length version (35-40 minutes) and an expanded version (50 minutes). Many of the actor-characters in the play audition with classical monologues, building in opportunities to work on verse and heightened language and to teach about plays by Goethe, Shakespeare, Marlowe, as well as Everyman by Anonymous. Both versions are also currently in the hands of a few publishers and several dozen drama educators worldwide (although I’m still tinkering with ways to tighten it up even more, just as I am with every play I’ve ever written), so I hope to see it out in the wild someday soon! I’m so grateful to my fellow CCNY Educational Theatre graduate students for helping out with their generous (and hilarious) talents and feedback, and to the graduate program in general for helping me think in a new way about who I’m writing for.

Brendan Leonard's Guide to Writing an Educator's Guide

Current CCNY Educational Theatre graduate student Brendan Leonard has written a curriculum guide for the Billy Rose Theatre Division at The New York Public Library for the Performing Arts. Inspired by the exhibition which is open through September 28th, Photo Call: The Theater Photos of Joan Marcus and Carol Rosegg, the guide explores the unique artistry of theater photography, offering educators guiding questions, activities, and resources for teaching this unique subject: https://www.nypl.org/blog/2024/09/13/curriculum-guide-theater-photos-joan-marcus-carol

I interviewed Brendan about his work and how his experience in our program has influenced him. Of this accomplishment, Brendan says he couldn't have done it without "my CCNY Ed Theatre community ".

How would you describe what you do at the NYPL or how did you come to write this exhibition guide?

I started working at the New York Public Library for the Performing Arts in 2017. My official title is Library Technical Assistant III in the Theatre on Film and Tape Archive. I assist researchers by answering questions, scheduling appointments, and getting them oriented in our screening room. On a given day, I might be assisting an international academic doing a translation of a play or a high school freshman who's never seen any theatre or Lin-Manuel Miranda. My favorite kind of patrons are students. I love being a guide for young people discovering a new world in the power of theatre. This is one of the reasons I wanted to join the CCNY Ed Theatre ensemble and develop my potential as an educator. 

Doug Reside, the Curator of the Theatre Division, came to me last spring. "You're in grad school, yeah?" Boy, am I! I've learned so much from my professors, especially Elizabeth Dunn-Ruiz and Sobha Kavanakudiyil, because I've taken multiple classes with both of them. I am thrilled that I got to apply what I've been learning to my work at NYPL. The curriculum guide serves as a companion to the Library's exhibition, Photo Call: The Theater Photos of Joan Marcus and Carol Rosegg, but can be used in perpetuity by accessing these photographers' work in our Digital Collections. 

Here's a link to the photography of Carol Rosegg. 

Here's a link to the photography of Joan Marcus. 

Theater photography is a unique subject that I believe offers educators a great opportunity, whether as an arts integration lesson or as an entry point to discovering a wide range of material. When you're perusing the work of these two incredible artists, you're seeing over thirty years of theatre history come alive! The images they capture are purposely provocative. Their goal is to turn the viewer of an image into an audience member of a show. Each and every picture could be a student's first step toward the theatre! "What is this show with puppets, Avenue Q, all about?" "What is the angel saying in this image from Angels in America?" We have so many resources to answer these questions at the Library!

How did your time in the CCNY Graduate Program in Educational Theatre help prepare you for this project?

I created my first curriculum guide in the course Exploring the History of Theatre (EDCE 7800A) with Elizabeth Dunn-Ruiz. I approached the major plays of William Inge (1913-1973) through the lens of reality pedagogy. I invited educators to explore Inge's writing as a collaboration with their students, guided by the question, why are his plays more forgotten than those of his contemporaries, Arthur Miller and Tennessee Williams? Do his plays resonate with young people? Should they? I believe they do, but how can depend on the way in which they're presented, how they're framed. It was through the process of creating this assignment that I realized how a curriculum guide can serve as a conduit to discovery. There is so much to explore at the Library for the Performing Arts, but unless it can be presented to students well and on their own terms, they might never discover the treasures in our collections. As an educator, I appreciate how a curriculum guide can help us with lesson planning. As a library worker, I am hopeful that it can guide students toward the countless items available to them for free here at the Library!  

What advice do you have for someone who wants to do this kind of work?

My advice is to plan ahead for collaboration. The guide was published long after my creative work was done. Over the last few months, I acted as its producer, while different teams within the Library system worked their magic. Different teams means different timelines and levels of priority. That being said, the more eyes, the better! The guide took a long time, but it was always inching its way to the best version possible. I'm very grateful for my colleagues at NYPL, who provided both their insights and their talent. I'd say, be firm as a producer, but not so precious creatively. The best ideas should win! 

Is there anything you wish I'd asked you or that you'd like to share?

I encourage everyone in the CCNY ensemble and greater community to visit the New York Public Library for the Performing Arts! Spend some time in the stacks on the 2nd floor, picking out new and old plays to read. Come to a public program, or visit an exhibition! There's one on the Joffrey Ballet opening soon. Make an appointment with Special Collections and look at the original program for one of your favorite shows. Come see an archival videorecording in the Theatre on Film and Tape Archive! My favorites are The Seagull with Meryl Streep and Philip Seymour Hoffman, A Delicate Balance with Elaine Stritch, or The Baltimore Waltz with Cherry Jones. 

I recommend visiting on your own first. I help facilitate class visits regularly. The only trouble is when it becomes clear that a teacher wants to bring a large group, but has never visited before and doesn't understand how our facilities operate. But please know, there are no silly questions! I hate to think that someone hasn't visited before, because they're intimidated by the process of setting up an appointment, or because of certain restrictions in place for preservation purposes. The Library belongs to you and your students! Come say, hi!

Click here if you are interested in events at the Library for the Performing Arts. 

If you would like to set up an appointment with Special Collections, please contact: theatre@nypl.org. 

If you would like to set up an appointment with the Theatre on Film and Tape Archive (including class visits), please contact: toft@nypl.org. 

If you have any specific questions, please reach out to me! My email is brendanleonard@nypl.org.  

And if you are interested in learning more about the CCNY Graduate Program in Educational Theatre, email me, Elizabeth Dunn-Ruiz, at edunnruiz@ccny.cuny.edu 

Jamie Thiessen Shares Some Parting Words

Graduation season is upon us! And as I reflect on my time in the program, it is hard to imagine a more life-changing experience than the Educational Theatre program at City College. 

Truthfully I almost didn’t apply, not just because teaching is hard, but because I knew that once I did start teaching I would be the only theatre teacher at my school, and possibly the only arts teacher too. It seemed like such a lonely career and I didn’t know if it would be worth spending all that time going back to school only to end up alone in my field. But when I looked around at the end of 2020, I had a baby to raise and a mortgage to pay, no covid vaccines available yet, no job, and no community nearby, so I took the leap. And I’m so grateful that I did, because what I found here in Ed Theatre, what my cohort and I created together, is a better community than I could have ever hoped for. Everyone in this program, from the students to the professors, is so generous with their time and their talents and expertise, and we have all grown so much together. I know that every person in this cohort is already a fantastic theatre teacher. Your students are, and will be, so lucky to have you.

As I reflect on how we’ve grown in this program and everything we’ve learned together, I’m struck by the ways our professors challenged us to rethink how education should look. From Sobha we learned about all the theatre practitioners who came before us, reminding us that we are not alone in this field, and she stressed the importance of de-centering whiteness and de-colonizing the curriculum so that our students of all backgrounds can see themselves reflected in theatre. From Jan we learned the importance of making our teaching practices accessible, and she challenged us to confront and unlearn how we think about disability and our students' access needs. From Elizabeth, we learned how to use the arts to teach literacy skills so we can proactively tackle the literacy crisis raging across the country. Elizabeth also took us on a deep dive into brain science in our curriculum class, and challenged us to be better at receiving feedback during student teaching.

Sobha, Jan, and Elizabeth, thank you for your consistent commitment to our growth, and helping us build a community together; not a safe space, but a brave space. A space where we can take risks in the classroom, where we can share our failures, and learn from them, and a space to share our victories, no matter how small. 

Our final year in the program we all collaborated to create our thesis in a class called Ethnodrama. The task was to choose a research topic, then pursue, research, question, write, conduct an field study, and ultimately take our findings and present the data as a piece of theatre; our Ethnodrama show. For those who couldn’t attended the performance, our research centered around the idea of Post-Truth, and we asked the question: how can we construct truth while living in a post-truth society? 

This year we spent together in Ethnodrama questioning everything we think we know and then somehow turning a year’s worth of academic papers into a theatrical presentation is an experience I will never forget and one that I will cherish forever.

We have all been through so much together. We’ve all seen our cohort experience loss and heartache beyond belief, and still come to class the following week to pick up where we left off. Because at the end of the day theatre isn’t just a hobby. It’s not just what we do or what we teach. It’s what we as a species need to survive. We are meaningmakers and storytellers, just like our ancestors before us. Our brains are constantly trying to make sense of the world around us and so we rely on art and theatre to understand what is happening in our world; to construct our truths even in a post-truth society. 

I want to thank each and every person in this cohort. The last 3½ years I’ve spent in this program have been immeasurably life-changing. I am a better person, a better teacher, and a better parent because of our time together. And as we go our separate ways and get jobs in different boroughs, I know that the WhatsApp chat we share will carry on, and bring our community with us into our next chapter. Thank you to our friends and family who supported us on this journey, thank you to City College for reopening campus so we could perform our Ethnodrama, thank you to my cohort for your endless creativity, thank you to our professors for leading the way to make all this possible. And to next year’s Ethnodrama class just remember: trust the process. 

Congratulations to the Educational Theatre graduating class of 2024. We did it!

Moses at The Met

For one of my fieldwork assignments, I accompanied my brother, Moses, to The Harlem Renaissance and Transatlantic Modernism exhibition at the Metropolitan Museum of Art. Despite my being an artist in my family, my brother had never been exposed to art, let alone visited a gallery or museum. However, he graciously agreed to join me for this experience. I was thrilled at the opportunity to share the art, its history, and the stories embedded in each piece through the eyes of the artists with him. Leveraging my classroom learning, I found myself teaching him about art techniques, storytelling, and history.

As we explored the exhibition, he began to open up, sharing his opinions and engaging in discussions that prompted deeper contemplation of the artworks. I realized that everyone engages with art differently, and it's crucial not to restrict someone's access to it. 

Witnessing Moses' newfound curiosity for art, and his ability to express his understanding of color, light, and shadow, was immensely gratifying. His willingness to share even controversial opinions challenged me to think more critically about the art.

That day, I experienced a role reversal—I, the teacher, became the student. 

Moses taught me the importance of fostering critical thinking and curiosity in others. He reminded me of why I aspire to teach: to encourage students to question the world around them and to provide them with a safe space to share their thoughts without fear of judgment. Ultimately, Moses taught me that everyone has something valuable to contribute to the world, and we should not limit ourselves in that pursuit.

written by Rachel Georges who is currently a non-matriculated student taking classes in our program

Reflecting on Student Teaching and Translanguaging Pedagogy by Annika Gullahorn

    Though Claremont International High School is not my permanent Student Teaching placement, the high-quality instruction that I observed from CCNY alum Brigid Warnke warrants a blog post! I had the privilege of seeing literacy skills taught through theatre in multiple languages and expertly crafted scaffolding. Though I only spent four days at this school, I learned a great deal about how to support ELL students from Brigid and other Educators and saw so many beautiful examples of the deep culture of respect and community at this school. 

    A piece of language and a strategy I found to be highly effective came at the beginning of the first class I observed. Brigid placed the Outcome or the “S.W.B.A.T.” on the smart board: "I can think about a text using a variety of strategies.” Underneath the English version, the outcome was translated into French, Spanish, Vietnamese, and Arabic. After she read the outcome in English, she had students volunteer to read it out loud in their home language. This automatically showed me, an outside observer, that there was great respect for all languages spoken in the class. Also, this ensured that everyone knew what would happen in class. The main activity was using two strategies to annotate a scene from School Girls; Or, The African Mean Girls Play. Brigid had the students first practice the two strategies with provided sentence starters while watching a video of the scene, then they used the two strategies while reading the scene. This supported and validated multiple kinds of literacy (i.e., understanding body language or tone of voice very well) and provided a structured opportunity to practice the skill. Also, there were options for students to move ahead to the second scene, or more time was provided to keep reading in class the next day. 

    I am left with the question of how to effectively support students who struggle with literacy in their home language in a theatre setting. Most of the students I met in Brigid’s classes already had fairly strong literacy skills in their home language, so the students could successfully participate in class activities via Google Translate or Brigid explaining in French or Spanish. However, I wonder what strategies and supports would benefit students for whom that is not the case.

    A key takeaway from observing this lesson taught multiple times is that learning a skill takes time, and it is important to provide ample time in class for students to wrestle with the idea or skill. It is also essential to provide opportunities to practice in multiple modalities. I am learning that 15 different things do not need to happen in a lesson for it to be successful. Simplicity and a clear focus are also extremely valuable.

Understanding by Design (UbD) and Differentiated Instruction (DI) in Theatre Classrooms by Amadou Bah

The integration of Understanding by Design (UbD) and Differentiated Instruction (DI) in theatre classrooms holds great promise for learners. These combined principles can offer a range of benefits, particularly in the creative and dynamic setting of a theatre class.

One significant advantage is the potential for enhanced understanding. UbD encourages educators to identify essential questions and key ideas, while DI allows for personalized instruction. This combination enables students to engage deeply with the subject matter. In theatre, where nuance and context play a vital role, this deeper understanding can lead to richer performances and a more profound appreciation of the art form.

Personalized learning is another crucial aspect. In a theatre class, students come from diverse backgrounds with varying levels of experience and different learning styles. DI recognizes these differences and tailors instruction to meet individual needs, fostering a more inclusive and engaging learning environment. This personalization can be especially important in the arts, where creativity and self-expression flourish when students can learn in ways that suit them best.

Moreover, UbD and DI can transform assessment strategies. UbD's focus on authentic assessment pairs well with DI's approach to varied formative and summative assessments. This synergy results in a more comprehensive evaluation of students' progress. In a theatre classroom, where performances are a central aspect of assessment, this approach can ensure that students are evaluated based on their real-world skills and abilities, preparing them for future artistic endeavors.

Additionally, equity in education is a critical benefit. Theatre, as an art form, should be accessible to all, regardless of background or abilities. DI ensures that each student has the opportunity to engage and excel in the arts, creating a more diverse and representative theatre community.

In my future theatre class curriculum design, I intend to apply UbD and DI by establishing clear learning objectives aligned with essential questions and key ideas. I will incorporate diverse assessment strategies, allowing students to demonstrate their understanding through various means, such as performances, written reflections, or peer assessments. Differentiated instruction will be central to my teaching approach, recognizing and accommodating students' varying levels of readiness, interests, and learning profiles. Creating an inclusive environment will be a priority, providing accommodations for diverse learners and fostering a supportive and respectful atmosphere. I will also encourage regular reflection, empowering students to take ownership of their learning and set personal goals.

By combining UbD and DI in my theatre class curriculum design, I aim to create a rich and inclusive learning experience that enables students to develop a deep appreciation for the arts and equips them with valuable skills for life. Theatre, with its capacity to inspire creativity, empathy, and self-expression, can become a powerful tool for education when guided by these principles.