It's on the rare occasion that I get a chance to leave the city. I spend many a holiday here in the Nation's Capitol and by far, Labor Day Weekend is one of my favorites. With it, comes the Kennedy Center's annual Page-to-Stage Festival. 

This year, for the first time in five years, I will not be presenting a play in the festival. This made me really sad until I remember that I'm doing something even greater: I'm mentoring a young playwright who will be presenting her work in the festival for the first time as part of the  VSA Playwright Discovery Award Program!

The John F. Kennedy Center for the Performing Arts 
presents the
28th Annual Playwright Discovery Performance
Staged readings of four award-winning student scripts
Sunday, September 1, 2013 at 6:00 p.m. 
MILLENNIUM STAGE SOUTH

“We are inspired by the work and enthusiasm of these talented high school students,” said Betty Siegel, Director of VSA and Accessibility at the Kennedy Center. “These works tell important stories from a unique perspective, and we are proud to support the development of these young writers.”

This extraordinary, worthwhile and inspiring program is an annual competition that invites middle and high school students to take a closer look at the world around them, examine how disability affects their lives and the lives of others, and express their views through the art of playwriting. Young playwrights with and without disabilities can write from their own experience or about an experience in the life of another person or a fictional character. The program began in 1984, and has continued annually since. .

This year’s distinquished recipients were chosen from more than 150 applications nationwide and an excerpt of their work will be presented at the Kennedy Center as part the 12th Annual Page-to-Stage Festival. The award winning plays include The Broken Ornament by Margaret Abigail Flowers, Bad Days by Will Hedgecock, Sons of Atlantis by Nik Kerry, Broken Bodies by Mickey Liebrecht, Sertraline Lullabies by Elana Loeb, Cal Sheridan: Not Suffering by Cal Sheridan, Joanna’s Baby by Dimitra Skouras, Love Like Anything by Nathan Wilgeroth, and Falling with Grace by Nicole Zimmerer. The young playwrights will engage with seasoned professional playwrights, directors and actors to refine their work and developed their playwriting skills. 

I'm in the finest of company, as many of my esteemed colleagues are taking part including playwright and previous Playwright Discovery Competition winner Janet Allard; award-winning D.C. playwright Norman Allen; award-winning D.C. playwright Renée Calarco; D.C.-based director and actor Lee Mikeska Gardner; award-winning dramaturg and director Sonya Robbins-Hoffmann; award-winning Chicago-based theater artist Michael Patrick Thornton; and award-winning D.C.-based playwright Karen Zacarias will spend the weekend coaching, mentoring and working with the young playwrights.

In my next post, I'm going to introduce you to the mentors and share their experience and thoughts on the role of mentorship. For now, here's more information about the reading and the wonderful young playwrights.

The Broken Ornament by Margaret Abigail Flowers

Margaret Abigail Flowers, 17, originally hails from Houston, Texas, and has recently graduated from Interlochen Arts Academy in Michigan. She is the winner of numerous regional and national awards for her poetry and playwriting, including The Blank Theatre Young Playwright's Competition and multiple Scholastic Art and Writing Awards. She will be attending Stanford University in the fall of 2013 as an undergraduate student.

About the Play
When Sam returns to find his childhood home decorated as if it were Christmastime in the middle of July and that his sister has been lying to him about his mother's decaying mind, he begins to tear down the routine his family has established in order to achieve his own satisfaction. As he rips apart the Christmas tree, his familial bonds and own guilty conscience are put to the test and they each must look at who they are and what they won to each other and themselves.

Bad Days by Will Hedgecock

Will Hedgecock, 17, is a senior at Edison High School in Tulsa, Oklahoma. He is an editor of Eyrie, the school's nationally recognized journal of creative expression, an active participant in his school's drama program, as well as an Eagle Scout. Will received the regional and state All-Star awards for the OSAI one-act competition for his role as Claudius. In addition, he has produced and directed two of his own one-act plays locally. He plans to major in theatre before pursuing a graduate program in playwriting program. 

About the Play
Due to a perceived suicide attempt and a diagnosis of depression, Carrol Jacobs is forced to confront the darkest parts of himself and the scorn and misunderstanding of his friends and relatives until he is "no longer a threat to himself or others." In this poignant, honest and surprisingly funny play, Carrol must face events in his past if he ever hopes to move on to his future. 

Sons of Atlantis by Nik Kerry

Nik Kerry, 19, is a recent graduate of Centerville High School in Centerville, Ohio. Those that know him would describe him as energetic and enthusiastic about life. Born in Utah in 1994, he grew up in Ohio where he spent most of his time writing or playing musical instruments. Since being published in a poetry collection in fifth grade, Mr. Kerry’s work has been seen in the Teenink.com magazine, A Celebration of Young Poets magazine, Dark Gothic Resurrected magazine, and he is the self-published author of Nevermore, a book for Kindle. He currently resides in Utah.

About the Play
Henry was a creator of his own city, his own universe, and his own happiness all within his day dreaming and his obsession over Water worlds and shipwrecks due to his Asperger's Syndrome.

Broken Bodies by Mickey Liebrecht

Mickey Liebrecht, 16, is a junior at Arapahoe High School in Littleton, Colorado. She is currently enrolled in honors and AP courses. Her greatest love is the choir she is a part of, Young Voices of Colorado, where she has been taught to read and make music. More critically, she has also learned to use music as a tool for her own creative originality—a skill she truly values. She hopes to become a profiler with the Federal Bureau of Investigation.

About the Play
A troubled youth has never been able to forgive himself after his father was killed and his sister made deph in a car-accident he believes he could have prevented. Three years later, he and his sister find themselves dragged off by their mother into a new town, with new faces--some old--and new discoveries of how life can go on after ANYBODY has been in ANY way, broken.

Sertraline Lullabies by Elana Loeb

Elana Loeb, 18, recently graduated from Palo Alto High School in Palo Alto, California. She is a big sister, a singer-songwriter, and an avid Shakespearian. In addition to Sertraline Lullabies, she has written two one-act comedies, an one-act musical, and a full length play. This fall Elana will begin her freshman year at Cornell University.

About the Play
In a parked car in a hospital parking lot, two teenagers worry about a friend of theirs who is under suicide watch.

Cal Sheridan: Not Suffering by Cal Sheridan

Cal Sheridan, 18, recently graduated from Boise High School in Boise, Idaho. For Cal, the stage is his life. Whether writing or acting, he loves being a part of the theatrical experience. He has written two plays: Chestnuts Roasting and Cal Sheridan: Not Suffering. His theater experience also includes working on stage crew as well as numerous acting credits. When not participating in theater, he enjoys writing scripts for cartoons and songs on Garageband. Cal studies under Dwayne Blackaller, a professional playwright at the Boise Contemporary Theatre.

About the Play
Cal, a young philosopher, shares with you the things you need to know but haven't been said. For the weight of the walker is less than the weight of words.

Joanna’s Baby by Dimitra Skouras

Dimitra Skouras, 18, is a recent graduate of Dallastown Area High School in York, Pennsylvania, where she was involved in the music and drama programs. Her lifelong involvement in community theatre fostered her love for all aspects of the performing arts. She enjoys literature, baking, and comedic television, and it is her dream to one day write for TV. Dimitra hopes to attend college sometime in the (hopefully near) future, as soon as she figures out how to pay for it.

About the Play
A woman must reexamine her beliefs and make a very difficult decision when she learns that her child will be born with a disability.

Love Like Anything by Nathan Wilgeroth

Nathan Wilgeroth, 18, recently graduated from Vista Ridge High School in Cedar Park, Texas. He was Vice President of the theatre department, having won multiple school- and district-wide acting awards. In addition, he was a member of the Texas All-State Mixed Choir and President of his school's choir department. In the fall, Nathan will attend Boston University and plans to major in English Literature.

About the Play
Love Like Anything is a story about Roger Bolden and Sylvia Harrell, two teenagers dealing with the turmoil of their own parents' divorces. To fight against the seemingly inevitable withering of relationships, they try to convince each other and themselves of the durability of lasting love, asking themselves, "Does love exist and, if so, must it always die?"

Falling with Grace by Nicole Zimmerer

Nicole Zimmerer, 19, just graduated from Westside High School in Houston, Texas. She was a member of the school’s theatre company for four years, as well as a member of National Honors Society. She has had cerebral palsy since birth and has written the words “non-progressive, non-contagious condition” on more college essays than she would like to admit. She is an avid writer and is very passionate about theatre, television, and film. Nicole will be attending the University of Houston in the fall, with plans to major in Playwriting and Dramaturgy. 

About the Play
A seventeen-year-old girl, Grace, has dealt with cerebral palsy, anon-contagious, non-progressive condition, her whole life. This is the story of her coming to accept her disability and herself.

About VSA
VSA, the international organization on arts and disability, was founded more than 35 years ago by Ambassador Jean Kennedy Smith to provide arts and education opportunities for people with disabilities and increase access to the arts for all. VSA is an affiliate of the John F. Kennedy Center for the Performing Arts. For more information, www.vsarts.org.

About Education at the Kennedy Center
As the national center for the performing arts, the John F. Kennedy Center for the Performing Arts is committed to increasing opportunities for all people to participate in and understand the arts. To fulfill that mission, the Kennedy Center strives to commission, create, design, produce, and/or present performances and programs of the highest standard of excellence and of a diversity that reflects the world in which we live—and to make those performances and programs accessible and inclusive.

On Thursday, May 23rd at 11:00am, I'll be joining We Act Radio host Thomas Byrd along with Deborah Simmons, award-winning correspondent with the Washington Times; Julia E. Christian, Anacostia Playhouse's Managing Director;  Katie Ryan, Theatre Alliance Education and Outreach Director; and Virginia Spatz, The Education Town Hall's feature reporter, for an in-depth discussion on Arts Education versus Job Training at public universities and in tough economic times on The Education Town Hall radio show. Click here to listen live.

The Education Town Hall with Thomas Byrd is the premiere Local Live Wire show on We Act Radio, WPWC broadcasting from Historic Anacostia in Washington, DC. The show is a weekly one-hour forum dedicated to every aspect of educating our students. Tune in: Thursday mornings at 11:00 on 1480 AM or on-line. Be sure to visit WeActEd, the Education Town Hall blog and listen for us on MixCloud or here to listen live.

We Act Radio is a media corporation that combines broadcast and new media to deliver our shows in the formats people use most. You can follow their shows by streaming them at WeActRadio.com, listening on AM and FM radio stations around the country, downloading them via podcast or on iTunes, or subscribing to their YouTube channel. Click here to listen live.

THOMAS BYRD

For the past 15 months Thomas K Byrd has Hosted and Produced the Education Town Hall Show on We Act Radio. He created the show to facilitate the construction of effective community supported solutions and to foster the incitement of strategic transformative actions. During this time Thomas has been pleased to be able to provide access to the public square for all stakeholders. He is most proud of being able to provide a megaphone for the voiceless to talk back to power. Thomas Byrd believes that advocating for quality education is not an act only limited to policy makers, non-profit organizations, parents and those in the education field. Education is the great equalizer among all distinctions in society, especially for people of color, and the entire community, even those like himself without children, should be engaged in education reform.

JULIA CHRISTIAN

Julia E. Christian is the Chief Operating Officer at Anacostia Playhouse and the former managing director at H Street Playhouse and the Theater Alliance. Prior to that, she was Executive Director at CHAMPS - Capitol Hill's Chamber of Commerce. She studied Fine Arts at St. Mary's College of Maryland.

JACQUELINE E. LAWTON

Jacqueline E. Lawton was named one of 30 of the nation's leading black playwrights by Arena Stage’s American Voices New Play Institute. Her plays include: Anna K; Blood-bound and Tongue-tied; Deep Belly Beautiful;The Devil’s Sweet Water; The Hampton Years; Ira Aldridge: the African Roscius; Lions of Industry, Mothers of Invention; Love Brothers Serenade (2013 semi-finalist for the Eugene O’Neill Theater Center’s National Playwrights Conference), Mad Breed, and Our Man Beverly Snow.  She is a 2012 TCG Young Leaders of Color award recipient and a National New Play Network (NNPN) Playwright Alumna. She has been recognized as a semi-finalist for the Eugene O’Neill Theater Center’s National Playwrights Conference.  A member of Arena Stage's Playwright's Arena and the Dramatist Guild of America, Ms. Lawton currently resides in Washington, D.C.

KATIE RYAN

Katie is a Rhode Island native and American University graduate.  She also works as the Youth and Outreach Coordinator at The Theatre Lab and as the co-founder of Pamoja Products, a non-profit company that provides a global market for alternative income projects in East Africa.  Katie is thrilled to join Theatre Alliance.  She sees her position as Education and Outreach Director as an opportunity to instill in the next generation of artists a desire to make positive change in their communities, both socially and politically. 

DEBORAH SIMMONS

Award-winning opinion writer Deborah Simmons is a senior correspondent who reports on City Hall and writes about education, culture, sports and family-related topics. Mrs. Simmons has worked at several newspapers, and since joining The Washington Times in 1985, has served as editorial-page editor and features editor and on the metro desk. She has taught copy editing at the University of Maryland at College Park. Mrs. Simmons has appeared on BET's “Lead Story,” “Real Time with Bill Maher” and Mr. Maher's “Politically Incorrect,” “America's Black Forum,” Fox News' “The O'Reilly Factor,” “The Right Side with Armstrong Williams,” C-SPAN's “Washington Journal,” and “This is America with Dennis Wholey.” She also has been a guest radio commentator on NPR, WAMU, WMAL and WOL. Mrs. Simmons attended the University of the District of Columbia and Trinity College.

“It’s dangerous what you’re teaching these students. Self-expression, much good that’s going to do them. They’re Negroes. The world will only give them so much.” This speech appears in a new work of historical fiction by local playwright Jacqueline Lawton. Set in the 1940s, “The Hampton Years” follows artist/educator Viktor Lowenfeld as he struggles to establish an art department, over administrative opposition, at Hampton Institute. 

Lawton was originally drawn to the story, she says, by the intertwining dramas of Jews struggling to make a new life after the Holocaust and African American students struggling to make their way in the unwelcoming art world. “I knew I was writing about Margaret and Vicktor Lowenfeld rejecting Harvard and settling in Hampton, Virginia – such an isolated spot for Jews,” Lawton recalls. “And I knew I was writing about Viktor's stewarding the lives of these young artists,” muralist John Biggers (1924-2001) and sculptor Samella Sanders (now Lewis, b. 1924).

“What I didn't know was how much of the story was about fighting for the arts,” Lawton continues. “I began to realize how hard Viktor had to work – he had to develop a curriculum and hire teachers and do everything a department chair has to do, but he also had to fight, every day, to prove that the arts are necessary.” 

Now, as a visiting professor in the midst of the University of the District of Columbia's reorganization, Lawton finds “life paralleling art.” 

Theatre Arts at UDC has two faculty members: Assistant Professor Lennie Smith, whose position was recently terminated, and Lawton, whose year-to-year position is now more tenuous than usual. Theatre majors find this “heartbreaking” and a “big disappointment.” They fear losing faculty they counted on for advice, recommendations, and networking; some say their tie to UDC “is severed,” and one notes “they pulled the rug out from under us.” 

Excerpted from "1940s Arts Drama Replays in 2013" by Virginia A. Spatz, originally published in East of the River Magazine. Click here to read the rest of the interview.

Virginia Avniel Spatz is a writer and activist in Washington, DC. She is feature reporter on the Education Town Hall and helps produce The Politics of Health, both on We Act Radio (WPWC 1480 AM), and often contributes to East of the River magazine. She blogs on Jewish topics at Song Every Day.

Last Wednesday, March 20th and Thursday, March 21st, I was at Gettysburg College participating in their Theatre Arts program's inaugural New Play Festival. Dr. Susan Russell directed and starred in a mostly student reading of my play, Our Man Beverly Snow. (One cast member was a local reverend and Susan read as Constable Jeffers!) Professor Kathryn Kawecki directed a student reading of Christine Evans' play, Weightless. 

Our respective readings and post show discussions were quite successful and wonderfully productive. We had an enthusiastic and attentive audience of theater students and students who were friends of the casts. My cast included Joseph Donnella as Beverly Snow, Carl Jones as Reverend Frank Cook, Wes Jackson as Arthur Bowen, Maria Lawson as Maria Bowen, Kay-Chelle M. Waterton as Julia Snow, Angelo D'Amato as Andrew Laub, Brendan Morgan as Reuben Crandall, Susan Russell as Constable Jeffers and Audrey Bowler as Stage Directions.

While I won't be able to work on rewrites of Our Man Beverly Snow until after The Hampton Years has opened at Theater J, I'm excited to integrate all that I learned in development with these sharp, talented and generous folks at Gettysburg. Mainly, I'm letting go of the one location set, which will open up the world of the play in a useful, active and more compelling way. As a playwright, I had been interested in exploring the one location set, but it doesn't work for this play. After all, this is a revolution. There are several key participants and significant locations. This play is also begging for a darker, more lyrical tone and two more characters.

In addition to the reading, I lead a playwriting workshop with a handful of students and that wasy just wonderful. It was great to get to know them and where they were in both their academic and artistic journeys. It was also greats speaking with them about life as a playwright.  

Overall, my time at Gettysburg was inspiring and rejuvenating. However, it was all too short! It was wonderful to be in an academic environment clearly supported by the larger institution. I hope to come back when I have more time not only to work with the students and faculty, but also to explore this amazing, historic city.  I managed to take some photos of our time together and am happy to share them with you now. 

Funded by the Professional Development Travel Initiative, which is coordinated by Professor Stephen Gerald students from the University of Texas at Austin's Theatre and Dance Department traveled to  New York and Washington, D.C. to meet theatre artists, visit theatre companies, performance venues and other arts related organizations so they could learn about future job opportunities, seek career advice and witness for themselves if it was at all possible to make a life as theatre artist. I had a chance to speak with Ja'Michael Darnell, who shared her experiences with me. Please enjoy!

JACQUELINE LAWTON: Why did you decide to get into theatre? Was there someone or a particular show that inspired you?
JA’MICHAEL DARNELL: I caught the theatre bug during my sophomore year of high school when I played Wiley in Susan Zeder’s Wiley and the Hairy Man in the UIL One Act Play competition. I received the “Best Actor” award for my performance in our district. It caught me by surprise. Afterwards, I said to myself, “Hey, I’m good at this stuff, and it isn’t hard to do. Maybe I should give it a try.” From that point on, I realized theatre was the place for me.  I have an older cousin who did a lot of theatre while he was in college. His experiences inspired me to give it a try as well.

JL: Do you have the support of your family and friends to pursue a career in the theatre?
JD: Yes, I do have the support of my family and friends, especially from my grandparents. They are retired, so they make sure they’re able to come to Austin and see any show I’m in. At times, they question me about adding another major or ask me, “What are you going to do with that?” Sometimes I get annoyed when I’m asked that, but I know my family just wants the best for me. I know they’ll continue to support me throughout anything I do.

JL: In addition to studying theatre, you are also studying African & African Diaspora Studies. How do you feel this has made you a better artist?
JD: In addition to studying theatre, I’ve taken many classes from the African & African Diaspora Studies Department. I’ve taken classes such as: Black Power Movement, African American Theatre History, African Americans in Cinema, Intro to Modern Africa, and Afro-Contemporary Dance. All of those classes made a great impact on me. Besides slavery and the historical figures who are always discussed only in February, I had not known much of the profoundness in black history and culture before coming to college. It made me a better artist by giving me a sense of empowerment. I am constantly reminded that I stand on the shoulders of so many people who have lived and died for me to be in the position I’m currently in.

JL: How did you come up with this amazing idea to use the Professional Development Travel Grant in this way? How did everything come together?
JD: When I first heard about the Professional Development Travel Initiative Grant (PDTI), I immediately thought of focusing on something that involved black folks in the arts because I often wonder what is actually going on with black artists in the real world. So, my friend, Jelisa Robinson and I met with our Faculty Advisor, Stephen Gerald, and we came up with ideas of things we could possibly do. He put us in contact with people he knew currently work in the arts and it went from there.

JL: Tell us about your trip to New York. Who did you meet? What did you see?
JD: Traveling to New York was amazing, partly because it had been my first time traveling to New York and my first time flying on a plane. While in New York, I met with Laura Greer, the Vice-President of Programming at the historic Apollo Theater. I also met with Andre Lancaster, who’s the Producing Fellow for the Foundry Theatre. In addition, I spoke with Jesse Ehrensaft-Hawley, the Managing Producer, and RJ Maccani, the Community Programs Producer for the Foundry Theatre. They were very inspirational and offered me loads of great advice.

In my free time in New York, I got the chance to go to Times Square, see the Chrysler Building and the Empire State Building, explore Grand Central Station and the New York Public Library, and watch the historic Amateur Night show at the Apollo Theater. I can’t wait to go back. There were so many other things I should have done.

JL: Tell us about your trip to D.C. Who did you meet? What did you see? 
JD: My day in D.C. was incredibly insightful. I’m really grateful of the phenomenal Jacqueline Lawton for planning out our day! If you’re hoping to be in a close community, full of like-minded artists, who have a strong interest in the arts, D.C. is the place to be.

For our first event of the day in D.C., we had lunch with some of the most prominent theatre artists in D.C. I met the Director of Special Programming at Ford's Theatre, Jennifer Nelson, the Public Program Director of National Portrait Gallery, Jewell Robinson, and D.C. actress Dawn Ursula. I felt so welcomed around them. The conversation was so great that I felt sad when our lunch was over.

Afterwards, we went to the Woolly Mammoth Theatre. We met with the Director of Marketing and Public Relations, Deeksha Gaur.  During our conversation, she shared so much about her career path and even offered tips for my own. Afterwards, Deeksha gave us a tour of their new theatre. Their space was so cool. I wish we could’ve seen a show there.

Later, we had dinner with another group of amazing artists. We met with Dan Pruksarnukul, the Director of Casting at Arena Stage, Amrita Ramanan, a Freelance dramaturg and Former Literary Manager at Arena Stage, and Otis Ramsey-Zoe, a Freelance dramaturg and Lecturer in Theatre at Howard University. All of them were really inspiring. They were all really passionate about their work.

JL: Can you share some of what you learned that may help other young artists? 
JD: From what I learned, I suggest other young artists to follow their passion. You have to love what you do. Also, I suggest not passing up any opportunities. One opportunity can lead to a host of better opportunities. In addition, I suggest artists to not be afraid to say what they want. Put your work out, share it, get feedback, and put it back out! Don’t stop believing in what you can do and the impact your work can make. Finally, I suggest artists to be inquisitive about everything in their work. One question can lead to more creative and meaningful ideas.

JL: What are your hopes, dreams and ambitions for the future?
JD: My ambitions for my future are to eventually found a community theatre in my hometown, Hearne, TX. I also hope to eventually get into playwrighting and have at least two plays published. I dream to make art that reflects the lives of people I know and inspire them to make meaningful changes in their lives for the better.

Funded by the Professional Development Travel Initiative, which is coordinated by Professor Stephen Gerald students from the University of Texas at Austin's Theatre and Dance Department traveled to  New York and Washington, D.C. to meet theatre artists, visit theatre companies, performance venues and other arts related organizations so they could learn about future job opportunities, seek career advice and witness for themselves if it was at all possible to make a life as theatre artist. I had a chance to speak with Jelisa Jay Robinson, who shared her experiences with me. Please enjoy!

JACQUELINE LAWTON: Why did you decide to get into theatre? Was there someone or a particular show that inspired you?
JELISA JAY ROBINSON: I was a little girl who was always playing pretend. In someways, I still do.  I memorized the entire Lion King movie and would perform it for my parents.  I loved playing dress up, singing, writing and doing anything creative.  My parents inspired me to pursue theatre because they encouraged me to perform and supported my dreams.  Theatre allows me to express myself and I want everyone to experience that power.  That's why I do it!  The process may be difficult but once the crowd claps or someone comes up to you and says that they were inspired, it's worth everything.  

JL: Do you have the support of your family and friends to pursue a career in the theatre?
JJR: I am blessed to have parents who support me in whatever I want to do.  They encourage me to find a career in the arts where I am financially stable and independent.  My friends are the same way and I find its mostly myself who doubts at times.

JL: In addition to studying theatre, you are also minoring in Latin American Studies. How do you feel this has made you a better artist?
JJR: I study many things but my main interest is Latin American Studies.  I am taking classes in Modern Spanish American Literature, Black Women and Dance and Afro-Caribbean Diaspora.  These courses fuel my passion for telling the stories of people of color.  It's made me a better artist because it contributes to my self-confidence to know my history and the history of other marginalized communities.  That's the cool thing about the arts, anything you study can mesh with it.  I even keep a blog about my experiences as a Black girl in Latino spaces called blackgirllatinworld.wordpress.com.

JL: How did you come up with this amazing idea to use the Professional Development Travel Grant in this way? How did everything come together?
JJR: Ja'Michael and I went to Professor Stephen Gerald's office and told him that we were interested in applying for the Professional Development Travel Grant for the College of Fine Arts.  We had a couple ideas about what we wanted to see but not a complete plan.  All we knew is that we wanted to see Black people and other folks of color in the arts!  Gerald gave us many suggestions based on our individual interests and he contacted awesome alumni like Playwright/Dramaturg/Teaching Artist Jacqueline Lawton, Producer Andre Lanecaster and notable professionals like Laura Greer, the Vice-President of Programing at the Apollo Theatre.  We were in awe of the professonals that he put us in contact with.  Next, we contacted them through email and our professor followed up with phone calls.  After everyone gave us their availabilty, we were able to secure housing with a mentor of mine, Daphne in NYC.  Then came the hard part, planning everything.  Bus routes, plan tickets, Amtrak schedules.  We wanted to go to New York and D.C. with a solid plan.  In the end, it all worked out.

JL: Tell us about your trip to New York. Who did you meet? What did you see?
JJR: New York left me speechless!  I had the most amazing time trying to navigate through the city before meeting with Andre Lancaster, the Tom Proehl Producing Fellow at the Foundry Theatre and Founding Artistic Producer for Freedom Train Productions and Laura Greer, Vice President of Programming at the famous Apollo Theatre. I grew up watching Showtime at the Apollo so to attend Amateur Night was a dream come true.  We got the chance to see the sights like Times Square, the New York Public Library, Grand Central Station and much more.  Throughout the entire trip, I just couldn't believe I was on the East Coast. Walking the streets of Harlem, I experienced so much pride because the murals painted on buildings depicted Black stories.  I am just grateful for the experience.

JL: Tell us about your trip to D.C. Who did you meet? What did you see? 
JJR: Our D.C. trip was coordinated by the lovely Jacqueline Lawton, a UT alum.  She set us up with a host of influencial professionals in the D.C. theatre scene. Our first meeting was with Jewell Robinson the public program director of National Portrait Gallery, Jennifer Nelson, director of special programming for the Ford's Theatre and Dawn Ursula, a D.C. based professional actress.  We soaked up every drop of knowledge they offered and showered them with questions.  Our second meeting involved an informative tour of the Wolly Mammoth Theatre with Deeksha Gaur, the Director of Marketing and Public Relations.  Last was an evening dinner at Station Four with insightful professionals: Amita Ramanan a freelance dramaturg and former literary manager at Arena Stage, Dan Pruksarnukul, director of casting at Arena Stage and Otis Ramsey-Zoe, lecturer in theatre at Howard University.  Both Ja'Michael and I took away so much from the unbelievable panel. At night Dan (Director of Casting) gave us a  tour of the Arena Stage theatre and saw a play called Mary T and Lizzy K by Playwright Tazewell Thompson who we got the chance to meet.  

JL: Can you share some of what you learned that may help other young artists? 
JJR: I am just inspired by all that I learned!  The first thing I learned was to always ask questions.  Never stop questioning yourself, your motivies, your activities, your peers, your life...your everything.  A lot of the times I am so quick to seek the answer when questions are just as important.  I now have a million questions and that's okay because it helps me to stay engaged with my artistic process and life.  I learned how important it is to be a good writer.  As a playwright, you can have a job being a grant writer for a non-profit.  That practice in grant writing can help you write your own grant letters for your work.  I also learned the importance of knowing about many different topics.  As an artist of color, you can really stand out if you know about world topics, various artistic scenes and other varieties of things.  As far as jobs go, you can never have too many.  Sometimes you need to engage in what I like to call a "side hustle" while working on careers in the arts and that is okay.  As long as you work hard at what you do, you will be fine.  During interviews, a great question to ask your potential employer is "What reservations do you have about me?" because it shows that you are open to constructive critiques and that you want to improve.  You also get the opportunity to talk about experiences that you weren't asked about.  It is imperative that you find someone willing to mentor you and to know your own family histories because that influences your work.  I wish that I could share everything with you all!

JL: What are your hopes, dreams and ambitions for the future?
JJR: I hope to become a playwright/writer, graduate from college and teach abroad in Latin America.  Then I want to get my Masters/Ph.D degree in Latin American Studies.  Since meeting all these awesome theatre professionals, I am now considering working in arts administration for a Latin American focused theatre or arts company.  Beyond that I want to start a Theatre/arts program for young black women that helps them to gain skills in the arts, career, college and self-esteem areas.  I know that the arts can be used wonderful tool to build confidence and I want to help other young morenas like myself.  I want to travel the world, have a great life, buy my parents a home and help my younger brothers through college. It may be a bumpy ride but after this trip I know that it's possible to be a successful black artist!

Back in November, my former theatre professor, Stephen T. Gerald, connected with me about meeting Ja'Michael Darnell and Jelisa Robinson, theatre majors at the University of Texas at Austin, during their spring break. They received a Professional Development Travel Grant to travel to New York and Washington, D.C. Their mission was to meet theatre artists, visit theatre companies, performance venues and other arts related organizations so they could learn about future job opportunities, seek career advice and witness for themselves if it was at all possible to make a life as theatre artist. Stephen had also reached to fellow Longhorn, co-founder of the Drive-by Players, and 2012 TCG Young Leader of Color Andre Lancaster, who is the Producing Fellow at the Foundry Theatre in New York.

JELISA ROBINSON

Jelisa Robinson is majoring in theatre and Latin American studies.  Originally from Houston, she is completing her senior year at The University of Texas, and like her peers, she is searching for a path towards her future.  Jelisa speaks Spanish and has an affinity for Afro-Latin cultures.  Last summer, she spent six weeks in Rio de Janeiro through the anthropology department and had an internship with an arts collective in Rio.  Among other things, she's interested in playwrighting.

Immediately, I said yes and knew that I wanted to take them the theatre that had the greatest impact on me when I first arrived in D.C. seven years ago: Arena Stage (Fellows and Intern Program Coordinator and Teaching Artist), Ford's Theatre (Box Office Assistant, Dramaturg, and Teaching Artist) and Woolly Mammoth Theatre Company (Dramaturgy/Literary Management Intership). Additionally, I had wanted to take them to the Folger Shakespeare Library (Education Program Associate), but there wasn't any time.

I also knew that they would benefit from hearing from more than just me. So, I reached out to some of my favorite people in D.C.  What was so lovely, is that save for two amazing folks who were busy opening a play and teaching, I received a resounding yes across the board!
 
Here was our D.C. agenda:

• 1:00pm - Lunchtime chat with Jennifer Nelson, Jewell Robinson, and Dawn Ursula.
• 3:30pm - Coffee/Tea with Deeksha Gaur and Klyph Stanford (he was working in the lobby and I grabbed him up!) and a tour of Woolly Mammoth Theatre Company
• 6:00pm - Dinner at Station 4 with Amita Ramanan, Daniel Pruksarnukul, and Otis Ramsey-Zoe.
• 8:00pm - Attend final dress of Mary T and Lizzy K and a tour of Arena Stage (Dan was lovely to give them a tour while I called my Mama to wish her a Happy Birthday!)
  

This day was extraordinary, invigorating and inspiring for the students and for me. You see, when I received my MFA in Playwriting from UT in 2003, I had longed to tap into a U.T. Theatre Network, but it wasn't there for me. Now, these students will never have to say that. It's really beautiful to know that! Later today, I'm going to share interviews from Ja'Michael Darnell and Jelisa Robinson about their experiences. Stay tuned!

On Tuesday, March 12th, my theatre students and I attended the UDC's Performance Oversight Hearing. This public oversight hearing was held in Room 500 of the John A. Wilson Building. Chairman Phil Mendelson served as the Committee Chairs. 

On the agenda were:

• District of Columbia Retirement Board
• University of the District of Columbia
• Community College of the District of Columbia

Two weeks prior, my theatre students stop me in the hall and showed me a poster alerting students to the  Performance Oversight Hearing. I had just seen it earlier that morning and wondered if it might be worth attending. However, I was hesitant ...

We were all still reeling with disappoint after the Town Hall meeting. Two of my students spoke and did a brilliant job. They spoke about how theatre had not only changed their lives, but allowed them to impact the lives others. As inspiring and motivating as their speeches were, we've seen little change. 

So, I didn't end up mentioning the Performance Oversight Hearing and was surprised and encouraged when they asked if we could go. I quickly made adjustments to our Theatre of the Black Experience and History of Theatre II schedule, because I knew that our voices should be heard. 

At 10:30am, we finished our breakfast, gathered our belongings and made our way to the Wilson Building. It was a rainy day, but we were determined and in good humor. 

Virginia joined us, which was great. She was able to give us a bit of insight into what to expect. For instance, it's going to take a long time. Bring snacks and a water bottle, because the hearing doesn't stop and you will get hungry. Applauding a powerful testimony is not appreciated aka according to the rules and procedures of the hearing. If Marion Barry shows up, and he did, he will get the people riled up and try to take over the hearing. Things will get heated and when that happens, the truth is finally getting out, so lean in and take notes.

It wish it weren't the case, but this was my first time ever participating in anything like this. It seems fitting that it should happen now, because for the past several months, basically since working on Our Man Beverly Snow, I've been thinking a lot about civic action and the role of an artist in a revolution. While, I don't always have 8 hours to give over to something like this, I do look forward to participating in more hearings. More than anything, more than even the results, it's important that we show up and speak on behalf of and in defense of the arts in our community.

As we settled into our chairs in the chamber, we knew that theatre arts would more than likely not make anyone's agenda other than our own, but we wanted to be there to show support. We came to listen to the testimony of some 45 witnesses who believe that UDC is essential to the District of Columbia. We came to learn about the matters at hand: budget management, strategic planning, curriculum development, and attracting a diverse and rigorous student body. What's more we wanted to help overturn the following misconceptions:

• The District of Columbia doesn't need a public four year university...
  
• Students don't care what happens to the university...
• Students are never included in the BIG decisions make by the university ...
• We should be seen and not heard ...
• We have all of the resources we need to be successful students ...
• We won't show up to the Performance Oversight Hearing and fight for our UDC.

And we accomplished what we set out to do. The entire performance hearing was recorded and can be watched here. You'll see me 5:05 and at 6:51 you hear Provost Bain declare that he believes we should have a theatre program. He says it in the midst of some confusion, but he was heard loud and clear. I've heard from so many people who were inspired by my testimony and who want to help. We'll see what, if anything, will happen next. Either way, I'll keep you posted.

As I mentioned in my previous post, something wonderful and exciting is happening on Thursday! 
For the first time, theatre faculty and students from the University of the District of Columbia, American University, Howard University, Catholic University, George Washington University and Georgetown University unite to create new theatre. Share what these diverse students and their faculty mentors have discovered while working to build community and make theatre across perceived boundaries of race, class, gender and geography. What awaits this next generation as they step up to the plate? Experience a dynamic theatrical window into the future.

What: DC University Theatre Collective: NextUS at the Atlas Intersections Festival
When: Thursday February 28, 2013 @ 7:00PM
Cost: $5 General/Student/Senior. Click here to purchase tickets.
Where: Atlas Performing Arts Center, 1333 H Street, NE, Washington, DC 20002.

I had a chance to speak with UDC's Assistant Professor, Lennie Smith, about his experience. Please enjoy!

JACQUELINE LAWTON: On Thursday, Feb 28 at 7:00pm, you will be performing in the DC University Theatre Collective’s NextUS at the Intersections Festival. What excited you about taking part in this performance? 
LENNIE SMITH: The opportunity to collaborate with local theatre faculty colleagues was what excited me the most doing this project.  Unfortunately, we all are so busy in our little worlds creating great theatre for our university communities that we seldom get the opportunity to connect with each other as artist. This project expanded our horizon as local university theatre artist who all have common goals for our students and the local DC community. 

JL: Can you talk a bit about the rehearsal process? What was it like to work with professors and students from other universities? 
LS: We all agreed that the best way to do the rehearsal process is to partner up with another professor and take turn leading a rehearsal. This process was very enlightening and empowering for the students and the faculty, because we all got the opportunity to learn from each other and the students was able to work with the different styles of the professors. 

JL: Can you tell us about your role? 
LS: My role was to lead some of the rehearsals with another professor. I also was able to contribute more with the style and form of the pieces, because of my expertise in applied theatre. However, we all had something unique to contribute. 

JL: What did you learn from this experience? If you were to do this over again, what would you do differently?
LS: First, I learned that our future is in good hands with our young artists. The students came in with so much creativity and a willingness to explore that it made our job easy. I really wouldn’t change too much because it is a process and as artist we have to remember that sometimes the work will take care of itself.

JL: Why should audiences come see DC University Theatre Collective NextUS? 
LS: What do you think they will learn from this performance? I believe that the audience will be inspired by the synergy of the students. Remember, the students met for the first time during this process. When the audience experience what they were able to create about their perception of how they see themselves in the world they will be inspired and empowered.

LENNIE SMITH

Lennie Smith is a professor in the theatre program at the University of the District of Columbia, where he teaches a variety of courses in applied theatre, creativity, and drama. He is one of the most effective drama-based trainers in the field. His interactive approach to training is an empowering source that has empowered and entertained people all over the United States. A well-known director, playwright, lecturer, and workshop leader, he is also a RDT/BCT (Registered Drama Therapist/Board Certified Trainer). 

The only public university in the nation’s capital and the only urban land-grant university in the United States, The University of the District of Columbia is committed to a broad mission of education, research and community service.  Established by abolitionist Myrtilla Miner in 1851, the University of DC offers Associate’s, Bachelor’s and Master’s Degrees and a host of workplace development services designed to create opportunities for student success.  The University is comprised of a Community College, School of Engineering and Applied Sciences, School of Business and Public Administration, College of Arts and Sciences, College of Agriculture, Urban Sustainability and Environmental Sciences, and the David A. Clarke School of Law. To learn more, follow this link: www.udc.edu

Imagine: Art that encourages compassionate listening and provocative questioning. The best professional, emerging, community and student artists from DC and beyond. Theaters filled with diverse, dynamic audiences.  Conversations over a glass of wine in the café with a someone new who has just had the same experience as you. Chances to perform, discuss, party!   All this and more awaits you at the INTERSECTIONS Festival at the Atlas from February 22 - March 10, 2013.
 
Now in its fourth year, this unique all-arts festival brings together more than 100 performing groups over twelve days to offer music, theatre, dance, film and spoken word that captures a kaleidoscope of perspectives on our ever-evolving community and world.  All five of our performances spaces will be alive with world premieres and innovative collaborations among artists of all ages, races, cultures and art forms.  
 
From Family Saturdays featuring performances and events for children to late-night parties and jazz jam sessions, INTERSECTIONS seeks to connect the broadest possible audience with the most exciting new ways of making community-inspiring art.  We invite you to join us -- to be delighted, energized and maybe just a little transformed.
 
--Mary Hall Surface, Festival Artistic Director

As I shared recently, the Theatre Arts program is one of twenty-one programs being discontinued at the University of the District of Columbia.  The recommendation for discontinuance came down in March of 2011. Phase I of the proposal to implement these recommendations was submitted to the Mayor and City Council on October 1, 2012. 

As you can imagine, it was a challenging, lengthy and tenuous process. The level of uncertainly made for a stressful, disconcerting and somewhat hopeless environment. There was a lot of back and forth, but ultimately, final decisions were made.  Along with Theatre Arts, here are the other programs being discontinued:  

• Early Childhood Education (BA) 
  
• Elementary Education (BA)
  
• French (BA)
• Graphic Communications (BA)
• Respiratory Therapy (BS)
  
• Sociology & Anthropology (BA)
  
• Spanish
• Theatre Arts (BA)'
• Special Education (BA)

• Urban Studies (BA)
  
• Clinical Psychology (MS)
  
• English Composition & Rhetoric (MA)
  
• Finance (BA)
  
• Marketing (BA)
  
• Office Administration (BA)
  
• Procurement & Public Contracting (BA)
  
• Fire Science Administration (BS)
  
• Information Technology (BS)
  
• Electromechanical System Engineering (BS)
  
• Construction Engineering Science (BS)
  
• Aviation Maintenance Management

While, I never once envied those having to make these difficult and necessary for the sustainability and growth of the university, though seemingly incomprehensible decisions. I do wish I had had an opportunity to advocate on behalf of several of these programs. Mind you, I did my small part. When the news was first announced back in March of 2011, there had been hope we could move forward as a minor. I helped Assistant Professor Lennie Smith research and prepare a proposal for a minor program. In truth, I provided some research, but he deserves significant credit and praise for his time, energy and efforts. Unfortunately, this October decision has made all of that irrelevant. At least, for now.

What makes this harrowing is that UDC is a historically Black institution and "the only public university in the nation’s capital and the only urban land-grant university in the United States." The significance of discontinuing a theatre arts program in a city with 84 theatres is quite frankly a slap in the face of reason, sense and cultural understanding. UDC should be a pipeline for students coming out of the DCPS school system offering a training ground to those with the talent, skill, passion, drive and courage to pursue a career in the theatre arts, but who may lack the financial resources to attend a far more expensive college. This issue particularly hits home to me, because I was that student. Only, I had the University of Texas at Austin, another public institution. 

To put this somewhat into perspective, the decision to discontinue these programs is part of the university's right-sizing plan, which also includes the abolishments of several staff and faculty positions:

"The Board of Trustees of the University of the District of Columbia tonight approved the abolishment of 69 positions as part of its ongoing commitment to reduce operating costs at the University.  The job actions, along with 28 other position eliminations, impact faculty and staff, including executive level positions and are estimated to save the University approximately $8.5 million in annual operating costs."
 
Now, Professor Smith and I are in a better position than many folks, because we're able to see our students through to the end of the semester. I'm very appreciative of that, because I love teaching at this university. Our current students will be allowed to graduate as majors. Professor Smith put the courses in for the schedule yesterday. However, we don't know who will be teaching the classes. 

Despite all that happened/still happening, Professor Smith and I are focused, committed and working to create opportunities for our students. Fortunately, there are many wonderful, smart and powerful folks at the university who are supporting and encouraging us. Namely, our Chair, Dean, Provost, and Interim President. They've been extraordinary. They truly value the arts, especially the theatre arts. They believe that theatre is an essential part of our community, that it enriches, educates and entertains and that it can be used as a vehicle for positive change. When they learned that Professor Lennie Smith and two our graduating senors, Bakri Mohamed-Nur and Margaret Smith were taking part in the Intersections Festival, they were overjoyed with pride. They immediately purchased tickets and helped spread the word. Now, it's time I do my part and I couldn't be more thrilled to share this news with you!

On Thursday, February 28th, for the first time, theatre faculty and students from the University of the District of Columbia, American University, Howard University, Catholic University, George Washington University and Georgetown University unite to create new theatre. Share what these diverse students and their faculty mentors have discovered while working to build community and make theatre across perceived boundaries of race, class, gender and geography. What awaits this next generation as they step up to the plate? Experience a dynamic theatrical window into the future.

What: DC University Theatre Collective: NextUS at the Atlas Intersections Festival
When: Thursday February 28, 2013 @ 7:00PM
Cost: $5 General/Student/Senior. Click here to purchase tickets.
Where: Atlas Performing Arts Center, 1333 H Street, NE, Washington, DC 20002.

Tomorrow, I'm going to share interviews with UDC assistant professor, Lennie Smith, and graduating seniors, Bakri Mohamed-Nur and Margaret Smith. Stay tuned!