An Educational Journey of Boundless Potential

Last week began another risky and challenging journey for the students and faculty in our theater department. The risks involved in amateur/educational theater production are multi-faceted and intricately layered. Each production in the season provides intriguing opportunities to explore the endless boundaries of learning through the singular challenges of each script or libretto. Dramaturgical issues must be addressed from the onset, and an intense period of research is required for cast, crew, and directors. The fact that the NCLB legislation does not contemplate testing in the performing arts is not a reflection of the consequence we place on the production or indicate the merit of the script or the portfolio assessment measurements that are in place to achieve the objectives of a quality production.

In this process, we usually explore conflicts with school and community standards and values. One Flew Over The Cuckoo’s Nest challenged our school environment and the community standards which subtly control our public high school. The production of Cuckoo’s Nest proved to be initially controversial and subsequently contentious, divisive, and splendidly educational.

One bridge we have not crossed, however is presenting a play making a political statement with which it is difficult to agree. As the teacher/director/producer, it is no difficulty for me at all. Legitimate political discourse requires respect for the integrity and veracity of the opposing view, and a comprehensive understanding of the contrasting perspectives. A play based upon a faulty political premise may still have stirring artistic and historical relevance. The script may expose the flaws of the theory with historical retrospective and teach lessons of history that apply to current issues that are so regularly misrepresented and distorted by the mainstream media.

Since Robert E. Lee and Jerome Lawrence intended to condemn the Vietnam War with their politically charged play The Night Thoreau Spent in Jail, the obvious parallels to the Iraq War should inspire debate and stimulate critical thinking skills. The most intellectual of the students have already started their research, and they will bring ideas, thoughts, and open-ended debate questions to the rehearsal process.

Since congressional action for funding was required in all three of the conflicts in question (Mexican, Vietnam, and Iraqi) there is plenty of blame to go around to the two branches of government responsible for national security. While students can and will candidly discuss the relative merits of each of these wars, the liability can not be morphed into a political wedge issue of culpability for one particular President in each instance. History occurs within a context, and this is something that contemporary, elite liberalism tends to ignore.

It is incumbent on the theater professional to foster an environment wherein students can freely express ideas that are based on empirical data. Students can and will challenge each other without every finding the need to make the discussion personal, or introduce slanderous material far from the topic. These basic parameters of healthy debate and exchange of ideas should be a life lesson. Respect for the opposition, and genuine tolerance of others are a hallmark of the teaching in our performing arts department.

The theater arts present a fascinating and singular opportunity for cross curricular learning in every monologue, scene, production, and rehearsal period. Here’s hoping that the public will understand these complex issues with the same sincere, uncomplicated approach as the teenagers involved in this extensive journey.

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