I moved to New York City, a bright eyed 18 year old, entering one of NYU’s acting studios with a single intent: make it to Broadway. Being an actress was all I had ever dreamed about or hoped for, and all I had ever thought I would be able to do. I was bolstered by the idea that my talent had gotten me accepted to NYU’s Tisch School of the Arts for acting (the crème de la crème), and convinced that, within a few short years, I would be accepting a Tony or Oscar for my breakthrough performance.
Not surprisingly, things didn’t pan out as I had always imagined. The number of acting majors at NYU was overwhelming – a small glimpse into the professional audition scene – and the training was emotionally and spiritually brutal. While I developed many extremely valuable professional skills (many of which I still use), I felt torn to shreds. Surprised by my unexpected delight in academia, I decided to minor in Jewish History sophomore year. The more “traditional” theatre work I did, the more I wanted theatre to do more than what was traditional. A guest speaker, Danny Hoch, came to my acting studio and spoke of his work in prisons and of doing hip-hop theatre. I felt the inkling for the first time that theatre might be able to do more. He charged us to take our work out of just the stages of New York into the streets, schools, prisons, and even our hometowns. As my education went on, I became increasingly eager to find a way for theatre to more than just entertain; I became fixated on political theatre from other countries and wondered at how work like this could be created for my generation.
Six months studying at Wits University in Johannesburg, South Africa, changed everything. I was given a crash course in Augusto Boal’s Theatre of the Oppressed, and performed for the first time in a play that I helped create from scratch. During those six months, I saw what I had been longing for in New York: theatre as more than just entertainment. With two of my classmates, I worked in a middle school for deaf students on the outskirts of the city, and saw how the students eagerly engaged with the theatre work. I left Johannesburg certain of two things: one, I was on the right track, and two, I had so much more to learn.
After returning to New York and finishing my B.F.A. at NYU, I set out to find somewhere I could learn to do that which I’d glimpsed in South Africa. I became familiar with the term “applied theatre,” and started to find a whole field of theatrical, community based and educational work I had never known existed. Through a friend of a friend I stumbled on the Creative Arts Team, and the CUNY SPS MA in Applied Theatre program. It seemed too good to be true, a program that was focused on academic and practical training for applied theatre right in my own back yard.
I was accepted to the MA in Applied Theatre program in 2012. The MA program has been a phenomenal resource for me to learn the very rudimentary elements that exist across the field of applied theatre. It has taken me from an amateur facilitator, just hoping to get it right, to a professional with intentional pedagogy and the skills to both plan and implement educational theatrical experiences. It has widened my range of skills and challenged me to deeply consider how I approach the work and why I do it.
After just over a year in the MA program, I was hired at CAT to assist with development and reporting. This has given me insight into the challenges of working in and maintaining this field that is so deeply fueled by passion, and yet not widely understood by funders and other artists. The combination of my education in the MA program and working at CAT has provided me with vision and confidence to be a professional practitioner in applied theatre, and an advocate for the value of the work across many contexts.
With the support of the MA program and CAT I am more prepared than ever to embark on a career as an applied theatre practitioner.
MA in Applied Theatre, Class of 2014
CAT Development Assistant