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Keeping in STEP with today’s theater students

Joella Blount smiles her broad smile. Well, I was thinkin’ about goin’ to the Army. But I don’t think I am anymore. I plan to work for a while and I want to save up money to go to college. Her smile broadens and she laughs at the irony: that she has been considering joining the army and yet the training program at the Cleveland Public Theatre’s STEP program is wearing her out.

Joella will be a senior this coming school year and this is likely her last year in the Student Theatre Enrichment Program (STEP). She also has the lead role of Keisha in CPT‘s production of [amazon_link id=”1408126702″ target=”_blank” ]Chalk Circle[/amazon_link], in which the fate of a child prince is divided between the biological mother, the queen, who callously abandons him, and the adoptive mother, a servant girl, Keisha, who gives him love and protection.

To those with no experience in the theater, putting up a play may not seem like all that much work. But to the students in the STEP program this summer there’s no doubt about it: it is work–good work–but the young actors still must spend an intense five to seven hours every weekday to stage their play. Each day begins with a demanding round of exercises, stretches, and running activities, and ends with rigorous rehearsals which include an excruciating repetition of carefully choreographed scenes.

The process of generating material for the play starts early in the summer and is slowly and meticulously guided by Raymond Bobgan, Education Director, [now Executive Artistic Director] and Chris Seibert, Director of Education.

One of the first material elements generated for the [amazon_link id=”1408126702″ target=”_blank” ]Chalk Circle[/amazon_link] was a series of spontaneously generated motions with a wooden stool. Each young actor created three actions with his or her stool, and later certain of these were formalized and then incorporated into the final performance. In fact, the final performance features a stunning utilization of the stools as musical instruments, props for swinging and tossing, and a harrowing scene in which stools are dynamically moved elliptically, like the tread on a Caterpillar bull-dozer, as Joella walks across the stool-tops; her character, Keisha, threading the top of a mountain peak.

“I just enjoy how they fit an action, like the action that we do with the stools, how we started off just messing around with it and they incorporated that into the play, I just love the way they do it,” says Anthony Brooks, who plays the part of Simon, a young warrior whose love for Keisha is in conflict with his service to the queen.

Another element of the play that is generated early on is the text or script. Prompted by Chris Seibert, the students are fed single words or single sentences in carefully designed stream of consciousness writing exercises. During these sessions, each participant generates material from his or her own life and experience and, very like the activities with the stools described above, the written material is incorporated as part of the play.

For Gina Ferguson, playing the part of the queen, this style of creating a script presents an opportunity to shine. “[We are given] a line or something to write down, you write and you think–this is never gonna get put in the play, this is never gonna get put in the play, and then it might turn out to be one of your own lines, then it’s like, ‘I wrote this,’ so it’s exciting, knowing one of the first lines in the play is something I wrote. So, it’s like–it feels good seein’ something that I wrote in the play. So it encourages us to keep writing and just be open and don’t stop.”

Taking advantage of the skilled eye of Raymond Bobgan, Director of Blue Sky Transmission and Assistant Director in the Tony Award-winning production of [amazon_link id=”B004NVH1N6″ target=”_blank” ]Death of a Salesman[/amazon_link], the play utilizes a startling array of movements, materials and props, which, besides the stools, include activities with flags, vocal performances, choral arrangements that are very like the strophe and antistrophe in Greek theater, and precisely choreographed dance: each element building to create an aesthetic theater that is very fulfilling and highly engaging.

“Out of the many years that I’ve been doing theater, I’ve never seen anything like this. The movements are so timed and detailed, the people are dedicated to the point where, thankfully, every day, faithfully they’re doing something, changing something, adding new ideas–So, seeing these guys come out here, the movement with the stools, the eye contact, the camaraderie on stage between them, it’s just amazing, it’s magical–it’s 100% art; it’s what art is,” says Quinton Perry, a veteran of the STEP Program and an assistant to Chris and Raymond.

Would you tell me, please, which way I ought to go from here?

[amazon_link id=”1408126702″ target=”_blank” ]Chalk Circle[/amazon_link] has several iterations in literature, and it is difficult to pinpoint which is the origin. The Chalk Circle is both a Chinese tale and a biblical story of Solomon from 1 Kings 3: 16-28. The Chalk Circle for STEP is based on a combination of the Chinese tale and [amazon_link id=”0806501944″ target=”_blank” ]Bertolt Brecht[/amazon_link] [amazon_link id=”1408126702″ target=”_blank” ]Caucasian Chalk Circle[/amazon_link]. But the adaptation is wholly that of the STEP participants, made all the more real by the choreographed creations, vocal arrangements, and student writings.

For Raymond and Chris the choice of the play is as much about fitting the subject with the young actors as it is about choosing a ‘literary’ piece of theater. And the wisdom of their choice shows: the Chalk Circle touches a chord with the students, who see in the struggle of the young prince to discover his true identity a theme that is painfully familiar to them as young adults.

Todd Siwik, who plays both a doctor and lawyer in Chalk Circle agrees: “I think the whole question of ‘who am I?’ That’s probably what the play’s on. It’s [a question] a lot of people have, or what they want to do in life, where they came from, and the play has a lot to do with that.”

“It reminds me of the movie [amazon_link id=”B000M9BPEY” target=”_blank” ]Big Fish[/amazon_link],” says Quinton, smiling from under his New York Yankees hat. “It’s the story of a boy trying to learn exactly who his father is.”

Tyler Slaughter, who plays the prince as a grown young man, feels that the story resonates with him, too. “I guess what you can say with me, like, with my character trying to find his way, and trying to figure out where he came from; I’m somewhat trying to just figure out what I’m going to do with my life, you know? How am I gonna catch the bus tomorrow or somethin’ like that, that is just tryin’ to find my way.”

Theater has the power to transform lives

The STEP Program at CPT is now in its twelfth year, and has grown from a summertime program to a year-round, long-term theater program for at-risk teens. Throughout the year students from all over Cleveland come to CPT to learn the craft of theater from professional artists.

The benefits of the program are well-documented. Five years ago, the U.S. Department of Education and the National Endowment for the Arts generated Champions of Change, a report that summarizes education research from across the country. This report, available online through the Arts Education Partnership (http://www.aep-arts.org), demonstrates that arts programs make a significant impact in bridging the gap in academic and job performance between children in inner-city disadvantaged school systems and those in more affluent programs. The report also showed that low-performing students demonstrate significant growth in achievements after becoming involved in arts programs.

Fittingly, the STEP Program is itself a sort of Chalk Circle. Like Keisha picking up the abandoned prince, STEP provides marginalized students with an opportunity and a chance at artistic fulfillment and expressive participation. But more than that, it provides participants with a sense of community that may be lacking elsewhere.

“I have enjoyed being a friend–to mainly everybody, like when they’re sad or something I can come to them or they can come to me and we can cheer each other up, give each other hugs, or words of encouragement. And my scene partners, we could go over our lines, go over our things together, that’s what I really liked,” says Joella. And the strength and opportunity for friendship is a sentiment that is echoed by nearly all the students who participate in the program.

But to focus exclusively on the educational benefits of the STEP Program is to trivialize the role that each student plays as a professional actor, for each young performer takes his or her role very seriously, with a dedication in time and energy that even a corner-office CEO in Key Tower would admire.

“I like how they tell me to do it over again, it gets me more energized and, you know, sometimes it’ll get me real tired and exhausted but I keep going–it’s understandable, ’cause I see that they want the play to be perfect,” says Samantha Robinson, who plays opposite Todd Siwik as the second lawyer and doctor.

Coming to a theater–or a park–near you

The Cleveland Public Theatre provides Cleveland residents with many opportunities to see the plays that STEP puts up. The Chalk Circle alone will have nine performances at nine separate locations throughout the city: seven at public parks and two in downtown Cleveland. The final performance of [amazon_link id=”1408126702″ target=”_blank” ]The Caucasian Chalk Circle[/amazon_link] is Friday, September 2^nd, [2005] at Public Square during InGenuity Cleveland (http://www.ingenuitycleveland.com), A Festival of Art and Technology.

By taking theater on the road, the STEP program aggressively asserts not only the importance of having its productions seen, but the importance of bringing theater to the community, to making it available in the places where people live and work and play. Often nowadays, there is a disconnect between what people think theater is: a highbrow form of entertainment often following a wine and cheese tasting, and the reality of a theater that can relate to their everyday lives.

The STEP program actively confronts this notion by using the actions and words of its students to create its plays and by choosing subjects that are of material importance to every person in the community: Who am I? Where I am I going? What does this life I’m living mean?

“I think a lot of people can relate to it,” Joella says when asked why people should come to see Chalk Circle. “If there’s somebody and they’re kind of lost in who they are–maybe they can come to the play and it could give them ideas, like what should they do if they wanna know. And plus it’s a bunch of teens–and I know a lot of people are saying that teenagers are just problem-causers, you know, they just cause problems–but we show that it’s not really true, there is some teens out there that like to do something with their summer, instead of just hanging out with their friends. They made a commitment to be here, to perform in front of them, so that they can enjoy themselves, and we can enjoy ourselves.”

But perhaps more importantly, as Joella points out, the STEP program provides Clevelanders a chance to experience the creativity, imagination, and energy of the youth of their community, to participate in the magical transformation of their youthful life experience and energy into a story that transcends time.

I have been reading [amazon_link id=”0140150706″ target=”_blank” ]The Portable Jung[/amazon_link], edited by [amazon_link id=”1577315936″ target=”_blank” ]Joseph Campbell[/amazon_link], by way of introduction to Jung’s ideas. 

I have always been fascinated by Joseph Campbell and Campbell makes frequent reference to Jung and the notion of the collective unconscious, that the “universal similarity of human brains leads to the universal possibility of a uniform mental functioning.  This functioning being the collective psyche.” p95 Which in turn leads to the “interesting fact that the unconscious processes of the most widely separated people and races show a quite remarkable correspondence…in the extraordinary but well-authenticated analogies between the forms and motifs of autochthonous myths.” p94-5.  Thus Campbell’s book the [amazon_link id=”1577315936″ target=”_blank” ]Hero with a Thousand Faces[/amazon_link] and so forth.

But what really got me going on this subject this morning was that I have been spending a lot of time lately thinking about human memory and computer memory and neural nets and moving the mind into a machine; partly based on strange dreams I’ve had, a screenplay I’m writing, and various pieces of non-fiction and science fiction that I’ve been reading.  The thought that got me going was the similarity between the notion of the Borg in Star Trek with the collective unconscious–rather, the Borg being a sort of mechanical incarnation of the idea of the collective unconscious: that is, one underlying level of intelligence that informs all collective “subscribers.”

I recently read the book [amazon_link id=”1587991225″ target=”_blank” ]The Age of Spiritual Machines[/amazon_link] by Ray Kurzweil, a read I highly recommend to anyone seeking intelligent, thoughtful notions of what technology, human ambition, and the future holds.  Kurzweil himself has spent an inordinate amount of time thinking about and detailing the future merging of human and machine intelligence–as well as the physical (virtual?) body.  At some point, for instance, the bionics implied by the [amazon_link id=”B005LFQRTC” target=”_blank” ]The Six Million Dollar Man[/amazon_link] will not only not be out of the question but will be everyday facts.  Blind people will see and the deaf will hear via neural implants; human memory will be vastly augmented with neural implants that may very well contain the entire recorded history of humanity.

I was also thinking about the relationship between the function of myth and ritual in society and the collective unconscious and the social forces represented by the Borg in [amazon_link id=”B00005Y1NF” target=”_blank” ]Star Trek The Next Generation[/amazon_link].  After all, the function of myth is the oral or written representation of ritual and the function of ritual is to create the mythic “all-time, ever-where” in the present–the universally present moment, a sort of ontological trick of the drum-beaten, fire-lit eternal moment.  Specifically, the function of ritual is to make uniform the behavior of people in a society, so that all are “programmed” with the same written set of instructions and behaviors and directed toward a uniform goal.

This got me thinking about an Australian aboriginal ritual that I read about somewhere, in [amazon_link id=”B001HZD4QY” target=”_blank” ]Iron John[/amazon_link] or Primitive Mythology or in [amazon_link id=”0192835416″ target=”_blank” ]The Golden Bough[/amazon_link]; hold on, I’ll look real quick…

[amazon_link id=”0140194436″ target=”_blank” ]Primitive Mythology[/amazon_link] p88 “The transformation of the child into the adult, which is achieved in higher societies through years of education, is accomplished on the primitive level more briefly and abruptly by means of the puberty rites that for many tribes are the most important ceremonies of their religious calendar.”  Why these rites are so important, what happens if they don’t occur, and how this deficiency is everywhere present in America is the subject of an entirely separate conversation.

In the ritual discussed here, I will paraphrase to spare you all, the essence is that the boy(s) undergo a ritual in which he is marked, usually physically (broken tooth, circumcision, etc.), so that he 1) can never be the same child that he was, and 2) so that he now physically is like or similar to the tribal hero or ancestor.  With the Central Australian Aranda, as Campbell points out, it is thought that “children born to women are the reappearances of beings who lived in the mythological age, in the so-called ‘dream time,’ or altjeringa…” the point being to expand the boy’s ego “beyond the biography of the physical individual…joining him to his eternal portion, beyond time.” p89  More specifically, and to my point, is this “in the ceremonials that he will presently observe the tasks proper to his manhood will in every detail be linked to mythological fantasies of a time-transcending order, so that not only himself but his whole world and his whole way of life within it will be joined inseparably, through myths and rites, to the field of the spirit.” p89

So, I was thinking how like in many respects the concept of the function of the Borg is to the function of myth and ritual, in that in seeks to emasculate the importance of the individual and elevate the importance of the group.  Necessary, certainly, in a tribal society where a group of selfish individuals would annihilate the entire fabric of the social group and destroy the whole society. The same thing is certainly true in our society, we simply benefit from numbers–that is, those who are adult and focused on group goals are able to compensate for those who are selfish and focused on individual aggrandizement and the onanistic pleasures that attend it.  In many ways this is why the concept of the Borg is so terrible, as the infantile mind reels at the notion of the ego-destruction that follows inevitably from such a group-focused notion.

Is it possible that all the ambitious dreams and inventions of a society founded on the notion of “rugged individualism” will likely lead to a technological future in which every mind is connected to a vast, centralized machine, a Borg-like collective (un)conscious that rules us all?