This morning I’m still grappling with how to articulate - in some coherent manner - the way in which I was inspired by witnessing the 2017 Illinois High School Theatre Festival All-State production of Sweeney Todd. I was inspired not just by the final performance we witnessed yesterday, but more importantly by the entire journey that the company traveled together, beginning last spring.
As I’ve shared observations with friends and trusted colleagues in the arts-education world (personal conversations, social media posts, etc.) I am keenly aware that my perceptions are no-doubt subject to bias that is the natural result of having a child involved in the production. Try as I might to separate my pride in my own son’s contributions to the Pit Orchestra, I admit that no parent can completely compartmentalize these emotions and comment with absolute objectivity.
With that bias stated, I do assert that I’ve been teaching long enough, and have had my hand in enough musical productions over the years, to be qualified to and justified in making some observations about the Illinois High School Theatre Festival, and drawing some comparisons to other artistic endeavors that yield inspiring performances.
Sweeney Todd was the first professional musical I attended, and it happened to be in England as an elementary school boy. I was a tag-along-kid, with an educational tour my father organized for his Stephens College students who were studying elementary-school education methods in British schools. Attending that show is one of my most vivid early memories in life, and was - I’m sure - a large part of what captivated and motivated me as a young musician. I’ve been a Sondheim fan ever since, and consider him to be a compositional genius in this medium. I’ve never conducted Sweeney Todd, but another Sondheim work (Into The Woods) remains to this day my favorite score I’ve ever had the privilege to lead as an orchestra conductor. Back to Sweeney Todd: I have seen at least a dozen productions of this show over the years, including collegiate, community theatre, and professional companies. I’m not exaggerating when I say that the 2017 IHSTF All State production rivaled or surpassed every other production I’ve ever seen. On all levels, and in every facet (lighting, sets, costumes, make-up, props, music, acting). The audiences at the Theatre Festival were transported, captivated and engaged in such a manner that everyone in the house forgot they were experiencing “high school theatre.”
So, why did that happen? How did they do it?
Well, for starters, the Producers of this show (dedicated and compassionate educators in their own right) assembled and led an artistically committed team of creative educators. They selected the kind of teachers who set the bar so high that even the most advanced high school actors, musicians and technicians had to reach higher than they knew they could reach in an effort to meet their professional-level expectations.
Next, that creative team assembled (through live auditions, YouTube auditions, interviews, portfolio reviews, etc.) a company of Illinois high school students that were insanely talented. But, beyond that, these teachers worked hard … early … to share their vision for the production, and to create total buy-in by a group of student artists who were largely new to collaborating with one another. Communication of vision happened early, and continued regularly through the process. Email updates, Facebook page, Twitter, Instagram … and of course the rehearsal process starting in August, and continuing about twice a month through December.
The leaders of the production created a “community” within the production that felt like a family. One of the co-producers was affectionately called the “mom” of the company, and this family-vibe spun from there. The creative team planned and executed meals that brought all the students together. They encouraged orchestra kids to eat with actors … and make-up artists to sit with lighting designers, etc. A “Thanksgiving Dinner” was coordinated in November for the entire company during one of the rehearsal weekends. And this notion that everyone was an equal contributor to the success of the show (from the lead actors to the behind the scenes technicians) was evident in public printed materials. Every student, regardless of role, had their name displayed in the program in the most equitable way I’ve ever seen a musical program formatted. Every student’s biography and photo was accessible in the IHSTF smart-phone ‘App’. That's a lot of behind-the-scenes work for someone. It was important, so they took the time to make it happen.
The creative team / educators who nurtured these students clearly understood the essential elements of an elongated rehearsal process and how to ramp-up toward the production week. For those of you who - like me - have a Drum Corps background, this process reminded be of a DCI corps beginning in November, and building toward World Championships in August. The early rehearsals of Sweeney Todd were much like the “camps” held for a DCI corps November - Spring. The rehearsals in October/November were like the early-summer tour of a corps (June). December, into the production week at the University of Illinois were like the second DCI tour (late July). The final dress-rehearsal (open to family, and observed by me) last Wednesday night was like Semi-Finals. The final two performances of the show on Saturday were much like “Finals” for DCI. Impassioned student artists, inspired to perform for others who understand and appreciate their level of commitment, with the creative team standing on the track (or in this case sitting in the house) drained and exhausted … but welling up with pride as they watch young people (who have become an extension of their family over the last eight months) perform with a maturity that is clearly “beyond their years.”
Returning to my bias: as a father, I’m unapologetically proud of Miles for earning the opportunity to be a part of this production, his preparation of the music, and his stellar performances of the material. Sweeney Todd is one of the more challenging books for French Horn written, with dozens upon dozens of exposed entrances, quick mute changes, and featured melodic/harmonic lines that contain challenging intervalic leaps. One cannot hide in this orchestration. The performer must nail every entrance and every note. Miles did, and I'm not embarrassed to congratulate him on his achievement publicly. He earned it.
Stepping beyond my personal bias: writing as an arts educator in Illinois, I’m a new and unabashed fan of the Illinois High School Theatre Festival. I’m looking forward to ramping up my own personal and professional support of the very solid and pedagogically strong teaching that is happening through this process. As a 27-year veteran teacher in Illinois, I’m admittedly embarrassed that I did not fully understand the level of artistry that was being achieved at the IHSTF. In the years I have left, I’ll look forward to deepening my support.
“Products” are important. Especially products of excellence. But the “Process” is where the learning really happens, and it’s this facet of the experience that will linger with and inform those who are fortunate to be a part of something like Sweeney Todd. Some of these students will continue onward with professional careers in the arts. We will no-doubt hear from them again or see their work on Broadway … or they will become arts educators themselves, sharing their passion for musical theatre with a new generation. But those who do not pursue a career in the arts are equal beneficiaries because the PROCESS of achieving excellence - in a collaborative environment - will serve them well in any profession or in any life endeavor.
My heartfelt thanks to all of the adult mentors who gave so much of themselves personally, sacrificing precious hours with their own families, to give these students this formative and compelling experience. Bravo!
