There were, in my estimation, many interesting people at the first performance of Almost, Maine in Hickory NC this past Thursday night.

Almost, Maine program cover for Hickory NC

To begin with, there was the author, John Cariani, who had come out to support the production, something he can’t do very often given how frequently his show is produced around the country. There was Jack Thomas, who produced the New York City premiere of Almost, Maine a decade ago. There was the doctor who had helped to found OutRight Youth of Catawba Valley, a support center for LGBTQ young people in this rural North Carolina region, which the performances, in part, benefited. There were the two women who were part of the local “Friends of the Library,” who knew little of the show but just wanted to support the effort. There was a high school drama teacher from the Raleigh-Durham area who had driven two and a half hours to see the show – and had to drive home that very night.

Oh, and there was the guy out on the street as I entered the building who was carrying a cross and shouting about how we were all going to hell for supporting homosexuality, and that God had very specific intentions for how humans should use their genitalia in relation to one another – though he was somewhat less circumspect than I just was in his phrasing.

Blake Richardson and Jonathan Bates in the scene “They Fell” from Almost, Maine

This production of Almost, Maine in Hickory was originally to have been produced at Maiden High School in nearby Maiden NC, but the show was canceled, after rehearsals had begun, when the school’s principal buckled to complaints about gay content and sex outside of marriage, reportedly from local churches (one made itself known publicly shortly before performances began). Due to the determination of Conner Baker, the student who was to have directed the show at the high school and ended up performing and co-directing, and with the tireless support of Carmen Eckard, a former teacher who had known many of the students since she taught them in elementary school, the show was shifted to Hickory, where it was performed in the community arts center’s auditorium.

Ci-Ci Pinson and Nathaniel Shoun in “Where It Went” from Almost, Maine

There were shifts in casting due to schedule changes, due to the show no longer being school-sanctioned, due to the need to travel 15 miles or so to and from Maiden to Hickory. But nine young people, a mix of current and former Maiden High students and a few students from local colleges, made sure that Catawba County got to see Almost, Maine, the sweet, rueful comedy that is hardly anyone’s idea of dangerous theatre.

Save for Cariani and Thomas, I hadn’t anticipated knowing anyone at the show that evening, though I had been in communication with Eckard and Baker since the objections first arose at Maiden High. But I was very pleased to spot Keith Martin, the former managing director of Charlotte Repertory Theatre, now The John M. Blackburn Distinguished Professor of Theatre at Appalachian State University, who I knew from my days as a manager in LORT theatre, but hadn’t seen or spoken with in more than a decade. Keith’s presence had a special resonance for me, because nearly 20 years ago, before the cast of Almost, Maine was born, he had been at the center of one of the most significant and ugly efforts to censor professional theatre in that era, namely community and political campaigns to shut down Charlotte Rep’s production of Angels in America, a national news story at the time which saw lawsuits, injunctions, restraining orders and even the de-funding of the entire Charlotte Arts Council, all in an effort to silence Tony Kushner’s “Gay Fantasia on National Themes.” The efforts failed, but left scars.

Keith Martin

I spoke with Keith a few nights after we saw Almost, Maine, and even as he recounted – and I recalled – the fight over Angels, he told me of two other censorship cases in North Carolina in the 1990s. The first, with which I was familiar and which played out over much of the decade, began in 1991, when a teacher named Peggy Boring was removed from her school and reassigned due to her choice of Lee Blessing’s play Independence for students, which was deemed inappropriate by administrators. Boring didn’t accept the disciplinary action and brought suit against the school system, which went all the way to the Supreme Court, which ultimately let stand a lower court decision which said that Boring’s right to free expression did not extend to what she chose for her students, an key precedent for all high school theatre and education.

The second occurrence which Keith told me about took place in 1999, when five young playwrights won a playwriting contest at the Children’s Theatre of Charlotte – but only four of the pieces were produced. The fifth, Samantha Gellar’s Life Versus the Paperback Romance, was omitted to due its inclusion of lesbian characters. The play was ultimately produced locally under private auspices and also got a reading at The Public Theater in New York with Mary-Louise Parker and Lisa Kron in the cast, but in the wake of the Boring case and Angels in America, it couldn’t be seen in North Carolina in a public facility or produced using public funds.

As we talked, as he told me firsthand accounts of situations both known and unknown to me, Keith was very concerned that I might focus too much on him when I sat down to write. It’s hard not to want to tell his story – or, perhaps, his stories – in greater detail. But since we both went to Hickory to celebrate Almost, Maine and the people who made it happen, here’s just a handful of the very smart and pertinent thoughts he shared.

Why had he made the hour-long trip to Hickory? Because, he replied, “When one of us is threatened, we as a theatre community are all at risk.”

Why is this important even in high school? “Teenagers aged 13 to 17 are, I believe, among the most marginalized voices in America today,” said Martin. “It’s ironic, because they’ve developed a sense of place, they have a spirit of activism, but they’re not yet of a legal age to give voice to their passion.”

Regarding efforts to minimize controversy in theatre production, Keith said, “Theatre has always been the appropriate venue for the discussion of difficult subjects and it provides a respectful place where people of goodwill who happened to disagree about different sides of an issue can see that issue portrayed on stage and then have a healthy, informed debate.

Is there something special about North Carolina that led to these high profile cases emerging from the state? “Angels in America was portrayed as having happened in a southern, bible belt town. But what happened after that?” Keith asked me, going on to cite the controversies and attempts to silence Terrence McNally’s Corpus Christi at Manhattan Theatre Club and My Name is Rachel Corrie at New York Theatre Workshop.

The team behind Almost, Maine in Hickory NC, including playwright John Cariani

As I said at the beginning, there were many interesting people at the opening of Almost, Maine. I suspect the students in the show didn’t know, or even know of, Keith Martin, and this post is one small way of putting their work in a broader context that he embodies in their state. I have no doubt that there were other people with personal experiences and connections relating to what the students had achieved, and it’s pretty much certain that neither they nor I will ever know them fully. But just as Keith said to me in our conversation that, “these kids need some recognition that their efforts have not gone unheard,” it’s important that they know that their theatrical act of civil disobedience does not stand alone, be it in North Carolina or nationally. The same is true for everyone who had a hand in making certain that Almost, Maine was heard over the cries of those who wanted it silenced.

In one of my early conversations with Conner Baker, as we discussed her options, her mantra was that, “We just want to do the play.” She and her classmates and supporters did just that, in the least confrontational way possible, but in doing so their names belong alongside those of Peggy Boring, Samantha Gellar, Keith Martin and many others in the annals of North Carolina theatre, at the very least.

I’ll leave you with one last connection between Keith Martin and Almost, Maine. The SALT Block Auditorium where the show was produced is located in an arts center which is the former Hickory High School. Keith Martin attended that very school decades ago and performed on the stage where Almost, Maine was produced last week. The role he recalled for me when asked? The title character in The Secret Life of Walter Mitty. I suspect that even James Thurber’s famous daydreamer couldn’t have imagined the controversy surrounding Almost, Maine…or its happy ending. Maiden’s reactionary, cowardly loss was Hickory’s heroic gain.

Many of you already know the story of the Maiden High School production of John Cariani’s Almost, Maine, shuttered by school officials this fall due to the content of a single scene in which two men discover that they love one another. The cancellation rightly got a great deal of attention, not least because Almost, Maine is the most popular new play done in high schools nationally, a widely accepted work that hit a wall in one North Carolina town due to the school administration caving in to their own worst instincts and to outside pressure, even though the source of the pressure managed to remain under the radar.

So in the season of love and good cheer, it seems the optimal time to affirm that Almost, Maine will go on next month, with students taking the show off campus, producing it independently in a nearby town with the help of Carmen Eckard, a former teacher who taught a number of the students when they were in elementary school.

Hosted by the United Arts Council of Catawba County, Almost, Maine will be presented at the SALT Block Auditorium in Hickory NC on January 15, 16 and 17 at 8 pm. While there have been some shifts in the cast, the production will feature seven current Maiden High students, two recent graduates and a Maiden High student as stage manager. Conner Baker, the student who was directing the show at the school has joined the cast, so she’ll be co-directing the show with a local attorney, William Morgan, who previously directed the show at an area community theatre.

Many familiar with this story will also recall that in order to produce the show independently, Eckard and Baker launched a Kickstarter campaign that sought to raise $1,000 to cover expenses. That effort yielded over $6,500 in funds, and with program ad sales, the production is sure to bring in yet more revenue by mid-January. In a bright silver lining to the cloud cast by the school’s censorship, the bulk of the donations to the production will be shared by the Arts Council and OutRight Youth Catawba, which seeks, in their words, “to reduce the isolation felt by LGBTQ youth by providing a sense of community and developing programs and services to counteract the prejudice and oppression that LGBTQ youth often face.”

Both tickets and program ads are available from the production’s website: http://almostmaiden.com

As for a fall show at the high school, I’m told there was no replacement once Almost, Maine was nixed. That’s a loss for every student at the school and a black eye for every administrator, school board member and community member who worked to shut down Almost, Maine. I can only hope they’ll all make the short trip from Maiden to Hickory to support the show and the students who kept it going – and to, in part, counteract a narrow-minded decision that gave in to suppression of young people’s ambitions and lives, rather than standing for love.

Earlier this month, the administration at Maiden High School in Maiden, North Carolina tried to put a stop to the student production of John Cariani’s Almost, Maine. With permission slips in hand, the cast chosen and rehearsals just underway, the school announced the show was off. But it’s only off school grounds. The play will go on.

*   *   *

As first reported last week by WSOC TV in two reports [here and here], with additional reporting from Think Progress, Almost, Maine was shuttered because of a single scene, entitled “They Fell,” in which two buddies reach the startling discovery that they love one another – by actually falling down. Repeatedly. There’s no sexual innuendo, no physical contact, and the words “gay” and “homosexual” aren’t spoken. The scene takes up six pages of a 54 page text.

It’s not as if the school didn’t know the play was in the works. Maiden High School junior Conner Baker, who was to direct the production, said that when the administration was asked for permission, they gave it within a day.

“Our teacher advisor spoke to our principal,” said Baker, “who then spoke to the superintendent. We were told through our student advisor.”

She explained that students had to get permission slips with parents expressly agreeing to let their children participate, which hadn’t happened before in her experience. Of the permission slip, she said, “I don’t remember it word for word. It was along the lines of, ‘We have chosen Almost, Maine as our fall play this year. The play includes nine vignettes about love, one of which is centered around two male best friends who realize they are in love with each other’.”

Baker also described parents being required to come to one of two meetings in person to give their approval, also a new requirement. “Whenever a parent came in, I explained to them the content of the play and told them that for their child to audition, they needed to sign the permission slip.” Students also were permitted to audition with the scene in question, but Baker said she didn’t know where that requirement came from. “We were told by our teacher, though I know it wasn’t her decision. I also do not know why.”

After the show was cast and had just begun rehearsals, the word came that the show was off. “We were told by our teacher. They said the community isn’t ready for it. There wasn’t really a big discussion about it.”

*   *   *

Maiden High School’s logo

In spite of all the strictures placed on the audition process – the permission slips, parents coming to meetings – the school’s statement, issued after the news media began to pick up the story, clearly sought to obfuscate the issue, using the ‘approval hadn’t been given’ excuse that crops up so regularly in instances of school theatre censorship. Issued by Principal Rob Bliss (Robert_Bliss@catawbaschools.net) , it read:

“Our faculty and staff are still in review of potential performances to be conducted by our students this fall. At this time, no final decision has been made regarding whether and what drama performances are to be presented this fall. In regards to the request for students to perform the play “Almost Maine,” careful review and consideration was given to the contents of this play. The play contained sexually-explicit overtones and multiple sexual innuendos that are not aligned with our mission and educational objectives.

“As principal of Maiden High School, I have an obligation to ensure that all material, including drama performances is appropriate and educationally sound for students of all ages.”

The consensus in conversations on Facebook between various students was that some adults and churches in the area had made their displeasure known to the school administration, focusing on the gay storyline. None of them appear to have made their concerns known publicly. Yet this prompted the school to pull the plug without giving any hearing to those in support of the play.

*   *   *

Upon learning about the cancelation, one area adult, Carmen Eckard, a former local teacher, sent an e-mail to a number of administrators at the school. She wrote, in part:

“These kids have spent years fostering their love of theatre. In fact, I taught many of them at Startown Elementary, and they loved theatre class! That has blossomed into a real appreciation and dedication, and the decision to cancel a play after rehearsals had begun is extraordinarily disrespectful, and counterintuitive to education.

“Their passion is now spurred, and they will show you how dedicated they are.  I’m sure you’ll quickly realize that a mistake has been made.

“My advice would be to reinstate the play, before Huffington Post picks up this story. It’s just the kind of thing they love, and I’m sure we’ll all appreciate not  being highlighted in national news as a ‘backwards’ town, again.”

She received a response from the school superintendent Dr. Dan Brigman (dan_brigman@catawbaschools.net), who thanked her for writing, but didn’t address Almost, Maine at all, simply saying another appropriate play would be found. [For legal reasons, I am paraphrasing the superintendent’s brief reply.]

It seems a shame that Brigman didn’t heed Eckard’s warning, given the media attention that has resulted  from the cancelation (even reaching up into Maine). As for being highlighted in the national news “again,” while I didn’t ask Eckard what she was referring to specifically, I am assuming it was the 2012 stories about local Pastor Charles Worley of the Providence Road Baptist Church in Maiden. Worley got lots of press, far beyond HuffPo, for stating that gays and lesbians should be confined behind an electrified fence. Plenty of North Carolinians spoke out against Worley at the time, but his church remains active in the community.

*   *   *

Conner Baker (l.) and Carmen Eckard (photo by Eckard Photographic)

Eckard did more than just write a letter. She got involved.

“As soon as I realized that it was my old students and the play was Almost, Maine, I started looking for ways to help,” she wrote in an e-mail. “By Friday, Connor and I had scheduled a meeting, and people had started contacting both of us, asking for ways to help.”

In my very first communications with Baker and Eckard, both immediately said they hoped to try to do the play off-campus, so I asked them both whether they considered fighting the decision.

Referring to the response she received from the principal, Eckard continued, “The response I received convinced me pretty thoroughly that trying to change the ruling would be a waste of time. It also gives the power in the situation completely to the school board – it’s their decision. The community is extraordinarily conservative.”

Conner Baker said, “I think at first we considered that, but as a group, we just want to do what’s best for us. Our whole reasoning behind speaking out was to be able to do the show.”

While many outside groups and individuals offered their support, Baker and Eckard felt it was best not to be antagonistic as they went forward.

Eckard explained, “The kids said, ‘The main thing we want to do is that we don’t want to alienate the community, we want to keep things positive. We’re going to take our play somewhere else for people who want to see it.’ I think this way will make people happy-ish.”

*   *   *

Before learning that the show might go on off-campus, playwright John Cariani learned of the situation in Maiden and crafted a reply that was posted to the Almost, Maine Facebook page. It read, in part:

“If Maiden High School administrators take issue with ‘They Fell’ because it’s about two young men who are simply stating their feelings for one another, they are calling into question the validity of same-sex love by making it seem wrong and different and other. They are allowing a dangerous cycle of fear and self-hatred among LGBTQ youth to continue, and, consequently, they are tacitly promoting homophobia. This is simply not necessary. Nor is it helpful. We don’t need any more Tyler Clementis or Jamey Rodemeyers and Jamey Hubleys. We need kids to know that it’ll “get better.” Falling in love is tough enough when you’re young. Let’s remove the stigma of falling in love with someone of the same sex…

“By canceling the play, it seems to me that school officials are pleasing parents and pillars of the community rather than serving the students. I think there’s a better solution than to stop the production.”

In a phone conversation, I asked Cariani if he had originally conceived of his play being performed by high schools, where it is enormously popular, landing as number one on the Educational Theatre Association’s list of the most produced plays in high school theatre this year. (You can see a list of upcoming productions by searching on the Dramatists Play Service website’s Page to Stage page.)

John Cariani, author of Almost, Maine

“Not at all,” he replied. “I thought it was a play for adults. The first high school production was Cape Elizabeth High School in Maine. They were a great theatre program when I was growing up [also in Maine, but in another school system]. Their teacher approached me and I thought, ‘High school students can’t do this play.’ But I got to see their production. The teacher helped me to understand that high school kids are on the verge of adulthood, but still optimistic of what the world can do for them and what they can do for the world. That is what makes high school kids, when they do it well, do it super-well.”

Cariani said he knew of a couple of instances in the past where there were efforts to censor or cancel the play. He noted one at Bel Air High in Maryland where the American Civil Liberties Union was instrumental in insuring the play went on. He also echoed Baker and Eckard’s sentiments about how to go forward.

“It’s important that we achieve our goals without being mean,” he offered. “It’s dangerous.”

But, I wondered, given the countless productions around the country, wasn’t it possible that some school might have already done, or might be planning to do, the show and altering “They Fell” unilaterally? What would he like to say to anyone who has done that or contemplates that, against the legal contract of the license and copyright law?

“It’s lying,” said Cariani, “because that’s not the play.”

*   *   *

Some of the Maiden High Students who will continue to work on Almost, Maine (Photo by Eckard Photographic)

Last night, October 20, Baker and Eckard held a small meeting to begin organizing the play for production away from Maiden High School, discussing possible venues, budgets and timing.

I asked Baker whether she thought she might lose any of her cast, since the show is no longer a school activity, especially because the school has already begun surveying students as to their interest in participating in an alternate play under official auspices.

“Only one person for sure said they couldn’t do it anymore,” she replied. “But the show really is meant for four actors and we have a cast of 20, so even if half of them dropped out, we could still do it.”

Maiden senior Logan Riley wrote to me, regarding the school’s effort to mount its own show, “The school system wants to have another show to settle the unrest in the community. This does not mean that we will actually put on another show.”

Moving the play off school grounds could still result in opposition. Are either Baker or Eckard concerned?

“We don’t care if they oppose it,” said Eckard. “Free speech! It won’t matter if they are against a public performance, because those of us involved aren’t under any particular employment or jurisdiction that would cause us to fear retribution.”

Baker echoed the sentiment. “I mean, people will complain no matter where we perform it. We aren’t forcing anyone to come out and see it, but if people do protest, it won’t stop us from performing it.

*   *   *

So the students of Maiden High School are going forward with Almost, Maine, targeting the first weekend in January for production. They’ve set up a Kickstarter page to raise the funds they need and hope to confirm a location shortly. Their cleverly named website-to-be is www.almost maiden.com.

This isn’t the first time students have taken a show off of school grounds to get it done (there are many precedents, including Wilton CT and La Grande OR) and one has to applaud the Maiden students’ commitment to seeing the show happen, with its myriad messages of love intact. I have to confess to feeling that the school is getting off easy, since the relocated production also shifts the spotlight off of their efforts to silence the students and the play, leaving intact the utterly unacceptable official message that LGBTQ love is something to be hidden away – even as North Carolina begins legal same sex marriages.

But Conner Baker has a simple reason for how the play will now happen, and it’s pretty hard to argue against.

“We aren’t doing it to upset anyone,” she says. “We just want to do what we love doing.”

As the cab pulled into the driveway, I got a glimpse of a sign propped against a telephone pole, starkly gray, black and white. On it were the typical details of any theatre production: the company, the dates and times, the title of the show, the website. Depicted was a single leafless tree, suggesting perhaps Waiting For Godot, or Spoon River Anthology, or maybe even a spooky Halloween attraction. I knew the show I was headed to was going to be a heavy one, so the foreboding promised by the sign wasn’t inappropriate; it followed a dictum I believe in strongly, which is truth in advertising. I just didn’t expect this for a high school play.

The play in question, about which I knew next to nothing beyond a website marketing synopsis, was Infinite Black Suitcase by EM Lewis, a playwright new to me. It was being done as a “major black box production” at Staples High School in Westport CT, a school whose theatre program I have heard about for literally decades, knowing kids and parents of kids who had at one time or another been connected with the school. While challenges to other high school plays have taken me to other towns in Connecticut – Waterbury, Woodbridge, Trumbull, Milford – I happened to meet the head of the Staples drama program when we served together for one year (two meetings) on an advisory committee for Samuel French, the theatrical licensing company. So I’d been keeping an eye on what he was up to, even as more pressing issues in high school theatre took me elsewhere.

Had I visited the Staples Players website and found they were doing Twelve Angry Men/Women/People/Jurors or To Kill A Mockingbird, I might not have been so quick to head to Westport along with the commuter crowd on their way home on Thursday night. But the online description of the play, not out of character with the school’s past repertoire, about various residents of an Oregon town dealing both with impending death and the aftermath of prior losses seemed so incongruous in a high school setting – even a high school with a 200 seat black box in addition to a spacious main auditorium – that I had to go up and see for myself.

Jacob Leaf, Claire Smith & Jack Baylis in Infinite Black Suitcase at Staples High (photo by Kerry Long)

Before going, I looked up the playwright, wondering whether the author wrote specifically for high school productions, and discovered that she has a number of professionally produced works to her credit (the play premiered in Los Angeles in 2005) and that Infinite Black Suitcase was in fact receiving its high school premiere. This prompted me to ask Roth, who was directing the play with his wife Kerry Long, how he came to the play. He responded that the folks at French had put him on to it, as he had been looking for a relatively large cast contemporary play.

I attended the first of four performances, and until 10 minutes or so before curtain time, I wondered if anyone would be there, so empty was the parking lot and theatre entrance – as did some students who seemed connected with the show, milling in the hallway near the theatre. An audience did arrive, a bit tardy, filling the small theatre to perhaps a bit more than half of capacity. Once inside, the trappings of the school fell away and the environment resembled many an Off-Broadway house. Indeed, the fact that the theatre wasn’t completely full showed that challenging work is always a hard sell, regardless of whether it’s professional or academic. Of course, it was a school night.

Jack Bowman & Joe Badion in Infinite Black Suitcase at Staples High (photo: Kerry Long)

Obviously my intent is not to review the play or production, but I can say that it met one criteria I declared important when I first started writing about high school theatre, namely that the work challenged the students performing in it. Playing (mostly) grief stricken adults mourning or anticipating death in a series of short, intertwined scenes, the students were “punching above their weight,” rather than merely romping through an entertainment that catered to their natural, youthful exuberance. The play also fulfilled what Roth had told me led to its selection, in that the 16 actors were a genuine ensemble, each afforded at least one “moment” in the 80 minutes to showcase their abilities.

Contemporary drama is hardly unknown in high school theatre, although it was outside of my own experience years ago. A quick glance at the Staples repertoire over many years shows that, as did the most compelling portion of Michael Sokolove’s book Drama High, in which high school students performed Roberto Aguirre-Sacasa’s Good Boys and True. That said, in the Educational Theatre Association’s survey of the most produced high school plays, only one contemporary play makes the top ten: John Cariani’s Almost Maine (at number one). Surely Cariani’s play stands atop the list because while originally produced with four actors and lots of doubling, it easily affords the opportunity for a larger cast to play its many roles without repetition, expanding to meet the interest and needs of high school drama, where musicals with casts of 50 are far from rare. Cariani’s new play, Love/Sick, might well appear on the list soon.

The rest of the EdTA list is decidedly older plays, from public domain works like A Midsummer Night’s Dream and The Importance of Being Earnest to American classics like Our Town, Harvey and You Can’t Take It With You. While I have affection for all of the plays which are most frequently seen, with a particular and deep admiration for Our Town, a play often mistaken for pablum when it is really a profound meditation on death, I do worry, as with musicals, that even as the canon of theatre literature grows, the majority of our high schools produce the same standards year after year, the experience at Staples, the popularity of The Laramie Project and Sokolove’s story of Levittown PA notwithstanding.

This may well be a byproduct of the downsizing of the American play. Ask any playwright and they’ll tell you how they have to craft their works for casts of four to six, preferably with a single set, in order to get them done; look at the most produced plays in America and you’ll find those small casts: Venus in Fur (two), Red (two), God of Carnage (four), Vanya and Sonia and Masha and Spike (six), and so on. So when high schools seek to involve as many students as possible in theatre outside of musicals, they’re forced back to the days when larger casts were de rigeur. On the one hand, we can say that this only reflects modern trends in professional theatre, and students should work with the same expectations, but in practice small cast plays either deny students the chance to learn about dramatic ensembles or the chance to tackle new work.

I have to hand it to Roth for putting his students up to the challenge of Infinite Black Suitcase, although I suspect it’s unlikely to be come a standard work in the high school repertory. But I’m also pleased to know that it’s not the only option out there. Student-written plays, although typically one-acts, afford high schoolers the opportunity to take on work by and about their peers, although that’s not without its challenges, as cases in Everett MA and Wilton CT have shown. Lend Me A Tenor author Ken Ludwig premiered one of his plays, a holiday show, at a high school near his home. There is also a thriving subset of writing targeting the academic market, though it is wholly unfamiliar to me.

One model that I wish were better-known or, better still, duplicated in the U.S., is the one forged by NT Connections in England, in which the National Theatre commissions new works by major contemporary playwrights specifically for secondary schools to perform. This may give the writers a chance to work on a larger canvas than they can with works seeking professional production, while letting the students take on modern plays crafted specifically for them that aren’t necessarily simplified for them or condescending to them, by writers they well might be reading about in the culture pages. Though I admire the concept, I regret knowing very few of these plays; I can, however, heartily recommend Mark Ravenhill’s Moliere riff Totally Over You.

I must come back to one last aspect of the experience of seeing Infinite Black Suitcase at Staples High. In my experience as an audience member seeing high school theatre, plays or musicals, I am always in the position of watching a show I’ve seen before, in many cases more than once, its words and music well known to me. With Suitcase, my experience was perhaps closer to the majority of my regular theatergoing precisely because I didn’t know it. I wasn’t spending the evening just seeing how well the kids managed to perform a familiar tale, I was actively engaged in watching the play itself, since I had no idea what would happen next and, for me, the Staples cast – of students I’ve never met, and so have no reason to respond to with indulgence or affection – is forever linked with the play, as with any show when one sees it for the first time. For Infinite Black Suitcase, they are my original cast.

P.S. I continue to learn a great deal about high school theatre as I see more and write more and as readers respond to what I write. If you have other examples of high school theatre giving students the opportunity to take on challenging contemporary or even new work, I hope you’ll share it in the comments section below. Teach me, and share so that other students and teachers can learn as well.