“What’s the deal with all this high school theatre?”

That’s the kind of comment—spoken, written or tweeted—I’ve been getting regularly over the past four years since I began writing about instances of censorship of theatre in American high schools (and, on occasion, colleges). To be fair to those who may be skeptical about the extent of the problem, I myself have been surprised by the volume and variety of issues raised over the content of shows being done—and, in some cases, ultimately not being done—in school-sponsored theatre.

But between writing about these incidents, and directly involving myself as an advocate in some of them, I’ve come to believe that what’s taking place in our high schools and on our campuses has a very direct connection to what is happening (and will be happening) on professional stages.

So here are nine common questions that have arisen as my advocacy has increased, and some answers—although, as every attempt at censorship is different, there aren’t any absolute answers.

1. Why is there so much more censorship of high school theatre these days?

There’s no quantitative study that indicates the policing of what’s performed is any greater than it was 10, 25 or 50 years ago. Everything is anecdotal. But the Internet has made it easier for reports to spread beyond individual communities and for news-aggregation sites uncover and accelerate the dissemination of such stories. It only takes one report in a small-town paper these days to bring an incident to national attention; that was a rarity in the print-only era.

2. Isn’t this just a reflection of our polarized national politics?

School theatre censorship doesn’t necessarily follow the red state/blue state binary division, because the impulse can arise from any constituency. While efforts to quash depictions of LGBTQ life—as with Almost, Maine in Maiden, N.C., or Spamalot in South Williamsport, Pa.—may be coming from political constituencies galvanized against the spread of marriage equality, or from certain faith communities which share that opposition, that’s hardly the only source. Opposition to Sweeney Todd, both muted (in Orange, Conn.) and explicit (in Plaistow, N.H.) was driven by concern about the portrayal of violence in an era of school shootings and rising suicide rates, while Joe Turner’s Come and Gone was challenged by a black superintendent over August Wilson’s use of the “n-word.”

3. What’s the real impact of school theatre on the professional community?

The Broadway League pegs attendance at Broadway’s 40 theatres in the neighborhood of 13 million admissions a year and touring shows at 14 million a year. TCG’s Theatre Facts reports resident and touring attendance of 11 million. That totals a professional universe of 38 million admissions.

Based on figures provided to me by half a dozen licensing houses, there are at minimum 37,500 shows done in high school theatres annually, and conservatively guesstimating three performances of each in 600 seat theatres at 75-percent capacity, that’s more than 50 million attendees. In both samples, the numbers don’t represent the total activity, but high school theatre’s audience impact is undeniable, both as a revenue stream for authors and as a means of reaching audiences who might not see any other theatre at all.

4. Does it really matter what shows kids get to do in high school?

While there are valuable aspects to making theatre that apply no matter what the play choice may be, many schools view their productions as community relations, frequently citing that they want to appeal to audiences “from 8 to 80.” While the vast majority of students in the shows, and their friends who come to see them, will never become arts professionals, they are the potential next generation of audiences and donors for professional companies. If they are raised on a diet of Alice in Wonderland and The Wizard of Oz (both currently very popular in the high school repertoire), how can we expect more challenging work , new work, or socially conscious work to sustain itself 20 years on?

5. Are school administrators fostering an environment in which censorship flourishes?

I’m unwilling to accept the idea that our schools are run by people who fundamentally want to limit what students can learn—or perform. But they are operating within a political structure topped by an elected board of education, and can be subject to political pressure that often makes the path of least resistance—altering text or changing a selected show, in most cases—the expedient way to go. Unless an administrator (or a teacher, for that matter) is independently wealthy, they can’t necessarily afford to risk their job fighting for the school play that may have challenging content. That said, students at Newman University rebelled against administration-dictated text changes, reverting to the script as written for the latter two of their four performances of Legally Blonde in November.

6. Isn’t this a free speech issue?

In a word, no. Schools have the right and responsibility to determine what is appropriate activity and speech under their control, and just because students are exposed to all manner of content in the media and even in their day-to-day lives doesn’t mean that schools can or must permit it, either in classrooms or performance. That The Crucible is in countless high school curriculums does not necessarily prevent it from being censored as a performance piece, despite the seeming double standard.

The same stringent oversight that affects school theatre is also often directed at school newspapers and media. However, while some school systems attempt to control all student speech, it is a First Amendment violation to infringe on student speech to the media about their dissatisfaction with the actions of a school, including censorship. Drama teachers, who are best equipped to make the cases for the shows they choose, are usually prevented from doing so by employment agreements which prohibit them from discussing school matters without the express approval of the administration, typically the superintendent.

7. Don’t shows get edited all the time in schools for content?

In all likelihood, shows are constantly being nipped and tucked by teachers and administrators to conform to their perception of “community standards,” whether it’s the occasional profanity or entire songs. But that doesn’t make it right, and it is censorship. Aside from violating copyright laws and the licensing contracts signed for the right to the show, it sets a terrible example for students by suggesting that authors’ work can be altered at will, undermining the rights of the artists who created the work.

Some writers and composers have authorized school editions or junior versions of their shows for the school market to recognize frequent concerns and to keep from denying students the opportunity to explore their shows. But the rights must lie with the authors, not each and every school. If that isn’t made clear early on, how can we expect to fight censorship anywhere?

8. When a show is canceled and then successfully restored through a public campaign, is that winning the battle and then losing the war?

That’s a genuine concern of mine—that once there’s a public battle over theatrical content, the school will thereafter clamp down even harder and apply greater scrutiny forever after to drama programs, academic or extracurricular. At the Educational Theatre Association’s national conference this past summer, one attendee asked the others if there were shows that they believed would be great for their students but which they couldn’t even raise as possibilities. Every single teacher in the room raised his or her hand. So the incidents that become public—ones in which a show is announced, then has approval rescinded—are the tip of the iceberg. Drama teachers and directors are already having their choices limited, often by self-censorship. There’s much more work to be done, but if blatant examples don’t come to light, it may never be possible to galvanize support for school theatre that challenges students to do great work and great works.

9. Can professional artists and companies make any difference when incidents of censorship arise?

Local theatres—professional, community and academic—make superb allies in fighting against censorship. Institutions and individuals within communities that are respected for their art occupy a position from which to speak out forcefully and effectively for school theatre programs. Whether it’s a nearby artistic director or a one-time resident who has gone on to a professional career, they bring a history and authority that will speak to both the local populace and the media. The vocal support of the Yale School of Drama and Yale Rep with the aforementioned Joe Turner, and of Goodspeed Musicals and Hartford Stage in the case of Rent in Trumbull, Conn., were key factors in the ultimately successful efforts toward restoring those shows to production.

In closing: The first time I inserted myself into a school theatre censorship debate in 2011, I assumed it was a one-off. I did not realize at the time that I had found a cause. Each time an incident comes to a conclusion, regardless of whether the outcome was, from my point of view, positive or negative, I think that surely the message is getting out there and this will be the last time. But then comes the phone call, the e-mail, the tweet, from someone I’ve never met and possibly never will, saying that a show is threatened or has just been shut down. And I begin my introductory speech, which is unfortunately well-honed at this point.

“This is no longer about education,” I say, “this is no longer about art. This is now a political campaign.” And off we go.

This post first appeared at AmericanTheatre.org

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.”