As I prepared to go to Trumbull CT last month to see the high school’s production of Rent, many people asked, or wrote me to ask, if I would be writing about it. My consistent reply, “I doubt it,” was met with surprise by one and all, who asked, ‘Why not?’

I had been very vocal in my support for the show when it was canceled back in the fall, and I know that I played some role in helping to turn the tide back in favor of the production, though it was the students and adults in the community who really carried the day. But in anticipation of the show, I had no idea what might move me to write. After all, I was already “in the bag” for the production – delighted that it was happening, loving it even before I saw it. What, I wondered, would I have to say other than that it was great? It was great, incidentally, to the degree that I watched with even a shred of objectivity.

The night, however, had an entirely unexpected effect on me. It all happened after the final curtain call.

*   *   *

I drove up to Trumbull with Jonathan Larson’s father Al and sister Julie, who I have known since, during my tenure, the American Theatre Wing negotiated for and ultimately took over the responsibility of giving The Jonathan Larson Grants. Though I didn’t consult the Larsons or ask for their support as I undertook my advocacy in Trumbull in the late fall, I did keep them posted. The day the show was put back on the schedule, they said they would come in from Los Angeles to see the production and we made plans to go together, several months hence.

The only people who knew that the Larsons were coming to that first of four performances were Jessica Spillane, the teacher who runs the drama program in Trumbull, and Larissa Mark, the student president of the Thespian Troupe. It seems they really know how to keep a secret. After the performance, Ms. Spillane instructed the students not to rush to take off their costumes, but to gather in a corridor directly behind the stage. She did not tell them why.

So when she introduced Al and Julie, the reaction from the cast and crew was stunning. The most extraordinary mixture of shock, joy and tears erupted in equal measure, as some 60 or so students realized that they had just performed for the family of the late composer who died before most of them were born.

Julie, following my own tendency in such situations, withdrew to the sidelines, though she graciously spoke with anyone who approached her; I stood by her with the extra barrier of my camera, as I tried in vain to capture the entirety of the scene. Al, however, was immediately surrounded, as one by one students came up to thank him, to shake his hand, and most remarkably, ask if they could hug him.

I understood yet marveled at their compulsion to commune with the father of the writer they would only know through his words and music. This was as close as they could possibly come to Jonathan, and this kindly gentleman in his late 80s, who I have no doubt couldn’t hear a great deal of what was said to him, gave them each a turn, as crying teens tentatively stepped up, and then boldly embraced a man who was a stranger only minutes before.

I have never discussed the experience of Jonathan’s death with the Larsons in the years I’ve known them. It is a sad tale well known to anyone who knew about theatre in the mid-90s and there was no reason for me to inquire after details. That said, in bringing the grants to the Theatre Wing, I felt a great responsibility for Jonathan’s legacy and it brought me close this family that endured a terrible loss even as they saw Rent triumph. Seeing those students so raw with emotion, so desirous of connection, so profoundly moved to try to convey their own sense of loss was perhaps the only way in which I have ever participated so emotionally with Jonathan, with his family, and with Rent.

*  *  *

Eventually, it became time to pull Al away from the students, who would have surely kept him there all night. It was getting late, we had to drive back to Manhattan, the whole experience of the day had to be as exhausting for Al and Julie as it was for me. We made it out of the corridor into the larger school hallway, but Al and Julie proceeded by inches while I moved unfettered. A few parents who spotted me offered their thanks; one or two revealed themselves to be siblings or spouses of people I had gone to high school with, 34 years ago and a few miles away.

As I casually leaned against a wall, a young man approached me, and asked if I was Howard Sherman. Recognizing him as a Facebook friend, I quickly offered up, “And you must be…” and indeed I was correct. But this young man, who I’d not met before, was not some random social media connection.

I had gone to high school with the young man’s uncle and his aunt; I had first met his father, who is several years younger than me, when the father was perhaps no more than 8 and I was a much older 13.  Most important though, is that I knew his grandfather, who was my scoutmaster in my Boy Scout days.

Boy Scouting, by and large, is not a vivid memory for me. I was not driven to achieve a top rank, I don’t have close friends today who I knew from the activity. But there is one aspect that I will never forget: the day that this young man’s grandfather died of a heart attack on a camping trip, when I was 17 years old and a senior leader in the scout ranks.

I wasn’t on the trip. I had skipped it in favor of performing Abbott and Costello’s “Who’s On First?” at my school’s annual Pops Concert, although that was accidental; another friend had been grounded and couldn’t fulfill the commitment, so I stepped in. I learned of my scoutmaster’s death only a few hours before the performance and I actually followed the dictum of “the show must go on,” performing a comedy routine while in sorrow, even though it could have easily been excised from the performance.

I have always felt pangs of guilt over not having been on the trip. Not because I believe I could have done anything to help medically, but because there were so many younger scouts who were there when this sudden passing took place. I should have been there to support them. Who knows whether I would have been able to do so. I will always wonder.

I skipped the cast party and remember sitting at the kitchen table late into the night talking about this death with my parents. I remember saying to them how sad I was that I never got to tell my scoutmaster that I loved him. Wisely, they explained that such occasions didn’t arise under everyday circumstances, but that surely he knew from my loyalty that I cared for him and that surely it was mutual. It was the night I resolved to always try to let the people I care for know it at all times, in action and in words.

So here I was standing with a grandson who never knew his grandfather, a man whose loss I’ve never forgotten. Via Facebook, I knew that the young man was in a show at his own high school nearby: Carousel. As he is a senior, I asked the standard adult question, “Do you know where you’re going to college yet?” He replied that he was still working it out.

Jokingly, I said, “You don’t plan to go into theatre, do you?” I regretted my jest as soon as he said he was. I immediately said that he should call me any time for advice or help, and I meant it sincerely. I hope he takes me up on it. It’s the very least I can do.

When he stepped away, I began sobbing. It would be easy to say it was just the late hour, or a release of emotions from what I had witnessed earlier in the corridor. But I knew that I had been thrust back into that Saturday night in 1979 when a commitment to perform both took me away from somewhere I perhaps should have been, even as it placed me where I belonged, and where I’d spend my life.

*   *   *

That one night at Trumbull was a roller coaster (a ride I studiously avoid). I had stirrings of pride in something I felt very separate from when it actually happened, since my role had ended back in December. My perception of theatre was bound up with grief that night, through this young man – who I hope to know better – and his family, as well as through the members of the Larson family, both present and absent, and also through the Trumbull thespians, so profoundly in touch with their emotions so openly and so suddenly.

Many will be quick to tell you that part of how we experience the arts has a great deal to do with what we bring to that experience. I unwittingly brought a lot to Trumbull that night and I came away with more. It may be too soon know exactly how much. I may never know. But whether in high school auditoriums or Broadway houses, I’ll keep seeking. Who knows what I’ll find, where I’ve already found so much in the darkness and embrace of the theatre.

Taylor Mac as Shen Te in The Good Person of Szechwan

Last year, the actor Taylor Mac played the title role in the Foundry Theatre’s acclaimed production of Brecht’s The Good Person of Szechwan. This tale of a downtrodden woman who secures power in ancient China by cross-dressing as a man gained in depth and complexity from having the male Mac portray the female character Shen Te, only to transform into the male Shui Ta. Gender identity layered upon a story of gender discrimination enhanced the play, which managed to deliver numerous messages about society’s prejudices and ills in the context of a highly inventive staging.

I fear that next week, when a female high school teen plays the male drag queen Angel in a Long Island school production of Jonathan Larson’s Rent, depth will be intentionally lost, in service of obscuring the homosexuality that is essential to the character.

I first learned of this plan back in December and wrote about it at the time, deeply troubled by the language Southold High’s superintendent used in an article in The Suffolk Times. Amid comments about a committee to “adjust” the script in an effort to make it “fitting for the community,” the possibility of a young woman playing Angel was not ruled out. I subsequently heard from anonymous sources that this had come to pass, and I’ve kept tabs on the local paper for updates. Confirmation of the cross-gender casting came only yesterday, via The Suffolk Times, ten days before the production begins its single four-performance weekend.

In explaining the casting decision, comments from the school authorities are inconsistent.

“The gender of the character can’t be changed, but any student can play that character,” production co-director Casey Rooney is quoted as saying. “A girl that we have cast in this part is the best person for the role.”

Wilson Jermaine Heredia as Angel in Rent

This has been rationalized with the claim that the young woman cast will be playing Angel as a male. As an advocate of non-traditional, inclusive, race-blind and gender-blind casting under most circumstances, I normally applaud opening up male roles to women. So if the school had an ongoing practice of gender-neutral casting, I’d accept that statement at face value. But there’s no evidence that this has ever occurred before at Southold, and the superintendent’s December statements strongly suggest another motivation, namely fear of the gay character of Angel, truthfully portrayed, on a public school stage.

The new article continues:

“Although the script calls for a male actor in this part, Mr. Rooney said the school has the discretion to change the gender.
 Ms. Baumann [the musical director] said this arrangement isn’t uncommon.

‘With some schools, maybe there are drama clubs that have two guys and 20 girls,’ she said. ‘So, you do have to make adjustments’.”

It’s worth noting that in explaining the decision, Ms. Baumann cites other unnamed schools, not Southold itself. An extreme scenario is proffered that may well exist at “some schools,” but since there are 48 students in Rent at Southold, are we to understand that there are only five “guys” in the cast?

Superintendent David Gamberg weighs in as well. “Rent-School Edition is about a group of young people trying to discover who they are, what they stand for and who they can trust,” Mr. Gamberg said. “Rent-School Edition is not about homosexuality. It is not about AIDS and it is not about drug use.”

I agree with Mr. Gamberg’s first sentence, about young people discovering themselves, and perhaps it’s not entirely wrong to say that Rent – school edition or original script – isn’t about homosexuality, AIDS or drug use. But those three elements are essential to the story and the characters. Even in the toned-down high school script, they are far from absent or diminished in the lives of Jonathan Larson’s characters. Explicitly downplaying those topics is a disservice to the show and to the students in it, and reads as spin control.

Rent is an opportunity for students to explore our complex world, gaining knowledge and sensitivity along the way. For those at the school who are gay (out or not) or have friends or family members who are gay, for those dealing with substance abuse issues in their lives, for those who don’t realize that AIDS remains a major world health concern, Rent is an extraordinary prism on aspects of daily life that surely exist in Southold, NY, albeit in different clothes and homes than those in the show.

The excuse that the role of Angel has been cast with a girl playing a boy who dresses as a girl has been sufficient to satisfy the licensing house and the Larson estate; I am far from sanguine about it. Rent is not a Shakespeare comedy. I believe that even with the words in the script rigorously adhered to, the audience, both student and adult, will see a romance between a flamboyant girl and her male partner, made safe a la Tootsie. Whatever the talents of the young woman cast as Angel may be, I strongly doubt, given her age and presumably limited experience, she is capable of embodying a male character fully, in the way that Linda Hunt managed on film in The Year of Living Dangerously, given the intentional inversion of gender iconography that is inherent in drag.

I can infer a variety of motivations – perhaps at worst homophobia on the part of the administration, at best maybe the unwillingness of any capable boy at the school to play a drag queen. Yet the sheer fact that the school superintendent is discussing the casting decisions of a high school play suggests that there’s an awareness of something amiss here that must be carefully handled, something risky, something fraught with danger. However, I should acknowledge that, so far as any public reporting has indicated, the lesbian characters in the Southold production are played by women, and they are not merely BFFs.

Southold (NY) High School

As for the original discussion of being “sensitive to the community as a whole,” I’m also troubled that, to my knowledge, no one in the community has openly and vigorously opposed the approach the school is taking, only posting dissenting comments on the article in The Suffolk Times. Without someone – or a better still, a group of students and their parents – standing up for an accurate, honest and accepting portrayal of a gay character, I’m just an outside voice shouting over a distant fence, an online nuisance, an easily ignored agitator. It’s worth noting that while The Suffolk Times reported on an upcoming public meeting to discuss Rent, there does not appear to be a report on the content of the meeting itself, which would have been instructive.

The cancelled production of Rent in Trumbull CT was restored with help from a range of outside voices, but the success fundamentally belonged to the people of Trumbull, because they wanted to see the right thing done in their high school.  In the midst of the Trumbull fracas, I questioned whether, in 2014, high school students needed to be educated about homosexuality, AIDS and drug use, as the superintendent there suggested in arriving at a solution. I believed that these issues were prevalent enough in people’s lives and in the media that they would be redundant. Well, the adults at Southold High have proven me wrong – perhaps they need those lessons.

Disturbed as I am over the situation in Southold, I can’t quite bring myself to advocate for the cancellation of a high school show at this late date, to the disappointment of some five dozens students working on it. But I sincerely wish that the students, the community and perhaps most importantly the educators could get an education about the world we live in and how they’re undercutting a great work and a great learning experience. Sadly, all they’re teaching now is how to figuratively Photoshop that which they don’t like. If they’re not willing to both learn and teach, I hope they won’t attempt another show that is meant to grapple with real world issues again, until such time as they’re ready and able to deal with the challenges and complexity of real life on stage. At the same time, that would be an even greater loss for their students.

Southold (NY) High School

You’re not going to believe this.

On Monday, Principal Marc Guarino of Trumbull High School in Connecticut reinstated the Thespian Troupe’s production of Rent, after three weeks of negotiation and outcry. On Tuesday, The Suffolk Times on Long Island published an interview with Southold Schools Superintendent David Gamberg in which he, acknowledging awareness of the Trumbull situation, proudly announced that Southold High School’s Drama Club would be producing the school edition of Rent in March, just like Trumbull.

But don’t cry ‘yippee.’  This isn’t a story to celebrate.

Here’s a paragraph from the article:

“What we did was we looked at the school script and we asked the teachers involved in it to really take a good look at it to make sure it’s fitting for the community,” Mr. Gamberg said. “It has a very strong and powerful message that we think is going to be very positive, but again this is based on the idea that we want to make sure that it’s very sensitive to the community as a whole. The three teachers involved are very responsible for that.”

The reporter then goes on to say that Mr. Gamberg doesn’t know what kind of modifications the school might make.

Wait a minute. Modifications?

Perhaps Mr. Gamberg isn’t aware that when you license a play for production, whether at a high school or a professional company, you are entering into a contract giving you the right to produce a copyrighted work as written. You can’t just pull out the metaphorical red pen and edit it to your own specifications. If you do, you’re in breach of contract. That’s something that rights holders and licensing companies take seriously.

The fact that some authors have permitted their works to be edited, or participated in such editing, for licensing as “school editions,” doesn’t give anyone permission to pile on and make more changes. When licensing houses find out such a thing is happening, they get very serious very fast, and that can lead to the loss of rights to the show. This post, combined with The Suffolk Times article, is all that’s needed to place your school under scrutiny. You might tell your committee of bowdlerizing teachers to take a break. Incidentally, where is the school’s principal in all this?

Now when small changes are requested for specific, defensible reasons, the licensing houses may have some latitude to work with schools on  very minor revisions. They’re in the business of helping schools; they’re not monolithic ogres. But before anyone thinks this is a run of the mill copyright and license violation, you all need to know: it gets worse. Again, from the article:

“Plans for the school performance led a pair of Southold residents to contact The Suffolk Times with concerns over the school’s handling of gay characters in the play. An anonymous letter writer said the play was inappropriate since it could “put students in the position to have to play gay/lesbian or drug addicted [characters.]”  One parent said her child believed the district was making changes that might offend gay students, including a decision to cast a female to play the role of the drag queen Angel, which is traditionally played by a male actor in school, community and professional productions.

When asked about a female student being cast to play Angel, Mr. Gamberg, who said he didn’t know if any casting decisions had been finalized yet, said, “I think that goes in line with being sensitive and making sure it’s appropriate for school. I don’t think it’s going to be written and spoken in a way that’s going to be seen as inappropriate. That’s the kind of sensitivity that [teachers are] looking at.”

Well, Mr. Gamberg, now you’ve done it. The storyline of Angel is very specifically written as a gay male role. To suggest you can simply change the performer to female fundamentally alters the work and seems designed, at the very least, to eliminate the drag queen element of the character – which is essential. Believe me, I’m completely supportive of non-traditional casting, but not when it’s used to smooth over “difficult” content in order to placate the narrowminded.

Wilson Jermaine Heredia & Jesse L. Martin
in the film of Rent

Tell me, will you be making your female Angel heterosexual or lesbian? Exactly where does your “sensitivity” lie? You may think you’re appeasing your community by suggesting this change could happen, but instead you’re flirting with tampering with a beloved work without the right to do so in order to kowtow to homophobic sentiment. Are you just afraid of what some people in the community might say about Rent? What exactly is inappropriate in the school edition? There is nothing sensitive in what is going on with Rent at Southold.

This post, coupled with my advocacy on behalf of the students of Trumbull High School, may suggest that I’m a rabid Rent partisan, but I’d be writing this if the show was Spring Awakening, Legally Blonde, Avenue Q or Grease. My issue is the rights of students to take on challenging work in their schools, rather than forcing all high school theatre to be utterly anodyne. I’ll yank this post down immediately and replace it with a full apology if I learn that the school is in consultation with MTI, which licenses Rent. But I’m placing my bet that you’re out of bounds Mr. Gamberg, though I’d be perfectly delighted to be proven wrong. The simple solution is to do Rent: The School Edition as written. However, if you are intractable in your desire to rework the show to your own standards, and your statements and planned actions result in your school losing the rights to Rent, there will be only one person for your students to blame. He sits in the superintendent’s chair of the Southold School District.

My thanks to Natalie Chernicoff for bringing this situation to my attention.

Yesterday afternoon, Trumbull High School Principal Marc Guarino released a letter in which he announced the restoration of Rent to the school schedule, albeit with new dates. His letter was followed swiftly by a response from a group of Thespian troupe parents. Beyond my headline, I will allow these statements to stand on their own, except to say that in my experience, the Anti-Defamation League can move very swiftly when their services are required, and that I wish Mr. Guarino would speak personally to this issue, rather than simply releasing statements.

*   *   *   *

From Trumbull High Principal Marc Guarino:

“The Thespian Club Advisors, Mrs. Spillane and Mrs. Bolan, Dr. Cialfi and I have been in discussion regarding the performance of Rent: School Edition. The objective was to determine when and how the performance could take place in accordance with my original plan for the necessary learning opportunities that are essential as a preparatory process. Rent: School Edition provides opportunity for me to be in concert with the Thespian Club Advisors to implement an annual performance for the Trumbull High School stage.

The learning opportunities are essential. To plan for these, I will be working collaboratively with various groups. Our Intervention Specialist will be key in understanding the significant themes which will carry our cast and crew from production to performance and integrate them throughout the school. We will look to partner with the Anti-Defamation League (ADL) to provide resources and training for our faculty, staff and students. I will also consult with our student support staff, as well as our Advisory co-chairs to develop appropriate learning experiences through our Advisory program. Groups of students, in addition to the thespians, will contribute to our planned learning experience, such as Peer Leaders and members of the Link Crew. In addition, we are planning community outreach activities to acknowledge these themes. This also provides an excellent opportunity for the THS community to focus its civic and social expectations aligned to our core values and beliefs.

I believe that this process can be accomplished during the 2013/2014 school year if the performance dates can be delayed to Wednesday, April 30, dress rehearsal, through Sunday, May 4, 2014.”

*   *   *

From a group of Trumbull parents:

“Yesterday, following Trumbull First Selectman Herbst’s public statement on the radio that Rent would be brought to Trumbull High School, we were encouraged. We issued a short statement in support of Mr. Herbst’s efforts to broker a positive outcome, but raising a note of caution in light of indications the show might be postponed until later in the academic calendar, where it would run up against many competing curricular and extracurricular activities.

We also sent THS Principal Marc Guarino a letter expressing our deep concern that any delay would be unworkable, urging him to keep focus on the primary concern here: the best interests of the THS students who would be involved in this production. We sent a copy of that letter, to Superintendent Cialfi and to First Selectman Herbst. Although some of us were fortunate enough to have a meeting with Mr. Herbst this morning, he made clear that he was not the decision-maker here. He indicated that he would speak with Dr. Cialfi on our behalf, and we presume he did, but we received no further word from him, from Dr. Cialfi, or from Mr. Guarino before today’s announcement that the production would be postponed to the end of April and into early May. Indeed, despite Mr. Guarino’s expressed desire for “dialogue,” he again unilaterally issued a decision to the detriment of our children without responding to our letter and without offering to speak with us to address our concerns.

The announced schedule for Rent is unworkable. Many of the students who would be in the musical will be spending their spring break, in the middle of April, in England on tour with THS’s Concert Choir. Preparations for that tour will be intense, and make rehearsals for the musical difficult, to say the least. A popular time to take the SAT and SAT Subject tests will be on Saturday, May 3, right in the middle of the scheduled show weekend, which follows the intense week of final rehearsals. The following week, AP exams begin. On top of these obstacles, students who would like to participate in other demanding extracurricular activities, including athletic and music activities, as well as the curricular We The People competition, may have to make a difficult choice whether to give up those activities or the musical.

All of these conflicts arise because Mr. Guarino insisted upon delaying the production by approximately 16 school days in order to pursue an ambitious educational agenda around Rent. No explanation has been provided why this agenda could not take place around the show, rather than before it. Nor has there been any meaningful explanation why the school edition of Rent is so “sensitive” that an entire curriculum must be arranged around that musical. Rather, it appears that delaying Rent is the fig leaf required to allow Mr. Guarino to reverse his unpopular decision, which has made Trumbull a laughingstock throughout Connecticut, and far beyond.

Because some of the media has been reporting that Trumbull has solved its Rent problem, we must be clear that Mr. Guarino and the THS administration have continued their unpopular and untenable practice of deciding first, issuing public statements later, and ignoring the clearly expressed wishes of those whose interests their decisions should be serving. Students and parents in Trumbull do not believe that a solution has been reached, nor a genuine compromise. What has happened instead is a game of politics, with students as pawns, and many of us consider it a travesty.

If Mr. Guarino is looking for educational opportunities around Rent, perhaps he should seize this opportunity to demonstrate what true leaders do when they recognize that they have made a mistake. He should admit it, restore Rent to its proper place on the academic calendar, and bring his campus together to heal.

Jonathan Tropp, Lauren Tropp, Rick Bolton, Cathy Bolton, Jackie Madwed, Jeff Madwed, Annette Clift, Nelson Clift, Dan Gottschall, Andrea Gottschall, Tim Gallo, Gina Gallo, John Ell, Virginia Ell”

Report as of 9 am, Tuesday, December 10

Yesterday afternoon, in response to a caller on WICC Radio in Connecticut, host Jim Buchanan reached or was contacted by the First Selectman of Trumbull, Tim Herbst, regarding the situation regarding the production of Rent at Trumbull High School, which was announced as cancelled by school principal Marc Guarino on Monday, November 25 and reiterated, via a letter from Mr. Guarino that was read at a Board of Education meeting, on Tuesday, December 3.  The following is a partial transcript of Mr. Herbst’s comments from a recording that was created sometime after he began to speak on WICC.

“He wanted it to be an educational opportunity where we teach not only our students, but all of our citizens, a lot of the fundamental principles that are derived from this musical. We want to teach our kids acceptance, responsibility and tolerance. He wanted to make sure that if this went forward, that there were programs integrated into curriculum at the high school, through homeroom teachers, through the English department where a lot of these issues were raised in advance of the production so it was done in an appropriate manner. Let me just tell you some of the due diligence Mr. Guarino showed. He went to Amity High School, he went to Greenwich High School, which put these productions on, to ask their staff, their theatre director, their school intervention specialist to ask what did you do to make this a successful production. And they told him what they did. And it was a collaborative effort across disciplines, across departments with the entire faculty working together.

It’s going to happen. What’s holding it up is getting it to a place where Mr. Guarino and the staff are part of the production and integrating it the way itself.”

Mr. Herbst then repeated a story about Mr. Guarino only learning of the production from a conversation he had in his hometown of Guilford. Mr. Buchanan asked whether the drama program had ever been required to seek prior approvals before, which Mr. Herbst acknowledged had not been the case. When Mr. Herbst spoke of open communication, Mr. Buchanan asked why his caller had been unable to get any response from her inquiries to the school, with Herbst replying that he couldn’t speak to that.

Mr. Herbst continued:

“It is my strong hope that tomorrow, we are going to have an announcement that addresses everybody’s concerns so we can move forward as one community together and god willing  settle this and get this production this year so these graduating seniors can participate, but do it in a way that gets to where Mr. Guarino wants to be, making this an educational, learning opportunity for not only the kids at Trumbull High School, but for the community where we teach the fundamental principles of tolerance, acceptance and responsibility.”

Mr. Buchanan asked, “What time might we expect an announcement”

Mr. Herbst replied:

“I’d like to get it by early afternoon. I’ve basically canceled all of my appointments for the morning to dedicate my efforts to getting this resolved, it needs to be resolved. Maybe this will be a nice Christmas gift for everybody knowing that this has been resolved. But this needs to come to a head. But this has to be resolved, the play should go forward in a responsible way that addresses the concerns of the administration. I’m confident that working together we can get to a place that everyone’s going to be happy with.”

I am delighted that the net result of this situation is that Rent will likely be performed at Trumbull High School. But while the recording I’ve heard is missing the very beginning, I hope that what is not lost here is:

1. Mr. Guarino, in his letter to the Board of Education, placed the blame for the situation on a member of his faculty, who even Mr. Herbst acknowledges was following the exact procedure she has in prior years. There needs to be a statement of support for her efforts and dedication on behalf of her students and a repudiation of the prior statements which, many have said, essentially took a veteran teacher and “threw her under a bus.”

2. There needs to be an acknowledgment that this resolution is due to the extraordinary efforts of the Thespian troupe at Trumbull high, since Mr. Guarino twice stated that the production was canceled, with the Board of Education expressing their support for Mr. Guarino’s decision. If it were not for these students, Rent would not be so close to being restored to Trumbull High School. They may have learned a big lesson here, but they have also taught one.

3. Mr. Herbst cites Mr. Guarino’s visit to Amity High School as part of his “due diligence” to insure the production happened properly. While it is true that Mr. Guarino met with staff at Amity, it should be noted that the meeting took place on December 3, hours prior to the reading of the letter at the Board of Education which reaffirmed the cancelation. The show is being restored because students and parents kept up pressure until the school and the town realized how damaging it was to not let the show go forward, since the Amity meeting certainly didn’t prompt Mr. Guarino to withdraw his letter, which spoke of delaying the production until at least next school year.

4. Mr. Guarino, please speak publicly yourself as this is resolved. You have been silent since you met with the students in November, and to lead your school from this point forward, everyone needs to hear from and be able to speak with you. That will go a long way to insuring an positive, open communication in your school.

I await the official announcement this afternoon, like so many others. I look forward to a season of love at Trumbull High School.

I had not intended to write again about the conflict over a planned production of Rent in Trumbull, but the story continues to grow. In the interest of brevity, this post will merely draw your attention to several other pieces written about the Trumbull High School Rent controversy, notably from the chairman of the Board of Education and from the town’s First Selectman. They bear directly on the controversy, and even offer a compromise solution.

From Stephen P. Wright, Chairman of the Trumbull Board of Education, in the Connecticut Post:

 “The benefits of exposing the school and the community to the play Rent are undeniable. The discipline of tolerance, the gift of acceptance, the splendor of diversity, and exposure to different lifestyles are certainly lessons that should be a critical part of a high school student’s education and mature growth….While I personally do not agree with the position taken by Mr. Guarino, I support his right to make that decision. This is a school decision, not a Board of Education decision, and is one that a head of school has every right to make. While much of our town may be “for Rent,” I am confident that we have a firm “lease” on promoting diversity and tolerance here, too.”

An alternate solution proffered by Trumbull First Selectman Tim Herbst in the Trumbull Patch:

“I believe there is a positive alternative that addresses Mr. Guarino’s valid concerns while at the same time allowing RENT to proceed. Every summer, the Trumbull Youth Association (TYA) offers a summer musical for the community. Many of the Trumbull High School students who participate in our high school theater program are also members of TYA.  Proceeding with this musical in the summer through TYA offers enough time to address the very valid points offered by Mr. Guarino.  It will also allow graduating Trumbull High School seniors the opportunity to perform in this musical before they leave for college. Finally this action will embrace the concept of collaboration, communication and compromise at the same time we try to teach our students the fundamental principles of acceptance, responsibility and tolerance. It is my sincere hope that this recommendation will establish a dialogue and a workable solution that all of us as Trumbullites can respect.”

Subsequent to Herbst’s suggestion, Trumbull Youth Theatre indicated their taking on Rent wasn’t a viable option:

Those involved in the Trumbull Theatre Association say as good as it sounds, it may not be feasible.

“It really isn’t going to work for us,” said Mary Wright with the Trumbull Youth Association. “We feel like the high school should take it on.”

From a letter titled “Five reasons we should be concerned about cancellation of Rent” by John Blyberg in the Trumbull Times:

“These are high school students. They can handle this. To suggest that the student body requires a comprehensive, board-approved coddling betrays a fundamental misunderstanding of the very students he is supposed to be serving. They don’t need to be coddled. And just to be clear, this is only an issue because Rent deals indirectly with homosexuality, AIDS, and addiction. Quite honestly, I think the THS Musical players will provide a much more insightful and compelling treatment of this subject matter than Mr. Guarino will be able to cobble together in the next year.

I find this whole business to be very concerning. What happens when Mr. Guarino gets ahold of the AP English reading list and takes exception to some of it? This is a dangerous precedent to set. I suppose the one lesson that the THS students can benefit from is that sometimes we all experience authoritarianism and it’s maddening. You know it’s authoritarianism when you witness righteous anger from its recipients — which is what I see with this fine group of THS players. The silver lining in all of this is that they have handled that anger beautifully — with grace, poise and maturity.”

From “High School That Banned Musical Over ‘Sensitive’ Content Doesn’t Get Teens,” by Emily Abbate, a former Trumbull high drama kid writing at The Stir:

“I’m gonna be blunt: High schoolers across America aren’t dumb. Although parents may not be ecstatic about the topic, their teens are most likely sexually active. They sure as hell have friends that are trying to figure out their sexuality, and most definitely have been through a few health classes talking about sexually transmitted diseases. Which is why I’m dumbfounded about what’s going on in my hometown right now: the principal of Trumbull High School has cancelled the Thespian Society’s production of Rent because of its sensitive nature involving topics like sexuality, drug use, HIV, and the love lives of both gay and straight characters. Topics that kids are discussing AT school probably this very moment.”

And finally from today’s “Tattle” column in the Philadelphia Daily News by Howard Gensler:

“Last March, the “school edition” of Rent was performed by Hillsboro Comprehensive High School in . . . Nashville. The home of the Grand Ole Opry is more progressive than Trumbull.

So before the Trumbull Thespian Society is ordered to perform South Pacific, but cuts the onetime questionable romance between Nellie and Emile because, you know, they’re different, here’s a suggestion: Take Rent off campus. Perform it in a barn if you have to.

Or go to principal Guarino and tell him you’ve decided to instead perform something else.

Spring Awakening.”

The previously released statement by Trumbull High School Principal Marc Guarino appears in its entirety in my post from Wednesday.

Needless to say, please try to read each of these piece in their entirety and share your thoughts. This issue is more important than any single school, because it is far from an isolated incident, and not unique to Rent.

Updated Saturday, December 7

In the immediate wake of announcing to the Trumbull High School Thespian Society that he was canceling the planned spring production of Rent, Principal Marc Guarino spent almost an hour talking to the students about his decision, speaking of “challenging issues” with the play and saying it wasn’t “the right time.”  These nebulous explanations didn’t seem to satisfy the students or many of their parents.  Two days later, the principal let it be known that he was going to have further conversations on the topic, suggesting there might still be the opportunity for the Tony Awarded and Pulitzer Prize-winning musical to play this spring.

Well the hammer dropped last night, only two working days later, given the Thanksgiving holiday. At a meeting of the Trumbull Board of Education, a letter from Mr. Guarino was read reaffirming his decision to terminate the production. Yes, that’s right – a letter was read. Principal Guarino wasn’t present at the meeting to make his position known, or to respond in any way to the comments and questions of parents in attendance.

Trumbull High School

As the first-year principal of a school in a new system (he was previously an assistant principal in Guilford CT), Mr. Guarino has adopted a stonewalling stance. He has not responded to inquiries from me or from any member of the media, including major national outlets. What at first seemed like it might become a valuable dialogue about art, educator’s responsibilities and important themes that run from Jonathan Larson’s 1996 musical right through the present day, has turned into the cone of silence. In the course of a little over a week, Mr. Guarino has transformed himself from educator to autocrat.  That’s a real shame.

Neither Guarino nor the system’s superintendent’s office are willing to even release the text of the letter that was read at the board of education meeting last night. Obviously by dragging things out, he makes it utterly impossible for Rent to go forward, even though his letter will eventually (presumably) be released when the minutes of last night’s meeting are approved and made public.  But make no mistake about it, his actions have poisoned the atmosphere at his school and fostered a somewhat heated dialogue on the Facebook group Keep Trumbull Real. The issue will not die.

In the absence of official comment, I can only respond to what I’ve heard and read from others. As a result, I have many questions.

• Why did Principal Guarino meet on Tuesday afternoon with the drama director and principal of a nearby high school which has already successfully produced Rent, if there was presumably already a letter to be read at the Board of Education meeting hours later? Was that meeting for show, a pretend stab at looking for a positive solution?
• In speaking about the “issues” of Rent, what exactly troubles Principal Guarino? Is it the mere mention of AIDS & HIV, which have been sad facts of life since before the Trumbull students were born? Is the mention of drugs, which are so prevalent in both our society and our entertainment that one of the most acclaimed TV shows in recent years is about a high school teacher turned meth kingpin? Surely Mr. Guarino can’t think of gay, lesbians and transgender people as lesser citizens. Besides being discriminatory, that retrograde thinking can’t be countenanced in anyone in an educational position. So exactly what’s the problem here?
• Mr. Guarino reportedly expressed the feeling that there was not adequate time to prepare the appropriate contextual activities to prepare students and the community for the show. But beyond asking the drama teacher what she would do, did he reach out to anyone for the study guides and lesson plans that already exist at the many high schools that have already done the show? Or did he just foist blame onto a 17-year veteran of Trumbull High for not having one that met his undefined standards? There’s so much support that could be brought to bear if only Mr. Guarino wished to try.
• Could there have been better communication between the drama director Jessica Spillane and Principal Guarino? Yes, it would seem so, and presumably appropriate but not draconian consultation will occur in the future. Yet why punish the students for this, since that’s who are really losing out – in particular the seniors.
• Mr. Guarino, are you opposed to Rent, or are you afraid that others will be and, in your first year, are you moving it off the school’s stage to avoid controversy? If so, you’ve actually blown it, because now, unless you completely capitulate and let the show go forward, a portion of faculty and the community will always see you as someone who didn’t want to work for the best possible solution for the students, rather than for yourself. If, as I’ve been told, you’ve said that you’d be open to Rent at some point in the future, you might salvage the situation by immediately and unequivocally declaring your approval for Rent beginning next year, and leading the effort to create whatever education plan you feel is necessary for a production.
• I’m no conspiracy theorist, but I was intrigued to learn that the mother of Trumbull’s First Selectman, Timothy Herbst, is the Vice-Chairman of the Board of Education. Neither of them have spoken publicly about this situation, but do I detect a bit of a dynasty? And is it at all relevant that in winning his third term, Mr. Herbst defeated Martha Jankovic-Mark – the mother of Thespian Society president Larissa Mark? What is the official stance of the Town of Trumbull on this dispute?

One person who was eager to talk about the situation in Trumbull is Daphne Rubin-Vega, a Tony nominee for creating the role of Mimi in the premiere of Rent, now the mother of a nine year old child. Asked about whether the content of Rent should be considered problematic for teens, she said, “In this day and age, I can’t think of anything more appropriate. It’s perfectly designed for high school.  To me, a loving awareness of the issues, sexuality, health, AIDS in particular is important. Rent is the perfect way to open up dialogue with young people. The cancellation of a production that people have been looking forward to is an obvious sign that our educators don’t want to take on the responsibility of educating our young. They’d have to answer questions and they don’t want the questions raised.” Vega said her child has already seen Rent and asked me if we should jump in a car right now and go up to Trumbull to lobby for the show. That may yet happen.

Does any official in Trumbull have to answer my questions? I guess not. I’m a former Connecticut resident, but I don’t live there or pay taxes there. However, if these questions are being asked by residents, by parents of students in the schools, by the students themselves, by the press, they deserve a coherent, public answer, and an answer that is neither reactionary or fearful. They deserve it not next week, not next month. Now.

*   *   *   *

Update December 4, 10 pm: Several hours after my post was made public, the statement from Principal Guarino was publicly released. I reproduce it here in its entirety, as posted on the Keep Trumbull Real Facebook page.

Dear Trumbull students, parents, and community members.
    My decision regarding the spring 2014 musical Rent: The School Edition was a difficult one and understandably caused much disappointment. I truly believe that successful and supportive schools are those that nurture strong relationships between the school and its community. Programs which foster student learning, growth and creativity require support from all aspects of the school and community. 
    With that said, I understand the responsibility I have as Principal of Trumbull High School to assure that our school is a safe, supportive environment for all students to learn, grow, and create. I first learned Trumbull High School was producing Rent: The School Edition not from the theatre arts department, but rather from a member of the community where I reside. Mrs. Spillane neither informed me nor consulted with me regarding the selection of Rent: The School Edition during the meetings we had in July and August. I appreciate that Rent is an important piece of American musical theatre. It presents educational opportunities for our students, staff, and community members to explore themes like acceptance, love, and responsibility. 
    Rent: The School Edition also presents challenges – both in content and execution. There is no evidence that an open communication, collaborative process – with either my predecessor or me—was considered to further explore Rent: The School Edition’s inherent opportunities and challenges. Open communication would– to the best of the school’s ability – provide a safe environment educationally, artistically, and emotionally for all of our students. Whether or not a formal approval process was required in the past, these opportunities and challenges should have been shared with me, especially given the fact that I am new to Trumbull High School and the Trumbull community.
    Since this decision has been made, I have met with students and have read their messages of support for this production. I have met with parents and received correspondences from community members and concerned individuals from around the country. The commonality I share with all these groups is the potential Rent: The School Edition has to promote our district’s mission statement and our school’s core values and beliefs. To date, I have not been presented with a plan to make this a reality for our students, staff, and community. Without a thought out plan, Rent: The School Edition will be a missed educational opportunity. Without proper planning, Rent: The School Edition has the potential to become a speech rather than a meaningful dialogue to capitalize on all significant themes it presents. I am committed to developing this plan to best meet the needs of all students.
    Trumbull is a wonderful community and our students continue to impress and amaze me. I am honored to serve as Principal and will always focus my efforts to support all aspects of student growth and development. I have already spoken with Dr. Cialfi, Dr. McGrath, Mrs. Spillane, and Ms. Bolan regarding my intentions to develop a collaborative process based on open communication to bring Rent: The School Edition to Trumbull High School. This process will require input and feedback from various groups. Most importantly, it will take time. Based on my research with various schools, this process will not meet the timeline for the spring of 2014. As I told our student leaders, Mrs. Spillane, Ms. Bolan, Dr. Cialfi, Dr. McGrath and some parents, I fully support Rent: The School Edition. We will bring Rent: The School Edition to Trumbull High School following a model that has proven to be successful at meeting our intended learning goals. 
Thank you.
Marc W. Guarino
Principal, THS

Last weekend in Connecticut, Trumbull High School’s Thespian Society presented their fall play. On Monday afternoon, instead of a scheduled informational session for those planning to audition for the spring musical, Rent (the school edition), a full meeting of the Thespian Society was called. At that meeting, the school’s principal informed the students that Rent was cancelled.

Trumbull High School

Describing the meeting, Trumbull High Thespian Society president Larissa Mark said, “There were a lot of tears from the kids because Rent is so precious to so many of us.” As to how the principal explained his decision, Mark said, “I can’t say I know the reason, because it’s still unclear to so many of us.”

Now at this point, you might imagine this is going to be another story about an authoritarian, puritanical school administration squashing the dreams of helpless students. And that’s where you’d be wrong.

On Monday evening, after completing other commitments, Mark got organized and began to organize her peers. Having seen a raft of comments on social media while she was otherwise engaged, many carrying the phrase “Rentbellion,” she recommended a more measured tone. “I didn’t think ‘Rentbellion’ was going to help our case. We had to create an organized response. I said that students should speak with their parents about this and not act brashly.

“On Tuesday morning, “ Mark continued, “I helped organize a bunch of students with petitions to go around. In the course of two days, we collected 1,516 signatures, which is about two-thirds of our school. On Wednesday, I handed [the principal] the original copies of the signature sheets and surveys we’d done to the Trumbull community. We had asked whether people would support Rent and gave them a chance to make comments. We got over 400 responses and an almost overwhelming number of yesses.”

Mark also created a “Trumbull for Rent” Facebook page (which has over 4000 likes as I write), wrote a letter to the local Patch site (where another student was quoted anonymously), was interviewed by the Trumbull Times and Connecticut magazine and, by Wednesday evening (the night before Thanksgiving, mind you), had spoken with the local ABC and CBS affiliates. This is an impressive campaign even by professional standards, all marshaled by a 17 year old high school senior.

To the students, everything happened suddenly on Monday, but in fact there had been behind the scenes discussions going on since late October. Jessica Spillane, a 17-year-veteran of the high school, the English Department Chair, and English and drama teacher and director of the Thespian troupe and the spring musical, said her first conversation with principal Marc Guarino had occurred, spontaneously, on October 23, when they happened to run into one another. By Spillane’s account, Guarino said, “I just heard yesterday that we were doing Rent as the musical. Did we ever talk about this?” Spillane said she replied, “I don’t know but we announced in August. It’s been on our website since then. It had been announced through daily announcements for two weeks at the beginning of the school year. I said that it’s the school edition.” She said the selection of shows has always been autonomous, not requiring prior approval.

“Should I be worried?” Guarino asked, according to Spillane. She replied, “Absolutely not. We’ve got nothing but support. If there are any questions, I’ll handle them.” Spillane says that two weeks later, Guarino met with her to say that the plans to do Rent were “on hold.” Spillane provided him with the script, her conceptual plans for the production, and information on productions at other area high schools, including Amity Regional in Woodbridge and Greenwich High School, as well as the Fairfield Teen Theatre. She also gave him many of the books she had been using as research.

Subsequently, Guarino told Spillane that he had met with his assistant principals and the president of the Parent-Student-Teacher Association. He said he needed to speak with the superintendent. On November 20, Guarino told Spillane he could not support going forward with the production. In an appeal to the superintendent, Spillane was informed that he was backing the principal’s decision. Spillane made the decision to delay informing the students until after the fall play finished over the weekend.

Did Spillane inspire Mark’s campaign? “I told the kids that we [referring to herself and other Thespian advisors] needed to take a step back and not be seen as puppetmasters. The kids said ‘if we’re going to be heard, we need to be rational, respectful, organized and articulate’.”

So where does this all stand?

The first two days of Mark’s campaign resulted in Principal Guarino informing Spillane that he was reconsidering his decision and that he would be speaking with the superintendent when school resumes Monday. Yesterday, Mark said, “We just want to keep people as active as possible because we don’t want to lose any steam over the weekend.”

Now it’s worth noting that Principal Guarino is new at Trumbull High this year. It’s also important to note that he’s not been issuing edicts from on high – after informing the students of the cancellation, he remained with them for an hour to talk about his choice. He is obviously not trying to make this adversarial, and is open to further discussion. No doubt the tone set by the students played a role in this, along with their effective outreach.

I am reminded of a situation in nearby Waterbury a few years ago, when a canceled production of Joe Turner’s Come And Gone was reversed thanks to passionate students and the support of the Yale Repertory Theatre, which helped create educational sessions for students and the community to address the play’s use of “the n-word” multiple times, to place its more difficult themes in a proper educational context. Now the time has come for everyone who loves theatre to lend their voices to the students’ efforts, but with the respect and level-headedness that the students have employed. If you love theatre, like the Trumbull For Rent Facebook page. If you have deep feelings about Rent and its value for students and what it may have meant in your life, share them with Principal Guarino at Mguarino@trumbullps.org. If you are a theatre professional and you are able, offer to go to Trumbull High School and lead workshops for the students and the community. This posting is my offer of that support.  But heed the wisdom of Larissa Mark and act with respect.

“I think the main reason why Rent is so important is that homosexuality, drug use and disease are not ‘issues’ in the twenty-first century,” Mark told me, fittingly on Thanksgiving morning. “They’re part of our lives. It’s not fiction to us, it’s reality. The fact that so many people think of it this way is a reflection on our community. Trumbull is a very accepting community and a production of Rent will only reflect that.”

By the way, remember how I mentioned that Mark had a commitment after the announcement of the cancellation which prevented her from springing to immediate action? It was a government class, and she was at the town hall from 3:30 to 10 p.m. Let’s help her and all the students at Trumbull High School ensure they’re able to do Rent this spring. Then let’s nominate Larissa Mark for public office. Imagine what she could do.

Note: Via e-mail, I reached out to Mark, Spillane and Guarino to request interviews at about 3:45 pm on Wednesday afternoon. Principal Guarino did not respond to my request, as he has not responded to any media requests thus far. Should I hear from him, this post will be updated accordingly.

Update, Wednesday December 4 at 8 am: Last night, at a regularly scheduled meeting of the Trumbull Board of Education, a letter from Trumbull High School principal Marc Guarino was read out. In the letter, Guarino affirmed his decision that Rent should not be produced at his school this year. To date, Mr. Guarino has personally made no public statement about his decision since his meeting with students on November 25, declining all media requests. That he would not personally appear to make his final decision known, and to participate in discussion about how he arrived at his conclusion, sets a poor example for public discourse. What at first seemed like it might yield a beneficial dialogue has taken on the air of an edict.

During the 2012/13 Broadway season, a total of nine new musicals appeared on Broadway (hitting the average annual level of recent years). Of those nine, only four are still running. As I write, there are seven new musicals playing Off-Broadway, with an eighth due in a few weeks; there may well be others. What does it tell us when 12 months of Broadway yields just about as much new musical material as we find Off-Broadway in only a couple of months?

To be fair, many of the Off-Broadway musicals are limited runs in the seasons of subsidised companies, and two are commercial transfers from such companies from earlier this year. Only one will play in a theatre which is comparable in size to Broadway venues, and in that case it’s under the auspices of Shakespeare in the Park; most are in spaces where one week of performances equals the capacity of one Broadway performance. A transferred Off-Broadway hit can easily become a Broadway casualty given the commercial demands of larger theatres and higher costs.

Certainly, hit Off-Broadway musicals are hardly new; one need only look to The Fantasticks, You’re A Good Man, Charlie Brown, Godspell and Little Shop of Horrors for precursors, and it’s unlikely the current new shows will ever attain the longevity of those icons. But in recent years, the standard model has tended much more towards the Off-Broadway to Broadway transfer for success, as evidenced by shows ranging from Rent to Avenue Q to The 25th Annual Putnam County Spelling Bee. Even shows that began in rudimentary stagings at the New York International Fringe Festival and the New York Musical Theatre Festival have fought their way to Broadway, including Urinetown and Next to Normal.

Surveying the variety of material, it would appear that the modest scale of Off-Broadway allows for a greater range of topics and styles than the Great White Way, from the sung through pop opera of Dave Malloy’s Natasha, Pierre and the Great Comet of 1812 (based on a portion of War and Peace, and performed in a tent) to David Byrne and Fatboy Slim’s Imelda Marcos disco bio Here Lies Love. There’s one musical that is drawn from a film (Far From Heaven) and two with their roots in Shakespeare (Venice, after Othello, and Love’s Labour’s Lost). Several adopt variations on an environmental, break-the-proscenium approach (Here Lies Love, Murder Ballad and Great Comet). None model themselves on the formula of the classic American musical.

I suspect that no one is getting rich off of these productions, while the backers of Kinky Boots, Matilda and Motown on Broadway will surely do quite well over time. For these Off- Broadway musicals to become true earners for all involved, they will either have to manage sustained runs under a commercial model, on Broadway or Off, or spawn productions across the country and abroad. But even if that doesn’t come to pass, what they are doing is providing a superb showcase for predominantly new talent and unexpected subjects; they are bolstering the musical repertory at a pace at least equal to Broadway and building the reputations of artists.

This shouldn’t suggest that musical success Off-Broadway is a breeze, and it’s worth noting that many of these shows are only mounted with significant donor underwriting or “enhancement” from producers who hope the property will turn out to be Broadway-worthy. But with different scale and different expectations, Off-Broadway musicals may well be supplanting Broadway in advancing the form.

Hindsight doesn’t benefit anyone, but it is hard to resist wondering whether the short-lived Hands on a Hardbody might have fared better at director Neil Pepe’s Atlantic Theatre Company instead of in a Broadway theatre. Ironically, that was the birthplace of Spring Awakening, a musical that had struggled through a number of developmental productions over the years only to find praise, first Off- Broadway, then on.

There’s an old saying that one can’t make a living on Broadway, but can make a killing. It’s not easy to make a living off of Off-Broadway musicals either, but you can build a career.