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STARGATE THEATRE COMPANY Engaging Justice-Involved Youth in Creativity and Growth

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STARGATE THEATRE COMPANY Engaging Justice-Involved Youth in Creativity and Growth STARGATE THEATRE COMPANY Engaging Justice-Involved Youth in Creativity and Growth by Martha Wade Steketee, Consultant New York, NY Jeffrey A. Butts, Director, Research & Evaluation Center John Jay College of Criminal Justice ACKNOWLEDGMENTS Preparation of this report was supported with funding from the Manhattan Theatre Club (MTC) in New York City. The authors acknowledge the support and guidance of David Shookhoff, MTC Director of Education, and Evan Elkin, director of Reclaiming Futures in Portland, Oregon and formerly of the Vera Institute of Justice in New York City. The authors were engaged by MTC to attend the rehearsals and performances of Stargate Theatre Company during its summer 2015 season, to comment on its evaluability, and to prepare evaluation-ready materials. Martha Wade Steketee led the work and conducted interviews with David Shookhoff, Paul Gutkowski, Judy Tate, Stephen DiMenna and Evan Elkin. Ms. Steketee attended four rehearsals and both authors joined the Stargate company at a performance of the Broadway musical Hamilton, and attended public performances of Stargate’s Deeper Than Skin. Copyright is jointly held by the Manhattan Theatre Club and the Research & Evaluation Center, John Jay College of Criminal Justice, City University of New York (http://JohnJayREC.nyc). Published October 2015 Recommended Citation Steketee, Martha Wade and Jeffrey A. Butts (2015). Stargate Theatre Company: Engaging Justice-Involved Youth in Creativity and Growth. New York, NY: Manhattan Theatre Club. Authors Martha Wade Steketee is a theater critic and dramaturg in New York City. For more information: urbanexcavations.org Jeffrey A. Butts is director of the Research & Evaluation Center at John Jay College of Criminal Justice, City University of New York. For more information: jeffreybutts.net Any views expressed here are those of the authors and do not necessarily reflect the policies of Manhattan Theatre Club, John Jay College, or their funders and trustees. STARGATE THEATRE COMPANY: Engaging Justice-Involved Youth in Creativity and Growth Page i PREFACE: THE STARGATE EXPERIENCE Stargate Theatre Company began in 2013 as a theatre- making, workforce readiness, and literacy project for justice-involved youth. For seven weeks each summer, a small group of young men meets at least four days per week to write, rehearse and perform a collaboratively crafted play in an Off-Broadway venue in New York City. Stargate members are recruited from youth service agencies around the city, vetted and then hired as employees of the Manhattan Theatre Club. An in-depth application process includes interviews and a workshop experience that serves as an introduction to Stargate. From WLIW, Arts Beat, 2014 The application process clarifies the expectations of the program and facilitates the selection process for staff. Two senior teaching artists have been with Stargate since the beginning: Judy Tate and Stephen DiMenna. Paul What is the Stargate Theatre Company? Gutkowski became company manager in 2015 and brought A summer project for young men, ages 16-20, with previous experience in theatre as well as in working with previous involvement in the justice system. justice-involved youth. Led by a team of theatre artists, Stargate members write The first three weeks of Stargate focus on writing exercises and stage an original theatre piece that they perform in to generate the raw material that eventually becomes an Off-Broadway theatre. performable text. By the fourth week, the company is Stargate members learn to act, to write, and to work as focused on performance and staging, with movements an ensemble. designed by a professional choreographer. The company’s final performances serve as the dramatic and often Each Stargate member earns an hourly wage during emotional conclusion to the Stargate experience, but the the seven-week program. primary goal of the program is to help company members develop crucial life skills. By conceiving, creating, and performing their own stories, youth members learn skills What is Expected of Company Members? that are important for theatre as well as for all their future Be creative. endeavors: discipline, resilience, teamwork, and creative problem solving. Be open to trying new things like writing and performing. About three-quarters of the members recruited each Be respectful of others’ ideas and be open to new ones. summer complete the entire seven-week program. Even those who are unable to meet the stringent time commit- Arrive to work on time and stay the entire time. ment, however, are still credited in the final program for their contributions to the written material and to the final Demonstrate behavior appropriate for a work setting. production. The staff and supporters of Stargate Theatre Company hope that every member of the company finds his unique voice by writing and performing, and that through theatre he may discover a path to personal success. Stargate operations are consistent with existing research about adolescent development and the role of social assets and skill acquisition in preventing anti-social behavior. The theatre company’s next task is to document the actual effectiveness of their approach by conducting a rigorous evaluation that measures youth outcomes. STARGATE THEATRE COMPANY: Engaging Justice-Involved Youth in Creativity and Growth Page ii STARGATE THEATRE COMPANY Engaging Justice-Involved Youth in Creativity and Growth From: NationSwell The Stargate Theatre Company, embedded in the writer-performers work for pay, guided by professional resources, expertise and artistry of the Manhattan theatre artists and educators to compose, rehearse, Theatre Club Education Program, has been described and ultimately to perform their own words about their in rich and evocative detail over the three years of its own life experiences, hopes and fears. Three original existence in annual reports, white papers, funding pieces of theatrical collage have been staged in the first applications and reports, and print and broadcast three program development years: Behind My Eyes media coverage. In 2015 the Company Manager performed by seven collaborators in 2013, Weathering described this seven-week program of theatre games, the Storm crafted by nine collaborators in 2014, and script development and ensemble building for Deeper Than Skin performed in 2015. justice-involved young men as a means to “develop the The writers were assisted by a large ensemble of skills and capacities to be successful and to develop Stargate staff and consultants that included: co-Artistic empathy as a tool to disengage from the criminal Directors; Company Manager; professional choreog- justice system” and to “figure out who you are and rapher; stage manager; MTC Project Director, Project what your values are and what you want in a place Manager, and Assistant Education Director; project where you won’t feel judged or you can feel vulner- assistant; and MTC Education Program intern. able through theatre.” As one Stargate member said after the final 2015 performance: “There’s nothing like Stargate is a programmatic sibling of youth theatre being paid to write your own story.” There’s power in projects developed over the past several decades in this program, and the Stargate model is now ready for different parts of the world to develop the artistic voice review. of young people, some of which are described in this report. Stargate was informed by these other programs Stargate members are justice-involved young men and findings and born out of connections among Board who craft a new theatre piece over the course of seven members and staff of MTC and the Vera Institute of summer weeks and perform it to an invited audience. Justice. The first version of the program was outlined The program has described itself as providing tran- in a 2012 white paper to provide theatre programming sitional employment, work-readiness training and as non-traditional work for young men transitioning literacy education through enforced standards and out of Rikers Island. The goals outlined in 2012 were writing expectations in a supportive and rigorous to prepare the young men for “successful reentry into environment – that happens to be theatre. The young STARGATE THEATRE COMPANY: Engaging Justice-Involved Youth in Creativity and Growth Page 1 their communities with work readiness and literacy skills.” The 2012 paper continued: “With a primary goal of ensuring successful reentry and reducing recidivism, the main components of this initiative include: therapeutic theatre intervention, reentry support services, transitional employment and work readiness, and literacy education.” The first year of operation was 2013, and the program experienced continual improvement and refinement in each of its three years. The recruitment process Photo by Martha Wade Steketee always included an orientation workshop for potential applicants, with an evening of warm-up activities, The program is in part pure theatre–holding to writing, and performance. In 2015 the company added theatre rehearsal room and performance standards a one-on-one interview with each youth in which staff with rehearsal and performance reports and the discussed the artistic goals for the season and explored stage manager, and meeting in rehearsal spaces of each youth’s social and health history. Together, these Manhattan Theatre Club in the middle of Manhattan’s steps generated a cohort willing and able to engage theatre district. The program also addresses social in teamwork, group creation
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