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Copyright by Kristin Ann Leahey 2012 Copyright by Kristin Ann Leahey 2012 The Dissertation Committee for Kristin Ann Leahey Certifies that this is the approved version of the following dissertation The Youth Respondent Method: An Exploration of Reception Studies with Youth in New Work Development for Theatre for Young Audiences Committee: Charlotte Canning, Supervisor Stacy Wolf Deborah Paredez Mary Celeste Kearney Coleman A. Jennings The Youth Respondent Method: An Exploration of Reception Studies with Youth in New Work Development for Theatre for Young Audiences by Kristin Ann Leahey, B.A.; M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin May 2012 Dedication This dissertation is dedicated to my grandfather John Auletti, an extremely hard worker, whose formal education concluded at the age of twelve; and for his daughter and my mother, Jeanette Leahey, the hardest worker I know. Acknowledgements Throughout my life I’ve lived in many different places: New York City, St Joseph, Boston, Chicago, Austin, and Washington DC. Each of these geographic locations greatly differ in terms of pace, culture, theatrical ecology, diversity of people, among many other characteristics which shaped my life, ideas, and relationship with artistic work as an audience member, scholar, and artist. More than anything, I value the individuals – the artists, scholars, colleagues, family, and friends – I have met in these different regions. They challenge, inspire, and support me throughout this journey. I’m indebted to the education I received in Austin, which I bring to every decision I make in academia and in professional theatre. As a result of my work with faculty members from The University of Texas at Austin, I learned about the art of scholarship and its application to new play development – how questions of pluralism and agency, infrequently raised in professional theatre forums, need to be asked for the continued advancement of the entire filed. I immeasurably value being taught and mentored by Stacy Wolf, Jill Dolan, Lynn C. Miller, Deborah Paredez, Sharon Grady, Mary Kearney, Coleman Jennings, Suzan Zeder, Lucien Douglass, Pam Christian, and Tommy Darwin, among others. Their commitment and passion to art, education, active citizenship, and their students inspire my work with writers and directors, audiences, and students. Their pedagogy and scholarship - particularly that of my dissertation committee – Mary Kearney, Deborah Paredez, Stacy Wolf, Coleman Jennings – have guided this culminating project. Stacy Wolf served as my advisor throughout my course work at University of Texas; I will always be grateful for her tremendous dedication and support. My committee chair, v Charlotte Canning, has served as my adviser throughout much of the drafting of the dissertation. This document would not be possible without her feedback, advisement, patience, graciousness and positive support. Curator of the Arizona State Child Drama Collection Katherine Krzys’ assistance and guidance were essential to the research stage of my project. Kathy spent days helping me navigate the collection, recommending material and sources to survey, and sending findings that she thought may be of interest to the project. I feel privileged to have her as a mentor and a friend. I was able to conduct a number of important interviews for this project, which shaped my research and offered insiders’ perspectives. The support, interest, and passion of the following individuals encouraged me to locate a theoretical framework based upon real life experiences: Tom Arvetis, Laurie Brooks, José Cruz González, Lydia Diamond, David Feiner, Mikhail Fiksel, Hallie Gordon, Alli Houseworth, Velina Houston, Kim Peter Kovac, Christian Parker, Betsy Quinn, Devon Smith, Dorothy Webb, and Suzan Zeder. As a literary manager, I have had the privilege to work with many fantastic assistants, who represent the next generation of the American Theatre. In particular, I would like to thank Katelyn Foley, who assisted me with transcribing the interviews, and Eric Kaiko and Augie Prayley for helping keep me on task at work, which enabled me write the dissertation after work. Much of what is included in this dissertation is based upon my experiences as a professional dramaturg and work on staff at regional theatres. I have had the privilege to learn from my practical experiences as a dramaturg with The Goodman Theatre, Northlight Theatre, The Kennedy Center, the Indiana Repertory Theatre, Victory Gardens Theater, Notre Dame vi Shakespeare Festival, Collaboraction, Teatro Luna, Teatro Vista, Steep Theatre Company, Eclipse Theatre Company, Redmoon Theater, Next Theatre Company and A Red Orchid Theatre. I want to acknowledge the following staff members from Woolly Mammoth Theatre: former Marketing Director Alli Houseworth, Managing Director Jeff Herrmann, and Artistic Director Howard Shalwitz for believing in my voice and my talent. Although I was not able to work on this project while on staff at Woolly, the institution illuminated the possibility of risk in regional theatre and my hunger to learn everything I could about new work development. As the Resident Dramaturg at Northlight Theatre, I’m grateful for the time the institution has allowed me to complete the dissertation and also its proximity to home. I’m fortunate to have a wonderful group of friends around the country, who have read my dissertation, given notes, forgiven me when I said I couldn’t spend time with them, and encouraged me to complete it. I’m indebted to Akiva Fox, Elizabeth Neukirch, Karen Jean Martinson, and Chelsea Marcantile-Polaski for their friendship, time, intellect, and eyes that read through this document. I want to thank Jamie Wolf, Sarah Moeller, Sarah Mosher, Katherine Loveric, Aekam Barot, Dara and Kevin Freytag, and Alli Houseworth, among others, for their friendship and unwavering support. And, I am blessed to have a loving family – Jeanette Leahey, William Leahey, and John Leahey – who have made my life and the completion of my education possible. vii The Youth Respondent Method: An Exploration of Reception Studies with Youth in New Work Development for Theatre for Young Audiences Kristin Ann Leahey, Ph.D The University of Texas at Austin, 2012 Supervisor: Charlotte Canning I define the youth respondent method as a process by which artists and/or producers involve children and/or young adults through planned theatre activities or discussions with the objective of answering specific questions about the development of the work and collect feedback to improve the text or further the production. This pluralistic practice grants agency for the target audience, while informing the creators of the possibilities of the play and answering challenging questions regarding the work. Considering a continuum that places creative dramatics and children’s theatre at its poles, the youth respondent method demonstrates a merger of the two genres affiliated with youth, theatre, and play. My dissertation documents the youth respondent method’s application in a number of mid-twentieth century and contemporary case studies from the U.S., all of which received national attention through festivals and professional productions at regional theatres throughout the country. These case studies include: Playwright Charlotte Chorpenning’s work with the Goodman Theatre (1940s), Deni Kruger’s play Muddy Boots (2005), Jason Tremblay’s play Katrina: The Girl Who Wanted Her Name Back (2009), Lydia Diamond’s play Harriet Jacobs (2008), and Duncan Sheik and Stephen Sater’s musical Spring Awakening (2006). This diverse group of plays and musicals relied on variations of the youth respondent method at different stages of their development and production processes, in viii which youth took the reins to serve as collaborative creators. The child is another essential collaborator in determining how their generation can make a better future through the practice and art of theatre. I examine the dialectics between artists, scholars, producers, and children, applying the youth respondent method. This model strengthens Theatre for Young Audience (TYA) plays while it gives children the agency to learn, exchange ideas, and address subjects that are important to them. TYA is a continually expanding field, although there is a significant lack of scholarship documenting its growth and such important practices as this method. By documenting various forms of the best of this practice, I hope to educate other scholars and practitioners about its vitality. ix Table of Contents INTRODUCTION LOCATING MOMENTS: DEFINING THE YOUTH RESPONDENT METHOD……………………………………………………………………………………...…1 CHAPTER 1 THE LEGACY OF THE YOUTH RESPONDED METHOD………….....................................32 CHAPTER 2 NEW PLAY DEVELOPMENT WITH THE TARGET AUDIENCE: THE YOUTH RESPONDENT METHODS APPLICATION IN THEATRE TRAINING PROGRAMS AND PROFESSIONAL THEATRE SETTINGS……………………………………………….93 CHAPTER 3 SOCIAL MEDIA: A TOOL FOR AUDIENCE ENGAGEMENT AND THE YOUTH RESPONDENT METHOD…………………………………………………………………….140 CONCLUSION THE YOUNG ARTISTIC COLLABORATOR………………………………………………..179 APPENDIX INTERVIEWS ............................................................................................................................ 188 BIBLIOGRAPHY……………………………………………………………………………..330 x Introduction Locating Moments: Defining the Youth Respondent Method In the spring of 2008, Adventure Stage Chicago
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