Theater is one of the oldest and most established art forms. Some of the theater’s most prolific works have become immortalized; shows such as “Hello, Dolly!” and “The Producers” are household names. Some modern works, such as “Wicked,” are recognizable, even to theater novices.
The amount of time and effort required to put on a successful show can only be described as astronomical, but any show would, of course, be doomed to fail without actors and actresses to bring it to life on stage.
Yet, such actors and actresses do not simply walk onto Broadway and land the part of Elphaba in “Wicked.” No, the road to Broadway (or otherwise) is long, and for many aspiring actors and actresses, it begins with community or youth theater.
These are small, independent organizations, which typically consist of a core group of individuals. The role of community and youth theaters in a young actor or actress’ life cannot be overstated; these theaters often form the foundations of one’s acting style and the beginnings of one’s repertoire.
Barbra Streisand began her acting career in small “summer stocks” (non-profit productions which take place in the Summer only) and independent productions in the New York area.
“I think the more experience someone brings to the table, the stronger choices they can make,” says Dr. Stephani Woodson, director of ASU’s Youth Theater Graduate Program, of the experience one gains in community theater.
She believes in the importance of pre-university theater for aspiring actors and actresses. Not only do the thespians in question make “stronger choices,” but they may also expand their repertoire via community theater. By participating in more plays, one gains, as Woodson says, a “stronger literacy” - that is, a wider and deeper knowledge of drama.
“They know more plays, have seen more plays, [and] have participated in more productions,” she says.
Such knowledge includes general performance skill and a specific skill set.
“From costuming to box office people [in community and youth theaters] are getting well-rounded experience in the art form,” Woodson says.
Though young people may be “brushed aside” in larger theaters, they can work as a legitimate part of a community or youth theater team, “working together to accomplish something with adults,” according to Woodson.
This working alongside adults also allows young actors and actresses to form mentorships with older, more experienced thespians. As the term implies, the community aspect of community theaters is perhaps their greatest strength and plays the greatest role in young actor and actress’ lives.
Woodson also speaks of the value of professional training programs associated with certain theaters, saying that the amount of time a director is willing to put toward improving his or her constituents is a major factor in the quality of a theater.
Though often overlooked - or even looked down upon - community theaters remain an integral part of an aspiring thespian’s life.
Regarding differing views of such theaters, Woodson says, “a lot of professionals will sneer at community theater, but I think they’re an important part [of the theater world]. In fact, historically, community theaters were the foundation for all theater systems. They all started out as community theaters.”
Contact the reporter at cbkelly@asu.edu
