AI & Molière

 

[I’ve recently posted several articles on Rick On Theater on the subject of computers or artificial intelligence and art: “Replicating Classic Art Works” (21 February 2026), for instance, is a report from PBS News Hour on using computer technology to examine and analyze paintings and even duplicate them; “AI Art” (26 February 2026) is a 60 Minutes segment on the use of computers to create art with AI 

[“Dreaming the Impossible at M.I.T.” by Philip Elmer-Dewitt in “Computers and Actors, Part 1” (4 October 2021), a Time magazine report, goes all the way back to 1987, almost the dawn of the modern computer age, to look at a then-new, pre-AI experimental computer program that let playwrights test scenes on screen without hiring actors and a stage.  Much later, I reposted “Tilly Norwood, AI Actress” (13 October 2025), a collection of articles on a fictional, photorealistic, 100% AI-generated “actress” whose arrival caused controversy in the film industry. 

[Now we can have a look at something in the offing that was at the center of the recent strikes against film and television producers by the Writers Guild of America (May-September 2023) and SAG-AFTRA (July-November 2023): scripts written by AI trained on the works of an accomplished writer—in this case world-famous but long-dead.  (Could the next step be seeing such a script enacted by the sisters and brothers of Tilly Norwood?)

[Below, I’m reposting a New York Times article on a French experiment in which just such a “new” play was composed by AI in the style and language (literally) of Molière (1622-73), renowned French playwright.  So far, after two years of work, only excerpts of the play, The Astrologer, have been performed.  (When the full comedy is presented in May, maybe the reviews will be devised by writebots.)

[Molière, born Jean-Baptiste Poquelin, was also an actor and director.  Considered the master of comedy in Western literature, he revolutionized theater with satirical plays mocking human vices, vanity, and 17th-century French society, like Tartuffe (1664), a satire on religious hypocrisy, and The Misanthrope, (1666), a study of a man who rejects the shallow conventions of society. 

[Born to a wealthy Parisian upholsterer, he was expected to take over the family business but turned to theater, adopting the stage name Molière.  He co-founded L’Illustre Théâtre (‘the illustrious theater’) in 1643, which initially went bankrupt, landing him in prison for debts.  He spent 13 years touring provincial France, developing his craft before gaining patronage under King Louis XIV (1638-1715; King of France: 1643-1715; known as the Sun King [le Roi Soleil]).

[Molière was known for full-length comedies, farces, and comédie-ballets, including The School for Wives (L’École des femmes, 1662), The Miser (L’Avare, 1668), and The Bourgeois Gentleman (Le Bourgeois gentilhomme, 1670).  He died in 1673 after collapsing during a performance of his final play, The Imaginary Invalid (Le Malade imaginaire, 1673).  (He finished the performance—he was playing Argan, the title role, a severe hypochondriac obsessed with illness and death—but died shortly afterwards at the age of 51.)

[His comedies often explored themes of hypocrisy, rigid social conventions, and medical absurdity.  He specialized in creating memorable, exaggerated characters that highlighted human follies.  His plays combined the slapstick of Italian Commedia dell’arte with profound social commentary. 

[Molière’s influence is so pervasive that French is often referred to as “the language of Molière.”  He’s credited with elevating comedy to a position of artistic honor equal to tragedy in French culture.  The national theater award of France, recognizing achievement in French theater each year since 1987, are named Les Molières.  The awards are considered the highest honors for stage productions and performances, equivalent to the U.S. Tony Awards or the British Olivier Awards.]

“CHALLENGING A.I. TO MATCH
THE INTRICATE WIT OF MOLIÈRE”
by Laura Cappelle 

Scholars and artists at Sorbonne University worked on a program to imitate the French playwright, resulting in a new production.

[The article below ran in the print edition of the New York Times on 8 January 2026 in Section C (“Arts”).  It was reported from Paris.  It was posted to the paper’s website as “Can A.I. Match Molière’s Wit? These Researchers Think So.”]

A tyrannical father, duped by a sham astrologer, promises his daughter in marriage — until she and a clever servant expose the fraud with some farcical tricks.

It sounds like a comedic plot by Molière, the 17th-century playwright who thrilled Paris by skewering paternal authority and pseudoscience. Yet the beloved French author didn’t write that one: It’s the scenario for “The Astrologer, or False Omens” [L’Astrologue ou les Faux Présages], a play written by an artificial intelligence program trained to imitate Molière’s themes, structures and sense of humor.

For the past two years, the French A.I. collective Obvious has been developing the script with the Théâtre Molière Sorbonne, a theater company specializing in historical reconstructions of the 17th-century repertoire. As part of the digital arts festival Némo, an excerpt will be performed on Saturday at the Centquatre, a Paris arts center, before a full staging at the Royal Opera of Versailles in May.

[Obvious is a Paris-based artist collective formed in 2017 by childhood friends Hugo Caselles-Dupré, Pierre Fautrel, and Gauthier Vernier to explore the intersection of art and artificial intelligence. They achieved global recognition in 2018 with the sale of their first major work, Portrait of Edmond de Belamy, at Christie’s New York.

[Caselles-Dupré (b. 1993), as a specialized researcher in artificial intelligence and machine learning, is the technical lead and research director of Obvious; Fautrel (b. 1993) was educated in digital marketing and communication, before which, he was involved in the electronic music scene; Vernier (b. 1993) has a background in business and economics, providing the strategic and commercial foundation for the collective.

[Obvious served as the technical and creative engine behind "The Astrologer.” During the collaboration with Théâtre Molière Sorbonne for the project Molière Ex Machina, the collective utilized specialized AI models to reconstruct Molière's creative process. With Sorbonne scholars, they trained AI on Molière’s themes, linguistic structures, and humor to write the play’s dialogue. They used AI to generate sketches for historically informed costumes and stage sets that mimicked the aesthetic of the 17th-century French court and to compose music for the performance, ensuring it aligned with the period’s style.

[Also founded in 2017, the Théâtre Molière Sorbonne's mission is to revive the old-fashioned techniques of declamation and acting of the 17th century. A true school-workshop, it is aimed at the entire student community of Paris’s Sorbonne University, passionate about theater, singing, dance, or music and wishing to experiment with a new way of reproducing plays as they were performed in the time of Molière, Pierre Corneille (1606-84), and Jean Racine (1639-99). The Théâtre Molière Sorbonne performs at the Sorbonne as well as on prestigious stages in France.

[The arts center Centquatre, whose name is legally rendered as two words, Cent Quatre, but which was restyled as one in 2010 for graphical and marketing reasons, opened in 2008 in a former funeral hall. The center’s name means ‘one hundred four’ (which in French is properly two words—but the French language predates modern logotypy) and is derived from the former address of the building: 104 rue d’Aubervilliers (now 5 rue Curial).

[Centquatre-Paris, as it’s called (usually in all-caps), is a public facility that serves all forms of art, both creation and exhibition. It has large spaces for displays, exhibits, and performances; studio spaces for creating new work; workshop and rehearsal spaces for resident artists and groups; rooms for lectures and classes, plus restaurants and cafés as well as shops.]

The process was driven by “scientific curiosity,” Mickaël Bouffard, the director of the Théâtre Molière Sorbonne, said. “We’re trying to simulate Molière’s creative process, step by step. Our goal is to be as historically accurate as possible.”

The collaboration was masterminded by the sociologist Pierre-Marie Chauvin, a vice president of Sorbonne University, who said he saw in Obvious “a long-view approach to A.I., and a real interest in cultural heritage.”

The collective is best known for creating visual artworks with algorithms; in 2018, one of its paintings became the first A.I. work [Portrait of Edmond de Belamy (2018)] sold through the auction house Christie’s, for $432,500 [worth $560,000 in 2026]. Obvious opened its own research laboratory within Sorbonne University three years ago, and Chauvin brought its three members to see the Théâtre Molière Sorbonne.

Nobody in Obvious is a regular theatergoer: Its members’ experiences of Molière came primarily from their school days [all three are 32 or 33 now], they said in a group interview. Yet they immediately clicked with Georges Forestier, the Théâtre Molière Sorbonne’s founding director, whom Chauvin described as “extraordinarily curious and technophile.”

Forestier came up with the play’s main theme: human credulity, a fitting topic for an A.I.-written pastiche and one that Molière frequently touched on. Coraline Renaux, a Ph.D. student and a member of the theater company, then suggested an astrologer as a viable antihero. Astrologers are mentioned in some of Molière’s plays, and after his death, his collaborator Jean Donneau de Visé [1638-1710; French journalist, royal historian, playwright, and publicist] wrote a play about astrology, “The Comet.”

[The provenance of The Comet (La Comète, 1681) is messy and confusing, and I won’t try to recount all the theories of how it came to be written.  I’ll relate the most accepted theory of its composition and let curious readers look up the variations and permutations.

[What is certain is that La Comète was written in 1680, to capitalize on the appearance of the Great Comet of 1680 (also called Kirch’s Comet, and Newton’s Comet), discovered by astrologer Gottfried Kirch (German; 1639-1710). The comet passed through the terrestrial heavens between 14 November 1680 and 19 March 1681. It caused quite a frisson in France (and all around the world) and there were many scientific and pseudo-scientific rumors and predictions on people’s lips and in their imaginations. (Kirch’s Comet has an orbital period of 10,000 years, so it shouldn’t be back here until sometime in the 117th century.)

[Most authoritative sources, including the National Library of France (Bibliothèque nationale de France), credit the play primarily to Donneau de Visé and a man named Bernard le Bouyer (or Bovier) de Fontenelle (1657-1757 – no, that’s not a typo; Fontenelle died at the age of 99), a French writer known for his interest in science and philosophy. Donneau de Visé likely provided the commercial instinct and dramatic structure, while Fontenelle contributed the intellectual debates on chance and astronomy found in the script.

[Fontenelle was the nephew of the brothers Pierre and Thomas Corneille (his morher, Marthe, was their sister), both dramatists of some renown. (Pierre Corneille, a tragedian; Molière, a comedian; and Racine, another tragedian, were the three great playwrights of 17th-century France.) Thomas Corrneille (1625-1709) was also Donneau de Visé’s most frequent playwriting collaborator at the time. The younger Corneille brother likely acted in an advisory or editorial capacity as part of the established writing triumvirate.

[With the names of Jean Donneay de Visé, a luminary of the company at the Hôtel Guénégaud (which later became the Comédie-Française), and Thomas Corneille, a star of the troupe at the Hôtel de Bourgogne, one of France’s most important theaters, connected to the project gave it theatrical heft and credibility, especially following the disastrous reception, one month earlier, of Fontenelle’s 17th-century historical tragedy Aspar. (It did the project no harm that Donneau de Visé was also the founder and director of Le Mercure galant, a popular and influential literary gazette where Thomas Corneille was an editor.)]

After Forestier died from cancer in 2024, Bouffard continued driving the project forward. It turned out to be an arduous process. [The] creative team experimented with different prompts and programs trained by Obvious on Molière’s body of work, and struggled with the A.I.’s tendency to forget the beginning of the play once the story progressed. After a few months, Bouffard was almost ready to give up, he said, “because it was so laborious.”

“It took Molière two weeks to write a play, whereas we’ve been at it for two years,” said Gauthier Vernier, an Obvious member.

The quick progress of A.I. models provided the consistency needed to sustain long-form writing. Along the way, a team of Molière scholars provided human feedback on the evolving synopsis — which has been revised 15 times — and on the script itself.

Among them is Lise Michel, an associate professor of French literature at Lausanne University [Université de Lausanne (University of Lausanne), Switzerland]. She said she approached reviewing the A.I. synopsis as “a game,” using her in-depth knowledge of Molière’s plays to identify anything that didn’t sound “quite right.”

Molière’s satirical humor, which blends literary wit and slapstick farce, proved especially hard to nail. The A.I. tended to excessively draw out humorous metaphors or make overly naïve jokes. Feedback from actors helped, according to Bouffard, who added that the A.I. also had “strokes of genius”: “We laughed so hard at times,” he said, “because we never thought it would be able to come up with some of these lines.”

Although the team was careful not to bill “The Astrologer” as a “new Molière play,” not everyone is thrilled by the prospect of the production. Bouffard said some colleagues had warned him that he was “taking on a sacred monster” in Molière.

In a recent Facebook post, Aurore Evain, a director and scholar who has revived forgotten plays by women, called the project a “Tartuffery” and criticized the $1.75 million budget attached to it (which came primarily from private French and North American sponsors, according to Sorbonne University).

[Obvioously derived from the name of the title character in Molière’s Tartuffe, the French word tartufferie (frequently tartuferie) means a ‘hypocritical act’ or the ‘act of a scoundrel.’ (This is the word that Evain used in her Facebook post. A tartufe/tartuffe—the word is both masculine and feminine—is a ‘hypocrite’ or a ‘scoundrel.’) The words both exist in English as well: ‘tartuffery’ means ‘religious hypocrisy’ and a ‘tartuffe’ is a ‘religious hypocrite.’]

The funding didn’t go solely to A.I.-powered writing: Three other models were trained to create historically accurate sets, costumes and music based on Molière’s collaborations with designers and composers. The resulting score and designs will be unveiled in full in Versailles in May before touring dates in France.

The show was conceived as a one-off, but the next step for A.I.-powered performing arts research may be to “complete unfinished plays or scores,” said Bouffard, who likened the idea to the restoration of a painting.

“A.I. has no ego, no taste — whether good or bad,” he said, stressing that this makes it more suited to pastiche than humans. “That sense of neutrality is really interesting,” he said. “It all depends on how we activate it.”

[Laura Cappelle is a Paris-based French journalist and scholar.  In 2023, she was appointed associate professor at Sorbonne Nouvelle University.  She edited a French-language introduction to dance history, Nouvelle Histoire de la danse en Occident (“A new history of dance in the West”; Seuil, 2020), and her new book, Créer des ballets au XXIe siècle (“Creating ballets in the 21st century”), was published with CNRS Éditions in May 2024.  She has been the Financial Times’ Paris-based dance critic since 2010, and the New York Times’ French theater critic since 2017. She is also an editorial consultant for CN D Magazine, published by the Centre national de la danse (CN D; National ance Center; Paris).

[Little is known about Molière Ex Machina aside from what’s reported in the Times article.  The participants have been closed-mouthed about most aspects of the project; nothing that I could find was even published after the excerpts were performed at Centquatre.

[The plot synopsis put out by the project team is basically what the Laura Cappelle wrote: the play centers on a tyrannical father who is deceived by a fraudulent astrologer into marrying off his daughter, a theme chosen to reflect Molière’s frequent focus on human credulity.

[As Mickaël Bouffard says above, the production was conceived as a “scientific curiosity” to explore whether AI can match the wit and neutrality required for historical pastiche.  There are some details about the creation of The Astrologer that aren’t covered in Cappella’s report.  The “historically accurate” elements, for example, were created by training specific AI models on the work of Molière's 17th-century collaborators to ensure the production felt authentic to the year 1673.

[The costumes, for instance, were designed by an AI model trained on visual archives of Henri (de) Gissey (ca. 1621-73; French draughtsman and designer), the primary costume designer for the Cabinet of Louis XIV and a frequent collaborator of Molière.  Although designed by AI, the costumes were hand-stitched and embroidered by human artisans using 17th-century techniques, materials, and patterns, with no modern shortcuts like zippers.

[The stage design follows the “historically informed” principles of the Théâtre Molière Sorbonne, which specializes in reconstructing 17th-century theatrical aesthetics.  The AI was fed data from period engravings and stage directions from Molière’s time to generate sets that mimic the depth and style of the Palais-Royal or the Comédie-Française.  Designs emphasize the perspective-heavy, painted-flat scenery typical of the Baroque era.

[The Théâtre Molière Sorbonne production aims to simulate a complete 17th-century sensory experience, so an AI model was trained on the works of Jean-Baptiste Lully (1632-87; Italian-French composer, dancer, and instrumentalist; considered a master of the French Baroque music style), who composed the music for Molière’s famous comédie-ballets (like Le Bourgeois gentilhomme).

[Beyond the music, the actors were trained in period-accurate diction and gestures, ensuring that the AI-written text is delivered with the specific rhetorical style of the 1670s.

[Reactions to the AI’s imitation of Molière's style in The Astrologer have been a mix of scholarly fascination, practical challenges during the creative process, and sharp criticism from the theatrical community.  Researchers found that the AI identified patterns in Molière’s work that were so "scattered" they had previously gone unnoticed by scholars, offering new insights into his structural craft.

[The media coverage has been reported as characterizing the work as a comedic plot that “skewers paternal authority and pseudoscience,” successfully imitating Molière’s specific structures and sense of humor—but, as I observed, I couldn’t find any outlets with published reception to confirm this.

[The sold-out excerpts were scheduled at the Centquatre on 10 January 2026 as part of the Némo digital arts festival (11 October 2025-11 January 2026).  A full staging is planned for the Royal Opera of Versailles in May 2026.]

Theater Kids Revisited

 

[Last June, I posted “Theater Kids,” devoted entirely to “How To Tell If You’re a Theatre Kid,” an excerpt from John DeVore’s memoir, Theatre Kids: A True Tale of Off-Off Broadway (Applause, Theatre & Cinema Books, 2024), published on the American Theatre magazine website.  This past January, a New York Times article caught my attention, so now I’m going to revisit the topic of “theater kids.”  I think the titles of the individual articles I’m reposting pretty well reveal what this collection is about.

[In the introduction to the 23 June 2025 post, I define what a theater kid is:

a young person, usually a student, who is deeply passionate about and involved in theatrical performance.  They are often characterized by their enthusiastic embrace of performing arts, particularly musicals, and may exhibit traits like spontaneously breaking into song—almost always one from a musical—or quoting lines from shows.

[I go on to say, “I wasn’t a theater kid,” referencing my autobiographical post “A Broadway Baby” (22 September 2010)—though I acknowledge that that label did fit me.

[The three articles below are the New York Times report that started off a little brouhaha in the theater world, the Playbill article that called attention to that to-do, and a management association article that lays out the insiders’ response.  If you were a theater kid, or you knew one, you might find the exchange interesting—perhaps even touching.] 

“HOW ‘THEATER KID’ MORPHED INTO A POLITICAL INSULT”
by Sopan Deb 

[The New York Times article ran on 8 January 2026 in “Arts” (Section C).  It was posted online on 21 December 2025 as “Move Aside, Snowflake: ‘Theater Kid’ Is the New Go-To Political Insult.”]

Used as a pejorative, usually by the right, the phrase tags ‘the outsiders, the weirdos.’

Move over Karen and snowflake. There’s a new go-to political put-down: Theater kid.

Last month, the comedian Tim Dillon referred to New York City’s mayor-elect, Zohran Mamdani, as a “theater kid,” arguing that Mr. Mamdani’s victory speech was “a little cringe.”

[Tim Dillon (b. 1985) is a stand-up comic, podcaster, and actor known for his unrestrained satirical humor and social commentary. He hosts the popular podcast The Tim Dillon Show, which covers news, politics, and culture and airs at 9 a.m. (Pacific Time) Saturdays on YouTube (video) and Spotify (audio). The referenced show about Mayor-Elect Mamdani was broadcast on 8 November 2025, four days after Mamdani won the New York City mayoral election.]

After Mr. Mamdani appeared in the Oval Office for a surprisingly cordial meeting with President Trump [Friday, 21 November 2025], Jack Posobiec, a Trump loyalist and conspiracy theorist, wrote on X, “Theater kids always crumble if you actually press them.” (He also released an episode of his podcast titled “MAGA vs The Theater Kids: Do You Want Drama or Do You Want Victory?”)

Mr. Mamdani, a former improv student, actually is a theater fan. But he’s not the only target.

When Senator Alex Padilla, Democrat of California, was forcibly removed from a news conference in June after trying to question Kristi Noem, the [now-former] homeland security secretary, The Daily Caller [right-wing news and opinion website based in Washington, D.C. and founded by political commentator Tucker Carlson and political advisor Neil Patel] published an article with the headline ”Democrat Theater Kid Learns He’s Not Above the Law.”

Weeks later, the conservative publication American Thinker [daily online magazine dealing with American politics from a politically conservative viewpoint] ran an article saying that Mr. Padilla and a Who’s Who list of prominent Democrats were, you guessed it, theater kids. After a group of Democratic lawmakers released a video last month reminding troops that they could refuse illegal orders, Joe Kent, the director of the National Counterterrorism Center [U.S. government agency responsible for national and international counterterrorism efforts], described them as ”theater kids encouraging an insurrection.”

You get the picture, which raises the question: What did theater kids do to attract so much scorn?

It depends on whom you ask.

For Scott Jennings, a conservative CNN commentator, the increased use of the term is a result of “performance-based radicalism” on the left. As an example, he cited a video from 2019 that resurfaced in the final weeks before a special election for a House seat in Tennessee. It showed the Democratic candidate, Aftyn Behn, in tears, being dragged out of Gov. Bill Lee’s office during a sit-in protest, which called for the removal of a state legislator accused of sexual assault. (Ms. Behn lost by 9 percentage points in a district that Mr. Trump carried by 22 points last year.)

“These people are a sandwich board and a megaphone short of the loony bin,” Mr. Jennings said in an interview. “They think it’s actual politics. They think this is something good, and the rest of us are looking at it going, ‘Man, there go the theater kids again.’”

It’s not clear when the term gained currency, but an early example of its use as a pejorative dates to the final weeks of the 2024 presidential campaign when the conservative operative Matt Whitlock said on social media that Kamala Harris, the Democratic nominee, was “just a theater kid performing a sketch.”

Caricaturing political opponents with simple insults has become a hallmark of Trump-era politics. Think “Low Energy” Jeb Bush. Republicans, led by the president, have elevated name-calling to an art form, but Democrats have dabbled, too, with mixed results.

During the 2024 presidential campaign, Gov. Tim Walz of Minnesota, the Democratic vice-presidential nominee, called Republicans “weird” and turned it into a calling card of his candidacy. More recently, Gov. Gavin Newsom of California, a leading Democratic critic of Mr. Trump who has worked to position himself for a possible 2028 presidential run, has taken to mimicking the president’s approach — calling him “Dozy Don,” among other insults.

Social media has made such put-downs catch on faster.

“In politics, just like in journalism, you’re always trying to make 10 words five, five words three, two words one, right?” Matt Gorman, a Republican strategist, said. “The way to do that really effectively, and we’ve seen this for generations, is you find ways to short-circuit that through connotations.”

Using “theater kids” pejoratively is a way of tagging opponents as dramatic and performative without having to use those words, Mr. Gorman said.

Theater kids became an indelible part of the culture when television series and films like “Glee,” “High School Musical” and “Smash” [see “‘What I learned from Smash (if I didn’t know anything about theater)’” by RonAnnArbor (9 June 2013)] hit the airwaves, though the popularity of those shows set theater kids up as the subject of parody.

“We are a ton of energy and we can be chaotic, but I find that that’s not actually the qualities that people are pointing out when they talk about the theater kid,” said Zhailon Levingston, a director of the upcoming Broadway production of “Cats: The Jellicle Ball.” “What they’re talking about is the person who refuses to stay silent in the face of something that needs to be spoken to.”

For the last half-century or so, it hasn’t been considered “cool” to be a theater aficionado, said Julia Knitel, who was nominated for a Tony Award for her performance in the musical “Dead Outlaw” [2025].

“‘Theater kid’ being the bullied party is a tale as old as time,” Ms. Knitel said. “We’ve always been the outsiders, the weirdos. It’s a quick cultural shorthand to treat us as the underdog.”

Some see a more harmful motive for deploying the moniker as a political insult.

“My initial reaction was just that it feels homophobic,” said Jacob Kerzner, an assistant professor of musical theater at Syracuse University. Mr. Kerzner added that theater is an unusual art in that “you couldn’t replace theater with any other art form in this context.”

“‘They’re all painters now’ doesn’t quite have the same ring to it,” he said.

Daniel Pollack-Pelzner, the author of a recent biography of Lin-Manuel Miranda [Lin-Manuel Miranda: The Education of an Artist (Simon & Schuster, 2025)], said that using the term was part of a larger culture battle.

“A lot of kids playfully adopt the ‘theater kid’ moniker, even with its tinge of attention-seeking excess, because theater offers a space for performing a wider range of emotions and identities than much of our society allows,” Mr. Pollack-Pelzner said in an email. “Since right-wingers want to crack down on exploring gender, race and sexuality in schools, it’s sadly not surprising that they’d try to wield ‘theater kid’ as an insult to discredit progressive politics.”

The dings against theater lovers have come mostly from the right, but not exclusively so. Dhaaruni Sreenivas, a data scientist who has worked for Democratic consulting firms, wrote on X that the perception of the Democratic Party “as a safe space for rule-following theater kids is really bad for our image.” She followed that up with a Substack post [Substack is an online, ad-free platform that enables writers, podcasters, and creators to publish content directly to subscribers via email, while offering options for monetization through paid subscriptions] titled, “Theater Kids and Playing Risk.”

“You know the kids in ‘Glee’? Super cheerful and go-getters?” Ms. Sreenivas, who was a delegate for Kamala Harris at the 2024 Democratic National Convention, said in an interview. “They’re kind of despised by their peers. And it’s a problem because Americans kind of are nerdist. They do not like nerds.”

To Ms. Sreenivas, theater kids are “desperate for the approval of authority figures” and “really want to follow the rules and get rewarded for it.” Basically, she added, “they want to perform being good kids.”

Not everyone minds the moniker. Theater kids, Ms. Knitel said, are emotionally intelligent, empathetic, communicative, charismatic and in touch with their feelings. Those qualities, she said, don’t align with the “current administration.”

“They don’t want us to be empathetic and they don’t want us to care about those around us,” she said, “and they don’t want us to be open to expanding our horizons and feeling things deeply, because then we’re not as easily going to fall in line.”

[Sopan Deb is a New York Times reporter covering breaking news and culture.]

*  *  *  *
“IN RESPONSE TO NEW YORK TIMES,
EDUCATIONAL THEATRE ASSOCIATION LAUNCHES
PROUD THEATRE KID CAMPAIGN”
by Diep Tran

[Playbill, the National Theatre Magazine, picked up the story with a report on 23 December 2025 revealing that the Educational Theatre Association had taken umbrage at the content of the Times’ article.]

The campaign is in response to an article that said that “theatre kid” is the new conservative insult.

On December 21, the New York Times published an article with the headline: “Move Aside, Snowflake: ‘Theater Kid’ Is the New Go-To Political Insult” [that's the online title; see above]. It attributed the rise of conservative pundits using “theatre kid” as an insult, to denote a “performance-based radicalism”—such as a conspiracy theorist calling incoming New York Mayor Zohran Mamdani a theatre kid (though Mamdani has said he listens to Hamilton and Dear Evan Hansen in the car).

In response, the Educational Theatre Association has launched the Proud Theatre Kid campaign to celebrate theatre kids everywhere. Said Dr. Jennifer Katona, executive director of EdTA, “This weekend, our members made it clear that the New York Times article touched a nerve. We felt it was important to stand up as leaders of the theatre education community and affirm what ‘theatre kid’ really means: creativity, discipline, collaboration, and empathy. The response today has been overwhelming, and it underscores the pride and unity of this community.”

The Association asked its followers to share why they are proud theatre kids. One respondent, who is a reverend, wrote: “My son is 14 and is confident, kind, and creative. I couldn’t be prouder! What a wonderful life both of us have found in the theatre. The world needs more of what theatre creates.”

Another respondent wrote: “The best description of theatre that I’ve ever heard is ‘the gym for empathy.’ It strengthened my ability to listen, to express complex ideas, and to put myself in others’ shoes. I can see why that’s threatening to certain politicians and pundits.” 

The Educational Theatre Association is a nonprofit focused on theatre education, serving as a professional association for theatre educators. EdTA is the parent organization of the International Thespian Society, a student honor society that has inducted more than 2.5 million thespians since 1929. Additionally, EdTA operates the Educational Theatre Foundation, the organization’s philanthropic arm dedicated to increasing opportunity and access to school theatre.

Said a representative from EdTA: “At the heart of this campaign is a simple belief: if even one student misses out on the life-changing impact of theatre education, we are all worse off. We want our community to stand together and refuse to let anyone else define what ‘theatre kid’ means.”

EdTA and Playbill are currently collaborating on a new Content Creator Scholarship that will send three students to the 2026 International Thespian Festival.

[Diep Tran is an arts journalist and editor based in New York City.  She is currently the Editor in Chief of Playbill.  Her writing has appeared in the New York Times, NBC News, New York magazine, Time Out New York, Backstage, CNN, Salon, Primetimer, Broadway News, New York Theatre Guide and other publications.  Her previous day jobs include being features editor of Broadway.com and senior editor of American Theatre magazine.  In 2023, she was named on Gold House’s A100 list as one of 100 most impactful Asians.  She loves musical theater, period dramas, and sci-fi/fantasy TV shows.]

*  *  *  *
“TEACHERS’ GROUP LAUNCHES
EFFORT TO RECLAIM ‘THEATER KID’”
by Mark Athitakis  

[EdTA’s position and its response were laid out in Associations Now in a 13 January 2026 post.  Associations Now is a daily news platform of the American Society of Association Executives (ASAE), which serves professionals in the association management field.]

The Educational Theatre Association’s #ProudTheatreKid campaign caught attention on social media, providing a boost to its advocacy message. 

A national theater organization launched a pop-up campaign to push back against the increasingly pejorative use of the term “theater kid,” galvanizing its member base in support of its advocacy goals.

On December 21, the New York Times published an article titled “Move Aside, Snowflake: ‘Theater Kid’ Is the New Go-To Political Insult” [see above]. The story showed how the term has been used to criticize New York City mayor Zohran Mamdani, Senator Alex Padilla (D-CA), and other Democratic lawmakers.

The story naturally caught the attention of the Educational Theatre Association (EdTA), which represents theater-education professionals and supports middle- and high-school theater students through its awards and foundation programs. 

“We absolutely felt like there was no space to not respond,” said EdTA Executive Director Dr. Jennifer Katona.

According to Katona, the organization has two million alumni across its 97 years of existence. “That’s two million theater kids,” she said. “The theater kid is our brand. It’s who we are, it’s who we care about, it’s who we talk about every day. We take a lot of pride in that, and we truly believe that a theater program in a school is not just about the performances, but about all the skills that are developed for students’ involvement in that, and also what that program does to the school and the community at large.” [See the post on this blog “The Relation of Theater to Other Disciplines” (21 July 2011).]

Though EdTA’s staff was largely off for the holiday break, it developed a rapid social-media response, using the hashtag #ProudTheatreKid on Facebook, Instagram, and LinkedIn. “Theatre kids are academically strong,” the posts read in part. “They are emotionally intelligent. They are collaborative leaders and creative thinkers.” Readers were encouraged to share their own theater experiences growing up.

The posts struck a chord with EdTA members theater fans in general. The Broadway industry bible Playbill covered the campaign [see above], and the posts drew more than 1,200 shares on Facebook and more than 7,700 likes on Instagram. “If it wasn’t up by that evening, it was the next day,” Katona said. “It’s probably four or five times the reshares, if not more, that we usually get,” she said.

More than just attempting to blunt the use of “theater kid” as an insult, the campaign has given EdTA a platform to promote its advocacy work entering 2026. Last week, EdTA used the term “proud theatre kid” as a way to encourage registration for its annual March advocacy summit, which includes a visit with legislators on Capitol Hill and workshops on how participants can promote theater education in their own communities. 

“This comes at a time of years of their craft being under attack, with no-drag bills, the slicing of budgets, and the way some of our states and teachers have been censored,” Katona said. “So this felt like a line in the sand for everybody. This is really propelling us into action. It goes beyond just asking people to change your Facebook status. It’s: Let’s try to come together and go to DC and talk about the value of what we do. That’s where we’re taking it.”

[Mark Athitakis, a contributing editor for Associations Now, has written on nonprofits, the arts, and leadership for a variety of publications.  He is a coauthor (with Mark Lasswell) of The Dumbest Moments in Business History (Portfolio. 2004).]

Community-Based Theater

by Kirk Woodward 

[Following his article on “Staged Readings” on 11 February 2026, Kirk Woodward, Rick On Theater’s most prolific guest-blogger (just shy of 150 posts out of 1,335, including several multi-parters), is back now with a piece on “Community-Based Theater.”  It’s a subject about which Kirk knows a great deal, having toiled in its fields—as an actor, director, playwright, composer, rehearsal and performance accompanist, and probably most of the jobs that exist in that arena—during the span of his theatrical career.

[This isn’t surprising, since Kirk lives in Little Falls in New Jersey’s Passaic County, which is right next to Essex County (where he used to live), about 60 miles and an hour-and-a-quarter drive or train ride west of New York City.  From my experience and observation, Essex County has an exceptional number of performance venues and theater companies, both professional and community-oriented.  One might even say that it’s a little theater-mad, so there’s a lot of theater activity and interest thereabouts. 

[Kirk, as you might expect from someone with that kind of credential, has some pretty firm ideas about CBT, as he dubs it in his post.  For one thing, he has a more inclusive definition of community-based theater than is perhaps standard for what is more generally known as “community theater.”  (I’ll let you all read for yourself what distinction Kirk makes between the two.)

[A little over a year-and-a-half ago, I posted an essay by Jaan Whitehead called “Art Will Out,” originally published in the October 2002 issue of American Theatre magazine (volume 19, number 8).  The repost was part of my occasional series on the regional theater in the United States, and Whitehead, a New York-based author, theater executive, and political theorist known for her work in the performing arts, had a great deal to say about community-based theater.  Here are significant passages on the subject:

[C]ommunity-based theatre [is] theatre deeply rooted in a particular community, which itself is an essential partner and collaborator in the work.  Not to be confused with the local amateur groups that are often called “community” theatres, the community-based theatres I am talking about are professional theatres, usually ensemble theatres, that choose to work and live in a particular community, articulating the voice of that community through their art.  Going back to the central connection between the art and the audience . . ., it is the artists who create and preserve this connection, . . . community-based theatre [devoting most of its creativity] to the integrity of the audience.

. . . .

[C]ommunity-based theatre . . . had its origins in the Depression [1929-39] but has experienced its main growth in the past two decades.  The Community Arts Network [a project active from 1999 through 2010 that promoted information exchange, research, and critical dialogue in the field of art] calls this “art made as a voice and a force within a specific community of place, spirit or tradition.”  The aim of community-based theatres is to become an indigenous part of the community, creating a theatrical voice for that community but also becoming one of its civic institutions, like schools and libraries.  Many of these theatres reach audiences that have never experienced theatre before, and the relationship that develops between the artists and their audiences is very alive, a process of mutual creativity.  And, although much of the work has intellectual roots in the ideas of the same thinkers who inspired the avant-garde such as [Antonin] Artaud [1896-1948; French dramatist, poet, actor, and artist who became one of the most influential figures in 20th-century avant-garde theater] and [Jerzy] Grotowski [1933-1999; visionary Polish theater director, teacher, and dramatic theorist; fundamentally redefined 20th-century performance], community-based theatres have added to their work other influences, such as commedia dell’arte [a form of improvised theater that originated in northern Italy in the 15th century and flourished across Europe through the 18th century], storytelling, folksongs and other more populist forms of expression.

[Aside from my caveat that Kirk uses more expansive criteria for community-based theaters, readers will find that Whitehead’s description of CBT’s in this country largely aligns with Kirk’s.]

I was proud of myself for inventing the term “community-based theater” (speaking about theater in the United States – conditions may differ in other countries).

Doing a Google search, I found that not only did I not come up with the term, but that it is widely used. Briefly overcoming my resistance to Artificial Intelligence (AI), here is a description that AI provides:

Community-based theater (CBT) involves local, non-professional groups using volunteers for actors and crew, focusing on accessible artistic participation, social connection, and entertainment for the public, often producing plays and musicals for fun, education, and to reflect local culture, distinct from professional theater by its amateur, volunteer-driven, and community-focused nature. 

Key Characteristics

 

•        Volunteer-Driven: Relies on unpaid actors, directors, and technical staff from the community.

•        Non-Professional: Primarily a social and artistic activity, not a paid profession.

•        Locally Focused: Often produces shows relevant to the community's interests and provides local arts engagement.

•        Accessible: Welcomes all experience levels, with some groups requiring no audition or experience.

•        Varied Scale: Ranges from small local troupes to large organizations like the Omaha Community Playhouse (OCP; Omaha, Nebraska). 

Types of Community Theater

 

•        Traditional Community Theater: Non-profits staging musicals and plays for general audiences, like AfterWork Theater (New York City) or Spring Lake Theatre (Spring Lake, New Jersey).

•        Civic/Participatory Theater: Programs like Public Works at The Public Theater (New York City) that deeply involve community members in creating ambitious shows with professional artists.

•        Specialized Groups: Groups focusing on youth, specific genres, or community dialogue, such as the Jersey City Theater Center (Jersey City, New Jersey) or West Hudson Arts + Theater Company (WHATCo) (Kearny, New Jersey). 

Why It Matters

 

·        Cultural Hubs: Often the only performing arts source in an area, bringing entertainment and participation.

·        Skill Building: Offers a stress-free environment to learn acting, singing, and technical skills.

·        Community Building: Connects people through shared creative projects and provides a space for community reflection and expression. 

There’s merit to this description, but it actually describes what’s usually referred to as “community theater.” In my usage the term “community-based theater” has a wider application than the AI description indicates. It does mean “local, non-professional groups using volunteers for actors and crew,” commonly known as “community theater.”

 

However, for me the term Community Based Theater (hereafter CBT), in a wider way, describes any theater in this country, including professional repertory companies, that is not run primarily for commercial purposes (as are Broadway shows and related touring companies).

 

Where art is concerned, rigid distinctions seldom work well, boundaries are porous, and definitions often have to leave room for exceptions. For example, traditionally “community theater” (also historically referred to as “little theater”) has meant performances of Broadway plays and musicals by local, amateur theater companies. As I indicated, this seems to be primarily what AI is talking about.

 

My use of “CBT” includes those theaters, but smaller ones too, for example, performances of plays that friends of mine and I have staged in living rooms, with audiences of maybe a dozen people at a time, and larger theaters too, like regional theaters (see below). And it includes larger theaters too, such as “regional theaters,” discussed more below.

Why does the use of the term “community-based theater” (CBT) matter? For me this line of thought began as a way to explain and even justify the kind of theater I do. I have made a little money as a playwright, but certainly not a living, and some of my plays have had multiple productions, but, again, not tremendously.

An aspect of CBT that is not included in the AI description is that in many cases the artistic standards and intentions behind CBT can be as high as those of commercial theater – or higher – although abilities and resources may lag behind Broadway standards. What the AI description of CBT leaves out is the determination of many in the field to live up to the highest artistic standards they possibly can.

A professional in any field has advantages that an amateur does not have – greater experience, working with others of high skill levels, training with leaders of the craft, not to mention benefits such as payment, a contract, unions, a budget, and so on.

However, non-professionals can reach as high as their abilities will take them (and they can take theater classes too), and my own experience is that many in CBT assume not only that they should achieve the highest levels of artistic achievement, but that they can.

Sometimes, indeed, they do, and CBT has often been the starting point for professional careers. After all everyone has to start somewhere – few if any find themselves instantly at the top of their profession.

My wife, Pat, was an excellent director, probably the best I’ve worked with, partly because she assumed that “Broadway standards” were what the cast was reaching for. She knew that by no means everyone had the ability to reach those standards; but she made that a goal, and many were surprised at what they could actually accomplish.

By the way, the distinction “professional/amateur” may not be acknowledged in the same way by people in theater and those outside it. Those not associated with CBT may assume “professional” means “getting paid for it,” and “amateur” means “not paid or little paid.”

For many CBT participants I know, however, however, “amateur” means something more like “not dependable for working hard at the craft” and “professional” more like “dependable at all times and in all circumstances,” a definition that obviously is achievable whether one is paid or not.

There is a similar ambiguity between “commercial” and “non-commercial” theater. In some European countries, in particular, theater is subsidized by the government at some level. In the United States, although varied kinds of government assistance are possible (for example, for state university theater programs), most theaters are basically responsible for coming up with the money they need to operate—especially now, with the National Endowment for the Arts curtailed.

This is as true of CBT as it is of Broadway and regional theater. (The Metropolitan Opera in New York City recently announced major cutbacks in staff and programming because of funding difficulties. Opera is a form of theater that’s particularly difficult to sustain.)

Except in unusual circumstances (including state government subsidy of university theaters), every theater has to run on the profit side of the balance sheet or it will have to close. Even if no actors are paid, others on the staff – directors, musicians, technicians – may have to be paid, depending on who’s available.

Performance space must be rented or, if owned by the theater, property taxes must be paid. Plays, both published and new, if not in the public domain, almost always require royalty payment. A building must be heated or cooled. Insurance may be required. Material for sets and set construction, lighting and sound setups, and costumes ordinarily take money.

So ordinarily a CBT is likely to be commercial on the business side, even if it doesn’t pay its actors. Some, of course, do, which brings up the question of “regional theaters” – major, professional, top-quality theaters like those I mentioned in the AI list at the beginning of this article.

Of course, again, strict distinctions aren’t necessary, and may not be possible, but from what I know of the beginnings of “regional theaters,” major operations like Actors Theater of Louisville (Kentucky), the McCarter Theatre Center (Princeton, New Jersey), Arena Stage (Washington, DC), and the Guthrie Theater (Minneapolis, Minnesota), began with literally a “community” impulse – the desire to bring the highest quality theater to their own towns.

All those theaters are professional – their staffs and actors are paid. Some put on plays that go on to be performed on Broadway. But all originated in impulses that were not exclusively commercial.

For example, I was present (as a high school student) at a meeting in the 1960’s when Richard Block (to this day an active director and speaker) and Ewel Cornett (1937-2002) combined forces to create the Actors Theater of Louisville. I remember their enthusiasm and their determination to bring quality theater to their city (and they did).

The same can be said for many “regional theaters,” major operations such as the McCarter Theatre Center, Arena Stage, and the Guthrie Theater. All those theaters are unquestionably professional – their staffs and actors are paid. Some put on plays that go on to be performed on Broadway.

But all the theaters originated in impulses that were not merely commercial. So to call them CBT is not out of the question, despite their scope and the size of their budgets.

In talking about “community-based theater,” it’s worth asking what community we’re talking about. “Community” is often a loaded word. Which community – what segment of the population – does a CBT represent? As the drama critic Eric Bentley (1916-2000) wrote in his seminal book In Search of Theatre (1953):

“The general public” is as much of an abstraction as “the common man.” Today there are dozens of publics separated by differences of interest as well as by levels of taste, intelligence, and education.

But I think there are two communities in particular that can be seen as sources of inspiration for CBT, and the two are not mutually exclusive. One is a community of those interested in civic development, who believe that a theater will enhance the city’s or the area’s life. The other is a community of artists who want a theater as a place to work and to do worthwhile productions.

An example of both communities working together is the Guthrie Theater in Minneapolis, where the desire to enhance the reputation and culture of the city met the interest of the director Tyrone Guthrie (1900-1971), who with co-workers was looking for a place to do significant theater.

I suspect that more than one CBT has failed because the community of actors, excited about the possibility of doing theater, didn’t sufficiently consider the community in which they would be based.

A plus for CBT is that it doesn’t have to cost an enormous amount of money. (There are exceptions here too – as noted above, opera, even for CBT companies, is nearly always extremely expensive to perform.)

It can cost as much as nine million dollars to put a play on Broadway, and up to twenty million dollars or more to put on a Broadway musical. Those figures are likely to be outdated in a few years, and not by getting smaller.

At the other extreme, I have staged a play with four actors for literally no money at all. It was satisfying to see the play, which I wrote, produced and well-acted, but obviously its impact was modest. On the other hand, many Broadway productions cost vastly more money and vanish with little evidence that they were ever there.

This observation leads to the question of what CBT can achieve beyond the simple purpose of getting a play staged. I remember my friend and theater expert David Semonin asking that question – in effect, if a theater isn’t top rate, why bother? David’s question is provocative. Here are some of my answers.

CBT is important to commercial theater because it can help create an appetite for Broadway and similar plays and musicals, familiarizing audiences with the material if not necessarily with the same staging. It can be a “feeder stream.”

A successful commercial play – a big Broadway play or musical – will have its own value, and a traditional function of CBT has been to make such shows available to local audiences, often years after their initial success, and to provide an opportunity for people to appreciate the worth of such shows.

Art – definitely including theater – is always a process of borrowing, lending, or trading elements from one iteration to another. The painter and sculptor Pablo Picasso (1881-1973) is said to have recommended that artists “steal from the best,” and the cross-fertilization of commercial theater and CBT repeatedly demonstrates how that principle works.

CBT also allows people to perform on stage (or direct, design, costume, and so on) who are not able to do so in a commercial setting – a group that includes the majority of people who have experience in theater.

A friend of mine with years of Broadway experience once remarked to me, “The higher you go in this profession, the less the satisfaction.” I suspect this is true. A failure on Broadway, for example, can cost investors a fortune and artists a great deal of prestige. The stakes for CBT, although important, are significantly less threatening.

Another benefit of CBT is that it can help train actors and sometimes help prepare them for work of greater scope. A few years ago, a CBT theater in my area, the Theater League of Clifton, staged the musical Thoroughly Modern Millie (which first opened on Broadway in 2002, based on the 1967 movie) with a woman in the title role who was then around sixteen or seventeen years old.

Her name was Rachel Zegler (b. 2001). Subsequently she was selected by the film director Steven Spielberg (b. 1946) to play the role of Maria in his film version of the musical West Side Story (2021; 2022 Golden Globe Award) and has since had a stellar career in films, on Broadway, and on the West End in London.

[After WSS, Zegler appeared as Lucy Gray Baird in The Hunger Games: The Ballad of Songbirds & Snakes (2023; 2024 People's Choice Award), and then as the title character in Disney's Snow White (2025),  She made her Broadway debut as Juliet in Romeo + Juliet (2024) and her debut in London’s West End in the title role of the musical Evita (2025; 2025 Stage Debut Award).]

My experience is that fine performances are possible in CBT. This is not to say that if the same performances were transferred to Broadway they would always have the same effect, and productions by necessity adapt themselves to their circumstances.

Still, excellent work is possible. The playwright and reviewer George Bernard Shaw (1856-1950), looking not at theater but at the equivalent of CBT in music, wrote:

I do not mean that if the singers had been transferred from the little schoolroom and the mild cottage-piano to the stage of Covent Garden or the platform of St James’s Hall, with a full orchestra thundering around them, they could have produced the same effect. Suffice it that they did produce it in Penult [a small English town], and gave me thereby greater pleasure than I often get from singers with far greater pretensions. (Shaw on Music, 1955, Doubleday Anchor)

Certainly it’s possible for a person to appear in play after play and not learn anything. Today, however, training in theater is widespread, as is talent, and there are likely to be people in a production that one can learn from, sometimes through observation, sometimes through explicit advice.

There are many other things to learn from participating in CBT. Years ago my wife, Pat. and I took our high school-age children on college visits. The thought occurred to us that a substantial number of people graduate from theater programs each year, and parents may wonder – we wondered – how do they all find work in theater?

They don’t, of course, at least not necessarily in commercial theater. But more than one dean of a theater department explained to us that the skills one learns in theater are “portable.” One learns things like being on time, focusing on tasks, listening, taking notes, getting along with people, analyzing and evaluating, and of course reading and presentation. (See the ROT post “The Relation of Theater to Other Disciplines” [21 July 2011], which presents an argument for teaching theater, and the arts in general, in schools.)

One also learns important things about life – that successes are to be enjoyed and treasured, that not everything succeeds, that it’s important to do one’s best even when the moment looks bleak, that there’s value in victories of many sizes.

Theater at all levels is a matter of doing one’s best, and, if that doesn’t work, trying something else. In that, as in so much else, it resembles the life it imitates.

Theater, by its nature as a community activity, also helps draw together the people who work in it. I am friends to this day with people I worked with in CBT decades ago.

CBT also provides a tryout arena for new and unproduced plays. At a minimum, an author may have the experience of seeing the play performed for an audience, and the play may possibly achieve other productions (this has happened, I am happy to report, to me).

It might also be published. Publishing companies that specialize in playscripts want to see evidence that the play has been performed before they will consider adding it to their catalog, and a CBT production can fulfil that requirement. And, of course, it might ultimately have a future in commercial theater, although such cases are rare. (See “Be More Chill: The Journey” [28 April and 1 May 2019], a collection of articles about a play that started at a community-based theater, made the unlikely transfer to Off-Broadway and then Broadway in 2015-2018.)

Traditionally over the years many community theaters, in particular, have been conservative in their programming, offering primarily comedies and musicals originally produced on Broadway. However, CBT also offers the opportunity to see plays that might otherwise not be staged, or that might not have been well received in their initial productions in more commercial theater.

My observation, for what it’s worth, is that as the number of interesting plays grows (and it is growing), the more willing even community theaters may be to try plays that are unusual or possibly disturbing.

A number of CBT’s now host new play contests or invite submissions. This, as I can testify, is an enormous encouragement to playwrights.

It’s fair to ask what the future holds for CBT. I don’t think there’s any question that its manifestations will change. Art, including theater, is continually morphing. For example, current audiences seem to prefer shorter and shorter plays – a new three act play is almost an impossibility, and one long act often takes the place of two shorter ones.

At the commercial level, theater has no choice but to program shorter plays, to consider new kinds of audiences, and to utilize and emphasize technology in productions. All these trends can be seen on Broadway now. Some will have more effect on CBT than others.

What will be the impact of the wave of technology – most spectacularly and dangerously AI – on CBT in the next generations? When I reached middle and high school, the two largest avenues for student growth were sports and the arts – primarily theater.

Today’s students are familiar with many more kinds of sports, and as for performances, they are more likely to be making YouTube videos than hunting out the local community theater. At least it seems that way to me. AI is a wild card so far, but it’s bound to have an impact.

The fact that schools still do “school plays” encourages me, because if theater grabs you it doesn’t let go (the phenomenon known as being “stage struck”). I also have hope for inventiveness, for exasperation with technology, and for a continuing human need for accessible forms of self-expression.

As I was completing this article I read a statement from Brooke Hartman Ditchfield, the new Artistic Director of the Martha’s Vineyard Playhouse in Vineyard Haven, Massachusetts, which has combined with another theater under the name of Circuit Arts. Her message, which illustrates much of what I’ve written here about CBT, reads in part:

We are exploring a variety of plays to stage at the Playhouse, with a particular focus on new works, supporting playwrights, and championing emerging voices. . . . I believe, especially at this moment in time, that theater is a vital part of the democratic idea, and that a thriving theater community reflects a thriving community as a whole. My aim is to carry that vision forward in the plays we produce, the artists we champion, and the audiences we draw to the Playhouse. New work from bold voices, co-productions with collaborators near and far, theater that sparks conversation, ignites curiosity, inspires reflection, and welcomes all; these are the ideas that I, and all of us at Circuit Arts, are so excited to bring our energy to.

So “Support Your Local Community-Based Theater.” There’s a worthwhile slogan!

[As usual, Kirk’s remarks suggest a number of further comments, some from personal experiences that illustrate his statements.  For example, In Kirk’s discussion of the "two communities" for CBT’s in the U.S., I see as an example of the first, “those . . . who believe that a theater will enhance the city’s or the area’s life,” as Washington, D.C., and of the second, those who “want a theater as a place to work and to do worthwhile productions,” as Los Angeles.

[As I report in "'Stages in DC’ (Summer 1985)" (25 December 2011), Arena Stage was definitely started to bring theater to the Washington, as D.C. didn't have much indigenous theater before 1950.  Before Zelda Fichandler (1924-2016), with her husband, Thomas C. Fichandler (1915-97), and Edward Mangum (1913-2001), founded Arena, theater in Washington meant a touring show at the National Theatre, the Capital’s Broadway-level house, or a college production at Catholic University, whose pioneering university-based theater program was started in 1937 by Father Gilbert V. Hartke (1907-86).

[In the program note for Arena’s opening production, Oliver Goldsmith’s She Stoops to Conquer, on 16 August 1950, Fichandler wrote:

Local in origin, [Arena Stage] was founded in the belief that if drama-hungry playgoers outside of the ten blocks of Broadway are to have a living stage, they must create it for themselves.  Arena Stage was financed by Washingtonians—students, teachers, lawyers, doctors, scientists, government workers, housewives—who love theatre and who want to see it flourish in the city in which they work and live.  Its permanent staff of distinguished actors and technicians, many of whom have come to Arena Stage via the stages of other cities, now all call Washington their home.  (Quoted by Fichandler in her essay “Institution-as-Artwork,” American Theatre 30 January 1986 [online only], <https://www.americantheatre.org/1986/01/30/institution-as-artwork/>, 2 March 2026; reprinted in The Long Revolution [Theatre Communications Group, 2024]; originally published in Theatre Profiles 7 [TCG, 1986])

[In Los Angeles, I discovered that there are scores of Off-Off-Broadway-type troupes founded by and for all those chronically under-employed film artists who are starved not just for work, but for theater, where many of them got their starts. The phenomenon, which allowed screen artists to showcase their talents for film and TV scouts, developed in 1972 and proliferated through 1985.

[Kirk’s comment, quoting something attributed to Picasso, advising theater artists to “steal from the best,” reminded me of a remark that I recall my college theater director, Lee Kahn, used to say.  (Kirk and I were college classmates, and I checked my memory with him and Kirk confirmed that Lee did often say, “The first rule of theater is theft.”  Kirk even added that “that can be applied to all the other arts I know of, too”—which sounds about right to me.]

[As for theaters that failed because the leadership "didn’t sufficiently consider the community in which they would be based," I give you Peter Sellars (b. 1957) and the ANT in the 1980s (as I described it in "‘Stages in DC’ (Summer 1985)."  (ANT—Sellars's proposed American National Theater at the Kenedy Center when he was newly appointed artistic director there (1984-86)—may not have actually qualified as a "community-based theater," but it was the "community"—i.e., Washingtonians and D,C.'s theater press—that scuttled his directorship and the prospects for ANT. 

[Sellars actually said, “I think it’s my job, to do things that are obscure,” and the Kennedy Center lost audience from the start of Sellars’s tenure.  When Ajax, his last production, closed a week early due to poor box office, he more or less said that he didn’t care if people complained about his productions as long as they were talking about them.  He essentially insulted and dismissed his audience.  He left Washington with a year left on his contract, and ANT basically just died.

[In re: the discussion of "amateur" vs. "professional," I found this on ROT in "Greatness Thrust Upon Them” (27 May 2023)—which I assume is Kirk’s recollection of the conversation he had with his friend David Semonin:

My friend David Semonin (1941-2010), about whom I’ve written in this blog (see “Saints of the Theater” on Rick On Theater, 30 December 2011), had a way of asking questions that stick in the mind.  One day, probably after he had seen one too many local theater productions, he asked, “What’s the justification for community theater?” 

At the time and place he asked that question (decades ago in Louisville, Kentucky), admittedly there wasn’t a lot of outstanding non-professional theater (or professional for that matter – Actors Theater of Louisville was barely on the horizon at that time).  Theater has its skilled professionals. What do amateurs bring to the table?

. . . .

The word “amateur” unquestionably provides the basis for one answer to David.  It doesn’t mean second-rate (or worse), it doesn’t mean less good than something else, it doesn’t mean naïve or shoddy.  It comes from the Latin word “amator” or “lover,” from the verb “amare” meaning “to love” – a strong, passionate word.

An amateur, then, is a person who’s fallen in love with an activity, and that’s what so often happens in theater – one is “stage struck,” overwhelmed by a powerful attraction.  This was certainly the case for me.  I was fifteen when my friend Perry Baer invited me to a Saturday morning work call at Louisville Children’s Theatre (now Stage One, a very fine professional operation).

[I added, in the afterword to this post:

Many ROTters may know this, but the British don’t use ‘amateur’ with the same negative connotation that we do in the U.S.  A case in point: when I was stationed in Berlin with the army and helped start a theater group at the air base, we sort of modeled it after a similar group the British forces had.  Their troupe was called BATS, which was an acronym for the British Amateur Theatre Society. 

One of our founding members was the British wife of a U.S. Air Force NCO, and she wanted to name our group TAT to emulate the British group—but we went with the Tempelhof American Theatre because of the derogatory sense of ‘amateur’ in American usage. 

[I made this point several times on Roger.

[“Be More Chill: The Journey” (28 April and 1 May 2019), which I cross-reference when Kirk addresses the occurrence of a play originated in a CBT transferred to a commercial theater, is a collection of articles about a play that started at the Two River Theatre in Red Bank, New Jersey—a community-based theater—on 30 May 2015 and opened Off-Broadway at the Pershing Square Signature Center on Theatre Row on 9 August 2018 and then went to Broadway’s Lyceum Theatre on 10 March 2019 for 30 previews and 177 regular performances. 

[The musical was nominated for the 2019 Drama Desk Award for Outstanding Musical, and on 20 October 2018, it was announced that Shawn Levy and Greg Berlanti will produce a film adaptation of both the novel and the musical of Be More Chill.  No release date has been announced, though reports are that a script has been written, but shooting hasn’t started.

[Kirk has informed me that the quotation from Brooke Hartman Ditchfield of the Martha’s Vineyard Playhouse was from an e-mail to supporters from last February.  Ditchfield is the new artistic director; her predecessor, MJ Bruder Munafo, had served for 30 years and retired at the end of 2025. Ditchfield was previously director of Circuit Stage, part of Circuit Arts, a Martha’s Vineyard community arts organization that has recently merged with MVP.

[MVP is an archetypical CBT.  At the merger announcement, the Playhouse board of directors chair said that both arts organizations “are dedicated to creating accessible, meaningful, and diverse cultural experiences—year-round and Island-wide.”  He added, “Together, we can . . . ensure that live theater, film, music, comedy, and community events continue to enrich the Vineyard.”  These are fundamental goals of community-based organizations.

[For readers who don’t know, Martha’s Vineyard, which is Dukes County, is one of the two principal islands off the south shore of Cape Cod, Massachusetts (Barnstable County); the other is Nantucket, which is Nantucket County.  Both islands have many small islands associated with them; one of the Vineyard’s smaller islands is Chappaquiddick. off the eastern end. 

[The year-round population of Martha’s Vineyard is small, a little over 20,000 (about the size of Ashland, Oregon), but during the summer, the population swells to over 200,000 (Little Rock, Arkansas).  Most of these summer residents are affluent, and many are artists in various fields.  Generally speaking, they’re a sophisticated lot, which is why the arts, including theater, are important to the islanders, both vacationers and year-rounders.  This is one reason that organizations like the Martha’s Vineyard Playhouse and Circuit Arts are important and supported, and why groups like these feel so connected to their communities.  It’s almost a perfect symbiosis.]