Les Miserábles: Opening Night Preparations!

After nearly five months of preparation, arduous vocal rehearsals, set building, costume designing, and creating intense personal connections to this complex and challenging show, opening night finally arrives! Here's a glimpse backstage as actors, directors, musicians and crew prepare.

Sahirah adjusts Milly's makeup

Mavelyn prepares

Brian shows off his 'burns

No stage-fright for these veteran thespians

Q pencils in Javert's evil eyebrows

Room 201 buzzes with activity

Gathering for a pre-show pep-talk

Manuela and Mariana share a laugh

William is ready for his close-up

Returning alumni Brianne perfects Monei's make-up

Kurtis chills in his constable outfit

Emily checks her mic

Fatumata: beaming as usual

Lights, Camera, Action: Ben and Lou are ready to roll

Dr. K and the musicians get into their places

William, about to make his stage debut, struts his stuff with Denisse, Q and Julie

Welcome!!!

Click here for more behind-the-scenes photos!

All photo credits: Alejandro Duran

Million Hoodie March: Les Miserábles in the South Bronx

It's a Tuesday after ninth period and I'm walking down the hallway of my South Bronx school toward what looks unmistakably like a fight. A tight circle of high school boys are gathered around two other boys on the floor outside of the classroom where I teach theater. One of the boys appears to be pounding the other with his fist. The other kids are chanting, "Yeah! Yeah! Yeah!"

The scene doesn't make sense to me. Sure, we have our fair share of hallway scuffles, but compared to most schools in the neighborhood, ours isn't terribly violent. I get closer and recognize that all the kids in the group are cast members in Les Miserábles, the spring musical I'm directing. Now I'm even more confused. Some of these kids may struggle academically and some have tough home lives, but there's not a bully or a thug among them. Even so, the energy of the scene automatically triggers memories of my early days as a new teacher breaking up fights in the back of my classroom, memories that are quick to surge up and flood me with adrenaline despite the trusting relationships I've built with my students, the leadership work they've done over the years and the creative challenges we've faced together while developing a musical theater program at Bronx Prep.

The chanting gets louder. I race down the hall.

When I get to the scene, the circle of kids unknots itself and I struggle to make sense of what I'm seeing. George -- the student on the floor -- is laughing so hard he can barely breathe. The boy kneeling over him is not punching him, but hugging him and slapping him on the back with enough enthusiasm and force to have toppled them both over. Several of the boys around them are wiping tears out of their eyes. At first I assume they're tears of laughter.

I ask what's going on.

Thomas, the boy doing the hugging, stands up and straightens his tie, then extends a hand to George, the senior who plays the show's lead, Jean Valjean. George stands up, shoots me a sheepish grin and coaxes Jasmine, who plays one of the other leads, Fantine, out of the stairwell at the end of the hallway where she is burying her face in her hands. She blushes and smiles shyly.

"Um, yeah, so we were just singing Fantine's death scene for the guys, here," says George.

"Yeah," says Thomas. "And it was so awesome that they made everybody cry."

I look around at the boys. With the congratulatory brouhaha I'd mistaken for a smack-down fully subsided now, I can feel the lingering charge of the emotion that incited it. The guys are embarrassed, avoiding my gaze, kicking the tile floor with their sneakers. One kid wipes a tear-stained cheek with his shoulder. "I don't cry," he says, matter-of-factly. "Ever. But that was really, really good."

I'm stunned.

First of all, before we even get to the crying thing, there's the simple fact that the kids are rehearsing on their own. Finally, after nine years spent building up a performing arts program from scratch through what has mostly felt like sheer force of adult will -- the endless hours my colleagues and I have spent begging students to show up on time and get to work, calling kids' homes after every missed practice, trying to convince young people whose default setting for self expression is texting and tweeting that real art takes time, discipline and painstaking follow-through -- this moment offers a glimmer of hope that maybe, just maybe, this group of kids is finally starting to take ownership of their creative process.

Secondly, it occurs to me that my initial fears that urban teenagers wouldn't connect emotionally to an operetta set in 19th century France might have been unfounded. Could it be that they are actually starting to understand and connect to these characters?

Finally -- and here's the kicker: In a neighborhood where so many of the kids I interact with every day seem to spend the bulk of their energy trying to convince the world how tough they are, how unfeeling they are, how little they care about what happens to them or the people around them -- where even the appearance of emotional vulnerability can equal social rejection, a serious ass-beating, or worse -- these kids are not only crying openly in front of each other -- they're crying over musical theater.

Partly this phenomenon has to do with this particular group of kids and the coming of age of a program that has been nearly a decade in the making. Our school is a combined middle and high school that spans 5th to 12th grade, and we've been putting on musicals since 2006, so our older kids have formed close bonds, establishing a tightly-knit culture of positivity, creative risk-taking and emotional support. Two of our senior cast members have received acceptances (and full rides) to competitive BFA programs in acting and set design from SUNY Purchase and Ithaca respectively. And my co-director on this show is former Bronx Prep student and musical theater star Denisse Polanco, who earned her undergraduate degree in Arts in Education from Hobart and William Smith Colleges in 2011 and has returned to Bronx Prep this year as a theater teacher and speech coach. With so many successful upper classmen and alumni leading them, it's not surprising that younger students coming up through the ranks of the program are feeling inspired this year.

But there's more to it than that. The level of commitment we're seeing this year is bordering on a weird kind of fervor. Put simply, the kids have become Les Mis freaks. Students who claim to "hate reading" are devouring the Victor Hugo novel the show is based on. Cast members who say they don't care about history or math are making Google maps of Paris and calculating travel times for revolutionaries carrying ammunition from one end of the city to the other. While we lost some cast members who couldn't get their grades up in time, a large number of students who were failing four and five classes as of a few months ago are now staying at school until all hours and getting tutored by their fellow actors so they can meet academic requirements and stay in the cast.

In all my years making theater in the Bronx, I've never seen kids give this much of a damn about a show before. Ironically enough -- given how far removed it is from them in terms of time period, geography, race and culture -- I think it's because we've never done a show that connects so directly to their lives.

The first moment I realized that the kids were understanding the story more deeply than I ever had at their age was the first week of rehearsals when we started learning the big musical numbers. Put it this way: When a roomful of young people -- many of whom can trace their families' roots directly back to the Middle Passage and the Triangle Trade -- instinctively launch their fists up when they sing, "It is the music of a people who will not be slaves again!" there's an electricity in the air that was noticeably absent from the version of "The People's Song" I sang with my high school choir back in Wilton, Connecticut.

I sat in the classroom that day listening to the kids sing with every hair on my arms standing on end, thinking, "Victor Hugo couldn't possibly have predicted it, and Cameron Mackintosh couldn't have known it either, but I'm pretty sure this show was created for this exact group of kids to perform at this exact moment in history." Since that first week of rehearsal, the kids have been discovering resonant overlaps between the student uprisings at the heart of Les Miserábles and the expansive revolutionary spirit -- as well as the countervailing energies of apathy, cynicism and fear -- fueling so many present-day events. One of our student leaders, a 12th grader named Ruth, recently designed and ran a workshop for the cast called "What Is Your Breaking Point?" in which she helped kids understand the uprisings in Les Mis by analyzing blog posts written by real-life student participants in the Occupy movement, the Arab Spring, and the Million Hoodie March organized in protest over the death of Trayvon Martin.

"When a bunch of Bronx Prep kids are debating whether to wear hoodies to school in honor of Trayvon -- and some of them are cynical about whether their act of defiance will actually mean anything in the end," Ruth says, "that's really not so different -- on a basic level -- from these kids in Paris in the 1800s deciding whether or not to stand up and fight on the barricade for what they believe in."

Even more compelling in my view than "text-to-world" connections the kids are making are the "text-to-self" connections -- the very specific and intimate ways they see their own lives and families' experiences reflected in their characters' stories. Every day more of these art-and-life intersections surface, and every time another student talks about how they see themselves in this show, I get chills. Here are three examples the kids have shared over the last few days:

Thomas (the enthusiastic young actor from the hallway scene) says that playing the role of Marius, who wrestles over whether to risk death on the barricade for his revolutionary ideals, has given him a deeper understanding of the agonizing moral dilemmas his grandparents faced living under the brutal dictatorship of Trujillo in the Dominican Republic in the 1950s.

For a junior named Miguel, the play's critique of the criminal justice system hits home directly. Like Jean Valjean, Miguel's older brother went to prison for a crime he committed in the process of trying to help someone, and then found he couldn't get a job with a living wage when he got out, "not even a job at McDonald's," Miguel says. Miguel's favorite part of the show is when Valjean, embittered by his treatment in jail, steals a silver cup from a bishop, who responds with a surprising gift of two silver candlesticks and an inspiring admonition to Valjean to change his ways and walk a path of redemption. The bishop's radical act of generosity reminds Miguel of the life-changing employment assistance his brother has recently received from the state.

Tenth grader Jada says that in the awful days following the shooting death of her brother Jared this February, the lyrics of "The Café Song (Empty Chairs at Empty Tables)" played through her head constantly, bringing her unexpected stretches of a "strange kind of comfort" at a time of overwhelming grief.

***

Over the last several decades, budget cuts and the pressures of high-stakes standardized testing in English and math have either squeezed arts education out of middle school and high school curriculum completely or reduced it to a frivolous, once-in-a-while add-on in a huge number of schools across the country. Programming losses have hit students in the nation's poorest districts the hardest. Cuts to arts education programs fly in the face of abundant research confirming what those of us lucky enough to continue this work know in our bones: that arts education is more than just a tool for boosting test scores and closing the achievement gap. Access to rich and relevant learning opportunities in the creative arts is a fundamental human right -- a right worth fighting for.

***

Les Miserábles Student Edition will be performed at Bronx Prep May 21st-23rd at 7 PM with a special encore performance including student reflections and stories in Manhattan on Friday, May 25th at 7 PM. For more information please contact kquarfordt@bronxprep.org.

As always, the students featured in this post agreed to let me share their stories; the views expressed here are my own and not those of my school's administration.

(This article also appeared on the Huffington Post.)

Photo credits: Geoffrey Kiorpes, Joy Akinfenwa, Kate Quarfordt

Follow Kate Quarfordt on Twitter: www.twitter.com/katequarfordt

Back to Life: Babies, Artwork, Writing and Theater... Awww yeah.

Over the last eight months, the bulk of my "creative instigation" energies have been channeled into birth-giving, infant-rearing and the physical, mental, emotional and spiritual re-booting needed to balance school, art and the occasional date night with caring for a new small human. Loco bananas, y'all.

Post kid #2, the ramp-up back into my normal creative rhythms has been clumsy, stop-and-start, and shot through here and there with bouts of grousing and apathy. No joke, this whole working mother thing is a beast. That said, I'm glad to report that after a bumpy winter and early spring, the artistic juices are flowing again. Here are a couple of updates:

I'm SUPER excited and honored that a painting of mine was selected as the cover art for "Eyes, Stones," a book of Whitman-award-winning poems about the Palestine/Israel conflict by my extraordinarily talented and visionary friend Elana Bell. She is celebrating the release of the book with an amazing event at The Green Building in Brooklyn on May 3rd featuring live music and dance performances, a theatrical reading of her poetry, and a silent auction of artwork inspired by the manuscript to benefit Just Vision, an organization that provides in-depth media coverage of the Palestinian/Israeli conflict and civilians working for a just peace in the region. Click here for more information.

A short essay I wrote was recently published by The Sun Magazine in their Readers Write feature "The Best Feeling In The World." These guys are my heroes and I feel really lucky to have my writing in their pages. It's the first time I've gotten to see my work in print (not just online, but in actual ink on actual paper!) and I'm geeking out over the tactile experience of leafing through a magazine on my coffee table and getting to see my story.


You can read the piece here.


Finally, work at Bronx Prep is rocking and rolling like never before. We're doing Les Miserábles, and I've never seen a group of kids so  obsessed with a show before. Ironically enough -- given how far removed it is from them in terms of time period, geography, race and culture -- I think it's because we've never done a show that connects so directly to their lives. 

Check it out: Million Hoodie March, Victor Hugo Edition: Les Miserábles in the South Bronx

"Guys and Dolls" in the South Bronx: Learning to See the (Real) Value of Arts Education

A few days ago I got an email that changed everything.

It’s been a full month—and a seemingly endless succession of graduations, end-of-the-year recitals, awards ceremonies and fundraising benefits—since the kids I teach in the South Bronx put on our school’s annual spring musical, the 1950’s classic, “Guys and Dolls.” This year’s rehearsal process served up an especially overwhelming array of challenges and behind-the-scenes mayhem, all intensified by the parallel unfolding of my second pregnancy. (In case you missed them, here are Part 1, Part 2 and Part 3 of our 100-day countdown to opening night.)

“So, OK, after all of that dramatic build-up," you might be wondering, "...how did the actual show go? (And why has it taken you so damn long to write about it?)”

Well, if you had asked me last week, before the email arrived, I might have heaved an exhausted sigh and launched into what, in the end, would’ve amounted to a sob story.

For starters, I would’ve told you that due to insane scheduling conflicts, our opening night performance was the first time we’d ever had the whole cast together, so it ran more like a dress rehearsal than an actual show, with huge chunks of missed dialogue, brutally slow pacing, and countless costume and prop malfunctions.

I’d have gone on to tell you that the following night’s performance, despite big improvements in overall energy, was still plagued by major problems, not the least of which was a case of vocal strain so intense for one of our male leads that by the second act he could barely talk, let alone sing.

And then I would have hit you with the real zinger and told you that fifteen minutes before the sold-out crowd came in on closing night—after the vocally-challenged male lead had been given a cortisone shot in the neck by the only voice specialist in Manhattan willing to treat a young man from the South Bronx with no insurance on a last-minute, walk-in basis, and I was finally letting out a sigh of relief, thinking we were poised to redeem ourselves by putting on the show of our lives—the lighting designer raced up to me breathless and panicked to tell me that the dimmer rack had  blown out and that 85% of the lights were now not working at all, after which I might have told you that when I emerged from the utility closet two minutes later (following a brief but violent explosion of all the built-up tears I’d managed to hold at bay over the preceding four months) I found that the leader of our set crew had transformed a hastily-assembled army of crew kids into an impromptu lighting team who would now have to operate the dimmer rack manually from backstage, each one of them sticking a finger into one of the switches and pressing down hard to recreate some semblance of the original lighting design for each scene, which, though it didn’t yield foolproof results—(halfway through Act II the lights started flickering because Shakeel’s hands went into muscle spasms and he couldn’t keep pressure on his switch)—nevertheless got us through the show. 

At this point, I would have confessed to you that by the time the kids took their bows on closing night, jumping and dancing and beaming with pride, all I wanted to do was go home and fall down.

I would have acknowledged that although I put on a brave face over the next few weeks while the students happily reminisced about their accomplishments, I was still internally obsessing over everything that had gone wrong.

In the end, I would have admitted that for the longest time, even the simple act of sitting down to write this blog post felt so physically overwhelming to me that for weeks I haven’t been able to force myself to chronicle what—despite objective signs of positive outcomes and reminders from supportive friends and family that this work is about process not product—still felt to me like a disappointment.

But if you asked me right now, at this moment, I would have a very different answer for you… all because of a simple email from our photographer that finally allowed me to pull back and catch a glimpse of what we had created from an objective outsider’s perspective.

The change happened immediately, as soon as I opened the email and clicked the link to the gallery of photos. I moved through the images, my heart started racing, and click after click, I felt the weight and exhaustion of the last six months loosen their grip and spiral off me, leaving a fresh new feeling of excitement in their place.

I clicked faster, image after image, amazed at the force of this unexpected perspective-shift, flooded with waves of satisfaction and pride… 

Because, yes, there may have been lighting problems…

Click.

And yes, there was the cortisone shot, and the crazy scheduling… 

Click. Click.

Not to mention one of our male leads being expelled from school just over a month before opening night because he committed an illegal act on a school trip... 

The kids crying after being kicked out of the show due to failing grades…

The late nights agonizing over whether my decision to give the actor playing Sky another chance had motivated a struggling student to get his grades up and graduate, or taught a slick kid to game the system…

Click. Click. Click.

Yes, there were actors who missed rehearsals because they got jumped in the park…

Because they had to visit family members in prison…

Because their mothers had to work and no one else could look after their siblings…

Because two of their friends were shot and killed at a party on a Saturday night…

Click.

All of these things are true.

And yet…

Looking at these photographs…

Those truths receded and made room for me to step back, really see at what we accomplished, and remember why we started this program in the first place.

When I look at these pictures… 

I see integrity.

I see determination.

Most of all, I see joy.

And last Friday afternoon, after I showed the kids a full slideshow of photographs at our end-of-year wrap-up celebration, I was forced to widen my perspective even further. I found myself surrounded by a roomful of engaged, inspired young people who, even after a long and draining year, were chomping at the bit to get started on summer programming, research shows for next year, and step into leadership roles when I go on maternity leave in the fall.

Listening to them speak about what they had learned from putting on the show, I got a fresh outlook on a process whose value—I can now see clearly—undeniably transcends all of the frustration, heartbreak and exhaustion it may have entailed.

Thomas Sosa, an 11^th grader who before this year had never been in a play before, summed it up well.

“I think the biggest thing I learned this year is that faith in your work goes a really long way,” he said, “especially when there are major challenges you have to overcome to get to that end product.”

Amen, Thomas Sosa.

After a year that tested my faith as an educator in countless ways, I’m beyond grateful to be wrapping up the year on that note.

Special thanks to my dear friend, photographer/videographer extraordinaire, Alejandro Duran (all photo credits). www.alejandroduran.com

As always, the students featured in this post agreed to let me share their stories; the views expressed here are my own and not those of my school’s administration.

Countdown to “Guys and Dolls” in the South Bronx, Part 3

 In case you missed them, here are Part 1 and Part 2 of our 100-day countdown to opening night of last week’s performance of “Guys and Dolls” in the South Bronx. What follows is the saga’s final chapter: a steady crescendo of logistical challenges, costume malfunctions, police confrontations, cast-member meltdowns, stressful parent phone calls, laryngitis attacks, and other behind-the-scenes drama—all leading up to a show that, while it may not win us any Tony’s, nonetheless confirmed my belief in the transformational power of making art with young people, obstacles be damned.

Curtain call at Dress Rehearsal

28 days until opening night

We’re missing 30% of the cast yet again today (SAT prep, Regents prep, storytelling workshop, talent show rehearsal, baseball practice, didn’t-read-rehearsal-schedule, dentist appointment, forgot, mom-won’t-let-her-come-because-she’s-on-punishment, remembered-but-skipped-anyway, on-probation-for-skipping-yesterday, on-probation-for-grades, on-probation-for-being-disrespectful-about-being-on-probation). The only upside is that dedicated 5^th graders like set crew member Aminata get to step in as understudies and show off their acting chops. 

5th grader Aminata understudies the role of "Rusty Charlie"

25 days until opening night

Can’t use the stage again this afternoon because we got bumped by the talent show folks. After half an hour of looking for a space during which a substantial portion of the already-diminished cast scatters and has to be rounded up by a crew of high school helpers, we cram into a vacant vestibule with a boom box. By the time we buckle down to work with 15 minutes left to rehearse, I’m wiped out. Granted, no one put a gun to my head and demanded I direct a full-length Broadway show with a huge cast in a space-challenged school while six months pregnant. That one’s on me.

24 days until opening night

The 9^th grader playing “Harry the Horse” is the only cast member who’s met today’s deadline for getting his lines memorized. Since he’s no longer struggling with the words, he’s got the confidence to start transforming a usually forgettable bit part into pure comic genius. Every time he opens his mouth he sends us all into hysterics.

18 days until opening night

Julie, our adult set crew mentor, on the phone near tears last night, after the talented but troubled 10^th grader she’s been mentoring as stage manager storms out of yet another set crew session: “Kate, you have no idea how much I love that girl.”

Same 10^th grade girl, in the hallway near tears today: “Ms. Q, you have no idea how much that woman hates me.”

16 days until opening night

The guys’ dances and scenes are looking great. It’s a blast to watch the older high school kids taking pointers from the younger actors, some of whom are literally half their size.

Unfortunately, the girls’ scenes are plagued by technical problems. Tonight we try to stage their stylized burlesque number, “Take Back Your Mink,” but since we’ve never had a proper costume fitting due to poor attendance, the choreography issues we’re supposed to be addressing are eclipsed by tear-away gowns that either fall down too early or can’t be yanked off no matter how hard the girls try.

8th grader Shane gives the male leads some pointers

11 days until opening night                              

There was a scuffle today between two groups of middle school boys. Rehearsal ground to a halt and we had a long conversation about how, in theater—as in life—you  sometimes have to think of the good of the group and resist the urge to fight back when you feel wronged.

One of the 8^th graders speaks up. “Sorry, Ms. Q,” he says, “but that’s not how I was raised. My mother says that if someone disrespects me or hits me, I’m supposed to come back at them three times as hard.”

When I speak to this kid’s mom on the phone tonight she tells me matter-of-factly that I don’t know the first thing about raising a child in the ‘hood.

She’s right. I let her know that I’m struggling to help her son navigate the different cultural rules of street life versus school life. She softens. We talk a while. By the end of the conversation she’s asking me about my pregnancy and my two year old daughter at home. It hits me that, as much as I love making actual theater with kids, it’s really the conversations like these that keep me coming back to put on these crazy shows year after year.

9 days until opening night

Today the whole 12^th grade class leaves for a four-day senior trip. Reeeeally bad timing. All six of our main leads are seniors and most of them are in tough shape preparation-wise.

Sky—the kid who almost got kicked out of the show because of his grades—has pulled himself together, but only barely, and has been inconsistent with follow-through.

Our new Nathan—the understudy for the student who was expelled from school—is doing great, but he’s never been in a play before and he doesn’t know his lines.

Sarah has been stellar on attendance, but she’s stretched thin with academics and shaky on her songs.

Adelaide is bursting with talent that until recently has been buried under a sour, defensive attitude. She finally opened up last  week about her personal struggles and since then, she’s been eager, respectful and flexible. Still, I’m worried the trip will derail her and her progress will backslide.

8 days until opening night

The set crew has been acting flaky lately, but tonight they stayed and worked late. We celebrated with a big family-style dinner.

Julie and her 10^th grade stage manager have worked through their drama. The girl’s mother says she’s never seen her daughter more committed or dedicated to anything in her life.

Set crew dinner

7 days until opening night

Former Bronx Prep theater stars Chris Moncrief and Denisse Polanco come back from college to help out with the show. Chris just finished his freshman year at Syracuse; Denisse graduated a few days ago from Hobart and William Smith. Having them around and willing to work hard brings a huge rush of fresh energy.

6 days until opening night

It’s Chris and Denisse’s second day on the job and we decide to crank hard and pull a late night organizing costumes. At 1:30 AM we call it quits. While they sweep the gym, I unpack the box with the remaining props ordered from Amazon—satin gloves, gangster hats, fake cash and a toy gun—and discover I’ve somehow mistakenly ordered a real BB gun with real bullets. Hands shaking, thinking of the kid who plays Nathan who was shot in the shoulder in a drive-by earlier in the year (and who ironically has to sing the lyrics “Sue me, sue me, shoot bullets through me”), I hastily pack the gun into my backpack to bring home and give Chris money to go to the costume shop tomorrow and pick up a fake.

5 days until opening night

This afternoon I leave the cast with the musical director for a few minutes to step outside and reason with the cops who are ticketing the van idling by the gym door while a kid unloads rented speakers.

Expecting a respectful exchange, I ask one of the officers to give us a break considering the positive work we’re doing with kids from the neighborhood.

“Oh, changing the world one life at a time, are we?” he sneers at me. “Well, if you’re really making such a difference, who’s inside watching the children while you’re out here talking to me? You letting the inmates run the prison in there?”

All my big talk about the value of civil discourse evaporates in a haze of mama-bear rage and I have to be physically ushered back inside before I start running my mouth and getting us into more trouble. Not my finest moment.

3 days until opening night

Today the cast is distracted to the point of dysfunction over The Rapture. While 5^th and 6^th graders disrupt dress rehearsal huddled in a corner of the gym praying that the world doesn’t end, I’m just praying that whoever took Stephanie’s $20 gives it back. Both the specter of the apocalypse and the apparent reality that we have a thief in our midst are wreaking havoc on morale.

At 6:00 PM the world doesn’t end. At 6:02 PM the 20 dollar bill is found crumpled up under the same bleachers where it was taken from Stephanie’s wallet.

No accompanying choir of angels in either case—but both outcomes are welcome upgrades.

2 days until opening night

There are many reasons to panic tonight. The girls’ costumes still aren’t finished. Crew is scrambling to complete the set. Props have gone missing. The lighting board is mysteriously on the fritz and so is the voice of one of our male leads. But the biggest, most infuriating issue is that most of the kids still aren’t solid on their lines. I derive a moment of bleak satisfaction overhearing Chris using exactly the same language with a kid that I used on him at this same time in the same context last year: “Dude, I just can’t learn the lines for you, you know?”

Stephanie scrambles to finish the set

1 day until opening night

At midnight tonight, Chris and Denisse and I come back upstairs after a long, exhausting dress rehearsal to find the classroom that doubles as a changing room strewn with costumes, props and kids’ belongings.

I collapse in a chair and tell Chris and Denisse how sorry I am that the build-up to the show has been so tough this year. I feel miserable.

Denisse starts picking up costume items and folding them. Then she turns to me and says, “Are you kidding me? I live for this. Life would be so stale and sad and boring without this kind of stress. Anything worth doing is worth freaking out over, you know?”

I smile at her, and the frustration recedes a little. I think about the kids who have pulled their grades up from failing in order to stay in the cast. The parents and teachers who have made meals for us and chaperoned late night rehearsals. The kids and adults who have volunteered building sets, teaching dances, making costumes and running lights. The actors who I know will dig deep tomorrow and miraculously pull through—because they always do.

And at that moment, there is no place I’d rather be than here with my former students in a messy South Bronx classroom at midnight before opening night, freaking out.

***

Up next: show photos and a recap of the performances, reflections from kids in their own words, and more stories from behind the scenes. (But right now, I'm off the grid for the weekend in the woods of MA at a writing retreat with the folks from The Sun Magazine. Whoooo!)

As always, the students featured in this post agreed to let me share their stories; the views expressed here are my own and not those of my school’s administration.