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QUESTION: -How do we interact with local schools as a regional theatre, creating a link from students to professional world?

DISCUSS.

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QUESTION: Is theatre ed accessible in all regions?

DISCUSS.

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Notes from November 24, 2015 Caucus Call:
Please let me know if anything is misquoted and I will change/remove.

Jon:

-How do we interact with local schools as a regional theatre, creating a link from students to professional world?

Ruth (Globe):

-Globe academy is bridging this gap with artists through their academy program

-Incorporated as a private school, have teachers from across Canada, and offer accommodation for them

Roy (Centaur):

-Curious if Globe’s initiatives foster local community, do graduates move to Toronto?

Ruth:

-We prioritize hiring local artists, and use quotas.

Del (Persephone):

-Persephone, like Globe, offers opportunities to ex-pats and brings them home to work.

Jon:

-Also speaking of admin and technical personnel, fostering their development to a professional level

Marilyn (Theatre Orangeville):

-Orangeville has a large academy that includes a youth choir, after school programming, and programs for high functioning children on the autism spectrum/down syndrome

-Older students move into assistant positions and them leave for theatre schools, Comes full circle to be employed by the theatre/direct programs

Cherry (PTE):

-Prairie Theatre Exchange was founded as a theatre school, recreational program starting at age 5, and also includes an adult program and a film program. The teachers are professional in the acting community

Jon:

-Segal keeps artists close and employed by offering teaching positions, having that opportunity is an added benefit .

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QUESTION: What are our responsibilities as Regional Theatres and/or as Theatre Training organisations to create opportunities for engagement with diverse communities.

DISCUSS.
Post thoughts. Add links, photos, videos, etc. that you

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"...An exciting panel discussion about how we can all more broadly, effectively, and artfully combine theater and educational programming to engage the city, schools, and the community in the fight for greater social equity.

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Company One Theatre presented the panel conversation: Theatre & Education on the Front Lines of Boston Communities-Race & Representation: From Performance, to Classroom to Activism livestreamed on the global, commons-based peer-produced HowlRound TV network at howlround.tv on Tuesday 2 February at 6:30 p.m. EST (New York) / 5:30 p.m. CST (Chicago) / 3:30 p.m. PST (Los Angeles).

Race and class have now become a national conversation-from media headlines to heated conversations in the street, communities are wrestling with how to have very difficult discussions that move us forward.

As Boston's theatre for the people working at the intersection of theatre and social change, Company One Theatre, through its production of Branden Jacobs-Jenkins award-winning play, An Octoroon, and the synergy it creates with its Stage One Education Program, offers an effective way to explore these explosive issues.

Join us for an exciting panel discussion about how we can all more broadly, effectively, and artfully combine theatre and educational programming to engage the city, schools, and the community in the fight for greater social equity. You will also have the opportunity to learn more about Company One Theatre's current educational programs from the people that are impacted the most-the teens themselves.

The Panel Features:
Summer L. Williams, C1 co-founder, Director of Public Relations, and the director of An Octoroon
Tracy Strain, Filmmaker and director of The Lorraine Hansberry Documentary Project
Caesar McDowell, President of the Interactive Institute for Social Change
Kendra Taira Field, Assistant Professor of History and Africana Studies at Tufts University
James Milord, Company One Theatre Teaching Artist

The panel will be moderated by Mark VanDerzee, another of the Company One Theatre Founders, and C1's Education Director. The C1 Educational Team will provide examples of our curricular material and will be available to discuss their use.

About HowlRound TV
HowlRound TV is a global, commons-based peer produced, open access livestreaming and video archive project stewarded by HowlRound, a knowledge commons by and for the theatre, arts, and cultural community. The channel is at howlround.tv and is a free and shared resource for live events and performances relevant to the world's live arts fields. Its mission is to break geographic isolation, promote resource sharing, and to develop our knowledge commons collectively. Follow and use hashtag #howlround in Twitter to participate in a community of peers revolutionizing the flow of information, knowledge, and access in our field. Our community uses the Creative Commons Attribution 4.0 International License ( CC BY 4.0). You can become a producer and co-produce with us. Learn more by going to our participate page. For any other queries, contact @HowlRound on Twitter, email tv@howlround.com, or call Vijay Mathew at +1 917.686.3185 Signal/WhatsApp. View the video archive of past events.

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Video Archive: Panel Conversation: Race & Representation: From Performance, to Classroom to Activism at Company One in Boston-Tuesday 2 February 2016

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Company One Theatre presented the panel conversation: Theatre & Education on the Front Lines of Boston Communities-Race & Representation: From Performance, to Classroom to Activism livestreamed on the global, commons-based peer-produced HowlRound TV network at howlround.tv on Tuesday 2 February at 6:30 p.m. EST (New York) / 5:30 p.m.

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"I have since questioned the transition process from the comfortable nest of design school to the “real world” of professional theatre. How do we prepare students for this potential reality without teaching them to make themselves and their work smaller, or acquiescing to a “one man band” design career?"

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I entered the freelance design world as an eager, young costume designer fresh out of a well-rounded, art-based MFA program.

My first professional gig was for a small local theatre company. I had interviewed with the producers months earlier, and was excited when they called and offered me a chance to design a show for their upcoming season. The company was successful and had a great reputation.

I was unprepared for the offer I received. A colleague had been working for them for several years, and had described a process that included nice budgets for both materials and her design fee. She painted a picture in which she was able to hire an assistant and stitchers, and was provided a workspace to do the job. Because theatre can be capricious, I was presented with a different scenario. The company could provide a workable budget, but there were no resources otherwise: no stock from which to pull (period!) costume pieces, no money for personnel, and a workspace that was borrowed with limited hours of usage available. At the time I accepted the position because I was afraid that if I turned them down, I wouldn't be asked back, and as a young designer, I was hungry for the work.

I have since questioned the transition process from the comfortable nest of design school to the "real world" of professional theatre. How do we prepare students for this potential reality without teaching them to make themselves and their work smaller, or acquiescing to a "one man band" design career?

A Midsummer Night's Dream at Collin Theatre Center. Costume Design and photo by Christina Cook.

After ten years out of school and well into an established freelance design career, I offer some suggestions based on lessons learned the hard way.

Upon graduation, continue to take courses that enrich your skill set.
No matter the quality of your training, make a personal commitment to advance your skill set through professional development courses on a regular basis. Find a community college near you and enroll in their beginning fashion draping class. Attend professional conferences, and utilize the workshops offered to your greatest advantage. Perhaps a more efficient choice would be to choose an MFA program that teaches you skill sets beyond design as part of their curriculum, versus a program that has more of an art base. My master's program was amazing. I came away with a sophisticated eye for design, and a rich education in art history. I also learned how to draw, paint, and model my designs, but my education did not include costume technology skills.

Be meticulous with your records.
Every meeting you have at the coffee shop with a potential collaborator counts as a business expense. The stack of magazines you purchase to create your research boards, the art supplies required to produce your sketches, and the mileage you put on your car are all examples of deductions you can claim on your taxes as a freelance artist. If you are going to go embark on a career as a freelance designer, it's crucial that you understand the financial aspect of it. Develop a system of keeping all of your receipts, logging your mileage, and tracking your own expenses. You will be amazed at how much money you save if you actually deduct the cost of being a freelance designer. If you are not able to do this yourself, take the time and money to hire someone to help you with your taxes. It's worth it come tax time.

Consider many types of design work.
Many of us come out of school with our eyes set on big dreams of Broadway or Hollywood. Goals are admirable and necessary for an artist in any medium. But reaching those particular points happen for few people, and it's our own responsibility to make our careers fulfilling. Remain open-minded. Being a design assistant for an established designer can be a priceless experience regarding exposure, education, and networking. Industrial work (television, film, and print ads, etc.) offers a nice paycheck with a much shorter timeline than a theatrical process. For many designers, working as a technician for other designers and shops can also be rewarding work if you have a marketable skill like draping or construction.

It is OK to be discriminating.
It is great to have a big desire for work and creativity, but even as a young designer it's a good idea to be discerning when offered work. Ask yourself hard questions. Is this a project that will really benefit my resume and portfolio? Is this a project I want to work on given the resources this company can offer? Having a strong knowledge of your own skills and limitations will help you be objective when looking at the bigger picture of projects, and outwardly, the arc of your career. It might be more beneficial for you to begin as an assistant, and work your way towards a fabulous debut design, than to simply take the first gig you're offered because you have your heart set on having the title of Designer.

Building a career as a freelance artist is one of the most rewarding endeavors I can imagine. My career, so far, has provided me with immense personal growth, dear friends, and a beautiful portfolio. I would not change my choice to be a professional theatre designer, but I do wish I had understood some of the potential pitfalls earlier in my career. Whatever you choose, remember the wise adage: "Follow your heart, but take your brain with you."

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The "Real World" Dilemma: Successfully Transitioning from Student to Practitioner in the Theatre Arts

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I entered the freelance design world as an eager, young costume designer fresh out of a well-rounded, art-based MFA program. My first professional gig was for a small local theatre company. I had interviewed with the producers months earlier, and was excited when they called and offered me a chance to design a show for their upcoming season.

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"One of the biggest challenges of connecting students with artists, or finding ways to incorporate the arts into learning, is simply cutting through the noise to communicate the opportunities"

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Zelda Fichandler once said that the institution was, for her, a context for her questions, a container for her inquiry-that she woke up every morning with things she wanted to learn and went in to work to pursue the answers. This week we kick off a series that shares the essence of the inquiries underway in different institutional contexts around the field. We start with "An Inside Look at ArtsEmerson," our sister organization co-located at Emerson College, as a way of putting ourselves squarely in the mix. Because this is not without risk. I once wrote a post about my questions around the role of the producer in the new play process and heard from many different leaders that it was dangerous to reveal doubts. I heard from many more people that reading about my questions helped anchor them in some of their own. So, we're going to err on the side of sharing on behalf of the people who also awake in inquiry. You'll be hearing from different people inside ArtsEmerson about the questions in front of them and the ways they are approaching them, and where it is leading them.-David Dower
A few weeks ago, we held a Watch Party at Emerson College for Suzan-Lori Parks' Watch Me Work. We knew there was interest: when she was in residence at Emerson last year, she had hosted a spectacularly well-attended event, with every available square inch of space in the Randall Lobby of the Paramount Center packed with students and staff, working quietly alongside Ms. Parks. And so, a year later, when we were looking for a way to highlight the accessibility of HowlRound and the Office of the Arts to the student body, we decided to capitalize on that interest to reach out to the students.

We partnered with the Performing Arts department and started spreading the word. We made a Facebook event. We tweeted. We ordered catering. That afternoon, we checked our RSVPs (twenty-six!), set up the space, gathered with our computers, and settled in to enjoy a successful event.

After about twenty minutes, it became a little awkward. No one was coming. Students would wander through and grab a cookie from our catering tray, but no one stopped. Finally one lone student came in with his laptop and sat down. Somehow that made it even worse. Just one student.

As events go, it was a failure. As failures go, however, it was a great opportunity for me to learn more about the ways that Emerson students are interested in engaging with artists both locally and globally. I've made strides over the past two years at finding unique opportunities to connect Emerson students with artists who are performing at ArtsEmerson-this was the first attempt I had made at linking the students to artists in a more remote way. And, this first pass at it tells me that I haven't yet found the offer that students will take me up on. As a mentor of mine says, it wasn't a "no"-it just wasn't "yes" yet.

ArtsEmerson is a little bit of a strange animal. We both present work from around the world and collaborate with artists to produce their own work. We rent our spaces out to local, national, and international companies. We support developmental work, providing space and time for companies and ensembles to explore new ideas or further flesh out existing work. Some of these developmental projects find their way onto our stages. And we do all this within Emerson College, a school of about 3,500 undergraduate and 800 graduate students.

The heading for the ArtsEmerson Student Engangement newsletter, which
serves to connect the very busy Emerson student community to the abundence of
opprotunites within ArtsEmerson.
Photo by Madddy Modderhack.

This relationship to the college is central to my work. As the student engagement coordinator, I am constantly trying to find authentic ways to connect our students with our visiting artists. Or to put it another way, I'm trying to save the students from the palm-to-forehead moment that they'll have in five years when they realize just how many amazing artists shared a building with them.

One of the biggest challenges of connecting students with artists, or finding ways to incorporate the arts into learning, is simply cutting through the noise to communicate the opportunities. College is busy: students are taking courses, working on their own projects and productions, holding down part-time jobs and, as Dorothy said, "People come and go so quickly around here"-many of our artists are in town for only one weekend of performances, which can mean that they are deep in tech for the first part of the week leaving only three or four days to find engagement opportunities. With only small windows of time to create connections around students' schedules that are already bursting at the seams, finding meaningful ways to connect is an intricate puzzle. Additionally, faculty at Emerson plan their curricula months in advance and so finding ways to align their time frame with that of a producing organization that announces with a mere four-month lead time is challenging. By the time we are able to announce our season, frequently professors are in the final stages of planning their semesters.

This year, we've started a new initiative based on the learning from the Hopkins Center for the Arts at Dartmouth College. We've created a new Curricular Connection Guide. The guide includes much of the arts programming at Emerson College-the professional productions at ArtsEmerson and also the student productions of Emerson Stage, screenings in the Bright Family Screening Room, exhibits at the Huret & Spector Gallery, and talks by visiting authors and writers. It also details specific connections between classes offered at the College and that programming.

The goal of the guide is to stimulate thinking about how such programming might intersect with the pedagogical life of the campus across departments, as well as other centers and programs not necessarily linked to the curriculum. It serves as a central repository for information about opportunities that were already in place but have been a consistent challenge to communicate. For example, any professor who assigns their class to see a production at ArtsEmerson as part of their curriculum receives discounted tickets for their students, a free ticket for the professor, and the opportunity to invite artists into their classroom for direct conversation with the students.

This is not to say that the goal of the guide (and on a larger scale, of all my work here) is simply to increase the student attendance at our productions. The very special opportunity afforded by being embedded in a college, (if we can capture it), is to provide deeper means of connection to the artists and the work beyond seeing the performance.

In an effort to create the opportunities, over the past season, we've developed a series of standing engagement opportunities that are available for nearly every show. These can vary slightly from production to production, but the basic template of events is:

Open rehearsals/observerships

Student/Artist forums

Brown bag lunches

Master Class/Workshops

Open Rehearsals/Observerships
For every production we present or development residency we host, we have a few windows of time in which rehearsal is open for observation. The artists can set limitations on these windows of time-when they take place, limits to the number of students permitted in the room at a time, where those students can be located in the theatre. The students who participate in the rehearsal observations run the gamut from performing arts students who know exactly what they are watching to journalism students who have never witnessed a technical process before. The hope for all students is that they gain a much deeper understanding of the various kinds of work that go into crafting a fully realized production.

As often as possible, a staff member from ArtsEmerson is available to the observers either during the hour of observation or immediately after to field any questions that students may have about the work that they have seen. When we produced Gare St Lazare's Waiting for Godot earlier this fall, I had a class of twenty journalism students watch for ninety minutes in fascination, and then pour out into the lobby full of questions about what they had witnessed. When they wrote their reviews of the final production, the work was heavily influenced by having been a part of the technical process.

Forums
As often as schedules permit, I try to create a structured conversation between the artists and the students. It has been most successful to partner with the faculty at the college on these conversations by rooting a forum in a particular class and then opening it up to the Emerson community as a whole. In the past year we have been able to create forums that are based in classes in the Journalism, Performing Arts, Literature, and Interdisciplinary departments. Moderated by a member of the faculty, these conversations usually take the form of a guided Q&A session. As we move forward, the aim is to live-tweet these conversations to increase their reach.

Brown Bag Lunches
The Brown Bag Lunch series was born to fill a very specific need. During our September production of Baritones UnBound, we were trying desperately to find a class in which to root a conversation between the students studying musical theatre and the three powerhouse actor/performers who were in residence on campus for the two weeks of the production and the week and a half leading up to it. Perhaps due in part to the timing of the production (a mere three weeks after the start of the semester) and despite a great deal of interest from the students, we were unable to find a professor who was interested in hosting a conversation in their class. Rather than miss the opportunity altogether however, we decided to create our own place for conversation-and the Brown Bag Lunch was born. About thirty students showed up for hour-long conversations with baritones Ben Davis, Marc Kudisch, Jeff Mattsey, and musical director Timothy Splain, talking about everything from the production itself and its development path to how to create a life in the arts, to a lively conversation/debate about the greatest musicals of the last twenty-five years.

Following the success of that particular lunch, we have moved to create a series of Brown Bag Lunches. Every show this spring will feature an informal Friday gathering where students can interact with the artists.

Master Class/Workshop Opportunities
Months before any production arrives at ArtsEmerson, we set up a Page One conversation with the lead artists involved. This conversation, which is recorded and shared internally for all of our staff to reference, covers the history and development of the piece, the goals the artists have for their Boston run, and other more specific questions that members of the ArtsEmerson team may have to best serve the production in the lead-up to their arrival. I always ask artists if they are willing to lead a workshop for a small group of students in whatever it is about their work that makes them unique. This has led to intensive workshops in subjects such as Step, Viewpoints, and Devising Theatre that are offered free of charge to the student body. Most recently I have been trying to save a few slots in these workshops to offer to community members so that students can have the experience of working with both the visiting artists and also with other artists who are working in Boston.

These four types of engagement don't cover all the ways that we work at opening up the productions to the college and the college to the artists, but they are the most consistent models we've found. Occasionally a faculty member will approach me directly with ideas on how to connect to a specific production, and in those cases we create a true collaboration between the theatre and the college as we build the event from scratch. Engagement opportunities are included in a weekly e-newsletter that goes out to a mailing list of students and staff at the college who have opted in. Recently, I've been encouraging faculty at other local colleges and universities to sign up for the list in case there are opportunities they want to share with their own students.

Creative Producer Program
The final component of our engagement plan is the Creative Producer program. Now in its second year, this program is our attempt to model a new way of learning about and training for our field, with an emphasis on both the nuts and bolts of producing, as well as the philosophy behind the work. Open only to seniors, this is a year-long program that blends education with hands-on experience in producing. Students can apply to be a part of the program, and once accepted, they are hired on as part of our staff and assigned to support specific ArtsEmerson productions within the season. While all productions differ in their exact support needs, during the course of their year with us, students work directly with members of the ArtsEmerson staff in production, external affairs, programming, and business, as well as guided work with HowlRound.

Additionally, participants are required to attend a weekly ninety-minute meeting that provides an opportunity to discuss one another's experiences, as well as the staff's, ask questions about specific areas of producing, and get an in-depth look at the various facets of creative producing.

The challenge over these first two years of the program has been to find the balance between providing the students with the overarching philosophy behind the work, from programming the season to greeting the artists at the airport while also teaching and exploring the specific jobs that carry the production forward.

With our Creative Producers, we talk a lot about what success looks like. We talk about whether having aspirational goals are more useful than having practical goals. We hash out the challenges of producing at such a high level on such a tight schedule. But even as I work with our students to make sure that they are celebrating their successes as producers and learning from their failures, I see in myself the same impulse that they have to focus on the missed opportunities or to see the gap between what I hoped for an event to be and what it arrived at.

I imagine we all do this to a certain extent-we look at a field full of our successful plantings and see only the small area of blight where an idea failed to take root and flourish. Analysis is useful, learning is useful, but in my role I am trying to do what I encourage our students to do-fail forward-to look at the forum that wasn't well-attended, or the open rehearsal that no one observed, the Watch Party that no one watched, and let my learning lead not to more analysis but to action-the next event, the next opportunity.

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Producing Connections at ArtsEmerson and Emerson College

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Zelda Fichandler once said that the institution was, for her, a context for her questions, a container for her inquiry-that she woke up every morning with things she wanted to learn and went in to work to pursue the answers.

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"It is time for the arts to take a centrifugal next step outward toward democratization and decentralization."

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About one hundred years ago, George Pierce Baker, then a professor in the English Department at Harvard University, helped integrate theater production into the university first by creating his famous playwriting course, "English 47," and then more importantly sponsoring the Harvard Dramatic Club as a production arm for his playwrights. Baker felt that theater needed to be experienced on a stage, not just on the page, an idea that now seems obvious but at the time was educationally suspect. His struggles against a conservative establishment paid off: many of Baker's students served as pioneers of a Little Theatre Movement that rejected the commercialism of Broadway in favor of more serious, experimental, and original plays and production techniques.

A half-century later, as the nonprofit regional theater movement began to grow in America, a call went out for major university theater departments to alter their curricula in order to train actors to perform not only in contemporary plays, which had previously been their focus, but in the classics that were being performed with greater frequency at regional theaters across the country. Universities responded by creating MFA programs to meet this demand, and as a result the nascent regional theater movement benefitted from an influx of talented artists with a broad range of experience.

In both of these cases, and there are many others as well, visionary professors in a university setting inspired young artists to consider new ideas, new career paths, and new techniques. As a result, they and their students contributed to the growth and enrichment of the American theater scene. Because there tends to be a strong centripetal force at work in the arts, a pressure to move toward a central point, I think it is significant that both of the above examples found their energy and creativity in a push toward decentralization and democratization. It is time, I believe, for this impulse to assert itself once more, this time expanding the reach of the arts to rural and small communities.

As before, universities could have an important role to play in educating young artists for this transformation of the American theater. The knowledge and skills needed to thrive within a rural environment are very different from those that have been developed for use in the theater's more urban counterparts. To succeed, a rural arts organization must be participatory, inclusive, rooted in place, and willing to explore new forms as well as embrace the traditional. In the rural arts, the focus is not solely on the artist, but the spotlight is shared across the community. Thus, rural arts leaders must not only possess the knowledge needed for their own creative pursuits, but also how to facilitate the creativity of others. In addition, they must develop the skills of community making, of civic dialogue, of seeking out local stories, local songs, and local traditions. This requires a new approach to arts education, a new concept of the role of the artist and the purpose of the arts.

If current theater training leans toward a conservatory approach, rural arts education leans more toward the liberal arts and the interdisciplinary. Because of the multiple skills sets demanded, rural arts education calls for the creation of independent programs focused solely on this material, i.e., rural arts education cannot be simply an add-on to a program otherwise devoted to the mainstream. Fortunately, there are forerunners whose efforts, while long ignored by mainstream theater historians, can serve as models and inspiration for our new movement in education and the arts. As Patrick Overton, who has provided an essay for this HowlRound series, wrote in Rebuilding the Front Porch of America, it is important for a community to identify and celebrate its heroes, especially if those heroes have been virtually ignored by traditional theater historians.

Students might learn about the "circle stock" companies of the nineteenth century, who developed a circuit of five or six small towns that they served with a new play each week in rotation. They might look to the Lyceum and the Chautauqua movements, who combined arts, education, and a strong emphasis on hands-on engagement. Universities seeking to create a rural arts program might draw inspiration from Frederick Koch, who taught at the University of North Carolina at Chapel Hill and who, inspired by Ireland's Abbey Theatre, strove to create a "people's theater" focused on the creation of folk plays drawn from the "legends, superstitions, customs, environmental difference, and the vernacular of the common people" of North Carolina. He founded the Carolina Playmakers as the production arm of his program and regularly undertook regional and national tours of the folk plays he published in his popular Carolina Folk Plays anthologies. Or one might look to Alexander Drummond of Cornell University, who like Koch believed in a democratic art form and hoped that the theater should "become an essential element in the lives of American "folks," with a nonprofessional stage-company functioning in every county in the land." Meanwhile, Alfred Arvold was pursuing a similar path in North Dakota, where he spearheaded the Little Country Theatre movement.

The Lost Colony by Paul Green

All of these pioneers saw creativity and self-expression as a birthright, believing that every person alive possesses somewhere within him or her the creative spark which only needs a little tending to be made into a flame. They made it their life's work to tend those flames. The next generation of students extended their teachers' visions. Koch's students included Pulitzer Prize-winning playwright Paul Green, who abandoned Broadway in order to return to North Carolina where he wrote historical pageants-what Koch called "communal" or "symphonic" plays-such as The Lost Colony (now in its seventy-fifth year of operation) and The Highland Call. Former Koch students founded the dozens of theater companies that eventually joined together to form the Carolina Dramatic Association. Drummond's student, Robert Gard, ran the highly influential Wisconsin Idea Theatre for several decades, encouraging the writing and performance of plays telling the stories of the common people of Wisconsin. Since then, there have been many contemporary examples of heroes of the rural theater who are willing and anxious to pass on what they have learned to a new generation. In this HowlRound series alone, Dudley Cocke, Patrick Overton, and LaMoine McLaughlin are all inspirational thinkers and effective arts leaders whose wisdom would benefit young artists. There are too many others to mention here. It is time for the arts to take a centrifugal next step outward toward democratization and decentralization. The next generation waits, and it is up to higher education to provide the tools and to show the way.

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About one hundred years ago, George Pierce Baker, then a professor in the English Department at Harvard University, helped integrate theater production into the university first by creating his famous playwriting course, "English 47," and then more importantly sponsoring the Harvard Dramatic Club as a production arm for his playwrights.

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Talent Retention / PD in the Regions Topics

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Talent Retention / PD in the Regions Topics

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"I believe it is a fantastic opportunity not only to introduce international students to Canada and help them with their language skills, but...Canadians are given a chance to see their own culture through another's perspective. There is not better education than this,"

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Drama class for international students | Communications and Marketing, University of Regina

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Learning about Canadian culture through the stage.

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