Every summer, teachers from across the country descend on New York City for Broadway Teaching Group’s Broadway Teachers Workshops, three days’ worth of professional development. It pairs arts educators with Broadway professionals for workshops, networking, and, most excitingly, tickets to Broadway shows. Produced in conjunction with theatrical licensor Music Theatre International, the popular events sell out every year, offering teachers not only the chance to learn new teaching methods and skills, but also they earn professional development hours and graduate-level academic credits.
This past July, Texas theatre educator Harrison Stringer became our reporter on the scene. Get an inside look at this year’s workshop—including sessions with Beth Leavel, Andrew Keenan Bolger, Brad Oscar, and more—in this first-person journal from the experience.
My name is Harrison Stringer, and I am the Academy Director at the Amarillo Little Theatre (ALT) in Amarillo, Texas. We are the educational branch of our beloved community theatre, serving nearly 600 students annually in theatre, voice, and dance training. I was so lucky to attend the Broadway Teachers Workshop for the first time over the summer, and it was truly the trip of a lifetime! I was amazed by the networking opportunities, the up-close and personal connections made with fellow educators and directors, and the unique masterclasses with professionals at the top of our industry. I flew in on Thursday, July 24, the day before my weekend at BTW began. I checked in at the luxurious Civilian Hotel and was giddy at the Broadway history on the walls in my room and the hallways. It perfectly set the scene of what was to come. I was then able to catch up with some dear friends for dinner in Brooklyn and get a good night’s sleep before the whirlwind weekend ahead.
Day 1
First thing Friday morning, I grabbed a tea and a quick bite of breakfast before our first, full-group session. All the sessions were held at A.R.T. New York Theatre, located at 53rd Street between 9th and 10th Avenues. It felt great to be walking around in the city I love so dearly. The theatre spaces for all the workshops were fabulous, versatile, and comfortable —a perfect setup for professional development. First thing in the morning, Co-Directors Gordon Greenberg and Pam Pariseau greeted us with gusto and enthusiasm.
After a brief introduction to the program and the weekend ahead, we dove right into our first session, “Sparking Joy in the Classroom,” taught by the wise, energetic Matthew Scott. Matthew’s session was thoroughly engaging and inspiring, and was a terrific way to begin the weekend. He touched on the anxieties the newest generation of theatre artists (and students of all walks of life, for that matter) face daily and how the theatre classroom can be a healing balm both for those students and for us as educators. I loved his emphasis on authenticity as a director and a teacher, encouraging us to “bring our full selves into the space.” I was particularly moved by his anecdotes about his father and how his memory has affected the way he tells stories. I was surprised the first session had already brought a tear to my eye, and my spark was certainly ignited as we headed into the rest of the weekend.
Next up was “The Path to Broadway: The Understudy Edition.” This casual, conversational session was an absolute treat, and I quickly understood why it is one of the most popular sessions year after year. Brad Oscar, Natalie Charle Ellis, and Thayne Jasperson each offered some truly fascinating stories from their time understudying various iconic roles on Broadway, out of town, and even overseas, and how their journeys have led them to where they are. After their conversations, each of them treated us to songs from roles they’ve played or covered, as well as some fun songs from early auditions or dream roles. It was such a treat and proved why understudies are truly the backbone of the theatre industry.
Brad Oscar speaks at the Path to Broadway: Understudy Edition panel.
Harrison Stringer
After a quick lunch, I returned for a much-needed and truly wonderful session on “Stretch & Self-Care” led by Andrew Wilson. After performing in some of the most physically demanding shows I can imagine, like Life of Pi and Cats, there is no one I would trust more to have an understanding of the body and how best to take care of it and prepare it for anything a performance might throw one’s way. Andrew’s quick wit and holistic approach to self-care were healing and granted me several new techniques and skills that I can’t wait to use in my own classroom warm-ups.
Following that was a quick and informative session from the team at Playbill called “Marketing Your Show, Community Investment, and PLAYBILLDER,” Playbill’s online tool that lets theatres build their own Broadway-style Playbill programs. Marketing a show is always one of the biggest challenges for me, and it was comforting to hear from other instructors and directors who felt the same way. Using the Playbill as a means of making a show stand out and as a marketing tool was a concept I was familiar with, but seeing it in this light brought a new understanding of just how powerful it can be. I was impressed with the ease of use of PLAYBILLDER, for such an affordable price, and I definitely see myself using it for future productions.
Back in the bigger theatre was a Q&A Session titled “Backstage on Broadway” led by Gordon Greenberg and focusing on the life and career of the hilarious, humble Brooks Ashmanskas. Even in this session, I could tell Brooks is among the best of the best in the business. His talents are matched by his heart for storytelling and his compassion for the others in the room with him. Most notably, I loved his emphasis on his time doing summer stock when he was in college and the fact that the peers he was working alongside in those smaller theatres are the actors, creatives, directors, and more that he is continuing to work alongside today. I was particularly thrilled to get to meet and talk with him immediately following the session, particularly because my students and I had just wrapped up our summer production of Something Rotten! His kindness and generosity in time, talents, and wisdom are inspiring, and I am grateful to have gotten to spend some time with this legend.
For our last session of the day, Beth Leavel proved her prowess as one of our living legends of musical theatre and musical comedy. In this interactive session, she focused on audition technique and brought in three college students to workshop some audition pieces in front of all of us. First of all, I applaud their bravery in this situation. Any audition is hard, but to “audition” in front of 100 educators—I cannot even imagine the way that must feel. Beth made them instantly feel at home, and I absolutely adored her method of bringing the text of their song selections to life. She took on the role as their scene partner and would improvise a scene within the given circumstances of the song, lead them into the song, and occasionally interject some lines in between phrases that would motivate the actors to switch gears, change tactics, and really get through to their scene partner. The difference between their first go at the song and the final project was palpable, and I got chills numerous times. On top of the insightful audition workshop, Beth was hilarious and charming, and the most delightful way to end our day of sessions.
Beth Leavel leading a class.
Harrison Stringer
I stopped by my hotel, changed and freshened up, and then grabbed some dinner with another friend at Five Napkin Burger, one of my favorite restaurants in the Theatre District, just in time to head to the Majestic Theatre to see Gypsy starring Audra McDonald. I cannot imagine a better way to end the first day of this workshop. I, of course, have always been familiar with the landmark musical, but have never seen it told in this way and at this caliber. George C. Wolfe’s direction proved that he is one of the best working right now. The perfect mix of artistry, storytelling, and spectacle, this lavish production brought laughs, tears, and thunderous applause. This was an ode to the singularly American art form of musical theatre. How lucky we are to be alive at the same time as the incomparable Audra McDonald. I was able to see her in the recent revival of Frankie & Johnny in the Clair de Lune a few years ago, but I have never seen her quite like this. The rest of the cast was full of standouts as well. I cannot wait to see the continued career of Joy Woods as she truly blew me away. We were able to stay after for a talkback with the cast and got to see some of the ins and outs of making this grand musical come to life on stage.
After the talkback, we headed to the Long Room for Broadway Game Night, sponsored by the team at CUR8. I am a very competitive person with a penchant for all things Broadway, and was thrilled to bring home 2 separate wins for my team of fellow teachers. I had an insane first day and was certainly ready for bed by the time I made it back to my hotel late that night.
Day 2
First up on Day 2 was the kind and joyous Dr. Allison Fleetwood with a session titled “Curtain Up on Creative Teaching.” This session was interactive and a perfect way to get the creative juices flowing on this second morning. As an educator, Dr. Fleetwood has an extraordinary grasp of creativity as something that can be nurtured and encouraged in the classroom. Her compassionate heart flows through her, and I was given some truly engaging insights into the pedagogy of theatre. Sharing lesson plans with other teachers and further developing our networking was a real treat as well, and walking away with two fresh, new lesson plans was the cherry on top.
I then made my way over to the iconic Hudson Theatre for a backstage tour of this legendary space. Broadway’s oldest theatre, I felt a true sense of the history of American theatre and its impact on our culture. The intricacies of the remodel in 2017 were breathtaking, and getting to sit in the silence of an empty Broadway theatre took my breath away multiple times. The stories told in that space, the triumphs and the failures, put so much into perspective. How lucky we are to tell stories and cultivate the next generation of storytellers in the theatre. I savored this moment of reflection during this busy weekend and will always remember it.
Another quick lunch before the second show of the trip. I went off-schedule a bit here as the group went to see Stranger Things: The First Shadow. I had every intention of joining, but when I bumped into a friend from college who was making her debut as Connie Francis in Just In Time with Johnathan Groff, I dropped everything and went to see her. This show was a revelation! A fresh, new take on the bio-jukebox musical with a herculean performance from Jonathan Groff as Bobby Darin, oozing with heart, was a delight. I was thankful to catch up on all things Stranger Things with some other workshop attendees later that evening and was green with envy as they discussed the mind-blowing special effects, lighting, and set design. If only there were time to see every show!
Just In Time standby Gabi Carrubba and Harrison Stringer
Harrison Stringer
For dinner, I ate at the best restaurant in midtown, The Meatball Shop, and caught up with a dear friend over too much pasta. We made a stop at the iconic Schmackary’s for Broadway’s favorite cookies before I headed over to the Lunt-Fontanne for my personal most-anticipated show of the weekend, Death Becomes Her. Man, did it not disappoint. I am a sucker for all things camp, and this production married it with true artistry and spectacle. This is musical comedy at its best. With powerhouse performances from Megan Hilty and Natalie Charle Ellis (getting to see her perform in the show just after hearing her talk about the experience the day before was a delight!), elevated by lavish costumes and sets, this was a truly thrilling night of theatre. Christopher Sieber, one of my theatrical heroes, brought the house down in his show-stopping number, and getting to hear him speak about the rest of the company and his favorite teachers throughout his life during the talk-back afterward was another highlight of the trip.
After the show, we had a mixer at the legendary Sardi’s, where we were able to do some more networking with fellow teachers and round out another incredible day.
Day 3
How is it already the last day? I started the final day with a session titled “Playwriting: Finding Your Voice” taught by Julie McKee. Julie’s approach to the craft of playwriting totally changed my perspective on it. I have always wanted to write but have been afraid of it, much less teaching students how to do it. But her easily digestible and approachable sample lesson plan clarified the basics of creating a scene and a play. At the core of every play and scene are at least two characters who want two different things, most often from each other. That conflict is crucial and can develop truly dynamic, engaging storytelling. I can’t wait to try these exercises with some of my own students.
In the penultimate session of the workshop, “Directing: Group Scenes,” led by Andrew Gallagher, I walked away with some of the most practical skills in my personal work day-to-day. He provided us with practical examples from his experience as a director and choreographer in shows like The Big Gay Jamboree (which is one of my favorite shows I saw last year!) and Disney’s The Tale of Moana for assembling stage pictures. I really enjoyed his emphasis on ensuring every person on stage feels engaged as a collaborator in telling the story at hand. As someone who can work with casts of up to 80-90 students of all different ages, I really appreciated his insights on how to make every single one of them feel as important as they are. Staging a curtain call with that many children can feel like an impossible task sometimes, but his breakdown made it seem much less daunting.
Finally, my last session was with marketing genius and talented performer Andrew Keenan Bolger on “Promoting Your Shows.” Andrew basically created theatre marketing as we know it, beginning with his video blogs from his days of out-of-town tryouts of Aladdin and later Newsies on Broadway. In showing us some of his most successful methods of promotion, I came to understand just how important authenticity and creative-led marketing can be in getting the buzz out there around any given show. I have already implemented his practical advice on a student-led social media committee that is in charge of creating content for shows. Allowing students to flex different creative muscles and also take advantage of fun online trends not only excites them, but has already given our social media an uptick in engagement.
Operation Mincemeat on Broadway
Harrison Stringer
After another quick bite to eat, it was time for Operation Mincemeat at the Golden Theatre. I knew very little going into this show, but was blown away by the wittiness, ingenuity in staging and storytelling (seriously—how did those five actors change costumes so quickly, so many times?), and the surprisingly heartfelt moments. This was a true feat of theatricality and left me inspired to continue crafting stories with my students back at home.
I can’t express how grateful I am for the opportunities provided by the Broadway Teachers Workshop, especially Pam and Gordon, and I genuinely cannot wait to attend again next year.
Learn more about the Broadway Teachers Workshop at BroadwayTeachingGroup.com.