By: Carmel DeStefano, IHSTF Regional Production & ITA Member At-Large

Over the past few years, the Illinois High School Theatre Festival has initiated new events such as Tech Olympics, Thespys, and Virtual Speech Competitions in an attempt to showcase more of our talented theatre students. This year, the ITA is commissioning a “Regional Production” focusing on staff and students from the central and southern areas of the state. The Illinois High School Regional Production stems from a long standing dream of the Festival makers to spotlight the student talent from different areas of the state. The 2027 IHSTF Regional Production is COME FROM AWAY - Book, Music & Lyrics byIrene Sankoff and David Hein. 

The Regional show is not a mini All-State, a performance utilizing actors, technicians and musicians from across the state. Although COME FROM AWAY will rehearse and build one weekend a month during the summer and fall, this show is under the guidance of the Play Selection Committee and their rules for mounting a performance. This means that the students will not arrive at Festival early or have extended time to put the show together.

With the 25th Anniversary of 9/11, COME FROM AWAY is a perfect educational choice of a production. As explained on The Music Theatre International website, “COME FROM AWAY is based on the true story of the time when the isolated community of Gander, Newfoundland, played host to the world. What started as an average day in a small town turned into an international sleepover, when 38 planes, carrying thousands of people from around the globe, were diverted to Gander’s airstrip on September 11, 2001. Undaunted by culture clashes and language barriers, the people of Gander cheered the stranded travelers with music, an open bar and the recognition that we’re all part of a global family.”

Just as with the student artists, 90% of the Regional Production Staff teach in the Southern half of the state, and Edwardsville HS will be the location for rehearsing and building the set. This production will showcase 33 students from 16 different high schools. (Click here to see the Company and Staff lists.) The staff is thrilled to be given the opportunity to spread the show’s message of kindness, unity, and resilience.

Rehearsal Recording: IMG_1725.MOV

On July 31st, the company and staff converged on Edwardsville High School for three days of building, painting the set and learning the show’s music. These sessions were broken up with bonding exercises, dramaturgy presentations, and acting technique lessons. It was a wonderful weekend of learning and laughting.

If all goes well, this Regional Production will set the stage for a new Theatre Fest tradition!

2027 IHSTF Regional Company.pdf

By Christina Ordonez, ITA Secretary

One of the biggest misconceptions about AI is that strong results come from asking short questions.

In reality, AI tools work best when users provide clear direction and context, much like giving notes in rehearsal or communicating a production vision to a cast and crew.

One helpful framework is the C-G-P-T method:

• Context → What background information does the AI need?

• Goal → What outcome are you trying to achieve?

• Persona → What role should the AI take on?

• Task → What specifically should it do?

The more specific the prompt, the more useful the response tends to be.

Below are examples theatre professionals and educators could use immediately.

1. Parent Communication

Weak Prompt:

“Write a parent email about rehearsal.”

Strong CGPT Prompt:

Context: I direct a high school production of Addams Family. Many families are balancing multiple extracurricular schedules.

Goal: Create a clear and supportive reminder email about upcoming tech week expectations.

Persona: Act as an organized and encouraging high school theatre director.

Task: Write a parent email explaining tech week rehearsal times, reminding students to bring water and homework, and thanking families for their support. Keep the tone warm, professional, and easy to translate. 

2. Rehearsal Planning

Weak Prompt:

“Give me rehearsal ideas.”

Strong CGPT Prompt:

Context: I am directing A Midsummer Night’s Dream with mostly first-time high school actors.

Goal: Help students better understand physical comedy and ensemble work.

Persona: Act as an experienced theatre educator specializing in beginner actors.

Task: Create five 10-minute rehearsal warmups or activities that help students build ensemble trust and physical storytelling skills.

3. Dramaturgy and Script Research

Weak Prompt:

“Tell me about the 1890s.”

Strong CGPT Prompt:

Context: Students are performing Newsies and need historical background knowledge about labor conditions and child workers in New York City.

Goal: Help students connect emotionally and intellectually to the script’s themes.

Persona: Act as a theatre dramaturg working with teenagers.

Task: Create a one-page student-friendly summary explaining the Newsboys Strike of 1899, including key historical facts, important vocabulary, and discussion questions.

4. Accessibility Support

Weak Prompt:

“Make this easier.”

Strong CGPT Prompt:

Context: I teach high school theatre students, including multilingual learners and students with reading support needs.

Goal: Increase comprehension of Shakespearean language before rehearsal.

Persona: Act as a theatre educator experienced in scaffolding complex texts.

Task: Rewrite this scene summary from Romeo and Juliet using simpler language while preserving the important plot points and emotional tone.

5. Technical Theatre Support

Weak Prompt:

“Make a checklist.”

Strong CGPT Prompt:

Context: Our theatre department is preparing for opening night of a musical.

Goal: Help crew members stay organized and independent.

Persona: Act as an experienced stage manager mentoring crew leaders.

Task: Create an opening night backstage checklist organized by categories including props, costumes, microphones, scenery, and safety checks.

6. Advocacy and Publicity

Weak Prompt:

“Write a social media post.”

Strong CGPT Prompt:

Context: Our theatre department is promoting an upcoming student-directed one-act festival.

Goal: Increase attendance and celebrate student leadership.

Persona: Act as a creative arts marketing specialist.

Task: Write three short social media posts promoting the festival for Instagram and Facebook. Include an energetic tone appropriate for families and students. Students will include their own artwork for the images.

Final Thought

AI tools are most productive when users think like directors: provide context, communicate vision clearly, define roles, and give actionable direction.

Good prompts do not replace human creativity; they help support it.

Kathy Missel, ITA Board Member At Large

If you’ve spent any time following community theatres on social media, you’ve probably seen countless posts like these:

“Our cast is working so hard to bring this show to life.”

“Our volunteers have been putting in countless hours to make this production the best it can be.”

“The cast and crew are working tirelessly and can’t wait to see you in the audience.”

Now, every one of those statements are no doubt absolutely true. Community theatre is built on extraordinary dedication. Volunteers give up their free time – -nights, weekends, family time and countless hours – because they love creating art that is meaningful for their communities.

But here’s a question worth asking:

Is that what convinces someone to buy a ticket?

Probably not.

As theatre makers, we naturally focus on the journey. We know the rehearsals, the set construction, the costume fittings and the technical rehearsals are at the heart of where themagic is created. We celebrate that process because we’ve lived it, time and time again. Our audience hasn’t.

When someone scrolls through social media, they’re not asking “How hard did these volunteers work?” They’ve not looking to see which area production has the hardest working cast. They’re asking a much simpler question: “Why should I spend my time and my money seeing this show?”

The answer isn’t in the effort. It’s found in the experience. People don’t’ buy theatre tickets because a cast worked hard. They buy them because they expect to laugh until their sides hurt. To be moved by a story. To be challenged by an idea. To share a memorable evening with friends. To leave the theatre feeling something that they didn’t feel when they walked in. That’s what we’re really selling.

This doesn’t mean that we stop recognizing our volunteers. We need to continue celebrating their dedication and thank them for making community theatre possible. We just need to discern between appreciation and marketing. Appreciation is the message to those already involved in the production. Marketing speaks to those who aren’t.

Instead of “Our cast has been working so hard…” imagine saying:

“Meet the unforgettable characters who will have you laughing uncontrollably”

“Step into a world unlike any you’ve seen on our stage before”

Instead of “Opening night is almost here and everyone is working hard” consider:

“Your next unforgettable night out is almost here”

Do you see the difference? The focus shifts from our experience making the show to the audience’s experience seeing it. That’s the invitation to buy tickets that the audience is looking for.

Community theatre has never been about the hours we spend memorizing lines or painting scenery. Those are just the means to an end. What we create is connection. We create laughter shared by strangers. We create conversations that continue after the curtain falls. We create memories that will stay with people for years. Those are the things we are selling because in the end, audiences aren’t buying our efforts. They’re buying the feeling they’ll have when the lights go down, the curtain rises and for two hours they are transported somewhere they couldn’t have gone without us. That’s the experience that live theatre can offer, and that’s a story worth telling.

So, please, stop selling the effort and start selling the experience.

Submitted by Danny Yuska,

ITA High School Representative

What is your name?  What pronouns do you use?

Mike “Mez” Miserendino.  He/Him

Please tell us about your education or training in theatre.

I am a proud alumnus of Lake Park High School and a student of Ms. Susie Rothchild, the late Mr. Mike Dice, and the late Mr. Larry Studt.  I completed my bachelor's degree in Theatre at Illinois State University and have a Master's in Secondary Education from Roosevelt University.  Since graduating from ISU, I have professionally acted around the Chicagoland area.

Where have you taught/directed?  What do you teach?  And for how many years?  

I’m about to start my 15th year teaching English and Theatre at Bartlett High School.  Before my career at Bartlett, I previously worked at Fremd High School, Fenton High School, and Lake Park High School.  This coming school year, I’ll be teaching Honors Sophomore English, Theatre Experience, Actor’s Workshop, and Advanced Theatre Production.

What theatre project/production are you currently involved with or in the planning stages for?   

In addition to directing the 2027 All-State production of Something Rotten!, I am the Production Manager for the School District U-46 Summer Theatre production of Peter and the Starcatcher, and I am preparing for the 2026-2027 Theatre Season at BHS, which includes the play Front by Robert Caisley and Meredith Willson’s The Music Man.

What is the best thing about your job? 

It’s the students.  It has always been, and always will be.  Every rehearsal is an opportunity to watch young people discover talents they never knew they had, find confidence in their own voices, and learn the power of collaboration, empathy, and perseverance.  They arrive with different backgrounds, experiences, and dreams, but together they create something far greater than any one individual could accomplish alone.  Watching students take risks, overcome obstacles, celebrate one another’s successes, and grow into compassionate artists and remarkable human beings is the greatest privilege of this profession.  The productions may close, the sets may come down, and the applause may fade, but the relationships built, the memories created, and the lessons learned remain long after the final curtain call.  The shows are unforgettable, but the students are the reason I do them.  They are the heart of every rehearsal, the soul of every performance, and without question, the very best part of my job.

What is the biggest challenge you face related to your work in the theatre?

For me, the biggest challenges I face extend far beyond simply putting a show on stage.  The job is about balancing artistry, education, logistics, and student development all at the same time.  Perhaps the greatest challenge is creating an environment where every student feels valued and has an opportunity to grow.  As a director, I try to balance the needs of experienced performers with those of students stepping onto the stage for the first time, while ensuring everyone feels included, challenged, and supported.  A theatre program succeeds or fails based on its culture.  I try to foster an environment of respect, kindness, accountability, and collaboration while addressing conflicts, disappointments with cast lists, and interpersonal challenges that naturally arise among teenagers.  Casting is one of the most difficult responsibilities of a director.  No matter how thoughtfully decisions are made, talented students will inevitably be disappointed.  I try to navigate these conversations with compassion while helping my students understand that their worth is not defined by a role.  Overall, the greatest challenge of being a high school theatre director is also the greatest reward: helping young people grow into confident, compassionate, resilient adults while creating extraordinary art together.  The sets, costumes, and performances are temporary; the impact on students can last a lifetime.

Of what theatrical accomplishments are you most proud?

People often assume that the productions are what make me the proudest.  They see the standing ovations, the beautiful sets, the polished performances, and the awards.  While those moments are certainly gratifying, they are not what I cherish the most.  What makes me proudest are my students and the incredible things they go on to accomplish.  Some continue their journey in theatre, performing on college stages, working professionally, or pursuing careers in the arts.  Others become teachers, doctors, engineers, entrepreneurs, parents, or leaders in their communities.  Regardless of the path they choose, seeing them grow into kind, confident, resilient, and compassionate people is the greatest reward of this profession.  The greatest privilege of being a theatre teacher is having a front-row seat to that growth.  I have the opportunity to watch shy freshmen become confident leaders, uncertain students discover their voices, and talented young artists become remarkable human beings.  Years later, hearing about their successes fills me with more pride than any standing ovation ever could.  Their accomplishments will always mean more to me than my own work, because they are the true legacy of my work.  If I have played even a small part in helping them discover who they are and who they can become, then I consider myself incredibly fortunate.

Who was/is your mentor?

Some people teach a subject.  Others change the course of a person’s life.  My high school theatre teacher, Ms. Susie Rothchild, did so much more than teach me how to perform.  She saw something in me before I ever saw it in myself.  She challenged me to dream bigger, work harder, and believe that I was capable of more than I imagined.  Every rehearsal, every note, every word of encouragement – and even every tough critique – helped shape not only the artist I became, but the educator, director, and person I am today.  Ms. Rothschild created a place where I felt safe to take risks, to fail, to grow, and to succeed.  In a world that can often make young people question their worth, she made me feel valued, heard, and capable.  Her classroom and the Lake Park High School Auditorium became a second home.  It’s where lifelong friendships were formed, confidence was built, and memories were made.  Looking back, the greatest lessons I learned from Roth were about compassion, the importance of preparation, collaboration, humility, and believing in something larger than myself.  Her guidance, patience, and unwavering support mean the world to me, and I’m fortunate to still have Roth in my life.  She continues to come to all of my shows, and we enjoy time together while attending Cubs games at Wrigley Field.  The influence of an extraordinary teacher never leaves you.  Her belief in me became part of who I am, and for that, I will always be grateful.

Please describe your history with the Illinois High School Theatre Festival.

My first experience with the Illinois High School Theatre Festival was when I was a freshman at Lake Park High School, and our production of Romeo and Juliet was selected for the Fest in January of 2000.  Since the 2000 Festival, I’ve attended 23 Festivals, performed as the Police Sergeant in the 2002 All-State production of The Pirates of Penzance under the direction of Tom Rusnak, volunteered for All-State productions as an ISU Intern, enjoyed collaborative conversations as an IHSTF Play Responder, served on several IHSTF Executive Committees, assistant directed the 2025 All-State production of The Prom under the direction of Danny Yuska, and sponsored countless students while at the Festival.

Do you have a specific IHSTF or ITA memory you would care to share?

I have MANY wonderful memories specific to IHSTF and the Illinois Theatre Association.  A few that come to mind include:

• Being a freshman and seeing the 2000 All-State production of Big River.  I vividly remember my jaw dropping when I saw the raft with Huck and Jim rise from the pit in the Braden Auditorium at ISU.

• In Act 2 of the 2002 All-State production of The Pirates of Penzance, the Cops performed the 11 o’clock number “When a Felon’s Not Engaged In His Employment.”  After we performed that song, we received thunderous applause that seemed to go on for eternity.  I remember being frozen in the final pose, thinking the applause would end and the music for the next song would start, but then the applause just crescendoed.  Shoutout to Judy Klingner for her brilliant and humorous choreography.

• I have the fondest memories working on the 2025 All-State production of The Prom.  It was a very special experience for everyone involved.

What do you hope for regarding theatre in the state of Illinois?

My hope for theatre in the state of Illinois is that we continue to build a culture rooted in community, collaboration, and generosity.  I hope we never lose sight of the fact that theatre is at its best when we lift one another up – when schools celebrate each other’s successes, when educators freely share ideas and resources, and when students see one another not as competitors, but as fellow artists.  The Illinois High School Theatre Festival has always embodied that spirit.  It reminds us that our greatest strength is not found in awards or accolades, but in the relationships we build, the stories we share, and the opportunities we create for one another.  The Festival brings together students and educators from every corner of our state, proving that we are part of something much bigger than our individual programs.  Its founding purpose has always been to create a statewide, non-competitive environment where theatre can be shared, experienced, and celebrated together.  I hope we continue to foster an environment where every student feels welcomed, valued, and inspired to create.  I hope we champion every kind of theatre program – large and small, urban and rural – and recognize that each has something meaningful to contribute to our collective artistic community.  Most of all, I hope the future of Illinois theatre is defined by kindness.  That we choose encouragement over comparison, collaboration over competition, and mentorship over gatekeeping.  If we continue to invest in one another, celebrate one another, and believe in the incredible young artists across our state, there is no limit to what Illinois theatre can become.

By Judy Klingner, ITA President

A couple of months ago, a former colleague and good friend (Michael Karasch) asked me to add him on theater.games, a website that offers daily puzzles for show people.  I ignored his invitation.  I mean, who needs to play MORE daily games?  I can hardly remember to play Wordle every day.

I saw Karasch in person a few weeks later, and he told me I needed to get on board and start playing theater.games.  He guaranteed I would love it.  The games were web-based, but he made it easy for me to access them by putting a shortcut to the website on the home screen of my phone.  He said, "I saw another theatre teacher talking about it on TikTok, and I went to check it out.  There were only two games at the time, but it was so fun, I sent it around to friends."  Apparently, when Karasch put it on my home screen, theater.games was just a website, but now it's on both Android and Apple App Stores for free.

I don't say this often, but Karasch was right--I love theater.games!  Obviously, the ITA membership needed to know about this app.  I did some quick research and found out that the mastermind behind Theater Games is Matt Rodin, a name I recognized from my days of directing contest play and Group Interpretation.  I reached out to his former Glenbrook North High School teacher, Julie Ann Hill, and she was able to connect me with Matt.  

Here is what Matt shared with me:

"Over more than a decade of living in New York, I’ve worked across a lot of different corners of the theater world. I’ve worked red carpets, was on the national tour of Company, performed in three Off-Broadway shows last year, and worked with marketing and PR teams. My husband is an agent and has also worked in casting, so between the two of us, I’ve seen so many different sides of the business up close. One thing I’m always paying attention to is where there are gaps in the marketplace. Coming into this year, I saw one around daily games.

"There are daily games for movies, music, and of course the New York Times games that have become part of people’s routines. But there really was not anything like that specifically for theater people. And because theater fans are so passionate and deeply engaged, a daily game felt almost too perfect for the way we interact with and love this thing we all care so much about.

"I started by building Spike, a 5-clue, 1-answer game where players guess the answer as the clues move from hardest to easiest. Once I saw that people were coming back and playing every day, I decided to expand the roster. I brought on a co-founder, and now we have 5 daily theater games across different formats, including word games, a picture game, an order game, and a blocking game.

"More than 3,000 people are playing every single day, and over 550,000 theater games have been played since we launched in mid-April!! 

"One of the coolest and most unexpected parts has been hearing from educators who are using the games as a tool to teach kids about theater history. That was not the original intention, but it makes so much sense. It's interactive, fun, simple, and a much more engaging way to learn about shows, artists, and theater history than only reading from a textbook or watching a video. We are now actively working on building out the education side of Theater Games so we can help more teachers and educators use them in the classroom. That’s one of the things I am most passionate about and excited to work on over the next year."

How cool is THAT?  Thank you to Matt Rodin for creating Theater Games for theatre-lovers everywhere!  

So goodbye Wordle--Hello Theater Games!  Download the app, start playing, and invite all of your theatre friends, colleagues, and students to play along with you. I promise, you will love this app, too!

By: Wesley Skym, ITA Second Vice-President & Youth Theatre Division Representative

Introduction

            When it comes to extracurricular activities, schools have a multitude of budgets to manage that affect a large number of students. Determining how to fund each activity differs between schools, and there are a variety of approaches to budgeting these activities. In this article, I will be focusing specifically on funding policies for extracurricular theatre programming. As someone who currently works as a drama teacher and program director, this is a topic of interest to me. Managing my school’s theatre budget is one of my responsibilities, so I do have insight into the intricacies of how funding a theatre program works. My own program is self-sufficient, relying on ticket sales and other fundraisers to fund our productions, in addition to having an established parent booster group for supplemental funds supporting the participating students. Theatre programs have a unique situation at schools, with a large number of them being reliant on outside sources of income to run their programming compared to other extracurricular activities and sports where a budget might be allocated, aligning running a school theatre program to similar practices used to run community or other industry theatres. With this analysis, I hope to look further into approaches to policy surrounding school theatre budgets, be it self-sufficient, allocated, or a hybrid of the two, and other funding-based policies that affect the extracurricular school theatre program.

Literature Review

            Literature on specific funding policies for school theatre programs appears to be scarce. Seidel found in a survey report for the Educational Theatre Association that greater than 85 percent of these programs relied on ticket sales for a substantial amount of their total budget (Seidel, 1991). Additionally, a large number of the surveyed programs reported receiving no funding from allocated school or district budgets. While this data is relatively dated, it still provides an insight into funding policies for these programs and how a school system might still consider budgeting for theatre.

Firsthand accounts give an interesting perspective into the differences between school policies on theatre funding. A callboard discussion thread on theatre budgets on the Educational Theatre Association website offers a few accounts from theatre educators that highlight these differing policies. Several responses to the thread share that their program is either completely or mostly self-sufficient, with those not fully self-sufficient receiving a small amount of additional support from a school budget on occasion. A few shared that they use pay-to-play models where students pay tuition fees to be involved. Of these, some charge admission to the shows for additional revenue and some offer the shows for free based on personal philosophy. Some schools provide the funds for the rights or royalties only, leaving it to the program to fundraise or use ticket revenue to pay for show materials, costumes, sets, props, etc. The program stipends for the theatre director are typically a separate budget, but additional stipends for roles like assistant director, music director, choreographer, costumer, technical director, and others could be either contractual like the director or reliant on the program budget. A number of teachers referenced raising supplemental funds for the program through parent booster groups or sponsors. Two teachers from Arizona also specifically shared that their programs receive some funding via state tax-credits (Educational Theatre Association, 2017). Administration plays a key role on allocating funds for a number of theatre programs, with some making the decision on whether the program is self-sufficient or school-funded. The School District of Lee County in Florida sees these disparities in this funding between schools in its system, with some receiving funds and others not at all. This has led to some teachers having to spend their own money on the program and rely on networking with local theatres to borrow materials in order to ensure their production is successful (Stevenson, 2025), creating concerns in horizontal equity between programs within the district. Overall, while the programs hope to profit in order to use the funds for future productions, most programs seem to have the goal to at least break even.

With the previous Arizona example, state funding assistance for extracurricular theatre programs varies as well. Arizona specifically offers taxpayers a credit for contributing payments to school extracurricular activities (Arizona Department of Revenue, 2025), several other states offer the same (CCH AnswerConnect Editorial, 2025) or other deductions and credits for educational expenses that may qualify (NCSL, 2025), so this likely can be used as a way to incentivize tuition-based payments or donations to the theatre program. Federally, potential support for extracurricular theatre programs can come from Title I, IV, and V grants under the Every Student Succeeds Act (ESSA), as well as funds required by the McKinney-Vento Act under ESSA (U.S. Department of Education, 2016 & 2017). This support can come in the form of grants or specific student involvement support, such as payment for involvement fees for students from low-income families or specialized grants from organizations targeting Title I schools. The Illinois Theatre Association, for example, offers special grants and scholarships to qualifying Title I schools and students in need to attend the statewide Illinois High School Theatre Festival (Illinois Theatre Association & Klinger, 2026), which is an extension activity many state high schools attend. Title IV funds may be used to update aging theatre facilities that may be deemed unsafe, fire protection of materials, or updating of tech equipment for shows such as LED theatre lighting and sound systems. While not all programs would necessarily be eligible for these funds nor similar amounts of these funds, those that are can use them to maintain adequacy levels for extracurriculars and arts academics. Grants are also offered through organizations like the Educational Theatre Association, American Theatre Wing, state-based organizations like The Illinois Arts Council, and more, though again not all school theatre programs may qualify as they typically target Title I schools and organizations with high needs.

Discussion

Unfortunately, cuts and threats to arts education funding in several states and federally has led to stress on theatre programs and directors, whether those cuts immediately affect them or not (Stevenson, 2025). Examples of these threats include the White House budget calling for the elimination of the National Endowment for the Arts and National Endowment for the Humanities (Arts Alliance Illinois, 2026), both agencies that deliver millions of dollars to support organizations nationally, including community and school theatre programs. Additionally, Illinois faces a flat proposed arts funding budget despite the federally cuts, leading to worry amongst arts organizations about falling behind (Kueppers, 2026). This means that reliance on these outside funding sources is likely not a safe expectation. Based on the experiences and data explored, as well as my own personal program experience, it seems to me that the best option to ensure longevity of a school theatre program is to go with a self-sufficient or hybrid model. While this may seem like a more strenuous task, it provides a little more independence on the use of the budget and less uncertainty about funding. From there, additional monies can still be obtained from the school in a hybrid model if possible, and the program can still benefit from federal or state grants if eligible to ensure adequacy. Relying on school funding alone creates stress surrounding uncertainty of funds or potential changing amounts between years. Having a self-sufficient or hybrid budget allows a program director to be aware of the numbers ahead of planning a season. Not only this, but funds allocated to a theatre program can still be pulled from and allocated elsewhere during a school year if those funds are provided by the school specifically. While the same can be said for a self-sufficient budget, there are a few more roadblocks or arguments to be made to prevent funds being pulled from a theatre program that raised those funds versus being allocated those funds. If anything, the primary expenditures from the school or district budget should be for the facilities and faculty stipends as this would allow for more union protection or negotiation of the positions as well as more-regular upkeep of equipment. Union-negotiated stipends in the contract for a Director, Assistant Director, Music Director, Tech Director, Choreographer, Costumer, and other design-based positions would ensure stability of compensation compared to stipends that rely on being paid out of a self-sufficient program budget. While not all these positions may be necessary for every school’s program, negotiation of a few as district stipends helps to secure staff members in these roles and ensure that their pay does not fluctuate with a sometimes-varying income of a theatre program, as well as ensure the theatre director does not have to commit additional unpaid hours to these tasks.

Conclusion

I recognize that my limited experience and the scarcity of data likely create a number of blind spots that prevent these from being complete conclusions. There are pros and cons to each model discussed in the literature review. The pay-to-play model where tuition or participation fees are assessed to families is a great approach in states where tax credits or deduction incentivize these practices, helping to supplement the theatre budget with private costs in addition to potential grants to ensure adequacy. This would be a great way to maximize program funding, but it is not a model that can easily be adopted by every school since not every state or district offers the same incentives. Even in states where such credits are available, the local fiscal capacity will differ between districts across the state, meaning the ability for families to have the additional income to pay for tuition-based extracurriculars will also be inconsistent. This would lead to further issues of vertical equity of access across the nation if it became enforced practice, so it definitely should remain considered on a case-by-case basis. Similarly, schools that fund their theatre program may provide adequate funds year after year to put on productions, purchase materials, and maintain facilities. If this is the case, then clearly that system works for that school. Expecting each theatre teacher to have the time or resources to build additional contacts, parent booster groups, sponsorships, and more is very large ask, and one not typically done for those leading other activities or coaching sports. Funding of school theatre programs will likely still remain an issue of equity, especially with the current state of the Department of Education and uncertainty around arts education funding. Additional and new research on school policy of funding these activities across the nation and within specific states is necessary in order to determine overall best practice.

References

Arizona Department of Revenue. (2025). Public school tax credit | Arizona Department of Revenue. Azdor.gov; Arizona Department of Revenue. https://azdor.gov/tax-credits/public-school-tax-credit

Arts Alliance Illinois. (2025, August 27). Federal rapid response. Arts Alliance Illinois. https://artsalliance.org/advocacy/federal/

CCH AnswerConnect Editorial. (2025, May 16). What states offer scholarship contribution tax credits? Wolterskluwer.com; Wolters Kluwer. https://www.wolterskluwer.com/en/expert-insights/state-scholarship-credit-programs

Educational Theatre Association. (2017). Theatre budget | Open forum. Schooltheatre.org; Educational Theatre Association. https://community.schooltheatre.org/communities/community-home/digestviewer/viewthread?MessageKey=ca00be59-6625-40f7-9e79-874972e7c3a5&CommunityKey=35d3756e-031c-447e-a020-14aeb57718f1&tab=digestviewer

Illinois Theatre Association, & Klinger, J. (2026). ITA Expands Statewide Access to Theatre Through Major Student Support Initiative. Illinoistheatre.org. https://www.illinoistheatre.org/articles/13590675

Kueppers, C. (2026, February 23). Pritzker budget proposal leaves funding flat for the arts in Illinois in 2026-2027. Chicago Sun-Times. https://chicago.suntimes.com/arts-and-culture/2026/02/23/pritzker-budget-arts-funding-flat-illinois-2026-2027-grants-trump

NCSL. (2025). Education choice state policy scan: Tax credits and deductions. Ncsl.org; National Conference of State Legislatures. https://www.ncsl.org/education/education-choice-state-policy-scan-tax-credits-and-deductions

Seidel, K. (1991). Theatre education in United States high schools: A survey report. Teaching Theatre, 3(1), 1–17.

Stevenson, E. (2025, October 8). Local school theater programs struggle over funding. WGCU PBS & NPR for Southwest Florida; WGCU. https://www.wgcu.org/education/2025-10-08/local-school-theater-programs-struggle-over-funding

U.S. Department of Education. (2016). Non-regulatory guidance: Student support and academic enrichment grants. U.S. Department of Education.

U.S. Department of Education. (2017). Illinois State Board of Education state template for the consolidated state plan under the Every Student Succeeds Act. U.S. Department of Education.

By: Christina Ordonez, ITA Secretary

At 11:47pm, many theatre educators and directors are not thinking about artistry.

They are writing rehearsal reports, reorganizing conflict calendars, responding to emails, adjusting prop lists, creating social media posts, rewriting rehearsal plans, formatting programs, or trying to remember whether they ever actually sent that costume reminder.

Theatre has always required extraordinary creativity but it also requires extraordinary labor and organization.

As artificial intelligence tools become more accessible, many theatre professionals are asking an important question: Can AI productively support theatre work without sacrificing the humanity at the center of the art form?

The answer may be yes… but only if we use it intentionally.

The most productive use of AI in theatre is not replacing creativity. It is reducing the invisible workload surrounding theatre so educators and artists can spend more time creating meaningful human experiences.

Theatre Professionals Already Wear Too Many Hats

Theatre teachers, directors, and production staff rarely operate within a single role. On any given day, we may function as directors, teachers, producers, marketers, counselors, event coordinators, dramaturgs, grant writers, stage managers, conflict negotiators, and public relations representatives.  AI tools can help streamline many of these support tasks.

For example, AI can help:

• draft rehearsal schedules,

• organize production timelines,

• create company and parent communication,

• generate study guides,

• build technical theatre safety quizzes,

• summarize research for dramaturgy,

• brainstorm warm-up activities,

• create promotional blurbs for social media or programs,

• and differentiate instructional materials for diverse learners.

None of these tasks replace artistry. They simply create more room for it.

Supporting Accessibility and Inclusion

One of the most promising uses of AI in theatre education is improving accessibility.

Many theatre programs serve multilingual and multicultural company or audience members, those who are neurodivergent, those whose only safe spot is in theatre, and possibly even those who may never have considered theatre “for them”. 

AI tools can assist in creating:

• translated communication,

• simplified rehearsal instructions,

• visual schedules,

• vocabulary supports,

• character summaries,

• sensory-friendly preparation materials,

• and differentiated instructional resources.

For example, a director can quickly generate a glossary of theatre terms in multiple languages or create a simplified summary of a Shakespeare scene to support comprehension before rehearsal begins.

These supports do not lower expectations. Instead, they help remove barriers so more company and audience members can fully participate in the collaborative and transformative experience theatre provides.

AI in the Rehearsal Room

AI can also serve as a brainstorming partner during the creative process.

Directors and actors might use AI tools to:

• explore historical context,

• examine character motivations,

• generate rehearsal reflection prompts,

• research dialects,

• brainstorm improvisation scenarios,

• or investigate thematic connections within a script.

Technical theatre students can use AI to support planning and organization in areas such as:

• lighting documentation,

• production checklists,

• crew organization,

• or troubleshooting workflows.

The key distinction is this: AI may support preparation, but human artists still make the artistic choices.

An algorithm cannot replicate vulnerability, spontaneity, ensemble trust, or the electricity of live performance. Theatre remains deeply human work.

Ethical and Responsible Use Matters

Of course, AI use in theatre also raises important questions.

Who owns AI-generated content? How do we protect original artistic voices? How do we ensure students continue developing authentic creative thinking skills?  These are conversations worth having.

Like any tool, AI can be used thoughtfully or carelessly. In Theatre, we have an opportunity to model responsible use by emphasizing:

• transparency,

• ethical prompting,

• critical thinking,

• fact-checking,

• and maintaining human oversight.

Users should understand that AI-generated ideas are starting points and not final artistic products.

Theatre has always evolved alongside technology. Lighting systems, sound design, projection, digital editing, and virtual rehearsal tools once felt new and unfamiliar as well. The challenge is not whether technology exists, but how we choose to use it.

Keeping Theatre Human

Theatre has survived centuries because it fulfills a deeply human need: gathering together to tell stories, allowing for windows, mirrors, and sliding glass doors into the human experience.  No AI program can replace the feeling of opening night, the silence before a monologue lands, the moment music and lighting shifts and the scene’s tenor changes, or the collective breath of an audience.  But AI can help theatre professionals reclaim some of their time and energy from the administrative demands surrounding the art.

If used intentionally, AI allows us to spend less time buried in logistics and more time doing what drew us to theatre in the first place creating stories, building community, and helping students and audiences connect with something profoundly human.

Christina Ordonez is the Technology and Media Department Chair at Hoffman Estates High School. A published author and award winner for her work with Artificial Intelligence, she works nationally with educators on creating AI integration that is effective, efficient, ethical, and equitable. She enjoys helping theatre educators and arts organizations explore practical ways AI can support creative work while keeping human storytelling at the center of the process. This article was written in the "sandwich" mode - human, AI, human.  Christina wrote out her thoughts, outline, and lines she particularly wanted included in a rough draft. She asked ChatGPT to read her draft and comment if there were any major points that sounded repetitive or were missing.  She also asked it to summarize in one line what it believed the point of her article was, to confirm that her main argument was solid. From there, Christina revised her draft. She then asked Microsoft Word to edit for grammar and spelling. Finally, she read her draft and revised it for the final draft she submitted. 

By: Danny Yuska, ITA High School Division Representative

Interview with Anthony Greer: IHSTF Excecutive Director

We sat down with Anthony and asked a few questions about his theatrical adventure. Here is what he said...

What is your name?  What pronouns do you use?

By: Mark Begovich, ITA President-Elect

The 2026 Illinois High School Theatre Festival Planning Committee celebrated the 50th Anniversary in grand style. The Festival and the All-State production are always a massive undertaking, but this year, the team worked a little harder to honor the legacy of one of the largest high school theatre events in the country.

We want to feature these hardworking committee members so that you know who these amazing ITA Volunteers are!

Allan Kimball- Executive Director

A Bit About You- “I am the retired Director of Theatre from Southeastern Illinois College in Harrisburg. Before coming to SIC, I was the Theatre and Speech instructor at DuQuoin High School.  I have been involved with ITA and the Festival for many years, both at DuQuoin and SIC.  I have served on the Festival Planning Committee off and on for 7 years and as a member of the All-State Production Staff for 4 productions, including directing the All-State Production of Aida in 2020.”

Why You Support The ITA- “The ITA is a vital part of theatre in the state of Illinois.  It has produced and continues to produce, the teachers, technicians, and actors that shape and nourish those who live and love live theatre.  It is a resource for all of us who are involved in theatre.  The ITA provides a networking system that is essential for our personal and professional growth.”

Why You Volunteer For The Festival- “I love theatre.  I can't remember a time in my life when I wasn't fascinated by the magic of live theatre.  I love being a part of something that provides that sense of wonder to thousands of students every year. My parents always took me to see shows.  This is my way of paying if forward.  I want everyone who attends the Festival to walk away from this experience with the same feeling of awe that I have every time I see a show.”

Michelle Bayer- All-State Producer/ Secondary Rep

A Bit About You- “I have been teaching theatre, biology, English, and special education for 31 years at Oak Park and River Forest High School.  I am the performing arts chair, directing and supervising over twelve productions in our three theatres each year.  It is my greatest joy to share my love of theatre with our amazing students, who thrive in the supportive environment we try to create at OPRF. “

Why You Support The ITA- “I like to be involved with the ITA because, as a theatre educator, we can be isolated in our buildings.  The ITA allows me the opportunity to collaborate with theatre artists from all over the State of Illinois.  Their support, encouragement, and advice help me grow individually and as a drama program.”

Why You Volunteer For The Festival- “I loved the Theatre Festival as a student.  My teacher was the executive director during my senior year, and I saw all that the festival had to offer students.  I want to be a small part in carrying the banner  of IHSTF to as many kids as I can.”

Christina Ordonez- All-State Producer/ ITA Secretary

A Bit About You- “I work at Hoffman Estates High School in multiple roles: Technology and Media Department Chair, Auditorium Manager, Theatre Director, New Educator Coordinator, and Professional Learning Lead.  Previous to that, I was an English and Reading teacher.  I love reading and spending time with friends and family.“

Why You Support The ITA- “I am honored to be the ITA Secretary, as well as All-State Producer, as I believe this organization is integral to instilling a love of the Arts and Theatre through all age groups in Illinois.  Theatre is here to shine a light not just on what is, but what could be, and the ITA fosters that hope and possibility for artists, young and old alike.  Theatre is where all art forms come together in a common message, and I believe in the ability of the ITA to shape that message of support and alliance of ALL people in Illinois.”

Why You Volunteer For The Festival- “Theatrefest has been a huge influence on my life, my siblings' lives, and my students' lives since 1994. The ability to not only give back to that community but to hopefully strengthen it for future generations is a privilege.  Plus, the people I've met through the committee are WONDERFUL and have become colleagues I can turn to for advice and laughter.”

Anna McSweeney- All-State Director

A Bit About You- “I'm an active Mom of two littles who loves spending time outside playing with them.  Currently, I am a dean at Addison Trail High School, theatre director, and student council sponsor.  I love vacationing and exploring new places, and so thankful to live in Illinois!“

Why You Support The ITA- “They really supported my journey in becoming a teacher with the partnership with ISU, intern/chaperone program, and even the connections I made with other teachers.”

Why You Volunteer For The Festival- “It's been a dream of mine since 2001 to direct an All-State.”

Thank you to all the Festival Committee members! We will celebrate you later this year.

By: Wesley Skym, University of Illinois at Urbana-Champaign, Youth Theatre Division Representative

Introduction: Evolution of Technology in the Theatre Classroom

The drama classroom remains an environment focused on interactivity, personal relationships, speaking, and creativity. As technology and schools evolve together, the integration of new technologies and approaches remains at the forefront of district initiatives. The theatre classroom is not immune to these initiatives, even outside of typically technical theatre elements like sound design and lighting. One such example includes using new media to extend devised theatre experiences in the classroom, exploring themes from Shakespeare using media platforms like email, mobile devices, and more (Jensen, 2011). This use offers just one of many approaches to technological advancements within drama lessons in the classroom in the digital age. As a current theatre educator, the idea of using artificial intelligence in my practices continues to interest me, just as other technological advancements have in the past. I myself have explored the use of artificial intelligence programs like MagicSchoolAI to quickly adapt lessons for groups of students, specifically using it to assist in the creation of a text analysis unit for a class with behavioral concerns that were unable to handle the playful nature of an active drama classroom. This ability to streamline my planning within a short amount of time opened my receptiveness to using artificial intelligence as an educator.

During the COVID-19 pandemic, there was an air of panic within the field of Theatre Education. Worry that our classes would be cut, difficulty finding new careers with shutdown schools, and trying to figure out how to facilitate a classroom so reliant on human interaction and movement in an online class were just some of the many common concerns. Returning to in-person was a relief to many, but simply continuing on without acknowledging the need to adapt and evolve would be an error on the part of any educator. In my master's program, I completed a thesis on the virtual classroom from its conception in distance learning. As part of this research, I developed the HI-FIVES framework, a model designed to evaluate the effectiveness, accessibility, and engagement potential of educational technologies (Skym, 2024). While my initial work addressed early applications of AI in education, the rapid advancements in this field call for a reevaluation. In this project, I hope to assess how AI can be effectively integrated into the theatre classroom while maintaining its core values of creativity and collaboration.

With the rapid growth of AI, the theatre classroom is on the brink of falling behind once again. It is imperative that those who teach theatre work now to familiarize themselves with programs and ways to integrate their use into their curriculum to stay ahead of the industry, as seen with the integration of other media forms prior to AI (Skym, 2024). There are a variety of routes to take to integrate the use of AI into current practice and still uphold the core values in the world of Theatre. Before exploring these routes, one must first understand the benefits of technological approaches when combined with theories of learning.

Theory/Concepts: Benefits of Technology and Artificial Intelligence in Learning

Technology use in education has roots in multiple educational theories, which often support its adoption within districts (Skym, 2024). Constructivism is one such base theory, with students being able to make their own learning via self-direction and efficacy (McLeod, 2003). Much technology used in classrooms builds on this approach as students are more active in the classroom, even motivating students to take their learning outside the school with their own personal devices. Technology helps students learn through building collaboration via virtual resources, quick feedback, assisting with the formation of communication skills, and supporting the use of high-level thinking skills (Isik, 2018). The idea of conditions of learning (Gagne, 1985) is supported by artificial intelligence integration as well due to the quick response or feedback from generative AI that can assist in reinforcement that leads to learning (Gagne et al., 1992; Mollick & Mollick, 2023). Vygotsky’s zone of proximal development is another learning theory that supports the use of educational technologies, especially as artificial intelligence enters the space. AI devices can offer timely feedback as a tutor of sorts, with the ability to respond with corrections and text to students in real time (Ocumpaugh et al., 2024). In this sense, the computerized system becomes the more knowledgeable other (MKO) that students learn with and from. This is continued through more communicative versions of AI using large language models (LLMs) powered by generative pre-trained transformers (GPT) that can instantly generate responses to prompts (Mollick & Mollick, 2023).

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Read the rest of the report here: Be Not Afraid of Greatness: Artificial Intelligence and Theatre Education.pdf - Google Drive