As a young theatre educator and director, I have found myself to be most impacted by LGBTQ+ works that provide perspectives on controversial topics that exist in today's society. It has dawned on me that representation through theatre is impactful for audiences who are able to relate to the characters in the story that is being told, and through this, can find their own voice in a world where they may feel silenced. In an ever-changing educational world, we as educators are always pushed to innovate and create strategies that can elevate how stories are told through theatre. Through conversations with my students, an idea to bring awareness and introduce LGBTQ+ issues in our high school through the form of a show was presented to help tell the stories of the disenfranchised and to encourage love throughout our school community. This thesis explores and analyzes the portrayals of LGBTQ+ issues portrayed in the musical A Man of No Importance, written by Terrence McNally, specifically geared towards homosexuality and the act of "coming out." The topic of coming out continues to carry a negative stigma in today's society, and for that I produced art that speaks about love and acceptance, all themes seen in A Man of No Importance. As a gay male with a conservative Catholic upbringing, it is important for me also to explore the role religion plays within this musical and the characters whom are facing the repercussions in the story. Through this thesis, my goal is to introduce an educated perspective on how LGBTQ+ issues have been portrayed in this musical and to highlight how this and other LGBTQ+ themed shows are needed in our society to spread the message of inclusivity and love. In addition to researching, I discuss my directorial process for my production of A Man of No Importance at University High School and how its message can spark conversations about love and acceptance.

The works of Stephen Sondheim are some of the most complex in the musical theatre canon. The storylines are often about adults in tumultuous relationships and the music contains indiscernible melodies and abnormal rhythms. These are works often difficult for even the most experienced performers, let alone any high school student. As a high school theatre teacher, it is important my students are challenged and prepared to tackle any and all theatrical works. I have dissected a number of Sondheim's works in order to find ways to make them more accessible to high school students. While the characters and their experiences may be well beyond their high school years, these works are still relevant to them. Navigating this complicated material is one of the many ways I challenge my students, and in my thesis, I intend to explain how I guide them through this text and music. I utilized research for my classroom teachings to explore three different works by Stephen Sondheim (Into the Woods, Company, and Merrily We Roll Along). Each of these musicals presents different challenges student performers must overcome. I used my musical theatre class as my lab to delve into in-depth script and score analysis and discussion of how to master the challenges of each musical into a full production.

The human eye can see approximately seven million different colors and within this vastly wide spectrum of refracting and reflecting light waves, an almost equal number of connotations have been attached to these various shades and tones. Whether originating from cultural histories, religious traditions, or a myriad of other sources, these associations succeed at quite literally coloring one's view of what is illuminated in front of them, especially when it comes to any and all attached emotional implications. This knowledge raises the question of how does an artist navigate not only the utilization of color in their work, but the awareness that their audience's perception of their final product will, in one way or another, be affected by the colors utilized within it? This thesis will not only research the societal histories, but the very psychology of color and its various effects on mankind. From the formulation of theories centering around conclusions drawn by this investigation, hypothetical theatrical productions will be used as case studies, directed through the lens of color theory, taking into consideration not only the utilized colors' effect on the story being told, but on the audience's overall experience. With a greater understanding of color theory, specifically in relation to the psychological effects it can have on people, an artist can utilize this knowledge to aid themselves in crafting an incredibly deep, enriching piece of theatre. The proper use of color, or even the intentional lack-there-of, working alongside the many other facets of modern-day stage shows, can transform a classic work into something entirely new just as an exploration into any facet of the human condition can yield wondrous results having a very poignant, tactile effect on the end product that one is seeking to produce, be it on the stage or anywhere else in life.

Augusto Boal said "Theatre is a form of knowledge; it should and can also be a means of transforming society. Theatre can help us build our future, rather than just waiting for it." I have been a teacher in a private school setting for 27 years. In my work with students, it becomes increasingly important to me that the projects in which I engage become transformative, not only for me and my students, but for my audiences as well. Finding ways that promote awareness of social justice, both locally and globally, has become paramount. My ongoing goal is to inspire dialogue and understanding while dealing with relevant social issues. Can theater designed as a "means of transforming society" be made relevant to students I work with? Over the course of this past year, I documented some of my efforts. Through the thoughtful and careful selection of theatrical material which allowed me to explore various topics, I opened up conversations that started at the beginning of the rehearsal process and continued through, and even after, the performances. I networked with organizations connected with the chosen social issues so they could provide first-hand information to me and my students. I was able to share that information with my audience members who attended our productions. I explored different types of immersive techniques and added a pre-show experience that underlined the theme for two of my shows. My research focused on plays and musicals that dealt with pressing contemporary social issues related to each production. I explored how the shows could be staged in inventive ways to target the chosen issues. I collaborated with local organizations that were able to benefit from our efforts through charitable donations. I was also able to tie in my professional work on the stage with this project.

This thesis examined the modern renaissance man and his relationship between musical theatre history and parody; it examined how the modern artist created, produced, and facilitated an original parody in which humor can both influence and enhance an individual's interest in the art form. In the creation and production of The Complete Works of Stephen Sondheim [abridged], I showcased factual insight on one of the most prolific writers of musical theatre and infused it with comedy in order to educate and create appeal for Stephen Sondheim's works, especially those lesser known, to a wider theatrical audience. My two greatest research methods were as follows: (1) historical research of Stephen Sondheim's personal life, as well as his completed scores as composer, lyricist, or both which, along with my co-writers, culminated into a written theatrical piece and (2) the production of said written piece for audiences. Most of my information had been collected from published scripts and scores, biographies, non-fiction books and articles detailing production history, and filmed archival footage of the works of Stephen Sondheim. This thesis confronted the issue that comedy often lacks educational merit and proves that proper research can be synthesized into a product that is both palatable and memorable for audiences. It is this author's contention that enlightening individuals on the works of Stephen Sondheim through a parody, differing from the typical styles, mainly revue and cabaret, that often examine his career will provide the most satisfying mixture of education and humor.

Disability in performance has a long history, starting with fictional characters such as Shakespeare's Gloucester/Richard, progressing through the freak shows of the early twentieth century, and finally with artists such as Neil Marcus, Mat Fraser and Deaf West Theatre in the past twenty years. Looking to the work of disabled artists, activists, and theorists such as Petra Kuppers and Carrie Sandahl, I will examine the history of both disability in performance and the performance of disability. I will discuss my performance of Garret, a man with muscular dystrophy, in my original play, The Sick Parents Club. Through analysis of what playing a disability means both emotionally and physically, I will seek to answer the questions: How can an actor play a disabled character without defining them by their disability? Is it possible for a normative-bodied actor to approach authenticity playing a character with a disability?

Casting might be the most exciting thing in theatre to happen off-stage. Actors, agents, directors, producers, and outside observers are keenly interested in who plays a given part. In a professional space, casting seeks to ask, "Which performer is the best fit for this part?" But what happens when an educational theatre director instead asks, "Which role will best enable the learning of this performer?" This thesis explores the process of casting in an educational theatre space as being distinctly different from casting in a professional theatre space. By examining theoretical underpinnings of casting through literature and reflexive practice, I question what factors should be considered when casting youth performers in educational theatre productions. This thesis considers concepts such as thin-slicing, cultural capital, and student-centered pedagogy as means of transforming casting from a production focused practiced to a performer focused one. This thesis examines existing literature about casting as a practice as a means of understanding the theoretical ideas behind casting. I then survey current theatre practitioners in educational theatre spaces to define current trends and practices when evaluating young people's auditions in educational theatre. Finally, I develop and test a tool for measuring young actors in auditions, which I apply and analyze through the casting in a youth production of 101 Dalmatians KIDS. The thesis reflects the practitioner's practice as research and considers both challenges to casting as a pedagogical practice and casting issues unique to educational theatre. The reflection also considers practices to help make casting a more student-centered process in educational theatre spaces.

High school theatre programs tend to select musicals that employ many students, both on and offstage, as well as titles which contain little to no objectionable content, making it safe for all family members to attend. The community standards imposed by school districts limit the choices for theatre teachers. Students also tend to be attracted to the newer and recently released musicals, ones that just finished a national tour or their Broadway run. Finding a title that adheres to the various criteria of a high school can be demanding and frustrating. For my thesis, I mounted and produced Hello, Dolly! at Dr. Phillips High School in February of 2020. This is a musical that hasn't been produced at all in the school's 33-year history, nor has it been produced locally in the greater Central Florida area for some time. Due to the popularity from the recent 2017 revival and subsequent tour, there is a renewed interest in the piece among the theatre savvy students. The annual Spring musical at Dr. Phillips High School is a massive undertaking that utilizes most of the department on and backstage, as well as having a live student orchestra featuring students from the music department. Hello, Dolly! does not require a reinvention or reinterpretation; there is a reason it has stayed a favorite for the past 55 years without a rewriting or revision. For this reason, I stuck as closely as possible to the original production design and staging within the budget and capabilities of a high school Theatre Department. It is important to have the students experience the demands and beauty of a classic musical. I served as director and musical director for this production, and I also staged some of the lesser choreographic songs. This allowed me to approach the production from various angles, all through the same conceptual lens.

The horror genre wears masks of various shapes, sizes, and textures in the creative outlets in which it exists. While often criticized and chastised by the craftiest of pop culture critics, the general agreement is that the genre successfully fulfills its purpose in satisfying a craving for screams while providing a sub-cultured home for a specific demographic of misfits. Although the reasoning behind the genre's ever-growing popularity and continued financial success can easily be accredited to surface-level identifiers such as these, for the purposes of horror-based theatre, I believe they can more accurately be attributed to reasons far more psychoanalytical. This thesis seeks to examine the evolution of horror-based theatre and analyze its relationship with psychoanalytical theory. I propose that in order to push the genre forward and execute it to its highest potential, the practitioner of horror-based theatre must approach their work with a well-crafted understanding of psychoanalytical theory while also executing the three essential elements of horror: escapism, immersion, and participation. Julia Kristeva's Theory of Abjection, detailed through the theoretical research in her 'Powers of Horror' text, will act as the foundation for my research, as I find its principles and values to align themselves strongly with the tools I believe a creator of horror-based theatre should possess. While many professionals and practitioners in our world still fail to recognize the haunt industry as a pure form of theatre, others understand its responsibility in ushering horror-based theatre into the next stage of its evolution, considering all three of the essential elements are at play within the confines of a haunted experience. I too propose that the sub-genre's next evolutionary phase will come as the result of the continued growth of the haunt industry. However, a better understanding of abject theory should work in tandem with the immersive technologies of the haunt world in ensuring that the practitioner executes the experience to its fullest capabilities. As a practical element of my thesis project, I will detail my experience working in the haunt industry from a directorial perspective in determining if a theoretical lens, in conjunction with emerging forms of immersive technologies, can not only help reassure the continued prominence of horror-based theatre, but promote its evolution and empower its growth.

In Karen Jürs-Munby's introduction to her English translation of Hans-Thies Lehmann's Postdramatic Theatre (2006), she positions a single African American theatre practitioner, Suzan-Lori Parks, within the canon of postdramatic writers in spite of Lehmann's blind spot for the contribution of Black artists to innovations in theatre practice and aesthetics. This thesis draws from critical jazz studies, particularly Parks's "Rep & Rev" and Fred Moten's analysis of jazz improvisation from his seminal work, In the Break: The Aesthetics of the Black Radical Tradition (2003), in order to visibilize Black contributions to theatre innovation through what has often been overlooked as merely popular music. Through a series of theoretical riffings, I deconstruct the terms (jazz aesthetics, performance, text, and the postdramatic) toward an architecture of performance and toward a queer epistemology that mixes diverse relationships of intensities found in both jazz and the postdramatic, namely queer time as jazz syncopation/swing, queer space as jazz improvisation, and queer body as jazz sonority/phrasing. Finally, in two theoretical jam sessions, I analyze Quiara Alegría Hudes's Water by the Spoonful (2017) and Christina Anderson's How to Catch Creation (2019) through these lenses. I propose that by locating jazz aesthetics and the postdramatic together in a critical topography, we can better recognize not only how POC and queer theatre makes statements by resisting certain hegemonic structures and deconstructing hierarchies of theatrical conventions, but also how Black and queer forms contribute to innovations in theatre and performance practice.