The goal of this thesis was to develop a process-based approach for a theatre production with an emphasis in musical theatre at the secondary education level. Many times, a high school theatre instructor is faced with challenges when selecting materials for productions that go beyond the standard mandated curriculum. In a perfect world, the program would have strong enrollment, overflowing funding and community support. This is usually not the case, so how does the director prioritize the necessary practice to find success for a production? What does the instructor do to select material that will be appropriate for the curriculum standards? How does the director adapt production elements to satisfy both academic and community requirements? By establishing clear goals for the production, I utilized effective research methods and proper selection of materials to create a successful production. Drawing from my experiences as a stage manager, educator and director in a wide variety of settings, I used my thesis to devise an effective pedagogical approach to directing a production of "Mamma Mia".

Vaclav Havel once said that "[t]heatre is always a sensitive seismograph of an era, perhaps the most sensitive one there is; it's a sponge that quickly soaks up important ingredients in the atmosphere around it." One of the more important "ingredients" in our cultural atmosphere in modern America is the issue of identity. In his book on metatheatre, Richard Hornby posits that theatre is "a kind of identity laboratory, in which social roles can be examined vicariously." In this thesis, I examine Hornby's theory of the five different modes of metatheatre, critique each, and argue for the addition of a sixth mode. I then explain the basics of critical race theory, and argue for the use of it as a theoretical lens in the theatre and for the creation of a body of "critical race theatre." Using the framework of metatheatre and the theoretical lens of critical race theory, I analyze both Branden Jacob's Jenkins' An Octoroon and Young Jean Lee's The Shipment as seminal works of critical race theatre. I argue the necessity of applying critical race theory to the theatre and creating such a body of work if the theatre is to play a part in striving for racial justice. By analyzing the use of metatheatrical devices to confront race in both of these plays, I additionally make the case that metatheatre is the best frame within which to craft a body of critical race theatre.

As a teacher of high school theatre, I aspire to create powerful and thought-provoking theatre with my students. For my thesis, I adapted George Eliot's classic novel Silas Marner into a one-act play. I researched the novel and the necessary aspects of writing a one-act play. I explored the overriding themes in the novel. I researched and applied the techniques, skills and literary mechanics necessary to construct a one-act play. I recorded the creative process with my students as we, the director and actors, produced this original one-act for public performances. I reflected on this thesis journey and objectively critiqued the entire learning experience. I wrote the adaptation in a one-act form to also allow my student to compete with the original theatrical piece in our District V Thespian Festival. The four highest scoring one-acts in the competition advanced to the Florida State Thespian Festival in Tampa, March 2020. Silas Marner was one of the highest scoring one-acts and will compete on March 19, 2020 at the Florida State Thespian Festival. This is a great honor for a high school Thespian Troupe and offers a wonderful, professional experience for the students. The story of Silas Marner was told in its entirety. My students presented the completed one-act in two public performances, and I reflected on this creative process. I directed my high school actors and they created the characters and developed the plot of my original one-act.

Teaching Artists (that is, artists who teach) are in a constant state of reflection and self-evaluation. Reflexive Teaching Artistry is the ability to apply personal reflection to practice as a means to better support and engage students. Reflection is certainly useful at the culmination of a class or project, but how does reflecting throughout the creative process benefit participants? How can a Teaching Artist's reflections be applied to their practice throughout a creative process to better serve the objectives of a program? Using the lens of Reflexive Teaching Artistry, this thesis examines three unique drama-based projects and the instances of "in-the-moment" reflection that challenged original project curriculum or infrastructure. The projects discussed include intergenerational program Come to the Table, the Multimodal Performing Arts Intervention (MPAI) arts and wellness research study, and a performance of When Pigs Fly, a Theatre for the Very Young piece, as performed for an audience with memory loss.

My aim with this thesis is to take college and professional level directing techniques and break them down in a digestible way so new directors can take these techniques and implement them at the high school and community theatre level. I discuss five different approaches to directing theatre with student or amateur actors, each tied to common practices and standards used in professional theatres. My goal is to take theoretical techniques taught at universities and create a practical mindset to implement them on the high school and community theatre level. Spending four years balancing teaching world history with being theatre director at an underprivileged Title I-qualifying high school has been filled with learning experiences. Having a degree in Education only partially prepared me for the difficult yet rewarding responsibility of putting on plays with minimal resources, no facilities, and with students who may have low reading levels and limited family support. While professional directors research, collaborate and continually progress as artists, as a one-man-band at a high school I found myself focusing more on achieving a final product than on the creative process. In my research of a variety of directorial methods, I look to improve my own techniques and create a road map that may be beneficial for new directors. I have streamlined professional practices down to five directing practices that can be implemented at the high school and community theatre level. The goal is to view them through a pedagogical lens, to create a variety of implementation tools for a rookie or inexperienced director. When analyzing ideologies proposed by theatre theorists along with common pedagogical practices, the research naturally broke down into five categories. Intertwining theatre principles with teaching strategies, my intention was to create directing approaches that support newer actors while aiming to incorporate professional theatre techniques. I applied this research to five short plays I directed at Dunnellon High School (FL), where I was a full-time teacher. Dunnellon High School is a Title 1-qualifying school in a poor community with a small theatre program. These qualities made DHS a good school to apply my research, as it has students who have minimal experience and require a high reliance on teacher support, with a restricted budget and facility limitations.

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.