The Theatre as Sanctuary: A Call to Protect a Vital Space for Belonging and Growth
Amidst rising censorship and dwindling support, the theatre remains a crucial haven for young people and a powerful engine for empathy and understanding.
For many, the theatre is more than just a stage; it’s a lifeline. As one individual reflects, school was often a difficult environment, marked by feelings of isolation and being an outsider. “I was nerdy, somewhat shy, called a goody two shoes—you get the idea,” they recall. A move in high school only exacerbated these feelings until, unexpectedly, an Introduction to Theatre class offered a refuge. By the end of the year, they were cast as the Queen of Hearts in Alice in Wonderland, a transformative experience that ignited a passion.
This story is far from unique. A supportive teacher recognizing and nurturing talent proved pivotal, leading to roles like Regan in King Lear and immersion in the world of thespian conferences and drama clubs. The theatre provided a space where individuality wasn’t just tolerated, but celebrated. This sense of belonging extended to college, where a role in Real Women Have Curves fostered friendships and a sense of community on a campus where they previously felt invisible.
At its heart, the appeal of theatre lies in its power to connect. “I truly believe that stories are powerful tools for connection, no matter how we engage with them,” the individual explains. “Stories help us see ourselves and others more clearly.” Experiencing works like A Raisin in the Sun offered a mirror to their own experiences, while London Assurance sparked a love for plays of manners. Directing Dearly Beloved reinforced a simple truth: the essence of theatre is “play.”
The impact extends beyond personal connection to broader social understanding. Plays like Indecent illuminated lesser-known historical injustices, while musicals like Ragtime and In the Heights brought underrepresented communities to the forefront. Productions of Ruined and Between Riverside and Crazy challenged audiences to empathize with complex, even unlikable characters. Even contemporary works like John Proctor Is the Villain resonated deeply, prompting reflection on familiar dynamics.
The influence isn’t limited to Broadway. A wealth of impactful plays, including Sheltered by Alix Sobler, Woke by Avery Sharpe, The Magic Negro and Other Blackity Blackness by Mark Kendall, The Homecoming Queen by Ngozi Anyanwu, Behind the Sheet by Charly Evon Simpson, and The Two Kids That Blow Shit Up by Carla Ching, have opened hearts and minds. Sherwin Resurrecion and Sun Mee Comet’s work in “The Two Kids That Blow Shit Up” at Theater Mu exemplifies this commitment to diverse and engaging storytelling.
Ultimately, the theatre fostered not just a sense of belonging, but a deeper sense of empathy and compassion. “The sum of my time in the theatre is not only that I found a place to belong, but also that I became a more sympathetic and empathetic human being who on my best day extends that sense of belonging and embrace to others.”
However, this vital space is now under threat. A wave of censorship and fear is sweeping across the country, with funders hesitant to support theatre due to political pressures. MFA programs are closing, and anti-LGBTQIA+ rhetoric paints theatre as an “indoctrination machine.” In May, a high school in Georgia was forced to cancel a production of The Crucible, and just last month, 60 students in Arizona had to defend their membership in the International Thespian Society.
This climate raises a critical question: are we losing sight of the core purpose of theatre? There is a growing fear that the focus on scarcity, politics, and divisive ideologies is overshadowing the fundamental need for a space where young people can find their voice, build friendships, and navigate the challenges of adolescence. With cuts to public education and rising costs for extracurriculars, the future of theatre access for young people is uncertain. Data Placeholder: Chart showing decline in arts funding in public schools over the past decade.
The individual passionately argues for the importance of protecting this ecosystem for future generations. “I expect theatre to be better than the world, unreasonable as that may be.” They emphasize the need for artists to operate with a higher level of consciousness and urge a shift away from divisive rhetoric towards enacting justice and fostering understanding. This requires active engagement – writing to representatives, attending school board meetings, volunteering in communities, and sharing resources.
The next generation deserves a vibrant theatrical landscape to inherit, improve, and build upon. For this individual, and countless others, the theatre is more than just an art form; it’s a fundamental human need – a place to belong.
Kelundra Smith is TCG’s director of publications.
