An Intern’s Trial by Stilts

For two weeks, Michael patiently taught my boyfriend Dave and I to stilt walk. To my surprise the distribution of weight and maneuvering of extra-long legs came quite easily to me. That might be attributed to the fact that I myself am quite a lanky individual and am used to dealing with awkwardly long limbs or maybe that I’ve had a number of years practice in climbing colleagues bodies and finding balance in precarious places. Either way, I have definitely, with the help of stilt guru Michael, discovered a skill I hope to develop and perfect.

The real test of my new-found abilities came on October 31st, when a team from Bond Street Theatre (Anna Zastrow, Josh Wynter, Elizabeth Frascoia, Marshall Nichols and Dave Southwood) strapped on their stilts and waved, walked and danced the length of 6^th Avenue in the famous Village Halloween Parade, alongside the very impressive Le Velo Rouge (driven by Michael). After a number of pre-parade wobbles and close calls with photographers struggling to see through their view finders, I found my feet and couldn’t believe where I had found myself. 16,000km (or 10,000m) from my home in Sydney Australia, in one of the most iconic cities in the world, stilt-walking alongside some fantastic people I’ve had the privilege of meeting and working with. Who would have thought?! The sheer size of the event was something I couldn’t quite get my head around. It wasn’t until we had a moment to stop and take a breather that Michael suggested to “Turn around!” and I was able to get a glimpse of the wonderful puppets, floats and swarms of parade-goers that followed. The city was illuminated, not with headlights of cars, and changing traffic lights, but a wonderful glow of creativity and celebration.

It was an incredible experience to witness the number of people who braved the cold and sprinkle of rain to cheer and bear witness to the wonders that passed them. People of all ages enjoyed the event from small children squishing their faces between the bars or held high on their parents’ shoulders, to elderly friends sitting comfortably in their wheelchairs sharing a laugh and a dance.

Halloween is not a widely celebrated occasion way down under in Australia. My one and only experience of Trick or Treating involved rolling around a neighbour’s garden in the dark, fearful of ‘eggers’ and teenagers with water bombs who made it their mission to ruin the fun of those in costume. You can imagine how interesting it was for me when shop fronts, restaurants, apartment blocks, buses and even dogs (or maybe really their owners) embraced Halloween.

I’ve been told and have read countless times that participating in the Halloween Parade is on the list of ‘Top 100 things you must do before you die’. I’ve got to say, that stilt walking the parade with Bond Street Theatre now stands at number 1. 

Louise

Intern Spotlight: Aly Trombitas

Here is our final intern spotlight!  Aly shares how BST aligns with her aspirations to make art and help people:

From when you can talk onward, there’s always that one question you’re consistently asked: What do you want to be when you grow up? As a highly optimistic college student with too many interests to count, I’ve always hesitated before responding to that question, because “Make art and help people” isn’t a satisfactory answer for most.

I discovered Bond Street Theatre’s website while doing research for a class, and am pretty sure I applied for an internship within the hour. Here was a group of trained physical theater artists who were using their craft not only to create compelling performance but also to promote human rights internationally—it sounded like a win/win situation to me!  I had been looking to spend my summer somewhere where I could get a sense of many aspects of a small theatre organization, instead of being guided into only one particular skill. Bond Street spends time with each intern to allow you to explore and grow, and that’s exactly what I needed. Not only is the office open and airy (and no shoes allowed—a valuable perk in my opinion) but it carries 37 years of not-for-profit arts and humanitarian knowledge. Even after 2 ½ months of taking everything in I am still in awe of the travels and impact that Bond Street has had in the world (75,000 refugees reached in Kosovo? Wow!)  

My summer at Bond Street has been incredibly fulfilling and inspiring. I’ve gotten to know an amusing company of theatre professionals who are so wonderful at looking beyond themselves to a broader world. I’ve become much more aware of myself as a part of that world—in one day I could be scouring news sites to provide updates and information to the Haiti team, researching grants for women’s public speaking programs in Afghanistan, talking with the Syrian-American Council about working with refugees, and editing the study guide for our new Young Audience Program. I’ve always been a team player, but I’ve never been a part of such a big team before! Many incredible people in many walks of life come together to make Bond Street’s vision a reality, and I’ve really been impressed at the interdisciplinary communication that makes programs as effective as they are.

Bond Street also values their interns as performers as well as administrators—I got to try my hand at solo and partner acrobatics and, of course, stilt walking. Stilts were certainly scary at first! But I was very proud of myself when I was able to let go of Katherine and Anna’s hands and walk around on my own. I can’t imagine how incredibly empowering that feeling must be to people around the world living in oppressive conditions, tall and strong and balanced on stilts—to me it epitomizes what Bond Street is trying to do.

This has been a wonderful place to spend my time. There’s been a lot of learning, big laughs, and some high quality iced coffee. Being here has further prompted my determination to make an impact in the world and I feel more confident than ever that “make art and help people” is a worthy pursuit. 

Intern Spotlight: Ruby Hankey

Development Associate Ruby Hankey is a recent graduate from Drew University and proud to be a BST intern!

I am a tap dancer hailing from…well, here!  My first bed was a small dresser drawer on 2^nd Avenue not too far from Bond Street Theatre’s office.  While continuing to enjoy a humble lifestyle, I dream of bigger and better things than my quaint drawer.  Specifically, I have been drawn to international travel working with Sudanese refugees in Egypt, studying French in Paris and teaching English in Greece. 

Growing up, my passions clashed between wanting to be a theatre professional and a diplomat.  A wise man said to me, “Well, Ruby…you’ll do both!” -- a pipe dream to me at the time.  However, after this summer working with Bond Street Theatre, I see that theatre and humanitarian international relations really can work in tandem.  After receiving my BA in Theatre Arts from Drew University and concluding an internship with St. Ann’s Warehouse in May, I wanted to expand my knowledge of how theatre organizations operate in today’s economy and political state.  At St. Ann’s, I had an immensely valuable experience participating in a theater which brings in performers from all over the world.  However, I still had a hunger to observe a company that creates its own theater to take around the world, themselves!

Bond Street Theatre has been on my radar for years.  As many other interns have said, within five minutes of scouring BST’s website, it becomes difficult to turn away from such an admirable mission. Joanna and Michael have toured all over the world, bringing lessons, trinkets, languages, culture, art, stories, hopes and dreams from nooks and crannies of the globe: dusting off news which can often be forgotten in the western world.  They represent the melting pot this city has become: connecting a conversation of the heart and mind across continents.  I knew this was the place for me.  I feel honored to be learning from such a diverse, brave and innovative organization.

Over my three months here, Bond Street Theatre’s staff has trusted me to spearhead the research, organization and preliminary planning of a photography gallery showing for the coming year.  I have experience in event planning and individual giving, so I was willing to take on an adventure to develop a new way to showcase BST’s work domestically.  Quite an adventure it has been!  Diving in to the deep end, I have learned an entirely new program called Adobe Lightroom, looked into nearly every photo gallery in New York City and beyond, researched grants for documentary photography (and identified for myself what documentary photography actually means!), gone to free seminars and gallery opening events, sifted through 30,000 + photos from our collections, schmoozed with gallery administrators and owners, went out to tea with photography artists, learned the etiquette differences between the theatre and photography worlds, and written a how-to document outlining the process of my discoveries, developments and procedures.

Although coming in to this internship I had no knowledge of or experience with photography, focusing on this project has given me an invaluable source of knowledge and perspective for a line of humanitarian theatre work which I only knew at surface value.  This internship has opened my eyes to the possibilities of international communication, community development, and my own inventive, ‘go-get-em’ attitude.  I often get a thrill to know that I have the pleasure of working for a company that is paving the way for the future of theatre for social development.  There is not much widespread support or knowledge, overall, for the type of work Bond Street Theatre does, but it warms my heart to see and hear how many people are growing to support it fervently.   I plan to continue to be involved in this type of theatre as an individual, artist, administrator and leader.

Intern Spotlight: Katherine Connolly

Back by popular demand! The 2013 Summer Intern Spotlight highlights the experiences of our three incredible summer interns. This week, recent graduate Katherine Connolly discusses her many passions and the value of being label-less.

I’m from Maryland, “The Old Line State.”  The Line is the one drawn in 1763 by Mr. Mason and Mr. Dixon,  which eventually became the division between free and slave states east of the Ohio River. And yet by the time the Civil War rolled around, Maryland was part of the Union (with some help from President Lincoln and Union forces). So much for drawing clear lines.

Over a century later,  the ambiguity remains. Maryland is too southern for the North and to northern for the South. The Tourism Bureau will tell you we’re “America in miniature,” with almost every kind of environment except a desert. Maryland is a blurred area, a melting pot of the melting pot.  The No Line State.

Why a Maryland history lesson in a post about the great work of Bond Street Theatre? Well, for those of you who know and love BST the connection shouldn’t be that hard to make. It made perfect sense to me the minute I stumbled across the BST website. Here is an organization that encompasses everything I am passionate about; a theatre that blurs lines and defies categorization. A perfect and exciting mix of traditional theatre, clowning, education, development, empowerment, healing, international collaboration, acrobatics etc. etc.

As a Maryland girl, I am comfortable with blurred lines. In June I graduated from the University of Virginia with a double major in global development studies and drama. To the theatre community I was a development person and to the GDS world I was a theatre person. Even my majors were a mix of disciplines; The drama major included technique and theory in all aspects of theatre, and GDS, an interdisciplinary program, included any class that could justifiably relate to the study of development. The highlight of my education was attempting to draw the lines between the two fields and finding ways to make those connections that BST has understood for decades.

Throughout my internship here at BST I’ve loved discovering all of the hats BST wears. My tasks as a summer intern have mirrored the diversity of BST’s work.  I’ve had the opportunity to build upon my background in political engagement in Afghanistan by providing research and programmatic support for the recent Educating the Electorate Project. I’ve contributed to the domestic focus by working with Heddy, Ilana, and Gretchen to develop marketing materials for the new YAP show, Amelia and Her Paper Tigers. Michael, Joanna, and Olivia have allowed and encouraged me to explore my interests in varied projects from assisting with grant-writing and editing, to researching potential projects in South Sudan and Arab Spring nations, to mapping out the structure of the UN. The more I work in different areas, the more I come to understand the importance of BST’s work.

So if you can’t quite figure out what category to put BST in, I would say you’ve discovered the true gem of BST’s work. This is a group of artists that redefines, bends, blurs, ignores, challenges, engages and defies lines. A no line state of cross-cultural artistic organization. BST thrives on collaboration and imagination. In a world of separation, of borders between us and them, what better approach than artistic collaboration? BST sees a future lying  in the grey areas, and this Maryland girl is honored to be a part of that work.

Katherine taught some of BST's acrobatics to her cousins during their beach vacation.

Theatre of Ideas

Our wonderful Design and Management Intern Chris DeFilipp of Bennington College sums up his BST internship experience.

When I joined Bond Street at the start of January, I never expected to have accomplished and learned so much in the six weeks I’d be interning here. But here I am, five and a half weeks later, with only three days left before I leave Bond Street and New York City to head back to Bennington College for my spring term, and I have to say, I’m really going to miss this place. I can safely say that Bond Street will be an experience I’ll never forget--nor would I want to.

Last night, Joanna spoke at NYU Gallatin on the Power of Performance: Theatre in War Zones, and I had the opportunity to sit in on her lecture. It acted as a sort of closure for my internship, as many of Joanna’s stories were summarized and contextualized that evening. Stories I’d been told weeks prior were used to emphasize her points, and the whole talk wrapped up my internship perfectly. Her talk discussed the history and process of Bond Street, focusing particularly on the importance of physical and intellectual communication, with the physical communication of theatre allowing intellectual communication, the transfer of ideas between the performer and the audience, to be possible across many different barriers.

One of the many things that stuck with me was Joanna’s tale of the traumatized children in the refugee camps. They did not speak or understand English, so Joanna communicated with them through activities such as “follow-the-leader”. Through solely physical communication, the children were able to participate in activities, and those who were traumatized had the chance to come out of their shells--and eventually did so, at their own pace. Her story made me think about how physicality can manifest itself in theatre as a way to communicate ideas, and to involve an audience--both intentional and unintentional--in the experience. I realized how theatre from all regions can still have an impact no matter the audience--it’s not the language that we’re communicating in, but the way in which we’re physically communicating, the way we’re acting it out, designing the space and the world, that makes theatre a language of its own.

However, I think Joanna ultimately spoke to a much larger point, a point that encompasses this physicality of theatre and goes beyond it: that ideas can be communicated through the physical means of theatre. There may be a verbal or musical aspect, and the tone may vary from tragedy to comedy to anything in between, but for the most part, the main goal of theatre is to communicate and address, through a physical staging of a script or other dramatic material, certain ideas and opinions. For Bond Street, these ideas are typically issues that the groups they work with want to address, but for me these ideas are of science, mythology, literature, art, and of fields of thought that the audience may not be aware of. I feel that any story, even a love story, murder-mystery, or drama, can offer an audience more if it offers some sort of intellectual nugget of information they may not have known or thought about before. This is one of the things working with Bond Street has helped me to fully realize: that using theatre to communicate ideas is, in fact, very effective, and can help to offer more than just entertainment or knowledge to an audience.  It can offer a new way of thinking about the world around us.

An Uplifting Family Experience

BST intern Zoe Travis taught her family to walk on stilts at their family reunion - and they loved it!

            The moment Michael heard I was leaving the office early for a family reunion, he immediately started to assemble a “to-go” stilt bag. I would be going to a gathering of family members of all ages, from all over the country, who only see each other every couple of years- of course I had to bring the stilts! In a magically compact bag, Michael threw in my fancy, newly crafted personal stilts, two extra stilts, stilt pants, and some juggling balls (just in case). I managed to lug it all to Penn Station and arrived, stilts in tow, in Lyme, New Hampshire the next day.

                    

          Lets just say, that the Travis Family Reunion of 2012 will forever be remembered as the time when every single one of us, ages 12-70, learned how to walk on stilts. Once word had spread that I brought stilts to the reunion, everyone jumped at the opportunity to give it a try. The night before our “big stilt lesson” many people were skeptical and said they would never be able to take steps on their own. But I am proud to say that it was only a matter of minutes before until most of my family members were prancing around, forming kick lines, and showing off their dance moves. For a family that doesn’t have much contact throughout the year, it was very clear that we still have a lot in common. The Travis’s are stubborn, competitive, and determined to get it right. Throughout it all we were supportive, encouraging, and ready to learn.

             Throughout the weekend, stilts remained a major topic of conversation. Everyone had so much to say! I asked my relatives to reflect on the experience, and here is Uncle Mark's response:

Zoe taught her entire family to join her up on stilts!

"At first I thought there was no way that I would be able to keep my balance, and that I would topple like a dead tree. But when I saw one family member after the other not only manage the stills but with great pride launch out on their own without support ... I knew it was possible and way more than desirable. I was hooked. So when it came to my turn I felt those old fears and trepidations creep in and those little voices saying, "what are you thinking", "you're doomed", but with Zoe's unending encouragement (by this time she was wandering around on her stilts, looking magnificent in her long black pants) I hoisted myself up. 

The first sensation was pretty much what I expected. No balance, no security, just hold on tight to everything within your grasp and you'll get through without major embarrassment. But then I took a few steps and I felt this rush of courage and conviction. Watching Zoe hover above me on her much longer stilts with that glorious smile on her face gave me the last bit of courage that I needed. And without thinking I let go of my two handlers and ventured out on my own. Wow. I felt like a giraffe. Maybe a baby giraffe, but a giraffe all the same. With wobbly legs, every core muscle tightening in response to the new challenges, I took bigger and bigger steps. 

 And then I decided to turn. And turn I did. And then I found myself just rocking back and forth, foot to foot, stick to stick - just like I had seen Zoe do so gracefully. And it was in that moment that I knew I was totally on my own. That I had accomplished something that I had never seen as possible. A new experience of independence, floating high above the masses feeling oddly empowered. 

I think my favorite part of my short stilt-walk was when I was dancing with Zoe. One, two, three, Kick. One, two, three, Kick. A beautiful moment of abandonment, fearlessly dancing on two sticks. A great metaphor for how we could all live. Maybe we are more secure when we place ourselves at the edge of disaster, maybe we are more connected if we elevate ourselves, not so we can be better seen, but so we can see better. Maybe we will slow down and be in the moment when we can't move so fast and when every muscle in our body is focussed on staying upright. Maybe...

Thanks you, Zoe. It was a moment I will cherish forever.  Cheers, Mark"

Intern Spotlight: Heddy Lahmann

Program Associate Heddy Lahmann is a California native and a graduate of San Diego State and the University of Connecticut.  

All Roads Lead to Bond Street

Heddy strikes a pose.

I was 11 when I got my first theatre bug. As a shy kid in a new school forced to take a drama class, my first “solo” assignment filled me with terror. Much to my surprise, however, my classmates gave me a resounding round of applause when I finished my performance and suddenly I was receiving recognition and even praise from peers that were waaaaay cooler than I. That happenstance drama course gave me a confidence I'd never experienced before, and ultimately changed the course of my life.

I pursued my education in theatre with a fervor that took me through college and graduate school and ultimately brought me here to New York City. And while that little 11 year old narcissist within is still alive and well, my outlook on the application of theatre and performance in my own life and the lives of others has changed in the years since middle school.

As a grad student, a teacher of mine spoke about his experience working with an organization whose focus was international humanitarian outreach through theatre. I'd never head of such a thing! Something stirred inside and I had to get to know more. I wound up traveling as a performer with Clowns Without Borders to Haiti following the 2010 earthquake and performing in tent camps, schools, and hospitals. It was that trip that solidified for me that theatre could be used in more dynamic ways than I had ever imagined, and this was work that I wanted to pursue.

Go Heddy!

I stumbled on Bond Street Theatre's website via idealist.org and knew I had to be a part of what they were doing somehow. In March I met with Joanna and one week later I found myself in the loft space of BST, working alongside superheroes. One week after that, and they had me traipsing around the office on stilts! (These particular superheroes have no qualms about sharing their superpowers.) The folks at BST continue to blow my mind with their unwavering generosity of spirit, passion, dedication and drive to bring theatre to the most remote and sometimes dangerous of places-- boldly going where no one has gone before as pioneers for change. A day "at the office" may consist of watching/editing videos from the latest journey to Haiti or Afghanistan, booking the Stilt Band at a new venues, aiding in the preparation of grants and final reports, watching and learning the Young Audience Program DVDs, or a trip to the illustrious basement to gather another collection of treasures to take to Materials for the Arts. There's a lot of pieces to the puzzle of what it takes to run such a uniquely small and yet global operation. I am a happy little sponge during my hours here, taking as much knowledge, skill and swagger as I can possibly absorb.

Most recently, preparations have been underway for another Bond Street journey to Afghanistan, this one specifically to bring theatre by Afghan women (trained by BST) to Afghan women in the prison system.  The empowerment I felt as a timid adolescent that sparked my own love of theatre, that's what BST takes to the most seemingly impossible of locations to the most seemingly impossible of populations. On my own theatrical journey, I aspire to have the bravery, gusto, and even a jot of the kind of impact that Bond Street has had on the world. It's an epic and marvelous adventure to be learning about this invaluable work and the special folks who do it.

Singing On The Stilts....

Intern Spotlight: Charlotte Drover

This week, BST spotlights our Production Intern Charlotte Drover!  Charlotte is a senior at Drew University with a focus in Theatre and Middle Eastern Studies.

In my overactive imagination, I've always fancied myself a xenophile wanderlust Queen: I conquered the world's most temperamental volcano in Sicily, dabbled in Arabic in high school, harboured a rather conspicuous obsession with India, and left my heart and soul in Londontown. I first learned of Bond Street Theatre's fascinating method through my mentor and friend Olivia Harris and readied myself to join with this creative force. My first toe-dip into the vast ocean of applied theatre began my sophomore year with the Drew University -- Marion Bolden Center Collaboration with Newark high school students. I concluded the semester and second Collaboration year with a growing storm of questions to bring to BST: 

What are their international collaborations like? What challenges do they face? How do they overcome those? How can I absorb this as an applied theatre facilitator-to-be? 

Learning the ropes her first time up.

When I began my first day at BST, Joanna and Michael bounced to greet me with spritely enthusiasm, an eagerness to teach, and Afghan pistachios. They nourished my curiosity of stilt walking, flag twirling, acrobatics, and the dynamics of a physical theatre stage picture. My dance and theatre background enriched, I have learned so much in this whirligig of a dramaturgical and production internship and specified my preference of production execution. 

From Day 1, I was enamoured by the work I was fortunate to do, obnoxiously gushing to my NYC friends and NH family about my assignments. I devour my work: researching the reality of the Afghan woman and her nation's progress towards equality, investigating the horrid detriments of the 1984 Bhopal gas explosion and cataloging the images, video and data which illuminate the disaster's chronic presence for Indian citizens, and distilling the most effective means to measure the impact of theatre within a community. Delicious.

Charlotte shows off her moves!

Yet what I am really savoring is how I'm maturing into a more effective theatre practitioner. On only my second stilt lesson I decided, with a Gemini's reckless nature, to start turning, balancing on one leg, and skipping all on stilts. Two young ladies, neighbors of BST, shyly crept by Shinbone Alley and peeped out a desire to learn to do what I garishly did. Verbose reflection aside, I am really proud of the fact that I was able teach them this skill that I just acquired, and kindling their confidence and passing on the BST good mojo.

Through acrobatics workshops lead by Joanna I am more confident in my ability to articulate why I love physical theatre: its ability to use the body's specificity and eloquence to transcend the barriers of language. I direct a play by Harold Pinter, a playwright who hates language, in Spring 2013, and I will naturally adapt my learning to the production and my final year as Bolden Collaboration mentor.

The other night I cruelly tortured myself by researching what real-world, post-graduate programs in London offered degrees in applied theatre and its cost (adding a few more links to the chain of my school debt and misery). Yet I realized that it wasn't self-torment, but me solidifying my faith in the power of Applied Theatre and what I can offer that field from my BST internship. I've grown into the big girl pants of my ambition by contributing real work for my dream company.

 Although I'm no clairvoyant, I can predict this with certainty: it will be nothing short of an adventure.

The 2012 summer interns!

Intern Spotlight: Zoe Travis

This week the Intern Spotlight shines on Zoe Travis.  Zoe is our Program Intern from Smith College through the Praxis program and a Brooklyn native.

Zoe stands tall at her first stilt lesson.

            I think it took me about five minutes to apply to be a Bond Street intern after reading the mission statement. This company uses theatre for healing and empowerment, has traveled all over the world and clearly has fun while doing it.  I read through the website in awe; I finally found the theatre super heroes I always dreamt about.

Let’s go back a couple of years. In high school, I spent at least four hours a day in acting class. I am so grateful for these hours: while I struggled to understand a character, I gained a profound understanding of myself.  After four years of playing characters who possessed a confidence that I admired, I snagged those qualities and made them my own. I graduated high school a noticeably different person, and a walking example of the power of theatre.

           Fast-forward three years, and I am sitting in a cozy, hard working think tank of an office, full of people who work to use the power of theatre around the world. As I sat across from Joanna for our first meeting, I knew that this would not be your typical internship- I would really contribute to the work of Bond Street, and really feel like a member of the team (or even family).
         The Bond Street office is a fascinating place. Even though we are all sitting in a circle and can easily swivel our chairs to have an impromptu meeting- I like to think about how all of our minds are somewhere else in the world. Every day I walk into the office, and try to immerse myself in Afghan culture as much as virtually possible.

Michael, Darielle, and Zoe pose
on BOND Street!

My current assignment is to write a proposal that would fund Bond Street’s Afghan Women’s Prison Project, a sustainable theatre program in women’s prisons in Afghanistan. The more I learn about the status of women in Afghanistan, the more committed I am to this project. While reading interviews of incarcerated women or writing the problem statement, I find myself becoming extremely overwhelmed or frustrated. There are so many layers to this problem; it’s hard to believe that any change is possible. I expressed this to Olivia, who I’m sure has experienced this many times, and she gave me great advice: to remember that the reason we are studying the problem is because we are proposing a solution. When I imagine the women in prison learning how to walk on stilts, or juggle, or performing plays that tell their stories- it’s hard not to smile. That’s what keeps me writing.

Ambling down Broadway.

   Everything we do here will one day be sent to a completely different culture across the world. When Michael taught me to walk on stilts, I was so nervous, had many self-doubts, and thought it would take me forever to walk on my own. Two hours later, Michael and I were strolling down Broadway, a couple feet higher than everyone else on the street. Even though they won’t be walking down Broadway, I know that I am sharing that initial sense of fear and then sense of accomplishment with hundreds of people around the globe. When Joanna demonstrated different acrobat tricks, and then said “your turn!” I always thought, “There is no way”. After she showed me each step, I gave it a try, and surprised myself each time.

I continue to realize that I am more capable than I thought, and that’s exactly what I wish for the women in Afghanistan. It’s incredible that by going to work to the same place each day, I continue to feel connected to people all over the world in a variety of ways. I look forward to the coming weeks at Bond Street- there is so much left to learn, and so many more exciting projects to work on. I like to think that this is the summer when I am learning how to use my theatre powers for good, and from the real super heroes themselves. 

Intern Spotlight: Darielle Shandler

This summer, our wonderful BST interns are blogging about their experiences in the New York office. Darielle Shandler, our Arts Administration intern from Drew University, writes this week about her experience.

Darielle steps out as a BST intern!

This is the story of how I started working for Bond Street Theatre. I grew up in a small town in the south and always wanted to work in the bustling metropolis of Manhattan. This summer I finally had the opportuity to apply for internships in the city I have loved from afar for so long. When I was hired at Bond Street, I couldn't believe I would get to work among the people who use theatre in such wonderful healing ways. Once the summer hit, I made the long journey from home to find my place in New York City. I explored the crisscrossed streets until I reached Bond Street and Broadway. Behind the unassuming store front there is a mountain of stairs to climb - even the most fit of us might loose their breath - but it doesn't matter once you reach the top. A small sign greets you with a request to remove your shoes. Strange to me at first, but it immediately set a tone of comfort and ease that permeates throughout the Bond Street offices. Stepping, barefoot, into the airy sunlit loft, you can't help but feel at home. The floors are covered in rugs from Afghanistan and the walls are covered in maps and pictures from trips around the world.

As I step further into the room I am greeted by the those who make Bond Street run so smoothly. First, Olivia, Queen of Communications, welcomes me to the office. A young beautiful grad student, she always has answers to my questions and is the person I turn to for my next assignment. She tweets, blogs, and posts, making sure the inter-webs know of the work Bond Street is doing thousands of miles away. I most closely connect with the work she is doing because marketing is the area of theatre business I am most interested in. Next, Joanna, her majesty the Artistic director, looks up from her work. A petite woman with voluminous red hair, clad in a simple dress, she wishes me a good morning. Throughout the day, she lets us in on the news from around the world, all while making sure the grant reports are written and updated. I am in awe of her because she has been a part of the company since the very beginning and she knows all of the ins and outs of what Bond Street does. Finally, Michael, the Lord of Numbers and Technology, swivels around in his chair to wave hello. He is hidden in his alcove of books and double screened computers. He is perched, contorted, on the little wooden chair, every once in awhile ruffling his fluffy gray hair while pouring over the numbers and budgets that keep Bond Street up and running. I like working with Michael because he knows so much about design and editing programs and I feel as if I can always learn something from him.

Darielle stands tall at her second stilt
walking lesson with Michael.

Every day, I work hard to help Joanna, Michael, Olivia, and Bond Street accomplish anything they need. I am ecstatic because working here isn't like any other internship, filled with fetching coffee and organizing files. I feel like a real part of the business - complete with my own bondst.org email address and bio on the website. I am doing work that I really enjoy; using my skills of design and video production to help with development. From one day to the next, there are many different things I do. One day I help edit quarterly reports and then help to design a postcard to hand out at Stilt Band events. The next day I edit footage from Bond Street's work in Afghanistan to make DVDs to give to their sponsors. I am having so much fun because I can take the time to learn new programs that I can combine with the skills I already have. For example, I have always wanted to learn Photoshop because it would fit in nicely with my other design skills. Bond Street sent me to a Photoshop workshop which helped me help them! They are also teaching me how to walk on stilts. I had watched them perform but never thought I would be able to do it myself. But after only two sessions I am able to walk around on my own. Now the idea of maybe one day walking with them in a parade doesn't seem so impossible anymore. Never in a million years did I think I would learn a crazy skill like that.

My internship has been a strange and wonderful dichotomy of interactions. On one hand, I am helping to finish projects so they have time for other things. I love to think a video I create will be used for a grant, or the sign I designed was actually used for their Shinbone Alley Stilt Band costumes. Then on the other hand, while I am working I am learning more and more about all of the amazing work they do on both sides of the Atlantic, from working with orphans in Guatemala to teaching women in Afghanistan to playing music on stilts right here in the five boroughs. I am seamlessly learning specifically about Bond Street Theatre and learning how a not-for-profit theatre business functions. Just like the child who eventually learns that there's more to Manhattan than the flashing lights of Times Square, being a Bond Street intern I have learned that there's more to running a theatre company than just putting on productions. There are grants to write and board meetings to attend. Yet you don't have to choose. Yes, Michael is the Managing Director, but he is also a performer and educator as well. There are pictures of when some of the board members were a part of the ensemble and clowned around and stilt walked. It baffles me that Bond Street Theatre is this amazing community of people all working in different capacities from places all over the world for a common goal. As I leave the office each day to slip my shoes back on and descend the stairs, I smile at the thought of being a part of a theatre that doesn't just entertain, but educates and bridges cultures while doing it.

4 members of the BST family: Michael, Heddy, Darielle and Charlotte!

Week One: Delhi (click here for photos)

I will begin by introducing myself. My name is Sarah Peters and I am finishing my graduate degree from Dell’Arte International School of Physical Theater in California. I came to New York to intern with Bond Street because like many, many people, I was impressed and inspired by their work in social humanitarian theater.

This is both my first tour with Bond Street and my first visit to India, so as you can imagine, my excitement level is pretty much through the roof.

This final installment of the International Arts Exchange (the culmination of this three-year project) began in the city of Delhi. This is where we would both rehearse our show and teach theater workshops.
The team includes me along with Artistic Director Joanna Sherman and Managing Director Michael McGuigan from Bond Street of the US. Then there is Jamil Royesh, Shafiq Hakimi, and Ahmad Ali Fakhr (he goes by Ali!) from Exile Theater in Kabul, Afghanistan. And finally, there is Reena Mishra and Founding Artistic Director Subash Rawat and from Purvabhyas Theater of Delhi, India.

We have all come together to collaborate artistically, to train teachers and other trainers in “social theatre” techniques, and to provide theatre-based programs to disadvantaged children and youth, as Joanna says, to “encourage self-expression, creative thinking, and teamwork.”
I am particularly proud to be a part of this international collaboration because it is funded by the Bureau of Educational and Cultural Affairs of the US Department of State. Art exchange has the greatest potential of bringing people together. Art is an act of love and it is with great joy that people share music, theater and educational practices. This funding of a creative exchange is an important counterbalance to more violent actions my government is taking elsewhere. So my job here is to perform and teach, but always with an eye toward building friendship and understanding between our three countries – US, Afghanistan, and India.

We leapt right into it with rehearsals and workshops. We did three days of workshops for a group that included young women from Janki Devi Memorial College and young men from Jamia Millia Islamia University. Our host at Janki Devi, Deepali Bhanot was very enthusiastic about what we taught the students, which ranged from physical expression to stilt-walking to image-based theater techniques. The students were even more enthusiastic with their enjoyment and appreciation. We also did four days of training with young girls at an amazing organization called Project HOPE which aids children and families in the Nizamuddin neighborhood– a very poor Muslim community in Delhi.

As explained by Director Selvi Roy, many of the girls in this program are not allowed by their families to attend school outside the neighborhood, so HOPE has created education within the neighborhood. The program began as only a few hours of study a day which expanded to educate children and adults all day and even into the night. At night, HOPE provides food, shelter and education to young children who come to the Delhi to work and have no families. HOPE has even helped the children organize banking among themselves since normal banks won’t allow minors to open accounts.

The girls of HOPE were bright, smart, playful girls who over the course of four days bravely tried things they’d never done before.

Simultaneously, in the mornings, we rehearsed and updated our play “A Kite’s Tale” which was originally created with Exile Theater in 2005. Our Afghan collaborators had unexpected trouble getting a flight to Delhi and were not able to arrive until Wednesday night! But there was plenty to work on until they arrived as both Reena and I were new to the show.

“A Kite’s Tale” is designed to bring laughs to children and families and it includes music, stilts and silliness to tell the story of 4 children trying to reclaim their playground from an underhanded developer. The message may be more about the idea of actors from three countries working together as much as it’s about the children teaming up to achieve their goal.

Our first performance was a great success! About 300 people from the Nizamuddin neighborhood showed up to watch and laugh and be totally amazed that something so interesting and new should come to their part of Delhi.It was especially exciting to get the show on its feet, since our short rehearsal time was unexpectedly cut even shorter. The Afghans, after struggling to get to Delhi, had to go register the morning of the performance with the foreign registry office. Turns out people from the US and Great Britain are the only visitors who don’t have to do this. I must applaud Ali, the newest member of the Afghan team, who did not have the comparative luxury of rehearsals that Reena and I did. He’s a pro for jumping right into a new show with virtually no rehearsal.

What I have learned this week is that Bond Street Theatre has admirable comfort with a complete change in plans, a sense of ease in chaos, and lots of patience. These qualities are shared by everyone on the team, which means that no matter what, we get through the day with grace.

Other Bits: A girl from HOPE introducing me to her mother. A goat wearing a sweater. Seeing Reena perform for the first time! She was pretty great. My teammates laughing at the big pillow butt I added to my “teacher” costume. Eating a meal as a whole team together for the first time on Thursday. Throwing lentils all over myself and the wall and the floor when I tried to do a plate flip with a plate of actual food. The sound of Ali’s voice singing so sweetly. Joanna and Michael telling tales of the Odin Theatre Anniversary. And tales of fiascoes from previous tours - with only one key for the eight of us, of course someone got locked out just once during the week. The gigantic crowd of laughing kids. The college students from Jamia Islamia being equally excited about who I thought should be president and our show. Being able to call it “our” show.