What's Happening?
Furman University's theater department is celebrating its bicentennial with a unique season titled "Furman Made," featuring works written entirely by alumni. This marks the first time the department has dedicated a full season to alumni-written productions.
Maegan McNerney Azar, chair of theater arts at Furman, stated that the initiative aims to celebrate shared purpose and experimentation while showcasing the department's students and alumni. Nearly 20 alumni are involved in various capacities, including cast, crew, production, and design teams, offering current students a valuable opportunity to learn from industry professionals. The season opens with "Theatre/Theater" by Randall David Cook, class of 1991, a collection of nine short plays about a regional theater company's production of "Romeo and Juliet." While many works have premiered elsewhere, "This is How You Say I'm Sorry" by Imani-Grace King, class of 2019, was specifically commissioned for this season. February will feature "The Beheading of Helene Gillet," with a book by faculty member Margaret Rose Caterisano and music and lyrics by alumna Elli Caterisano, class of 2018. The Furman Fringe Festival in April will also include three alumni-written shows and one student-devised production.
Why It's Important?
This initiative by Furman University's theater department highlights the significant role alumni play in academic and artistic communities. By dedicating an entire season to alumni-written works, the university not only honors its 200th anniversary but also provides a unique educational and networking opportunity for current students. Exposure to professionals who have successfully transitioned from academia to the industry can inspire and guide aspiring theater artists. This approach also demonstrates the university's commitment to fostering a strong alumni network and showcasing the long-term impact of its arts programs. Furthermore, commissioning new works, such as Imani-Grace King's play, contributes to the development of contemporary American theater and provides a platform for emerging voices. The department's ability to take risks on such productions, as noted by Azar, underscores the value of institutional support for artistic innovation, which can be crucial for the growth and evolution of regional theater and arts education in the U.S.
What's Next?
The "Furman Made" season will continue with various productions throughout the academic year. Following the opening of "Theatre/Theater," the department will present "The Beheading of Helene Gillet" in February. The season will culminate with the Furman Fringe Festival in April, featuring additional alumni-written and student-devised shows. The department's ongoing partnerships, such as with the Farm Theater's College Collaboration Program, suggest a continued commitment to developing new works and providing students with hands-on experience in the creation and production of theater. This model of integrating alumni and new play development into the curriculum could serve as a blueprint for other university theater programs looking to enhance their educational offerings and celebrate their institutional heritage. The success of this season may also influence future programming decisions, potentially leading to more alumni-focused or commissioned works in subsequent years.
Beyond the Headlines
The "Furman Made" season reflects a broader trend in higher education where institutions are increasingly leveraging their alumni networks to enrich current student experiences and celebrate institutional milestones. This approach goes beyond traditional fundraising, creating a dynamic exchange of knowledge and mentorship. Ethically, it raises questions about the balance between showcasing established alumni and providing opportunities for current students to develop their own original works. However, by including student-devised productions and commissioning new pieces, Furman appears to be striking a balance. Culturally, this initiative contributes to the regional theater landscape by fostering new play development and providing a platform for diverse voices. The emphasis on shared purpose and experimentation also speaks to the evolving nature of theater, where collaboration and innovation are key to engaging contemporary audiences and addressing relevant social themes. This model could inspire other universities to explore similar strategies for celebrating their legacies while simultaneously investing in the future of their artistic disciplines.
