When walking into South Jackson Civic Center, the unmistakable old schoolhouse smell of ancient hardwood and teenage dreams wafts around you. A former high school turned performing arts center, South Jackson is now center stage in its very own drama. Much like the musical, Footloose, many clergy and concerned citizenry of Tullahoma are banning together to prevent teens and young adults from doing what they deem immoral--putting on the Pulitzer Prize and Tony award winning musical, RENT.
The teens and young adults in the RENT cast make up part of South Jackson Civic Center's PACT group; an acronym that stands for Performing Arts for Children and Teens. The unrest from the community stems, not only from the shows content, but also from the assumed age of the performers.
Too far?
In his church's monthly newsletter, Pastor Wayne Wester of Highland Baptist Church wrote of his concerns. "It is a musical about a bunch of college age students who choose to live a 'bohemian,' (sexually, morally and legally permissive) lifestyle." Wester continues, "While I have no objection to a theater group selecting and performing any musical or play they choose, this is our own Tullahoma! What is worse is that this play was selected for PACT. " Wester ends his newsletter insert with a call to his congregation and readers, "Do you agree with me that this is inappropriate for such a group? If you do, speak up about it! If you don't, shame on you!" To read the full piece in the newsletter, see the photo below.
The Highlander, a monthly Baptist newsletter from Highland Baptist can be found online.
One concerned citizen, Julie Fisher, not only agrees with Wester, but even penned a letter of dissent to the leaders of South Jackson. Since its original sending, the email has been widely circulated among those who both agree with and oppose her statements. "I am very concerned about the direction PACT is taking." Fisher begins, "Using RENT as a 'literary and historical guide' for teens to explore their sexuality in a safe environment' and to deal with issues such as substance and alcohol abuse." Fisher also accuses PACT leaders of "bullying" through "the production of the play, public school curriculum, and child psychologist-led sessions [with the cast.]" Fisher claims that PACT has a clear agenda to "sexualize and desensitize children and adults to morality." Although vehemently criticizing PACT leaders, Fisher takes time to praise Tullahoma City Schools for adopting an "abstinence based programs" for teaching sex-ed to teens.
PACT members hard at work rehearsing. (Photo by: Sharon Kay Edwards)
Not only is RENT's content under scrutiny, but the age of the performers have drawn much protest in the small town.
However, when the cast and show director, Robert Allen, are questioned about the ages of the performers, they all reveal the youngest member of the cast to be a sixteen year old boy who is performing with the blessing of his parents.
"We had informed parental consent forms signed from all those who are under eighteen." Allen says. "All the parents were notified of the show's content. We even lost one cast member because his father wouldn't allow him to be a part of it, so everyone involved is fully aware of everything the show is about."
Not only are parents aware, but they are very supportive. Paige Prescott Lashlee, whose daughter is one of the ladies in the double cast playing the role of Mimi, took to Facebook with a vocal endorsement of her seventeen year old daughter and the play she is performing. "I brought my children home to Tullahoma to raise them in a loving, safe environment. I did not bring my children home to subject them to the small minds of small towns who try to inflict their narrow views on others. I believe in Tullahoma, the educated, tolerant minds that live here, and I am happy to know that the ignorant bigots are few. That said, please join me in supporting the arts in Tullahoma, the talents of our performers, and the right to choose what you buy tickets to. We are a diverse little town that loves the arts."
Life Imitates Art
In response to why RENT was chosen as a show for teens and young adults, Allen argues that the cast, although young, relate to the characters in the play and their struggles.
"We fought for this to be a PACT production for a reason. You know, people have come to us with some concerns about the show, and it's always couched in a 'concern for children and teens.' I will say that I don't think this play is for children, but I can look at the cast and see character counterparts." Allen points to imaginary people standing around him, "There's our Collins, there's our desperately in love person, there's our abused person, our person struggling with an eating disorder, our transgendered person, our person struggling with sexuality. So, for people to say, 'your life is so disgusting and immoral that it shouldn't exist onstage,' is a huge slap in the face to them. These teens need their lives validated."
Emotions run high during rehearsals as material hits close to home. (Photo by: Sharon Kay Edwards)
Allen talks about how some of the controversy surrounding the show has affected marketing. "The cast went to do an interview on a TV station, and a local pastor said, 'No, I demand equal time to say what I think about the show.'" Allen shakes his head and looks confused, "How can he say what he thinks about the show until he sees it? Our response to him is that, built into our program, we have feedback sessions scheduled for opening night and the second Friday. These sessions will be mediated dialogue with the audience about the content of the show. Also, the Arts Council is sponsoring a post-mortem after we close where we can talk with the community about all the facets of the show. Without seeing it and experiencing that dialogue, how can he have an opinion one way or another?"
Putting on RENT in a southern small town with a young cast brought its own set of challenges. "We knew early on we had to be responsible with this." Allen says, "Responsible and honest. You have a responsibility. You can't just do this play and walk away from it."
Along with the performance schedule, there have been scheduled times for professionals to speak to the cast. One such professional is head of the Tennessee Psychiatric Association and psychologist with Tennessee Department of Corrections, Tamela Sadler. Although scheduled from the beginning to speak to the cast, the timing couldn't have been more appropriate. Coming on the heels of the Supreme Court decision for marriage equality, the performers, directors, and producers have been met with a hailstorm of opposition and negativity. Sadler met with the cast to discuss their feelings about the show and how their own lives have been affected by being in it and dealing with the community's proposed ban.
Conversations with the Cast
A veritable hodge podge of culture, the cast is made up of christians, agnostics, gay, straight, bi-sexual, white, and black members. They all assemble onstage and sit on the floor surrounding Sadler who begins by speaking about the controversy surrounding the show.
"Whenever we do plays like this that stir emotions--and as performers and artists, that's what we enjoy doing--but when we stir those pots, we can touch sore places in people. We don't know why they have those sore places, we don't know if it religious background, a wound that they have, or some bias that they have, but plays that show a side of life that people are not familiar seeing--something that hasn't been normalized for them because it hasn't happened to them or their family--it can make people upset, and I think that's a lot of the backlash that you're getting. I don't think it's solely because of the content."
The cast all nod their understanding. Sadler then questions them, "How have you guys been dealing with all of this?"
Voices from around the stage pipe up in response.
"We've been really great at supporting each other through this."
"This is the most family oriented cast I've ever been in. I love being here and I love what I'm doing, and I'm not going to let a couple of naysayers on Facebook keep me from doing this show."
"We actually started our own life support group when we first began rehearsals." one male cast member says, "We shared our issues, and we have all begun to support each other."
The cast sit and share their own experiences with each other. (Photo by: Sharon Kay Edwards)
The more the cast reveals about their struggles, the more apparent it is for them to have a support system. Voices, one after the other, tell of their own situations.
"I've lost contact with three family members because of the Supreme Court ruling and their stance on gay marriage."
"My people disowned me because I'm gay--right as I started the RENT process."
"I was called a bitch because of believing in what I' m doing. I was completely shocked to get that message from someone I rarely even talked to."
"I lived for six months in my car. I went to work, and I lived in my car."
A glance at the show's director reveals him nodding and making eye contact in a way that seems to say, "See? I told you, These kids need this show. They've already lived it."
Fear and Understanding
The conversation turns toward the public outcry about the show, and one cast member theorizes what is behind the conflict.
"There are those who don't understand it, and that's OK, but I think fear is huge diving force of the negativity."
Sadler asks them, "What are they afraid of?"
Again, a rush of voices, all on top of each other, provide answers.
"What they don't know."
"The issues."
"They're afraid of the grey area."
"Afraid of what they might learn."
"Afraid they'll identify."
Sadler agrees with them, placing herself in the role of those against the show, she says, "You know, I might learn that that person on stage is a lot like me. I might learn that a gay, transgender, bi-sexual, lesbian, or whatever person experiences loss and love and life just like me." Sadler brings the conversation back around to theater and its place in society, "Good theater is about creating those emotional responses in people. Without that emotional response,you don't get any change. Without there being an emotional impact, it doesn't have the same value."
A female voice pipes up, "Theater is a reflection of humanity in many different ways, and this show is important. It is a mirror, and a lot of people don't like seeing what is reflected back to them. They don't like to see what's going on."
"Good theater is about creating emotional responses in people." Dr. Sadler leads the cast in a thought provoking discussion. (Photo by: Sharon Kay Edwards)
But why is the show so important? Another cast member uses his story to illustrate.
"Growing up in a southern small town, there was never a voice for me. I felt like I was alone. I used to cry myself to sleep because I was told I would die and go to hell if I was a gay person, and I knew in my heart of hearts that's what I was. Personally, I would have loved to have seen a show like this to know I wasn't alone."
Another young cast member reiterates that point.
"We are doing for those kids--those teens--who have been told their entire life that having these thoughts and feelings are wrong--an abomination. We're letting them know this is a safe place to have that discussion. When they leave, their parents may be like 'I don't know why we paid money to go to that show,' but those kids will be like, 'I totally get it.' They won't be alone."
Sadler concludes the conversation with one last remark of appreciation, "Theater has illuminated a lot of issues, and this is just one of them. I'm really glad you're doing it."
Seasons of Love
The cast thanks Dr. Sadler for her time, and resume their rehearsal. Allen gives some brief blocking direction and rehearsal instruction before stepping out for a short interview. "We'll stage 'Seasons of Love,' which I think will bring a great ending to this conversation."
Director, Robert Allen, watches the rehearsal. (Photo by: Sharon Kay Edwards)
Once in another room and seated at a table, Allen relaxes some. Fatigue is visible on his face and in his body language.
"I'm exhausted." Allen admits, "I need sleep. I've been trying to manage all of this, [controversy] and it's getting to be too big for me to manage." Allen sighs, "But I have so much respect for these kids. They are so honest in their performance. I want to fight for them."
When asked how they plan to respond to those protesting the show's performance, Allen says the cast are adamant about one thing, showing love, "We've already decided that if we have protestors, we'll turn the speakers outside, open the doors, and sing 'Seasons of Love' to them." He swings his arms out in a welcoming gesture, "Y'all come on in."
Incredibly, as Allen is still speaking, the cast begins to sing "Seasons of Love."
Ever the director, Allen cocks his head and listens to the singing in the other room, checking the balance of voices and the intensity behind them. He takes a breath and seemingly says to himself, "My respect for the kids is tremendous. They have responded so beautifully to the show and to the controversy surrounding it. All with a grace and love that is beautiful."
That love and grace is evident by asking the cast one question.
"If you had to tell someone what this show is about in one word, what would that word be?"
Without missing a beat or conferring with the actors on either side, they respond in unison, "LOVE!"
They all break into laughter at themselves for all having the same answer.
"It's about love," Allen says. "And Love wins."