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The Post I Wasn’t Going To Write

IMG_0290I wasn’t going to write a September 11th blog post today. I’ve written several already, along with posts on the National September 11th Memorial and Museum. No, today, after changing my Facebook cover photo, posting my favorite Memorial picture on Instagram and watching  the coverage in New York and Washington; I had intended to remember privately.

I also wasn’t going to write about something else (directly connected) that has really bothered me for quite some time.

Such is life– things changed. So here I sit and write.

In the past, most of my posts have been structured with a specific point. This one is going to be a little more free-thought.

A few hours ago I was scrolling through Facebook and saw I was tagged in a post from a former student, then a post from another student and one from a teacher-friend. Plans changed.

Screen Shot 2015-09-11 at 12.35.45 PMWhen I was working at Bartlett High School, I wrote a play called, September’s Heroes; an ensemble, multimedia production; performed in honor of the tenth anniversary of the 9/11 attacks. I’ve been stalling getting it published because I felt it still needed some work. In any case, had things gone the way I planned, September’s Heroes should have been on stage tonight. (I’ll get back to that later.)

Three Posts On Facebook. Natalie is an incredibly gifted young actress currently studying theatre at the University of Miami. I had the privilege of working with her and she was one of the key ensemble members in the cast of September’s Heroes. This morning, Natalie posted this:

“On September 11th, 2011, I walked off the Bartlett High School stage with tears in my eyes because I was so moved by the story of “September’s Heroes” that I had just shared with the audience. This was the first time I had reacted so viscerally to a piece of theatre. Each year I grieve for the souls we lost in 9/11 — each soul that didn’t get to finish their story. I am proud to be a theatre maker. And proud to be an American.”

Then I found a post by another student in that production that moved me for similar reasons. Ken wrote:

“It’s necessary to remember 9/11 as an important part of our history. To readily mourn the innocent lives lost that day and the graphic images captured of the tower collapsing.

However, its just as important to acknowledge the level of Islamaphobia that followed 9/11 that continues to haunt muslim folks, south asian folks, and everyone ‘mistaken’ as such still today .

Both the pain of those that lost loved ones on 9/11 as well as the families that continue to feel endangered today matter.

Acknowledging the former without recognizing the latter is being downright selective of the kind “American” history you want to remember.”

Ken- September's HeroesIn September’s Heroes, Ken had a monologue we referred to as “Hate” calling attention to the rise in fear and open racism that was a by-product of the 9/11 attacks. Now, Ken is becoming a voice– an activist; speaking out for minority rights. He current studies African & African American Studies at the University of Minnesota.

The third Facebook post by Charlie, a teacher-friend that I know from past theatrical productions wrote:

“9-11 isn’t even a memory to those I now teach. It is something they (may) have heard about…wow. As Ferris said, life moves pretty fast.”

Three different people. Three different posts. All three, unknowingly giving me a kick in the butt to do something I’ve put off for too long. Publishing September’s Heroes.

How Today Was Supposed To Happen. In June 2014, I started the process of securing space from the City of Elgin to produce a season of five shows, two weeks each at the Elgin Art Showcase. September’s Heroes was to be one of those shows. It should have– it would have been on stage tonight if it hadn’t been for the irresponsible actions of a city employee.

From the time I began the process, I dealt with three different people responsible for booking the space. The first left (who kept putting me off, delaying the process), the second was filling in (and tried valiantly to be accommodating with my requests) and then there was the third: the newly hired coordinator for the space. She flat out told me I couldn’t have the dates because she wanted them, even though they had already been promised to me.

I need to back up and say that I had also applied for this coordinator position. I had more than enough qualifications and experience, I’m an Elgin resident but I didn’t even get an interview. I was later told (by an insider) that the person they hired had already been tapped for the job, before the opening had even been posted. On top if that, she doesn’t live in Elgin (city officials claim to favor residents first) and she already holds a conflicting position, managing another space downtown. Strangely, her space is constantly active, while the Art Space sits empty.

Of the ten weeks I wanted, there has only been one, two-hour event in the space during the entire list of dates I had requested. It was nearly the end of last October before I was given contractual dates. At this point, it was already too late to successfully publicize the first two shows. I planned to release all but the last two bookings but when I discussed this (through email) with the new coordinator, she told me I couldn’t have the September dates, she was using them for her event. So I cancelled them all.

It turns out, IF they are using the space, it’s not on the city calendar AND the event (which is happening) isn’t until next week. My production of September’s Heroes could have gone on. At no point was I ever contacted and told that I could, in fact, have those original dates I had requested.

Yes, I’m bitter about this. I’m bitter about not being given consideration for the job and more so for having dates I had been given– in writing, taken away from me and then not used. The city pays a lot of money to subsidize this space and due to poor management– it sits empty. Yet another example of Elgin’s waste of taxpayer’s money.

Moving On and Being Inspired. So September’s Heroes is not on stage tonight but that’s not the end of it. Thanks to the inspiration of friends, I’m working on a new edit of my script to publish. Hopefully it will see productions for next year’s fifteenth anniversary.

Theatre moves, educates and inspires people. There is a whole new generation of children in school that weren’t even born when the terrorists attacked. They need to know the story. They need to hear about the heroes and the innocent people that lost their lives that day.

One Last Story. I want to end with this. I may have shared it before but if I have, it bares repeating. One of the people that ‘liked’ one of the Facebook posts this morning, is the mother of another one of the young actors that was in September’s Heroes in 2011. I didn’t really know him very well (at the time) besides the fact that he was talented and very polite. During the rehearsals, I got the feeling he was having a little trouble connecting to the material.

In January 2013, I chaperoned a student trip to New York and he was also on the trip. Besides seeing Broadway shows, we toured a little bit of the city and visited the National September 11th Memorial. We stood at the two pools that form the footprint of where the World Trade Center once towered over lower Manhattan. It was there that I saw this strong young man, emotional, as it all became real for him. It was a touching moment. An important moment that I’ll never forget.

It reminds me constantly of the power of theatre… the importance of history… and the necessity of telling and retelling the story.

It’s our duty to share, remember and #neverforget.

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My Top Three Favorite Musicals: Stage to Screen

With the recent release of the film version of Into the Woods, I thought it might be fun to share my top three favorite film versions of musicals that originated on the stage.

A number of adapted musicals have enjoyed big box office success and some are quite good; both for their stand alone entertainment value and in their homage to their source material. My Fair Lady and Grease are two good examples.

For me, there are three that stand above the rest for a variety of reasons. In two of the three cases, I think the film adaptations are actually better than the original stage versions.

marquee number - 3Dreamgirls (2006) Directed by Bill Condon and adapted from the Tony Award-winning original 1981 Broadway musical directed and choreographed by Michael Bennett. Dreamgirls was nominated for 8 Academy Awards, winning two Oscars: Sound Mixing and Best Supporting Actress for Jennifer Hudson.

Suggested by the rise of The Supremes, Dreamgirls is an exuberant tribute to the sights and sounds of the 50’s & 60’s.

Dreamgirls (2006)

Dreamgirls (2006)

I find the film version superior to the stage production because of the visual, on location advantages and smoother scene/time transitions. The screenplay (by Condon) stays true to the original.

 

4500-number2Chicago (2002) Directed by Rob Marshall (Into the Woods). Screenplay by Bill Condon (Dreamgirls). Based on the 1975 Bob Fosse, Kander & Ebb musical, whose stripped-down 1996 revival, far exceeded the success of the original. Still running on Broadway after 18 years.

Chicago (2002)

Chicago (2002)

I’m not a fan of the stage version. I find it drab and dull. On screen though, Chicago is an exciting, vibrant song and dance masterpiece. By far, the best example of a film adaptation being much better than the original.

 

Fire Letters A-ZWest Side Story (1961) Based on the classic 1957 stage musical, the film is a true representation of the original stage material and by far, my favorite movie musical of all time.

West Side Story is a contemporary re-telling of the Romeo and Juliet love story, told against the backdrop of the gang-controlled streets of New York.

Ground breaking in so many ways with some of the best choreography ever created, West Side Story is perfection.

West Side Story (1961)

West Side Story (1961)

The result was honored with a record 10 Academy Awards– the most of any other movie musical and the fourth biggest winner, overall in Oscar history.

I’ve loved West Side Story since I was a kid. When I finally saw it live on stage for the first time, I was completely blown away. It’s one of the few works that I wouldn’t say one version is better than the other. The film and stage versions are equally brilliant.

I’m always shocked when someone says they’ve never seen West Side Story. If you’ve honestly never seen it. Put it on the top of your list now.

Why I Liked But Didn’t Love The INTO THE WOODS Movie

Into-the-Woods-banner

The good news is that Into the Woods was the second highest grossing film on Christmas Day and it finished third overall for the weekend.

The bad news is that I didn’t love it.

Let me compare Into the Woods to a piece of chocolate cake. Right off, you may either love or hate it because  you might like or dislike chocolate, cake, or both. If you’ve never had chocolate cake before– this may be the most delicious thing you ever tasted. If you like chocolate cake– this may be satisfying; but if you love chocolate cake, this may be underwhelming or a complete disappointment. There are still others that will find– good or bad, dry or moist– they are just grateful to have a slice of cake.

For me, this version of ITW is missing key ingredients. Or to draw from the script– the potion is missing it’s hair as yellow as corn. It didn’t work for me.

The original Into the Woods clearly explores the price that comes with wishes, what is really happily ever after; and the importance of teaching children, wishes as children  and the hope that exists in children themselves. Much of this is lost or brushed aside in the film. Instead of a film using fairy tales to tell a bigger story, it’s just a film telling fairy tales with a slightly different ending.

The movie is beautifully filmed and features an outstanding cast. BUT– I found it visually too dark; and with the major plot changes, I was never drawn in or emotional involved.

I have some pretty strong opinions about this particular film because I’ve had a long personal attachment to the stage version of Into the Woods.

Poster for the original Broadway production of Into the Woods.

Poster for the original Broadway production of Into the Woods.

I saw the original 1987 Broadway production– twice, the 1988 first national tour, worked the theater where the second national tour began in Chicago (non-equity), saw the 2002 Broadway revival, designed the set and costumes for a local high school production; and have seen literally dozens of professional and amateur productions over the years.

The stage version of Into the Woods is visually a combination of light (colorful) and dark images, where the movie was visually dark from start to finish. The village and castle scenes in the movie all had a dingy, dirty feel as opposed to embodying color, light or any fairy tale magic. Emotionally, the movie is pretty much gray from start to finish. I didn’t feel the passion of the dreams and wishes from the major characters; which is problematic because it leaves no real reason for them to go into the woods to begin with. We never truly see even a glimpse of the happy ever after they are so desperate to achieve.

Even in the worst productions I’ve seen, no matter how badly acted or staged– I’ve always been moved by No One Is Alone. Except in the film. To borrow from another musical, I felt nothing.

Some might feel that it is to Disney and director Rob Marshall’s credit that they didn’t Disneyfy the look of the film. I see it as a missed opportunity to enhance the story. I really would have appreciated seeing some of the beauty and opulence of the castle, for example. Instead, it was dark and drab, as was the brief wedding imagery.

In adapting for the film, the writers chose to edit and whitewash the deeper, meaningful moments of the story. Combining that with the lack of passion, it left very little to get emotionally involved in.

Without Rapunzel’s demise, we lose the witch’s profound grief that propels her into a frenzied Last Midnight. Without a larger presence of the Baker’s Father (Mysterious Man, or not) and the cut song No More, we lose what is the cathartic moment that leads to the Baker’s return to his new family. As a result, the intensity and the pure, desperate passion is lost from characters’ motivations.

One of the early moments in the film set the tone for me. Jack’s Mother, played by the incredible Tracey Ullman, was directed to be purely a serviceable character on screen. (In the stage version, she is a warm, witty and lovable character.) I believe this was done to lessen the audiences’ attachment and thus, later in the film: the reaction to her death; which also seemed somewhat muddled. Jack didn’t seem terribly upset when he found out his mother was gone, nor did Little Red over her Granny. (And did it bother anyone else that Little Red suddenly looked like Dorothy in the Wizard of Oz for the remainder of the picture?)

Cast of Disney's film, Into the Woods.

Cast of Disney’s film, Into the Woods.

The character of the Witch and Meryl Streep’s performance have to be looked at separately. First, I didn’t feel like the other characters really feared the Witch and her power as much as they saw her as a means to get what they wanted, or as an obstacle in doing so. Second, since the film chose to let Rapunzel ride off with the Prince, future unknown– instead of becoming a victim of the giant; it lessened the Witch’s loss. These two points affect the whole dynamic of the Witch’s antagonistic role in the story, as well as her motivations.

Meryl Streep, easily the greatest American actress of our time, fully embodied what the film set out to portray. Though I hoped for a much more powerful performance, Streep filled the bill the way the story has been adapted, perfectly. One thing I noticed, having listened to the soundtrack since; you don’t really grasp the incredible technique and emotion Streep brought to the character– vocally, in one viewing in a theater. Meryl Streep doesn’t just sing musical roles– her vocalization is a well-crafted extension of her character’s development and expression. Every word, phrase and guttural sound is perfection.

I liked the introduction of the blue moon to the story, opposed to just the passing midnights of the stage version. I thought it gave a clearer understanding of why the spell had to be broken now.

For me, the best and only perfect moment in the film was Agony. It was beautifully acted and staged. If the entire film had this energy and attention to detail, it could have been the best stage musical-to-film ever made.

Composer/Lyricist Stephen Sondheim.

Composer/Lyricist Stephen Sondheim.

I remember thinking about two-thirds of the way through: Where is all the music? A substantial amount was cut and occasionally reduced to underscoring. This is composer Stephen Sondheim’s baby. Though he and original book writer James Lapine were actively involved in the film, I feel they caved in to the studio pressures, too much, just to get this film made.

From all that I read leading up to the film’s release, Disney was concerned about the original version being too dark (plot-wise), too many main character deaths and wanted to make it more family-friendly. The result is a watered down story that still, in my opinion, is not a family movie.

Into the Woods, on screen, felt like it was too long. This is ironic since it was 20 minutes shorter than the stage version, not including an intermission. It was more than a little slow and disjointed at times.

I’m sure people completely unfamiliar with ITW will have a completely different reaction to the film. And that’s okay. I just hope it’s a positive experience. The very best thing that could come out of the film is that it might encourage a new audience for the stage version. The film versions of other more recent movie musicals have done a great service to building and keeping audience interest in live theatre.

I can only hope that this film will contribute to that trend.

BROADWAY MUSICAL SPRING AWAKENING HITS THE NAPERVILLE STAGE

PRESS RELEASE

1496091_626614290728365_1030686577_oContact: Billy Surges

Box Office: 773-614-7846

Cell: 630-337-9432

Email: billy@surgingfilms.com

 

FOR IMMEDIATE RELEASE

BROADWAY MUSICAL SPRING AWAKENING HITS THE NAPERVILLE STAGE

Naperville, IL — Surging Films & Theatrics and Introspect Theatre jointly present the Award-Winning Broadway musical Spring Awakening, January 31- February 2, 2014 at the Center Stage Theater, 1665 Quincy Avenue #131, Naperville, Illinois 60540.

Excitement is building in the Chicagoland area as Surging Films & Theatrics and Introspect Theatre gear up for their joint production of the controversial and award winning hit musical, SPRING AWAKENING, with music by Duncan Sheik and book and lyrics by Steven Sater.

Winner of 8 Tony Awards, including Best Musical, SPRING AWAKENING is a rock musical adaptation of Frank Wedekind’s controversial 1891 expressionist play. Set in the rigid and repressive late 19th century Germany, SPRING AWAKENING follows a group of students navigating their way through the timeless story of teenage self-discovery and coming-of-age anxiety in a powerful celebration of youth and rebellion. Alternative rock ignites the stage as part of the folk-infused score that fuels the inner angst of the capricious teens.  SPRING AWAKENING is rated R for language, violence, and sexual content.

Artistic Directors Jeff Linamen and Billy Surges have assembled a phenomenal cast for SPRING AWAKENING, featuring outstanding talent from all over the Chicagoland area. Surges leads the cast in the role of Melchior Gabor, a smart, headstrong boy who refuses to bow down to society’s rules. He is best friend to Moritz Stiefel (Billy Chengary), a troubled and uncertain boy, unable to handle the pressures he receives from his parents and peers to succeed. Rounding out the trio is Katie Meyers as Wendla Bergmann, an innocent young girl, exploring her blossoming curiosity to tragic results.

The large cast features Amara Brady (Martha), Taylor Bright (Thea), Tyler Clayton (Otto), Becca Heitz, Noelle Humbert (Ilse), Marc James, Mark Johnson (Adult Man), Gabi Knoepfle, Alex Knoll (Ernst), Chris Knudsen, Jennifer Lenius, Brandon Piper, Jordan Piper (Anna), Katie Long Piper (Adult Woman), Brandon Pisano (Hanschen), Vince Tolentino (Georg) and Aiyanna Wade.

Following its conception in the late 1990s, SPRING AWAKENING received further development leading to its Off-Broadway debut in May 2006.  The original Broadway production of SPRING AWAKENING opened at the Eugene O’Neill Theatre on December 10, 2006. Its cast included Jonathan Groff, Lea Michele and John Gallagher, Jr. with a creative team led by director Michael Mayer and choreographer Bill T. Jones. The original Broadway production won 8 Tony Awards, including Best Musical, Direction, Book, Score and Featured Actor (Gallagher). The production also garnered 4 Drama Desk Awards and a Grammy Award for Best Original Cast Album.

The success of the Broadway production has spawned numerous productions worldwide, including a production in London’s West End that won 4 Laurence Olivier Awards including Best Musical.

Surging Films & Theatrics and Introspect Theatre are presenting the full, uncut version of SPRING AWAKENING, January 31 at 7:30pm, February 1st at 2pm and 7:30pm, and February 2ndat 2pm at Center Stage Theater, 1665 Quincy Ave., #131, Naperville, IL 60540. For ticket information, visit www.surgingfilms.com or call 773-614-7846.

SPRING AWAKENING contains strong language, sexual situations and mature themes and may not be appropriate for younger or sensitive audiences. Recommended for ages 15 and up.

 

SPRING AWAKENING

Presented by Surging Films & Theatrics and Introspect Theatre

January 31, 2014 at 7:30 PM

February 1, 2014 at 2:00 PM and 7:30 PM

February 2, 2014 at 2:00 PM

Center Stage Theater, 1665 Quincy Ave., #131, Naperville, IL 60540

BOX OFFICE: 773-614-7846

 

Directors Jeff Linamen & Billy Surges

Music Director Seth Durbin

Choreographer Billy Surges

 

Contact:

Billy Surges, Surging Films & Theatrics

Cell: 630-337-9432

Jeff Linamen, Introspect Theatre

Cell: 630-240-1229

 

http://www.surgingfilms.com

http://www.introspecttheatre.com

May I Return To The Beginning?

It’s three in the morning. The birds are chirping like crazy, there’s the sound of a train in the distance and across the street the meter man is ticketing cars parked on the wrong side of the street. I guess it’s just some of the benefits of sitting on my front porch and living in my little acre “forest in the city” I’ve created. Mostly tranquil, it’s a great place to relax and reflect.

I love my yard, loosely landscaped– some parts manicured, others untamed. It’s a lot of work to maintain but I love working outside and getting my hands dirty. It gives me time to reflect on life and dream of the future as my mind unwinds all the knotted and pent up thoughts stored away from the stressful activities of everyday life.

This is a year of milestones. I turned 50 in December, Michael and I celebrate our 20th anniversary in September and my career is taking an unexpected turn that has yet to be determined.

At school, the colleagues I’d worked with for fourteen years all retired. Together, we’d built a musical program that I’m extremely proud of. For the past year though, it was hard to watch this beautiful thing come to an end. I just didn’t know how final it was for me. Now, all of us are gone and the future of the program is completely unknown. It’s a bittersweet ending to a very stressful but extremely rewarding chapter in my life.

Over the years, the musicals have taken us from back alleys to exotic lands. We conjured up hope and laughter, tears and sorrow– celebrating the joys of life and the difficult challenges of the human condition. Live theatre is like nothing else.

There were some years we knew exactly what musical we wanted to do next but more times than naught, it was an organic process that just felt right. This year, we did Joseph and the Amazing Technicolor Dreamcoat — and perhaps not so coincidentally, it was the 30th anniversary (for me), directing it as my very first show in 1983.

From my 1983 production of Joseph.

From my 1983 production of Joseph.

The final number in the show, Any Dream Will Do, asks the question, “May I return to the beginning?” I got it– a milestone and the end of a collaboration. It was a time for reflection and of celebration.

This the 7th time I’d directed the show– each one, somewhat unique. I’ve never tried to duplicate a previous production but it has always been important to me that one element remain: the magic.

That 1983 production was magical. Nearly every person involved in that show went on to have, or had a career in the visual and performing arts. The right group of people brought together at the right time, in the right place can make magic and somehow we did. We were all novices then– unseasoned thespians full of passion and youth.

That was my beginning.

Joseph 1995

Joseph 1995

In 1995, I directed a production that was inspired by the Donny Osmond version that had become wildly popular. Every kid out there knew about Joseph, had seen it or been in it. This year was totally different. None of the students knew the show or were necessarily excited about doing it, so it was my challenge to bring that excitement to life.

After so many productions, you’d have thought this one would be easy. Yet, time and time again I found myself second guessing my choices and vision and tried to keep the overall focus, while allowing elements of the show to evolve naturally as rehearsals progressed. It was a true collaboration of thoughts and ideas that really made the show work for me. Being such an ensemble show, it was fun seeing the cast’s excitement build and all their hard work and determination pay off in the end.

Joseph 2013

Joseph 2013

Then it was over.

The show, a fourteen year collaboration of an amazing creative team –and as it turned out, the end of my time at Bartlett High School.

All bittersweet.

May I return to the beginning?

I’ve learned a lot over the years about the importance of reflection. Though I don’t feel like I live in the past or want to actually re-live the past, the lessons learned only move us forward. I’ve had the privilege to work with, and learn from, many wonderful people. Teachers, parents and most of all– the students, have inspired me and taught me in so many different ways.

Do I actually want to return to the beginning? No. It was a marvelous, wild ride while it lasted. I wouldn’t change a minute of it. Now it’s time to move on.

I think it’s a huge mistake to live in the past, yet there is so much to be learned from it. It’s nice to look back from time to time at where I’ve been. It often helps put today in perspective and helps guide my tomorrow.

I’m on my second pot of coffee now, the sun is coming up and sounds of distant trains and chirping birds is slowly being over taken by that of garbage trucks beeping and other people starting their day.

A new beginning.

Don’t Forget Me

I couldn’t feel more humbled or honored than I do right now from all the love and support that has been expressed in the few short hours since my announced departure from Bartlett High School. Reading all the wonderful words of support, the song Don’t Forget Me from the TV series SMASH is stuck in my head… Not because I’m afraid of being forgotten or have a selfish need to feel appreciated but because there is something to learn here.

In our lifetime, we meet so many people. The impact they have on us may be immediate or may take years to realize. We are who we are because of the people and experiences that make up our lives.

I sometimes feel like I have the gift of being able to see into people’s souls. I look in to the eyes of students and I see their potential for greatness. I know some will think I just mean talent but it’s much more than that. There’s nothing more exciting than talking to a student and then thinking, “This is our future. This person could change the world.” That’s what I see. Some may only see a stupid action or a mistake but I see heart, passion and hope. Sometimes I see frustration and the struggle to fit in. No one likes to see that– but then that’s where I have had the chance to try and make a difference. I’ve always thought, maybe by reaching out to them, their whole world will change. In the long run? I have been given back more than I have given, tenfold.

Watching students move on through their high school years and beyond, I sometimes feel like the Bette Midler character in the movie Stella— when she’s standing alone in the rain, watching the daughter she gave up, get married (through the window at Tavern on the Green. ) There’s a moment of sadness but then her face brightens with a brilliant smile knowing she did the right thing.

I have watched so many go on to start amazing lives. I rejoice in their successes and my heart breaks when they feel defeated. In both cases, I am now, the observer and I feel great joy that if even for a brief moment, our paths have crossed.

One of the most amazing experiences in life has been the realization that you can never predict where your source of inspiration or support will come from. I couldn’t have gotten through the past year as easily, had it not been for two high school friends that were there to cheer me on via the magic of Facebook. One, was really more of an acquaintance in school but has turned out to be a wonderful friend today. The other was someone who played a huge part in my discovery of who I was but we lost touch and only recently found each other again. In both cases, I never would have thought (back then) that their real purpose in my life was to be blossom into an amazing support network today. Both are beautiful strong women.

We are trained to be an emotionless society– especially in Education. We are told, Don’t get close to students and You can’t save them all, so don’t get involved. I say this is exactly the time TO get involved. I always felt I was at Bartlett, not so much for my creativity, as my chance to make a difference. I was able to do that. Maybe I didn’t impact the masses but I know I was able to help a few.

What did I do at Bartlett High School? I worked. More importantly, I helped students to not drop out of school by making them feel they belonged. I encouraged them to think outside the box and look outside themselves for answers. I recently had a former student tell me they were suicidal in school and that having a safe place to go and talking to me every day helped them to get through. That is what I did at Bartlett High School.

So when I say, don’t forget me… what I’m really saying is: I won’t forget you. I won’t stop caring and hoping and wishing that you find the perfect place for you to belong. I won’t stop praying for your dreams to come true or your lives to be filled with love and light.

When you land that big job, find love or have your first child… I’ll be there– Perhaps standing on the outside looking in. But I’ll be smiling.

You are loved. We are loved. Remember that. Don’t forget me.

GOODBYE, BARTLETT HIGH SCHOOL!

Goodbye, Bartlett High!

Last Exit.

Last Exit.

Today was my last day as AV Director & Auditorium Manager after thirteen years and ten months of service. I just found out late last week and have only told a couple people until now.

This was not my choice, the district stated that BHS wanted to move in a different direction with the present position. As a non-union employee, I always knew this could be a possibility.

That said, I’ll blog all about it at some future point in time. Let’s just say, the past five to six months have been utter hell for me. At least now I can move on.

I’ll miss working with the students and watching them grow and discover themselves most of all. I’ve made many friendships that I hope with continue to grow as time goes by.

For now, I wanted to share a few parting images that will forever remind me of BHS. Odd, little things that most people wouldn’t even notice.

Last look at the tech booth, stripped of all personality.

Last look at the tech booth, stripped of all personality.

This was written on the wall years ago. Not sure why but it always makes me smile.

This has been on the wall forever. Not sure why but it always makes me smile.

A lock someone attached to an auditorium seat years ago. I don't know how many times I thought about cutting it off.

A lock someone attached to an auditorium seat years ago. I don’t know how many times I thought about cutting it off.

For my 'boys' in the shop. You made my job on the musical easy the past couple of years.

For my ‘boys’ in the shop. You made my job on the musical easy the past few years.

This I won't miss. The ignorant vandalism of a few heartless students.

This I won’t miss… The ignorant vandalism of a few heartless students.

Keys no more. Carried this wad of keys for far too long.

Keys no more. I carried this wad of keys for far too long.

Every work day for nearly 14 years, this was the first and last image of BHS.

Every work day for nearly 14 years, this was the first and last image of BHS.