Theatre for Young America will wrap up its first show of the 40th season, How I Became A Pirate Nov. 9 and in just a couple of weeks, ‘Twas the Night Before Christmas opens with all the adventure and fun that a TYA show is known to bring.
Theatre for Young America began in 1974 at the Waldo Astoria Dinner Playhouse under the watchful eyes of co-founders and spouses Gene Mackey and Cheryl Bryant. In 1977, the troupe became an independent organization and moved to old Overland Park, Kansas, where it performed for 17 years in a converted cinema theater. During this time the organization grew from 4 productions to 7 or 8 per season, added drama classes, summer workshops and summer productions, and outreach workshops in schools. TYA operated in the Mission Center Mall from 1994 to 2003.
“In 1974, we moved here from New Jersey when my father was working for the Dinner Playhouse Inc. There were the two locations then, Waldo Astoria and Tiffany’s Attic During my childhood, my dad had started several theaters and he had a dream that came from my youth to start a children’s theater,” Mackey says. “So he asked artistic directors Dennis Hennessy and Richard Carrothers to use the stage to produce a children’s show during the day. We started with Pinocchio in the Commedia Dell Arte style. It was such a success; the next show was Babes in Toyland.” Mackey remembers when they moved into a space in Waldo to offer acting classes. “We started getting such large audiences –and Dennis and Richard suggested my dad consider getting his own building. That’s when we settled in old Overland Park.”
Mackey says she grew up along with the theater. “When I look back at the history of Theatre for Young America, so many actors have come through, working for us, gaining their Equity card. I was always in acting classes and loved theater. Even today, one of my daughters is 10 and is in Christmas Carol.”
Mackey, though, thought she was going to be a dancer or a math teacher. “My aunt and uncle were in the theater as actors and directors. Then there were my parents. It’s in my blood, so I attended the Webster Conservatory of Theatre Arts and got a degree in it. I had a small break and worked in the hotel business, but even then I would be theatrical during my presentations. I love what I do and I believe in what we do.”
Today TYA performs in the City Stage at Union Station. They have produced more than 200 productions, including dozens of new and commissioned plays, plus many of the most acclaimed plays for young audiences by established playwrights. TYA has developed dozens of new plays and musical plays based on classic children’s literature, historical figures and current social issues, such as child sexual abuse, child care, and conflict resolution. With a full-time educational director, TYA offers a wide range of educational components: after school enrichment classes in drama, summer drama workshops, outreach lesson plans taught in area schools and youth centers, and study guides to augment every production.
The holiday show takes the beloved poem and crafts an adventure of a mouse, an elf, and a spunky little girl on their quest to find out why Santa missed their house last year. This joyful tribute to the holiday season was created by renowned playwright Ken Ludwig, noted for three Tony Award nominations for his plays on Broadway.
The world premiere of Ludwig’s first play for children, ‘Twas the Night Before Christmas, played at The Adventure Theatre in November 2011. “It’s a sweet Christmas story. This piece is a lot of fun and I was very excited when I read it. I jumped at it when the script was made available. Ken is a great writer. There are elements of adventure as the characters sing and skateboard. It’s a fun show and we are one of the first to do the show outside of New York. It’s fresh and new.”
Mackey expects at least a cast of five for ‘Twas the Night Before Christmas. “It’s a fun ride with something everyone in the family to enjoy and that really helps the holiday spirit. During the holidays, we don’t get to enjoy time together. I always make sure the shows are entertaining and told honestly.” The curriculum connections for the holiday play include poetry, holiday traditions, European folk tales and mythology and American culture.
Mackey says she is surprised at how many people want to see a show multiple times. “They come back and bring other friends. It happens with Junie B. Jones shows. It gives me great joy. The Coterie and TYA have their specific niches. I love the younger audiencegoers. Both of us have our place. We are both trying to get young people addicted to theater. We have never felt like we are competitive. Even in Union Station now, essentially across the street from the Coterie, we both have unique audiences. I told Kyle Hatley at the Rep that I am going to build your audience of tomorrow.”
Every January, TYA stages a play about conflict resolution. This year, it’s The Toughest Kid in the World. “We also try to do a history show each year. In February, it’s Harriet Tubman in the Footprints of Freedom. As we plan the season, we look for a mix of female and male roles. We also want strong children’s roles and an animal show too. It’s a broad swath for an audience,” she says.
The Toughest Kid in the World has changed an entire school, she says, “We usually offer a talkback for a few minutes after the play. We ended up staying for more than an hour; it has happened several times. It can open hearts and open minds.” Mackey says theater can be funny and silly, plus make a lasting impression. “We produce a Junie B. Jones play almost every year. I fell in love with her and kids can learn and identify with her as she makes big mistakes. By the end of the play, she has learned a big lesson and so has the audience.”
The theater group will offer up Junie B. Jones and a Little Monkey Business in March, No Dogs Allowed in late April and Cinderella in mid-June.
In 40 years, the Mackey family has seen third and fourth generations coming as season ticket holders. “We have families who were bringing their children early on and now they their own children and grandchildren. They come because they know that we will tell the stories in an honest way. We want to represent positive ideals and educational components. We know what mothers, fathers, grandfathers and grandmothers want to share. We are trying to teach and reach children through a dramatic means. Children retain more when they have an emotional response and it becomes something they remember. We can hook kids on a subject through a fun theatrical experience.”•
