Blog — Young Artists of America at Strathmore

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Kendra Rubinfeld

Rolando Sanz Named Global Arts Fellow in DeVos Institute of Arts Management

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Rolando Sanz Named Global Arts Fellow in DeVos Institute of Arts Management

The DeVos Institute of Arts Management at the University of Maryland announces a new cohort of seven international arts managers to its three-year Fellowship program, including Young Artists of America’s Producing Artistic Director and Co-Founder, Rolando Sanz.

The Institute’s Fellowship program serves entrepreneurial executives in the arts and cultural sector who are prepared to look critically at their work, challenge assumptions, and develop rigorous strategies to address the most pressing challenges facing their organizations, regions, and art forms at large. The cohorts will be in residence in Washington, D.C. for a month-long arts management intensive led by DeVos Institute executives, consultants, and experts from the field. Designed for individuals who have dedicated themselves to management, rather than artistic leadership, the program supports leaders in developing, implementing, and refining organizational strategies over a three-year, cohort-based engagement.

The DeVos Institute believes that creative practice is an essential expression of the dignity, aspirations, and achievements of individuals, communities, and societies, and that pro-active support for creative practice as a platform for intercultural, and international, cooperation is required in a healthy global society. Led by Institute Founder, Michael M. Kaiser, and President, Brett Egan, the Fellowship is equally tactical and aspirational in exemplifying these beliefs.

The program emphasizes critical organizational capacities in long-term artistic planning, marketing, fundraising, board development, and financial management; while provoking broader questions of mission, relevance, impact, and the role of art – and the dialogue it provokes – as an instrument of peace. The program emboldens leaders who leverage creative practice to confront injustice, advance social change, and encourage empathy for other perspectives and ways of life. The program acknowledges a historical lack of equity across communities and philanthropic systems and empowers leaders to build equitable and inclusive systems that assure people of every class, race, geography, age, ability, gender, and sexual orientation have equal access to, and representation in, art and creative practice.

Individuals typically engage in the Fellowship at point of inflection in their career, where an infusion of strategic training, mentorship, peer learning, and reflection is necessary to advance both their work in the organization and their role as a leader in their field. All Fellows share a deep commitment to the role of arts, culture, and creative practice in their respective societies and an inquisitiveness that drives them to engage deeply in the immersive and collaborative environment.

To date, the Institute’s Fellowship program has served over 250 arts managers from over 50 countries. DeVos Institute Chairman Michael M. Kaiser launched the Fellowship program in 2001 during his tenure as President of the Kennedy Center. In 2008, the Institute introduced the current, intensive model of one month in residence each summer for three years and transitioned to the University of Maryland from the John F. Kennedy Center for the Performing Arts in 2014. 2023 DeVos Institute Fellowship 2 The DeVos Institute’s Fellowship program is made possible with the support of the University of Maryland.

About the DeVos Institute of Arts Management

The DeVos Institute of Arts Management provides training, consultation, and implementation support for arts managers and their boards. It operates on the premise that while much is spent to train artists, too little is spent to support the managers and boards who keep those artists at work. At the same time, rapid changes in technology, demographics, government policy, and the economy have complicated the job of the manager and volunteer trustees. These changes continue to accelerate. Organizations that have mastered these trends are flourishing—even leveraging them to their advantage.

For those that have not, however, the sense that “something’s not quite right” can seem unshakable. For too many, these changes have led to less art, decreased visibility, diminished relevance—even financial collapse. These challenges inform our approach. Never has the need to balance best practices and new approaches been so urgent.

Institute leadership and consultants—all arts managers themselves—understand that, in today’s environment, there is no time or resource to waste. Therefore, Institute services are lean, direct, and practical.

The DeVos Institute has served more than 1,000 organizations from over 80 countries since Michael M. Kaiser founded it during his tenure as President of the John F. Kennedy Center for the Performing Arts in Washington, D.C. While environments, objectives, and disciplines vary, each of our clients shares the desire to create, market, and sustain exemplary cultural programs.

The DeVos Institute has designed its services to assist a wide range of institutions, from traditional performing and presenting organizations, museums, galleries, art schools, and libraries, to botanical gardens, glass-making studios, public art trusts, and nonprofit cinemas, to name a few.

In 2014, the DeVos Institute transitioned to the University of Maryland, where it continues to offer support to individuals, organizations, and—in collaboration with foundations and governments—to communities of organizations around the world.

For more information about the DeVos Institute, please visit www.devosinstitute.net.

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Not Just a Stuffed Animal

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Not Just a Stuffed Animal

For this season’s fall production of Frank Wildhorn’s Wonderland, a modern retelling of Alice in Wonderland, YAA has partnered with Comfort Cases, a nonprofit that provides backpacks filled with comfort items to children in foster care.

At our performance on December 3rd at Strathmore, we are hosting a stuffed animal drive, asking all ticket holders to bring new stuffed animals (12 inches or less in size) to be included in these comfort cases for children in our area’s foster system. 

Why stuffed animals you may ask? Rob Scheer, Comfort Cases’ founder, is 56 years old now and owns nothing from his own childhood. Having entered the foster care system himself as a child and placed in his first foster home at 12, he remembers arriving with a trash bag filled with a few necessities but nothing of sentimental value (watch his inspiring Ted Talk below the break).

Things keep our memories for us. When you look at, hold, smell a thing from your childhood, you are transported back into a memory.”

“Sure, your connection to people is what matters most,” Scheer says. But he contends that things hold immense sentimental value as well. Things keep our memories for us. When you look at, hold, smell a thing from your childhood, you are transported back into a memory.” This is why he ensures that each one of the Comfort Cases that his organization distributes to children in the foster care system includes a book and a stuffed animal. “We want all of our children to have something of their own,” Scheer says. He hopes they will hold onto these things for the rest of their lives if they so choose, and it will help them craft their own story.

Rob (back row, second from right), his husband Reese (third from right) and their five children, all adopted from the foster system. (Photo Credit: Canvas Rebel)

Crafting stories is something that Young Artists of America knows a thing or two about. When we mentioned the stuffed animal drive to Kristina Friedgen, YAA’s Director of Education and Stage Director for Wonderland, she connected deeply with the power of childhood items. She explained that for one of the first rehearsals of Wonderland, she had asked the cast to each bring in sentimental items, and many of them brought in items from their childhood. 

Kristina Friedgen directs student (Photo Credit: www.KristinaFriedgen.com)

The purpose? Friedgen was instructing them on Essence Work, a playmaking methodology created by Shana Cooper, used for collective visioning of a script in the rehearsal phase. Essence Work asks the directors and actors to perform an interpretation of the essential truth of the play - the story’s themes, morals, lessons. For this Essence Work, Friedgen asked the cast to use these sentimental items as props in their rehearsal process - allowing the cast to tap into the emotions that come from these items.

“Connecting with these items, the cast tapped into emotional moments from their own experiences with their parents, friends, and loved ones and explored these through Alice’s journey in the script” Friedgen said.

She then filmed these mini-performances and used screenshots of them to inform some of the blocking of the show.

And so, with this stuffed animal drive to benefit Comfort Cases, we are not just asking for things, we are asking for you to help create memories for a child. Who knows, perhaps they will use them in a rehearsal of their own one day!

See you in Wonderland! Get tickets now!

Use Amazon Smile (and choose YAA as your charity of choice) to purchase your stuffed animal and support both YAA and Comfort Cases simultaneously!

WATCH FOUNDER OF COMFORT CASES ROB SCHEER’S TED TALK

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Presenting Carol Trawick with YAA's 2022 Mentorship Award

We're so thrilled to be presenting Carol Trawick with YAA’s 2022 Mentorship Award this Sunday at our presentation of AIDA. Past YAA Mentorship Awardees have included Stephen Schwartz and Eliot Pfanstiehl. From YAA’s earliest days, Carol Trawick and The Jim and Carol Trawick Foundation have been instrumental to our organization’s growth.

Carol was YAA’s very first mentor. After meeting Rolando and Kristofer Sanz, she became a true believer in their vision of bringing transformative, innovative, and inclusive performing arts opportunities to the youth in our community.

Carol took a fledgling YAA under her wing, and literally gave us a home— providing office space, advice, encouragement, and key introductions. Her generosity continues to this day. The Trawick Foundation provides annual support for student scholarships to YAA’s Summer Performing Arts Intensives.

Learn More About Carol

Thirty-three years ago, Carol and Jim Trawick started Trawick and Associates, an information technology company that provided IT support services to over 60,000 end users in the federal government.  The Trawicks sold the company in November, 2006, and established the Jim and Carol Trawick Foundation.  The Foundation’s mission is to assist local health and human service and arts non-profit organizations to reach more people in need and to encourage and sustain creative activities.  The Foundation has awarded grants to over 90 Montgomery County, MD, non-profits, many receiving multiple grants.

Carol has served the community in which her family, her former business, and now the Foundation have resided. She served as Board Chair of numerous organizations such as the Maryland State Arts Council, Strathmore Music Center, the B-CC Chamber of Commerce, the B-CC Rotary Club, the Glen Echo Park Foundation, the Bethesda Urban Partnership, and the Bethesda Arts and Entertainment District.  

Carol was named the Leadership Montgomery 2004 Leader of the Year, the Gazette 2006 Business Leader of the Year, the InterfaithWorks 2009 Humanitarian of the Year, a 2010 Washingtonian of the Year, the 2010 Montgomery County Philanthropist of the Year, the 2010 County Executive Lifetime Impact Award, the Roscoe R. Nix 2013 Distinguished Community Leadership Award, and was elected to the 2012 Montgomery County Business Hall of Fame. 

A former teacher and high school assistant principal, Carol is especially supportive of programs that benefit youth. The Trawick Foundation focuses on innovative grant making strategies with its annual TeamUp Award. This award requires nonprofits to collaborate with schools on programs for middle school age youth and ninth graders, that will help keep youth connected during their transitional years. Also, Carol initiated and funds 2 art awards for the MD, VA and DC region:  The Trawick Prize for Contemporary Art and the Painting Awards.

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Get to Know: Kevin McAllister, Director of AIDA

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Get to Know: Kevin McAllister, Director of AIDA

Helen Hayes Award-Winning Actor Kevin S. McAllister will direct Young Artists of America’s spring production of AIDA on April 3 at Strathmore’s Music Center (tickets on sale 3/14). We caught up with this Broadway (Come From Away, Caroline or Change) superstar to talk about his love for theatre, how he got started, and what he’s most excited about for this production.

Theatre is the culmination of so many people coming together to make, what appears to be, magic happen. 

How did you become a theater director?

I’ve always been fascinated by how many people it takes to make one thing happen.  Theatre is the culmination of so many people coming together to make, what appears to be, magic happen.  As a young actor, I became really enthralled by the tech process when all the costumes, lights, sound, props, and choreography all come together for the first time.  I remember sitting in the back of the house and watching Toby Orenstein and Daniel McDonald, Co-Directors of my first professional show, Ragtime, balancing all the questions coming their way.  They made good decisions.  They made bad decisions and then immediately changed them but all of it came together to make a most beautiful production that everyone who worked on it was so proud of. 

After that production I went to Toby Orenstein and asked her to teach me everything she knew about directing.  She agreed to be my mentor.  She brought me on to teach at her Teen Professional Camp and I was her assistant on an original production of The Phantom of the Opera.  It was great.  I learned a lot. I did a lot.  It changed my life.  I was hired to direct on my own for the next five years and went on to direct many mainstage shows.  From then on, I was hooked and many years later I find myself here with the amazing talent at YAA. 

What's been your favorite thing you've directed?

This is a hard question to answer.  I come away with favorite moments from every show I’ve directed. If I have to choose, I would have to say a production of Dreamgirls I directed with my company, ArtsCentric in Baltimore. It’s a true favorite because it was set in a blackbox space that should not have been able to handle a mammoth show like Dreamgirls.  It was a huge challenge for me as a director but it was such a hit that it ran for almost two months.  It really upped my belief in the idea that anything is possible and whenever I’m presented with something that seems almost impossible, I get really excited because I know our entire team will be super proud when we figure it out. 

What made you decide to direct AIDA for YAA? What is it about the musical that interests you most?

What’s not to love about YAA?  There’s years of commitment to the advancement of young artistry; true artists of all ages with a real commitment to learning and teaching the foundations of great artistry…It doesn’t get any better.  Whatever the show offered, I would have said yes.  It just so happens that it’s Aida, a show I’ve directed five other times.  

Honestly, I’m a huge fan of the three humongously flawed characters that make up this narrative, Aida, Radames, and Amneris.  They all want to be loved by the others in an extreme way.  Each of them controls a nation and yet still battles with self and moral duty over commitment to their people.  It’s an almost impossible decision for anyone to make and yet each of them owns their choices.  They each love and lose with the whole heart.  It’s epic.  So, I come back to direct it time after time because there’s always something new to learn. There’s always a new layer to the piece that I, the director, can discover as well.  It’s just really touching and I never grow tired of it. 

What is it like working with YAA students and faculty compared with professionals?

There’s truly no difference between the work being done at YAA and working with professionals.  If anything, there is more work and preparation and work being done here than by some professionals.  YAA is filled with people excited to create.  It is filled with young minds who are not doing this to pay their bills.  It is filled with people who want to be there, who want to create something magical, and bring their best selves to every rehearsal.  Don’t get me wrong, there are several professionals who do the same thing.  I just think over time we professionals fall into the machine that is auditioning, getting hired, and then doing the work.  If we are lucky that machine never stops but for most there are breaks and instead of refreshing and building on our skills during our downtime we relax or become complacent and hope that our previous work ethic is good enough to compete in an ever changing market.  With YAA you meet young people who haven’t yet ventured into the world of full-time professional artistry so their commitment is because they want to be there.  It is an institution that brings them joy so they choose to be there.  They choose to work on their artistry in their downtime because it is an investment in their artistic future.  I enjoy the atmosphere here so much.  It’s refreshing.  Working with so many amazing young talents reminds me that the highest standards of artistry will be maintained and pushed even higher once this class of young professionals take over. 

Tell us more about the music of AIDA. What makes it different from other musicals you've done? 

Aida is Pop/Rock musical with an eclectic mix of some of Elton John’s best musical theatre compositions.  Easy As Life is an audition staple in the theatre community.  Everyone knows it.  When sung well it is a beautiful composite of great storytelling and melodies that kinda stay with you after the show is over.  

I think this musical is different from other musicals because of the lyrics. Tim Rice, the lyricist, has written lyrics that require thought.  There’s no easy answer to any of the songs.  There’s no one way to sing them.  They are layered pieces.  Many musicals offer the easy when sining.  I’m sad so I’l say I’m sad but this body of work asks the artist and the audience to understand that emotions are made of so many things.  Anger can be made up of so many things like sadness, shock, embarassment or pride.  Elton John and Tim Rice combine all of these ingredients to make a beautiful recipe book of songs.  

What are you most looking forward to for the show?

I’m most looking forward to seeing the audience’s reaction to the pride and power of this amazing company.  Nothing thrills me more than sitting in the back of the house watching a parent see their child do something for the first time; sing that first solo; tackle the choreography; make a confident acting choice. It’s unlike anything else when you see a group of people come together and celebrate the work of so many.  Theatre is not something a director should create for himself.  If done well it should be created with everyone aspect of the production.  The actors, costumes, the lights, the props, the orchestra, the singing, the staging have all come together to create these two hours.  There’s no greater thrill than sharing that with others.  It just happens to be an even more exciting thing when it’s presented to a parent.  

How has theater changed from COVID? Where did you see theater going from here? 

I think is trying to be a little more responsible with stories that are being told and how they are being told.  Theatre is trying to produce stories that they feel need to be told at this point in our society.  COVID has caused everyone to ask themselves, “Do I really need to do that?”, if the answer is no, we stay home, we refund our ticket and we get under the covers.  So, theatre is now meeting some people by only having partially full audiences.  Some theatres are streaming shows on their website for those who just don’t feel comfortable leaving their home. It’s a new world and despite it’s many changes theatre has been here since the beginning of time.  I don’t see it going anywhere.  Storytellers will always find new and inventive ways to share their narratives. It’s a constant thread in the fabric of every culture.  So, I don’t think much will change other than the expansion of how to reach those who do not feel safe coming indoors right now.  Theatre will always find a way.  Always has, always will. 

Tickets available 3/14

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First YAA Alumnus Elected to Board of Directors

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First YAA Alumnus Elected to Board of Directors

Last June, YAA’s Board of Directors unanimously elected Jamie Joeyen-Waldorf, a Broadway producer, entrepreneur, and HR professional currently working for The New York Times, to serve a three-year term as a full member of the Board. Jamie is the first YAA alum ever to serve in this capacity. 

Jamie Joeyen-Waldorf

Jamie Joeyen-Waldorf

“Jamie will bring to the board vital skills in professional theatre production and human resources,” said YAA Board President Ollen Douglass. “She will also be able to share her unique perspective as a former student.”

Jamie made her Broadway co-producing debut on Terrence McNally’s Frankie and Johnny in the Clair de Lune starring Audra McDonald and Michael Shannon. She earned her bachelor’s degree from Northwestern University, double majoring in Theatre and Sociology with certificates in Marketing, Leadership, and Entrepreneurship.

”I’m thrilled to be able to give back to YAA, which taught me so many important life lessons when I was in high school,” said Jamie. “Plus I’m excited to serve as a liaison between the Board of Directors, the Alumni Advisory Board, and all YAA alums.”

Jamie served on the inaugural YAA Alumni Advisory Board, where she was instrumental in launching the alumni podcast “The Reprise,” which features interviews with former YAA students and is available wherever you get your Podcasts. She will now be an Ex-Officio member.

“As we enter our tenth season, the time is right to include a young alum in this leadership role,” noted YAA Producing Artistic Director Rolando Sanz. “Our alumni community is an essential part of our vision for YAA’s next ten years.”

Leave a congratulatory message for Jamie below! 

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Young Artists of America Named One of the Best Nonprofits

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YAA Named ‘One of the Best’ Nonprofits by the Catalogue for Philanthropy

As it Celebrates its 18th Anniversary Working in the Greater Washington Region, the Catalogue for Philanthropy is Proud to Honor YAA

After an intentional application and selection process, the Catalogue for Philanthropy: Greater Washington has selected Young Artists of America to be part of the Class of 2021-22. Young Artists of America has undergone a rigorous review process conducted by a team of 170+ local community advocates, and has been found to be a critical local nonprofit. Potential donors can be confident that the nonprofits in the Catalogue are worthy of their support. 

This year, the Catalogue’s volunteer review team helped select 87 nonprofits to feature in the print edition, almost half of which are new to the Catalogue this year. Over 70% of the organizations are women-led, and over 40% are BIPOC-led. The network now includes 400+ vetted nonprofits working in the arts, education, environment, and human services sectors throughout Greater Washington.

“People want to get involved in their community—they want to make a difference, close to home. Based on our rigorous review process, we believe that YAA is a critical local nonprofit in our region,” says Matt Gayer, Co-Executive Director of the Catalogue for Philanthropy.

The Catalogue believes in the power of small nonprofits to spark big change. And they believe in YAA to continue to further that positive change, working each day to lift up, strengthen, and enrich our local community.  

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Thank You to The Jack Kent Cooke Foundation!

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YAA is proud to be a Jack Kent Cooke Foundation 2021 Good Neighbor Grant recipient! We are so grateful for their generous $35,000 grant which in part will help make our “Raise the Curtain” program possible and provide scholarships and support for our YAAStudio program.

THANK YOU to The Jack Kent Cooke Foundation

The Jack Kent Cooke Foundation is dedicated to advancing the education of exceptionally promising students who have financial need. Since 2000, the Foundation has awarded over $220 million in scholarships to over 2,800 students from 8th grade through graduate school, along with comprehensive educational advising and other support services. The Foundation has also provided $115 million in grants to organizations that serve such students. More can be found at www.jkcf.org.

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YAA Stands Against Hate

Dear Community,

Young Artists of America (YAA) condemns racism and all expressions of hate and discrimination. We stand up now to state clearly that the recent xenophobic attacks on the Asian, Asian American, and Pacific Islander community are horrific and unacceptable. Our hearts go out to everyone impacted by the senseless violence. As a next step, we will reach out, both inside and outside our network, to listen and learn how YAA can best support the AAPI community.

Sincerely,

Ollen Douglass, Board President
Lisa Larragoite, Executive Director
Rolando Sanz, Producing Artistic Director
Kristofer Sanz, Music Director
Terry Eberhardt, Associate Artistic Director

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Announcing Guest Mentor & Narrator for INTO THE WOODS, Eleasha Gamble

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Announcing Guest Mentor & Narrator for INTO THE WOODS, Eleasha Gamble

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Professional performer Eleasha Gamble will be joining Young Artists of America as a Guest Mentor, appearing as the Narrator in YAA’s Spring 2021, site-specific production of INTO THE WOODS. Eleasha is well known throughout the DC theatre scene, having starred in numerous professional productions around town, including Laurey in Oklahoma! at Arena Stage, and multiple roles in the most recent tour of INTO THE WOODS (including a stop at The John F. Kennedy Center for the Performing Arts).

Eleasha is no stranger to YAA, having been YAA’s first guest mentor 10 years ago in May 2011 for the YAA Inaugural Concert singing our show’s uplifting anthem, Children Will Listen.

Eleasha, the entire cast, chorus, and orchestra (over 100 participants!) have all recorded their musical contributions to the show virtually from home. Eleasha will join the cast both virtually and in-person to film her role in the production.

As YAA approaches its 10th anniversary, it is only fitting that we come full circle to welcome back our friend and first Guest Mentor, Eleasha, to work alongside our students and tell this touching important, and timely story about community overcoming adversity.

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YAA LIVE on FOX5 Morning News & Good Day DC

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YAA LIVE on FOX5 Morning News & Good Day DC

If you were tuned to Fox5 this morning, you would have seen us LIVE from The Chrysalis at Symphony Woods being interviewed by Kevin McCarthy about our upcoming Spring Production, Sondheim’s INTO THE WOODS. In case you missed it, check out the three spots below! Enjoy!

Learn more about our upcoming production here.

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The Chrysalis Campaign

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The Chrysalis Campaign

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Friends,

Thanks to your support, Young Artists of America (YAA) has overcome the challenges of the pandemic and prouced a year filled with innovation and growth.

We are proudly leading the way in the new digital musical theatre space, including this month’s premiere of our most diverse and collaborative production to date — SOPHISTICATED LADIES, a digital production featuring the YAACompany dancing and singing the Duke Ellington songbook, along with performances YAA has commissioned from leading arts organizations across the region, including: ArtsCentric (Baltimore), Capitol Tap (Takoma Park), Divine Dance Institute (Capitol Heights), and Edge School of the Arts (Queens, NY).

Moving into 2021, YAA’s goal is to provide more students opportunities to safely create art in-person whenever possible. To accomplish this, we are literally taking our students INTO THE WOODS — presenting Stephen Sondheim and James Lapine's classic at The Chrysalis at Symphony Woods in Columbia, MD. Utilizing this outdoor concert space will allow YAA to stage and film in person while maintaining health guidelines.

However, the costs associated with this outdoor performance opportunity are significant— and that’s where you come in. We are asking you to join

The Chrysalis Campaign to help fund the myriad of production elements needed, like:

  • hand sanitizer, masks, thermometers

  • tents

  • outdoor heaters

  • lighting equipment

  • audiovisual equipment

We have set an ambitious goal of raising $25,000 by the end of the year. YAA has received a generous gift from three angel donors that will match individual contributions. So for every dollar you give before January 1st, YAA will receive two.

Please consider making a tax-deductible gift to “The ChrysalisCampaign” today to help YAA’s student performers emerge from this unprecedented year and take flight in 2021!

With Gratitude,

Rolando Sanz, producing artistic director

Kristofer Sanz, music director

Lisa Larragoite, executive director


PS: Watch a sample of what our students are accomplishing (during a pandemic!) in our upcoming Sophisticated Ladies.

PPS: Everyone who donates will be entered to win an iPad mini Wi-Fi 128GB Space Gray.

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Leayne's POV: Remote Revue of Music by Duke Ellington

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Leayne's POV: Remote Revue of Music by Duke Ellington

YAA is excited to bring you a new blog column called Leayne’s POV. Our wonderful Dramaturg for our fall production of Sophisticated Ladies, will be writing regularly to give you a bit more background on the production we are currently working on. Check back often to get your fill of Leayne’s POV!


An entirely remote revue of music by iconic jazz composer Duke Ellington

It is my honor to welcome you to the wonderful world that is Sophisticated Ladies. My name is Leayne Dempsey, and I am the dramaturg for this fall’s digital music revue of Sophisticated Ladies. What is a dramaturg, you ask? Put simply, I’m the “history nerd” of the show. My research helps our young performers grasp the music and language of the 1920s and 1930’s and, maybe more importantly, understand how the events of that time influenced the work of one of the most important jazz composers of all-time.  

Sophisticated Ladies explores, celebrates, and investigates the musical legacy of DC-native Edward Kennedy, also known as Duke “The Duke” Ellington. Did you Ellington received the nickname “Duke” from his friends because of his classy mannerisms (he was also a great dresser!)?

There is no better time to celebrate Duke Ellington on the Young Artists of America stage. Frankly, the world needs a little jazz these days. Sophisticated Ladies’ music score and book reminds our nation of the resilience of the African-American community, which has always found a way in the midst of oppression to see, “Gray skies as just clouds passing over.” And perhaps, it reminds us all of the same in this unprecedented year.

The setting of Sophisticated Ladies is nestled within the Harlem Renaissance and the early days of Harlem, New York’s renowned and White-patron only Cotton Club. It was a time of jazz and a moment when the African-American community migrated to Harlem in search of new opportunities.

Some of the greatest African-American minds of the 1920’s came from Harlem during this time. The country was treated to W.E.B. DuBois’s ideas about the The Talented Tenth; Zora Neale Hurston’s classic novel Their Eyes Were Watching God; Billie Holiday’s renowned song Strange Fruit; Jelly Roll Morton’s The Red Hot Peppers; and, of course, Duke Ellington’s beloved and groundbreaking music: It Don’t Mean A Thing (If it Ain’t Got that Swing), Take the ‘A’ Train, and Mood Indigo.

The Harlem Renaissance was more than just a moment in our nation’s history, it was an imprint pressed into the very DNA of American history and culture. 

As a virtual production, we’ve been working hard to provide the most innovative instruction we can for our YAACompany students. Many members of our YAACompany are in virtual classrooms all day, and the last thing I wanted to do was present more electronic folders and files for them to excavate. 

In addition to the dramaturgical presentation the students have received during rehearsal, I’ve created interactive Bitmoji classrooms for the students to explore and to engage with historical videos and artifacts of the time. The Bitmoji classroom provides a multidisciplinary learning experience to bring our company members closer to the world of Sophisticated Ladies and the Harlem Renaissance and beyond.

Interact with the presentation below by clicking on the various images to view the YAA Sophisticated Ladies dramaturgical rooms.

So far in our process, the students have explored four “rooms”: 

  1. Room one: An introduction to “The Duke”, the Harlem Renaissance, and the history of “Black Broadway” which was located on U Street in Washington, D.C.

  2. Room two: A history of tap and its origins in style and technique by famous African-American tappers: Bill “Bojangles” Robinson, the Nicholas Brothers, Howard “Sandman” Sims, Buster Brown, Jimmy Slyde, Gregory Hines, Savion Glover, and the director YAA’s production, our very own Baakari Wilder.

  3. Room three: Etiquette and social graces. Here, we explore the fashion and gender roles and norms of the time, and it even includes an original etiquette book written in the 1920s.

  4. Room four: The history of the Cotton Club and its origins, examining everything from being owned by a mobster, to its White-only patron and all Black entertainer rules, to its role in the Harlem club and speakeasy ecosystem of the 1920s.

The entire creative team has been working hard to bring this production to life, and it is truly going to be a celebration of “The Duke”. The once closed doors of the Cotton Club are now virtually opened for all to enjoy the work of an American legend, Duke Ellington. And perhaps more importantly, it will be a celebration of the YAACompany’s journey through jazz: they’ve learned, they’ve listened, and they have found their voices, and I cannot wait for you to hear them.

Sincerely, 

Leayne C. Dempsey
Dramaturg, YAA production of Sophisticated Ladies

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We Chat with Our President

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We Chat with Our President

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With the presidential election on everyone’s mind, we figured we’d learn a bit more about our own president…Board President that is! Prior to being elected this year, Ollen Douglass was first a proud YAA parent (to Vinny Douglass, ‘19), then a Board Member, and then Board Treasurer. We sat down with him (at a distance) last week to learn a bit more about his life and his vision for YAA. Here’s what he had to say…

YAA: What was your biggest motivating factor to become Board President?

Ollen: I have no artistic talents of my own. But, I help to run a successful venture capital investment firm called Motley Fool Ventures that invests in mostly tech start-ups. I love business and wanted to offer my finance skills to an incredible arts organization like YAA to help it grow and continue to succeed.

YAA: Venture capitalism, huh? Like Shark Tank?

Ollen: Ha! Kind of but more money and less attitude!

YAA: Fair enough! So, why us? What do you love about YAA?

Ollen: Ever since my son Vinny (Douglass) was involved with YAA I have admired how YAA embodies their mission of artistry, excellence, mentorship and equity. The way YAA’s faculty and staff interact with their students, helping them develop and reach their full potential is of the highest caliber.

YAA: We know you said you’re not artistic, but you clearly are an arts-lover. What’s your favorite Broadway musical?

Ollen: Ooo! Fun question. I’ll give you a hint…”I got the horse right here, The name is Paul Revere, And here's a guy that says if the weather's clear, Can do, Can do!

YAA: Guys & Dolls!

Ollen: That’s the one!

YAA: Great choice. YAA has not done that one yet. What about your favorite YAA production?

Ollen: I’d say it’s a tie between In the Heights and Les Mis!

YAA: Great choices! So, when you’re not working, being a husband and father of three, watching YAA productions, and volunteering your time to us, what are you doing?

Ollen: I’m sleeping!

YAA: Ha! So what can we expect from your tenure? What are your top priorities?

Ollen: I want to make sure that YAA is prepared for the next generation. We have all been thinking about the changing landscape we are finding ourselves in with COVID. We are seeing that technology is playing a bigger role in our lives every day. I want to make sure that we are on the forefront of musical theatre education no matter what that looks now and in the future. How can we ensure we are always offering the next level of quality for those involved in our programming? That’s the question I want to make sure we’re always asking and successfully answering.

YAA: It’s not only technology that interests you though. You and your wife Julia have generously added a new scholarship fund to YAA’s scholarship options, this one specifically for students of color. Can you tell us more about this?

Ollen: Indeed! We are offering a scholarship for students of color and partnering with schools in our area to get the word out about it. We want to help expand the reach of YAA’s programming and ensure that its level of excellence is available to as many people as possible no matter your race, economics or creed. We do not want students to miss out just because of financing or lack of access. We want to find and grow great talent wherever it is.

YAA: Perhaps on a related note, what role do you see YAA having in the fight for racial equity in our community and beyond?

Ollen: I’ve always admired YAA’s leadership for how they expand opportunities for their students through the roles they cast and the programming they offer. I believe that YAA’s role during this time is to state the obvious - when we say Black Lives Matter it is not a political statement. It is a statement standing for human rights. In order for all lives to matter, Black lives must matter as well. We should all be working to ensure we have a fair and equitable world for everyone, and YAA can do this from where they stand as conveners, leaders and educators in our community.

YAA: Indeed! Anything else you'd like to share with us?

Ollen: I’m just so excited to be in this role as Board President. I’m super grateful to our community that supports us and I am fully committed to deliver the highest quality program for those that go through the program.

YAA: Well, we are very grateful to have you. Thank you so much for taking the time to chat with us and for all your work for YAA.

Ollen: Certainly!

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ANNOUNCING: Our 2020/21 Season

Dear Friends,

As we announce our upcoming 2020-2021 season, everyone at YAA— leadership, staff, and board members— reaffirms our commitment to excellence and racial equity. 

Through our artistic programming, community collaborations, and organizational culture, we strive to champion high caliber storytelling that gives young artists opportunities to explore themes about race and disparity that challenge non-dominant norms. 

However, the events of the past few months have shown us that we must do more. We commit now to clearly calling out racial injustice and communicating the actions we will take to help build an anti-racist community. 

Specifically...YAA affirms unequivocally that Black Lives Matter, and that we must do whatever we can as an organization to bring an end to systemic racism. In the coming year, YAA will take specific actions— some new, and some which are already part of our organizational DNA. Click here to learn more.

Against this backdrop we are pleased to announce:


NEW SCHOLARSHIPS FOR STUDENTS OF COLOR

YAA’s incoming board President Ollen Douglass has generously created a new scholarship fund specifically for students of color, which will be administered in partnership with specific schools in our community.


FALL PRODUCTION

SOPHISTICATED LADIES, celebrating the music of DC’s own Duke Ellington and the Harlem Renaissance. This innovative digital production will feature YAACompany in collaboration with: ArtsCentric of Baltimore, and Capitol Tap of Washington, DC, and Divine Dance Institute of Capitol Heights, MD.

YAA is committed to continuing our work of amplifying BIPOC voices, and we are proud that the production will be principally led by an amazing team of black teaching artists from our local theatre community. YAA acknowledges and fully embraces the renewed conversation in the theatre community that telling black stories, like the legacy of Duke Ellington, should be led by black creatives. We are thrilled to be collaborating with renowned dancer and actor, Baakari Wilder (Original Broadway Cast of Bring in ‘da Noise, Bring in ‘da Funk) who will direct and choreograph the production, as well as two of DC’s great music directors, Victor Simonson (National Tours of Memphis & The Color Purple) and Mark G. Meadows (Jazz at Lincoln Center, Signature Theatre).


SPRING PRODUCTION

INTO THE WOODS: YAA joins the greater theatre community in celebrating the 90th birthday of the legendary Stephen Sondheim with our production of this iconic coming of age fairy tale. Stay tuned for more exciting details about this production in the near future!


YAAjunior PRODUCTIONS


This is neither the beginning, nor the end, of YAA’s stand against systemic racism. As we work to give students the highest quality musical theatre training and performance opportunities, we promise to prioritize YAA’s racial equity initiatives for this season...and for all seasons in our future!

Sincerely,

Ollen Douglass, Board President
Lisa Larragoite, Executive Director
Rolando Sanz, Producing Artistic Director
Kristofer Sanz, Music Director
Terry Eberhardt, Associate Artistic Director

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ALUMNI SPOTLIGHT: Rachel Hahn (2015)

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ALUMNI SPOTLIGHT: Rachel Hahn (2015)

To continue with our #YAAPlaysOn movement, we have asked several of our alumni to share news about themselves, their time at YAA and how they continue to “play on” despite these unexpected circumstances.

What have you been up to?

I graduated from Boston Conservatory in May 2019. I recently finished an internship with The Kennedy Center and Washington National Opera. There I was working with the WNO Domingo-Cafritz Young Artist Program. Now I’m working for Washington Concert Opera as their Special Events Intern. I am also singing with Potomac Vocal Institute’s Professional Development Program!

Tell us about something you learned at YAA that you apply to your life today.

YAA taught me how to be professional. From the little things like bringing a pencil to rehearsal to learning music quickly to working with high profile guest artists.

RachelHahn.jpg

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ALUMNI SPOTLIGHT: Madeline Statter (2017)

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ALUMNI SPOTLIGHT: Madeline Statter (2017)

To continue with our #YAAPlaysOn movement, we have asked several of our alumni to share news about themselves, their time at YAA and how they continue to “play on” despite these unexpected circumstances.

CHECKING IN WITH MADELINE STATTER (CLASS OF 2017)

What have you been up to?

I am currently a junior at Oklahoma City University majoring in Musical Theatre. I am currently in the ensemble of Spamalot, a mainstage show at OCU!

Tell us about something you learned at YAA that you apply to your life today.

To always be patient, professional, and enjoy every minute of the rehearsal!

Madeline performing on the YAA stage.

Madeline performing on the YAA stage.

Madeline sitting next to YAA Mentor, Broadway’s Andrew Lippa.

Madeline sitting next to YAA Mentor, Broadway’s Andrew Lippa.

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Alumni Spotlight: Vinny Douglass (2019)

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Alumni Spotlight: Vinny Douglass (2019)

To continue with our #YAAPlaysOn movement, we have asked several of our alumni to share news about themselves, their time at YAA and how they continue to “play on” despite these unexpected circumstances.

CHECKING IN WITH VINNY DOUGLASS (CLASS OF 2019)

VinnyDouglas.jpeg

What have you been up to?

I am currently studying Theatre at Suffolk University with a concentration in Directing. I recently Assistant Stage Managed my school’s production of Violet!

Tell us about something you learned at YAA that you apply to your life today.

Every single role in the show and all of the crew are equally important and deserve the same amount of respect.

What are you doing to “play on” during this time? 

During these times I’ve been trying to stay creative, writing for my own musical that is in the works as well as workshopping for another show. Remote auditions are still going on and I’m happy to say I’ve gotten a few callbacks and it feels good to know that everyone is looking towards the future still.

Know an alumni who would like to be featured here? Have them fill out this survey. Our 10 year anniversary is coming up, and we’d love to reconnect!

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Seeking Board Member: Finance/Accounting

Young Artists of America (YAA), a 501(c)(3) non-profit organization founded in 2011, is seeking a new Board member with finance/accounting skills to serve as Treasurer and contribute to its vision of helping students find their voice! Based in North Bethesda, Maryland, YAA offers world-class training to gifted and committed young performing artists in a professional and nurturing environment. Through mentorship and individualized instruction from renowned artists, students work collaboratively to perform fully orchestrated works of music-theatre in state-of- the-art venues such as the Music Center at Strathmore, where YAA resides as the arts center’s first Affiliate.

See our web site at YAA.org for more information.

Working closely with YAA’s Executive Director and Board of Directors, the new Board Member will focus on the organization’s financial health, future growth, and long-term sustainability.

The ideal candidate will have the following skills/qualities:

  • Previous business and/or non-profit management skills

  • Experience in accounting or financial field

  • Able to think and act strategically

  • Passionate about the importance of the performing arts

  • Able to foster and maintain strong relationships with stakeholders, including community partners, staff leadership, and Board Members

  • Comfortable being an ambassador for YAA at performances and community events

  • Willing to participate in fundraising and able to successfully solicit and steward donors

  • Collaborative by nature, placing focus on shared objectives and goals

  • Embraces cultural, gender, and racial diversity

Responsibilities for this position include:

  • Review monthly financial statements and work to improve financial reporting

  • Review YAA’s annual tax filings and audit, prepared by an outside accounting firm

  • Deliver financial updates to board

  • Help staff develop strategies for the organization’s future growth

  • Prepare for and attend regular Board Meetings (5/year) and Committee Meetings (as needed)

  • Attend at least two YAA programmatic events per year, be it performances, classes, or rehearsals.

  • Recognize the value of financially supporting the organization

  • Engage in fundraising activities in ways suited to the candidate’s skills and comfort level

For more information, or to discuss this opportunity further, please contact: Lisa Larragoite Executive Director Young Artists Of America lisa@yaa.org 301/272-8604

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Alumni Spotlight: Lindsey Jacobson (2018)

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Alumni Spotlight: Lindsey Jacobson (2018)

To continue with our #YAAPlaysOn movement, we have asked several of our alumni to share news about themselves, their time at YAA and how they continue to “play on” despite these unexpected circumstances.

Checking In with Lindsey Jacobson (Class of 2018)

Lindsey Jacobson, YAA Class of 2018

Lindsey Jacobson, YAA Class of 2018

Lindsey Jacobson, YAA Class of 2018

Lindsey Jacobson, YAA Class of 2018

What have you been up to?

I am currently a sophomore in Catholic University's  Bachelor of Music in Musical Theatre program. I am a props designer for CenterStage Theatre company’s Little Shop of Horrors.

Tell us about something you learned at YAA that you apply to your life today.

I learned a lot about how a professional production runs and the expectations that are expected of me as an actor, which was a super useful skill coming into college.

What are you doing to “play on” during this time? 

During this time of uncertainty, I like to think of this new found time as a much needed break to revitalize and rejuvenate. I am taking time to refine skills I still need to work on, as well as spending some time exploring and revisiting other creative outlets that I haven't touched on in a long time, like painting. I am working on my dance technique in addition to taking online dance classes, and I am able to put in a lot more stretching time and attention to detail. I am also thankful for the extra time because I am able to put in more time towards my music theory studies, which is something I've definitely needed. Being able to find the positives and identify all of the ways that I can still work on my art and improve my skills has been one of the most vital tools to keeping a positive mindset during this time.


Know an alumni who would like to be featured here? Have them fill out this survey. Our 10 year anniversary is coming up, and we’d love to reconnect!

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