The more I learn about Teddy Roosevelt, the more I like him. Did you know that his political platform in 1912 called for universal healthcare, environmental protection, the adoption of public lands for preservation, and other similar issues important to progressives today? Furthermore, Teddy was also the first major figure in American politics to call for women’s suffrage and equal pay for women – which we still don’t have today. In fact, his 1880 college thesis was an argument in favor of women’s suffrage. TR basically drew up the blueprint for the New Deal and for the course of American progressivism for the next century. And what surprises a lot of people is that Roosevelt was a Republican. At first. In 1912, TR split from the Republicans and formed the progressive Bull Moose Party after he lost the presidential nomination of the Republican Party to his former protégé and conservative rival, incumbent president William Howard Taft. Of course, even if he had continued in the Republican party, the two parties hadn’t switched platforms yet. That didn’t happen in earnest until the 1960s. So it’s fair to assume that TR would likely be a Democrat were he alive today. It’s just amazing how ahead of his time he was, and how he was so often on the right side of history. Especially when it came to racism and slavery. In 1885, he publicly denounced former Confederate President Jefferson Davis – who was still alive at the time – and compared him to the American turncoat, Benedict Arnold. Davis angrily rejected the comparison, and initially tried to sue for libel, but eventually dropped the suit. TR called for the end to Confederate monuments, which were rapidly going up all over the South at that time, as Jim Crow laws were instituted and the KKK was responsible for hundreds of public lynchings. Teddy called out these racist Southerners, and condemned their statues – 120 years before the rest of the country finally woke up to our nation’s intrinsic racism and the shameful hypocrisy of such monuments.

At the time, Roosevelt wrote: “I certainly cannot be put in the attitude of in any way apologizing for or regretting anything I have said about Jefferson Davis. If secession was not a crime, if it was not an offense against humanity to strive to break up this great republic in the interest of the perpetuation of slavery, then it is impossible ever to commit any crime, and there is no difference between good men & bad men in history. Jefferson Davis for many years had intrigued for secession – had intrigued for the destruction of this republic in the interest of slavery; and the evidence is overwhelming to my mind that in his course he was largely influenced by the eager desire to gratify his own ambition. In public utterances of mine I grouped together Jefferson Davis and Benedict Arnold. As a matter of pure morals I think I was right. Jefferson Davis was an unhung traitor. He stands as an evil eminence in our history.”

Like many people today, I also understand and share many people’s concerns about the true legacy of Teddy Roosevelt. He was an unrepentant Imperialist, who hated Native Americans and brutally bullied Latin America. Roosevelt was a shameless nativist and nationalist, who believed in American Exceptionalism. His foreign policy was Colonialist and oppressive, and he firmly believed America had an intrinsic obligation to police the world and impose its ideals on nations everywhere. TR famously said, “Speak softly and carry a big stick; you will go far.” Big Stick Policy, in American history, popularized and named by Roosevelt asserted that U.S. global domination was our country’s moral imperative. Much of the world disagreed, but cowered in its fear of the newly ascendent empire. Some of Theodore Roosevelt’s views and prejudices were problematic, at best, and abominable at worst.

Having said all that, I think it’s always important to keep things in perspective and contextualize the man in HIS time. Any person, for that matter. The world has a rich legacy of influential artists, authors, poets, politicians and the like, who have passed down their work through the millennia and is still warmly received today. We are still teaching many of these – admittedly white male figures – in school. The Western Canon has long been held up as the epitome of taste and culture. However, in the last few decades, that belief has rightfully come under fire. We are now carefully analyzing and parsing every historical figure’s words and deeds, and scrutinizing their every misstep. As we should be. We need to take a critical approach to our ancestors, and evaluate if they are still relevant and acceptable to our modern sensibilities. However, I do believe that it’s a slippery slope when we start unfairly holding our ancestors to our high ideals and standards of decency. Over millennia, we have evolved as a species – both physically and intellectually. It’s fair to say that we are much more enlightened today than we were a thousand years ago, and even just over a hundred years ago – while TR was still alive. While his views on Native Americans and Latin America were backwards and racist by contemporary standards, they were quite commonplace at that time. Imperialism and Colonialism were alive and well. And Teddy fell victim to that barbaric and primitive way of thinking. Sadly, like all of us, he was also a victim of his age. How will historians look back on us? Will we be “cancelled” and outright dismissed by our posterity because we were so short-sighted and primitive in our beliefs and priorities? After our fossil fuels all but deplete our oxygen and our planet becomes nearly unlivable – only to be saved by future technologies and forward-thinking people – will our descendants look back at us as we do the Neanderthals? Can our legacies be salvaged?

In regards to Teddy Roosevelt, despite his bigoted and myopic views of his nation and its role in the world, he was also ahead of his time on so many progressive fronts. Many of these issues still trouble us today, and haven’t even been addressed one hundred years later.

Personally, I think it’s dangerous to take historical figures out of the context of their time, and hold them up to our enlightened and egalitarian standards. If we do that with everyone from the past, we’d have no one left to celebrate or learn from. ALL of our ancestors were deeply flawed. Aristotle. Shakespeare. T.S. Eliot. Ezra Pound. H.L. Mencken. Picasso. DaVinci. Lincoln. Both Roosevelts. And on and on. These names are rife with sexists, antisemites, and racist authors, politicians, and artists. By today’s standards, NO ONE would pass the sniff test. No one. But I don’t think that’s cause to throw the baby out with the bathwater. These (mostly) men were of their age, but they also created art and policy that transcends ALL ages. In his eulogy to Shakespeare, Ben Jonson wrote, “Shakespeare was not of an age, but for all time.” As are all of these historical figures. Their work is transcendental, and we wouldn’t still be reading them or consuming their art today if it didn’t still speak to us.

In light of their sins of the past, we must not “cancel” or dismiss them outright, but attempt to understand them and reconcile ourselves with their often shameful and ignorant beliefs. Instead of eradicating them from our text books and tearing down their statues, we need to carefully teach these historical figures and contextualize their hateful and ignorant words and deeds. This is a teachable moment.

It all starts by expanding the canon, and integrating more women, people of color, and non-Westerners into our curriculums. We need to take a worldly and multicultural approach to the way we teach our young people. They need to learn the contributions of people from all different cultures, creeds, religions, skin colors, sexual orientation, gender identities, and more. Our education system needs to embrace the artist and politicians of the world who have helped shaped our society. The next step is to continue to ALSO teach the great Western masters – whose work has been passed down as sacrosanct and unassailable until now – but do so in a way that is thoughtful and instructive. There is a reason why we still read Shakespeare, even though he was a white Christian male. We shouldn’t cancel him because he may have been antisemitic and sexist. We must firmly place these individuals in their time and place, and educate our students about the attitudes and mores of the day – however repugnant. We must not cower and hide from the sins of our forebearers and all the past atrocities that may have inflicted on the world. We must examine their unique zeitgeists, and teach our students that they were, unfortunately, products of a less enlightened and deeply bigoted era. As Confederate monuments are being torn down across the country, it is even more imperative that we learn to be critical in our understanding of the bigoted and racist views of nearly half the country at that time. For the record, I adamantly support the tearing down of Confederate monuments and statues. And the removal of Confederate names from military bases. And the renaming of streets, schools, and everything else that may bear the name of these hateful forerunners. We shouldn’t celebrate either traitors OR racists in this country. The Confederacy was an illegitimate country sprung from the loins of slavery and built on the backs of enslaved Black men and women. Those people do not deserve our admiration and praise. And they certainly don’t deserve monuments celebrating their accomplishments. However, I also don’t necessarily believe they should be melted down or destroyed altogether. There’s history there, and lessons to be learned.  I am of the opinion that these statues belong in museums and on battlefields where men on both sides died. That would be a fitting reminder of America’s original sin, and the people that perpetuated those atrocities. We need to remember them and learn from them, but no idolize and celebrate them. Just because Germany has no statues of Adolf Hitler doesn’t mean that they don’t learn about him and study the past. There’s a marked difference between recording the past and celebrating it. These statues need to come down NOW!

Things get a little more problematic when we start talking about the Founding Fathers. They were not traitors, and over the last 250 years, they have been lionized and celebrated for their unparalleled achievements, and the unimpeachable mark they left on the world. And yet, for all their high ideals, these men were deeply flawed and are rightfully problematic today. Many of our American heroes were slaveowners, and Thomas Jefferson was particularly bigoted, racist, and virulent in his private correspondence and journals. Reading his works beyond the masterful Declaration of Independence is frustrating and infuriating. How could a man that wrote so eloquently: “We hold these truths to be self-evident, that all men are created equal, that they are endowed by their Creator with certain unalienable rights, that among these are life, liberty, and the pursuit of happiness,” also be an unrepentant slaveowner and horrific racist? What’s more, one that slept with an enslaved woman on his plantation and fathered her children! What hypocrisy! Are we supposed to hold that kind of man close to our bosoms? And yet, are we to tear down all the statues of George Washington and Thomas Jefferson too? Surely their sins are comparable with those of Jefferson Davis and other traitors of the Confederacy less than a hundred years later. But does that mean we rename Washington DC? And schools and streets in every town and city in America? Is that even possible? How do we erase our “Founding Fathers” and not erase our mythic ideals of the birth of this nation at the same time? Like it or not, our unique American identity is inextricably tied to those who founded this nation and launched the longest continuous Democracy in the history of the world.

What if we continued to celebrate their accomplishments and teach them through an evolved and enlightened lens, putting them in their times, and being critical of their racist views? I prefer the latter. How could anyone reject the beautiful words Jefferson wrote in the Declaration of Independence? And yet, those words did not apply to Black men and women, or women in general. We must learn from those egregious oversights.

Problematic and deeply flawed individuals litter our history, and can often make us feel uncomfortable at best or rageful at worst. These days, it’s hard to fathom these individual’s racist, sexist, homophobic, Islamophobic, transphobic, and bigoted views any more than we could our next door neighbor who voted for Donald Trump. Wrong is wrong, right? And understandably, many people who have been historically disenfranchised and marginalized throughout history, want to cancel these ancestors of ours, and erase any contributions they may have made. But people are people. Humans are flawed, and much more complex than our myopic history books tell us. That is why we must rewrite our curriculums, and teach these people in a way that embraces their accomplishments, while rejecting and learning from their hateful views. We must take this opportunity for a teachable moment, and use it to educate and enlighten today’s generation, for the sake of future generations. We must not erase our history and culture, but contextualize it and surround it by works by those who may have punished and oppressed by those ugly beliefs and actions. We must provide a holistic view of history, and take these moments to learn from our mistakes. I feel very passionately that we shouldn’t ‘cancel’ problematic figures from our history. We should teach them.

Introduction

In teaching theater, the subject, ultimately, has to be the student. It’s not enough to say that we want to create a student-centered classroom, but then continue to teach a “one-size-fits-all” technique to theater. After all, every actor, director, designer, and playwright has their own perspective and life experience. What works for one student, may not work for another. If there is one overarching theme to my philosophy of teaching, it is that students should be exposed to a wide variety of methods and techniques, in order that they may pick and choose the practices that serve them best.  I believe that we must teach individuals, and allow them to explore a range of styles, methods, and techniques, and ultimately, collaborate with them to help shape their unique voices. As a teacher, I see myself first and foremost as a collaborator with each individual student in the process of exploring their own inner-artists and outer-collaborators. The theater classroom should be a place of self-discovery, and as we partner with students to explore and refine their own personal approach to the theater, there are nine principles that guide my teaching philosophy:

 

Respect
The most important thing we can do as educators is to respect each student as an individual, and demonstrate that respect by listening to them and striving to understand their unique perspective and point of view. There is no greater gift we can give another person than our undivided attention and the intimacy of our interest and consideration. Every student is worthy of our attentiveness, and deserves our respect. The teachers I loved the most in school were the ones who truly listened to me as a person. When I was nervous, or scared, or intellectually curious, those special teachers would listen to my point of view, and respond to what I said, not what to what they may have initially wanted to tell me. During my senior year at Emerson College, I had an excellent teacher named Andrew Borthwick-Leslie from Shakespeare & Company. He was a certified Linklater teacher, and had acted in dozens of Shakespeare plays over the course of his career. The class was Advanced Acting: Shakespeare. I was exploring a monologue by Hamlet, and was really struggling. Andrew made some adjustments to my body and encouraged me to breath from my diaphragm. I had heard all those words before, spoken by half a dozen teachers during my college career. I should have known by then. When I had Kristin Linklater as my freshman year acting teacher, she had said all the same things Andrew was saying then – four years later. When I started to cry, Andrew gently spoke to me, and asked me questions that allowed me to express my fear and explore my vulnerability. Rather than tell me what I SHOULD be doing, he asked what I WANTED to do. He spent over an hour listening – truly listening – to what I had to say. He gave me the respect I deserved, and so desperately needed in that moment. I will never forget that. I want my students to walk away from my class knowing they have my respect.

Diversity & Empathy
As we embark on a new decade, it is even more important than ever that our classrooms be diverse and representative of a plurality of opinions and experiences. A university should reflect the world around it, and there is no one way to teach a student. Since each student arrives with their own identities, it is imperative that a classroom accommodate all opinions, while still being respectful and civil—whatever disagreements may arise. One way to cultivate such an atmosphere is for a teacher to model empathy and respect. When we are able to see from another perspective, we are better prepared as artists to tell divergent stories. I have always strived to nurture empathetic classrooms and instill those values within my students. We must have diverse, inclusive, and tolerant classrooms in order to produce actors who look like the world around them.

Humor
As a teacher, I have always relied heavily on good-natured humor and levity to keep a classroom fresh, engaging, and buoyant. I like to use light-hearted and sometimes silly humor to show the students that I am approachable and always striving for humility. I encourage students to play with each other in respectful ways, and want to create a stress-free atmosphere of trust and discovery. Humor is a great equalizer and is often a healthy outlet for deep emotion and tension. As much as we need to cry and be vulnerable in our acting classes, we also need to laugh. All great plays have moments of levity – even the most deadly serious ones.

Diversified Curriculum
As I stated in my introduction, I believe that it is our job to expose students to various methods, tools and techniques, and allow them to find what works best for them. When a student is allowed to explore various styles, they invariably learn the skills that best suit their talent and personality, while also serving the needs of the play. A skillful artist is an educated artist. A true professional is one who is familiar with the rich legacy of theater and all its various forms.

Creating theater is both a deeply personal experience AND a collaborative one. In order to paint a vibrant picture, an artist must know the various colors of paint at their disposal. Similarly, a carpenter or craftsman must be intimately familiar with the various tools they have in their toolbox. It is no different for the actor. Once they have been exposed to a variety of styles, techniques, and methods, they can carefully choose what tools work best in any given situation. If variety is the spice of life, an artist must season their art liberally, and work from an informed perspective, not a parochial one. As an actor and director, I’ve never been cultish about a particular method, and I’ve always found it better to assemble a broad range of skills, rely on what works, and discard the rest. As a teacher, I have taught Linklater, Meisner, Stanislavsky, Hagen, and others. Although I was initially taught by Kristin Linklater herself, I never allowed myself to exclusively adopt her method at the expense of others. I have learned a great deal from the teachings of Stanislavsky, and always use his techniques in my classroom. An artist should embrace what works for them, and dismiss what doesn’t. Acting is an art, not a science. We must encourage healthy exploration.

Question Everything
As a student, I was always bored by static classrooms filled with passive learners and a teacher-centered pedagogy. The teachers who had the most impact on my life were the ones who constantly engaged me with questions and nurtured stimulating dialogue. As an educator, I have never been a committed talking head—even in a lecture hall filled with students. I prefer to employ the Socratic Method, and enthusiastically ask my students lots of questions, and urge them to ask me lots of questions. What’s more, I encourage dialogue between students, and encourage respectful discourse—rooted in asking open-ended questions of each other. This kind of open dialogue dovetails nicely into my philosophy of diversified curriculum, because the more perspectives, answers, and opinions shared, the greater our understanding of a topic and the wider variety of possible solutions. I find that an inquisitive actor is a thoughtful and informed one, and exactly the type of artist everyone wants to collaborate with. My favorite English teacher in high school was a man named Mr. Ames. He was very short and hairy, with a long and precarious bushy beard. He kind of looked like a character from Lord of the Rings. Mr. Ames was an intellectual, and he always encouraged thoughtfulness in his students. He used humor and curiosity as tools to explore literature, and he always asked dozens of open-ended questions of us. His classroom was a place where students could speak frankly, draw their own conclusions, and question their own rigid belief systems. And I was only 16 years-old at the time. You can understand how liberating this experience was for me. I was just maturing as a young man, and I needed a creative outlet for my inquisitive brain. By allowing me to question everything, Mr. Ames gave me a command of my own learning and the confidence that I so desperately needed. I learned a lot from him as a teacher, and have carried those lessons with me into my own classroom.

Embrace Failure
It is vitally important that as a teacher, I create an environment that is safe and supportive for my students. As theater educators, it is imperative that we set the appropriate tone from day one. We must insist that our classrooms are not stages or finish lines, but rather laboratories for experimentation and exploration. We must ensure that our students understand that we are asking them to take risks, learn trust, play with purpose, and are emphatically not looking for perfection or finished products. Students should be allowed to try and fail, and do so in a safe and supportive atmosphere. The classroom is no place for harsh critics—whether self-directed or from one’s peers. Naturally, constructive criticism and feedback are useful and beneficial. But as teachers, we must make sure everyone understands that failure is instructive, and we will never triumph without taking risks and being fearless. We can only do that in a play-lab of discovery. We must always strive to embrace process over product.

Tap Into Vulnerability
When I was a freshman at Emerson College in 1994, Kristin Linklater was my acting teacher, and her style was foreign and unfamiliar to me at first. She endeavored to create classrooms where students could breathe from their diaphragms and throughout their entire bodies, in order to tap into a vulnerability that good actors needed to possess. Kristin once said to me, “Once you get to the point where your vulnerability is your strength, then you are in charge.” That stuck with me. As teachers, we must create brave and inclusive classrooms, where students can feel safe being vulnerable and exploring their emotions. Eventually, they will need to tap into that vulnerability in order to truly embody a character. As an 18-year-old young man, I didn’t know what that meant. Up until that point, acting had been fun and a cool way to escape into other characters and worlds. It was fantasy, and had nothing to do with me personally. Or my lived experience. Up until that point, I had hardly been seated in my emotions and vulnerabilities. I must have seemed like a tightly-wound immature fool to Kristin, but if that’s what she thought, she certainly never showed it to me. Instead, she spent that semester nurturing me and encouraging me to tap into that raw and vulnerable place deep inside of me. She planted the seed, and continued to water it for months. By the time the class ended, I was crying and laughing and singing, and everything in between. She had demonstrated the patience and foresight to take a scared and closed off little boy, and turn him into a man. An actor. An actor who was unafraid to explore his own vulnerability. In my classroom, I teach Linklater Voice and the Stanislavsky Method – both of which rely heavily on tapping into past traumas and long buried emotions, in order to better create three-dimensional characters who respond to their world as we do as human beings. As a teacher, it is important to me that I impart the lessons of vulnerability to my students, so that they can access greater depths of their own experiences, and craft characters that seem as real as you and me.

Build Wisely
In designing theater curriculum, it is imperative that teachers carefully sequence their instruction so as to construct lessons slowly and deliberately, so that we are building skill upon skill, and not creating a precarious house of cards. As a teacher, it is important that every lesson I teach has a clear lesson objective, an assessment tool, and an evaluation that allows me to judge where my students are at, and where they need to go. Ultimately, a teacher of the theater arts must be a student of the student – taking as his course of study the unique intellectual and emotional journey of each individual student. The teacher must plan their classes carefully, and scaffold lessons in order to build upon previous knowledge in order to generate new skills and aptitudes.

Teach the Whole Learner
Just as I believe it’s important to teach a wide variety of styles and techniques within a student’s discipline, I also believe it is important that we teach the whole student holistically, from the skills of their craft to how they interact with the world around them. Theater is a collaborative art form, and as important as it is for students to learn to be the kind of talent that people want to work with – they must also become the kind of person that people want to work with. Most high school students and undergraduates are at a critical age where they are still finding their voices, and figuring out the kind of person they want to be. These days, students come from such diverse backgrounds, and invariably have different strengths and deficits that we must address. It is not enough to teach the techniques of acting, for example, but we must also teach students how to be citizens of the world, good collaborators, hard workers, respectful colleagues, and ultimately, good people. Nowadays, everyone has an opinion, and social media is full of divisive rhetoric that only reinforces the already hyper-partisan world we live in. Everyone wants to TALK these days, but students need to learn how to LISTEN. In theater, listening is one of the most vital skills an actor must learn. In the Meisner technique, actors are required to truly listen to their scene partners, and respond accordingly. The ancient proverb reads, “The fool speaks, the wise man listens.” We must raise new generations of listeners Theater artists need to learn how to listen to the world, in order to improve upon it. As teachers, we must model good behavior, and instill these lessons in our students at every opportunity. That means, we must teach the intangible values of being a good artist.

Conclusion
The classroom is not about the teacher. It is about the student. One of the duties of teaching that I hold most dear, is the responsibility I feel towards the student, and how fiercely I value my role as mentor and advisor to that young person. Making art takes a lot of courage and temerity, and learning to be a good human being at the same time is even more challenging. Behind every great student is a teacher who believed in them, taught them well, and imparted life lessons that went far beyond the classroom. We must embrace a philosophy that gives the student options, and then allows them to find their own unique voice and the techniques that work best for them.