Membership Spotlight – April 2025

We just closed a wonderful run of Finding Nemo TYA at First Stage.  I was blessed to co-direct alongside Michael Dean Morgan, a former First Stage Actor and teacher who went on to originate the role of Marlin in the first production at Disney World. This show highlighted all of the elements that make First Stage special: age-appropriate casting – witnessing the true parent/child dynamic was so powerful; our incredible designers and production team who created a world that invited audiences magnificently into the world under water,  and our artistry in the world of physical theater populated by amazing puppets from Jesse Mooney Bullock. It is one I’ll remember for a long time.

The recent stage adaptations of SPIRITED AWAY and MY NEIGHBOR TOTORO are incredible in scope and comprehensive vision. The puppets in particular are remarkable.

For years my friend José Casas and I have talked about what a great stage play THE SANDLOT would be. I thought we were close to having the rights at one point, but as of yet no luck. Maybe someday …

My first show in undergrad was a TYA show that toured throughout southeastern Wisconsin, and it was then that I realized that I had two loves – theater and working with young people, so I decided to journey down that path, and I’m so thankful. I should also share that I was an incredibly shy child, and finding my way into theater helped me gain a better understanding of myself and the world around me, along with a confidence to walk through that world as the best version of myself. I’d love a world where every child has a similar opportunity.

Matt Daniels and I have worked on multiple projects together over the years with Matt acting and serving as our movement director. Together with an inspired ensemble of actors, we built a truly special production of Greg Banks’ adaptation of THE HOBBIT in the round with 5 actors and a musician. We also worked together to create virtual and fully realized productions of Finegan Kruckemeyer’s choose your own adventure play – ESCAPE FROM PELIGRO ISLAND. Through the years we’ve developed a rhythm of work that allows us to flow fairly seamlessly as we work with the designers and actors to create the vision for these highly physical and boldly theatrical shows.

I’ve been blessed to have multiple mentors in my life – Gorden Hedahl who got me started in the world of TYA; Xan Johnson who trained and inspired me  throughout grad school and beyond; and Rob Goodman who founded First Stage and provided me with so many opportunities and so much wisdom.

You can follow First Stage: https://www.facebook.com/firststage or you can get in touch with me at jfrank@firststage.org.

Recently, I was a mentor for the Repertory Theatre of St. Louis’ Story2Stage Festival. Story2Stage is a 10-session residency in which teaching artists lead students in a playwrighting experience. Each year select plays are presented as staged readings to the public. I had the honor to mentor young playwrights by supporting further development of 2 out of 8 plays selected for the festival on April 8th. This is my second year working as a mentor, and it is so thrilling to work with young writers, most of whom have never written a play before, as we collaborate to build a fantastic world for a live audience.

This past March, Metro Theater Company produced But What Can You Do?, a new play by Myah Gary based on the book of the same name by Arika Parr and her daughter Ava Johnson. This story of hope and perseverance truly touched my adult spirit as the story pushes its audience to practice positive thinking in pursuit of challenges. Throughout this process, I was reminded by my mentors, parents, and children that I teach about the power of thinking positive even when it’s really hard. I even started writing a gratitude journal in the style of Ava’s affirmation wall in the play. This production also reminded me of the power of St. Louis, as we collaborated with so many local artists and organizations that support young people. I’m so happy I got to support this project through institutional bookings. (Go Admin Go!)

In June, I will be performing my one woman show, #MizzouMade, with A Call to Conscience–An Interactive Theatre for Social Change. #MizzouMade is a play about my freshman year at the University of Missouri during the Concerned Student 1950 Movement. This play is also the product of my research as a Ronald E. McNair Scholar.

I recently answered this question in a poem. Here’s a snippet:

When I became of age, I asked myself did I need to be a mother to love children/To work/To play/To protect/To cry/To worry/To pray/To teach/To dream/No/I don’t need to be a mother/But I think my love to work, to play, to protect/Came from the little girl who I once was/Who needed to to feel safe/Who wanted to work/Who desired to play/Who only started dreaming because a mother told me that I was allowed to dream.

I say this to say, let the children dream and see the magical world they will create.

Jacqueline Thompson is a wonderful collaborator. Before our work together at Metro Theater Company, Jackie directed me in Death of a Salesman. Before then, I knew her as a strong and ever present St. Louis artist and arts cultivator. She will be directing me #MizzouMade (again). When we previously worked on this piece, she helped me shape it with love and critical feedback. Jackie believes in championing the artist in their process. She also is an advocate for rest. I am grateful for her.

I want to shout out my mentor, Dr. Claire Syler. Dr. Syler is an Associate Professor at the University of Missouri. She was my professor, my mentor in the McNair Scholars Program, and remains a friend through the wild wild west of professional development in theatre. I cannot express how much her support means to me. Claire, know I am grateful for all that you do and for making theatre a little less scary.

You can follow me on Instagram: @zahriaimani or connect with me on LinkedIn: https://www.linkedin.com/in/zahria-moore-158505153/. You can also email me at zahria@metroplays.org – I’d love to connect!

A project I recently worked on was the pre-show showroom for our newest Theatre for the Very Young (TVY) production, Dinosaur! Our pre-show room is always such a fun and immersive experience to design. It’s a playful, hands-on space where our youngest audience members can engage with the world of the show before it even begins. For this show in particular, it was such a joyful challenge to transform our existing space (specifically the big whiteboard bulletin boards) into something magical and inviting for our tiniest theatre-goers. I reimagined the space as a cozy, dinosaur-themed living room, covering the boards with butcher paper to create a warm, homey backdrop. I even crafted a full-on couch out of fabric and attached it to the butcher paper—yes, a flat couch on a wall! It turned into this whimsical, larger-than-life collage that felt both familiar and fantastical, and watching kids light up when they walk in has been one of the most rewarding parts. It was a playful reminder that creativity doesn’t need a big budget—just big imagination.

Lately, I’ve been drawing a lot of inspiration from the book Making Change: Teaching Artists and Their Role in Shaping a Better World. It’s a powerful reflection on how artists (especially teaching artists) can be catalysts for real social transformation. As someone who creates with and for young audiences, it’s been energizing to think about how our artistic choices can shape not just a show, but a more compassionate and curious world.

That theme has been echoing through some research I’ve been diving into around cognitive development in early childhood. Specifically how different levels of stimulation in performance environments can support or overwhelm tiny, growing brains. It’s fascinating, and it’s really shifted how I think about storytelling for little ones—not just what we’re saying, but how we invite them into the experience.

I’ve also just started The Social and Emotional Learning Approach Children Deserve, which is already challenging me (in the best way) to think more critically and compassionately about the emotional architecture we build into our work. It’s pushing me to consider how we’re not only supporting cognitive growth but also creating experiences that foster emotional safety, empathy, and joy. All of this is sparking questions that are fueling my current work—how can we create theatre that meets children where they are developmentally, while also stretching their hearts, minds, and imaginations? I don’t have all the answers yet, but I’m loving the exploration. It’s all fueling a vision for work that’s developmentally responsive, artistically rich, and rooted in care.

One of my dream projects right now is to be part of devising a Theatre for the Very Young (TVY) show! I’m completely inspired by the collaborative process. Getting to work with a team of artists and educators to create something that speaks directly to young minds in an exciting, meaningful way. And right now, I can’t stop thinking about a show all about monsters!

In my jumbled brain, I just imagine these monsters representing those big, sometimes overwhelming feelings that kids experience as they learn and grow. The stuff that feels too big to handle—like fear, change, or the unknown. But instead of being scary, these monsters would be fun and relatable, showing kids that emotions aren’t things to be afraid of—they’re just part of the journey. I think it could be such a playful, imaginative way to help young audiences learn how to face their own “monsters” with creativity, confidence, and a little bit of humor. There’s so much potential for fun storytelling here, and I’d love to explore how we can make this an interactive, transformative experience for kids as they learn to embrace their feelings, their imaginations, and the world around them!

What excites me most is how theatre for young audiences is often interactive in a way that makes it a two-way experience. It’s not just about putting on a show for them; it’s about inviting them to be part of the journey. Kids have such an honest, pure way of seeing the world, and I find it incredibly inspiring to create work that speaks directly to their curiosity, emotions, and creativity.

There’s also a personal element for me—creating theatre for young audiences helps heal my inner child. This work reconnects me to the experiences I didn’t get to have as a kid. It’s a chance to rediscover that sense of wonder, joy, and discovery that children experience every day. I get to live vicariously through the stories I help bring to life, and it reminds me of the importance of nurturing a child’s imagination and emotional growth. By reconnecting to these experiences, I can offer something back to young audiences that I may not have had access to—a world of play, exploration, and emotional freedom. This work is so deeply fulfilling—it reminds me of the power of play, and how important it is to honor the childlike joy that lives inside all of us.

The power of TVY lies in its ability to make learning fun while also building empathy, resilience, and understanding. Young audiences may not always remember every line from a show, but they will remember how it made them feel. That’s what keeps me coming back to this work—knowing I’m part of something that can shape the way a child sees the world and even help them build life skills they’ll carry with them forever.

I have to shout out the incredible Olivia Aston Bosworth! Olivia has been such a nurturing force in my creative journey, especially in the world of Theatre for Young Audiences. Her generosity, imagination, and deep care for young audiences are contagious in the best way. I’ve learned so much just by being in the room with her—how to listen more closely, think more expansively, and trust my own creative instincts.

We’ve collaborated on several projects, but more than anything, she’s someone who’s poured into my growth and helped me see the power and possibility of this work. I truly look up to her, not just as an artist, but as a person who leads with heart and intention. Every time we work together, I walk away feeling more inspired, more grounded, and more in love with this field.

Jaclyn Faircloth, without a doubt. She believed in me from the very beginning—before I fully believed in myself—and that kind of support has meant everything. Jaclyn has been one of my biggest champions in life, and to this day, she continues to show up for me with encouragement, guidance, and so much heart.

What makes her such an extraordinary mentor is the way she leads with both honesty and care. She knows how to challenge me to grow while also holding space for all the feelings that come with doing vulnerable, creative work. Whether it’s a big win or a hard moment, Jaclyn is the person I know I can turn to—and she’ll remind me of who I am and what I bring to the table.
I owe so much of my growth in this field to her mentorship and to the doors she’s helped me open—not just professionally, but within myself. She’s helped me step into my voice, trust my instincts, and keep going, even when the path felt uncertain. Having someone like Jaclyn in my corner has been one of the greatest gifts of my journey so far.

I absolutely love connecting with fellow artists, educators, and curious humans—so please reach out! You can follow my work and get in touch with me on Instagram @roarogers or email me at robyn.rogers@alliancetheatre.org. Whether you’re dreaming up a collaboration, have a question, or just want to say hi, I’d be thrilled to hear from you. Let’s make some magic together!