Membership Spotlight – September 2025

This marks my 10th season with New York City Children’s Theater (NYCCT). I began in 2015 as an Education Apprentice, and it’s incredibly exciting to now be leading programming across the city in collaboration with our school and community partners. I am constantly inspired by our talented roster of teaching artists and by my brilliant colleagues, Frank Ruiz and Remy Feldman. Their passion, creativity, and commitment to young people make this work both meaningful and energizing. Looking ahead, I am especially excited for NYCCT’s upcoming production of The Hula Hoopin’ Queen this March. We have used this beloved book in so many of our residency programs over the years and it’s thrilling that our students will now get to experience it live on stage. I’m looking forward to collaborating with our team on curriculum development to help bring the story to life in the classroom and beyond.

Rain by Australian Company Threshold will always hold a special place in my heart. I first saw it back in 2018, just as my own journey in theater-making was beginning to shift towards early childhood programming. I remember sitting in the back of the audience, completely moved by the gentle interactions between caregivers and their very little ones. It was quiet, intimate, and utterly inspiring.

This year, I had the opportunity to share Glow, Threshold’s more recent digital offering with my own daughter. And now, the news that Rain is returning to the US next year feels like everything has come full circle. I am so excited to experience it again but this time through her eyes.

Jugando N Play has recently been awarded a Lower Manhattan Cultural Council Grant (LMCC) to adapt our 2022 multilingual theatre piece In My Dreams/En Mis Sueños for the very young at the Sugar Hill Museum in Manhattan on Saturday, November 22nd!

This new iteration, Sueñito, is designed for children ages 2-5. We began devising this while I was pregnant with my daughter, and I wrote the grant application just a month after she was born. In many ways, the ideas in Sueñito have lived alongside her since her very first days- tested, imagined, and shaped through play with her. It’s been a while since I’ve been back in the rehearsal room, creating and collaborating. It feels so good to be back, and even more meaningful to be making work for the youngest audiences in our uptown neighborhood. There isn’t much theater here created specifically for ages 0-5, so it feels especially poignant that Sindy and I are building this piece for our community. I can’t wait to share it with our neighbors, our own children, and those dreaming right alongside us.

Theatre for Young Audiences pushes the boundaries of what traditional theater can be. It’s about engaging in and expanding conversations. Young people are deeply curious, emotionally intelligent, and fully capable of engaging with complex ideas. Theater for Young Audiences meets young people where they are at but also pushes them to think critically about the world around them. Audience members, especially young ones, should have a say in the experience of the piece. What I love about TYA is that it opens up so many possibilities of a dialogue of what theater is and can be.

Sindy Isabel Castro. There’s something magical that happens when Sindy and I come together to create. It’s basically like we turn into children again, we laugh, we play, ask questions. That spirit of play is what led us to start Jugando N Play out of our thesis project from the MA in Applied Theater Program at CUNY. Our rehearsal spaces (or often Sindy’s living room) have become spaces of us to explore themes of language and identity. Sindy has been my grounding force. Dreaming with Sindy about what theater could sound like, what it could be, is one of the best parts of this journey.

I will forever be grateful for Sara Morgulis. She believed in my potential even before I could see it in myself. She listens deeply, gives honest (and sometimes tough) feedback but always encourages me to keep learning. I learned so much from her when she was my manager at NYCCT. She leads with clarity, compassion, and joy. Sara handles even the most difficult situation with grace and steadiness. She has an incredible ability to create a safe space for everyone to land, no matter what they’re carrying.I would not be doing the work I do everyday without her mentorship and guidance.

Email me at madeline.calandrillo@gmail.com, follow @nycchildrenstheater, @jugandonplay.

I recently accepted a fellowship and assistantship to begin graduate studies at the University of Missouri in Columbia where I am currently developing a TYA play that reimagines classic fairytales with protagonists who have invisible disabilities. I’m expanding the piece in a playwriting class this semester and aim to complete it by the end of the year. My research focus while I am here will be on the intersection of access and inclusion, disability representation, and Theatre for Young Audiences.

Lately, I’ve been thinking a lot about Mr. Rogers’s testimony to Congress, especially now that PBS has lost funding. Every time I hear his interview on the news, and I hear the part where he says, “You’ve made this day a special day, by just your being you. There’s no person in the whole world like you, and I like you just the way you are,” I get chills. That message of love and acceptance is such an important and inspiring message for people of all ages. Mr. Rogers’s work had a profound impact on me as a child. I want to create art like Mr. Rogers that will encourage future generations of children to be kind to themselves and to each other.

Ever since I attended the TYA/USA conference in May, I haven’t been able to stop thinking about Just Ask! It was such an inspiring and moving performance, and hearing Justice Sotomayor speak was an unforgettable experience. I have Ehlers-Danlos Syndrome, the same condition as one of the characters in the show, and I was moved to tears seeing someone like me represented on stage. I can’t imagine the impact that kind of representation could have on a young child.

Collaborating with Fran Sillau would be truly life-changing. I was deeply inspired by his workshop at the conference and by the way he brought Justice Sotomayor’s book to life. I would absolutely love to direct a production of the show during my time at Mizzou, with his insight and guidance. Since my background is in touring Theatre for Young Audiences, I would be especially excited to stage this production in a way that could be toured through elementary schools, reaching children directly in their communities.

When I was fifteen, my youth group went on a mission trip to Atlanta, Georgia. I volunteered to lead a free theatre camp for children with little or no experience in the arts. Though I had developed a love of performing at an early age, this was my first foray into teaching, and I was both nervous and excited. By the end of the week, the kids performed an adaptation of You Are Special by Max Lucado, which I wrote and directed. That experience sparked a lifelong love of teaching children about the arts and led to my first job instructing at a local performing arts studio. Watching those children gain confidence and develop social skills showed me how theatre can serve as a powerful tool for building practical life skills.

Over the past decade, throughout my academic and professional career in Theatre for Young Audiences, I’ve seen theatre improve literacy, build confidence, and nurture emotional awareness in young people. I’ve witnessed children undergo remarkable transformations in just a few weeks, changes I never imagined possible. I’ve also learned that theatre can be used to teach a wide array of topics, from dental health to energy conservation. It cultivates curiosity and allows both performers and audience members to explore new perspectives.

Participating in and viewing theatre is one of the most effective ways to help children develop empathy, something our world desperately needs more of. I believe that TYA is the most important work we can do in theatre today, not just because we’re inspiring and training future performers, but because we’re shaping future adults and teaching them how to see the world through someone else’s eyes. My philosophy is simple: Theatre for Young Audiences should help children grow into good humans who care about the world around them and the people in it.

I want to give a big shout-out to the entire team at Gateway Center for Performing Arts in St. Louis! I had an incredible experience collaborating with them this summer on Seussical Junior and Seussical KIDS. They are a fantastic company that consistently produces top-notch shows and offers outstanding educational opportunities for children in the St. Louis area.

I want to give a special shout-out to Talleri McRae, who I met two years ago at her session on Illuminating Characters with Disabilities. At the time, I was coming to terms with my own disabilities: Hypermobile Ehlers-Danlos Syndrome, fibromyalgia, and ADHD. As a touring actor, I had been working hard to hide my disabilities from coworkers, collaborators, and employers, which was exhausting. Talleri’s work, especially on Emily Driver’s Great Race Through Time and Space, showed me that disability can be something to celebrate in theatre and that I didn’t have to hide. Her support inspired me to embrace my identity and pursue my goals. She helped me with my Emerging Leaders Fellowship application and gave me the opportunity to serve as an adjudicator for the Kennedy Center’s Access/VSA Playwright Discovery Program. Our connection has been invaluable to my growth as an artist.

You can follow me on Instagram at @alyssapdurbin or on TikTok at @alyssaexplains. Feel free to email me at alyssapdurbin@gmail.com or visit my website at alyssapdurbin.com.

SamaSama: Solidarity on the Fields.

We are workshopping a musical about a nurse and the music and talent involved are amazing!

The Art of Belonging: Short Plays and Film Screening.

Growing up as a 1.75 generation Filipino American, I often felt like a ghost in my own life, invisible. At the age of five, I moved from the Philippines to the United States, and as I navigated the vibrant yet challenging landscape of mid-80s Chicago, I quickly realized that my story was rarely told. The media I consumed and the stories we studied in school offered little to no positive representation of Filipinos or Asian Americans. Instead, I encountered a shocking portrayal in my fifth-grade social studies book that labeled Filipinos as “barbarians” in need of civilization. This revelation struck me like a thunderbolt, forcing me to question my identity and whether I should feel proud of my heritage.

In a world where I felt invisible, I was fortunate to stumble upon the transformative power of theatre. Joining a youth group focused on cultural activism introduced me to the techniques of Theatre of the Oppressed and guerrilla theatre. Through these experiences, I began to unearth the rich tapestry of my history, culture, and heritage—narratives that were glaringly absent from my formal education. Theatre became my refuge, a space where I could explore who I was and where I came from.

Theatre for Young Audiences (TYA) is vital for children like me, who yearn to see their stories reflected on stage. It offers a platform for diverse narratives, allowing young people to witness characters who look like them, speak their languages, and share their experiences. I often think about how many children out there are searching for a sense of belonging, just as I did. They want to feel seen and heard, to know that their stories matter.

One of my students once shared a powerful sentiment during a rehearsal: “Working on these plays makes me feel like I haven’t been thrown away in society.” This statement resonated deeply with me. It encapsulated the essence of what TYA achieves—it gives children a voice and a sense of agency. Through storytelling, they can confront their realities, celebrate their identities, and connect with others who share similar experiences.

In the safe space of the theatre, young audiences can explore complex themes and emotions. They learn empathy, understanding, and the importance of community. Each performance becomes a shared experience, fostering connections that transcend backgrounds and cultures. Children discover that they are not alone; their struggles and triumphs are part of a larger narrative that deserves to be told.

As I reflect on my journey, I am grateful for the role that theatre has played in shaping who I am today. It has empowered me to embrace my identity and advocate for representation. Theatre for Young Audiences is not merely a form of entertainment; it is a vital tool for education, empowerment, and healing. It allows children to see themselves in stories, nurturing a sense of pride in their identities and the belief that their voices are worthy of being heard.

In a world that often overlooks the richness of diverse narratives, TYA stands as a beacon of hope, reminding us all that every child’s story matters.

I want to highlight the incredible collaborative spirit of Giovanni Ortega, who serves as an artistic associate for Circa Pintig. Although he is based in Los Angeles, Giovanni continues to contribute to and advise our work here in Chicago, demonstrating his unwavering commitment to our mission.

Most recently, we celebrated a successful 33rd anniversary season that featured a Theatre for Young Audiences production titled SamaSama: Solidarity in the Field. This powerful play shared the untold stories of Filipino and Mexican laborers during the Delano grape strike, highlighting the significant contributions immigrants made to labor rights activism. Thanks to Giovanni’s insights and expertise, we were able to present this important narrative to around 1,000 youth audiences in Chicago.

Giovanni’s extensive background as a multidisciplinary artist and educator makes him an invaluable collaborator. With over a decade of experience in the performing arts, he has worked on more than 140 college campuses, facilitating workshops and engaging with diverse student populations. His expertise in cultural navigation and community engagement allows him to connect deeply with audiences, making complex themes accessible and relatable.

Additionally, Giovanni is a passionate advocate for inclusive storytelling. He believes in the power of the arts to foster empathy and understanding, and he actively promotes narratives that reflect the richness of our multicultural society. His ability to weave together different artistic disciplines enhances our projects, bringing fresh perspectives and innovative ideas to the table.

Giovanni’s involvement doesn’t stop there. He has also been a key collaborator for our inaugural Chicago Filipino American Theater Festival, which is gearing up for its second year in October 2025. With his roots still firmly planted in Chicago, Giovanni often finds opportunities to collaborate with us, whether through readings, workshops, or panel discussions. His artistic talents and knowledge enrich our community and inspire those around him.

It’s a privilege to work alongside someone who values collaboration and community engagement as much as Giovanni does. His contributions not only enhance our projects but also foster a deeper understanding of the diverse narratives that shape our society. Together, we continue to create meaningful art that resonates with audiences and uplifts marginalized voices. Working with Giovanni is not just a partnership; it’s a shared journey toward a more inclusive and vibrant artistic landscape.

A remarkable mentor I would love to honor is William Rafffeld, who was our professor of theater at the University of Illinois at Chicago. Known affectionately by his students as Papa Bill, he was not just a great teacher but also a great human being who profoundly influenced many of us. When I first started college, I attended a private institution that offered limited opportunities for minority students, particularly for someone like me as an Asian American. However, everything changed when I transferred to UIC’s theater program, directed by Bill. Almost immediately, I was cast in a production, which was a pivotal moment for me. Bill embodied the importance of inclusivity, ensuring that all his students, regardless of race, felt valued and supported. This was a huge turning point in my artistic journey, and I carry this lesson with me as I work with youth and community members today. Bill was dedicated to creating opportunities for his students through initiatives like the Old World Theatre Company, where we could present powerful works using colorblind casting. This approach allowed us to tell important stories and embody the humanness of characters, regardless of whether we fit the traditional ethnic mold for those roles. It was a liberating experience that instilled in me the belief that there is enough space for everyone to contribute and shine in the arts. His multifaceted talent was evident in his retirement in how he wore many hats: directing, acting, teaching, running lights, and managing sound. During our time with the Old World Theatre Company, we performed in a synagogue in the suburbs of Chicago, creating some of the most intimate and truth-telling productions I have ever witnessed. Bill had a unique ability to find the humanity in every story, making each performance resonate deeply with the audience. One of my fondest memories of Bill is how he would always have cookies and tea during intermission, fostering a sense of community among us. Sometimes, intermissions would stretch a bit longer, but it was clear that he valued the importance of sharing time together, experiencing the magic of live theater as a collective. For all these reasons and more, I deeply value William Rafffeld’s mentorship and guidance. His influence continues to inspire me in my artistic endeavors, reminding me of the power of inclusivity, community, and the shared experience of storytelling. Thank you, Papa Bill, for everything you have given to your students and the world of theater.

www.circapintig.org, IG handles: @circapintigtheatre and @gingerenergy, ginger@circapintig.org.