Membership Spotlight – September 2026

Childsplay premiered The Miraculous Journey of Edward Tulane: The Musical in April 2026. It was such a delight to return to this story and these characters. Watching both come to life through original music and a brand-new set design was thrilling. Their original adaptation by Dwayne Hartford is one of my all-time favorite shows, and I was a little skeptical that this iteration would prove to be just as memorable. I can happily say I was not disappointed. Under Debra K. Steven’s clever direction and with returning favorite Katie McFadzen in the cast along with some really talented new faces, audiences left moved and full of hope.

Childsplay’s production of The Diary of Anne Frank is reminding me that art and history and current events go hand in hand and can inspire young minds to see connections, form community and build better futures. One of my favorite audience quotes is from a middle school boy walking out after a matinee show. He quietly told an usher, “Wow, we read about this, but I didn’t feel like it was really real, ya know.” Those words just sit with me.

I am extremely proud and excited that Childsplay was invited to participate in a NeuroArts research project. We all know the power that theatre has on learning. I have no doubt that the findings from this project will strengthen and help build the case for additional funding for the entire field. TYA theatres see the impact of their work day-in and day-out. I’m thrilled that Childsplay gets to lead the charge on bringing more research backed data to what we already know to be true.

TYA is the epicenter for positive change in America. I dream of a future where young people grow up to care about one another and can imagine solutions for peace and prosperity for a greater number. Along the way, I get to laugh out loud, cry and know I’m not alone in the world right along with my own children and community.

One of my favorite collaborations has been with Imagination Stage and Gloria Bond Clunie to adapt The Hula Hoopin’ Queen. The process was joyful and the art made feels like an instant classic that audience will love year after year.

Steve Martin has been an incredible mentor and friend for almost 20 years. He helped me see that as a more business minded person I had a vibrant and impactful future in the arts. My work could reach hundreds of thousands of young people over the years. I am forever thankful for his vision for young people and his belief in my potential.

You can always email me at econn@childsplayaz.org. Happy to chat about TYA or the business side any time.

Ongoing: ENOUGH! Plays to End Gun Violence & directing GUAC, written and performed by Manuel Oliver; Recently: 25-26 Northwestern Directing Fellow at Goodman, 25-26 Obama USA Leader.

Goodman’s TVY performance of ‘The Lizard y el Sol’ that we toured to Chicago parks was extremely rejuvenating. The joy of young people experiencing theater for the first time was amazing to watch, but also watching the parents just beaming watching their kids experiencing joy. I think it’s the best work we did this whole centennial season.

One thing I’m very excited about (and you’re hearing about it here first) is a nationwide tour of GUAC in 2028, which will inexplicably be the 10 year anniversary of Parkland. We have huge plans! As far as dream projects go, I’m going to put a few random things out into the universe: adapting the ENOUGH! programming to address the topic of climate change, a TYA musical adaptation of ‘Jingle all the Way,’ a musical adaptation of ‘Amazing Adventures of Kavalier & Clay,’ a culinary experience / close-up magic adaptation of ‘The Tempest,’ and bringing something Marvel Comics related to the stage—then I’d die happy.

I love what Chris Moses of Alliance says: “Theater is a birthright.” Amen to that. TYA hits young humans at such a critical time of development and shows puts on display the best of humanity: empathy, creativity, imagination, collaboration, and, often, joy. TYA is often not afraid to embrace what makes theater uniquely theater, and therefore brings us some of the truest to form theater in our field. Grown-up theater, especially the places that are struggling, can learn a thing or two from TYA’s approach to theater.

Working with Manuel Oliver has been one of the most important collaborations of my life. Manny lost his son Joaquin in the Parkland shooting, and since them he and his wife Patricia have used art to combat gun violence in honor of Joaquin’s legacy. I direct him in his solo show, GUAC. Manny is not an actor, but a gifted, gregarious storyteller. Working hand-in-hand with him for the last three years has been incredible. But I also want to shout out to Kelsea Ashenbrenner who has been my righthand person on ENOUGH! for four years now, and working with all of our young playwrights of ENOUGH! has given me a lot of hope for the future.

There are too many! I’m going to name a few that I love: Michael Rohd, Michael Wright, and Bill Rauch. Michael Rohd is brilliant and does some of the most important work in our field. If you ever want someone to brainstorm with, it’s him. Michael Wright is the first AD that ever saw potential in me as a director. I owe so much of my life in the theater to him and his spirit of generous abundance. Bill is the kind of arts leader I aspire to be: open, bold, not afraid of big ideas and saying ‘yes.’

If you are in NYC between Sep 15 – Oct 10, come see the bilingual premiere of GUAC at The People’s Theatre: https://thepeoplestheatre.org/events/guac/. Learn more about ENOUGH! at enoughplays.com and reach out to us via email if you want to collaborate.

I’m in the middle of creating a musical called “Katie Kai and the Fireflies”, which debuts in October. The story starts during golden hour in the forest and explores looking for light in a time when things feel dark. It’s a cozy and hopeful piece that I’m excited to debut right now. It’ll feature original songs that I’ll perform alongside a band, and weave in gentle storytelling, puppets, and sensory exploration through light and scarves. I’m excited to have its initial weekend run at Filament Theatre in Chicago.

I’m always inspired by Mister Rogers, and I often return to his 1969 speech before the Senate Subcommittee on Communications. It reminds me how it’s not about being the loudest or most forceful, and that there’s so much power in being gentle, kind, and brave.

The past few years I’ve been shifting my mindset around winter, rain, and the cold. As part of that process, I’ve started spending time in forest schools and nature programs around Chicago to learn from children how they like to play outside on those types of days. I’ve been excited to cultivate a deeper appreciation of all types of weather and have been incubating work that focuses on play through all seasons. Part of that plan is creating theatrical work that brings more families outside, and an album of original songs that is filmed and recorded outside throughout the year.

I believe children should be respected and taken seriously, and that they’re deserving of artful, high-quality experiences that respect them as full people. It’s such an honor to create for and alongside young people.

I’m so glad to have worked on my first album with Lucy Kalantari – an incredible GRAMMY-winning producer and friend. She handled the development process with such care and play. During the recording period, we would meet up every morning and spend the whole day working on songs, experimenting, and exploring ways to develop the music. It was such a fun, safe space to create.

Julie Ritchey! I learned an incredible amount from watching her work and collaborating together. She taught me much of what I know about anti-adultism and was the first person to really bring me into the world of TYA. She invited me to co-create an immersive forest play for toddlers and their caregivers, called In The Grove, and I’m indebted to her for that experience and how it led me into this work today.

I’m @katiekaisings across all social media, katiekai.com, and can be reached at katiekaisings@gmail.com.