New Project Gives Voice to the Stories of Human Trafficking Victims

By Anita Dacanay

The artists of Still Point are thrilled to announce that we will be partnering with Ivan Velasco, pastor of Ravenswood Presbyterian Church, to create a new play raising awareness on the plight of human trafficking victims. Ivan has been engaged in activist work on this issue for three years, and one year ago adopted a young man who had become entrapped in a trafficking scheme.

I spoke with Ivan recently about his involvement with this issue. He said that it began in a roundabout way with research that he was conducting while working on his Master’s Degree.  The plight of a therapy client who was unhappily working as a stripper caused him to wonder about what happens in the brain development of youth who are recruited into the sex industry at an early age. His research led him to uncover information about human trafficking, and to see a disturbing correlation between the activities of certain corporations and areas of the world, like St. Petersburg in Russia and Medellin in Colombia, that were hotbeds of human trafficking.

The more he learned, the more alarming he found the situation. Ivan’s interest shifted from that of researcher to that of a man whose faith called him to help the needy. Clearly, there were few needier than the young people being targeted to be coerced into sexual slavery. Ivan started communicating online with victims in South America. He went to Medellin and stayed with family of members of Ravenswood Presbyterian Church. These congregants also had a grandson in Medellin who had become involved in human trafficking. Ivan communicated with and eventually met with the young man, Santiago, and began to develop a relationship with him as a father figure. He also began to consider the possibility of bringing Santiago to the United States.

There were many hurdles and challenges. Ivan made about 20 visits to Medellin. He had begun meeting Americans involved in trafficking, and was under threat. In Ivan’s mind, it would have been unconscionable as a Christian to not do what he could to help people suffering such obvious abuse. Yet, he found that many in his church were not supportive, and felt that he should stop his activity in Medellin.

In a moment of crisis, with his own life being threatened, Ivan questioned his commitment, and considered not returning to Medellin to retrieve Santiago. His oldest biological son, Alex, encouraged him, saying, “I believe in Christ because of what you are doing! Santiago is my brother.” With the blessing of his wife and children, and also the blessing of Santiago’s biological father who was homeless and suffering chemical dependency, Ivan returned to Medellin.  He used the fortunate coincidence that the young man bore a physical resemblance to him, and claimed to be Santiago’s biological father. The story was plausible; Ivan is from Peru, and had been pastor of a church in South America at the time of Santiago’s conception. The traffickers ultimately wished to avoid attracting any limelight with an American citizen, and they eventually released Santiago.

The artists of Still Point are thrilled at this opportunity to use our talents to educate the public regarding the scope and severity of this global crisis. According to the website of the Global Freedom Center, there are approximately 27 million victims of human trafficking worldwide, and only 1% identified.  Trafficking victims fall prey to a large variety of forced labor schemes and targeted coercion.  You can read more examples of real stories here: http://globalfreedomcenter.org/GFC/humantraffickingstories

We wish to humanize the victims of trafficking through sharing real stories in a live performance. Still Point will create a script based on interviews with Ivan’s adopted son, Santiago, and some of the other individuals that Ivan has helped. We feel called to speak out loud stories that have been previously silenced. Many would rather turn a blind eye to this issue than confront the ugly reality of it. It is our goal with this project to make the issue harder to ignore, and also to assert that we can take actions both individually and collectively to address modern slavery, so that we can start to transform the conditions and practices that allow human trafficking to occur.

Ivan and Santiago’s story is one of hope. Ivan, even though he is a pastor, has never insisted that any of his children attend church, as he feels that this should be a personal choice. Santiago is regularly attending services at his father’s church, insisting to Ivan that he wishes to do so. He told Ivan, “Now I understand my faith. You left comfort, you risked your life, you called me son: you gave me your life. This is Christ’s story.”

Ivan asserts that his own interpretation of living a Christian life is summed up in the Golden Rule: “Love thy neighbor as thyself. That is the basis of what I believe.”

No matter what one’s personal spiritual or religious beliefs may be, enslaving other human beings, especially children, is a practice that no ethical person can condone.  Ivan and all of us at Still Point hope to bring this issue into the light so that we may take steps toward creating a global community in which each life is valued and treated with respect.

The Velasco family: (standing) Ivan and his wife, Alison; 

(seated, left to right) Santiago, Eric, Anika, and Alex

The Creative Process and Personal Liberation: Why Art Matters For All Of Us

by Anita Dacanay

“Education either functions as an instrument which is used to facilitate integration of the younger generation into the logic of the present system and bring about conformity or it becomes the practice of freedom, the means by which men and women deal critically and creatively with reality and discover how to participate in the transformation of their world.” 
― Paulo Friere, Pedagogy of the Oppressed

The above quote from famed Brazilian educator and philosopher Paulo Friere speaks to the reasons that those of us who engage in arts education and outreach programming can never think of this work as tangential or trivial. We see evidence that it is not. We see evidence that, in fact, just one experience in quality arts programming can change the trajectory of an individual’s life.  Engaging at-risk populations in the critical thinking and community building which is inherent to creating and producing theater heaps multiple benefits upon the minds and hearts of those who are ripe for the experience.

If we contemplate the quote further, we see how Friere associates the “practice of freedom” with “the means by which men and women deal critically and creatively with reality and discover how to participate in the transformation of their world.”  This description accurately outlines the approach taken with many successful theater arts outreach programs, including Still Point’s Imagination Workshop and Persephone Project.

Stanford University Professor Shirley Brice Heath has conducted extensive research on the effects of after school programs for youth. One important study discovered that arts programs are more effective than any other type of programming at positively altering the course of children’s lives. They were more effective than sports programs, community service programs, or academic programs. The reasons given for these findings, in my opinion, support my belief that arts programming can be enormously beneficial for any and all populations, particularly at-risk populations. One of the reasons cited in the study involves the benefits of healthy risk-taking. Youth, it was shown, benefitted from putting their hearts and minds on the line in their artistic endeavors. Rather than simply following pre-ordained rules, the artists had to create their own structures; they had to analyze how to best express their thoughts and feelings, and then imagine how the audience would perceive them.  Read more about this study here: http://shirleybriceheath.net/pdfs/SBHYouthDevArtsNonschoolHours.pdf

When Lead Facilitator Laura Callahan-Hazard asks a group of adults with developmental disabilities to imagine a scenario in which a person with a disability is treated poorly, and then to re-imagine and act out a scene in which the situation is corrected to show the same individual being treated with respect, there is much more going on than a simple recreational activity.  When Laura or another Facilitator provides a structure through which critical thinking arrives at the imagining and acting out of a more just world, a powerful chemistry is at play. It is truly a kind of alchemy – the turning of lead into gold.

The widespread underestimating of adults with developmental disabilities often results in a lack of meaningful challenge and risk in the opportunities presented to them. At Still Point, we start with the assumption that people with D.D. are whole, valuable human beings with completely unique gifts to share.  This should go without saying - but unfortunately, in our society, it often does not. I have seen Imagination Workshop programs become a safe space for many individuals to engage in meaningful personal growth. The benchmarks vary greatly. For some participants, just learning to speak up in a group and offer original ideas and opinions is a huge landmark. For others, they have absolutely run with the opportunity to develop and express true artistic talent that might otherwise have remained undiscovered or undeveloped.  These individuals have fostered talents not only in performing, but also in developing and directing original work.  The effects of such achievements on an individual’s self-esteem are often profound. When Andy T. says, confidently, “I am the Director” – he is claiming an identity as an artist and a leader. This is not only beneficial to him, but to all of us, as the breaking of stereotypes allows for greater freedom of expression all around.

Likewise, the Persephone Project offers important opportunities for growth to women in jail. Writing exercises are utilized throughout the 12 week process that we use when working with women who are incarcerated. From the beginning, participants are asked to examine themselves and their inner and outer lives. The safe container that is forged by the Facilitator supports that process.  The healthy risk-taking begins as soon as a participant puts pen to paper to express real thoughts and feelings that are intended to be shared. The risk-taking continues in the actual sharing of those thoughts and feelings within the group. Critical thinking fosters the process of analyzing and assessing those thoughts and feelings, and how to best express them.  Emotional bravery is required in the final step of performing their original work for other inmates, jail staff, and guests. The entire process encourages the women to “deal critically and creatively with reality and discover how to participate in the transformation of their world.”

The Still Point motto that I am referencing in the title of this blog is this:”We all matter, and art matters for all of us.” In closing, let me expand on the importance of the “all of us” part. This means that those of us who perform administrative work for the company need to have our souls fed through developing our own creative lives and our own artistic work, as the vast majority of us are artists also. This means that the service performed when we tour our work across the country, and occasionally beyond, is as important as the outreach work we do. We are all “special” populations. We are all vital parts of a whole. It is my belief that widespread creative expression is an integral part of any healthy society and an inherent human need.  Art, at its best, paves a road to liberation.

Imagination Workshop: photo by Chris Carollo

Facilitator Spotlight: Laura Callahan-Hazard

By Anita Dacanay

Founded in 1964 by Jean Vanier, L'Arche is an International Federation dedicated to the creation and growth of homes, programs, and support networks with people who have intellectual disabilities. L’Arche is an interesting point of connection between Still Point Facilitator Laura Callahan-Hazard and our Founder, Lisa Wagner-Carollo. Lisa was living in a L’Arche community in Kansas City, KS in 1986, when young Laura was growing up in Nebraska with her parents. Laura's parents are devoted L'Arche supporters, so her family visited the Kansas City L'Arche home for fellowship and events, and this is how Lisa and Laura met - when Laura was only 4 years old!

Fast forward through the years: Laura attended Barat College of DuPaul in Lake Forrest, IL. She served as an intern for a young Still Point Theatre Collective, and then later as a volunteer.  After Laura graduated in 2004 with a degree in Directing, she became involved with various theatrical projects.  She also began working with adults with developmental disabilities. Through Search, Inc., a Chicago nonprofit that provides services for adults with developmental disabilities, her job intersected yet again with Still Point when she began escorting individuals from Search to Imagination Workshop programs. Eventually this led to Laura facilitating the Ravenswood Players workshop series at Ravenswood Presbyterian Church. This program is unique in that it is open to members of the public. Laura also ran a pilot program at Orchard Village in Skokie this past spring, for which Still Point is being awarded the Jeannie Johnson Hirsch Award for Outstanding Community Service.  As our Lead Facilitator for Imagination Workshop programming, she is also currently conducting a workshop series with core members from L’Arche Chicago. 

On September 14 L’arche Chicago will be celebrating the 50th anniversary of L’Arche international, and the 14th year of L’Arche Chicago with a special benefit event.  Laura’s group will be presenting an original performance as part of that benefit.  The theme of the performance is “what community means to me.” The scenes presented will explore the lessons that the actors have learned from community, and that they would like to teach to others.  The participants will also talk about the gifts that they bring to community. 

As I spoke with Laura in detail about how she approaches working with groups of adults with developmental disabilities, it became apparent that her training in directing and her life experience arm her with a unique set of skills that she brings to Still Point’s outreach work.  She facilitates a variety of creative, practical lessons about stage acting – like the “No Butts Lesson” on stage movement.  This playfully-named class session teaches the actors to remain turned toward the audience during a performance, and to learn how to follow directions to move around the playing area. 

In addition to teaching acting skills, many of the exercises also emphasize building social skills and self-esteem.  Having new acting students work together to “build a story” – with each person adding an element as they take turns storytelling – provides important information to Laura about each person’s personality and skill set.  The exercise is also a way to boost confidence by demonstrating to new participants that they truly can tell a story, as doing so may be completely uncharted territory for them.  Another exercise that builds self-esteem is to end each session with the giving of compliments to other group members. Laura coaches participants in how to be specific in their compliments. After they receive a compliment, it is their turn to give one. 

Laura has become very adept at providing a supportive structure so that each performer can have his or her moment to shine on stage. She describes the shows as being “highly structured improv.” The actors know their characters and the basics of what happens in the story, but are free to change the exact wording of their lines. Laura is often on stage with the actors, with her main role being to prompt the actors to talk in more detail.  

When I spoke to Laura, she was bubbling over with enthusiasm, information, and ideas regarding her teaching methodology. One significant gift she brings is her understanding, respect, and support for an often-marginalized segment of our society.  Still Point has always focused on self-expression and empowerment in our Imagination Workshop programming. Laura’s experience and unique perspective allow her to explore that aspect of our outreach work with both great knowledge and great conviction. L’Arche’s philosophy is one of total inclusivity. People with intellectual differences who live in L’Arche communities are referred to as “core members” rather than “clients” or the currently used “consumers.” Laura explores the significance of that language with her actors in their upcoming show. She encourages them to express their thoughts and feelings on a variety of subjects, and helps give them tools with which to do so.

Laura and her husband have a shared living arrangement with two women with developmental disabilities. These women are going to be in the L’Arche performance as well. In short, Laura Callahan-Hazard exhibits total consistency regarding the inclusion, celebration, and support of adults with intellectual disabilities. Laura brings her great heart and integrity, along with her exceptional facilitation skills and artistry, to every Imagination Workshop group that she leads.  For all of these reasons, Laura has quickly become an integral and highly valued member of Still Point Theatre Collective.

L’Arche Chicago’s Jubilee Anniversary Banquet, at which Laura’s Imagination Workshop group will perform,  will take place on Sunday, September 14th,  from 4-8:30 p.m.  at the Carleton Hotel, 1110 Pleasant St. in Oak Park.  For more info please visit the L’Arche Chicago website: http://www.larchechicago.org/events/

Photo: Laura Callahan-Hazard on stage with the Ravenswood Players.

Facilitator Spotlight: Lindsay Porter

by Anita Dacanay

While I have not yet had the pleasure of meeting Lindsay Porter face to face, we have had several long phone conversations about her work with Still Point. Lindsay’s warmth, compassion, and enthusiasm for the women she serves through Still Point’s Persephone Project were impossible to miss in those conversations.

The Persephone Project originated in 1998 with a pilot program at the Metropolitan Correctional Center in Chicago. Building on the success of that program, Still Point has continued to provide performing arts workshops to women incarcerated in various correctional facilities in the Chicago area. Facilitators lead participants in a twelve week program exploring creative writing, improvisation, and acting. The sessions culminate in a special on-site performance for fellow inmates, prison staff, and invited guests. For the facilitators, the work is demanding. Dealing with the institutions and operating within the rules of the system can be a challenge in and of itself. Working with women whose lives have included any and all manner of personal trauma, dysfunction, and tragedy, as well as the heavy consequences of their own problems and mistakes, is not for the faint of heart. It takes a special type of person to perform the job with finesse, to keep the focus positive and not get mired in the more grueling aspects of the work.

Lindsay first became involved with Still Point in 2008, through her friend Maia Morgan, who was a Still Point facilitator at Lake County Jail at the time. Interestingly, Lindsay told me that she remembers having a strong desire to work with people in prison from as early as about eight years of age. “It was just always something I wanted to do,” she remarked. In light of that, it is not too surprising that once Maia started sharing about her work in the jail, Lindsay’s connection with Still Point developed pretty seamlessly from there. Maia suggested Lindsay as a facilitator, she came in for an interview, and the two began working in collaboration shortly after that at Lake County Jail.

When asked to relate some of the more memorable moments with the Persephone Project, Lindsay recalled an experience that she and Maia had early on. There are two “pods” at the facility – dormitory style housing units with individual cells opening to a large common area. The facilitators had worked with a group of women from one pod and were preparing to have participants perform their original work for the other pod, which was made up of women who had had discipline issues at the jail. Lindsay was struck by the grim, defiant faces of the audience members as they filed in.  She recalls feeling that everything in the demeanor of these women was communicating: “I dare you to affect me.” She wondered how their work would be received. The performance was created from writing developed in the workshops, and the participants would be baring themselves with a vulnerability not often seen in the jail environment.

At some point during the performance, Lindsay saw that a box of Kleenex was being passed around the room. The formerly resistant audience members were weeping; they were laughing; they were having an undeniable experience of empathy and catharsis through watching women like themselves sharing honestly and bravely about their own lives and experiences. This story helps to illustrate the ripple effect of this programming. Not only were the women directly involved in the workshops served, but the many women who witnessed the performance had a rare opportunity to allow themselves to feel deeply: to analyze their lives and situations from a safe perspective, and to feel and express an honest and open response.

The jail environment is inherently dehumanizing, and Lindsay reiterates what many other Persephone Project facilitators have shared: time and again, the women involved express their profound appreciation for having one time per week when they felt that they were treated “like a human being.” In creating a safe space in which to be fully human, these women are afforded an opportunity to build self-awareness and life skills that can have a profound effect on their future lives, whether in or out of jail.

Lindsay comments on the fact that many women in these workshops have not yet learned how to be accountable or responsible for their behavior. In the group creative process used in the Persephone Project, all members are expected and encouraged to be present, to give deeply of themselves, to share their stories and support other group members in doing the same. Lindsay thinks that part of the key to the process working is presenting a non-hierarchical model. As a facilitator, Lindsay is indeed using her skills as an artist and instructor to provide structure and direction for the process. Yet, she is also participating in the activities herself as a member of the group, and encouraging an organic creative process integrating what the women themselves choose to focus on. This model of operation calls on the participants to each take responsibility for their part, and to be accountable to the other group members. “It’s team work,” comments Lindsay, “but it goes even deeper than that.”

I asked Lindsay about the rewards that she has personally experienced in being involved in this work. As a writer herself, she remarked that her own skills have improved through the discipline of doing all of the writing exercises along with the women – the collaborative process allows her to grow as an artist while she supports the participants.

Lindsay also confides that despite a certain balance that must be struck in terms of how involved or attached she becomes with participants, she feels that she has made authentic and deep connections with other women through the work. In one group, Lindsay encountered a number of women who were deeply troubled by past traumas. They all managed to rally around one another not only to provide moral support, but to provide practical information regarding resources and services that could be useful to one another. The receiving and spending of commissary money is a significant part of life in jail, and each penny spent is considered with great care. Therefore, when this particular group of participants presented Lindsay and Maia with flowers that had been purchased from pooling their precious commissary allotments, it was a profoundly moving experience.  Those flowers represented a great sacrifice on the part of the givers, and were no small comment on the significance of what was given to the women in those weeks of classes.

Lindsay’s dedication, enthusiasm, and sensitivity are qualities that make her a wonderful facilitator, one that we are truly lucky to have on the Still Point team. In her capacity to share the full depth and breadth of her own humanity, she helps others to see theirs.

Reflecting on Still Point’s Journey with Founder, Lisa Wagner-Carollo

By Anita Dacanay

I have had an insider’s position from the very beginnings of Still Point Theatre Collective, as Lisa’s close friend and colleague throughout the entire 21 year history of the company, and having worn many hats within the company myself. Recently I spoke with Lisa to hear her reflections on Still Point’s journey thus far, the state of the organization at this time, and collective’s focus for the future. The following piece was written from this conversation, and informed by my own perspective as a long-time member of the Still Point family. Managing Director Ben Gray and Lisa both thought that it would be beneficial to share an update with our friends and supporters at this time.

Soon after the turn of the millennium, I remember hearing Lisa talk about coming to an impasse. Still Point had developed around Lisa’s personal vision, fusing her love of theatre with a desire to serve society, and fueled by her passion and commitment. As the company grew over the years she recognized that the model of leadership we were relying upon had its limits. This is because it relied almost solely upon her – and she, being human, had her limits. This dilemma of Founder burn-out in nonprofits is not at all unique to our organization, and I believe relates to the Sisyphus-like position of nonprofit entities in a for-profit economy.  How nonprofits learn to survive and thrive in our society warrants its own discussion, but relates directly to the position that Still Point was in during the early years of the 21st Century.

Lisa recalls, “Still Point was just too much. On paper, we were doing fine – in the black every year. But I knew that I couldn’t continue at that pace. We needed a new way.”

Lisa began to think of new ways to run the organization, and we have been through a trial and error process since then. Currently we have a shared leadership model. Ben Gray has been working with Still Point for several years researching, writing and submitting grants. As of July of 2013, he stepped into the role of Managing Director, and Lisa assumed the role of Artistic Director. In fact, both of them are working together to run the company, with the support of a few additional part-time staff like myself, and Lisa’s current assistant, Sara Fisher. There is a great deal of work stretched amongst a very small but dedicated staff, and supported by our generous volunteers. “Everyone who is working with us now brings great energy to the company.” Lisa feels that she found the “new way” she was looking for in sharing leadership of the company – specifically with someone who also has a history with Still Point and strong personal investment in its health.

“Finances are stable,” Lisa remarked, “We are reviewing and revising systems to keep money coming in. We are cultivating new donors, like J.D. Schramm of Stanford University, who is also a recent addition to the Advisory Board.” Lisa also noted that, from her personal perspective, she made peace with the fact that running a nonprofit requires rigorous, daily attention. Every day, she must put attention to the following questions: How can we bring in more funds? How can we book more shows? How can we reach new people with our work? This sense of peace is a new paradigm for Lisa, and she summed it up by saying, “If you really accept it, it’s not a burden. It’s just your job.”

Lisa told me the story of how she and Ben and two other members of the collective recently performed a ritualized blessing of the Still Point office space. This sort of action is part of Still Point’s identity and stems from the vision that drives the company. We seek to create ways to celebrate the human spirit and life itself, in a manner that is truly inclusive. The office is also decorated with reminders of the work that the organization does: a quilt made by women at the Chillicothe Correctional Center, and flowers that Sara planted in pots painted by Imagination Workshop members, to name a couple.

The blessing of the office space recalls a scene in Living Water in which the pastor leads parishioners in blessing the walls of their church that had been destroyed in the New Orleans floods of 2005. Those of us who have been integrally involved with the creation, mounting, and touring of Living Water can attest to the fact that producing this show gave us inspiration and energy for our own rebuilding process within Still Point. Lisa realized that twenty-one years down the road, it was not too late to restructure and rebuild the company. In fact, that process was necessary in order for Still Point to adapt and grow.

Producing Living Water definitely gave a jolt of creative fire to the company. Every time we bring new artists in to work on a play, they infuse the collective with their own energy and enthusiasm in support of Still Point’s larger mission. Actors Nicole Michelle Haskins, Jove, and Andy Clifton each came into the play with enthusiasm for the show and for the vision and mission of Still Point.  Likewise, the artists who are already part of the collective derive deep satisfaction from creating new work, and renewed vigor for attending to the other more mundane aspects of operating the company. Thus, Living Water reminded us all of how important it is for the company to continue creating and touring new productions.

There are numerous examples of Still Point staff going above and beyond the call to show their support for the organization. Sara Fisher recently organized a wonderful benefit event at local venue Casa Dolce Café. Called Lost and Found and Alone, the event was a great success in terms of making connections, building community, and raising money for Still Point. Musical improv troupe Buffalo performed, as did Sara herself, and storyteller Mary Ruppert. Ben spoke about Still Point’s work, creating new allies within the Buffalo crowd that had come out to see the troupe. Again, the event highlights the importance of a celebratory spirit of community.

The running theme of my conversation with Lisa was the inherent value of human beings and nurturing a healthy interconnectedness. There are many ways in which we affirm this in our work and in the Still Point culture.  Lisa reflected, “If it were not for the many women in prison who have shared their hopes and fears with us in the Persephone Project, Still Point would not be Still Point. If it weren’t for the adults with developmental disabilities that have participated in the Imagination Workshop over the years, Still Point would not be Still Point.” Lisa emphatically pointed out in our discussion that we would also not exist if it weren’t for the audiences who see our plays. “While the special populations we work with have more obvious wounds because of their positions in society,” Lisa notes, “We all have wounds, and when people come to see one of our plays and feel inspired or invigorated or informed by the performance, they are receiving a service that they need and deserve as well. That’s outreach too!”

In terms of outreach programming, there has been recent expansion of fee-for-service programs, like the additional Imagination Workshop classes currently taking place at Orchard Village in Skokie. Another example of this is Athena Theatre Works. Still Point launched this initiative last year as a pilot program for formerly incarcerated women, in collaboration with Breakthrough Urban Ministries, Chicago Legal Advocacy for Incarcerated Mothers (CLAIM), and Art Reach at Lill Street Art. This program was designed to use hands-on theatre experiences to foster community engagement, enhance self-esteem, help build a support system among participants, and to provide important legal education. This successful collaboration will be starting up again in the fall of this year.

Strengthening our unique emphasis on combining artistic excellence with a commitment to service, ongoing efforts to reach out to an ever-expanding and diverse circle of individuals and groups, and a disciplined approach to maintaining fiscal solvency, all in the right measure, are the main elements in maintaining a healthy organization into the future. Lisa sums up Still Point’s current position by exclaiming, “It’s working! We’re making progress. The process has given me gratitude for the great work that we are doing, and an appreciation for the great life that I have.”

A successful labor of love requires both labor and love on a daily basis. May Still Point be seasoned with both ingredients throughout the next 21 years and beyond.

Still Point Founder/Artistic Director Lisa Wagner-Carollo and Managaing Director Ben Gray

Exciting New Program at Orchard Village!

by Anita Dacanay

Whenever I speak to Still Point Facilitator Laura Callahan-Hazard, the joy she feels about working with her classes is apparent. I spoke with Laura recently about Still Point’s brand new 12-week program for adults with developmental disabilities that is taking place at Orchard Village, a service provider in Skokie. Laura is the Lead Facilitator for this program, and she is working with participants to create an original piece that will be performed for the Orchard Village Board of Directors on June 30.

A running theme in the workshop is the way in which people with disabilities are treated in society, and how participants can demand the respect and fair treatment that they deserve. Consequently, the group has explored various situations in which someone may have been discriminated against or treated poorly. Then, the group has a “re-do” of the scene, in which they act out a better or more empowering outcome to the situation. In the process, group members get an opportunity to practice voicing their needs and claiming their rights.

While the subject matter is serious enough, my conversation with Laura left me feeling that the performance would also be fun and entertaining! One participant named Joey is apparently a born performer who loves to sing and dance at every opportunity. Joey has taken a leadership role in the class and will act as narrator for the performance, reading the script that Laura created from what group members voiced in rehearsals.  Another woman, Laurie, surprised everyone with her insatiable love of dancing, which has her leaving her walker by the wayside whenever someone cranks up the tunes.She even has a signature dance move, gleefully copied by the rest of the group and coined “the Laurie” in her honor.

This workshop at Orchard Village moved forward after a slight delay due to a fire at the facility. It certainly sounds as if the performers in the group are relishing this opportunity to explore new talents and showcase their thoughts and feelings.  Each unique voice that finds expression in a Still Point program is a victory for all of us - from participants, to other artists, to the community at large. 

Still Point Facilitator Laura Callahan-Hazard of the Orchard Village Workshop

Facilitator Spotlight: James Cornolo

by Anita Dacanay

It’s hard to imagine any way in which Still Point artist/facilitator James Cornolo could not be seen as one of the most likeable human beings to grace the planet.  From the warm, shy smile, to the understated-but- sharp-as-New-York-cheddar wit, to the compassionate heart, to the brilliant musicianship he shares joyfully and freely - James is a gem of a person.

Still Point Founder Lisa Wagner-Carollo and I both met James through a fascinating albeit short-lived artistic ensemble called The Bottom of Your Shoe Theatre Collective.  James had been brought into the group to provide musical accompaniment, but he took on a more multi-faceted role as an actor as well in the collective’s play Querencia.

James has a strong background in both jazz and classical guitar. He graduated from Northeastern Illinois University with a Bachelor’s degree in Guitar Performance and Pedagogy. He also attended the American Conservatory of Music.  James has been involved with various projects as an accompanist and composer for modern dance. Currently, he is busy playing traditional and contemporary Cuban music, most regularly with Angel d’Cuba.

In recalling his many professional associations, James told me that he feels fortunate to have had the opportunity to work as a musician in a wide variety of settings. This is true even within his work with Still Point. Before Still Point was officially an entity of its own, Lisa had already begun teaching regular theatre classes at Esperanza Community Services, and invited James in to provide music for the Imagination Workshop’s first performance. Over the years, James became involved in many Still Point programs, including becoming a regular facilitator of the Imagination Workshop. James has provided music at the Metropolitan Correctional Center and Dwight Correctional Center as part of Still Point’s Persephone Project; and has also accompanied performances by both Sisters Rising and Strong Connections.

When I asked James what drew him to work with Still Point, he first expressed his profound admiration for Lisa and the clear intention with which she created the company. “A spirit of compassion is at the heart of all of Still Point’s work,” he remarked. With characteristic humility, he also acknowledged his gratitude to Lisa and the other Still Point facilitators for all that he has learned from them over the years.

James has been working full-time at Esperanza since 2010 as their Music Teacher. He recalls that several of the original Imagination Workshop members that he first met in 1992 are still in his life as students, artistic associates, and friends. ”I think that’s pretty cool,” he concluded. I would concur, and add that James Cornolo is also pretty cool, and a deeply valued member of the Still Point family.

Celebrating Spring (and Creativity) with the Ravenswood Players

The Ravenswood Players are a delightful performance ensemble of adults with developmental disabilities.  Their  three month process culminates in an original public performance at the Ravenswood Presbyterian Church.  The workshop is led by Still Point facilitator Laura Callahan-Hazard.  She approaches each session with the intention of helping participants to develop new theatre skills, while creating engaging scenes and skits along the way. 

Laura recalls that the current group started meeting in January, when Chicago was in the throes of the Polar vortex, and a truly challenging winter.  The group knew that their performance would take place in the spring, and the participants agreed that spring-time itself seemed like a wonderful subject to focus on in their sessions.  Laura focused on the concept of using words as tools of the theatre, and began working with poems that were eventually acted out in various ways. Then the group moved on to writing their own poems, some of which are used in the performance.  Sunshine, the life cycle of flower bulbs, and April Fool’s Day are just some of the springy subjects explored in the piece!

Laura has enjoyed watching the participants “blossom” during the process of creating the performance.  She recalls how a new member, Jennifer, has overcome shyness to learn how to connect with other actors, and developed the skills to listen and respond to them in new ways. She also applauds the work of Jimmy, who has stepped into the role of peer leader in the group, inspiring and encouraging others with his own enthusiasm for being on stage.

CELEBRATE SPRING is happening Wednesday, April 23rd at 7:00 p.m.! It’s free and open to the public at Ravenswood Presbyterian Church,  4300 N. Hermitage.  After the show, audience members will be able to purchase hand-painted flower pots to benefit Still Point Theatre Collective. Chicago area friends are encouraged to attend and join the fun – after the past winter, I think we are ALL ready to celebrate spring!

Persephone Unbound: Still Point Nurtures the Spirits of Women in Prison

Since 1993, Still Point Theatre Collective has been cultivating the expression of voices we seldom hear in mainstream society.  The Persephone Project, named for the Greek mythological goddess who was bound to spend half of her life in the Underworld, creates unique creative opportunities for women incarcerated at Chicago area detention centers. 

Previous participant Roberta Ashley recalls, “I cannot begin to tell you how important these workshops were to me and to the rest of the group… I saw my fellow inmates in an entirely new light, as creative, intelligent women.  The classes were both freeing and empowering.”

The Persephone Project provides a welcome “safe space” in which the women can tell their stories, build community, explore new perspectives, process their pasts, and dare to envision their futures.  Through learning the practical skills of theater-making, including writing, public speaking, and body awareness, the women develop new ways to express themselves.  At the end of a three to four month process, the participants perform their play for guests, prison volunteers, and fellow inmates.  This provides affirmation for the culmination of their work: to experience the smiles, tears, and applause from an engaged audience tells them that not only can they speak out, but that they can actually be heard and appreciated.

As an extension of these workshops, Sisters Rising was started in 2007.  This powerful performance troupe is composed of formerly incarcerated women. Sisters Rising ensemble members create original work which is then performed publicly all around the Chicago area. The women of the troupe are compensated for their work, which helps to instill a sense of respect and responsibility in women who often have difficulty finding employment.

The play Strong Women, performed by Still Point actors, allows the work of Persephone Project participants to travel outside prison walls. The performance was created from the writings of women incarcerated at Cook County Jail, and addresses issues such as violence, redemption, and inner strength. The play is currently available for booking through Still Point.

While it is important to acknowledge the degree to which these innovative programs affect the lives of the participants, it is also important to remember that everyone wins when typically marginalized communities are given a chance to speak. Invited guests and jail staff who have attended Persephone Project performances often speak of being profoundly moved by the experience. The public performances of Sisters Rising and Strong Women help to smash stereotypes about people in prison, and foster a hope for universal healing.  After all, it is when Persephone returns from the Underworld that we can all experience the blessed renewal of spring.

SPTC actresses Jyreika Guest, Lisa Wagner-Carollo, and Gail Gallagher perform Strong Women. 

(photo by Susan Ericsson)

Living Water presented at St. Martin de Porres House of Hope

On March 16, Still Point presented Living Water: the Story of St. Gabriel the Archangel Church at the Saint Martin de Porres House of Hope on the south side of Chicago.  The House of Hope is a private, non‐profit, faith based recovery shelter for homeless women who are affected by substance abuse. 

Still Point Founder Lisa Wagner-Carollo remarked that some of the women at the shelter made a connection between the destruction and rebuilding of St. Gabriel Church - and the destruction and rebuilding of their own lives. In hearing the Living Water characters talk about everything they owned being swept away by the post-Katrina floods of 2005, the women thought of their own lives being swept away by the destruction of addiction. The rebuilding of the church and the parishioner’s homes served as a powerful metaphor for their own healing, and a couple of them remarked that seeing the play gave them hope for their own recovery process.

Still Point artists have always been conscious of making theatre available to those who would otherwise not be able to afford to go out to see a professional play.  The audience at St. Martin de Porres House of Hope illustrates why we believe it is important to do just that. People deserve access to the inspiration, reflection, and stimulation that art provides, regardless of economic status.

Living Water: The Story of St. Gabriel the Archangel Church was also recently presented at St. Peter Parish in Chesaning, Michigan, and continues to be available for national bookings.

Theatre Workshop with Yad B’ Yad

On Wednesday evening, February 12^th, Still Point Founder Lisa Wagner-Carollo led a special theatre workshop for members of Yad B’ Yad of the Northwestern Fiedler Hillel Center. The group brings together Jewish young adults with developmental disabilities and young Jewish volunteers for social, cultural and religious activities. About 25 participants and volunteers attended the event. Many of the members of the group are adults with developmental disabilities who live independently. The events that Yad B’ Yad organizes provide a regular opportunity for socializing.

The evening started with dinner, and then moved into a lively drama/improv class. The session culminated in a talk show which featured special guests such as Harry Potter, various Lords and Ladies from England, Indiana Jones, and an archaeologist who expressed his admiration for Mr. Jones’ “work.”  Creativity, play, and fellowship were enjoyed by all. If that wasn’t enough fun, the group shared cookies before parting.

Photo features Lisa Wagner-Carollo (center) with volunteers Cristina Perez (left) and Emily Tegenkamp (right)

Still Point artists strive to connect with groups like Yad B’ Yad to build community and a spirit of celebration through the arts.

Coming Full Circle: Presenting Living Water at St. Gabriel Church

by Anita Dacanay

Writing Living Water: the Story of St. Gabriel the Archangel Church with my dear friend Lisa Wagner-Carollo was definitely one of the highlights of 2013 for me. In listening to the interviews with the pastoral team and parishioners, I fell in love with the subjects of our play. While I have enjoyed staying connected to Still Point over the years by working in many administrative capacities, stepping back into a creative role with the company felt like a homecoming.

As I live in Cleveland, and Still Point is based in Chicago, most of the writing collaboration occurred long-distance via internet and phone. I was not able to be physically present during the rehearsal process and initial performances of the play, which debuted in Chicago in late October. I was kept abreast of developments by Lisa every step of the way, but I could not attend any rehearsals, meet the cast, or see the play. I had released control of the play once rehearsals were set in motion, as I had utmost faith in the abilities of our director, Virginia Smith. Yet, it would have been nice to have witnessed the play’s birthing.

On January 18, 2014, I had a payoff more bountiful than I could have imagined upon traveling to New Orleans to see Living Water presented at St. Gabriel Church. (As late as a week and a half prior to the event, I had no hope of getting there. Lisa, as is her custom, was not inclined to accept defeat so easily, and she employed both her faith and her iron will to finally find a plane ticket for me.)

Saturday afternoon I waited in the blessed Louisiana sunshine for Sr. Kathleen Pittman to pick me up from the airport.  Upon her arrival in a dusty gray Toyota Corolla, she greeted me with a grin and a hug. We had a lively chat on the way back to her home where I would be staying, and then she took me over to the rectory so that I could unite with the rest of the Still Point contingent. She had given me her complete attention, but I could tell that Sr. Kathleen had a long to-do list to address before the evening, and I assured her that she could leave me and attend to it all.

I peeked through the dining room door in the St. Gabe rectory, as the cast had just finished a line-through. I caught Lisa’s eye as she sat ironing costumes. She grinned as I came in and we shared a hug. (There was a lot of grinning and hugging that happened over the course of the weekend.) I met the rest of the cast: Andy, Jove, and Nicole, a delightful group of sincere actors. Andy Clifton plays Fr. Doug Doussan in the production; Lisa performs the role of Sr. Kathleen; and we were blessed to find two talented young actors, Nicole Michelle Haskins and Jove, to play multiple roles representing various members of the church.  After meeting me, those three went off to rest before the show.

As Lisa and I sat chatting and going over ideas for our pre-show presentation, Fr. Doug Doussan walked in. He beamed at me from the kitchen, arms extended to embrace as he said, with his warm southern drawl, “Anita! Come on over here and give me a hug, you sweetheart!” At 79 years old, Fr. Doug exudes light, warmth, and vitality wherever he goes. I had spoken with him several times on the phone, and listened to his interviews repeatedly. I knew of his glowing reputation in Catholic circles. But nothing could have prepared me for meeting this man in person, as his character and personality are truly larger than life.

We wandered over to the church at around 5:00 p.m., the actors engaging in playful banter that did not convey the anxiety they later confessed that they felt prior to this performance. It is asking a lot of an actor to try and portray a living person – and it is asking a whole lot more to propose that they play that role in front of said living person. In the case of our young actors Nicole and Jove, they were being asked to play numerous such roles. It was a great deal of pressure, which they handled with utmost grace. As the audience filed in, I had the pleasure of meeting in person the people whose interviews I had heard over and over, taking in the nuances of their spirits. It was odd because I felt like I was greeting old friends, while they knew nothing about me except that I had helped to write the play.

Prior to the performance, Lisa and I were introduced by Fr. Doug, and we spent some time explaining our creative process. Lisa named each person who was interviewed and asked them to stand. I noted that I was sitting next to Ms. Marigold Hardesty, an 86-year-old woman whose story is featured in the play. Marigold is a spit-fire. Her appearance and demeanor absolutely defy her chronological age, and her faith and passion are palpable. When she saw Nicole speaking her words, I could tell she was delighted. As the more tragic parts of the story unfolded, I saw her wiping the tears from her eyes. The experience was tremendously moving.

I found watching Living Water to be very gratifying. I was pleased from a professional and creative standpoint in that I felt that the story was told simply yet eloquently, and that the play moved and flowed with grace on the stage. The actors, the music, the backdrops – all worked together to pay homage to this modern resurrection story. Again, Virginia Smith and her assistant Steve Grossman, as well as designer Holly Windingstad, had insured that the piece was not just a “talking heads” historical narrative, but an artistic expression of that narrative.

During our post-show discussion, a woman from the audience stood and thanked us for thinking that their story was “worth the effort” to feature as the subject of our play. I think that each of us from Still Point who were present at that moment was overcome with emotion.  We have felt grateful and humbled from the beginning of this project: that these people would invite us into their personal and collective stories of struggle, reliving many painful memories along the way.  It was a great honor for all of us. Yet Father Doug expounded on the woman’s comments by pointing out that part of the pain of the Katrina tragedy was that the people of New Orleans felt so abandoned in that disaster. To them, it seemed as if the rest of the country did not know or did not care about the horrors that they were going through. In witnessing our play, there was a bit of healing knowing that there were those who did care.

Speaking of healing, I should be frank in that my own spiritual path took me away from the Catholic Church many years ago. I had my share of bitterness and anger connected to the church that I carried with me for many years like a yoke around my own neck. Being so warmly embraced and accepted by Father Doug, Sister Kathleen, and the parishioners of St. Gabriel, I was able to attend mass on the Sunday morning after the play, and enjoy every minute. 

There is a line in the play delivered by Nicole as 22-year-old Patty Bergeron, who was just 14 when Katrina struck. She says, “We have a song that we sing, called ‘They’ll Know We Are Christians by Our Love.’ And I always think about that – that if there’s a visitor in the parish, that they’ll know that we, in this church, are Christians.” This visitor got that message loud and clear. It is Love that makes a space holy, and Love that makes a gathering sacred. Love is the fuel that drives the people of St. Gabriel Church, and Love is the balm that can help us all to heal, individually and collectively – even from the most horrific of tragedies. In witnessing Living Water come full circle, I could feel little else but Love.