West Coast MT Schools

Prof.Himmelheber
Wed, 27 Jul 2005 18:36:54 +0000

NAST sets guidelines for individual programs as part of the accreditation review. These are based on curriculum, classroom space, production opportunities, and NUMBER OF TEACHERS in the program. The latter is the primary reason we are limited to 20 in the program; if we go over that number, the students are not getting the full one-on-one teacher experience that we hold to be our standard (and that NAST accreditation demands).

Remember, CSUF offers all the major coursework “in house,” meaning “by our own Theatre & Dance Dept. faculty” (rather than farming students out to a separate Dance Dept. and/or Music Dept.). This cohesive approach is wonderful, but costly - and getting $ for more teachers is simply not an option (when compared to the theatre and department as a whole, relatively so few are served by the BFA that the “Full Time Enrollment” dollars generated won’t warrant this).

We’d LOVE to have more teachers so that we could accept more students and “grow” the program; and we have received a few new positions this year (in anticipation of the BFA in Acting program going through and to replace retirements). But with strained California budget, we are glad to have what we have now. It could be a lot worse.

:)

On your second question/comment, I know. It’s scary to face that you have invested two years and then might not be a BFA student. But classes that have been taken here may transfer to other universities (if that school will accept them); so students have that option as well - transferring out, and repeating that one (or two) year(s) at another program that will accept them…it’s not uncommon in education today to take five or more years to graduate (in any discipline, not just the arts).

Playing “Devil’s Advocate” now, I find a more scary proposition is the “let’s take as many students as we can get, and then weed them out year by year” approach that many of the large/private institutions have. When looking at the numbers they accept, you must consider the number that actually enroll as freshmen (some are accepted on a contingent basis, as alternates, and may or may not make it in); and also the numbers that survive to their junior and senior year. And what is the student/teacher ratio like in those first two years of study? Very likely NOT what it is in the upper division. As discussed on this thread, some students leave of their own volition, but a majority of losses are students cut for artistic and/or academic reasons (many right into the senior year of study!). That is equally frightening to me as having two years to grow, groom, mature, and decide whether or not you are right for the program and vice versa.

I have heard (on this site) that a lot of students don’t KNOW about the audition process here at CSUF - lack of research must contribute to this misunderstanding, as we are VERY candid about this in all discussions/communications. Thus, these students have a big disappointment/surprise ahead of them…but, as with all college prospects, “buyer beware.” Learn about the program that you intend to invest four (or more) years, as well as a good deal of money, in.

Each year, more students choose to come to CSUF knowing full-well the risks of the process. And more and more keep coming each year. I believe our training is of such a quality, and their self-confidence in their own abilities/training, are enough for them to justify taking that risk.

Like the industry these kids have chosen (or, which has chosen them when they were first bitten by the Mus. Th. bug), there is no guarantee. This career path can be terribly disappointing. Rejection is the word - disappointment, du jour.

All of the top national musical theatre programs in some way or another prepare these students for that world - both in the training they receive, and in the constant evaluation (and exclusion) based on an aesthetic sensibility that the student has no control over. But that is our business; you need a “rhino skin” to make it in this industry (or else, one heck of a good therapist). I think that the best advice I can give parents is this:

1) Understand the business demands of this industry, so that you can keep the whole process (school, auditions, gigs, tours, casting, disappointments, etc.) in perspective - then it is easier to realize that no individual action is an “attack” on your child; it is merely part of the entertainment “circle of life,” and one your child needs to embrace/accept as soon as possible.

2) Support your child 100% - this doesn’t mean coddling them, or telling them that the “mean old school” doesn’t know what they are doing/missing by cutting or not casting them. It means understanding that your child is hurting, and telling them that you know they are hurting, you share their pain, and you love them no matter what. Unconditional love and support are worth 100 times over any undue pressure that might be felt by your child (when a student is fragile or susceptible, they might feel they are LETTING YOU DOWN by not succeeding at any/every challenge). And over-protecting is bad for obvious reasons (the “stage mother” complex doesn’t allow the child to mature and grow on their own terms/merit).

3) Realize that there are many professionals who work ALL THE TIME without a formal college education. These pros take independent classes and studio and lessons, for a premium expenditure. So, one might think of an education at a good college as an alternative to private lessons/coaching, at a reasonable (?) rate, on a regular/intense basis, in preparation for a career. Just think, if you took the money that you might spend at a top Mus. Th. university/conservatory, and put that into housing and private lessons in NYC for your child for four years, you would likely have the same (or better) results in the end - sans the “piece of paper” that the degree is (a “fallback plan” for many, allowing the student an “out” if they don’t make a career onstage). The result of both roads? A student who knows how to capitalize on and care for their instrument; one who is well versed in the various demands of the industry and can meet those with facility; and one who knows how to audition for jobs, and keep the engagements once hired. In fact, the “networking” at private studios is often more valuable than that achieved at a university. And private studio students can AUDITION whenever they want, and TAKE JOBS whenever they come: Broadway, tours, cruise lines, theme parks, summer stock, regional theatre, etc. (it’s a young person’s business, and the window of opportunity is limited). Students in school cannot (or VERY rarely can) do this.

Finally, if your child wants to do Musical Theatre as a career, and knows they have your unconditional support and love, nothing can stop them - not even rejection by one or more schools.

I’m rambling, so I’ll close now.

eve