Theatre for Living

There’s a resiliency that comes with building up the next generation of theatre artists. And with years under its belt, the Dakota Academy of Performing Arts (DAPA) has never been afraid to try new things in the pursuit of that very goal. Enter a pandemic, and DAPA had a whole new set of challenges to tackle with aplomb.

After a brief hiatus and some show-postponement heartbreak, DAPA was right back at it again last July, and with it came a host of COVID-19 protocols to allow students to safely return to doing what they love most—performing.

“In many ways, we’ve actually learned a lot,” program coordinator Debbi Jones said. “Our processes have become more efficient, virtual options have kept casts connected, we’re able to upload rehearsal materials to a private YouTube account so students can practice at home—it’s a way we can help keep people involved and safe.”

Among the litany of efforts DAPA began putting in place nearly a year ago were masking up of all students and staff, long before it was mandated by the city; the addition of shields when singing; strict sanitation regimens; smaller cast sizes; and Zooming rehearsal when there’s a COVID-19 close contact among a given cast.

And the response from the young participants, ranging in age from six to 18? Overwhelmingly positive.

“I think the biggest thing is that our students are resilient and are willing to work with us to keep each other safe so that they can practice their art form,” Jones said. “They’re grateful. Grateful that we still get to do this despite the odd circumstances. That they still get to share this experience and continue to learn and grow as artists.”

And as the ravages of the pandemic begin to make way for a light at the end of the tunnel, DAPA plans to ride this wave of teamwork and camaraderie well into the remainder of 2021. Longtime DAPA collaborator and educator Molly Wilson thinks the program will continue to serve out its mission in new and exciting ways.

“We look to teach theatre to the whole child,” she said, “from the audition process through rehearsals through the end product. I hope that we create this ripple effect that goes out into the world, whether it’s in other areas of theatre or just creating amazing citizens who are doing great things with beautiful hearts.”

Championing artistic growth in students over years of time is something that DAPA has made its mission from its inception. The sentiment of founder Sara Crosby was that students in Sioux Falls are just as talented and eager to learn as any student in the world—they just need the opportunity. That’s something Jones carries close to her heart in the work she’s doing day to day.

“The most gratifying thing is to be able to watch the students grow,” she said. “I’ve been involved with the program for about five years, so it’s been really wonderful to see the students grow from young artists trying to find their voices into these beautiful performers who are confident, talented and eager to continue to grow.”

There’s no better testament to the give-back of this approach to theatre education than DAPA’s hallmark “Plays for Living” program, which brings small-cast productions into schools that focus on relevant issues to groups of various ages, from bullying to suicide prevention to discrimination.

“It’s just a really powerful program not only for our audiences, but also for the students to use their voices for good—to use their talents and skills in theatre to make a positive impact on their community,” Jones said of the program, which has shifted largely to virtual performances followed by discussion facilitations with DAPA staff.

Having just wrapped a production of The Little Prince, a play adaptation of the classic novel, and with a run of The Little Mermaid Jr. on the way in late April, DAPA has made a point of putting opportunities in front of students looking for their place in the arts, come rain, shine or global pandemic. And that’s not stopping anytime soon.

“Theatre is a really cool tool that really builds empathy and character and good human qualities,” Wilson said. “I think the quality and the heart in the program makes us special. We’re not focused on that end product of a show as much as we are focused on growing individuals while making a show.”