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, the classic family murder mystery board game, has come to life, and it has come to Deerfield. From May 21-25, the audience will become the detectives in a story filled with twists and turns, surprises, and, most importantly, murder. The intriguing and challenging story plotline is filled with many set changes and a complicated script, but humor as well as action that is guaranteed to make the audience laugh. In an interview, Theater Director Catriona Hynds gave a sneak peek about the play’s plot: “It is a story of betrayal, blackmail, and murder set in a deserted manor house. “ She added, “It takes a lot to make me laugh, and this play certainly does! It is so silly.” The cast itself is made up of eccentric group that has come together for a dinner party at the house of Mr. Boddy, played by Lukas Trelease ’20. His household servants are the Cook played by Sydney Cox ’19, the maid Yvette, played by Emma Haddock ’21, and the butler Wadsworth, played Peter Everett ’19. The group of guests his party brings together consists of Miss Scarlet, played by Kate Landino ‘20, Professor Plum, played by Micajah Stude ‘19, Mrs. Peacock played by Vera Grace Menafee ‘20, Colonel Mustard played by Protik Nandy ‘19, Mrs. White played by Wilona Wiafe ‘21, and Mr. Green played by Nick Fluty ‘20. The cast is completed by a group of ensemble members who help execute the mischief. All these characters’ paths cross in the home of a well-known wealthy man. The manor’s many rooms contain unknown horrors that the guests and the servants must uncover to find out: Will it be the “powerhouse” Miss Scarlet, known for her long line of admirers? “She gets what she wants when she wants it,” said Landino. “She is confident and deceivingly smart.” Could it be the nerdy Professor Plum, possibly knowing more than he lets on? Stude added more intrigue when he said, “He is an overly dramatic professor. A suave, charismatic ladies man.” Maybe the murderer is Colonel Mustard, a “stupid kid with military experience,” said Nandy. “He is anything but a smart, military general.” A proud person, the Colonel is a slow thinker and seems to always be a step behind in figuring out the clues. But is he a step ahead? Perhaps, as a plot twist, the murderer could be a surprising character you wouldn’t want to mess with: the cook of the manor. “[She is] quite scary and can be threatening because she’s constantly wheeling around with a knife” Sydney Cox explains. “And there’s also blood on her apron.” Is she just cutting meat, or is she not as innocent as she seems? Come to the play to find out how the mystery unfolds! As Mrs. Hynds put it, “I think we all need a bit of madcap humor as we finish off the academic year!” This hysterical and wacky show will give you the perfect fix. By putting a modern spin on the classic board game, the Deerfield Theater Program’s production of will have the audience asking until the very end: who committed the murder?

As the year has progressed, I and the six other postgraduate girls with whom I am sharing this experience have become increasingly aware of the reality on this campus: postgraduate girls are ignored and marginalized at Deerfield Academy, especially in comparison to our male counterparts. As a newly-admitted postgraduate girl last spring, I spent a thoughtful period of time deciding whether or not I should attend Deerfield in the fall. On the one hand, I was never asked by a university, coach, or anyone else to take a postgraduate year. I also considered how difficult it would be to join a senior class that had already spent several years together. I gave it thought, but after witnessing my former school accept and integrate postgraduate hockey players year after year, I was not concerned. With the added element of Deerfield’s sophistication and size, I anticipated that feeling included at Deerfield would not be an issue. But somewhere between then and now, I realized I was sorely mistaken. Deerfield’s social exclusivity and tradition of celebrating postgraduate boys has left postgraduate girls at a deficit from the first day they step foot on this campus. Deerfield has not seen a class of postgraduate girls this large in many years, and because of it, our community is not used to having non-male, non-athlete postgraduates and ultimately neglect doing our part on the inclusion side of things. We have to change that. At the beginning of the school year, we had a lot of curious people reach out to us. They would ask us: “What sport are you here for?” “Who are you being recruited by?” Eventually, these kinds of interactions faded away to feel fake, and over time it became evident that people were not talking to us to spark a friendship. They saw us as one-dimensional, defined only by the college we would attend and the activities we participated in.

Around the late 1950s, The Charles P. Russell art collection was given to Deerfield Academy by Mr. Russell’s daughters, Miss Lusia Russell and Mrs. Lucius Potter, who each collected European and American art respectively. Miss Lucia Russell’s collection contains of European paintings spanning from pre-1700 Flemish baroque, British portraiture of the 18th and 19th century to late 19th century Impressionism. The more numerous of the two, Mrs. Lucius Potter’s American collection, is mainly characterized by formal, flattering portraits made during colonial America up to the nineteenth century, but also includes romantic, realist, and modern pieces. Ms. Hemphill stated that, “Fifteen to twenty years ago, the Guggenheim in Spain borrowed two of our American portraits for a show they had there.” Most Deerfield students aren’t aware of the school’s art collection. Indeed, many of the paintings used to be hung in the Frank L. Boyden Library; after its renovation in 2015, the paintings came down and were either stored or hungput up in the Manse, resulting in the decline of the collectionsits presence in students’ everyday lives. One example of the artwork currently being stored in the Manse is , by Frederick Childe Hassam (American, 1859-1935). Frederick Childe Hassam was one of the leading American Impressionists by the end of the nineteenth century. He was influenced by both the impressionist and post impressionists of Europe. Just like his contemporaries, Hassam payed attention to details of delicate lighting and experimented with color throughout his career. A distinguished artist, he received many awards for his work. One of Deerfield’s most valuable paintings, , depicts a fleeting moment in time where Hassam creates a somber, yet peaceful tone. The attention to the ground’s reflection illustrates Hassam’s skill in capturing light and texture. H. Manning Curtis, Spouse of Head of School Margarita Curtis, commented on the details, saying, “This is a really funny piece because you can see the guys watching the lady pass by. It’s subtle but cool.” Other works in the Manse include by Jean François Millet and by Robert Henri. Dr. Curtis encourages all students to visit the artwork. She said, “Enjoying world class art on a daily level is a rich gift—a way to draw one’s attention away from daily routines and chores to other realities and possibilities.”

On Apr. 3, Mr. Nilsson and several members of the Deerfield faculty wowed the school by performing a musical that captured the quintessence of Deerfield studenthood. The musical, which was performed during school meeting, was kept secret from the community for over five months. The cast first gathered in secret in early November, when Mr. Nilsson divulged his plan to certain members of the community. Over the course of the school year, the cast met to practice choreography and record a soundtrack. In the end, despite only having two dress rehearsals, the cast exceeded all expectations by presenting the school with a beautifully executed performance. When asked about his reaction, Spencer Hurst ’20 had only the highest praise. In his own words, “I loved it when Mr. Chapin started ‘boolin’’ on the dance floor.” Hurst was not alone in this sentiment. Each time a faculty dropped bars or whipped out dance moves, the whole school erupted into cheer. As a matter of fact, some lines of the play were missed, as they were muffed by all the screaming. Students were also excited to see some of their favorite teachers on stage. Mason Zhao ’20 took a special liking to Dr. Thomas’s rap. He said, “She was so smooth with her rap. I wish she taught my Chemistry class like that.” Overall, it appears the community greatly appreciated the musical. More than anything, the school was proud of how much effort the teachers were willing to commit to such an immense task beyond the incredible amount of time they already devote to the community. Adam Sussbauer ’20 commented on the matter, saying, “One thing that really sets Deerfield apart is the willingness of the teachers and community as a whole to let loose a little bit and be seen outside of their normal element.” However, despite all of Mr. Chapin’s dance floor “boolin’” and Dr. Thomas’s knowledge-dropping, the musical did miss some important points in capturing the true Deerfield experience. As actor Micajah Stude ’19 commented, “The general plot was accurate but it totally simplified the ‘scheme’ culture at Deerfield.” As much as we all wish our schemes were as simple as love at first sight, like Ms. Lareau and Mr. Grimm exhibited, we all know schemes aren’t so simple — there is much more DM sliding and Snapchat quick adding involved. Furthermore, the musical seemed to be underclassmen-oriented. There was no reminders of upperclassmen, no study hall freedom, or late night library shenanigans commonly attributed to Senior Spring. Nevertheless, the musical did an astounding job of capturing the essence of the Deerfield experience and the first-day nerves that every Deerfield student has felt. This play reminds us that at Deerfield, there are ambitious students like Mr. DeMartino, great proctors like Mr. Watson, thoughtful students like Dr. Thomas, and punny teachers like Mr. Ahbel. Furthermore, as Ms. Lareau and Mr. Grimm showed us, at Deerfield, there are plenty of opportunities to try new things, as fearful as they may be. Mr. Nilsson’s Deerfield Story was a magical, musical representation of the Deerfield experience, and it reminds students that Deerfield isn’t so bad after all.

No real reason other than joy. It’s joyous to write and perform music, to work with colleagues, to reflect on the things we do, and to create shared experiences for a community. There is a backstory, though. A handful of years ago, former Academic Dean Peter Warsaw pulled aside a few faculty members with music backgrounds and said that for ages he had wanted to put together a musical satirizing boarding school. I said I was in, but we never started the work, and I wasn’t so sure that I was up for the genre of a musical. But then Hamilton came around, which felt like it gave permission to write musicals in a contemporary style that feels much more natural to me. Once I heard Hamilton, I started thinking more about the project. It started to sound like fun — just a great way to reflect on this really unusual place where we all live and work. It was a total joy to write. Teachers performing musicals, though, often turn into skits that are laughed at, and not with, and I wanted to put something together that instead was relatable, that spoke truth about student and teacher experiences and used satire to poke fun at schools, at everyone. It seemed important to make something that students could see themselves in, and spoke to them in a voice that was real so they said, “Yes! That is so true!” The first character and melody ideas emerged about two years ago in the spring of 2017. One year after that — last spring, 2018 — I had enough together that I began to see a fuller narrative and musical arc. But I knew I couldn’t do it by myself, and so I asked musician extraordinaire Sam Watson if he would partner with me on it. So we started in earnest last spring, about a year ago. It was around that time that I also began to scour the internet for readings about the structures of one act plays and one act musicals. I read about when to use song and why, about how the central conflict of the show must be established in the first song, about how many or how few narrative challenges you can fit in a shortened time block, etc. This kind of reading and research into the form was necessary to feel confident working in the genre. I wrote the book of the show — which is all the lyrics and text — and Sam Watson and I both wrote the music. You can thank him for the catchy tune for “Crickets and Chatter,” for the awesome EDM/dubstep remix in the closing dance number, and for the brilliant orchestrations and arrangements throughout. Sam’s technical expertise with software, recording, and arranging were invaluable to the success of the show. Sam and I set out to meet weekly, and missed many of those weeks, but set a schedule of deadlines. By the end of last spring we had three main characters, a narrative arc, a list of songs, genres for each songs, some melodies, and strategies for how the story would advance — a full outline of the show. We knew what elements of school life we wanted to send up, and we knew we wanted to use those elements to advance the central tension for each of the characters, which is the same for all of them: What is boarding school? Is this place for me? We set a schedule to have a full script by the beginning of this past October, full first draft of the music by Thanksgiving, a revision of the script by the first week of December, and a revision of the music before everyone left for winter break. I began talking informally with a few teachers last spring, and then started to pitch it to other faculty this fall. When Sam and I had a full draft of the script and a full draft of the music in mid-December, we called together a dozen or so faculty and did a full listen-through. Enough people agreed to see where it would go that we continued. It was a real leap of faith for those teachers to agree early on. Does it sound fun, especially if you’re not an experienced musician, to get up in front of 650 teenagers and potentially look ridiculous? A musical sounds silly. The challenge was that the material needed to be authentic and accessible enough, and the music needed to be cool or engaging enough that everyone would feel it was real and not just embarrassing. We learned a lot from that read-through. It helps that many in our faculty have deep musical theater experience (including people like Ms. Clark in the Arts department, who was in the cast of the original Broadway production of Wicked!), and so we received a ton of good feedback, the best of which was to be merciless: cut everything that isn’t essential. So we cut a song, slashed several others by minutes of length, and removed subplots that weren’t necessary. We eventually made the critical decision to pre-record everything except for the opening and closing verses, which I would perform. This was a huge relief to everyone, because teachers don’t have time to learn lines or to rehearse. (“Sorry, no time here! Please follow your directions!”) It took enormous pressure off the cast, but also meant we had to record everyone in advance. So, Sam and I met with and recorded individual teachers during free periods and in between meetings. We were able to then assemble a full audio version of basically the whole show, and send it to teachers to listen to on their own time to prepare. In the end, aside from Ms. Lareau and Mr. Grimm, who both put in extra time doing separate read throughs and recording sessions, as a full cast we had only two rehearsals, and neither of them actually had more than 60% of the full cast. The first rehearsal was three days before the performance, and the second rehearsal was the night before school meeting. A handful of teachers even stayed behind afterwards the night before to run all the scene changing cues again. We hadn’t run the show a single time with a full cast before you saw it at school meeting. If you’d asked me on Tuesday night whether this would go over well or fall flat, I wouldn’t really have been able to say one way or the other. It’s a testament to the commitment of the 26 people involved that it came together like it did. No plans, except to post the tracks online, which a number of students have asked for. It was meant to be something to broaden and brighten our days, something that would show a little of who we are, and give ourselves permission to be more of who we want to be. But as for a bigger stage: the references in the show are so specific, I don’t know that they are transferable to other settings other than a school meeting. Mr. Watson and I deliberately avoided the question of whether this would have a life afterwards. But hey, if anyone reading this interview wants to produce an off-Broadway musical about boarding schools, give us a ring.

In March 2019, the federal government indicted William Singer, a college admissions consultant based in Newport Beach, California, on charges of bribery and racketeering for fraudulently helping wealthy parents get their children into college. Along with Singer, thirty-three parents were indicted as well as college coaches from top universities such as University of Southern California, Yale and Georgetown. In total, dozens of parents have been accused of paying millions of dollars in bribes to help their children get into the schools. According to US News, federal prosecutors called this brazen scheme the “largest college admissions scam ever prosecuted by the Department of Justice.” This alleged scheme pervaded virtually every level of the college admissions process. Although Singer led the main effort to bribe coaches and test monitors, falsify exam scores, and fabricate student biographies, he was not alone in this plot. College athletic coaches played an integral role, accepting millions of dollars from parents to help admit undeserving students to a variety of colleges including Wake Forest and Georgetown by suggesting to admissions officers that they were top athletes. In addition, some parents paid anywhere from $15,000 to $75,000 for higher test scores. Someone could either take the test for the child or the test proctor in the room could “correct” the answers. Many students were not even aware that their answers were altered. All the payments were covered up appropriately and conveniently disguised as donations to the school so that parents could still claim tax deductions. The consequences of this scandal for America’s top colleges were far-reaching. The admissions system has been revealed as broken, exploitable and in need of major reforms. Jared Faux ’20 echoed this sentiment. He stated, “College recruiting seems like a scam. People are getting into these extremely selective schools based on athletic capabilities rather than their intellectual ones.” He explained, “I think intellectual strengths should be prioritized.” Selena Martineau ’19 agreed and further elaborated on how the recent college admissions scandal reveals the greater systematic unfairness in the college process. She said, “I think this is just one example of many that goes to show the injustice behind the college process.” Mark Spencer, Director of College Advising, was very much surprised to learn of the scandal, while Charles Davis, Dean of Admission & Financial Aid, was not. Mr. Davis shared, “My point from an admissions perspective is that, though we are not a college, we’re sought after, selective, and I see a similar culture of frenzy in the prospective students who apply to our school.” He added, “Though there is no scandal that I am aware of at Deerfield, I get why it might have happened, because we are prone to a portion of the frenzy seen in the college process. I was not shocked at all to read of the scandal.” Jazmine Ramos ’20 agreed with Mr. Davis, expressing that she was not surprised to hear of the scandal. She clarified, “The scandal was expected. I’m just surprised it’s only now coming out.” Yet, Mr. Spencer offered an alternative perspective, stating, “In my twenty years’ experience, this is the first time I have heard of this kind of criminal enterprise. I do not think this happens often, nor do I think it is widespread.” Mr. Davis said, “Another aspect of the scandal that connects to Deerfield admissions is that college coaches were shown to have a large influence over the admissions process. The place where Deerfield can relate to that and where we have to study our own process is that at Deerfield, coaches and program leaders submit names for advocacy, a wish list of sorts.” The culture of cheating and bribery has been found even in other preparatory boarding schools. Mr. Davis recounted, “It turns out the Dean of Admission at IMG Academy, where some of Deerfield’s athletes go, was taking standardized tests on behalf of clients for a sum of $10,000 for a long time.” Mark Riddell served as the director of college exam preparation at IMG, and used his role to illegally provide testing services as part of Singer’s larger scheme. Upon learning of the allegations against Riddell, IMG took swift action and suspended him indefinitely. The head of communications at the school additionally stated that Riddell’s actions have no direct relation to the Academy itself. Although this recently unearthed college scandal does not relate directly to Deerfield’s own admissions process, it does encourage the office to examine its own process more thoroughly. In the spring, the office will have the opportunity to study and evaluate its selection process and ask itself questions, such as whether or not certain students have unfair advantages. Mr. Spencer agreed that “one positive takeaway has been a valuable discussion addressing other forms of privilege.” He continued, “How does access to test preparation, private tutoring, a dedicated college advisor, and legacy status prepare students for college? Students without this access are at a significant disadvantage in the admission process, regardless of their academic ability. What can be done to even the playing field and address these inequities among college applicants?” He hopes that this case has revealed that “a disproportionate focus on [college prestige] can be at the least unhealthy, and at its worst, can drive unethical and even criminal behavior, as we have recently discovered.” Speaking specifically on behalf of Deerfield’s college advising office, Mr. Spencer said, “We guide students and families in a process to discover ‘goodness of fit’ between a student and a college, not by brand names or rankings.” Neither Mr. Davis nor Mr. Spencer said they had any reason to suspect a scandal of similar nature to be occurring at Deerfield. Mr. Spencer stated, “I don’t know of any such criminal activity associated with boarding school admissions.” “The schools like USC and Yale that were named in this scandal will certainly be studying their processes going forward,” Mr. Davis said.

In late February, Deerfield’s Director of Medical Services Dr. Bryant Benson announced that the Health Center had identified a suspected case of tuberculosis (TB) on campus. The Health Center soon sent the student to a hospital, which confirmed their diagnosis. The patient received treatment there and eventually fully recovered. Dr. Benson conveyed in follow-up announcements, emails, and meetings with faculty and staff, that there was no need for panic. He said that, although the disease has an “outsized historical and cultural reputation,” it is difficult to contract, requiring prolonged proximity to a symptomatic infectee, and it is very treatable. This incident prompted a diligent response from the Academy, who contacted the Massachusetts Department of Public Health (MDPH) to launch an epidemiological investigation and isolate any further cases of TB. Dr. Andy Tibbs led the MDPH as he and his team met with faculty and Health Center staff, inspected various buildings, and conducted several interviews to determine which community members required screening. Over three days, nurses collected the blood of over 150 students, staff, and faculty members to test for TB. The Health Center sent that blood to the MDPH lab for testing. The results, relayed to the Health Center, came back negative for all samples. Another round of screenings is set to take place on either April 22 or April 29. “The testing process was very seamless,” said Alex Alijani ‘19. “A nurse began drawing blood and, within 10 to 15 minutes, I was able to leave. I myself was not worried about contracting the disease.” Christopher Gergis ‘22, who was selected for testing, noted that he was initially anxious. “I was a little nervous about Dr. Benson’s announcement—I didn’t know what to expect. All I heard was ‘shot’ and ‘TB.,’” he explained. “Soon, though, I found out that TB is not very contagious and was relieved.” He also spoke about others’ reactions, and said that his friends were not overly concerned, either. “When I told them I was going to be screened, my friends expressed very similar attitudes. Most of their responses included some facetious comment about staying away from me,” he said. This calm understanding of the disease among community members stems from an effective communication campaign, organized by Dr. Benson. “Dr. Benson dispelled any potential for concern, based on how he communicated things, and, as a parent of a current student, I found his message very reassuring,” Deerfield nurse and parent Ms. Linnea Constant remarked. “For those who were initially concerned, education was key.” “There were a few phone calls from understandably concerned parents,” Dr. Benson reported. “I told them what I told the students: tuberculosis is a tough disease to catch and is very treatable.” Symptoms of TB include unexplained weight loss, often bloody coughs, and night sweats that only show themselves in the presence of an immunodeficiency. The disease can only be passed on through prolonged exposure to a person with TB, as the bacteria is only transferred through the air. Ergo, the possibility of a school-wide shutdown is highly unlikely. “We have never shut down and probably will not do so in the future, though such a decision really depends on the circumstances,” Dr. Benson emphasized. “Deerfield once shut down for Hurricane Irene, but never for concerns over health on campus.” Ms. Constant also believes that current Health Center policy is sufficient to counter most, if not all, challenges to the community’s health. “We at the Health Center meet every need head-on, just as we usually would,” she said. “There are times when all of our beds are full. The health staff simply steps up its game.” If the worst-case scenario ever happened, however, Dr. Benson noted that Deerfield would likely follow the shutdown model of Northfield Mount Hermon, one of very few boarding schools that had previously closed their doors over health concerns. During the 2017-18 school year, they had given students a day-long, on-campus break from classes and activities, because such a large portion of students were ill. Even though this concern has largely passed, the Health Center continues to promote ways to stay healthy on campus and to combat campus illnesses. So far, students and faculty alike have done a good job keeping sickness at bay, despite the cold and flu season’s influence. “Looking at the historical gravity of TB, I knew there would be a visceral response, but people handled the news well. We prepared for the worst and hoped for the best, in terms of response and health of the student body,” Dr. Benson concluded. “We’ve now witnessed the best-possible outcome. We can only hope to keep it that way.”

The story’s been said and done: two polar opposites embark on a road trip through unfamiliar land as they confront prejudices and realize that they’re not so different, after all. tells this very story. The two major characters include: Tony Lip, a brawny Italian-American bouncer from the Bronx, and Don Shirley, a refined African-American classical pianist who employed Lip as his driver. Shirley is planning on a concert tour through the Deep South, using the historical Green Book, an annual guidebook for African-Americans that listed places at which so-called “colored” people were safe to stay. Tony and Shirley’s experiences with each other and the world around them convey a heartwarming story of surpassing shortcomings, differences, and even racism. Despite its well-intentioned message, has faced a fair amount of criticism from movie-goers eager to point out the clichés embedded in the story as well as the unrealistic depiction of racism in American history. Tony was initially portrayed as a raging racist. However, throughout the film, the audience sees Tony’s blatant racism curtailed to prejudices; however, this transformation is only manifested in a few questions about fried chicken and jazz, as if a few days with a black man could suddenly make racism disappear. Critics were quick to remark that this unrealistic transformation undermined the depth of racism in American society, when, in reality, centuries of discrimination, prejudice, and racism would take much longer to undo and repair. In addition, this led to audiences believing that the film was too white-centered. However, beneath its Hollywood veneer of clichés, actually sheds much-needed light on subtle issues of race and identity in both American history and current day society. “Rich white people pay me to play piano for them, because it makes them feel cultured. But as soon as I step off that stage, I go right back to being just another n****r to them. So If I’m not black enough, and if I’m not white enough, and if I’m not man enough, then tell me Tony, what am I?!”. During one of the most powerful scenes of the film, Shirley spits these words out to Tony. This scene casts light on one of the most important issues of the film: Shirley’s racial identity and the struggles that he faces because he doesn’t feel like he belongs in black or white culture. This struggle is especially apparent in a scene where Shirley steps out of the car in a suit, watching the black farmers in their worn out clothing in the farm before him. The audience can not help but feel for Shirley, who, in that moment, feels different from both African Americans and elite white men. As a whole, many viewers agreed that ’s handling of racism between individuals and those around them truly missed its mark. The film’s formulaic nature, filled with clichés and predictable happy-endings, was met with mixed reviews from skeptics and hopeless romantics alike. However, the film included deeper messages of finding one’s cultural and racial identity. All in all, it told an uplifting narrative of two men overcoming their differences and prejudices, finding themselves in a ruthless world.

For seniors in Deerfield’s dance program, the spring is a time to use their artistic knowledge and choreograph their final pieces for the end-of-year showcases. These are projects that, for many senior dancers, have been built by years of experience fostered by the dance program. “It’s unusual for students to be choreographing at this point in their lives,” noted Director of Dance Jen Whitcomb. “But we have such creative forces here and they’re such mature students that they’re ready.” To get to such a level of talent and gain the ability to self-choreograph, however, requires hours of teaching and training. Adult choreographers constantly push the dancers to expand their expressive ranges and aspire to create their own dances, a goal that many students, such as Quinn Soucy ‘19, have anticipated since before they joined the Deerfield dance program. “I’ve wanted to dance professionally since I started training in sixth grade,” Soucy said. “When I wasn’t getting the material and repertoire I imagine I might see in the professional world, I decided I needed to provide that for myself.” To foster an inspirational environment, dancers are exposed to all forms of dance and conduct choreography labs where they can experiment and become more comfortable with different themes, ideas, and forms of movement. Whitcomb works with dancers to achieve this by first asking students to choreograph a dance called “this is me” and then, later, to create another piece called “this is not me”. This is meant to highlight to students that what initially seemed foreign can easily become part of their repertoire. “I think it’s important to let young artists find their own voices as choreographers,” Whitcomb said “It empowers them, since there’s nothing more satisfying than creating a work of art.” But Whitcomb also realizes that, while it is important to give students opportunities to be inspired, creativity is not a skill that can be taught. Instead, students must find their artistic voices through given exercises as well as from each other. Dancer Acy Cai ‘20, who shared her first choreographed piece at the last Winter Dance Showcase, has grown throughout her time in the dance program and developed her own creative process for choreographing. Cai described that she is often inspired by the songs she chooses for her pieces. She uses movements, lighting, and costumes to amplify the message. One important inspiration to Cai has been being part of dances choreographed by other students. Experiencing the styles of other dancers such as Soucy and Zo Williams ‘19 has been one of the greatest influences in Cai’s development of her own technique. Having danced before coming to Deerfield in New York, Williams has a choreography technique that is slightly different from that of other dancers. An admirer of theatrical dance, Williams connects to the musical elements of dance and makes his phrases based on emotions, music, and visions. Yet Williams is unique in that his creative process often changes and evolves; many times he rarely edits the pieces he creates but, instead, allows them to flow as the develop. Conversely, Quinn teaches her dances quickly to allow time to “clean” and edit them, a process that allows her more time to envision the way she wants the piece to be conveyed onstage. She said, “Once I have the full picture of my dance, I can start imagining lighting and costumes. When all of that is said and done, I get to see my vision come to life on stage.” As seniors, Williams and Soucy will get to see their work on the Deerfield stage for the last time at the spring showcases in May, a time for veterans of the dance program to display their growth to the Deerfield community. Reflecting on the seniors that she’s danced with for the past years, Cai said, “I’m really happy and proud of how far they’ve come. Dance is an emotional art, and to put yourself out there with a piece that you created is incredible. It makes people feel things, so the best thing that the audience can do is feel.”

Micajah Stude ‘19 has been an indispensable part of Deerfield theater ever since he stepped foot on campus in the fall of 2016. Ever since, he has been known to carry a positive attitude, compassionate spirit, and adaptable personality into every rehearsal. However, as a young and open-minded student, Stude had never envisioned being so involved in the arts at Deerfield, let alone majoring in Theatre in college. As a matter of fact, Stude credits his introduction to theater at Deerfield to classmate Kaycie Sweeney ‘17. “As a new sophomore, I was originally going to manage JV Girls Soccer. Then, as I was going to class one day, I accidentally tripped in front of the Hess. Sweeney invited me to Acting Lab out of concern. There, I was introduced to Mrs. Hynds. That’s how it all started.” A week later, he quit managing soccer and officially joined as an Assistant Stage Manager in the play It was in where he learned the building blocks of theatre, fulfilling essential roles such as assisting the tech crew. Although Stude didn’t have any lines in , his presence ensured the play ran smoothly. Thereafter, Stude joined the spring play, . revolved around the idea of showcasing the struggles and triumphs of Deerfield students. This was the first time Stude and the cast struggled with a play’s structural integrity and presentability. He said, “It was really stressful because we didn’t know what we were doing. We spent rehearsals writing stories of our childhood and how that tied to our Deerfield experiences. There wasn’t a beginning, middle, and ending. This was my first experience in a play where I had trouble following.” However, Stude gained valuable experiences from . “I learned to get out of my comfort zone in theatre.” Despite the lack of conventional structure in , Stude embraced the challenge and performed in the play. Then came , a play set in the Great Depression. Stude said that the play consisted of one of the closest ensembles with a wide range of talent and skill. “The play included Mrs. Hynds, seniors such as Charlie Pink ‘18, Amelia Evans ‘18, Maddie Wasson ‘18, juniors such as Protik Nandy ‘19 and Peter Everett ‘19, and even new students Wilona Wiafe ‘21 and Grey Holmen ‘21.” Through , Stude learned both how to play a xylophone as well as the importance of empathizing with his character. Stude’s character, Ed, was silly and playful, allowing Stude to integrate some of Ed’s traits into his personal philosophy: “I learned that sometimes it’s okay to be a fool and let yourself go once in a while.” During his junior winter, Stude performed by Charles Mee. Stude recounted his experience being cast as Juliano, saying, “I really didn’t like playing Juliano; it was really stressful. I was nervous for many reasons. It was hard to play a gay character because some people had difficulty separating a character and an actor.” While playing Juliano, Stude felt a degree of discomfort and vulnerability; however, he also learned how to be a sensitive and caring person. “The reason I really think I got into acting was because I could leave Micajah in his dorm for two hours a day without his homework and stress. As a result, I like to separate my character and myself as much as possible. It’s so important to recognize the similarities, but focus on the differences of the two because that’s what acting is really about.” Unsurprisingly, taught Stude similar lessons. Through the lens of Juror 8, Stude commented, “I learned to stand up for what you think is right. Although this might sound cliché and boring, I wouldn’t say I was as opinionated before as I am now, for better or worse.” Stude will end his involvement with the Deerfield Theatre Program as Professor Plum in . “We’ll see where that goes,” Stude said. “He is sort of an egotistical narcissist, so I hope I don’t take too much of his qualities with me.” Stude has played a pivotal role in many plays throughout his time at Deerfield, leaving a mark on many of his fellow members in the Theater Department. Alexa Brown ‘19, who is currently also involved in , said, “In the two years that I’ve known Micajah, he’s been one of the most essential members of the theatre program. I literally couldn’t imagine doing theatre without him and I couldn’t imagine the program being anywhere near the same if he wasn’t a part of it. He’s an inspiration to all of the younger ensemble members. He is such a great friend and I’m so lucky to get to work with him every day!” ​

Head of the Science Department and Physics Teacher Mark Acton, Head of the English Department Michael Schloat, and Math Teacher Deborah Costello will all serve in the new role of Assistant Dean of Faculty. The position was created to help with faculty evaluation and feedback. Dean of Faculty John Taylor noted that there are several faults in the current teacher evaluation system. Discussing the flaws, Mr. Taylor elaborated, “We were not talking enough about teaching and learning with the faculty and we needed more opportunities to do that.” Explaining the specific purpose of the new positions, Schloat stated, “These positions were created with the express purpose of significantly increasing the school’s ability to provide that formative feedback to faculty in their development as master teachers.” Mr. Taylor additionally expressed that he hopes that this new position will improve communication and dialogue between the administration, faculty, and students. Currently, Mr. Taylor evaluates about twelve to fifteen faculty members each year, but the three new Assistant Deans of Faculty will help increase that number to about thirty. When explaining the reasoning behind this decision, Mr. Taylor stated, “We want to give more feedback, more regularly, to more faculty.” Mr. Taylor also indicated that he seeks to give students more opportunities to provide more feedback to a wider range of faculty members in order to give students more agency in the faculty evaluation process. All three new members teach in different departments, a measure designed to expand the range and depth of possible feedback across disciplines. When discussing their plans as the new Assistant Deans of Faculty, Mr. Schloat shared, “We will visit classes and engage in formative relationships with colleagues to help them achieve their professional goals.” Many teachers have found these evaluations by their colleagues to be beneficial in helping them better their teaching methods and curriculum. Dr. Acton commented, “I have found it incredibly valuable when another adult observes classes I am teaching… We are able to talk about what is working well and what needs some refinement.” The selection process for the position included a search committee appointed by Mr. Taylor. The committee consisted of six individuals split into two groups of three, who reviewed and interviewed candidates. They reviewed cover letters and resumes of several promising candidates. Head of School Margarita Curtis and next year’s Head of School John Austin then interviewed the finalists. Dr. Austin is currently the Head of School at King’s Academy in Jordan, where having three Assistant Deans of Faculty is working well. Mr. Schloat is looking forward to filling this role next year. He said, “Our colleagues are incredible teachers, coaches, advisers, etc., and one of the things that makes them so remarkable is their commitment to constant improvement.” Sharing his goals for his new position, Dr. Acton shared, “I hope to be able to work with our faculty across campus to support what they are already doing and to work with them on areas where they would like to improve… [All in all] I am really interested in helping faculty continue to improve as educators.”

With spring term comes warmer days, outdoor classes, and, of course, daily trips to the River. Spring term also brings along a plethora of dances: Senior Prom, Junior Prom, and the least exclusive — Throwdown! With the various festivities ahead, the question arises: how should you ask that special someone to the dance? Luckily for you, we put together a list of the best ways to ask that person you’ve been working up the courage to dance with all year. So let’s get to it: the eight ways to ask someone to a dance. 1. Posters — A classic. Everybody loves a good poster. You might lose a few points on the creativity scale, but that’s okay. A beautiful, witty poster (try to incorporate a pun) is bound to do the trick. If you want to secure that “Yes,” but don’t have that much time to prepare an extravagant surprise, a poster is a great way to go. 2. Poems — Take inspiration from Mr. Howe’s poetic genius. If you can write a whimsical poem for your ask, you’ll definitely get a “yes.” I would suggest a short and sweet Haiku, or, if you’re feeling extra adventurous, a classic Shakespearean Sonnet will do the trick. Remember, your poem doesn’t need to be on Robert Frost’s level, but it’s the effort that counts; you’re asking someone to a high school dance, not constructing a literary masterpiece. 3. Formal Emails — For some students, dances are strictly business. If this sounds like you, draft a formal invitation letter, wooing your date to the occasion. Nothing gets people going like perfect grammar, direct address, and sincere remarks. Seriously though, asking someone with an urgent notice email is sure to get a laugh out of them, especially if you exaggerate the seriousness and urgency of your matter. 4. Performances — Perhaps you’re a good dancer, an amazing singer, or a breath-taking actor. Then you might want to capitalize on your talents and perform for your date. By hearing your beautiful voice, watching your spectacular dance skills, or crying at your incredible acting, your date is sure to swoon and say, “Yes!” Don’t fear; even if performing may not be your strongest suit, your date will still get a hoot out of your “interesting” efforts. At the core of it, if you can make your date crack a laugh, you’re bound to get a “yes.” 5. School Meeting/Lunch Announcement — This plan is almost fail-proof. By asking your date to a dance at school meeting or during lunch announcements, you will convince your date to say, “Yes.” They will definitely be impressed with your courage to speak in front of the whole school, and the energy of the crowd will make them even more excited to say, “Yes!” 6. Scavenger Hunt — Like the poster method, a scavenger hunt is another method that goes way back. Whether you’re a big puzzle person or just want to torture your date a little before you surprise them, a scavenger hunt is a playful yet thoughtful way to convince your date to say “yes!” 7. Declaration of Romantic Intent: Bureau of Communication — Nothing says “I want to go to the dance with you” like a fill in the blank form letter from the Bureau of Communication. It allows for just enough room for creativity while still being completely generic. Complete with a disclaimer and official form stamps, a declaration of romantic intent is a sure fire way to get a “yes” (or a slap in the face). You can find the form here: http://bureauofcommunication.com/compose/romanticintent 8. FOOD — No human can resist the delicious smell of a grilled CC buttered with the question, “Will you be my date?” Honestly, if you want a “yes” from anyone in this school, even someone you’ve never talked to before, just buy them a pizza, and they will be yours forever. Hop on over to the Kravis or the Dining Hall and dance the night away. And don’t forget, you miss 100% of the shots you never take! Trust me, Wayne Gretzky knows best.