Controversial Content on the Page and the Stage:  Seven Things To Know
Deborah Will and Jeffrey D. Burd,
Zion-Benton Township High School, Zion, IL

When teachers make curriculum decisions, it is common to consider the acceptability of any given text within the culture of the community the school serves. We also consider content when selecting school plays. In some cases, however, this may lead us to omit texts, and as a consequence not take advantage of opportunities that have the potential to be beneficial for students and communities. While teachers should certainly use common sense in selecting texts, we feel they should also acknowledge that there is a process by which texts can be incorporated into environments that may be resistant to certain content.  We offer a model to follow that was created when our school, located in a middle and working class conservative community, decided to produce the play Go Ask Alice.

Guideline #1:  Know Your Community. When the director first chose to produce Go Ask Alice he was aware that the community had some very conservative points of view. He was also aware that the book and the play have been censored and banned across the country; in fact, this piece of literature had been ranked one of the top censored books since its publication some thirty years ago. As such, he prepared himself for a potential challenge by requesting rationales through his statewide Intellectual Freedom Chair. These rationales had been previously prepared by NCTE. The director found them to be beneficial in that they were explicit in how specific arguments against the book were addressed.

Guideline #2:  Know Your School. While our school has a reputation for being conservative, it also considered fairly progressive in terms of how we manage the realities of substance use and abuse in our school and community. For example, our district was one of the first in the country to perform drug tests on student athletes, and we have an active Student Assistance Program as well as a peer education program that focuses on a no-use message. Furthermore, our health classes include units regarding substance abuse, and the school employs a full-time substance abuse counselor. By recognizing that there were a number of ways that the anti-drug message was already being promoted at school, the director discovered a niche for the play by uniting these efforts and creating a whole community of allies in the substance prevention field.
 
Guideline #3:  Know Your Procedure. The director investigated the procedures for dealing with a challenged text in order to be familiar with the process in the event of a challenge. The director also informed the associate principal that the play was being launched and that there existed the possibility of a challenge. He gave a copy of the script to the administrator months before the play held auditions. This was a key element, since administrators don’t like surprises. However, if they feel that they have been informed of potential problems as well safeguards that have been aligned in the event of a challenge, they are more comfortable and more apt to lend support.

Guideline #4:  Know the Importance of Consistent Communication. The intent to produce Go Ask Alice for the stage was announced at the end of the school year preceding its production. This gave the community seven months to prepare. Additionally, parents were informed what the play was about at a parent/student meeting for the drama program at the beginning of the school year. Information was provided regarding whom to call, including the name of the director as well as the associate principal, should there be questions or concerns. Furthermore, there was communication with the community health offices, the lead teachers for the Student Assistance Program, as well as the student peer-mentoring program. This communication occurred frequently, via email and telephone calls. At no time were our parents, students, teachers, or other community members blindsided by the production or its content. Open, honest communication and logical rationale were presented every step of the way.

Guideline #5:  Know Your Students. When the director chose the play, he recognized that he had a pool of students who were mature enough to handle the subject matter and responsible enough to understand the importance of handling the play appropriately. In order to communicate his expectations to potential cast members, he wrote a letter to them that spoke about the controversial nature of the play, outlined the difference between the play and the book (the play does not contain the language, the sexuality or the blatant drug use that the book contains), and encouraged them to be guided by him (as well as other school personnel) when they conducted character research. He wanted to be sure that students in the production were not put at risk or given false information. This safeguarding allowed parents to feel comfortable about their children participating in the production and allowed the students to gain valuable information without putting themselves in harm’s way. Additionally, the director made a display case regarding the play, the information about the drugs in the play, as well as the differences between the play and the book. This was beneficial to the students who were not involved in the show and educated staff members who might have objected to the play’s content.

Guideline #6:  Know Your Allies. Before introducing a controversial text, teachers should know who is on their side. If a board meeting might occur, who will you call to be there speaking for you?  In this case, the director had a series of community leaders who would have supported his efforts. These leaders included school board members, county health educators, and parents of cast members who believed in the message of the play. This is a critical component in successfully implementing a controversial work. It is essential that teachers network with parents so that they trust you as a teacher and that they know you have the best interests of their children in mind.

Guideline #7:  Know That You May Still Have a Problem. Steps 1-6 can certainly reduce the likelihood for a challenge. However, you should be prepared for a challenge at any time with any text, even something that you think is innocuous and that you’ve been teaching for years. It is a part of living in our free society, and it comes with the territory of teaching English and producing drama. However, when you are confident in your selection for your school, your community, and your students, and you’ve gathered your allies, you will have the ability to weather the challenge and incorporate texts that benefit students and communities, even those may be considered conservative and resistant to certain content.

By following our suggested guidelines, the potential exists for teachers to alleviate some problems that may exist regarding controversial texts. We feel that this model is appropriate given that the production of Go Ask Alice was successful not only as a play but also as a community awareness event.