Bubnis, who assumed the role last year, said it wasn’t really a hard call.

“As artists, our students are resilient and have the skill set to adjust and adapt accordingly. I felt it was important for our collective morale to forge ahead with the season. Our mainstage season is one of our anchors that we build our year upon and keeping it intact as everything around us was changing so rapidly was important to us,” she said.

“I wanted us to face the challenges of the semester head-on. That meant pushing through and finding solutions. Going off the grid is not what the spirit of the theatre and our program is about. The show must always go on,” she said, adding that most of the program’s classes are being offered in a hybrid online/in-person format.

And so, on Oct. 8 at 8 p.m., the department will kick off a season titled “Into the Unknown” with a virtual production of Jaclyn Backhaus’ Men on Boats. The show, which will be directed by Sarah Elizabeth Wansley, will run on Zoom for three nights, free of charge. It will be followed in November by a virtual production of Chekhov’s Uncle Vanya. In the spring, productions of Water by the Spoonful by Quiara Alegría Hudes and Everybody by Branden Jacobs-Jenkins will follow.

Many of the theater program’s fall classes will revolve around the mainstage season, with professors using remote learning—and remote performances—as a way to explore important elements of acting and collaboration.

Connecting to Each Other Through Screens

Dawn Saito, an artist-in-residence who teaches Acting 1 and Movement for Actors, said she has had success on Zoom teaching the Laban movement analysis, a method and language used for describing, visualizing, interpreting, and documenting human movement.

“I have many exercises for opening up the body so the actor can transform into different characters, textures, and colors,” she said.

“They have enough room to be able to inhabit these images that I prompt them with.”

Scene work between two actors can be a challenge when a student is not in the same physical space as their partner, but that too can be overcome. During class, Saito sends students to breakout rooms, where they work together to listen and respond to each other.

In the exercise, one actor will move while the other remains frozen. The actor that is frozen will then respond to the movement of the one who is moving. After practicing with each other, they rejoin the larger group and share their progress. (To see movement pieces created by Saito’s students during quarantine last spring, click here.)

“A much as possible, I’m asking actors to radiate their energy, so that they’re connecting to their partners through the screen,” Saito said.

To create the appearance of action, students have practiced “handing” a cup of tea to one another by moving it toward the camera, and when they move their hand, the person on the other side will seemingly receive it. Because students are learning how to engage in their whole body, she isn’t worried that it’ll be difficult to transition back to in-person acting once the pandemic has subsided. In any case, actors have a primal need to be heard, she said, regardless of the platform.

“Art is necessary, especially in challenging times. People need an outlet, they need to see their stories told, and the cathartic process is healing,” she said.

Reflecting on Different Aspects of Theater

Michael Zampelli, S.J., an associate professor of theater who moved to Fordham this year from Santa Clara, is one of three professors teaching theater history this semester. His class which meets both online and in-person, focuses on the purpose of theater.

His class gives students a chance to reflect not only on what people thought of the theater historically and how it functions in society, but also what is happening to them right now, he said.

“It’s encouraging a sort of self-implicating reflection on what they do in a way that I don’t think would have been the case if we were doing this pre-Covid. Even though you hoped they were asking themselves questions like ‘How this is affecting me?’ and ‘How are we learning about how theater companies form?’—you could always have not gone down that road,” he said.

“Now it’s much harder to not go down that road, precisely because they’re responsible for generating theater during a time of great upheaval. The questions are not theoretical questions.”

Raekwon Fuller, a second-year student at Fordham College at Lincoln Center, created this piece, which is meant to evoke what it feels like to be in Fuller’s universe, for Dawn Saito’s Movement for the Actor”class.

Learning to Speak the Same Language

Ntokozo Fuzunina Kunene, a designer who joined the faculty last year, has been teaching the class Theater Collaboration remotely from her native Johannesburg in South Africa. The class, which she co-teaches with acting program head Matthew Maguire, helps future directors, playwrights, designers, and actors speak to each other more effectively.

“I’m a costume designer, but I can’t necessarily think in terms of lighting, so I still want to make sure that I’m able to communicate with the light designer, because so much of our work impacts each other,” she said.

“When they say, ‘Oh, this is too bright,’ I need to be able to understand how to help reduce the brightness. Maybe something that the actor is wearing is too white. So how do we work together to combat that?”

To achieve that, the class is structured around productions that students from different theater tracks, such as acting and design, are invited to create independently based on prompts, which range from lengthy conversations that Kunene and Maguire record in advance to simple five-word poems.

Let’s Be More Limber

Clint Ramos, the head of the Design and Production track, changed the syllabi in his classes so that instead of working on several projects, students are focusing on one mainstage production for the whole semester.

Rather than adapting traditional theater to the current circumstances, he sees students innovating to create a new form. When you stage a production via Zoom, for instance, it’s worth investigating what it means to say that characters in a play are together in a specific room.

“Does it mean the actors are using the same background? The same lighting?” he said.

“For designers, that bridge already existed, because a lot of the designs are also created for film. This gave us an opportunity to lean in on that bridge. We’ve kind of overlooked this because we were so into live performance. We’re saying, let’s be more limber and see that you can do. The more limber the students become, the more possibilities they have for the future.”

Ramos has also enlisted five university theater programs in the Northeast for an online production stemming from themes in One Flea Spare, a 1995 play by Naomi Wallace set in a plague-ravaged London during the 17th century. Students are virtually attending classes at other universities and are collaborating with each other on works connected to the play. When it is finished, the recordings will live on a website hosted by Fordham.

Liliana Gutierrez, a second-year student at Fordham College at Lincoln Center, created this piece, which is meant to evoke what it feels like to be in Gutierrez’ universe, for Dawn Saito’s Movement for the Actor class.

What Will ‘the Biz’ Look Like?

Theater is also big business, and that business is facing hard times; Broadway has been dark since March. Students who took Theater Management with Stephen Sosnowski, FCLC ’03, normally attended class at his office in Times Square. Sosnowski is senior vice president at SpotCo, where he has spearheaded advertising campaigns for more than 50 Broadway shows and cultural institutions.

His first remote class featured guest speaker Matt Ross, creator of the COVID-19 Theater Think Tank, which is working on processes for theaters to reopen safely. Sosnowski was reticent about the class at first but said he felt optimistic by the energy students brought to the meeting.

“I got a little emotional at the end of the class. These students coming to class; I’m in awe of them, frankly,” he said.

He admitted it’s impossible to predict with certainty what the industry will look like when it emerges from the pandemic. But he’s tried to provide a window into that future, through guest speakers such as Victoria Bailey, executive director of the Theater Development Fund; and Adam Siegal, managing director of Lincoln Center Theater.

“Everything I talk about is, ‘What was it like pre-March 12, and what do we think it’ll look like and what will the opportunity be like,’” he said.

“The key word is opportunity. I see this as a time where there’s a lot of opportunity to enact change. We can figure that out together.”

For a “backstage” tour of Men on Boats by senior Chloe Rice, visit the theatre department’s Instagram page.

So when Fordham ceased face-to-face instruction at 1 p.m. on Monday, March 9, due to the threat posed by the COVID-19 outbreak, faculty were faced with the challenge of providing quality instruction that was true to their mission of supporting students and continuing to foster their potential. On March 13, the decision to suspend face-to-face classes was extended through the end of the semester.

As they begin to deliver instruction remotely, faculty have turned to online tools such as Zoom, WebEx, Blackboard, and Google Hangouts to continue students’ education. And they have turned to each other for support, guidance, and tips.

Planning for the transition began in earnest during the last week of February, when Joseph M. McShane, S.J., president of Fordham, and Dennis Jacobs, Ph.D., provost and senior vice president for academic affairs, briefed members of the Faculty Senate at its monthly meeting on February 28. Administration officials had been monitoring the spread of the virus in China, and once a case had been reported in Washington state in January, they thought it might spread throughout the United States.

Jacobs said that at that time the University was already making plans to offer online instruction to students who’d been recalled from study abroad programs and who would need instruction while self-quarantining.

“That was the call to action, to say, ‘Let’s begin preparations,’” he said.

“No one would have chosen this as a normal transition path, but these are extraordinary times, and our options were limited,” he said.

“Everyone was committed to serving our students and allowing them to progress towards their academic degrees. It was not just an option to shut down the campus, we had to come up with a continuity plan.”

Technology and Pedagogy

Making the transition required overcoming challenges both technical and pedagogical. Steven D’Agustino, Ph.D., Fordham’s director of online learning, is helping faculty figure out how to best use that technology to deliver their coursework. He’s offered videos and documentation on the University’s Official Online Learning Page and his blog, Learning at a Distance.

D’Agustino said he was impressed at how seriously faculty have put students’ well-being and peace of mind first and foremost. Many are using this week, which happens to be spring break, to explain to their students how they plan to move forward with the rest of the semester and taking steps like telling them exactly what times of the day they’ll be checking their emails. Faculty are establishing virtual office hours when they’ll be available for in-person consultation, and giving serious thought to whether future classes should be held synchronously, when everyone meets together, or asynchronously, which enables students to access material on their own schedules.

D’Agustino encouraged faculty to evaluate their methods as they go, and to draw on the experiences of peers across the country who face the same situation.

“I would say reflective practice is really valuable. This about what you’re doing, and reflect upon it after you’ve done it, and try to include your students and your colleagues in those reflective spaces. Because I think there are a lot of good ideas and support out there, and we’re not alone.”

A Quick Turnaround

Eve Keller, Ph.D., professor of English and president of the Faculty Senate, said she was astonished at how quickly faculty, who teach nearly 2,000 courses a semester, were able to work together to make the transition.

“Faculty had 36 hours to convert their classes online. Some people have done this, and some people had never heard of Zoom, but from what I’ve seen, it’s been an unequivocally congenial, collegial effort to make it happen,” she said.

The transition has not been without occasional hiccups. Anne Fernald, Ph.D., a professor of English and special adviser to the provost for faculty development, emailed fellow arts and science faculty for thoughts on pedagogy on March 11, and after receiving 20 replies, she felt prepared.

Still, when she attempted to teach her first class on Thursday with WebX, she didn’t realize the program’s default volume setting for the program is mute. She ended up recording a podcast for it with the information she planned to share, and is confident she’ll be able to make it work next week, when spring break ends and classes resume.

“I felt like the University did everything it could in this emergency to support us. And I think that the decision to be closed on Tuesday and give people time to prepare was huge. I had colleagues all around the country who didn’t have anything like that. Fordham did it in a way that was as compassionate as it could be,” she said.

Striking the Right Balance

On March 12, Mark Conrad, an associate professor of law and ethics at the Gabelli School of Business, taught three courses—Legal Framework of Business, Sports Law, and Law and the Arts—using the Zoom platform, and was happy with how it came together.

“I’ve been pleasantly surprised at how easy and accessible it has been. I had a number of questions from students. I wasn’t just talking to a computer,” he said, noting the ease in which he was able to share power point slides with students.

“We’re seeing future possibilities. It deals with something I’ve been thinking about which is, let’s say the professor is ill or has a sprained ankle. One could do classes like this, and it could actually minimize absences.”

Nicholas Tampio, Ph.D., a professor of political science, taught two classes on March 11 using WebX seminar after department chair Robert Hume, Ph.D., arranged practice sessions for the department. While they went off without a hitch, he said it was hard to read the mood of a room, as many nonverbal communication cues were lost in translation.

“When you teach online, you can’t see feet shifting, or if they have another browser open where they’re checking email. Their parents could be in the room, there could be a car going by. It’s not a controlled environment in which students are only there for the experience,” he said.

“I think I’m going to get better over time at being able to call on people, and I think I’m going to get better at organizing my slide show to make it more entertaining,” he said. But he acknowledged that face-to-face learning will always be preferable.

Edward Cahill, Ph.D., a professor of English, had never used Google Hangouts before and turned to it to teach Shakespeare’s sonnets and John Milton’s Paradise Lost. He found it to be similar to the normal classroom experience, although he said he plans to try different approaches to keep things interesting when the semester resumes, including splitting the class into both synchronous and asynchronous sessions.

Cahill’s new familiarity with online learning comes not only from his work as a professor, but also a student. His experience as a student in an entry-level Spanish class taught by Guillermo Severiche has given him hope that success is possible in the online realm, he said. Severiche, an instructor in the department of modern languages, moved their class to Zoom as well.

“We share documents, we used the e-textbooks. He managed the whole thing flawlessly. So that inspired me to think maybe I can do more.”

Cahill noted that he’s trying to be mindful of the challenges inherent in asking students to complete studies in the midst of a worldwide pandemic.

“There are so many balances to strike between rigor and flexibility, generosity and intensity. I don’t know that anyone has figured it out, and I guess as long as we can stay alert to all of those tensions, we’ll probably find our way through it,” he said.

Doing Lab Work Without the Lab

In some fields, resuming instruction is trickier than just establishing online connections. Stefanie Bubnis, interim managing director of the Fordham Theatre Program, said that while mainstage productions have halted, faculty have bolstered instruction on Google Hangouts and Zoom with old fashioned phone calls and FaceTime.

Professors such as Ann Hamilton, an adjunct professor of theater, are learning on the fly as well. For her first online Acting for the Camera class, she asked students to upload the scenes they recorded of themselves to Hightail and Google Drive. She watched the videos during the designated class time and wrote feedback in a group email to the 17 students in the class. Ultimately it proved to be too time-consuming.

“For my next class I intend to use Zoom, so we are all conferencing together, but they will have sent me the recorded auditions first, so I can have them up on my desktop and we can all watch them together at the same time and actively participate in the feedback. I think the students felt as if they learned a lot today, so that’s a win, given the circumstances,” she said.

Stephen Holler, Ph.D., an associate professor of physics, was able to move the lecture for his General Physics 2 class exclusively to Blackboard, but that wasn’t an option for Experimental Techniques for Physics, a course where teams of students had been working on a single project all semester.

“Some of the work, they’re in the machine shop, they’re doing 3D printing, they’re doing electronics,” he said, noting that this work will have to be completed in a different way than planned.

“Since they’ve done half the project, and they’ve already written up progress reports, I’ll have them turn those progress reports into a paper. Normally I’d also have them do a presentation on a research project they’re interested in; instead I’ll have them write a short paper on that and we’ll do Zoom presentations.

A Big Shift for Information Technology

For Fordham IT, the switch required an unusually speedy response.

Alan Cafferkey, director of faculty technology services, noted that his team—which includes experienced technicians, a fine arts and digital humanities professional, instructional designers, a former math teacher, a librarian, adjunct professors, a media and accessibility expert, and an Ed.D. candidate—normally prefers to work with six months lead time to develop an online course.

“This, however, was everyone already two months into the semester with only a couple of weeks of realizing that something might happen, prepping, and then a sudden shift, with hundreds of people making the change,” he said.

He was especially proud that his team was so on top of responding to the multitude of individual faculty requests. In addition, in collaboration with the provost’s office, they created a Course Continuity site before the University shifted to online learning—as preparation for what might happen.

When the switch was made, IT as a whole simultaneously shifted its entire operation to function remotely—including the IT Customer Care help desk—while helping other offices do the same.

IT also rolled out an entirely new enterprise-wide system in Zoom, reinforced numerous systems, and conducted a multitude of workshops on topics such as teaching synchronously and asynchronously, setting up remote offices, and best practices for many popular web tools. Additional workshops will continue through the spring and can be found on the department’s blog.

Going forward, Cafferkey said the department will continue to field faculty questions and requests, work closely with vendors such as Blackboard, and support other University initiatives as needed. He credited the efforts of colleagues across IT, the provost’s office, the IT departments in the Gabelli School of Business and Fordham Law, the online learning teams at the Graduate School of Social Service and the Graduate School of Education, and the staff at Fordham’s library.

“I’ve been really touched at how kind most of the faculty have been about the support provided. I’ve gotten so many thoughtful notes and comments, it’s been really heart-warming. It’s helped that there are so many offices working collaboratively,” he said.

Looking at the Big Picture

Lisa Holsberg, a Ph.D. candidate in theology, found herself transitioning Great Christian Hymns, which she is teaching for the School of Continuing and Professional Studies (PCS), entirely online. But she was in some ways already prepared to do so, as she is also currently teaching an online course, Christian Mystical Texts, for PCS. She was already accustomed to using Blackboard extensively, as well as Screencast-O-Matic and Voicethread, which lets students listen to each other talk, in their own words, about a specific problem. But ultimately, technology is just one little piece of the story, she said.

“It’s really, what is your commitment to students and to learning and going forward in the midst of change? How do you rethink what it means to teach, what it means to learn in conditions you’re not used to? You have to really dig deep into what your fundamental commitments are to your teaching, your students, to yourself, to your topic, and then just use whatever tools you have in order to meet those goals,” she said.

The Path Forward

Going forward, D’Agustino said he thinks faculty will settle into a hybrid approach for the rest of the semester, making tweaks as they get feedback from students.

“They may say, ‘We’re going to do a synchronous session, so here are the slides in advance, here is the reading material, here’s the study guide, there are some questions you should be able to answer during the session,’” he said.

“So even if a student can’t attend or log in, they still have the notes, the readings, the study guides, and they can say, ‘Professor I couldn’t log in; its 4 a.m. for me. But here are the answers to those questions. And the faculty member can, if it’s part of their protocol, share those answers with the class so that student is part of it.”

Jacobs said that he’s hopeful that faculty will rise to the challenge in what is an extraordinary time of upheaval. He noted that online instruction will always have a place in graduate level and professional-oriented instruction, especially for students who are working or have family obligations. As such, the University will continue to evaluate it on a case-by-case basis. But face-to-face teaching and learning is at the heart of Fordham’s mission, he said.

“Jesuit education is really one of formation in context of community. We treasure that at Fordham, and we always will. It’s the reason why during the academic year, we have not, by intention, moved our undergraduate academic offerings into an online format. We’ve offered them face-to-face, and will return to that when it safe to do, when the virus has passed,” he said.

Look a little closer though, and it’s possible to see in the season, which also features productions of Shakespeare’s Twelfth Night, Airline Highway by Lisa D’Amour, and To The Bone by Lisa Ramirez, the ideas percolating through the atmosphere of these United States, circa 2019.

“[Students] are going to tackle all sorts of issues. Some are old, some are new, but they still pertain to what’s going on today,” said Stefanie Bubnis, the program’s interim managing director, who noted that every play features a large cast of lead characters. “It’s all about unity, working together, and symbiotic relationships.”

The season opens with The Wolves, an all-female ensemble play that debuted off-Broadway in 2016 and was a finalist a year later for a Pulitzer for drama. Set in an indoor soccer facility, it depicts nine teenage girls warming up for a game. Through their conversations, ideas emerge about personal and global events, raw and open wounds, and the struggle to rise above the pressures put upon them by men, coaches, peers, and society. To prepare for their roles, the cast has been meeting on a regular basis with Fordham’s own women’s soccer team.

Twelfth Night, or What You Will, which opens Nov. 6 and is considered to be one of the Bard’s funniest plays, was written 416 years ago, but it touches on some of the same issues of gender identity being debated today. In fact, when it was first staged, the character of Viola, who disguises herself as a boy and assumes the name Cesario, was played by a male actor.

In the spring, the program will break new ground when it comes to gender roles with the presentation of Airline Highway. Set at the Hummingbird Motel on the outskirts of New Orleans, the dark comedy features a group of outcasts who are throwing a funeral party for Miss Ruby, an 85-year-old former stripper who isn’t dead yet.

One of the lead characters is transgender, and if the right person is not found within the Fordham community, the casting will be opened up to the public, which would be a first for the theater program.

The final play, To The Bone, touches on the issue of immigration, as it focuses on undocumented workers who labor in a poultry factory in upstate New York.

The season’s plays were chosen in consultation with students in the theater program. Olivia Spenard, a junior at Fordham College at Lincoln Center who nominated The Wolves, saw it when it was staged in 2017 at the Lincoln Center Theater, and chose it in part because it presents a rare portrait of women who draw strength through sports. She noted that Sarah DeLappe, the playwright, has compared the characters to warriors.

“So often, young women have roles that are much smaller in plays, or are some sort of stereotype or aggrandized characteristic of what a young woman should be. But The Wolves very unapologetically looks at what it means to be a young woman today and is an incredible ensemble play,” Spenard said.

“Their conversations are that of a girl growing up and coming into womanhood, whether she’s ready to or not.”

Fordham Theatre 2019-2020 Mainstage Productions:

The Wolves, by Sarah DeLappe, directed by Alicia House

October 3, 4, 5, 9, 10, 11

Twelfth Night by William Shakespeare, directed by Sherri Eden Barber

Nov. 6, 7, 8, 14, 15, 16

Airline Highway by Lisa D’Amour, directed by Nehprii Amenii

Feb. 20, 21, 22, 26, 27, 28

To the Bone by Lisa Ramirez, directed by Lou Moreno, Artistic Director of INTAR

April 1, 2, 3, 16, 17, 18

Visit the Fordham Theatre Mainstage Season website for showtimes and more information.