SummaryIn this episode of Curtains Up, host Rohan explores student leadership in theater through a conversation with Washington State Thespian Officers Milo Stewart and Devi Anand. Together, they unpack what it really means to serve as an STO. From managing statewide communication and organizing major events like Thespys and State Festival to balancing pressure, teamwork, and self-doubt. The discussion reveals how leadership in theater extends far beyond the stage, offering insight into funding, access, equity, and the often-overlooked contributions of technical and backstage artists. The episode also addresses the future of theater education, including challenges around arts funding, school priorities, and the growing impact of AI on creative work, ultimately reaffirming theater as a deeply human, community-driven art form. What STO Leadership Looks Like Milo and Devi explain that STO leadership is largely behind-the-scenes work, including: Managing Instagram communications Writing and organizing monthly newsletters Promoting events like Camp Thespys, Thespys competitions, and State Festival Coordinating through weekly or monthly meetings with fellow STOs and the WSTS board Leadership is less about performance and more about organization, communication, and consistency. Both guests describe moments of self-doubt and pressure, especially around large-scale events: Milo highlights the overwhelming responsibility of State Festival, where thousands of students and educators are involved. Devi shares the stress of public speaking and leadership at Camp Thespys, especially when addressing peers for the first time. They emphasize that while the pressure feels intense in the moment, reflection reveals growth rather than failure—a lesson that mirrors the experience of performing on stage. Key reflections include: A desire to listen more deeply to the theater community, beyond polls and logistics, to understand diverse needs and values. The importance of stronger team bonding and more frequent STO meetings, especially early in the term. Better advance planning, particularly for newsletters and major events that “sneak up” faster than expected. Serving as STOs broadened their perspective of theater as: A statewide, interconnected community, not just individual school troops A system involving funding, access, equity, and logistics A reminder of the business side of show business, where infrastructure must exist before art can thrive This experience prepared Milo especially for navigating the professional theater world in New York. The conversation expands into a broader critique of how theater and film often overemphasize actors while under-recognizing: Technical crews (lighting, sound, costumes, set design) Backstage labor essential to making performances possible They acknowledge that visibility drives recognition, making this imbalance difficult—but important—to change. If starting again, they would prioritize: Elevating technical theater roles Early and structured planning Clear delegation of responsibilities Building stronger internal team dynamics Major areas for improvement include: Advocacy for arts education, especially as schools shift toward STEM and athletics Funding challenges, since arts programs often struggle to attract donations Growing concern over AI’s impact on the arts, including: AI-generated actors and designs Reduced investment in human creativity Fear of replacing technical theater roles with automation All agree that theater’s value lies in its humanity, collaboration, and lived experience, which AI cannot replicate.
