STONEMAN DOUGLAS WEB
https://www.browardschools1.com/stonemandouglas
Melody Herzfeld-Teacher - Drama-INT THESPIAN SOCIETY (Drama)-Melody Herzfeld-2nd Wednesday of the Month-Varies per Calendar-710
Stoneman Douglas High School-5901 NW Pine Island Road-Parkland, Fl 33076-Phone: 754-322-2150-Fax: 754-322-2280
Marjory Stoneman Douglas High School Drama Club Writes, Performs Powerful “Shine” Song In Response To Mass Shooting
http://womenyoushouldknow.net/marjory-stoneman-douglas-powerful-shine-song/
FOR THE DUNG LIES BY CNN AND CONSPIRACY LAME BRAIN LEFT MEDIA THAT SAYS THESE HIGH SCHOOL STUDENTS ARE NOT ACTORS. ARE COMPLETE LIERS. ALL 4 MAIN MEDIA WHORES FROM THE SCHOOL ARE IN DRAMA ACTING CLASSES. SO ITS THE MEDIA THAT ARE DELUDING PEOPLE WITH LIES. NOT THE PEOPLE THAT SAY THESE PROPAGANDA GUN GRABBING STUDENTS ARE ACTORS. WHEN THEY LITERALLY ARE IN ACTING DRAMA CLASSES. THE MEDIA AND THESE DRAMA ACTORS SURE WHORE TOGETHER TO PROMOTE GUN GRABBING. THIS IS ANOTHER SUNNI-ARAB OBAMA-CLINTON BLACK LIVES CULT MOVEMENT.
THE 4 PROPGANDA GUN GRABBING LEADING MEDIA STUDENTS AT STONEMAN DOUGLAS REALLY ARE ACTORS IN A THEATRE DRAMA CLASS.
The activists are grieving, too, but it’s not a coincidence that a disproportionate number of the Never Again leaders are dedicated members of the drama club. Cameron Kasky is a theatre kid. Before he went on Anderson Cooper, he was best known as a class clown. “I’m a talker,” he told me. The group stayed up all night creating social-media accounts and trying to figure out what needed to be said, “because the important thing here wasn’t talking about gore,” Kasky said on Sunday. “It was talking about change and it was talking about remembrance.” It was then that they decided to petition for more thorough background checks. As Alfonso Calderon, a co-founder of Never Again, who was there that night, told me.Corin was also prepared to advocate for gun-law reform, having worked on a fifty-page project about gun control for her A.P.composition-and-rhetoric class a couple of months before. By Friday, Corin had accepted an invitation from Kasky to join forces under Never Again. By Saturday, other students who had been independently talking to the media about gun control had joined, too—names that are now becoming familiar to the American public: David Hogg, the reporter for the school paper who appeared on national news broadcasts the morning after the shooting demanding action from elected officials; Sarah Chadwick, whose profanity-laced tweet criticizing Trump went viral soon after the shooting; and Emma (“We Call B.S.”) González, whose speech became the defining moment of a gun-control rally in Fort Lauderdale on Saturday. González, a senior, gave her first CNN interview on the night of the vigil. The invitation to speak at the rally had followed, and she wrote her speech the day she gave it. She had not anticipated how widely it would be shared. (Her last experience of activism, she told me, had been last year’s underwhelming March for Science.) Kasky recruited Hogg and González for Never Again at the rally, where he also spoke.“We said, ‘We are the three voices of this.’ We’re strong, but together we’re unstoppable,” Kasky said. “Because David has an amazing composure, he’s incredibly politically intelligent; I have a little bit of composure; and Emma, beautifully, has no composure, because she’s not trying to hide anything from anybody.” “All these kids are drama kids, and I’m a dramatic kid, so it really meshes well,” González added.The activists are wary about what form the backlash against them will take. They have learned statistics and the names of proposed laws, but they know it might not be enough.Our generation just isn’t allowed to screw up in any way, shape, or form,” Calderon told me. “Even before this happened, we already knew all the facts. We already knew everything.”
https://www.newyorker.com/news/news-desk/how-the-survivors-of-parkland-began-the-never-again-movement
The Spring Awakening of the Stoneman Douglas Theatre Kids-By Michael Schulman-February 23, 2018-NEW YORKER.COM
Many of the leaders of the Never Again movement are indeed actors, thrust into roles that no teen-ager should have to play.One of the less inspiring things about the movement led by student survivors of the Marjory Stoneman Douglas High School shooting has been the conspiracy theory—proliferated in the swampy depths where such things proliferate—that the students are actually “crisis actors.” It’s a warped brand of trutherism that spread after Sandy Hook and has since, as my colleague Eric Lach wrote this week, been impossible to reason with. But that isn’t to say that the kids aren’t actors. Cameron Kasky, the seventeen-year-old firebrand who started the Never Again movement with his classmates, told Wolf Blitzer, “Well, if you had seen me in our school’s production of ‘Fiddler on the Roof,’ you would know that nobody would pay me to act for anything.”Taken aback, Blitzer responded, “ ‘Fiddler on the Roof’ is a great—who did you play, by the way?” (My question, too.) The answer was Motel the Tailor, and Kasky, staying remarkably on message, told him, “And I have to tell you, what we’ve seen so far is a ‘Miracle of Miracles.’ ”For former high-school-theatre kids, it’s a point of pride to see one of our own elevated to civic hero. “All these kids are drama kids, and I’m a dramatic kid, so it really meshes well,” Emma González, one of Kasky’s compatriots, told Emily Witt. (Kasky had just left drama class when the shooting began.) On Thursday, the morning after Kasky asked Senator Marco Rubio if he would promise not to take any more donations from the N.R.A. (he wouldn’t), Kasky tweeted, “Using my in flight chat to learn my Spring Awakening lines.” He was referring to the Tony Award-winning rock musical from 2006, by Duncan Sheik and Steven Sater. From the lines he posted (“can we at least consider the fitness of the conjecture?”), it seems he’s playing the lead, Melchior Gabor.New Yorker writers respond to the Parkland school shooting.“Spring Awakening” had already been on my mind as I watched Kasky, González, and their classmates show more moral clarity and vision than we’ve seen in the gun debate for a long time. Based on the 1891 play by the German dramatist Frank Wedekind, the musical shows what happens when neglectful adults fail to make the world safe or comprehensible for teen-agers, and the onus that neglect puts on kids to beat their own path forward. The unregulated weapon, in the show, isn’t guns but sex. Melchior and his classmates are burning up with hormones, but in a repressive society that insists on ignorance over truth, sex is never explained. It’s up to the kids to figure it out—badly. At the end of Act I, Melchior and the object of his affection, Wendla, have sex, and when Wendla becomes pregnant she has no idea why. “Why didn’t you tell me everything?” she screams at her mother, who shuffles her off to a botched abortion.In the musical’s final scene, Melchior visits the grave of his friend Moritz, who killed himself under the weight of school exams and his father’s expectations. “Moritz, my old friend,” he says, kneeling on the grave. “Well, they won’t get to me. Or Wendla. I won’t—I won’t let them. We’ll build that world, together, for our child.” He looks around at “all these little tombs,” before discovering, to his horror, a fresh one for Wendla. Attended by their ghosts, he sings-I’ll walk now with them, I’ll call on their names.And I’ll see their thoughts are known.Not gone.Not gone.It’s hard to imagine watching “Spring Awakening” in Broward County, a community where the living are indeed walking on for the dead. Like Melchior, Kasky and his classmates have vowed to remake a world that failed them—a role that no teen-ager should have to play, especially in the wake of tragedy and trauma. We don’t find out what happens to Melchior in the next scene, but I’d like to think that he goes back to school and gives his Latin teacher the same look that Kasky gave Rubio on Wednesday night—one that says that the world no longer belongs to the grownups, because the kids have seen through the B.S. and know that their lives are on the line. (As for the kids in the town-hall audience, I half-expected them to respond to Rubio with a lyric from the Act II showstopper “Totally Fucked”: “Blah blah blah blah blah blah blah blah blah blah blah blah blah.”) As it turns out, Sater and Sheik began writing “Spring Awakening” in response to the Columbine massacre. “I had heard that Cameron Kasky was now playing Melchior,” Sater wrote me yesterday. “He has been so eloquent and impassioned, alive with the force of truth—like Melchior himself. I was just discussing that with Duncan earlier today.” (Sheik, for his part, tweeted, “The Spirit of Wedekind lives on holding the feet to the fire of the assholes in the @NRA and their cynical, small minded ilk!”) “It was a real act of resistance, in 1891, when the angry young Frank Wedekind first penned his ‘Frühlings Erwachen’ (‘Spring Awakening’),” Sater said. “To this day, it remains the most scabrous indictment ever written of adulthood. Of parents, teachers, and a clergy so invested in their social prestige that they will sacrifice even their children to protect it.” He went on, “Perhaps only Wedekind could have imagined, among this ‘Columbine generation,’ a young hero, a Melchior, like Cameron Kasky, like Emma González, like Ryan Deitsch, capable of standing so strong, of speaking the bald truth to the ever-collected, if contorted, face of power. I know I am profoundly affected to hear, in their simple demands, the play’s fierce original spirit: ‘Why did you let them? You broke it. Fix it.’ ”Michael Schulman has contributed to The New Yorker since 2006.
https://www.browardschools1.com/stonemandouglas
Melody Herzfeld-Teacher - Drama-INT THESPIAN SOCIETY (Drama)-Melody Herzfeld-2nd Wednesday of the Month-Varies per Calendar-710
Stoneman Douglas High School-5901 NW Pine Island Road-Parkland, Fl 33076-Phone: 754-322-2150-Fax: 754-322-2280
Marjory Stoneman Douglas High School Drama Club Writes, Performs Powerful “Shine” Song In Response To Mass Shooting
http://womenyoushouldknow.net/marjory-stoneman-douglas-powerful-shine-song/
FOR THE DUNG LIES BY CNN AND CONSPIRACY LAME BRAIN LEFT MEDIA THAT SAYS THESE HIGH SCHOOL STUDENTS ARE NOT ACTORS. ARE COMPLETE LIERS. ALL 4 MAIN MEDIA WHORES FROM THE SCHOOL ARE IN DRAMA ACTING CLASSES. SO ITS THE MEDIA THAT ARE DELUDING PEOPLE WITH LIES. NOT THE PEOPLE THAT SAY THESE PROPAGANDA GUN GRABBING STUDENTS ARE ACTORS. WHEN THEY LITERALLY ARE IN ACTING DRAMA CLASSES. THE MEDIA AND THESE DRAMA ACTORS SURE WHORE TOGETHER TO PROMOTE GUN GRABBING. THIS IS ANOTHER SUNNI-ARAB OBAMA-CLINTON BLACK LIVES CULT MOVEMENT.
THE 4 PROPGANDA GUN GRABBING LEADING MEDIA STUDENTS AT STONEMAN DOUGLAS REALLY ARE ACTORS IN A THEATRE DRAMA CLASS.
The activists are grieving, too, but it’s not a coincidence that a disproportionate number of the Never Again leaders are dedicated members of the drama club. Cameron Kasky is a theatre kid. Before he went on Anderson Cooper, he was best known as a class clown. “I’m a talker,” he told me. The group stayed up all night creating social-media accounts and trying to figure out what needed to be said, “because the important thing here wasn’t talking about gore,” Kasky said on Sunday. “It was talking about change and it was talking about remembrance.” It was then that they decided to petition for more thorough background checks. As Alfonso Calderon, a co-founder of Never Again, who was there that night, told me.Corin was also prepared to advocate for gun-law reform, having worked on a fifty-page project about gun control for her A.P.composition-and-rhetoric class a couple of months before. By Friday, Corin had accepted an invitation from Kasky to join forces under Never Again. By Saturday, other students who had been independently talking to the media about gun control had joined, too—names that are now becoming familiar to the American public: David Hogg, the reporter for the school paper who appeared on national news broadcasts the morning after the shooting demanding action from elected officials; Sarah Chadwick, whose profanity-laced tweet criticizing Trump went viral soon after the shooting; and Emma (“We Call B.S.”) González, whose speech became the defining moment of a gun-control rally in Fort Lauderdale on Saturday. González, a senior, gave her first CNN interview on the night of the vigil. The invitation to speak at the rally had followed, and she wrote her speech the day she gave it. She had not anticipated how widely it would be shared. (Her last experience of activism, she told me, had been last year’s underwhelming March for Science.) Kasky recruited Hogg and González for Never Again at the rally, where he also spoke.“We said, ‘We are the three voices of this.’ We’re strong, but together we’re unstoppable,” Kasky said. “Because David has an amazing composure, he’s incredibly politically intelligent; I have a little bit of composure; and Emma, beautifully, has no composure, because she’s not trying to hide anything from anybody.” “All these kids are drama kids, and I’m a dramatic kid, so it really meshes well,” González added.The activists are wary about what form the backlash against them will take. They have learned statistics and the names of proposed laws, but they know it might not be enough.Our generation just isn’t allowed to screw up in any way, shape, or form,” Calderon told me. “Even before this happened, we already knew all the facts. We already knew everything.”
https://www.newyorker.com/news/news-desk/how-the-survivors-of-parkland-began-the-never-again-movement
The Spring Awakening of the Stoneman Douglas Theatre Kids-By Michael Schulman-February 23, 2018-NEW YORKER.COM
Many of the leaders of the Never Again movement are indeed actors, thrust into roles that no teen-ager should have to play.One of the less inspiring things about the movement led by student survivors of the Marjory Stoneman Douglas High School shooting has been the conspiracy theory—proliferated in the swampy depths where such things proliferate—that the students are actually “crisis actors.” It’s a warped brand of trutherism that spread after Sandy Hook and has since, as my colleague Eric Lach wrote this week, been impossible to reason with. But that isn’t to say that the kids aren’t actors. Cameron Kasky, the seventeen-year-old firebrand who started the Never Again movement with his classmates, told Wolf Blitzer, “Well, if you had seen me in our school’s production of ‘Fiddler on the Roof,’ you would know that nobody would pay me to act for anything.”Taken aback, Blitzer responded, “ ‘Fiddler on the Roof’ is a great—who did you play, by the way?” (My question, too.) The answer was Motel the Tailor, and Kasky, staying remarkably on message, told him, “And I have to tell you, what we’ve seen so far is a ‘Miracle of Miracles.’ ”For former high-school-theatre kids, it’s a point of pride to see one of our own elevated to civic hero. “All these kids are drama kids, and I’m a dramatic kid, so it really meshes well,” Emma González, one of Kasky’s compatriots, told Emily Witt. (Kasky had just left drama class when the shooting began.) On Thursday, the morning after Kasky asked Senator Marco Rubio if he would promise not to take any more donations from the N.R.A. (he wouldn’t), Kasky tweeted, “Using my in flight chat to learn my Spring Awakening lines.” He was referring to the Tony Award-winning rock musical from 2006, by Duncan Sheik and Steven Sater. From the lines he posted (“can we at least consider the fitness of the conjecture?”), it seems he’s playing the lead, Melchior Gabor.New Yorker writers respond to the Parkland school shooting.“Spring Awakening” had already been on my mind as I watched Kasky, González, and their classmates show more moral clarity and vision than we’ve seen in the gun debate for a long time. Based on the 1891 play by the German dramatist Frank Wedekind, the musical shows what happens when neglectful adults fail to make the world safe or comprehensible for teen-agers, and the onus that neglect puts on kids to beat their own path forward. The unregulated weapon, in the show, isn’t guns but sex. Melchior and his classmates are burning up with hormones, but in a repressive society that insists on ignorance over truth, sex is never explained. It’s up to the kids to figure it out—badly. At the end of Act I, Melchior and the object of his affection, Wendla, have sex, and when Wendla becomes pregnant she has no idea why. “Why didn’t you tell me everything?” she screams at her mother, who shuffles her off to a botched abortion.In the musical’s final scene, Melchior visits the grave of his friend Moritz, who killed himself under the weight of school exams and his father’s expectations. “Moritz, my old friend,” he says, kneeling on the grave. “Well, they won’t get to me. Or Wendla. I won’t—I won’t let them. We’ll build that world, together, for our child.” He looks around at “all these little tombs,” before discovering, to his horror, a fresh one for Wendla. Attended by their ghosts, he sings-I’ll walk now with them, I’ll call on their names.And I’ll see their thoughts are known.Not gone.Not gone.It’s hard to imagine watching “Spring Awakening” in Broward County, a community where the living are indeed walking on for the dead. Like Melchior, Kasky and his classmates have vowed to remake a world that failed them—a role that no teen-ager should have to play, especially in the wake of tragedy and trauma. We don’t find out what happens to Melchior in the next scene, but I’d like to think that he goes back to school and gives his Latin teacher the same look that Kasky gave Rubio on Wednesday night—one that says that the world no longer belongs to the grownups, because the kids have seen through the B.S. and know that their lives are on the line. (As for the kids in the town-hall audience, I half-expected them to respond to Rubio with a lyric from the Act II showstopper “Totally Fucked”: “Blah blah blah blah blah blah blah blah blah blah blah blah blah.”) As it turns out, Sater and Sheik began writing “Spring Awakening” in response to the Columbine massacre. “I had heard that Cameron Kasky was now playing Melchior,” Sater wrote me yesterday. “He has been so eloquent and impassioned, alive with the force of truth—like Melchior himself. I was just discussing that with Duncan earlier today.” (Sheik, for his part, tweeted, “The Spirit of Wedekind lives on holding the feet to the fire of the assholes in the @NRA and their cynical, small minded ilk!”) “It was a real act of resistance, in 1891, when the angry young Frank Wedekind first penned his ‘Frühlings Erwachen’ (‘Spring Awakening’),” Sater said. “To this day, it remains the most scabrous indictment ever written of adulthood. Of parents, teachers, and a clergy so invested in their social prestige that they will sacrifice even their children to protect it.” He went on, “Perhaps only Wedekind could have imagined, among this ‘Columbine generation,’ a young hero, a Melchior, like Cameron Kasky, like Emma González, like Ryan Deitsch, capable of standing so strong, of speaking the bald truth to the ever-collected, if contorted, face of power. I know I am profoundly affected to hear, in their simple demands, the play’s fierce original spirit: ‘Why did you let them? You broke it. Fix it.’ ”Michael Schulman has contributed to The New Yorker since 2006.
