American Theatre: Foreign Aid Cuts Impact NYC Theatre
Bond Street Theater Brings “Theatre of War” Home Amidst Funding Cuts
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For decades, Bond Street Theatre has been a vital force in communities fractured by conflict, using the power of performance to foster dialog and healing. But now, facing funding cuts that threatened its international work, the company is turning its unique “theatre of war” techniques inward, addressing urgent social issues within the United States. This pivot isn’t a retreat, but a recognition that the need for connection and understanding exists everywhere.
From Refugee Camps to Kentucky: A New Chapter for Bond Street
Bond Street Theatre, founded in 1977, has built a reputation for impactful work in challenging environments. They’ve facilitated conversations in war-torn Afghanistan, supported trauma recovery in South Africa, and provided a platform for expression in Kazakhstan. Their approach, honed over years of experience, centers on using theatre not as entertainment, but as a tool for processing tough experiences and building empathy.
“In Kazakhstan, this kind of social theatre was very new. In Afghanistan, some had never seen TV or theatre, it was like reinventing it. Some had really rich history, like south Africa,” explains Artistic Director John Sherman. ”Ther are opportunities here we maybe didn’t pay as much attention to as we try to go to places where we can fill in a gap.”
Recent cuts in funding, however, forced Bond Street to re-evaluate its priorities. Rather than abandoning its mission, the company saw an opportunity to apply its expertise to pressing issues closer to home.They’ve begun partnering with local programs focused on suicide prevention and domestic violence, including the Rape Crisis Trust, an organization they’ve also collaborated with in South Africa.
The “Theatre of War” Technique: Bridging divides Through Performance
The core of Bond Street’s methodology lies in its ability to create safe spaces for vulnerable conversations. Their “theatre of war” workshops, frequently enough utilizing ancient Greek tragedies as a springboard, encourage participants to share their own experiences and connect with global themes of loss, trauma, and resilience.
This isn’t about offering solutions, but about fostering a sense of community and validating individual experiences. The power of the technique, sherman notes, lies in its ability to bypass intellectual defenses and tap into emotional truths.
“Overseas we talk to people with disparate points of view and we have to rely on people speaking English or having really good translators,” Sherman said. “We can make ourselves understood without creating more conflict. In Kentucky, everyone speaks English and is ready to say what they think.”
Managing Director Michael McGuigan emphasizes that this shift wasn’t solely driven by financial constraints. “The idea behind bringing the company’s ‘theatre of war’ techniques home stemmed from conversations over the last few years, and wasn’t due onyl to the recent cuts. Doing this work at home can still be scary-and just as urgent.”
Staying Afloat While Staying true to the Mission
The challenges Bond Street faces highlight a broader issue within the non-profit arts sector: the constant struggle for funding and sustainability. The company’s story serves as a reminder that even organizations dedicated to helping others can themselves require support.
Despite these hurdles, Bond Street remains committed to its mission. They continue to seek innovative ways to engage communities,even while navigating financial uncertainty. This summer, the troupe has been supplementing their income and maintaining visibility through performances with their Shinbone Alley Stilt Band-a jazz band “rocking ethnic tunes” of varieties on stilts at neighborhood events in New York. They are also in the process of writing a book, a unique blend of memories, travelogues, training manuals, recipes, and practical advice, including answers to questions like, “What happens if you have to go to the bathroom in a refugee camp?”
As intern Sawyer Dahlen wrote on the company’s blog in May, “One thing is certain: BST is not giving up on its mission to use the arts to make the world a better place.”
bond Street Theatre has demonstrated for decades that theatre can empower, unite, and uplift struggling communities. Now, they’re demonstrating how even theatres doing that necesary work can struggle themselves, and also need help.
Daniella Ignacio, a writer, theatre artist, and musician based in Washington, D.C., is a contributing editor of this magazine.