Amanda Olmstead (PhD, 2021)
Why did you decide to go to graduate school?
When I was in elementary school, I had a band teacher—Mr. Drummond—who was giving me trumpet lessons. One day he said to me, “You know why I love my job? Because I get paid to play!” For as long as I can remember, that became my core mission. I wanted to get paid to play. I looked around and realized that I had three grandparents who also got paid to play—and to teach others how to play. I was blessed with being born into a large, loving, and layered family. These three grandparents on my father’s side were music professors at the Indiana University of Pennsylvania (IUP). I wanted to be just like them!
From a very young age, I would watch old movie musicals with my grandparents on my mother’s side, putting on little stage shows for them—singing, dancing, and acting along with the films. My gram always called me her little Doris Day. As I got older, I realized that I could combine these passions—music, singing, dancing, acting, and teaching! When I first pursued my undergraduate degree in theatre at IUP, everyone would always ask me, “So, you want to be on Broadway?” The answer was unquestionably no. I knew I wanted to teach. The impact Mr. Drummond, and all of my other wonderful teachers had on me, the impact my grandparents had on their students was so profound. Being able to play along with my students and help them grow as artists and as humans was the ultimate dream. Going to graduate school to learn more about theatre and performance, its history, its nuances, its complexities was without question a necessary step to be able to teach, to play, to achieve my dream. Plus, I wanted to be the next Dr. Olmstead!
Why did you choose to pursue your degree at Pitt?
As I was looking into graduate programs for both my masters and subsequent PhD, the Pitt theatre department kept pulling at my heart. It was certainly a plus that it was under sixty miles away from my incredible and inspiring family. But, it was far more than that. I was captivated by the well-rounded curriculum, the production engagement, and teaching opportunities.
To start with the courses: every semester there are new, unique seminars that expose you to new subjects, new ways of thinking, and new skills for researching and teaching. Even if there was a seminar that was not directly related to my “interests,” the material was incredibly captivating. Being able to deeply dive into subjects you don’t know makes you a better artist, teacher, and person. I was still a very young student. Even though I went through my master’s program at New York University, I had zero experience in the conference circuit. And I had just a basic grasp on historiography, research, and writing practices. The seminars help you develop, practice, and hone those skills almost without even knowing it. You spend nearly your first three years immersed in this academic world. Other programs that I researched did not seem to give you as much structure and support academically.
When I was pursing PhD school, I thought I would be stuck in academics only. I never thought I would have the opportunity to also be actively involved in production work—and if I was it would be as a researcher, a dramaturg. Pitt’s program allows students to focus on their interests and skill sets within the world of production. Dramaturgy, directing, performing, choreography, etc. You are able to develop a special option that ties a level of practice into your PhD, academic work. Your practice becomes an element of your research and pedagogical skill set. Don’t get me wrong, I love dramaturgy, but my passion was in dance, musical theatre, and choreography. I worked on choreography for three major productions during my time at Pitt—plus countless other projects. There are also many opportunities to become involved with student organizations such as the Musical Theatre Club (for which I was their advisor of five years) or Redeye Theatre Project. Once, I directed a twenty-four-hour production of High School Musical!
Finally, the teaching experience. I never imagined that I would be able to be instructor of record on so many different courses before even graduating. I knew that teaching was a significant part of a PhD experience, but before Pitt, I thought most of that experience was obtained through being a Teaching Assistant (TA). On my very first day at Pitt, I was instructor of record for Introduction to Performance. I was teaching a class, a college class, on my own for the first time right out of the gate. During my time at Pitt, I was instructor of record for five different courses (multiple sections throughout), and a TA for an additional four. For each of these courses I was able to create my own unique curriculum and lesson plans.
PS: This wasn’t on my top reasons list of why I chose Pitt, but it should be on yours. The Faculty!!! I have never met a group of more encouraging and supportive people. All of the faculty know how to push you to be better, while nurturing healthy growth. They are profoundly intelligent and fight hard for their students.
How did the degree program help prepare you for your career?
The theatre and performance studies PhD program at Pitt helped prepare me for my career in more ways than I am probably aware. In no uncertain terms, this program gave me my voice. Although I am not at all shy outside of the classroom, I often had a difficult time voicing my thoughts in front of my peers. Would they judge me? What if I am wrong? Both the faculty and my colleagues were so encouraging and supportive. They helped me to have confidence in my training, my scholarship, and myself. In seminars you frequently are given a reading (of difficult, dense caliber) and asked to come in with a thorough outline or discussion questions to lead the class. At first, that was horrifying to me. But it strengthened my ability to do analysis and reading and develop strong arguments. The breadth and depth of knowledge of theatre and performance studies I received through my professors and peers at Pitt is unmeasurable.
In addition to enhancing my education, developing my own pedagogical style is probably the most profound way that the program prepared me for my career. In addition to the, *throw them in and let them swim (with support, love, and guidance when needed)* approach to these classes, the ability to observe your own professors in multiple capacities teaches you so much about your own learning processes and how you want to help your students learn. I figured out that I needed to be sure to include visual, aural, reading, and kinesthetic (VARK) components to all of my classes—when possible—to support the most amount of students. Different professors observe you teach during your time at Pitt and their feedback is also incredibly helpful. Having unique perspectives give you insight and tips allows you to evolve and grow. (I could talk about this forever. I am so grateful!)
What is your current position and what does it involve?
Currently (Spring 2022), I am an adjunct instructor for both Pitt and Carnegie Mellon University (CMU). At Pitt, I am teaching three courses (two sections of introduction to performance and one section of introduction to dramatic art). I am honored to be able to have the opportunity to continue to teach in my home department. The three courses I am currently teaching are a grab bag of theatre majors, non-majors, first year students, fourth year students, etc. The diversity of the individuals in the classes brings me so much joy. For example, I love being able to play improv activities and watch students discover who they are on a very basic human level. Then, seeing them realize how these games can/will affect their lives outside of the classroom, outside of performance, is beyond fulfilling.
At CMU I am teaching four courses in the school of drama (two sections of foundations of drama II, musical theatre history, and graduate student colloquium: play analysis). The foundations of drama II course is a survey of performance forms across time/space. We begin with oral cultures and global indigenous practices and cruise through all the way to queer theatres in contemporary United States. Musical theatre history complicates the dominant (White) narrative of Broadway and exposes students to unsung voices, to the true foundations of the industry. From The Black Crook to Shuffle Along, Bob Cole to Gilbert and Sullivan, Sissieretta Jones to the Gershwins, Katherine Dunham to Agnes DeMille, Jerome Robbins to Savion Glover, Bring in da Noise, Bring in da Funk to Hamilton—we track the relationship between the musical theatre and society in the US. Lastly, the graduate student colloquium is a space for the grad students to be together and analyze plays fundamentally, theoretically, and practically. It is an honor to be able to work with them and hear all of their creative ideas.
Outside of “academia” I also work for Shady Side Academy—a local private school. I am the director of their middle school summer camp as well as the choreographer for their senior school musicals.
Thoughts and/or advice for current graduate students?
I cannot sugar coat this answer—it is hard. Being a graduate student is difficult and it is work, a lot of work. But it is unbelievably worth it. You will go through a roller coaster of good times, difficult times, questionable times—but if you persist, if you just take it ten-seconds at a time (to quote Kimmy Schmidt) you will make it through. Allow your faculty and peers to be there for you. Keep your support system close. Develop your own strategies for time management, and SELF CARE. An alum once told me the secret, “done is better than good.” (And I held onto that for a while to get me through—although the faculty may challenge me on that philosophy haha). But I recently heard the phrase “done is beautiful” and I say that to you now. You are learning. You are going through a process. Things will not be perfect. Let the imperfection, the journey, be beautiful. Being in the privileged position to go to graduate school and learn from these brilliant people, is beautiful.