Faculty Spotlight: Josiah Wallace

Josiah Wallac ’85, associate professor of speech and theatre, studied at the Scuola Internazionale Dell’Attore Comico in Reggio Emilia, Italy. He worked at Taproot Theatre Company in Seattle as the director of outreach and worked six years at Dordt University before joining JBU in 2018. In addition to his teaching, the production schedule is intense. Wallace directs two plays each year, including designing and building the elaborate sets. He also helps build sets for two musicals directed by colleague Liesl Dromi. The program’s success has led to a new musical theatre minor.

When did you know you wanted to be a theatre professor, and what led you to teach at JBU?

A year out of undergrad, I was afforded the opportunity to work as an adjunct professor directing the theatre touring group at my alma mater. I loved it, and it instilled in me the desire to attend graduate school and work full time with college students. It took another eight years of working professionally in the theatre before I felt confident applying to graduate school; but I did it, and I’ve been working full time as a professor for the last 10 years. JBU makes it possible for me to truly challenge my students with what it means to be an artist and a Christian.

What are some of the most rewarding experiences from teaching theatre?

I love it when students discover the breadth and depth of the discipline. They often begin their work in the theatre because they like to be on stage. I challenge them to see that work as an act of service to each other, the audience and the story; but I also show them that there is much more going on to support the performers behind the scenes. The job of producing, researching, directing, conceptualizing, advertising, designing, building, rehearsing, organizing, selling tickets, moving sets, running lights and sound – all are part of this art form. The academic and practical streams of knowledge and effort converge in significant ways in the theatre; and when it comes to the practical skills gained in teamwork and project completion, very few areas of academic study can compare.

What are the different ways you participate in theatre productions at JBU? Are you involved in theatre outside of JBU?

In a department the size of JBU’s, I have to be able to do anything that needs to be done. But as the breadth of the work cannot be accomplished by one person alone, I rely heavily on our small staff, and recruiting and training work-study and volunteer students to work along-side me. I would be woefully unable to do the work without the continual collaboration and assistance of our staff technical director, Peter Rexford. In addition to directing productions (a job that includes play selection, research, conceptualization, design meetings, auditions, casting, scheduling, and rehearsing) I also design and build sets, supervise students doing design and build work, and often find myself at Lowes purchasing materials, or in the makeup room teaching performers how to apply makeup.

It is difficult to do work outside of the time I spend on JBU productions. I have periodical been in a show or had time to work on my theatre mask making business. However, I did get to attend the national stage combat workshop again for three weeks this last summer, and appreciated having the time to further hone my stage combat skills in things like rapier and dagger, sword and shield, and knife fighting.

What was your role in this fall's play &quote;Agatha Christie's Murder on the Orient Express?&quote;

I directed the production and spend untold hours in the rehearsal room, scene shop and control booth coordinating our efforts.

What's a favorite play you've directed or assisted with at JBU? Outside of JBU?

I think last year’s production of “Tartuffe” at JBU is my favorite. It’s a text that I wanted to direct for years, and it was really rewarding to take a classical text and find a contemporary social media parallel and production style that integrated with its themes. My favorite production outside of JBU was probably my graduate thesis production of Jeffery Hatcher’s stage adaptation of “Dr. Jekyll and Mr. Hyde.” The thematic richness and technical support I received created a spectacular product.

How have you seen the program at JBU grow since the coursework was revamped?

Having students that recognize their various gifts who are willing to commit to the process of creating excellent art is always rewarding to me. The pandemic made this very difficult for a couple of years, but I’m loving the momentum I am seeing from my students right now. They are creating excellent work and those who choose to minor in theatre recognize that the classroom curriculum actually equips them to achieve even greater success.

Have you had students at JBU pursue careers in theatre?

I have a few students pursing graduate education, working professionally in various parts of the country as theatre administrators, designers and actors. All impressive feats on their part, coming from an institution without a theatre major.

What life skills and experiences do you think students gain from theatre?

Self-esteem and confidence, unparalleled collaborations skills, resourcefulness, creativity, event and logistical prowess, practical knowledge of how to build and fix things, and a true appreciation and empathy for the stories of others.

How has leading theatre at JBU differed from your previous university experiences?

I’m the main engine of leadership and the fosterer of recruitment and support for the program here. Our production schedule is also more intense at JBU. Previously I was directing one play and designing one set a year, I am now doing two of each, and I work on set building for all four productions a year – all while teaching various courses.

What did your time in Italy include?

I studied commedia del’Arte and mask making with theatre professionals from 16 countries around the world. We collaborated in storytelling and comedy creation while learning about a theatre form that first found its cultural significance during the renaissance.

Tell us about your experience at the Kennedy Center American College Theatre Festival.

We bring in outside adjudicators to campus to respond to our work, and then we participate in the regional festival by sending designers and actors to compete for theatre awards and take various workshops. The accolades that we receive from the outside respondents help our students know what excellence in the theatre should look like, and we’ve been honored to receive various awards.

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