Few grace the privilege of the Hollywood Handshake. Fewer yet grace the Hollywood stage. Even fewer Americans yet, the West End.
For 30 young thespians in Missouri, however, this opportunity edged closer to reality.
Theater teacher Melissa Gehrke’s Technical Theater 2 class had grown an odd fondness for the West End musical, “The Great British Baking Show.”
The clever opening number, wrought with the titular show’s archetypes, to choreography with baking appliances, spinning with pans and leaping with rolling pins, captured the hearts of their classroom community, carving out a peculiar sort of endearment.
Caught in a befitting flight of fancy, Gehrke thought to reach out to the creators of the musical, imploring as to whether the rights to perform the show would ever be available in the United States, as it was only previously permitted in the UK and Ireland. She mentioned in the email how specifically enamored the class had grown with their show.
The response blossomed an opportunity both inexplicable and too appealing to refuse.
“I found Jake Brunger’s email, and sent over an email,” Gehrke said. “Around two hours later, I heard back from him. He generously offered to do a virtual call with us to discuss their process.”
Creators Jake Brunger and Pippa Cleary met with the thespians virtually, answering questions about the industry, process, and motivation. Thus equipped and huddled, the Tech Theater students engaged in a Zoom call that expanded their purview of the globe from the school-sanctioned television.
At first, the contrast between the speakers and attendees were sharp- winsome British accents flitted around the eager Missourian dialects. The creators themselves remarked briefly the lovely idiosyncrasy that a school deep within the metaphorical fields of the United States should be bewitched by their so obviously Britannically-centered production.
Though oceans apart, the most crucial tie became clear: they were all theater nerds. That is to say, thespians, united by the love of a well-crafted performance. Besides, who could not love melodic bakers, sporting charming accents?
Stage Manager Echo Brooke (12) recalled some of the most significant advice they gained from the call. “It is call about connections, and using the ones available to you,” Brooke said. “{The creators} talked about how important it was to use every opportunity and resource around you, from school to community theater to someone who might know in the industry.”
Co-student Tech Director Louis Stoyanov built upon this remembrance. “I thought it was really interesting how they discussed legalities, as well. They write a lot for shows based on preexisting shows, like Friends, so they have to know how to categorize their shows, and depict the stories in a certain way.”
Within this kindness of strangers from across the pond, a deeper understanding of the humanity in art is pulled. In a society so centered around success as a result of a “grind”, and values centered in corporatism, money is pulled from the arts on either side of Western civilization, theater is often perceived as a redundant luxury, or a crucial escape. It is most closely, however, a creative necessity.
Nonetheless, theater is of the world, and thus of profit. In an industry often inundated with rehearsed presentations, and meticulously crafted appearances, this meeting speaks to the messy vulnerability of enthusiasm, and the success that comes with expressing it openly.
Students walked away more affirmed in their inquiries, validated in their passion, and welcomed into the arts.
“When I found out we would get to speak with them, it thrilled me! For one, we’d be able to let them know how much we enjoyed their work. But, more importantly, it makes the arts accessible,” Gehrke said. “For my students to speak with working writers who have had their fair share of success and disappointments, who know the industry and can offer advice? Well, that is priceless.”
