In her latest installation, Morgan Greene rediscovers high school through Albany Park Theater Project’s immersive experience Learning Curve.

Sydney Chatman is the creator and director of The Tofu Chitlin’ Circuit, a community and youth ensemble training collective based in Chicago’s South Side. Before creating TCC, Chatman worked on productions from Chicago to Broadway, while also teaching at the University of Chicago Charter School. When students she once taught as kindergarteners came to her as teens and said, “Can you train and teach me?” she said, “Yes.”

When it was founded in 1969, Free Street Theater (FST) was one of Chicago’s first racially integrated ensembles and since its inception has taken its art and activism to the streets, making theater for, with, and by the people. When I asked about the art they’d like to create, Patches summed it up: “We’re already making it.”

In About Face Youth Theatre’s rehearsal space, there is a cluster of post-it notes on the wall titled “Where I Started.” The ensemble’s first impressions range from “not being satisfied” to “ready to just do something” to “oblivion.” These notes relate to the process of AFYT’s current play, Checking Boxes.

The TYA branch of theater for, by and with young people offers a rare intersection of authorship, representation and inverted hierarchies. When the lack of youth voices in the creation of theater for youth is accepted as normal, a power structure thrives that creates theater by, with and pleasing to adults. What happens when youth write, perform and even produce their own work, causing the usual gatekeepers to take a backseat?

In accepting the single story that "God’s Work" does not belong in a downtown Chicago theater, do we contribute to the silencing of the voices of our youth? I believe "God’s Work" is just as worthy of embodiment on stage as "Our Class" or any other current Chicago production, regardless of the age of the ensemble members telling it.