I never envisioned myself as a professor, nor did I foresee residing in Texas. Growing up in New Mexico, I held strong opinions about the Texans who would approach to ski our mountains. For 25 years, I made my home in New York, where I operated American Records, my theatre company, wrote plays, and directed productions across the country.
In 2015, I received an invitation to Austin to serve as a guest respondent for student productions at the University of Texas at Austin (UT Austin). This opportunity took place during the Cohen New Works Festival, a biannual week-long event that showcases up to 40 productions across various venues within the Theatre and Dance building, all created and produced by students. Upon my first visit to UT Austin, I found myself moving from indicate to show, utterly captivated—how had I never known about this extraordinary place where the students were so passionate and the faculty genuinely enjoyed each other’s company?
During that visit, I had coffee with playwriting professors Steven Dietz and Kirk Lynn, who proposed that I consider a semester in Austin as a guest instructor. That semester evolved into a permanent position, and now I uncover myself leading the MFA in Directing program at the university.
A Day in the Life of a Theatre Professor
Yesterday unfolded like a typical day for me. My first class started at 9 a.m., titled “Spectacle as a Political Tool.” Alongside two graduate directors, I teach 60 undergraduates—most in their first year—about how spectacle has historically influenced self-governance. Following that, I met with graduate students to discuss their upcoming classes: one is keen on a sound design course, while another is excited about a choreography class offered by our dance program.
In the afternoon, I joined graduate designers in their studio class to explore the art of iteration. That evening, I attended tech rehearsals for a three-person all-femme adaptation of *Macbeth* and an elaborate staging of *Cabaret*.
While it was a long day, it was likewise a fulfilling one, leaving me profoundly grateful for my role. Despite never anticipating being what Kirk Lynn calls an “indoor cat,” I am increasingly aware of the immense value the academy can provide. However, I also find myself concerned about the fate of similar graduate programs nationwide.
The Future of MFA Programs
Whenever I hear about another MFA program shutting down or pausing, I can’t help but fear a concerning trend. Social media often provides anecdotal evidence of these closures, but I am hesitant to generalize without solid data on how many programs have closed compared to those that have been established in recent years. Perhaps my tendency to await comprehensive data reflects a stubborn optimism.
Recently, I reached out to two educators experiencing significant shifts in their institutions: Luis Alfaro, associate professor of Dramatic Writing and director of the MFA in Dramatic Writing program at the University of Southern California (USC), and Seth Gordon, professor of Directing and Theatre Management at the University of Oklahoma (OU). Alfaro announced that his long-standing MFA program will be “sunsetted” after this academic year, while Gordon is set to reopen an MFA in Directing program at OU, which has been inactive for about two decades.
One key takeaway from my discussions with Alfaro and Gordon is that we all agree graduate school isn’t the only pathway to advancing a playwriting or directing career, nor is it suitable for everyone. Alfaro himself exemplifies this; he is a MacArthur Fellow who received tenure based on his considerable experience, despite never having earned an MFA or attended college.
Lessons from Experience
Alfaro shared, “I went straight into the field in the ’80s.” After studying with playwright María Irene Fornés, he pursued a career as a poet and performance artist, stating, “The weird thing about being at USC is that I was raised in abject poverty in one of the poorest, most violent neighborhoods of L.A., which is where USC is.”
Reflecting on his journey, he noted, “I’m a child of the apprenticeships, the internships, the fellowships, all of that. I wrote a ton of letters to people, and said, ‘Hey, I love your perform and I would love to meet you.’” These efforts led to influential connections, such as with Mark Russell, who directed P.S. 122 in New York City and helped guide Alfaro to various artistic spaces across the country.
Listening to Alfaro recount his journey made me realize that the days when a struggling emerging artist could afford to travel the country and learn from established veterans are largely over. The rising cost of living has made it increasingly difficult. This is where graduate programs step in to fill the gap. Although many graduate schools are prohibitively expensive, they now bring seasoned leaders into the programs to engage with students through workshops and mentorships, broadening the reach of their expertise.
Alfaro and his colleagues were informed by USC leadership that the decision to close the MFA program stemmed from a shift to a “revenue-based model.” This news was particularly unexpected, given that USC made its Acting and Dramatic Writing programs tuition-free starting in the 2024-25 school year. When I asked Gordon how he would respond if OU mandated a revenue-based program, he articulated the philosophy guiding their programs: “We are a Research 1 University, as are you. The fact that we will have the kind of impact on the field that I hope we’ll have is what we’re all about.”
Challenges and Opportunities Ahead
Alfaro has mentored many aspiring writers, helping them transition into influential roles in live performance, television, and film. He adapts each student’s education to prepare them for leadership in their unique ways, noting, “You can diagnose and build a program for them.” He emphasizes the importance of connecting students with appropriate mentors, and opportunities.
Despite the challenges faced, including the financial sustainability of graduate programs, there remains a steadfast belief that they are crucial for the future of theatre. As both Alfaro and Gordon work to address these issues, they are also actively engaging in interdisciplinary collaborations, with Gordon receiving a grant to assess graduate programs in a wide region encompassing several states.
As the landscape of theatre education shifts, it’s clear that the initiative to foster new talent and leadership through graduate programs is more vital than ever. Though programs may close, the commitment to nurturing the next generation of playwrights and directors continues.
while the future of MFA programs may seem uncertain, their impact on the theatre landscape remains significant. As Luis Alfaro aptly put it, “I feel like a drug dealer; I’m gonna make you love writing a play. You won’t even realize we’re gonna write a whole play, but we’re writing a whole play.” As Kimberly Belflower, a UT Austin playwriting MFA alum, expressed, “What starts here changes the world.”
As these educators continue to adapt and respond to the evolving needs of theatre students, it will be vital to preserve an eye on the developments in graduate programs and their contributions to the arts community. Feel free to share your thoughts and experiences in the comments below.
