Exposing students to Arts the primary mission of the Alma Performing Arts Center

story and photo by Marla Cantrell
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When the Trinity Irish Dance Company showed up at the Alma Performing Arts Center to begin their 2006 American tour, they had one question: Where was the nearest pub?

Teresa Schlabaugh, the PAC director, said describing a dry county to a group from Ireland was complicated. But she did it, and then they asked the next logical question: Since there wasn’t a pub, where was the nearest taxi that would take them to one?

In the end, she directed them to the nearest Taco Bell, where Coca-Cola, while it didn’t have its lasting effects, did flow like the Guinness in their motherland.

It’s a miraculous thing to Schlabaugh, being able to host groups like this. And while she is a little star-struck from time to time, imagine what it means to the high school students who’ve rubbed elbows with actors from Hairspray, the former Olympic skater Dorothy Hamel, and dancers from international dance troupes.

As Schlabaugh prepares for the PAC’s tenth season, she’s also reflecting on what’s been accomplished since the 1,500-seat theater opened.

“I can now bring in two Broadway shows and feel good about that,” Schlabaugh said. “I can bring in the Moscow Ballet. … We feel like we’re still introducing those in the area to the arts. It’s wonderful.”

This season will bring in a variety of shows, like the Bellamy Brothers, the Broadway show “The Light in the Piazza,” and “All Shook Up.” (Link here for a a full lineup.)

While adults come from miles around for the shows, the students benefit just by showing up for school.

“Our student series serves those in K-12,” Schlabaugh said. “They will see two professional shows, age appropriate, at no charge to them. This year the high school will see ‘The Scarlet Letter.’ The United States Marine Band will do workshops with our high school students. … Trout Fishing in America will do two workshops with our junior high, and the All-American Boys Chorus will also do workshops. “

The price tag for the facility, which is owned by the Alma School District, was $10 million. Replacement costs today would be $18 million to $20 million. In the early days Schlabaugh, who was the Alma Performing Arts Foundation’s only employee, spent much of the time asking for personal and corporate donations. Today, she has a $500,000 budget, due to the enormous support in Alma and the surrounding areas, and from grants, such as those from the Arkansas Arts Council. The 100 volunteers are also a critical part of the operation.

Last year, 145 Alma students enrolled in drama. The stage craft class drew in approximately 20 others. This fall the school is adding two more drama classes to the three now in place. They are also adding a tap dance class, which is a rare offering in most public high schools.

What she’s most proud of, however, is not what takes place on stage. Her triumph takes place each year in May when she hands out scholarships. Since its inception, the Foundation has given out more than $400,000 to fund higher education for Alma students.

“All the money that we use, after the bills are paid, is used for scholarships,” Schlabaugh said. “I don’t care what a student wants to do.  If they want to be an engineer, great. If they want to be a teacher, that’s wonderful. If they want to study the arts, fantastic. We really just want them to have a chance to go to college.”

There are other victories as well. Schlabaugh talks about a student transformed by the program.

“He was a problem kid, and he found drama,” Schlabaugh said, her voice breaking. “We did a lot of work with him. He learned how to get away from his anger. … He graduated and now he’s defending your country in the U.S. Army. When he comes home, he comes to see me, and he’ll say, ‘drama saved me.’”

And then there’s the young Autistic student, who was so baffled by sound he could barely step inside the PAC.

“Every day we brought this little boy over,” Schlabaugh said. “We’d move him closer and closer, little by little, from the lobby to the theater. We brought in a little musical and brought him to the back row. … There was no dialogue; it started with music. He loved it. We found out music was the key with dealing with this young man. What a tool for the teachers! He attends productions now, always on the back row, but he’s there.”

Those are the stories not played out on stage, and yet they are the most important ones. It is what keeps Schlabaugh in the game, even on the days when a troupe pulls four tractor-trailer rigs up to the roll-in zone at 6 a.m., performs at 8 p.m., and doesn’t leave the center until after midnight. Schlabaugh goes home exhausted but a little bit exhilarated.

Who thought any of this could happen in a town of 5,000?

Well, for starters, Teresa Schlabaugh did.