Headquartered at a former elementary school in Tempe, just blocks from the campus of Arizona State University, Childsplay is a venerable, nearly 50-year-old youth theatre company that offers educational programs there and has staged seasons of mainstage performances for young people and families at a variety of local venues, including in residence at the Herberger Theater Center in downtown Phoenix, as well as at Phoenix College and Tempe Center for the Arts. We caught up recently with managing director Steve Martin (no, not that Steve Martin, obviously) over email.
Who founded Childsplay, when, and why?
Childsplay was founded in 1977 by David Saar and a group of fellow students following a graduate school project at Arizona State University. The project took short, less-than-one-hour plays into schools throughout the Valley of the Sun. Eventually Childsplay settled into a home in Tempe, and continues today as an ensemble-based organization that values all voices in the creation of its arts and education programs.
Tell us a little more about yourself and your background.
I graduated from the University of Toledo during a boom period where many of my fellow students went on to professional and academic theatre careers. Following my graduation, I took a short-term gig in Chicago where I had the privilege of working with many folks who defined the Chicago theatre movement. In 1985, I moved to Atlanta with my husband and went to work for the Alliance Theatre, moving from telemarketing to development and eventually to assistant managing director. Working at the Alliance and other LORT theatres at the time had a huge educational and professional impact. Following a short stint at Virginia Stage Company in Norfolk, I landed at Childsplay. 24 years later, I am proud of how the company has grown to reach over 100,000 people each year while staying true to its mission to encourage imagination and wonder in the young people we serve.
What sets your theatre apart from others in your region?
Childsplay is focused on serving young people. Along with producing plays in residence at the Herberger Theater Center, we also tour productions to schools, libraries, and community centers throughout Arizona. We also mount a national tour that will run 8 to 20 weeks per year, giving performances throughout the country. Childsplay also has a robust arts education program that includes a drama academy for children ages 3 to 18; professional development programs for teachers integrating drama strategies into classroom instruction; and teaching artist residencies in dozens of schools throughout the school year. Childsplay’s robust arts education and integration programs have resulted in scientific research on their effectiveness being published in 14 U.S. education journals.
Tell us about your favorite theatre institution other than your own, and why you admire it.
Honolulu Theatre for Youth is so inspiring in their commitment to the unique cultures of the Islands and their dedication to the ensemble method. They walk the walk, celebrating and honoring their community through their creative process.
How do you pick the plays you put on your stage?
Childsplay works to have a balance of plays that appeal to a wide range of age groups while making sure we’re putting our unique stamp on each production. Adaptations of children’s literature, ensemble devised work, and new approaches to the existing canon lead our approach.
What’s your annual budget, and how many artists do you employ each season?
Budget: $4 million. Artists: 55 theatre artists, 100 teaching artists.
How is your theatre rising to meet the challenges of the moment, including but not limited to the continuing aftermath of Covid lockdowns, widespread demands for a fairer industry, and the current funding climate?
While school audiences have returned to the theatre in near record numbers, public audiences have become fickler, choosing “event”-type programming while abandoning challenging work. Couple that with our commitment to raising wages and work standards, our financial position continues to be a bit precarious. I keep reminding our ensemble and funders that an increase in the number of $15 student tickets sold will never provide the resources necessary to sustain our mission. And now with DOGE attacking social safety nets, we find our funding community focusing on “essential services” and eliminating arts funding as “want to have” as opposed to “need to have.” This hearkens back to the Great Recession, when many arts organizations just closed shop. To be honest, the stress level on our organization is often debilitating and exhausting.
What show are you working on now? Anything else in your season that you’re especially looking forward to?
Childsplay is currently in the final design stage for our first production in September, the world premiere of JSonic and The Unknown by Idris Goodwin. The play is a part of the National BIPOC Superheroes project. We’re also excited about a new musical adaptation of The Miraculous Journey of Edward Tulane that will close out our 2025-26 season next April. Unfortunately, JSonic was the production that had its NEA grant offer withdrawn; in addition, Edward Tulane was our recently submitted NEA application this past April.
Strangest or funniest thing you’ve ever seen (or put) on a stage?
I was sitting in the house for a tech rehearsal for The Lonesome West by Martin McDonagh at Virginia Stage. Things spiraled out of control when one actor decided to smash a vase against his forehead, causing a large gash. The stage manager crashed through a piece of scenery in a rush to provide aid, and the assistant stage manager fell off the platform trying to help the stage manager. Needless to say, we had three workers’ comp claims and rehearsal was delayed several hours as we took the three of them to the emergency room!
What are you doing when you’re not doing theatre?
I spend most of my off time with friends watching sports, drinking fun new beers, and taking care of my four animals—two cats and two dogs. I also recently hiked down to Havasupai Falls (exhausting, to say the least, but exhilarating to experience) and multi-day rafting trips in the Moab, Utah, Green/Yampa River area.
What does theatre—not just your theatre, but the American or world theatre—look like in, say, 20 years?
This is a challenging question as technology continues to make huge advancements in providing entertainment options. I think virtual reality will begin to play a bigger role, with folks paying licensing fees to stream theatre productions through their VR headsets. As we perform for mostly family and students, I believe more and more education specialists will embrace the arts as a means to an end in social, emotional, and academic development with our youth.
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