Female Fusion Spotlight on Debbie Devine


Nancy Dobbs Owen

Female Fusion -- At the intersection of art and action

A column highlighting and exploring the careers of women creating art and changing the world, one community at a time.

Debbie Devine
Artistic Director of 24th Street Theatre, Director of Drama at the Colburn School and a director for artistic programing at the LA Philharmonic

Debbie Devine

Debbie Devine Directing Hansel and Gretel, Bluegrass with Caleb Foote (Hansel) Angela Giarratana (Gretel)

Debbie Devine has a great laugh. Deep throated, full and infectious, it invites you to actively take part in the conversation. When you do, what a joy ride you will experience! The discussion ricochets between theater, music, education, and human rights - illuminating all of the places where they intersect in a gorgeous kaleidoscope of life and one woman's astonishing career.

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Debbie Devine. Photo courtesy of 24th Street Theatre

Ms. Devine is a director, an educator, a writer and an advocate. She moves seamlessly from one to the other, often occupying several spaces at once. She is the founder and artistic director of 24th Street Theatre, whose mission statement reads, “To engage, educate, and provoke our diverse community with excellent theatre and arts education.” 24th Street Theatre creates gorgeous work that is family inclusive, but in no way simplified or generic. The work is multi-layered, innovative in its content and vision and without fail intensely moving. The list of awards and accolades is much longer than this column can accommodate. In addition to what would be, for most people, more than full time job, she is the Chair of Drama for the Colburn School (both dance and music) and an artistic director for the LA Philharmonic, where she creates content and programs that bring the music and process of creating music to life for young audiences.

When I asked Ms. Devine how she found her calling she recounted that, like many people in the theater community, she was a painfully shy kid, someone absolutely unable to communicate. Her mother was concerned and as a last resort put her in a summer theater program. It worked. She found her life's passion, saying that “it was such an incredible experience for me to understand how the voice is used...how making believe and then actually being able to believe what is make believe can change lives.” She began working professionally as an actress while still in high school and started her teaching career while still quite young.

It was as a high school drama teacher that she found her path. She was working in a school for deeply troubled kids when Jack Black walked into her room. Ms. Devine's relationship with this incredible actor, singer, musician and comedian is well documented. He has, as in this LA Times quote, often credited her with saving him. “I don't know what I would have done if I hadn't met Deb Devine, who inspired me and for the first time gave me a reason to really love going to school. [She] opened my mind and soul to an exciting world of literature and communication.... All of a sudden I knew all these new things.” She was able to get past his rough exterior and helped him uncover the brilliance that was hidden inside. They have stayed close over the years, even sharing a Rose Bowl float in 2015 in honor of their joint initiative, Thank A Million Teachers, which does just that.

It is easy to go down the celebrity worm hole and focus on this ongoing and charming partnership, but Ms. Devine has saved, and I don't use that word lightly, many many people over the years. After she broke through with Mr. Black she said, “I started to look around and I realized that this is happening with all of these kids and I started to realize that this art form [theater], it's magic.” In 1997 she founded 24th Street Theatre with her partner Jay McAdams. It has grown into an internationally recognized organization dedicated to blending professional productions presented by world-class artists with quality arts education. In addition to these critically acclaimed shows, many of which debut here in LA and then tour nationally and internationally, there are arts education programs, community outreach programs and continuing arts education and professional development programs for school teachers.

We spoke in depth about the theater's production of Mike Kenny's Walking the Tightrope, which premiered 24th Street in 2012 and went on to win numerous awards, including a best direction award from LA Weekly for Ms. Devine and Best Production from the LA Drama Critics Circle. It is currently touring the country. We spoke of the power and beauty of the piece, which is the tale of a grandfather who is not quite able to bring himself to tell his 5 year-old granddaughter that Grandma is gone and in the process goes about building a beautiful new relationship with her. The play is incredibly moving, in a truly visceral way. Ms. Devine explained the process of approaching the story not as a child's tale but rather as the grandfather's story. The grandfather is suicidal and believes he cannot go on, but in trying to explain his wife's absence to this child, he finds a way to continue. That is really the mission of the theater and the method to building family friendly productions; tell a simple story in a truthful way that has meaning and sophistication.

One of the programs at the theater which speaks directly to the community at this moment in time is called Enter Stage Right. A part of the Field Trip series, it is a 90 minute show about the magic of theater. The show culminates in a scene set in 1870 at a train depot at which a Mexican mother and her child are stopped from getting onto the train by a racist Irishman. Many issues are explored through music and improvisational acting throughout the show. Ultimately you find a relatable dynamic for modern audiences between the mother and child; the child can read and is able to navigate the situation by standing up for their rights. Literacy and standing up to injustice are illustrated in a very familiar way to the 10,000 students a year see this show, as many of these children are in a similar situation with their own parents, serving as translators for them in Los Angeles. Teaching artists go to the children's classes before and after the field trip to share and explore why the Irishman is so cruel, how to speak truth in intimidating circumstances and how history can teach us about the present.

24th Street Theatre occupies an amazing old building in the predominantly Latino neighborhood near USC. The theater is an old carriage house originally built in 1928. This is truly a community space; always open so that people can come in for a tour, a cup of tea or simply companionship. In addition to the Field Trip programs there is an after school program, After ‘Cool which brings teenagers into the fold and helps them develop into ambassadors and translators to help with bilingual programing. There are additional leadership programs and The Teatro del Pueblo series which brings the parents of all of those kids into the theater and has them create a play. This serves to further strengthen ties to the community and increases the number of Spanish speaking audience members exposed to live theater. Finally, there is a professional development program for teachers. They basically get to experience a three hour acting class with both a live musician and film/technical director in order to create stories. Part of this process is curriculum based and connected to the core standards so that they can take what they learn back to their students. The second and arguably more important piece reminds teachers why they became teachers in the first place. The process of creating art reconnects teachers, these teachers who get so caught up in the day to day bureaucracy of the school system, to their hearts and reinvigorates them as they re-enter the classroom. This is a theater that is as much about life as it is art.

How, then, does her work at 24th Street compare to her duties at both the Colburn School and the LA Philharmonic? She works with composers, musicians and conductors, at both venues and with symphonies around the country, teaching workshops on how to communicate about music with people. Many musicians don't naturally talk about their art and Ms. Devine helps them bridge the gap between their solo work and the people that they work with and for. She points out that a musician can practice solo for six or eight hours at a time and never have to speak to another soul! Speaking to other artists, audience, members and donors can take practice and the workshops facilitate that. The second part of her work in these venues, which is similar to her work with 24th Street, involves building, as a director and co-writer, original theatrical pieces which support library cuts of music that the Philharmonic is playing. She directs and co-writes a theatrical story which supports the music. The current piece that she is working on with Joanne Pierce Martin, the head keyboardist at the Philharmonic, is called The Art of the Piano. The piece is about the relationship between the pianist, the piano tuner and the piano. This is one of three pieces this year. She does similar work at Colburn, both coaching musicians and creating stories.

When I asked jokingly asked her about hobbies or outside interests, knowing that she couldn't possibly have time for them, she laughed that awesome laugh and agreed that maybe she needs an outlet, but that she loves what she does and that is everything.

Ms. Devine's current show is Hansel and Gretel, Bluegrass, currently running through December 11 (with a possible extension) at 24th Street Theatre. It has received rave reviews. The LA Times says, “ Masterful staging by 24th Street co-founder Debbie Devine situates the fine performances within a stunning visual tableau. ….The play's message about interdependence may seem simple enough, but this is no kiddie show. The siblings' trials are a rite of passage to adulthood, one with intentional implicit relevance to today's headlines about desperate parents in troubled regions trying to send their children out of harm's way.” It appears to be exactly what is needed in these dangerous and uncharted times.

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