Greenville College and Saving Theatre

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Dr. Rich Beans is an Associate Professor of Psychology at Greenville College in Illinois, specializing in Organizational Psychology and Counseling Psychology. However, one of his most important roles was in protecting theatre on campus, after the Theatre major was discontinued.

Though Beans had pulled away from acting for over two decades while focusing on his education and family, his renewed involvement in community theatre reminded him of the importance of live theatre, as both a form of artistry and a vehicle for psychological growth.

Beans had enjoyed theatre while he was an undergraduate student, but becoming a busy graduate student and an even busier parent left little time to indulge his hobbies. When his children developed their own interest in the theatre, he encouraged their ambitions and interests, and eventually he began auditioning with them. When his son went to Abilene Christian University to major in theatre, he was asked to be the guest speaker at an after show “Talk Back” for the Pulitzer Prize winning musical Next to Normal, which explores the difficulties of a family dealing with the mother’s bipolar disorder; as a psychologist, he was well prepared to lead the discussion. He could not have imagined how that night would change his life and campus life at Greenville College.

Avocations and Vocations Come Together

When auditions were announced for Next to Normal in Springfield, Beans wanted his own opportunity to be in the show. With an example of life imitating art, perhaps, he was cast as the mother’s doctor. Like before, Beans was tasked with moderating “Talk Backs” with audience members, after select performances, to explore facets of mental illness. Incidentally, he also incorporated much of his preparation for his role into his teaching of Introduction to Counseling that semester.

The following year he performed at Greenville College in the courtroom drama, 12 Angry [Men] Jurors as Juror #8. As he was teaching Social Psychology at that time, he drew on many aspects of that course to explore the powerful social influences at work in the plot. He led yet another “Talk Back” in which he facilitated dialogues on class and race as well as discrimination and prejudice. Adults were not the only intended audience either; the cast offered a special performance of 12 Angry Jurors for local junior high students, helping them dissect its complicated topics, which were particularly relevant to the students at the time, considering Greenville’s close proximity to Ferguson, MO.

While it’s clear that audience members are getting far more than an ordinary theatre experience from the roles he plays and from these “Talk Backs,” Beans notes that he benefits from every encounter as well, remaining invigorated in his teaching and his performing. The immediacy of live theatre, in particular, requires something not only from the performers, but from the audience as well, as it has the power to affect people at a profound level. He also explains how satisfying it is, both personally and professionally, “when avocations and vocations come together.”

Beans is also interested in working with his students to research the role of theatre in changing attitudes, especially the way live theatre engages people in ways that other mediums cannot. His theatre work, even that which happens off campus, all serves as what Beans calls “an adjunct to my instruction.” Because the benefit to students is clear, Beans seeks out opportunities to combine theatre and psychology, exploring these intersections and working on these collaborations, to leverage this connection to enhance learning.

The Theatre Crisis

When long-time theatre professor Dr. Cecilia Ulmer retired at Greenville College, there was no plan to replace her, and after a series of one-year replacements, the college made the difficult decision to discontinue the major. Both Beans and Jes Adam had been involved with The Factory Theatre as students, and they both wanted to do whatever they could to protect Ulmer’s legacy and support theatre on campus.

Adam explains, “Knowing the practical psychological, social, and professional benefits provided to our students through the Factory Theatre program made it impossible to stand aside, letting the theatre program slip away.” He, like Beans, also realized the theatre was providing those same experiences to audiences beyond just the campus community. As such, he knew the benefits offered far outweighed the costs of energy and time. Adam states, “We had to save the program and retool it to succeed in the current environment and for years to come.”

Adam, now the Executive and Artistic Director of The Factory Theatre at Greenville College, was instrumental in maintaining the Factory Theatre, according to Beans. During the first year of the theatre’s transition to a co-curricular-rather than academic- enterprise, Adam was not a faculty member or employee. He had been engaged by a grassroots student group to help save theatre on campus; thus, Beans, and other faculty members with an interest in the theatre, were asked to serve as faculty monitors, essentially legal representatives of the college.

Adam explains that without faculty involvement and support at that crucial juncture, the student efforts to save the theatre would have ultimately failed, as there would have been no way to restart the program without a time commitment from already busy faculty members. “Coming from his diverse background in performance,” Adam explains, “Rich not only gave his time to advise the newly created Theatre Club, but played the role of encourager, giving a louder voice to the grassroots movement. Rich understands the wide range of opportunities that theatre provides. Without Rich, the theatre would be locked and left unused.”

“I do not give myself credit for doing anything special during this time,” Beans insists, “other than coming to rehearsals as an observer, but I do believe that the support of faculty during that time was critical to the ongoing success of this program.” He knows it was crucial that faculty stepped forward to support The Factory Theatre, or the administration may have assumed this was no longer a viable campus enterprise.

Beans adds that faculty involvement was only one piece to this puzzle. He believes the Stu
dent Development staff and the students themselves were vital to saving theatre on campus. Of course, without administrative efforts to provide structure and support, theatre could not have been protected. He credits, in particular, Dr. Norm Hall-Vice President of Student Development at the time and now the Sr. Advisor to the President-as well as Provost Edwin Estevez, and President Ivan Filby. Ultimately, Beans explains, there were many “who worked together in a spirit of friendship and comity during stressful times” to save theatre on the Greenville College campus.

There was “no one savior” of theatre, Beans explains. Instead, they banded togehter–as often happens in close-knit, liberal arts communities–and they decided how to work together with administration, supportive faculty and staff, and interested students to ensure theatre would contineu on campus. Utlimately, while smaller campuses may struggle at times to keep the arts alive when budget-cuts or other challenges arise, these same campuses often find champions willing to devote time and energy to ensuring that students lose nothing. As Beans explains it, “We find a way.”

Theatre as Reflection of Reality

Dr. Susan Hughey-Rasler, Professor of Psychology and Chair of the Department of Psychology at Greenville College, praises her colleague’s excellence in his teaching as well as his ability to integrate learning and faith in ways that inspire his students. She adds, “His love of theater and involvement in local as well as regional productions, The Fantasticks, Twelve Angry Jurors, and Next to Normal, provide character’s and themes that he uses to illustrate psychological concepts to his students.” She praises his “Talk Backs” for enriching student learning, and she recognizes that his own character work Spotlight continued and theatre experiences have enhanced his teaching of Social Psychology, Counseling, and Developmental Psychology.

Another colleague who sees a clear overlap between Beans’s academic work and his background in theatre is Carly Shank, the Director of Audience Development & Communication at Sangamon Auditorium for The University of Illinois at Springfield. A well-respected director in the Springfield area, Shank believes their work together in Next to Normal is a “great example of blending Rich’s professional life with his love of theatre.”As a cast member, Beans brought insight to mental health issues, Shank states, offering a professional perspective not just on his own character but to discussions of other characters in the play and their relationships. “Arts and the social sciences go together for a reason,” she adds, in that both “look at the condition of being human.” She shares as well how valuable he is to his peers, not just as a fellow performer but as a supportive and engaged listener. Having spent several years as a campus counselor, Beans often draws on those experiences. “Once a counselor, always a counselor,” he states.

Similarly, colleague Jes Adam states, “He understands the minds of real life people and applies that knowledge to character development for the stage.” He praises Beans for bringing “peaceful productivity” to every rehearsal and performance and offering “a deep understanding for the inner-workings of the human mind and experience.” Beans also pulls from a well of knowledge to develop a character, Adam explains, while sharing those skills with student actors and using his experience and his intellect to help student actors fine-tune the reflection of reality that theatre allows.

Finally, Adam explains that he cannot praise Beans enough for what he has done for theatre on campus. He notes, “His talent is unmatched. His calming influence brings peace to each room he enters. His encouragement sets fears to rest. His wisdom guides us all to make better choices. His dedication inspires all he meets.”

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About the Author
Rachel James Clevenger earned her B.A. and M.Ed. degrees from Mississippi College. After finishing her PhD in Composition and Rhetoric, she taught and served as the University Writing Center Director for Birmingham Southern College and University of Alabama at Birmingham. Most recently, she taught Business Communications at Samford University.