
Photo by Aly Morrisey
At its core, live theater is about (1) the escape and disconnect from daily life and the stress of our external environment and (2) the immersion into a new experience that requires our full attention. While these concepts are not unique to live theater (watching a movie or television program, listening to music, viewing art, reading literature), the immediacy and experience of being in the presence of live performers offers a specific set of health benefits — both mental and physical — that are not accessible in other media (certainly not in the digital age of streaming, email and social media) Nor will AI ever replace live actors.
A lighthearted romp that prompts a spontaneous eruption of laughter is therapeutic. The Mayo Clinic says that a good laugh can go a long way. Laughter makes you take in more oxygen, which stimulates the lungs as well as your heart. Positive emotions elicited from laughter and similar sources also trigger the brain to release what are known as happy chemicals: dopamine, serotonin, oxytocin, and endorphins. The immediacy of live theater is intended to transport us to another world and create a unique relationship between performers on the stage and those in the audience. A seething drama can pull you into a conflict, or an intellectual exercise can challenge us to consider (or reconsider) held beliefs. We in the audience are not merely observers; we are participants in the creative process, as performers need us as much as need them.
“Attending a live performance creates a special bond between the performers and the audience,” says Lakeville and New York City resident Astrid Baumgardner, JD. She’s the author of "Creative Success Now: How Creatives Can Thrive in the 21st Century," a lecturer at Yale University’s School of Music, and a TEDx 2020 speaker, Cracking the Code on Creativity. “My students at Yale — all professional musicians — feel inspired by the presence of the audience. This, in turn, fuels their desire to make great art and to provide the audience with the transformative power of live, communal performance, to elevate us from our day-to-day lives, to inspire us with the beauty and power of music and to comfort us in challenging times.”
In his book "All the Beauty in the World: The Metropolitan Museum of Art and Me," author Patrick Bringley describes his transition from a publishing job to a becoming a guard at the Met, following the death of his brother, as a coping mechanism. Unfettered by other responsibilities, he spent his days steeped in works of art, both famous and obscure. He considered in a way not possible when one is rushing through the museum.
Much has been written about the use of art and drama therapy in treating people with anxiety disorders. Yet surprisingly little exists about the therapeutic value of attending live theater as a member of the audience.
“When we’re absorbed in a situation that is created on the stage by talented performers, we can become a part of it, sometimes forgetting time and our surroundings, and losing ourselves in the creative process. This state has been referred to as ‘flow.’ It is a feeling that allows us to focus on the present moment and moves us away from current anxieties in our lives. The experience can expand our own world, facilitate empathy, take us out of our habitual way of thinking, and allow us to discover new ideas and sometimes new ways of coping.
All of these developments are expressions of a creative process that allows us to shift from current anxieties into areas that bring us to a more hopeful place,” writes clinical psychologist Sophia Richman, Ph.D., author of "Mended by the Muse: Creative Transformations of Trauma."
Richman adds: “The experience of good theater is also one that is shared with others and can provide a sense of community. Often when we go to the theater with friends, we have an opportunity to discuss our experiences and reactions to the show. This can expand our perspective and encourage us to look at things in a new way. Discovery, curiosity, surprise are the hallmarks of the creative process. As we watch this taking place on the stage, we experience our own version of the creative process within ourselves.”
Thank you all for your patronage of The Sharon Playhouse’s record-breaking 2023 season. And stay tuned for announcements about upcoming productions and the 2024 season. For more information — and to make a donation to help us keep you mentally and physically fit healthy — please go to www.sharonplayhouse.org.
Lee A. Davies is a Member of the Board of Directors of The Sharon Playhouse and a resident of Cornwall Bridge
Next Part: Eight Health Benefits of Attending Live Theater.
Join us for a day of celebration of Millerton and local nonprofits and businesses, with festive family fun, food, and activities for all. Nonprofits will showcase their missions in front of the Methodist Church and the Millerton Inn, just beyond the Farmer’s Market, while local businesses will open their doors along Main Street. Enjoy clowns, face painting and more for the kids, along with music and entertainment for the whole family. Whether you’re a local or just visiting, the Fair will have something for every everyone!
If you have any questions, please contact Nichole Reyes at nichole@milieuconsultingny.com.
To escape the cruelties of war, Katya finds solace in her imagination in “Sunflower Field”.
‘I can sum up the last year in three words: fear, love, hope,” said Oleksandr Hranyk, a Ukrainian school director in Kharkiv, in a February 2023 interview with the Associated Press. Fast forward to 2025, and not much has changed in his homeland. Even young children in Ukraine are echoing these same sentiments, as illustrated in two short films screened at The Moviehouse in Millerton on April 5, “Once Upon a Time in Ukraine” and “Sunflower Field.”
“Sunflower Field,” an animated short from Ukrainian filmmaker Polina Buchak, begins with a young girl, Katya, who embroiders as her world becomes unstitched with the progression of the war. To cope, Katya retreats into a vivid fantasy world, shielding herself from the brutal realities surrounding her life, all while desperately wanting her family to remain intact as she awaits a phone call from her father, one that may never come.
“Once Upon a Time in Ukraine,” a short documentary from directors Tetiana Khodakivska, Betsy West and Richard Blanshard, shares the stories of four children navigating war. Ivanna, a young girl in the Kherson region, reads from her a book as drawings of vegetables, which she has thoughtfully named, animatedly come to life on. As the film proceeds, Ivanna’s animated vegetables eventually go into defense mode against their Russian attackers.
Still from “Once Upon a Time in Ukraine” depicting a coffin designed for a child being lowered into the ground.Krista A. Briggs
Young Rusland from Moschun tells his story with an emotion not usually seen in school-age boys. He resides in a temporary home not far from his house, which was destroyed in a bombing. He speaks of time in the cellar, keeping busy canning food while his neighborhood was under attack. He misses his cat, Tima, another casualty of the conflict, and stays close to his dog throughout his time on camera while taking viewers on a tour of his neighbor’s former home, now a ruin from the devastation of the area. As Ruslan sadly observes, “It used to be a beauty.”
In Dnipro, eight year old Myroslava, likely a budding gymnast, is exhibiting her limberness. She speaks of formerly smooth roads in her hometown of Mariupol, which eventually caught fire. She explains, “Ukraine and Russia used to be friends until Russia got crazy.” Myroslava’s father has, in fact, perished in the conflict, but she remains in denial – or, as her mother explains, “She has gone into herself.” Myroslava finds comfort from multiple hugs from her mother, but continues to maintain her father is alive. “He will return,” she says. “He’s coming back.”
In Bucha, Maksym, 10, relates stories of explosions and bombings, as well as close encounters with missiles, which forced him and his family to evacuate. As with Myroslava, Maksym finds solace in his family, particularly his older brother. He can’t sleep in the dark and stays close to his favorite toy – a present from his mother. A pianist and a dancer, Maksym says, “I dream of peace so they don’t have to take up arms.”
Children are resilient, but the young people of Ukraine are clearly being tested to their emotional limits. When the internet cooperates, the children of war-torn Ukraine have, for the most part, been receiving educational instruction online for the past five years and despite their circumstances, are academically persevering with a strong academic focus on STEM and the arts.
But education, pets, toys and loving families are for those children who have not been killed since the war began. More than 2,000 young people have been injured or killed as a result of the conflict. Observed filmmaker Buchak, “We’re losing such a young generation now.”
The number of children who suffer from mental health challenges is much higher. Untold numbers of children are in need of psychological intervention. All of Ukraine’s children need to know the war is coming to an end, but until that day, they remain awake in a nightmare.
Anastasia Rab of Razom for Ukraine, a nonprofit advocacy organization, fields questions from the audience alongside filmmaker Polina Buchak. Anastasia and Polina are both Ukrainian natives now living and working in the United States.Krista A. Briggs
After the films, a Q&A featured Buchak, Anastasia Rab, chief advancement officer at the nonprofit, Razom for Ukraine, and Joshua Zeman, whose vocal talents were featured in the documentary, “Cropsey.”
“What’s going on in Ukraine is a travesty and truly undemocratic,” said Zeman, who reminded the audience that their participation in viewing these films is a form of protest against the Russian invasion, most appropriate on a day marked by protests by the Hands Off movement in support of American democracy.
Rab, whose organization supports a physically, politically and economically secure Ukraine, noted the trauma in young Ukrainians whose existence and identities are under attack. “This war is about erasing Ukraine,” said Rab, who pointed out another atrocity of war – the kidnapping, trafficking and forced illegal adoptions of young Ukrainians by Russian forces. In some instances, the young victims are “deprogrammed” by Russian forces and forced to fight against their own country – a war crime.
Despite the atrocities of war and its terrible consequences, Polina Buchak, while grounded firmly in the awful realities of the ongoing battle, remained optimistic for change. “My hope is for a peaceful sky over Ukraine without the fear of being invaded.”
Sam Tanenhaus, when speaking about William F. Buckley, Jr., said he was drawn to the man by the size of his personality, generosity and great temperament. That observation was among the reasons that led Tanenhaus to spend nearly 20 years working on his book, “Buckley: The Life and Revolution That Changed America,” which is due out in June. Buckley and his family had deep roots in Sharon, living in the house called Great Elm on South Main Street, which was built in 1812 and bought by Buckley’s father in 1923.
The author will give a talk on “The Buckleys of Sharon” at the Sharon Historical Society on Saturday, April 12, at 11 a.m. following the group’s annual meeting. The book has details on the family’s life in Sharon, which will, no doubt, be of interest to local residents.
Buckley, who came from a family of 10 children, including his brother Sen. James Buckley and his sister Priscilla Buckley, who were familiar faces in Sharon during their lifetimes, was a well-known conservative writer and political commentator.
“He was a true intellectual,” Tanenhaus said during a recent phone interview. “He would even talk to his dogs in that way.”
Buckley’s name was synonymous with the conservative movement back in the middle of the last century. He was the founder of the National Review magazine in 1955 and host of the public affairs television program, “Firing Line” that ran from 1966 to 1999. The key aspect of Buckley’s conservatism was a push against the tide of liberalism, said Tanenhaus. “It was more a negative than positive movement. He lived as a conservative, being highly patriotic, family-oriented and practicing civility and order.”
Tanenhaus said Bill Buckley was the first political writer/thinker to understand political controversy was really cultural controversy. When he was waging a cultural war, the stakes were about such things as the communists winning and Jim Crow.”
Tanenhaus relates his subject’s relationship with a variety of individuals, including the explosive encounters he had with writer Gore Vidal. “There are indications he had a large capacity and never held a grudge. He didn’t disparage Vidal as a writer and didn’t say he was a bad person. Nowadays that approach is really uncommon.”
Buckley was always interested in other people’s lives, including such figures as Huey Newton of the Black Panthers and Jesse Jackson, of whom he was very fond.
Tanenhaus spends time in the book delving into Buckley’s personality, noting he could talk with anyone and was always interested in those he met. “He wanted to maintain friendships. He never wanted politics to supersede relationships. He was just such an exciting person to be with.”
What he couldn’t tolerate, said Tanenhaus, was being bored. He enjoyed being in the company of others and was a great listener; not so great a talker. He was a great publicist and promoter of ideas and arguments.
Often asked what Buckley would think of today’s political scene, Tanenhaus said he really couldn’t say, but he said he did have lots to say about Donald Trump back in the 1990s. “He might say different things now. He never did have him on ‘Firing Line.’” They had one friend in common; attorney Roy Cohn.
Tanenhaus revealed his political leanings do not mirror those of Buckley’s, but took on the project to see how the world thinks of him.