GALLERY BAT BOY: THE MUSICAL Video Images NO VIDEO AVAILABLE BAT BOY: THE MUSICAL Add a Title Keythe Farley, Brian Flemming, and Laurence O'Keefe Keythe Farley Brian Flemming Laurence O'Keefe BAT BOY: THE MUSICAL BAT BOY: THE MUSICAL Keythe Farley Brian Flemming Laurence O'Keefe BAT BOY: THE MUSICAL BAT BOY: THE MUSICAL

OLIVER TWIST GALLERY OLIVER TWIST Video Images Jason discusses OLIVER TWIST with the Vermont Stage Company's Artistic Director, Mark Nash. Using Charles Dickens' original words, a handful of tunes composed by local musician David Symons, and a chameleon ensemble of actors featuring some of Vermont's finest performers, Neil Bartlett's powerful new version of Oliver Twist brings the dark underbelly of nineteenth-century London back to bold theatrical life. The unforgettable characters - Fagin, Nancy, Bill Sikes, and the Artful Dodger - inhabit a world filled with images of danger and fear, innocence and hope; a world seen through the eyes of an astonished child.

GALLERY HEDWIG AND THE ANGRY INCH Video Images Watch HEDWIG AND THE ANGRY INCH Add a Title John Cameron Mitchell and Stephen Trask Classics invite interpretation, and this Hedwig is shaped by a new generation of young artists tearing down the walls of traditional gender strictures. Our rehearsals have been an inquiry into how this multifaceted role can be embodied by a diverse ensemble and how this story continues to resonate more than twenty years after its inception. Whatever your journey, I thank you for being here tonight and wish you an exciting theatrical ride! - Jason Jacob, November 2021 Program Note John Cameron Mitchell Stephen Trask HEDWIG AND THE ANGRY INCH HEDWIG AND THE ANGRY INCH Classics invite interpretation, and this Hedwig is shaped by a new generation of young artists tearing down the walls of traditional gender strictures. Our rehearsals have been an inquiry into how this multifaceted role can be embodied by a diverse ensemble and how this story continues to resonate more than twenty years after its inception. Whatever your journey, I thank you for being here tonight and wish you an exciting theatrical ride! - Jason Jacob, November 2021 Program Note John Cameron Mitchell Stephen Trask HEDWIG AND THE ANGRY INCH HEDWIG AND THE ANGRY INCH Classics invite interpretation, and this Hedwig is shaped by a new generation of young artists tearing down the walls of traditional gender strictures. Our rehearsals have been an inquiry into how this multifaceted role can be embodied by a diverse ensemble and how this story continues to resonate more than twenty years after its inception. Whatever your journey, I thank you for being here tonight and wish you an exciting theatrical ride! - Jason Jacob, November 2021 Program Note

GALLERY UNCLE TOM'S CABIN Video Images NO VIDEO AVAILABLE UNCLE TOM'S CABIN Add a Title Jason Jacobs, Tome' Cousin, and Douglas Levine. Cousin and Jacobs’s aim is to rescue the work from all its accumulated baggage ...and to present Stowe’s — and Aiken’s — story center-stage. This they do, thanks to a knock-out student cast, without the slightest hint of irony or contemporary shading" Tome and I began working on our adaptation of George Aiken's play -- itself adapted from Harriet Beecher Stowe's novel -- as part of the Lincoln Center Directors Lab. We felt the play's history had become misunderstood, and the term "Uncle Tom" had become an epithet that reduced the original character to a stereotype of acquiescence and a betrayer of his people. Our adaptation aims to restore Uncle Tom's name and to re-envsion his story as one of self-assertion, faith, and human dignity. Tomé Cousin Jason Jacobs Douglas Levine UNCLE TOM'S CABIN UNCLE TOM'S CABIN Tome and I began working on our adaptation of George Aiken's play -- itself adapted from Harriet Beecher Stowe's novel -- as part of the Lincoln Center Directors Lab. We felt the play's history had become misunderstood, and the term "Uncle Tom" had become an epithet that reduced the original character to a stereotype of acquiescence and a betrayer of his people. Our adaptation aims to restore Uncle Tom's name and to re-envsion his story as one of self-assertion, faith, and human dignity. Cousin and Jacobs’s aim is to rescue the work from all its accumulated baggage ...and to present Stowe’s — and Aiken’s — story center-stage. This they do, thanks to a knock-out student cast, without the slightest hint of irony or contemporary shading" Pittsburgh City Paper Tomé Cousin Jason Jacobs Douglas Levine UNCLE TOM'S CABIN UNCLE TOM'S CABIN Tome and I began working on our adaptation of George Aiken's play -- itself adapted from Harriet Beecher Stowe's novel -- as part of the Lincoln Center Directors Lab. We felt the play's history had become misunderstood, and the term "Uncle Tom" had become an epithet that reduced the original character to a stereotype of acquiescence and a betrayer of his people. Our adaptation aims to restore Uncle Tom's name and to re-envsion his story as one of self-assertion, faith, and human dignity. Cousin and Jacobs’s aim is to rescue the work from all its accumulated baggage ...and to present Stowe’s — and Aiken’s — story center-stage. This they do, thanks to a knock-out student cast, without the slightest hint of irony or contemporary shading" Pittsburgh City Paper

I, CLAUDIUS LIVE GALLERY I, CLAUDIUS LIVE Video Images NO VIDEO AVAILABLE

A Story-Telling Exercise: the kids are improvising a story, each picking up the details from the previous person. It was shot and edited by Rob Tate.

JACQUELINE KENNEDY-ONASSIS 2020 HIGH SCHOOL COMMENCEMENT SPEECH

PUBLICATIONS MY MISSION in teaching is to stimulate, challenge, and support students to realize their potential as artists, citizens, and humans. Their minds and hearts are the most critical resources we have, and I pursue the following approaches to foster their growth: TO EMPOWER STUDENTS to recognize their potency as artists and citizens, I ask questions about leadership, citizenship, and the impact of their work. Whether in public high schools or private universities, I encourage young people to engage with the wider world and recognize the importance of cultivating their voices. I promote critical thinking, facilitate brave conversations about equality and diversity, and spotlight the many ways theatre can promote social justice. My experience of coming out before LGBT people had mainstream acceptance forged my connection to anyone facing oppression and my commitment to oppose racism, I bring these values to everything I do as an educator and an artist. TO FOSTER OWNERSHIP of their artistic process and dedication to their collaborators and audience, I approach teaching as an exchange between creative artists. I believe we all bring unique ideas and experience into the room, and I value the growth that emerges from respectful exchanges. I create a safe working space where each student’s creative ideas are valued and welcomed. My approach to collaboration comes from training with Anne Bogart and Tina Landau; I use the Viewpoints work to build ensemble, heighten awareness to the present moment, and establish a working vocabulary for any project. I lead students through composition processes that challenge them to create the theatrical worlds for each project. TO NURTURE ARTISTRY and foster discipline and skills, I engage students in challenging projects which also stimulate my own growth as an artist. Whether through full productions or classroom activities/project-based learning, I create experiences for active learning. I ask a lot of questions, build trust, and encourage risk-taking. I strive to attend to each student's personal objectives: whether honing in on specific skills, habits, or approaches to the process. I hold students to high standards in their written work and research, and maintain accountability for deadlines and responsibilities to partners, groups, and themselves. TO BUILD KNOWLEDGE both analytical historical, I ask students to conduct research and explore the background of plays, playwrights, and theatrical movements. I create assignments to activate academic research and apply it in real-world contexts. I love the classics and approach them as living texts that invite interpretation and adaptation. I believe that students will be empowered by a solid grasp of dramatic literature, and an understanding of how social, economic, and political forces influence theatre and theatre-makers. TO ENCOURAGE INTROSPECTION about themselves and their work, I ask students the same questions I ask myself and my collaborators when approaching a project: Why have I chosen this project? Why do I need to work on this play? What is my point of view? What do I want to say? Who is my audience and how do I want to impact them? By guiding students to connect to their own purpose and explore the essence of their creativity, I urge them to make choices that align with their own values and beliefs. TEACHING PHILOSOPHY

Jacobs_Classroom Residency Sample.pdf Interview with Jason Roundabout Theatre Jacobs_High School Theatre Residency2017.pdf Little Amal Education & Activity Pack - New York City 2022.pdf

0cd7905b-58d9-4a18-850e-48674645cf1b INDEPENDENT THEATRE Some of my favorite projects in New York's indie theatre spaces Previous Item Next Item MY FIRST LADY