When the Bacchus players were formed in 2001, the idea of having a consistent performing drama club was the proposed ideal, though underlying the apparent goodwill, was the groups reckless motive to find a source of income or monetary gain through engaging the community on a charitable front. To use the term philanthropist is to wander far away from understanding the infrastructure of this theatre group, as one would only fail to realize that this club’s integrity is compromised by its involvement with monetary exploitation, on several fronts, primarily enslaving student labor.
Mind you, there is some good will in this organization, derived from the sacrifice the students make in assuming a professional position in this theatre group. By important consideration, that has been overlooked since the groups conception, that is the understanding that these student/actors are being employed by the school, without being given a choice of a union, self-representation, and fair standard of wage for the work they contribute, in a business were key figures have been profiting from the student involvement, simply by providing the concept of ‘opportunity’ in a sham that lacks a proper system of recognition.
The previous dean Kim Tysik had also profited from the drama club, which should actually cause society to feel the sting of bureaucracy, as she occupied the position of representing the voice of the college, which coincidentally enough was at a time when they had a well-received theatre community. Students work, teachers and administration make money. There is a monetary arrangement society has decided on, though it seems practical, it has crossed the line into degrading the students' psycho-social health, and it is still being called education. It was fair once upon a time; students learn, teachers teach, the system of labor is in place for understanding that the teacher is an authority in the role of the education system, and representatively, should be making money for their occupation. But that pertains to school and education. With the exception of charitable events and acts of goodwill, it can be justly stated that a working individual earns the payment for their services, in accordance with an established agreement. If an out-of-college operated theatre business has underlined itself as having a charitable cause, it is assessed that the student cooperation factor is surpassing a degree of credential. To mark their involvement as a learning factor is truly a misappropriation, even if the event is occurring in a school, for they are representing an organization that sets a brand image, and are being harnessed with a sense of security for their contribution as slaves..OOoopps! I mean employees. It is in the employees' interest to perpetuate the reputation of a business organization, for they are earning something for their work in the end..right? It would be wrong to take advantage of passionate young adults who work free from any contract or agreement solely for the purpose of receiving attention and becoming popular, at the cost of their self-respect for the means of sustaining another’s monetary platform.
Taking for granted the work and effort of the students, as to only give them a pat on the back as they involve themselves in yet another great community project sponsored by the college is truly an undermining feat. 90% of the theatre production is the product of the actor. The book is written by the writer, but the play is performed by the actor, and the college has done neither of these two things. The students are being underrepresented with regards to their rights. Yes, the students are making use of productive time in a school, though for the nature of their involvement doesn’t allow them to perform with any self-interest, while they must keep up with the image and brand of the Bacchus players. In a theatrical production that has taken 1000 hours of work, who or what is the intellectual property of this group, which is providing consistent entertainment year after year at this college? If the student is no longer in place, does the charity function? Why does Jason Benevoy make money for apparently being an influence on the Bacchus players? He has never acted. Has he ever directed one of his own plays? The man should be the white knight in charitable business standards, except he turns a personal profit to keep an incentive with running the Bacchus players. Has anyone ever asked where all this money is coming from that goes into this club? Directors are hired, producers are fired, they buy props, donuts, and booze for one big party. There is a lot to live up to with respect to being a Bacchus player, except the most important earning and lesson, is that you won’t make any money working for them, they are a charitable business. There is the image of excellence, and showmanship that an audience comes to expect while the club tries to provide consistency year after year. Though it is the goodwill of the employee that is taken for granted, and given a complimentary credit, as the bureaucratic education system sucks its own dick simultaneously taking recognition from the student/actors.
This extracurricular business is employing the students while providing them with no incentives, amassing a theatre production for a perceived fiscal end, wherein the place of responsibility and dedication of the student, are manipulated and misconstrued images of integrity and charitable activity. If the student actor is trying to acquire opportunity, why has he not benefited from the very position he has landed? Was that not an opportunity that the Bacchus players were providing? That would lead to another opportunity? One can keep getting opportunities, though to what benefit, as they are enslaving your good will towards a charitable business that capitalized on the student’s passion for theatre.
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