Spinning Tree Theatre uses established KC players to boost young playwrights

The cast members of the three featured productions at this year’s Teen Writers Fest. // Photo by Micah Thompson

Imagine watching your own ideas come to life on stage—ideas that once existed only in your mind, now performed by actors under professional lights. Thanks to Spinning Tree Theatre’s one-of-a-kind program, that is the reality for young artists in the Kansas City metro area.

Spinning Tree Theatre’s Teen Writers Fest gives teens the rare opportunity to work alongside seasoned professionals, turning their ideas into fully realized productions—regardless of experience or ability. Through this hands-on experience, young artists not only develop their craft but also gain invaluable insight into the world of theater production.

This marks the fourth year of the program. Artistic director Michael Grayman-Parkhurst looks forward to the program every year, and says it holds value, “It’s a significant glimpse into the minds and hearts of our next generation of theater writers,” he says.

Kadence Bowie and the cast of Caves and Cryptids an original play written by Frankie Nelson for this year’s Teen Writers Fest. // Photo by Micah Thompson

In the fall of 2024, three Kansas City teens were selected to take part in this creative journey, transforming their stories into fully staged productions. For Gigi Vollenweider, one of the featured teen playwrights, this process was especially meaningful.

Vollenweider’s play, Playing the Game, took shape during a week-long writing workshop. Under the mentorship of Sarah Aptilon, Vollenweider poured her personal experiences into the story, exploring themes of self-doubt and the struggle to reconcile childhood memories with adult responsibilities.

“The whole idea came from my childhood,” she says. “Part of my neurodivergence made making friends and general interaction with others feel very daunting. I processed through make-believe and playing.”

In Playing the Game the protagonist, Oliver, struggles with feeling childish, holding onto toys and childhood memories even as he navigates adult life. “One of the things that I struggled with was feeling like I was behind or immature, and that is something that our main character struggles with,” Vollenweider explains.

Just as Vollenweider battled the feeling of being left behind, Oliver faces the same internal conflict in the play. “I feel like that’s a very common thing for people to feel a need to discard things that made them happy as a kid or teenager, just to be seen as responsible,” she says.

Her deeply personal connection to Playing the Game is something Vollenweider holds close. “I put so much of my real life into this play. I’ve included the experiences of people I know. If at least one person relates to it, that means I’ve done my job,” she says.

The collaborative process, fueled by spontaneity and creative freedom, also left an impression on playwright mentor Aptilon. “What’s really cool about this program is it’s very spontaneous. You just go where the writing takes you,” Aptilon says. “I think that process is magical, and this theater gives Gigi and the other playwrights a chance to just sit down and trust in the process. It’s been really neat to witness.”

Aptilon has written a number of scripts, her full-length play Deep Dark Nothingness was produced at Midwest Trust Center in the summer of 2024.

Playwright mentor Sarah Aptilon, Gigi Vollenweider, and stage manager Matthew Koehler at rehearsals. // Photo courtesy of Spinning Tree Theatre

Once the script was finalized, actor R.H. Wilhoit joined the team as director. But for Vollenweider, the creative process didn’t stop there. She continued attending rehearsals, making small script adjustments alongside her mentors.

This wasn’t the first Spinning Tree production for Wilhoit; He was a featured actor in Every Brilliant Thing and was a mentor for the Teen Writers Fest in 2024. Now a seasoned actor, Wilhoit has seamlessly transitioned into directing and teaching. “The experience has been wildly inspiring since moment one,” he says. Wilhoit has performed in numerous local productions, including Every Brilliant Thing, The Play That Goes Wrong, and Electric Poe.

Seeing her ideas go from page to stage feels nothing short of surreal. “I feel like I keep needing to pinch myself because it doesn’t feel real,” she says. Initially, she wasn’t sure she’d even be selected for the opportunity. A bit hesitant, she decided to give it a shot anyway—and was thrilled when she was chosen. “It has just been really great, and I hope other people can get this opportunity because I can’t express the gratitude I feel from this experience,” she adds.

For Vollenweider and the other teens involved, Spinning Tree Theatre has proven to be far more than just a creative outlet—It’s a transformative experience that empowers them to tell their stories and shape their futures. Through programs like this, young artists are not only gaining a voice, they’re shaping the future of theater, one story at a time.

As executive director, Andrew Grayman-Parkhurst aptly puts it, supporting the arts is essential now more than ever. “Look out for the arts. We are going to need you, and you’re going to need us,” he says. In uncertain times, nurturing the growth of theater and championing the next generation of storytellers is crucial.

Donations help fund projects such as Teen Writers Fest, which offers tuition-free programs and hands-on experience with professional directors, playwrights, and designers. They also enable Spinning Tree to continue operating in venues accessible to everyone in the community.