UNIVERSITY PARK, Pa. — The Penn State School of Theatre in the College of Arts and Architecture announces its artist-in-residence for spring 2026, Rasa Drane, a performing artist who curates experiences rooted in education, community, and healing through her production company, Ray Dray Presents. Residency activities will relate to “Whew Chile! Black Women Working,” a musical production Drane created to highlight “the brilliance, burden, and freedom of Black women at work.”
The residency is part of a new initiative launched in 2025 by School of Theatre Director Kikora Franklin, designed to create space and visibility for artists working within or adjacent to the School of Theatre. The program reflects the school's broader commitment to finding meaningful ways for performing artists who are connected to Penn State to engage more deeply with the college, the wider campus, and the surrounding community.
According to Franklin, Drane’s rich and colorful artistic voice brings a compelling perspective to this residency. “Rasa’s work embodies the spirit of experimentation, collaboration, and community connection that the artist-in-residence initiative seeks to foster,” said Franklin.
Residency events
"Whew Chile!" Spill the Tea: An Honest Conversation with HR
- Featuring Ray Dray and Ebony Russ, author and speaker
- Free Zoom webinar, Tuesday, Jan. 27, 7 p.m.
- Join the Zoom with the password “whewchile”
"Whew Chile!" Performance
- Saturday, Jan. 31, 7 p.m., Penn State Downtown Theatre
- Tickets: $39 (purchase online at the Arts Ticket Center website, visit the Arts Ticket Center in Eisenhower Auditorium, or call 814-863-0255. Faculty/staff, student and group discounts are available by contacting Arts Ticket Center directly.
From Page to Stage – "Whew Chile! Black Women Working": An Interactive Workshop with School of Theatre Artist-in-Residence Rasa Drane
- Monday, Feb. 2, 4:45–6 p.m., Room 112 Theatre Building
- This event is free and open to the Penn State community, but registration is required at this link: Whew Chile! From Page to Stage Interactive Workshop – Fill out form
- Co-sponsored by School of Theatre’s Student Diversity Committee
Q&A with Rasa Drane
In the following Q&A with Franklin, Drane reflects on her creative journey, what this residency means, and how she hopes to engage with students, faculty, staff and the broader community during her residency.
Franklin: Let’s talk about "Whew Chile! Black Women Working." How did this project come to life, and what conversations were you hoping to spark?
Drane: I’ve been thinking about this project for over 15 years, but I didn’t take it seriously until about five years ago. By then, I had become what people would call a “model employee,” but the workplace itself was becoming more and more toxic. It started affecting my health in major ways — physically, mentally, spiritually. I had to make a real decision to prioritize my well-being and my dreams. That’s when this project shifted from an idea to an urgency. Over the last two years, I committed to bringing it to life with intention.
I wanted to spark honest conversations about what it really means to be a Black woman in professional spaces — the microaggressions, the exhaustion, the brilliance, the humor, the resilience. "Whew Chile!" isn’t just entertainment; it’s a mirror. It names what so many of us experience but are often taught to endure silently.
Franklin: You didn’t begin your career as an artist in the traditional or expected way. Can you share your early relationship with creativity — and your journey to creating and performing?
Drane: My mother exposed my sister and me to musicals at a very young age. I was dancing and singing along to "Stormy Weather," "Cabin in the Sky," "Seven Brides for Seven Brothers," "Kiss Me, Kate" — all of it. I remember going to see my aunt perform at Karamu House, the oldest Black theater in the country, and watching a girl my age sing and dance on stage. That was it for me. I was instantly bit by the acting bug — even though I wasn’t the one on stage.
But I didn’t know how to tell the adults around me that this was what I wanted to do with my life. Still, I found ways to perform — in choir, as a cheerleader, on dance teams. Like so many Black children, I was taught that my “real” options were doctor, lawyer, or teacher. I followed the pre-med path and ended up in major pharmaceutical companies — and I was absolutely miserable.
Now that I’m in my 40s, I’m finally pursuing my artistry with curiosity and eagerness. It feels like a second chance, and I’m not wasting it.
Franklin: As part of your residency, you’re leading a workshop called "From Page to Stage – 'Whew Chile! Black Women Working': An Interactive Session with Penn State School of Theatre Artist-in-Residence." What is this workshop about? What do you hope participants will learn?
Drane: This workshop is an opportunity for me to engage with students who may or may not view themselves as artists. I hope to talk about my journey in the corporate world and share how that experience led to me imagining and developing "Whew Chile!" We will talk and also have a moment to get on our feet and engage in the creative process.
Franklin: What can participants expect in the interactive workshop?
Drane: Workshops like this turn theater into a living, breathing practice — not just something you watch, but something you participate in. It allows students to see how storytelling can be a tool for survival, healing, and even funding community work. I’ll also be sharing how this project has helped me pour back into the community while gaining financial and creative support from the community in return.
Theater doesn’t end at curtain call. It lives in conversations, in classrooms, in laughter, in courage. That’s the kind of experience I want people to leave with.
Franklin: What excites you most about engaging with students and the broader Penn State community during this residency?
Drane: What excites me most is the opportunity to shift how people see the arts. As the admissions director of the College of Arts and Architecture, I see firsthand how creative programs are often treated as extracurricular instead of essential — especially in this climate. I want students to see that you can create and have a thriving, sustainable career in the arts.
I also want the broader community to understand that now more than ever, artists are necessary. We are in a moment where healing, reflection, and recovery are critical — and art is one of the most powerful tools we have to do that work together.
Franklin: Do you have a favorite moment in the show that you can share without any spoilers?
Drane: There’s a moment in the show where the main character rap battles with imposter syndrome, and that’s very personal to me. I want students to understand that imposter syndrome — especially for Black people — is not just insecurity. It’s a psychological phantom that supports the agenda of white supremacy. It only survives when we feed it. Once we name it, challenge it, and refuse to give it power, we can fire it. I hope students leave knowing that they belong in every space they dream of entering.
Franklin: How do you see "Whew Chile! Black Women Working" evolving beyond this residency?
Drane: This project is not just a moment — it’s a movement. What’s happening at Penn State and in Happy Valley is just the beginning. With the support of organizations like 3 Dots Downtown and the School of Theatre, I’ve already been able to expand the project into art galleries, pop-up dance classes, rest installations and an abbreviated version of the show.
Beyond taking the full production on the road, I’m also developing this performance model for keynote talks and conference presentations. And honestly, I’ve learned that keeping my mouth shut and my head down is sometimes the best way to let things grow. So for now, I’ll just say: Stay tuned.
Franklin: If there’s one takeaway you hope the Penn State community leaves with after experiencing your work, what would it be?
Drane: I hope the community leaves knowing that there is incredible talent here at Penn State and in the community — talent capable of producing major work centered on Black storytelling. And just as important, there is a community that wants to show up for it.
This is the first of many productions that will showcase the depth, creativity, and diversity in Happy Valley. I’m proud to be part of this moment and excited about what we’re building together.