Picture this: A bustling school gym filled with laughter, costumes, and the magic of theater, where students aren't just learning lines—they're discovering their own voices. But here's where it gets truly inspiring: One dedicated teacher is turning potential into performance, proving that education can be as thrilling as a Broadway show. Dive in to discover how Sharon Overton makes learning unforgettable.
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On a lively Friday afternoon, the gymnasium at Ray Graham Training School hummed with energy as costumed performers rehearsed their roles in 'The Wiz,' a vibrant musical adaptation of 'The Wizard of Oz' infused with soulful rhythms and African American culture. For those new to it, 'The Wiz' reimagines the classic tale with modern twists, featuring memorable songs and themes of self-discovery that resonate deeply with audiences.
At the heart of this lively scene stood Sharon Toi Overton, a dedicated special education and theater instructor guiding 12th graders on Chicago's South Side. For the last five years, she's orchestrated theatrical productions with her students, blending education with artistic expression.
During that Friday's session, Overton directed her troupe, refining their dialogue and ensuring every outfit was spot-on in preparation for their premiere on December 19 at King College Prep High School's theater space.
Overton's journey into acting and music wasn't accidental. Born and raised in Chicago, she comes from a family steeped in melody; her father excelled on the saxophone, while her mother dazzled as a pianist. Overton herself embraced singing and drumming, eventually leading as a vocalist and percussionist in an all-female rock band during the 1970s.
Prior to launching her teaching vocation in 2000, she established herself as a prominent actress in the city, collaborating with the Black Ensemble Theater (https://www.blackensembletheater.org/copy-of-board-of-directors), a renowned North Side company that stages productions and offers enriching educational initiatives for young learners.
Through the theater's program, Overton transitioned into a teaching artist, initially assisting women with disabilities at Ada S. McKinley Community Services, a Chicago-based nonprofit. Over the subsequent 25 years, she's seamlessly merged her artistic passions with supporting students who have disabilities, creating inclusive environments where everyone shines.
This conversation has been condensed for brevity and enhanced for clarity.
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And this is the part most people miss—the personal stories behind the profession that reveal how a teacher's background shapes their impact. But here's where it gets controversial: Is blending personal passion with pedagogy the key to great teaching, or does it risk blurring professional boundaries? We'll explore that as Overton shares her path.
How and when did you choose to pursue teaching?
In 1995, I came back to Chicago from Los Angeles to care for my mother after her stroke. I tried out and joined the Black Ensemble Theater as a performer. The company's founder, Jackie Taylor—an accomplished actress and former Chicago Public Schools educator who pioneered educational initiatives—prepared aspiring artists like me to become teaching professionals and connected us with schools citywide.
It was then that I pursued advanced studies in special education. At Chicago State University, my instructor Vinni Hall endorsed me for the master's program in special education at the University of Illinois-Chicago. There, I had the privilege of learning under Abisola Bakare, who worked at Ray Graham and encouraged me to do my practicum there with her. I instantly connected with the nurturing, equitable atmosphere fostered by Principal Thomas and Vice Principal Buckner. The welcoming vibe, paired with high standards and a top-notch team, made it exceptional. My coworkers are outstanding, and the faculty as a whole is phenomenal. The pupils display incredible talent. I realized Ray Graham was my ideal home.
What's your top choice of play to stage with students, and what's the reason behind it?
Honestly, 'The Lion King' tops my list for productions with my students. It's profoundly moving because it weaves in drama, humor, and heartbreak, mirroring the full spectrum of life's experiences—from joy to sorrow—and ultimately celebrating triumph over adversity. For beginners in theater, think of it as a grand storytelling lesson where characters learn resilience, much like real-life journeys.
Can you describe your school experiences and how they influence your current role?
School was an absolute joy for me, though math was my one exception. Growing up in Hyde Park, I attended Ray Elementary School and Hyde Park Academy High School. I gained immensely from the diversity there—Hyde Park was wonderfully mixed, with peers from every background and ethnicity. My mother hosted gatherings that felt like global summits, with guests from around the world. Schooling was enjoyable, yet the era brought its share of upheaval: think protests, boycotts, and labor actions. The 1960s and 1970s were turbulent, with the Vietnam War raging and activists championing various causes.
Did you engage in singing or acting during your school days?
Definitely! My family is deeply musical. My mother was an expert pianist, playing everything from classical Beethoven to funky Motown, with jazz as her true love. I recall belting out jazz tunes even before kindergarten. Throughout elementary and high school, I was part of every play, honing my stage presence early on.
What's an external community factor that impacts your teaching environment?
Several challenges arise, such as shielding students from public judgment, dealing with limited funding, spending time on sensitive political discussions, and shifting attention away from core lessons. For instance, concerns about Immigration and Customs Enforcement (ICE) during our outings for community-based learning trips left some students confused. Additionally, ensuring safety on CTA buses amid reports of random assaults adds another layer of worry.
That said, it's not all hurdles. Ray Graham excels as a life skills hub, boasting skilled educators who collaborate with nearby companies, universities, and tailored initiatives to address students' requirements for success. When local businesses or colleges team up with us, they offer hands-on experiences, guidance from mentors, career exploration events, and internship chances. This bridges the gap between textbook knowledge and real-world application, making lessons more meaningful and exciting. But here's where it gets controversial: While these partnerships boost engagement, do they sometimes prioritize vocational training over academic rigor in special education? Educators, what's your take?
How do you handle breaking news in the classroom? Give us an illustration.
I bring it up openly and establish the basics of the event, since they're likely encountering it elsewhere—at home or through media. I inquire about reactions at home to respect parental perspectives and keep strong partnerships intact. We aim for harmony between home and school views. So, I build on what each student knows, tailoring explanations to their level, then have them discuss in pairs. This approach fosters understanding without conflict, helping beginners grasp complex topics through guided conversation.
What's the most valuable counsel you've received?
My mom always reminded me, 'It's okay to feel anger, but choose not to hold onto it.' It's a conscious decision—release the negativity, express it fully, then move forward without baggage.
Which book or idea has improved your teaching?
I'm a big fan of philosopher Jean Piaget. His concept of presenting material just beyond a student's current abilities—setting ambitious but achievable goals—has been transformative. It pushes growth without overwhelming, like guiding a child to learn to ride a bike by starting with training wheels.
How do you recharge outside of work?
Through singing, dancing, getting massages, exploring new places, but mostly by reuniting with childhood friends I've known since ages 3 and 4. These simple joys keep me balanced and energized.
What do you think? Is incorporating personal passions like theater into special education the future of inclusive teaching, or could it unintentionally sideline traditional academics? Share your thoughts in the comments—do you agree with Overton's approach, or see a potential downside? We'd love to hear your perspective!
Samantha Smylie serves as the state education journalist for Chalkbeat Chicago, reporting on districts statewide, legislative matters, special education, and the state board. Reach out to Samantha at ssmylie@chalkbeat.org.
