A Theater Kid Champions the Arts Where They Are Needed Most
As we hit our 56th episode, we love firsts on the Future of the Business World podcast. This month, we get to explore the business of theater and the arts. Wharton Global Youth student Alex Felberbaum shares how his transformative love of Broadway and acting inspired his non-profit, the SAID Project, which has worked with celebrities like Queen Latifah, Marcus Scribner and Gina Gershon to bring stage and screen to public high school students.
Be sure to click the arrow above to listen to our conversation. An edited transcript appears below.
Wharton Global Youth Program: Hello and welcome to Future of the Business World. I’m Diana Drake of the Wharton Global Youth Program at the Wharton School, University of Pennsylvania.
Teen entrepreneurs have a special kind of grit, propelled forward by their passions and a youthful confidence that helps them look beyond the roadblocks and just keep building. Today’s guest had a vision and never looked back. He joined Wharton Global Youth’s Essentials of Entrepreneurship program last summer, and this summer, he’s headed to Wharton’s Philadelphia campus to be part of our Leadership in the Business World program.
But first, let’s learn about The SAID Project. Alex Felberbaum, welcome to Future of the Business World.
Alex Felberbaum: Thank you so much, Diana. Great to be here.
Wharton Global Youth: Alex, tell us about yourself. Where do you go to school and what are your interests?
Alex Felberbaum: I go to Horace Mann School, which is located in the Bronx in New York. I am interested in theater and the performing arts, and also aviation and business.
Wharton Global Youth: Let’s talk about that theater piece first. Would you describe yourself as a theater kid? What productions have you done through the years?
Alex: I definitely categorize myself as a theater kid. I’ve done around six productions at my school so far since sixth grade. Let’s see, my big names are Our Town, Singing in the Rain and Chicago. My favorite role to play was Amos Hart in Chicago. That was amazing.
Wharton Global Youth: Sounds very fun. I think you’re probably pretty good too by the way you’re describing it. Have you had leads?
Alex: Yes, I don’t mean to brag, but every year since the beginning of my theater career at school, I’ve had a lead in each production,
Wharton Global Youth: Amazing. Was there a moment in your life when you felt theater had a big impact on you? What would that be? Can you give us a picture of it?
Alex: When I was younger, probably around seven, I got to see what would become my favorite musical of all time, which is Phantom of the Opera. And when I got to see it, I just fell in love with the music, the actors, the scenery. As those people who have seen it, they will know that it is a very technical show, and it’s very like, wow, wow. It’s very phantasmic. And that show instilled this love of theater and interest in becoming part of the theater community. So, I set out to do that, and I never looked back.
Wharton Global Youth: Since then, you never looked back, and you also really looked forward, which is what I alluded to in the beginning. You founded a nonprofit known as The SAID Project to bring theater opportunities to students who typically don’t get exposure to the arts and Broadway shows. What is the origin story of your project? Tell us more about it.
Alex: The SAID Project stands for Student Appreciation in Drama. The SAID Project was founded about three years ago when I was watching a news story about underfunded New York City public schools in terms of their performing arts programs. So, I started to research and reach out to these schools in New York to see if there was a way that I could get involved to help out with these theater programs. And I was very surprised to find that a lot of these schools don’t even have theater programs. And when I was calling these schools, they didn’t have people for me to talk to because they didn’t have a theater program, no theater teacher. I decided at that point that I needed to do something about it. That is what became The SAID Project.
We reached out to a couple schools, and I got into contact with the school known as the Young Women’s Leadership School. They have locations all around New York. We started with their Brooklyn location. I went and I viewed the school. The school has amazing areas: they have a stage, they have a music room, they have a dance studio. I was very surprised to find that there was not a single structured class that had to do with theater. I said, this is where we’re going to start, and that’s where we started. Our first event was a panel with the screen and stage, including some familiar names like Gina Gershon, Marcus Scribner from Blackish, and two Broadway cast members from Hamilton and MJ The Musical.
Wharton Global Youth: Your idea here is to bring this panel in front of students who haven’t been exposed to theater, and then what happens from there? Do they learn how things happen behind the scenes?
Alex: Yes, so our first panel was about how these people got from just where they started to where they are now. I think that was very moving for the students. We had a great turnout on our first event, and you could see [other] students peeking in from the hallways, especially because of Marcus Scribner, who’s amazing because he’s a big household name for a lot of these students, since he is in a very great TV show, Blackish. By the end of the panel, we had a bunch of these students coming up to the actors and actresses, and they were asking, how did you do this? How did you do that? One of the cast members, Carina Kay-Louchiey from MJ The Musical and the Hamilton tour, was so impressed with the students that she offered to come back and do a dance master class for Hamilton, and that was our second event. So, it really built itself up. That’s how we started. We now [work with] five schools total [and have had] 10 events. We’ve created six mentorships, [involving] hundreds of students, and we’ve kept our budget under $1,000 total for the duration of the project.
Wharton Global Youth: Wow. And there’s a component here where they also get to attend Broadway shows, correct?
Alex: Absolutely. Some of our other events included going to Hell’s Kitchen, the musical, and Suffs, the musical, both of which included talkbacks and the ability to meet members of the show. Other events included going to the set of the TV show Equalizer, and even getting to meet Queen Latifah, the star of that show, and having a private one-on-one Q&A and being able to learn about what goes into making either these TV shows or these musicals.
“The SAID Project is essentially a business, just the profit is not money. The profit is students being able to get the experiences.” –Alex Felberbaum, founder, The SAID Project
Wharton Global Youth: What do you hope students feel or think after they’ve seen their first live Broadway show?
Alex: After they see their first live Broadway show, it’s the goal of The SAID Project is to [spark] these students’ interest. Even if they’re not interested in performing or in being a part of the film or theater industry, I want them to take away the experience that is the Performing Arts in person — the ability to enjoy and to connect to what’s happening on stage. That’s where I found the majority of what makes me who I am today, and that’s what I want them to take away. I want them to feel connected and feel kind of embalmed into this world of theater that just makes everybody feel so comfortable.
Wharton Global Youth: Alex, I was starstruck looking at the photos on your website, and you just mentioned several names of celebrities whom you’ve met. First of all, have you made those connections and gotten them excited about The SAID Project? Who have you met along the way? How is that an essential piece of what you’re doing?
Alex: In terms of actors and celebrities, Carina and the other members of our panel were amazing and definitely helped us bring a lot of students in. As I went along, I reached out to the marketing managers and producers of these Broadway shows, which helped in securing these tickets. And in terms of Queen Latifah, we got the amazing opportunity to visit that [Equalizer] set. These huge figures like Queen Latifah all love spreading and expanding the knowledge and helping to cater to underserved communities and to students who otherwise wouldn’t get these opportunities. They might even see themselves reflected in the students and want to give these students a chance. That’s really what we’re all about.
Wharton Global Youth: I’d like to talk to you more about those marketing managers, especially as you head to Leadership in the Business World [at Wharton]. You’re clearly business-minded. How have you approached The SAID Project with an entrepreneurial mindset? Things like cold calling — it sounds like you cold-called some of those marketing managers — pitching your ideas, negotiating for tickets. Can you share some stories that illustrate your business approach?
Alex: When I started The SAID Project, I was cold calling a lot of these schools and just picking up the phone [and saying]: Hi, I’m Alex…I want to see if I can help you guys out. It took a little bit of time to get used to the rejection, but I just kept on staying persistent, and that’s what really helped me. As we got to our events, which included going to shows, I just found the phone number for either the marketing managers or the producers, and I’d pick up the phone and be like, I am Alex. I started The SAID Project. Can we see if we can work something out? A lot of the time that ended in either stern or soft “No’s”, and I really needed to push. After lots and lots of pushing, we finally got to the negotiation phase.
My favorite of all of them was probably Suffs, the musical. A week before the show, we had to try to organize the assembling of five students who were of voting age, because that was the condition of getting all 25 tickets to the show for students. And when we got to that point, it was a week out — a business week out, not seven days. So, I had to jump on the phone at school, crouching down on my school’s football field to do these Zoom calls in the middle of the day or between classes. It led to this very transactional approach that required a lot of negotiation.
Wharton Global Youth: I don’t quite understand what you mean about having to get five students of voting age. What was that about?
Alex: The Suffs musical was closing. It was a very popular musical, but their lease of the theater was running up. We wanted to get in because the curriculum of the students we were working with was very close to the [women’s suffrage] movement. Also, it was at the time of the election, so it was a very current topic that we were trying to bring these students into. And of course, it was a hot ticket, so these producers were like: we really want to help, but it’s a very, very tough ticket, and there’s literally no way that we can get you these tickets without paying for them. So, we kept on negotiating, and they finally said, there’s this one donor that is willing to give you these tickets under the condition that at least five of the students are of voting age.
Wharton Global Youth: I see, to fit in with the theme of the musical.
Alex: And even though we are working primarily with high schools, it is hard to pick and choose in terms of ages and even with that, a lot of the seniors are still under the age of 18 and not able to vote. So, it was a very, very tight and complex set of maneuvers that I needed to work out with the school and with the students and the parents, in terms of permission slips and in terms of transportation, that all needed to go into this one event.
Wharton Global Youth: Has networking been an essential part of The SAID Project?
Alex: Absolutely. In the beginning, of course, and towards the expansive timeline of The SAID Project as we expanded into Philadelphia and outside of the New York City area. For example, last summer, I was at EOE, Essentials of Entrepreneurship, and I was wondering, if there was an outreach program at Penn. I found out about The Netter Center, which works with local high schools, so I started connecting with them, and then they connected me with the schools. Just having that connection, whether it’s through that or even through the marketing managers, those are the real connections that help to make The SAID Project function.
Wharton Global Youth: Let’s look at your client side for a moment, the students your organization is impacting. Can you share an example of a student, and what this theater experience has meant to them?
Alex: I remember one student very fondly. I’m going to keep her name private, because I have not discussed this with her and I want to maintain privacy. She went to one of our first schools, the Young Women’s Leadership School of Brooklyn, and she originally showed some interest in filmmaking, the theater industry, and behind-the-scenes aspects. After our first set visit to The Equalizer, she showed a lot more interest in the production side. After that first set visit, Queen Latifah suggested that we start a mentorship program with the costume design and production design union, the local one. We did so and that student became a mentee for that production-design mentorship. Now she’s going to college for filmmaking.
Wharton Global Youth: Oh, wow. So, it really had an influence.
Alex: It did. And just seeing her growth, from having an interest to 100% considering it as a career path made me both proud of what I’m doing, and very proud of what The SAID Project can and would achieve.
Wharton Global Youth: How has theater and by extension The Said Project informed your path as a future business leader? Have you thought about how you will carry this legacy forward?
Alex: The SAID Project has helped boost my negotiation skills and my leadership skills. It is essentially a business and it is an organization, just the profit is not money. The profit is students being able to get the experiences. And so, it helped me with forming an identity in terms of organizational leadership, marketing, pitching, all of that. I really hope that The Said Project continues in that way. I hope to continue it into college and beyond. It’s something that has built me as a person and also built these students. And I think it’s just important to keep this going. We need to create the next generation of theatergoers and theater lovers, because I’m going to be honest, the world of loving theater is slowly, slowly disintegrating. We need to make sure that we keep that alive. It is such an important part of the humanities and culture. We need to keep it alive.
Wharton Global Youth: Why do you think theater is important, especially for students who might not normally have access to it?
Alex: Because theater does many things. For example, it helps with interpersonal skills, it helps with presentational skills. It helps with learning and with storytelling. There was a study done by the WolfBrown agency with the New Victory Theater in New York, which found that students receive multiple learning benefits and cognitive benefits from taking part in and observing and experiencing theater. That study specifically really helped me because I knew that what I was doing had an impact.
Wharton Global Youth: Not everyone has The SAID Project in their lives. What advice do you have for a high school student who’s interested in theater but isn’t sure how to get started or maybe doesn’t have access to these opportunities?
Alex: What I’d say is one YouTube, two [Folger Shakespeare Library] – one for Shakespeare and one for just watching these performances. It’s obviously not going to be the same thing as watching it in person, but being able to appreciate it in any regard is going to help boost your love for theater. And also at school, if you want to start a club, or if you have a couple friends that might be interested in doing it, even just doing an improv club. All of these things can help a student, and all of these things are great ways to get started in theater and get started in acting, or even production design.
Wharton Global Youth: Let’s end with our lightning round. Answer these questions as quickly as you can.
What was your first live Broadway show?
Alex: My first live Broadway show was Mary Poppins.
Wharton Global Youth: Arts and business form a powerful partnership because?
Alex: The arts industry, in any respect performing or visual, is a business venture, and it is a major part of the world of business.
Wharton Global Youth: Something about you that would surprise us?
Alex: I am a student pilot who hopes to one day start an airline.
Wharton Global Youth: What is a specific way that growing up in New York City has shaped you?
Alex: It’s given me amazing access and opportunities in terms of experiencing and being involved in theater.
Wharton Global Youth: What was your last greatest challenge, and how did you persevere?
Alex: I had surgery the same day as I had a math test, and through all the anesthetics, I was able to still pull an A out on the math test.
Wharton Global Youth: Amazing. The best piece of life advice you have received?
Alex: a journey of 1000 miles begins with just one step.
Wharton Global Youth: You are starting your own business-themed talk show. Who is your first guest and what is your first question? My
Alex: My first guest is David Neeleman, the founder and former CEO of JetBlue Airways. My first question is, how did you make a service model that caters so well to the customer?
Wharton Global Youth: Alex, thank you for joining us on Future of the Business World!
Alex: Thank you, Diana,
Hero Image Shot By: Getty Images, Unsplash
Conversation Starters
You are a business consultant for The SAID Project. What strategies can the organization use to build stronger partnerships with industry professionals and other nonprofits like the Netter Center?
Are you a theater kid? How would you answer the question: why is theater so important?
Based on what you’ve learned here, how can young entrepreneurs identify and address gaps in community resources? Use a case study as your guide. What issue — like lack of access to the performing arts — would you or are you tackling? Share your story in the comment section of this article.
The SAID Project can build stronger partnerships by creating opportunities that actively involve people, like volunteer programs or mentorship roles. A lot of industry professionals and nonprofit workers want to give back, but don’t always know how. SAID could invite them to guest-direct, lead workshops, or speak at events, giving them a way to support young artists while also getting recognized for their work.
Partnering with places like the Netter Center could lead to joint programs that mix the arts with community service or education. If both groups are working toward youth empowerment, it makes sense to team up on events or summer camps that benefit everyone.
I wouldn’t call myself a theater kid, I’ve never taken a drama class or been on stage. But when I saw Cirque du Soleil with my mom, something changed. The production was incredible. The floor opening up into a pool, all the acrobats, the set design, the music, the way everything came together, it made me realize how much effort and creativity go into live theater.
That experience opened my eyes to a new perception of the art of storytelling. Additionally, after watching Gossip Girl, I saw how characters in Manhattan regularly went to plays and operas, and I found myself wanting that lifestyle, one where the arts are part of everyday life. Unfortunately, in my area, there isn’t much access to theater or the performing arts. It’s not something most people around me even talk about.
That’s why I think The SAID Project is so important. Even though I’ve never been in a production, I understand how impactful it can be just to experience theater. Projects like SAID give students the opportunity to explore creative paths they might not have access to otherwise.
If young entrepreneurs want to create change, they should start by noticing what’s missing in their communities, just like SAID noticed the gap in access to the arts. My experience started with a single show in Vegas. Imagine how many other stories could begin if more students had the chance to experience that same spark.
Yes Katelyn, I agree. Creating partnerships with programs of similar values can help the SAID project grow in a business perspective. I also believe that reaching out to stars and celebrities to conduct workshops and give lectures will deeply benefit both. It will attract more students to the program, thus increasing the reach and provide networking opportunities among people with similar interests. It may align with the celebrities values and encourage philanthropy between them, which would end up being an advantage.
Personally, I do not have much access to theatre but the idea of performing at Broadway has always been magical to me. In my country theatre is looked at as a form of regional entertainment and perhaps that is why its popularity is little. Theatre jobs are also quite tabooed which is why the industry seems to be dying. The stereotypes around theatre need to be cleared, the path by which one may enter must be enlightened and in general the appreciation for theatre that has died down needs to be brought back. Therefore, projects like the SAID Project are extremely necessary because theatre is art, and there is no life without art.
Your suggestion to bring in industry officials as guest directors or mentors is brilliant. It’s a smart way to combine the generations of actors because they get real world exposure. I also love your point where you talk about what is missing locally. That curiosity after Cirque du Soleil and Gossip Girl proves how one moment can plant a seed for change.
The SAID project can use the power of social media to find new partnerships with performers and find other nonprofits to partner with. In addition, they can engage in community service to spread awareness, and gain support.
I’m not a theater kid, but I’ve been to many of my school’s plays to support my friends. I think theater is so important because it gives actors and singers a chance to pretend to be someone new for a day and share their story. It allows theater kids to display their talents whether it’s singing, dancing, or acting. In addition, it can help raise money for their school or company.
An issue that my school has is it’s football program, my school has a strong academic reputation, and it’s sports team is struggling. As a cheerleader, I’ve noticed that the football team needs a lot of help. During the 2024 season, they’ve only won one game! I think that they should reach out to professionals or go to camps. SAID noticed the lack of theater chances and hired famous performers, my school can do this too, but with football!
Totally agree that the theater gives the students a place to express themselves. Even as someone not in theater your perspective opened my eyes to an external POV. I also admire your parallel between SAID and football it was really creative because it shows how identifying gaps and bringing in experts can apply across different fields.
The Future of the Business World podcast, in its 56th episode, features Alex Felberbaum, a Wharton Global Youth student, discussing his passion for theater and the arts, and the inception of his non-profit, The SAID Project. The initiative aims to bring theater and artistic exposure to public high school students who may not typically have access to such opportunities. Throughout the conversation, Felberbaum shares how his experiences in theater influenced his entrepreneurial spirit and led to the creation of a platform that empowers youth through artistic engagement.
Alex Felberbaum, a high school student from Horace Mann School in the Bronx, New York, identifies himself as a dedicated theater enthusiast. With a budding interest in theater stemming from his early exposure to productions like “Phantom of the Opera,” he has participated in numerous school plays, including significant roles since middle school. This passion for performing arts motivated him to found The SAID Project—Student Appreciation in Drama—a non-profit organization that started three years ago, aiming to address the lack of theater programs in underfunded public schools.
While watching a news story about resource deficiencies in New York City public schools related to performing arts, Felberbaum took it upon himself to research and respond to the needs he identified. His outreach led him to connect with local schools, beginning with the Young Women’s Leadership School in Brooklyn, where he discovered a lack of structured theater programs. This realization compelled him to take action and plan a series of events designed to introduce students to the performing arts through panlists from the Broadway community.
The SAID Project’s first event, a panel discussion featuring actors and actresses, served as a platform for students to interact directly with industry professionals. High-profile attendees included Marcus Scribner from “Blackish” and cast members from “Hamilton.” Felberbaum mentions that the initial panel inspired students to engage with the actors, asking questions about their journeys and experiences. This interaction established a sense of connection and opened doors for students to appreciate the realities of theater and production beyond what they viewed on stage.
Success from the panel paved the way for additional events, including dance workshops and theater visits to productions like “Hell’s Kitchen” and “Suffs.” Students gained unparalleled insights through exclusive talkbacks and even had the chance to visit the set of the television show “Equalizer,” meeting its star, Queen Latifah. Felberbaum emphasizes that these experiences were not solely about viewing performances but also ingrained educational components that inspired students to consider careers in arts and entertainment.
Felberbaum frames The SAID Project not just as a charitable organization but as a sustainable business; while monetary profit is absent, the project’s returns lie in enriching the students’ lives through unique artistic experiences. This perspective was augmented by his findings from a study conducted by the WolfBrown agency, emphasizing how exposure to theater yields cognitive and social benefits. He expresses a strong belief in theatre’s transformative power which not only nurtures artistic talent but also fosters essential soft skills in students.
Reflecting on the networking aspect, Felberbaum highlights that forging relationships with industry managers and producers was crucial to the project’s success. His experience with cold calling to secure partnerships and negotiating for event access was essential as much as it was challenging. Persistence in the face of rejection emerged as a primary lesson, and the negotiations led to key collaborative events that maintained the project’s mission without overly burdensome budgets. Impressively, all ten events organized have remained under a $1,000 budget.
The SAID Project’s success story is underscored by personal accounts of students whose lives have been positively altered through their engagements. Felberbaum shares a story of a student who initially coveted a career in filmmaking but, after attending an event, leaned towards production design. This vital connection led to the establishment of a dedicated mentorship program, indicating the profound influence SAID’s initiatives had on its participants.
As Felberbaum prepares for the Wharton Leadership in the Business World program, he recognizes how leading The SAID Project has sculpted his identity as an aspiring business leader. He envisages extending the project beyond his college years, underlining the importance of nurturing a new generation of theatergoers. In today’s cultural landscape, where the appreciation for theater is dwindling, he is keenly aware of the necessity to reinvigorate interest among youth through accessible arts education.
Concluding the conversation, Felberbaum imparted advice to aspiring thespians who might feel disconnected from opportunities. Encouragement to utilize online resources and to create improvisational clubs at schools was shared as practical starting points. The aim is to cultivate an environment where young creative spirits can explore their interests, much like Felberbaum did.
Overall, Alex Felberbaum exemplifies how passion and entrepreneurial spirit can breed significant social impact. His journey through arts and business reflects a broader narrative of connecting youth to culture, pushing against barriers faced in accessing the arts, and bolstering confidence in undeserved communities.
Alex’s keen identification of “underfunded New York City public schools” as an underserved market for arts exposure is the core of The SAID Project’s brilliance. He didn’t just love theater; he strategically addressed a market gap with a high-impact, low-budget solution.
Alex’s passion for using business strategy to promote arts education is inspiring. The SAID Project stands out in that it pairs creativity with leadership and logistical thinking—skills that are typically siloed.
I’ve been an intern at a nonprofit this summer and have been looking into how crowdfunding can be used to fund educational programs in different geographies. What I found compelling was how storytelling and emotional connection drive engagement—something the arts are particularly poised to capitalize on.
Alex’s idea to combine industry mentorship with youth-led panels reminded me of how influence can be decentralized. Instead of focusing on big names, I’d love to see SAID cultivate “community creators”—young artists who bring localized trust and relatability to the mission.
My question: Could SAID introduce a virtual mentorship program that pairs under-resourced schools with university-level arts students? It would reduce travel costs and still bring high-impact learning.
Thank you for pointing out a project that reminds us that business isn’t just about profit—it’s about creating systems where talent and voice can be heard.
I especially liked your comment on storytelling and emotional connection as motivators for engagement especially in arts education. As a competitive tennis athlete, I’ve seen firsthand how frequently sports are given more money and support because people emotionally connect to games, victories, and rivalries. The arts can be the same kind of force if we reimagine how they’re presented: not just as enrichment, but as something that forms identity, engages community, and fosters leadership.
I liked your suggestion of decentralizing power. Increasing “community creators” could enable SAID to grow in a manner that feels personal, not corporate. It’s similar to the manner in which local tennis instructors or kids’ counselors can do the most good not because they’re famous, but because they’re close and trustworthy.
Your virtual mentorship idea is brilliant too, especially in cutting costs and maximizing visibility. I was wondering if SAID could marry that with social media storytelling instruction, so students are not just being exposed to arts skills but also learning how to share their narratives and establish their platforms. That would be a sustainable system where up-and-coming artists fuel each other’s growth.
Much appreciated for sharing this! It made me reflect on how the arts and business can be made more inclusive as we consider the effect on the community rather than prestige.
Your idea is logically smart for for virtual mentorship. But I’d like to put up a respectful disagreement. To push back on the shift away from “big names”, industry leaders can often bring visibility and funding that smaller creators can’t always access. Maybe SAID could do BOTH: amplify local talent and occasionally spotlight industry pros to keep momentum going.
I enjoyed Alex’s story so much! It’s incredible how he combined his passion for theatre with actual action through establishing the SAID Project. Collaborating with Broadway performers and serving schools in need demonstrates his commitment. I enjoyed the way he operated it like a business—acquiring sponsors, planning events, and providing genuine opportunities for students. As someone who would like to assist education as well, Alex is like a role model for me this caused me to consider the potential the arts have to do good when utilized properly. I greatly respect the way he utilized his passion to assist others.
Alex looked at underfunded NYC public schools,where arts budgets were thinner than a Broadway understudy’s patience,and said, ‘Let’s fix that.’ The SAID Project isn’t just filling a gap; it’s staging a full-blown arts revolution on a shoestring budget (probably sourced from the couch cushions of a theater lobby). No divas, no drama, just pure, strategic genius. Because who needs a million-dollar set when you’ve got passion, hustle, and a killer sense of market irony? Encore, please
As I listened to Alex’s interview, all I could do was continue to be amazed at how a shared passion for business and theater could touch me so deeply—and lead me to reflect on my career path. I was impressed both with what he’s accomplished and how much his experience resonated.
Theater has this incredible power to transform us—whether you pursue it as a career or permit yourself to be moved by it in other endeavors. I couldn’t agree more than with Alex: once you permit yourself, or are blessed with the opportunity, to be moved by the arts, you have a responsibility to reflect that feeling outward, to turn it into impact. For him, it was taking theater to others—making it more accessible for children who may not have enjoyed the same degree of access. For me, theater—political filmmaking, specifically—taught me about the power of the media as a force to shape thoughts, to change minds, to inspire people to act. It taught me that even something as fundamental as free will can have the power to bring about change.
That was at 15 (now 16), when I was drawn toward public policy through that very same passion. I found my niche at the Institute for Youth in Policy and Imagina, an institute on the grounds of Los Andes University. I began to understand that policy, much like theater, is a platform—a platform on which the actors don’t dress up, but on which their words and actions can change lives.
The SAID project really struck me on a very deep level—not only as such a beautiful mission to bring theater to all, but also as such an entrepreneurial business start-up based on guts, strategy, and sheer will. What I was especially moved by was Alex’s networking brilliance, his ambition to make his dream come to fruition, and his perseverance against all adversity. That kind of perseverance is often behind-the-scenes—but it’s required. I have it myself. I just launched a small jewelry business. It took strategy to work on a shoestring, to pitch my idea to strangers, to turn contacts into customers—and events into experiences.
One thing I would like to ask Alex is: How did you overcome fear of networking and demonstrate you were committed to your project? That is something that I really struggle with. Similar to him, I too spent nights awake balancing school and business. I was always told you don’t wait until you have done your “priorities” first to do what you are passionate about. In all honesty, the real test is whether you’re willing to stay up at night, put in the hours, and get up again when things get tough. That is how you figure out if you truly love it.
Alex’s experience was very similar to mine—cold calling potential customers, reaching out to influencers and Colombian public figures, negotiating with event organizers, and, of course, coping with rejection. And all along, you build resilience. You build faith.
I completely agree with Alex: profit isn’t money—it’s impact. And when you design your project on impact, the worth follows. That’s the way that it’s been for me with my jewelry company, where I give profits to protect marine ecosystems along coastal Colombia and support education initiatives for underprivileged children.
But Alex sparked something even bigger still. He sowed in me the seed of something even more lasting—enabling young people to find their passion, gain practical skills, and build networks where they can share their stories to the world through film and theatre. That vision left me gasping for breath—and deeply motivated.
Theatre develops people skills and thinking skills. Confidence and expression are built. It reminded me of a friend of mine who is doing something very much like that, empowering youth through art. It also reminded me that business can be done similarly, that business also can be done from the heart. Thanks, Alex, for sharing your story with me. And I hope for that future moment when you are strolling across Wharton’s halls (a school that I am aiming to attend) and I can sit and talk to you about passion, perseverance, and how we create a better world through what we love.
Your post inspired me, not just because you were so articulate in your telling of it and felt like you spoke for me; it was also because you reminded me that the intersection of intention and passion is where meaningful engagement happens. I loved that you noticed another parallel between theatre and public policy- “it’s a stage where the actors don’t wear costumes”. What a powerful statement. It also reframes civic engagement as a form of storytelling, where policy tells more than simply has an impact. It also affects who we think deserves a voice to tell a part of the story. And that reframing got me thinking about my own life. I come from a family of engineers and business people, so leaning into creative expression has often felt like the “soft” path, which is not a big deal because soft can’t mean small. Like you, I have felt that there is a form of strength that one builds from inside that no GPA or line on a resume will ever provide, from staying up too late to work on something about which you believe in, from taking the time of others and hearing ‘no’.
Also, reading about you starting a jewelry business with a mission reminded me that it is the person, not the venture, that can expropriate. You are going to give your profits away for a mission, with the mission of supporting marine ecosystems and supporting access to education. Not just generous, that’s visionary. It embodies a truth we forget; great business is not always a function of a balance sheet, and even more rarely is it a function of something that does not include at least some kind of soul.
I also appreciated your question to Alex about getting beyond the fear of networking. It is a tough question that I wrestle with as well, especially when I feel the charge to be able to talk about an idea to worry that I won’t be taken seriously. Your candor about owning that fear in front of Alex helped me, too, because it made me appreciate how we are not alone in feeling this, and I think the biggest part of networking is being able to be you, openly, authentically, and with conviction.
Thank you for writing with vulnerability and conviction. You have reminded me that business can be an art, and the best kind of impact is begun by people who feel strongly and act boldly.
It’s truly admirable to listen to stories like Alex’s, people who have learned to merge and combine their passions with a greater purpose, which brings you the greatest sense of reward and fulfillment
Some may argue that in a world facing climate change, poverty, and inequality, investing in the arts is not a priority. Yet, I believe that dismissing artistic expression overlooks its role as a powerful tool for healing, community-building, and social transformation. In a world where arts tend to be excluded from business and sustainability projects, Alex has found a way to turn this passion into a non–profit that not only gives peers opportunities to get involved in a theater community, but also allows him to polish his negotiation and financial skills. As he said, they have managed to keep their budget under $1000 for the duration of the projects.
Arts tend to be overlooked in most countries of the world, especially in my country, Peru. They are seen as unstable and a waste of time, so schools don’t promote them and we don’t experience the sense of excitement before a theater performance, how transformative acting classes can be or how powerful it is to express your emotions through performance. Alex is impacting people’s lives in New York City public schools through 10 events, panels and over 6 productions. His work has reached many students, such as the girl who found her passion in filmmaking.
The SAID project marked his first step toward diving into social entrepreneurship, because that’s what legacy-driven business people and changemakers do, they find a problem to solve and create a sustainable solution, one that endures over time.
Finally, as someone who grew up in a country where creative expression is undervalued, Alex’s story made me question how many potential storytellers, leaders and entrepreneurs never get the chance to explore their passions simply because their talents don’t fit into traditional molds.
Exactly! I never would have thought that business and theater were connected to each other! They both teach you truly important skills in life.
This piece was absolutely amazing. Being a person who’s so interested in both business and volunteering, I was so inspired by Alex Felberbaum’s story. It doesn’t happen very often that a high school student looks at something they love—like theater—and makes it a nonprofit that actually offers genuine opportunity to other students. I love that The SAID Project is not only introducing children to Broadway, but that it’s about long-term mentorships, access backstage, and building confidence in students who might have never had the chance to set foot in the other side of that world.
His story of negotiating tickets with Suffs and needing students of voting age was so left field, yet shows how young businesspeople have to think outside the box and be relentless. That’s the behind-the-scenes of business we don’t always learn about from texts: cold calling, rejection management, working out wonky stipulations and doing it anyway. Huge props to him for organizing 10+ events and staying under $1,000. That’s real-life budgeting and leadership.
Personally, I’ve also been taking some local engagement on myself (via youth wellness and digital safety efforts), so this actually made me sit and think about how we can use passion to drive impact. Whether it’s mental health, performing arts, or technology, the goal is the same: build something that lasts and affects more people.
I’m also super interested in joining one of Wharton’s high school programs like the Essentials of Entrepreneurship or Leadership in the Business World, which Alex mentioned. Programs like these really help take ideas to the next level.
This podcast definitely sparked new ideas for me maybe I’ll even start something similar for youth in my area. Thanks for this episode. It reminded me that being “young” isn’t a limitation it’s actually a superpower.
As a 14-year-old who plays tennis professionally and trains every day, I deeply connected with the purpose behind The SAID Project. While I’m not a theater kid, I believe theater – just like sport – teaches you more than technique. It builds character. It gives young people the space to express themselves, connect with others, and grow confidence. That’s why it’s so important – especially for students who might not otherwise get that opportunity.
Alex’s commitment to making theater more accessible reminded me of a challenge I see every day in my own world: how difficult it is for young people to access tennis where I live. Public courts are rare, coaching is expensive, and opportunities are mostly reserved for those who can afford them. Just like many students never get the chance to participate in a masterclass or attend a Broadway show, many never get the chance to hold a racquet.
One idea from the episode really stayed with me: when Alex said, “The profit is not money. The profit is students being able to get the experiences.” Whether it’s a theater stage or a tennis court, what really matters is giving more people the chance to build skills, feel confident, and stay motivated simply by being included.
Alex’s story helped me realize I could do something similar in my own school – offering gear, lessons, and mentorship from older players. There are so many kids out there who might discover they love the game, if only they had the chance.
Alex’s story isn’t just inspiring – it’s a reminder that anyone, even a teenager, can take action. Whatever your passion is, you can use it to make a difference in someone else’s life.
Growing up in a family where business and technology were always seen as important, I used to think the arts could only be hobbies. I never imagined that a theater could survive on a small budget without big grants or funding. Alex’s story completely changed my perspective. Instead of depending on donations or institutions, he built SAID through determination – meeting professionals, making connections, and staying motivated even when he was rejected many times. When Alex said, “SAID is essentially a business, but the profit isn’t money, it’s students’ access to drama,” it made me think about the idea of Social Return on Investment (SROI). This means measuring success not only in dollars but in how much it helps the community. According to Americans for the Arts, nonprofit arts groups in the U.S. create about $5 in community benefits for every $1 invested. That statistic shows how arts programs can have a huge impact beyond just entertainment.
Learning about SAID also made me realize how much more support STEM programs often get compared to the arts. In the United States, a lot of federal funding and grants go to science and technology because people see them as more “useful” for the economy. But as SAID has shown, in addition to setting students up with future careers, the arts help students build confidence, creativity, and emotional skills that are just as important. Alex’s grassroots model challenges this imbalance. His low-cost, high-impact program proves that drama isn’t just a luxury: it’s a way to advance equity and give everyone a chance to express themselves.
Finally, his work showed me that business skills don’t have to be only for making a profit. They can be used to support culture and help more students feel like they belong. Even with limited resources, one person’s effort can inspire others and help close opportunity gaps.
Most people see theater as an extracurricular, something fun, expressive, maybe even a little frivolous. But what I took from Alex’s story is that the arts are a form of infrastructure. The SAID Project doesn’t just give students access to Broadway shows. It builds confidence, opens doors to careers, and proves that creative spaces are just as worthy of investment as science labs or sports fields.
What’s often missing from conversations about education equity is this: it’s not only about funding. It’s also about what kind of futures we believe certain students are allowed to imagine. When schools don’t offer theater, it reflects a deeper assumption. It suggests that some kids are encouraged to explore storytelling, design, and performance, while others are left out entirely.
Alex didn’t just try to fill a gap. He asked why that gap existed in the first place. That perspective shift is what makes The SAID Project powerful. From calling up schools to negotiating with Broadway marketing teams, Alex treated the nonprofit like a business. But instead of raising money, he raised access. And instead of measuring success through revenue, he measured it through real moments of student growth.
The story that stayed with me most was the student who decided to pursue filmmaking after attending one of The SAID Project’s events. That kind of impact is easy to overlook because it doesn’t come with headlines or charts. But it’s the kind that can change the direction of a life.
Alex’s work reminded me that social entrepreneurship is not just about fixing problems. It’s also about seeing potential where others don’t. The arts deserve that kind of serious investment, and so do the students who are waiting for someone to believe they belong there.
I was introduced to theatre during covid, frankly it was forced onto me by the boredom the pandemic caused. While the virus prohibited me from watching live shows, the energy radiated through the TV and attracted me like a magnet. I was hooked. With nothing better to do, I got addicted to the complex music paired with the stage lights and costumes, especially Phantom of the Opera (P.T.O) and Hamilton; memorizing everything single line, the choreography of the background dancers, and even putting on my own version of the show for my family! I was addicted, seriously! I bought matching dresses as Christine from P.T.O, got the official Hamilton guide, and took French just to sing songs from Les Misérables. I had officially become a “theatre kid,” and I loved it.
While it did cure my boredom and bring light to the ever-lasting pandemic, its impact outlasted the virus. Going back to school made me realize how popular musicals and theatre actually are. I was a pretty introverted person that struggled to make friends, so the first day of summer camps gave me pretty bad anxiety. However, when I showed up to a cooking camp in the summer of 2022, I immediately hit it off with a girl after spotting a Hamilton keychain on her bag. When she started ranting about how funny Lafayette is, all my worries melted. She’s still one of my closest friends, sometimes a shared glance is all that is needed for us to break into a full Hamilton performance! With such a successful interaction, my confidence boosted and my MBTI result switched from INFJ to ENFJ, helping me form even more long-lasting relationships. It’s safe to say that I will not be stepping out of the title of “Hamilton Enthusiast” or “theatre kid” anytime soon.
These catchy rhythms and stage lights have quite literally shaped my image and personality, but it has also taught me that not everyone enjoys the things I love. I’ve had classmates that got into theatre because of me, and some that roll their eyes whenever I make a musical reference. Despite how annoying they may find me, I believe that everyone deserves a chance to be introduced to the beauty of performance and music swirled into one, and that’s why this article made me smile.
Alex, through the SAID Project, provided an immersive introductory package to drama for those who’ve only learned about stories through paper, opening the eyes of many teens in New York and Philadelphia. Fueling his project with his own passion, his perseverance when rejections came one after the other changed the lives of possibly the future playwrights and film directors.
While theatre may not stay in the lives of many for long, everyone deserves the chance to fall in love with theater. For some of us, it’s more than just entertainment. Instead, it’s where we found friendship, confidence, those unforgettable moments when a single look launches a full-blown Hamilton duet, and quite possibly even our sense of purpose.
To start, I love theater, so this was a very meaningful listening experience for me. As a New Yorker myself, I’ve watched many Broadway shows (including The Phantom of the Opera, which I share Alex’s love for), and I plan on watching many more. My passion for theater originated in elementary school, where I had access to excellent arts programs. For that reason, hearing Alex describe how many schools, especially those in our shared hometown of New York City, lack theater programs hits very close to home. To think that something so prominent in my life is entirely inaccessible to other students my age was shocking.
Listening to Alex talk about his passion for theater while also being incredibly invested in business was eye-opening. When discussing the steps he had to take to launch his project, Alex mentioned “cold calling” people who could potentially drive him further along, and oftentimes being rejected. In the theater community, rejection is something that happens to pretty much everyone, and something that you can’t avoid or change. With his theater background, Alex can translate his experience with rejection and apply it to his business. In business, there is always a possibility that a deal might fall through or an investor might back out. The emotional resilience that both theater performers and business professionals possess is surprisingly similar. Alex persevering and pushing for that negotiation phase is an act so powerful to many for a myriad of reasons. To all the theater kids, it’s a way for their work to be seen. To the students of the underfunded schools that lack a true theater program, it could be the birth of a passion for theater.
When asked to share an example of a student that The SAID Project has impacted, Alex mentions a student who had a great interest in the production aspect of theater, and it caught me off guard. When most people think about theater, they picture the glitz and glamour of the cast. Very few think of the technical designers and stage crew who are the true backbone of every production. However, what stood out to me is how the program didn’t just affirm her creative passions—it gave her real access to an industry she was already dreaming about. After providing her with a set visit, she was able to connect with professionals in costume and production design, and eventually became a mentee through a union mentorship.
It’s easy to see theater as just art or entertainment, but in this case, it became a career entry point. That’s what I find so powerful about The SAID Project. It’s not just about arts education (which is important in its own right), but also about opening doors to professional, tangible opportunities for students who might not otherwise have access to them. It reframes theater not as a luxury, but as a legitimate pathway to a future. The SAID Project’s ability to cater to and empower students with a wide range of interests is something that I genuinely find inspiring.
What Alex has founded with The SAID Project is truly meaningful and speaks volumes about his character, passion for theater, and commitment to his community. While it’s challenging to predict exactly how this will impact every student, I believe initiatives like this have the power to ignite a creative spark—something that can shape how young people perceive themselves and their potential, even if they don’t pursue the arts as a career. As someone also passionate about theater and based in the same city, I’d love to learn more about The SAID Project or even help spread the word. Programs like this remind me of the vast untapped potential in our communities—and how accessible mentorship and exposure can make a significant difference.
This story resonated with me because I own a marketing side business called “Run-On” where my team and I help create commercials for small, local businesses to increase engagement. Alex is the type of entrepreneur who reminds us that there’s more to entrepreneurship than the tech startup, than the bottom line—entrepreneurship exists when there’s a need and a passion and Scrappy.
The aspect that inspired me most was how he turns cold emails into warm leads. That’s leadership—taking risks for the benefit of others. I’ve run food drives, STEM initiatives, and painting workshops and I’ve never thought of any of them as “businesses.” Alex encourages that mentality to change: “the currency is impact.”
Also, I’ve got to say: “The SAID Project” sounds like it belongs on Broadway itself. Alex is the kind of entrepreneur who makes you believe that with enough heart, hustle, and a budget smaller than a pair of premium theater tickets, you can rewrite the ending.
Alex really showed what Gen Z leadership truly is. Not many people know that anything can tie into business and entrepreneurship, and Alex displays the contrary. He used his theater experience to help others! Those types of entrepreneurship are hard to find these days, connecting your true passion to do something meaningful.
Reading about Alex’s ability to turn his own passion into an objective something that can benefit entire communities truly amazed me. As a fellow highschooler in New York, I admire the way Alex went about enlarging the high school theatre scene here, and how he took advantage of the resources that came with living in this city, whether that be through watching Broadway shows live or assisting the many schools around the area that happened to lack theater programs.
Like Alex, I greatly appreciate the arts. And for a few weeks now, I’ve also been interested in creating something of a project. Particularly, one that targets the dance community in New York City. Both in and outside school, I dance for fun, for performance, and for competitions. One crucial thing that I’ve learned from these past two years, immersing myself in the high school dance scene, is the importance of dance workshops, which are essentially classes where dance professionals teach a 30-second choreography, specializing in their dance style and genre.
The first time I attended a workshop was with a few members on my dance team. They had been going to workshops for months now, and I was certainly excited to share my first with them. When I stepped into the studio, I could only see the silhouettes of my peers and colored lights above. Yet, despite the dim setting, it was undeniable that the studio was filled with an energy different from your average dance practice. There was something special about the feeling of being surrounded by other young people from around the city, all gathered under one roof to engage in our passion—dance.
Though, I do remember feeling stressed at the start of the workshop, worried that I wouldn’t be able to keep up or execute the choreography as well as I wanted to. As a dancer that didn’t have a large amount of experience, I knew that standing by dancers that actually did would put pressure on my shoulders—but as the workshop progressed, that certainly was not the case. I found that every person was trying. Trying to dance independently, but also trying to help others who were struggling. This environment, stirring mutual empowerment, individual improvement, and serving as a sanctuary for dancers with all sorts of experiences, shaped a new perspective on dance for me. Yes, dance is an amazing sport and the songs for choreographies are pretty cool, but it’s the constant person-to-person and group-to-group support that really inspire me.
And yet, workshops aren’t exactly common amongst high schoolers in New York City. Though many of my peers and fellow dancers enjoy going to workshops, a major issue that I’ve noticed is the price of attending workshops. Most are more expensive than what high school students can afford, barring many dancers from going and gaining critical experience. Like Alex, I want to be able to provide beneficial opportunities to people in my community to spread uplifting experiences. More specifically, I want to provide free dance workshops to students interested in the high school dance scene in New York City.
Though the plan isn’t fully fleshed out just yet, there are many dance studios around the city that I can use to my advantage—ILoveDance, Gibney, and more. To bring in choreographers, I would cold email instructors based in New York City, offering them opportunities to teach high school students who have a range of experience levels. And most crucially, I would publicize the opportunity to the members on my dance team, then to all high schoolers in the city.
Like me, I’m sure that Alex’s story has inspired many fellow high schoolers to make a change in their community, whether it be for theater, dance, or any passion that they might have. Reading about the SAID project and how Alex was able to bring it to fruition has given me lots of insight into the process of developing an organization, and I definitely plan on bringing Alex’s experience and care for theater into what I want to accomplish for the dance community here in New York City.
“Theater is not just performance — it’s empowerment.”
Alex Felberbaum’s journey reminded me that business isn’t always about profit. Sometimes, the real ROI is impact. As a high schooler from a village in Punjab with no access to live theater, I understand how rare and transformative that opportunity can be. The SAID Project proves that one student, one phone call, and one bold idea can spark real change.
The moment Alex said, “The profit is not money. The profit is students being able to get the experiences,” it deeply resonated. Like Alex, I also dream of leading a venture — not just to build wealth, but to build lives.
Theater teaches us confidence, creativity, and communication — essential for any future entrepreneur or leader. I hope one day to start my own initiative for rural students in India, using art, music, and entrepreneurship to unlock their full potential.
“A journey of a thousand miles begins with one step.”
Thank you, Wharton, for showing us that first step.
JASMEET KAUR, 9th B, INDIA