If Wilson theater was revolutionary France, Harriet Bronstein would be Jean Valjean. And if it was the Upper West Side in the 1950s, she’d be Tony. Though Bronstein has played, and will continue to play, many roles in her life, her most memorable part these past 20 years has been pioneer and mama bear for Wilson’s theater department.

This performance, however, has no encore. Bronstein is moving on to the bigger and brighter, and concluded her time as Wilson’s director this past spring with “Romeo and Juliet” as Wilson attempts to take theater in a new direction.

Bronstein has directed 35 shows at Wilson since 1995—no small feat, especially considering the drama department was virtually nonexistent when she first arrived. She entered Wilson’s theater scene as a guest director for Wilson’s student theater producers, The Players, orchestrating “The Importance of Being Earnest.”

Her presence in theater began long before 1995. Bronstein started acting when she was in high school, not unlike many of the students she’s worked with. “I got all the character parts,” she recounted fondly. A California native, Bronstein’s interest in drama did not dissipate after graduating, and she majored in Theater with a specialization in Acting at University of California, Los Angeles. Not only was she a member of the Screen Actors Guild, she also had parts in numerous commercials and television shows, including “Mod Squad” and “General Hospital.” “It was as somebody’s babysitter, it wasn’t a big role. It was fun,” she recalled modestly.

Her success in the industry was not matched when she moved to DC. “It just wasn’t happening for me. I went to meet with an agent and I thought I was really good, because I had my commercials and everything. [The agent] was like, ‘You know, this long straight hair thing just isn’t going to work. Why aren’t you wearing any make-up?’ And I said to my husband, ‘Well, we’re not doing that.’” Instead of pursuing a career in theater, Bronstein applied her skills elsewhere: sales. “That was fun. Retail’s a little like theater,” she explained with a chuckle. In fact, her reintroduction to art happened almost by accident.

After watching a show at Lafayette, Bronstein thought she may be able to offer some assistance. “I went up to the teacher and I was like ‘Hi! I have a theater background.’” Bronstein didn’t hear anything for a while, until she did. “I got a call the week before the show saying, ‘We need some help! We’re doing My Fair Lady!’” she laughed.  “That was the beginning of my directing career.”

Since then, Bronstein has directed shows at Lafayette, Holy Child, Deal, Wilson and more. Between Wilson and Deal alone, she’s put on more than 51 productions. “There wouldn’t be a theater program without Harriet. And she stuck with it through thick and thin,” said Jill Roos. Roos, now 32, has been acting with Harriet since she was 12 and directing with her since she was 22.

Because her kids went to DCPS schools, Bronstein’s transition to Wilson was relatively smooth. “I was lucky because I was familiar with the community. I wasn’t scared of asking parents for help and that made a huge difference,” she explained.

During her first year as a faculty member, Bronstein directed “South Pacific” with support from the Parent Teacher Association. Bronstein remembers learning quite a bit that year. “It was okay that everything didn’t go exactly perfect,” she said, recalling one show where a tree fell over in the middle of the performance and another where there was a small electrical fire onstage.

She also learned the value of optimism. “You get to a point with a show, and you have to be positive.” Current and past participants in Wilson’s drama department are all too familiar with this philosophy. The weeks leading up to opening night with Bronstein are always peppered with pep talks centering on phrases like “I can see the show has a lot of potential,” and “It’s going to come together.”

“You don’t know what’s going to happen, that’s what’s so fun with live theater,” she said.

The program eventually graduated to one musical and one play a year, as well as several drama and stagecraft classes. Traditionally, the plays are usually a work of Shakespeare, whom Bronstein now loves, but did not always.

She was cajoled into directing her first Shakespeare show by students. “I was like, ‘Ok, I guess we’ll do it if you guys want to.” They put on “Romeo and Juliet.” The student who played Juliet in that original production was featured most recently in a goodbye video for Harriet compiled by community members. In her clip, the student introduces Bronstein to her baby.

That is just one of countless examples of students Bronstein has touched. When asked what she will miss most, she responded without hesitation “the kids.”  “I will also miss the creative team of adults I worked with, as well as the parent community,” she added after a moment.

“I think people should know that she was very excited for next year,” Roos said. Though she did not anticipate her departure, Bronstein plans to continue her work in theater.

Most recently, Bronstein is responsible for shows such as “Legally Blonde,” “Urinetown,” and “Hair.” “Every ‘Hair’ rehearsal was magical,” Roos, who co-directed with Bronstein, recalled. That show received nine nominations for Cappie awards, essentially the Tony’s of DC metro-area high school theater. “I will never forget that day. Harriet and I watched you guys on a tiny screen backstage, holding each other,” Roos recalled. “Hair” ended up taking home four awards, for Best Ensemble, Supporting Actor in a Musical, Female Vocalist, and Best Musical.

As Roos retold her adventures with Bronstein, she alternated between laughing and crying. Roos first met Bronstein like most students, at an audition, but the relationship soon blossomed way beyond that of an ordinary teacher-student connection. “I’ve spent most of my adult life with Harriet. My mom calls Harriet my other mother,” Roos said, adding that there is no one in her life who she thinks she’s spent a comparable amount of time with. Naturally, she has a lot to say about her.

“One of her biggest strengths in theater is seeing the full picture. I have yet to really be able to design a show like she can,” Roos said. “She can just see what needs to be on stage and why.” Part of this is certainly due to the fact that Bronstein makes a habit of hiring professionals to help out with everything from lighting and sound to music directors and fight choreographers. “Harriet’s not phased about bringing someone in who knows more than she does,” Roos said.

As much as she has impacted Wilson through plain hardwork and talent, what will be missed most about Bronstein is her compassion, nurturing, and her goofiness.

“She’s always hungry,” Roos said, smiling as she spoke about Bronstein’s reverence for granola bars. “She’s a platform sneaker goddess,” she continued. “She is hysterical, and we all love watching her dance, so much.”