Drama Teacher Learning Centre

Tableau is a fantastic introductory theatre topic for middle schoolers. The word “tableau” comes from the phrase tableau vivant, or “living picture.” In tableau, students use their bodies and imaginations to create visual storytelling moments. The big difference between tableau and miming is that mimes can move, while tableau scenes must remain still. Students create frozen pictures (or “freeze frames”) to tell a story visually, without movement or sound. That being said, blinking and breathing are always allowed in tableau, even while students are holding frozen poses. This may seem obvious, but inevitably at least one student in every class will ask. Tableau scenes are generally performed with two or more students, and there are many additional ways of making a tableau scene exciting and engaging. One key to creating a successful tableau scene is focusing on details, such as facial expressions, body posture, positioning of the fingers and hands, and direction of eye gaze or actor sightlines. Audiences will naturally look at what the actors onstage are looking at, so students should use that to their advantage. As well, using a variety of physical levels (low, medium, high) is a great way to create an interesting tableau scene. One of the challenges of tableau is staying still and not wiggling, fidgeting, or looking around to see what other groups are doing. The more students can stay focused and trust in their stillness, the more successful they will be in portraying their story. It also helps for them to choose frozen poses that they can safely and accurately maintain; for example, students might want to avoid poses that require them to stand on tiptoe or on one leg for long periods of time. As well, students must work to clearly portray the relationships between their characters while staying frozen. Planning ahead with the members of the group and really “committing to the bit” (taking a risk and not worrying about what you look like) can help a lot with this task. Even though the poses are frozen, students also need to keep the energy flowing as best they can throughout the scene. Again, making eye contact with their group members, choosing strong and active poses, and using lots of different facial expressions really helps the scene to feel alive, despite being still. One way to practice tableau is by recreating an existing photograph in frozen picture format. Students can either copy the photograph as best they can themselves, or have one student act as director and help guide the rest of the group into place. Once students feel more comfortable with the process of creating a frozen picture, have them try creating their own tableau stories. Give them a topic (such as making dinner, going to the beach, or learning to drive) and have them create three tableau scenes: a clear beginning, middle, and end. For example, if the topic is making dinner, students might create scenes of chopping the vegetables (beginning), setting the table (middle), and sitting down to eat the meal (end). For learning to drive, students might create scenes of a student sitting in the car in park (beginning), freaking out after narrowly missing a parked car (middle), and high-fiving the driving instructor at the end of the driving lesson (end). Have students hold a beginning tableau scene for a minimum of five seconds, slowly move to the middle pose, hold the middle pose for five seconds, slowly move to the final pose, and hold that one for an additional five seconds. At the conclusion of the ending scene, have students say “scene” to close the performance. To check your students’ comprehension of the information shared here, please have them complete the worksheet found in the giveaway below.

Many students take drama class not because they want to, but because they have to. They might need an arts credit to graduate, or there aren’t any other options for them to have a full class schedule, or they are looking for a class that they think is easy. So how do we engage our potentially less than enthusiastic drama students? Something that might help your students is learning about how drama skills, particularly those learned while studying acting, are used in everyday life. Drama skills are transferable skills that are used in everyday life, particularly in the working world. Let’s look at a few of them: 1. Listening and taking directionStudents will inevitably be in situations where they need to receive instruction and training. From copywriting to piercing and tattooing to cattle farming, every job has equipment to learn how to use, rules and regulations to follow, techniques to execute the job responsibilities correctly, and policies and procedures in place to ensure the work is done right. Students need to listen, follow directions, receive and apply corrections, and perform in a consistent and safe manner — often under pressure. These skills are all taught and practiced in drama class. Students listen to their scene partners and their director, execute blocking and character notes given by their director, make adjustments, and perform (especially if they’re working on an extracurricular show that presents multiple performances). Change director to manager or trainer, and lines and monologues to employee manuals — it’s pretty similar. 2. Memorizing and presenting information and speeches clearly and conciselyLots of jobs require memorization and presentation of information. Restaurant servers must be able to tell customers about all the different meals and drinks they serve and the daily specials. Ride operators at theme parks need to memorize safety spiels and oftentimes are performing whilst operating the ride (the Jungle Cruise ride at Disney World is a great example of this!). Politicians give speeches all the time. In the corporate world, business executives create and share presentations to land clients, introduce new products and services, and improve their financial results. Being able to memorize and present information in a clear, confident manner is an important skill to have, and is something that is practiced frequently in drama class when students are memorizing and presenting lines and monologues. Not only that, but students need to present the information that engages their audience (or customers/clients/guests) and makes them listen and understand. 3. Problem solving and improvisationWhen something inevitably goes wrong during a performance, the actors need to remain calm, figure out a solution on the fly, and make sure the show continues. Every job requires problem solving and quick thinking. What does a retail employee do when a customer angrily returns an item that they think is subpar? What does a model do if their shoe breaks midway down the catwalk? What does a professional wrestler do if their opponent falls out of the ring instead of executing their next move? Outside of the work world, people need to problem solve all the time. What does a parent do if their child begins to melt down in public? What does a homeowner do if a pushy door-to-door salesperson rings their doorbell? For all of these situations, the answer is: figure out a solution, or at least fake it ‘til you make it! Students may also have to use their acting skills to appear calm and confident in situations that make them feel escalated, stressed, or angry. Have your class brainstorm a list of jobs, careers, and everyday situations that require acting skills. For each one, have students think about what acting skills they would use and in what context. Have students stand up and improvise that situation in pairs or small groups. For example, have them improvise a scene with a customer, a retail associate, and a manager. How would the customer work up the courage to return an item? How would the retail associate de-escalate an angry customer? How would the manager train or coach the retail associate, before, after, or in the moment? Have different students improvise the same situations and see how their experiences differ. Think about moments or experiences in drama class that were similar, and how they could be applied or adapted to situations in everyday life. Additional Resources: • What Skills Do You Need to Work on a Show? • Finding Theatrical Opportunities Outside the Drama Classroom • Teaching Life Skills Through Virtual Drama Class

Want to give your students some fantastic acting material that they can really sink their dramatic chops into? Consider doing an issue play for your next production. Issue plays explore problems and topics that are current and relevant for your students, including body image, bullying, mental health, identity, individuality, and human rights. Students are able to resonate with the issues that the characters face, and these plays can be a great way to entertain and educate at the same time. While issue plays are rewarding, they can be challenging as well. Issue plays can bring out some strong emotions when you and your students are working on them, and it’s important to approach them with thoughtfulness and care. Here are some tips for acting the issue play: 1. Be wary of how many times your character expresses extreme emotion. In a one-act play, characters should only cry once. Shout at each other once. Hit once. Scream once. If you abuse the extreme emotion it becomes ineffective. The more you shout, the less the audience will listen. All they will hear is the noise, and not the content. 2. Fight the urge to ‘act’ sad. Sad plays are already sad. The text is sad. Use all forms of emotion to react to the issue. Anger can be quiet, sad people laugh, and so on. That is what will make the moment alive instead of stereotypical. 3. Always remember the audience. The issue play can sometimes turn into an insular experience for the cast if they get too involved with what they’re doing. Always keep in mind that your job is to keep the audience on the edge of their seats. That has to be done in a variety of ways. Variety is the key. It’s always more effective to make an audience laugh right before you hit them in the gut with something dramatic. Silence works in tandem with shouting. Always have a moment of stillness after a moment of chaos. 4. Take the most dramatic moment in the play and rehearse it with the opposite emotion. If there are two characters screaming at each other, turn the moment on its head and have the characters laugh at each other. It will give you a fresh perspective of the scene. You’ll find new rhythms in the pace of the dialogue. It’s a great way to create a break between the character going through the issue, and the actor. On that note… 5. Remember that it is the characters who are in the issue, not the actors. Every time you rehearse a tense, emotional moment, create a clean break. Play a silly improv game at the end of rehearsals. Sing. Do yoga. Play duck duck goose. Create a ritual to bring yourself out of character. 6. Have an outsider watch the show. If you and your cast are knee-deep in your issue, you may not think the show is straying into the overdramatic. A fresh eye (that you trust!) can let you know if the show is on the right track.

Being aware of your surroundings is a vital part of being an actor. Students must know what’s going on around them at all times. This is important from a theatrical standpoint – unless otherwise directed, the flow of movement must be smooth and specific. The characters go where they need to go and move where they need to move in order to tell the story. As well, students must be mindful of what their fellow performers are doing at all times. They need to keep their focus not only on their own lines and blocking, but ensure that they are blending in seamlessly with the rest of the performers and helping to elevate the story of the scene in a positive way. Spatial awareness is also vitally important from the perspective of pure safety. Students can’t be tripping over others, banging into sets, and stumbling over props and furniture. This is especially important if they are doing a lot of movement, such as dancing, tumbling, or stage combat. Students need to be aware of their surroundings at all times so they don’t hurt themselves or their peers. Clear communication is important, even if it’s not verbally announced – students must be observant and aware at all times. This is doubly important if something goes wrong, such as if a fellow actor trips and falls, or a prop is accidentally dropped or broken onstage – which will inevitably happen at some point. Spatial awareness, non-verbal communication, and observation skills can all be practiced with the popular improv game called “Sit, Stand, Kneel.” It is often used to help students explore levels in a scene to make it more dynamic and visually interesting, which is another benefit to the game. “Sit, Stand, Kneel” seems simple (and slightly silly) when you first explain it, but it can be challenging when students get up to try it. The game is played as follows: • Three students perform an improvised scene. • Assign a setting, such as in a doctor’s office, at school, on a movie set, at a picnic, in the jungle, etc. • This keeps the scene focused but fairly open-ended. • At all times throughout the scene, one student must be standing, one must be sitting, and one must be kneeling. • When one student changes position, the other two must adjust accordingly. For example, if the sitting student stands up, the standing student must either kneel or sit. If they choose to kneel, then the kneeling student must also change to whatever the other two students aren’t doing. • Here’s the tricky part: Students can only stay in one position for a maximum of five seconds. If you want to play the game with two students, reduce the game to “Sit, Stand.” If you have up to five students per group, include “lying down” and/or “standing on a chair/rehearsal block.” The challenge is for students to not only be aware of what their group members are doing and adjust their movements accordingly (without obviously saying “I’m going to stand up now”), but also to try and have their movements make some sort of sense with the scene that they are performing. For example, if the scene is set in a doctor’s office, perhaps the student sitting is the patient, while the kneeling student is the doctor taking their temperature, while the standing student is a nurse examining an x-ray. However, how does that change when the “patient” decides to stand up? What action or line provokes the change? Do the “doctor” and “nurse” notice, and how do they react? How does this affect the flow of the scene? Have your students try the game, and then reflect back on their experience.

Students will frequently be cast into roles that are vastly different from their real-life personalities. This is a good thing – it’s a great opportunity for students to grow their skills as performers. It pushes and challenges students to move outside of their comfort zones and to view and experience characters who are very different than them. The biggest challenge is for students to view their characters with empathy – to understand and share the feelings of another person. This certainly isn’t always an easy task though, especially if the character is “evil” or “villainous,” or makes choices that the student does not agree with. Some characters may do or say things that make the student uncomfortable, and sometimes that can make it hard for students to truly embody the role. Nowadays, especially, when students are more liberal-minded and accepting of (even celebrating) differences than ever before, they might find it jarring or even upsetting to be cast in a role where the character is cruel, misogynistic, phobic (transphobic, homophobic, Islamophobic, etc.), racist, violent, or murderous. Even if a character isn’t as extreme as that, they still might make choices that the student deems wrong or inappropriate, such as cheating, stealing, lying, or bullying. This is where teachers and directors can help their students step back and take a slightly different approach to the character. Students should consider the difference between thinking critically about their character and judging their character. When a student judges a character like this, they might immediately decide that the character is bad, wrong, immoral, or evil – and that’s that. Thinking critically involves asking questions, listening to new ideas, analyzing the text, and taking steps to understand the character. While the student may not agree with their character’s beliefs or choices, asking questions and figuring out the WHY that drives their character can help them to at least understand their character better. And that will help them to eventually embody the character with confidence and maturity. Here are some questions for your students to consider, to help them view their character through a more empathetic lens: • What situations occurred in your character’s life that led them to do what they do? • What was your character’s home life like growing up? Was it a positive or negative environment? What was their upbringing like? • What time frame or era is your show set in? Do your character’s actions and beliefs reflect the common beliefs of that time? • What part of the world is your show set in? Do your character’s actions and beliefs reflect the worldview of their location? • How might your character react if a situation within the play occurred differently? • For example, think about the Wicked Witch in The Wizard of Oz. What would have happened if she had been able to get the ruby slippers before Dorothy did? Would she still have come after Dorothy or would she have left Dorothy alone? • Reframe the story through the lens of your character, so that they are the focal point of the story. What is their main issue or concern? Why is it so important to them? • What is driving your character to make the choices they make or do the things they do? • Internal – your character does what they do purely for themselves. • External – someone or something else is influencing your character. • What is the consequence for your character if they do not achieve their goal? Having students answer these questions can help them to view their character through a less judgmental and more empathetic lens. The answers might not be immediately obvious in the text of the script and may require a bit more research (particularly those questions about the time period and geographical location) but are definitely worth learning more about. Encourage students to get together with their friends and classmates to discuss their characters as well. Getting a variety of viewpoints can be useful for critical thinking – with the added bonus of students getting to know their classmates better at the same time.

It’s rare that a student will select the absolute perfect monologue to show exactly everything they’re capable of doing onstage. One monologue can only go so far in showing a student’s acting range. Perhaps the student chose a dramatic monologue and you wanted to consider them for a more comedic role. Furthermore, a student might blow you away in that particular moment that they’ve practiced and perfected, but does that mean that they can take direction? Are they open to exploring, playing, and trying a different approach to the character? Well, there’s a way to find out… Give them some directions!It’s advantageous to allow time in auditions to have students try their monologues again, with some direction from you. The directions you give can run the gamut from practical feedback – such as slowing down, speaking more loudly, or separating their words – to a slight performance change, such as doing the monologue with or without an accent or standing up rather than sitting – to an entirely different approach to the character. This is most likely the biggest challenge for your students, but the most fun as well. If a student presents a dramatic, serious monologue, have them try performing the monologue while pretending to hold back hysterical laughter, or as if they have an urgent need to use the restroom. If their monologue includes a lot of yelling or anger, have them perform as if they are trying not to wake a sleeping baby. Try changing up the location of the monologue – have your student perform their monologue while imagining they are in a hot desert, in a sinking rowboat, or on a roller coaster. Or, switch up who the person is that they are speaking to in the monologue. The tone of a monologue tone would be very different if the character is speaking to their crush, their grandmother, a celebrity, or the prime minister. This technique is a great way to gauge how open the student is to taking direction, how fast they can think on their feet, how attached they are to their initial blocking, and how well they listen. Of course, you cannot expect a polished, perfect performance on the second go, but watch carefully and see what might be glimmering under the surface! If you plan to use this technique in your next round of auditions, be sure to let your students know this in advance so they aren’t completely thrown off during the actual audition. As I always say, this skill (taking direction in the moment) is definitely something that students can practice and develop in the drama classroom! The following mini-exercise is a great way to introduce the concept of taking direction on the fly:1. Have students prepare a brief monologue – only three to five lines. It’s best for students to act as if this was a real audition and memorize their lines, but this exercise also works if the students are still “on book.” Students will perform their brief monologue as if they were doing an audition – focusing on emotions, expression, and gestures – not just saying/reading the lines aloud. (Students should also know what play the monologue is from and what character they are performing.) 2. Take five minutes to brainstorm (as a full class) a list of simple directions that could be used to mix up the monologues. Here are a few to get you started: • Riding a jet-ski • Concerned they may have stepped in something smelly • While chewing gum • On a rollercoaster • While knitting a sweater • Talking to a very small child • In the middle of the Arctic tundra • Riding a horse • After they discover they’ve won the lottery • Trying to dislodge something stuck in their teeth 3. One at a time, students will present their brief monologue to the class, as they have prepared it. 4. Then, you will select one direction from the brainstormed list for them to use as a prompt, and the student will perform their brief monologue again, using that prompt in their performance. 5. How did the student feel after experiencing the new direction for their performance? Feel free to repeat this exercise within the classroom, working up to fully memorized pieces and longer monologues. Distance Learning AdaptationThis exercise can be done as written, using a video conferencing program such as Zoom or Skype. Students will prepare a short monologue, brainstorm a list of directions, present their monologues live on-camera, receive a direction, perform again, and compare how they felt after performing twice. If necessary, have students complete and submit their comparison as a written reflection. Before presenting their monologues, have students discuss the advantages and disadvantages of auditioning on video versus auditioning in-person. Some things to think about may include video quality issues, how you frame yourself in the camera, and avoiding audio problems such as echoes and lag. As well, compare the differences between presenting their monologues live versus pre-recorded.

The end of the school year usually comes with a couple of school days that didn’t quite fit into the calendar. Final projects and presentations have been completed, but there are still one or two class periods left to fill. Add to that, everyone is tired and just wants to have some fun. When those days come along, try this project that combines creative problem solving with costume design. It’s hands on, encourages student collaboration, and is FUN! Recycled Fairytale FashionMaterials • A supply of tape — something cheap and plentiful such as masking, painters, or duct. • A large collection of clean, recycled materials: paper, styrofoam, plastic sheeting, foam peanuts, etc. Instruction • Assemble students into groups of four. In each group three people will be the Designers and one person will be the Model. • Tell the groups they will be designing and building the costume for a character from a fairytale. They may choose a character from one of the following tales, or suggest an alternative character (to be approved by you): • Cinderella • Red Riding Hood • Prince Charming • Puss in Boots • Give groups 10 minutes to plan the design of their costume. A Brainstorm Sheet is provided in the download to give students a place to think about the character’s personality, how that can be translated into clothing, and the look the group is going for with their costume. Body silhouettes are also provided so groups can sketch out their ideas. • Groups will present their finished costume and explain their fashion and design choices. A Costume Breakdown Sheet is provided in the download for students to gather their thoughts. • Give each group a roll of tape. • Groups will build a costume on their model using the tape and available recycled materials. The costume can include such items as: • Hat • Dress • Shirt • Pants • Shoes/boots • Cape • When all groups have completed their costumes, they have five minutes to figure out how they’re going to describe their costume, and how everyone in the group will participate in the presentation. • It’s fashion show time! Each group will present their costume and describe their fashion and design choices while the Model displays their work. Help your students start the design process with a set of body silhouettes, a brainstorm sheet, and a costume breakdown sheet. Click below!

The end of the school year is a challenging time for drama teachers. Teachers are tired, students are distracted, and the curriculum doesn’t always fit the remainder of the calendar. These issues are compounded when you have a classroom full of non-drama students who are reluctant to perform. So here are two projects that encourage your non-performers to tap into their artistic/creative side and allow you to finish the year on a high note. Recap MapThis is a great review activity that reminds your students of what they have learned and how far they have come over the course of a year. • Divide students into small groups and tell them they are going to document what they have learned in this drama class. • Students will work together to create a list of the most memorable units and lessons they participated in over the past year. The list should be between 5 and 10 items long. • The groups will then design a map. Each item on their list will be represented by a location on their map. For example: • The acting unit is a location. • The daily journal entry is a location. • The game Kitty Wants a Corner is a location. • Every location on the map will be represented by an image, depicting a lesson or unit, drawn by the students. For example: • The acting unit could be represented by a star on a stage. • The daily journal is illustrated as a book, a clock, and a question mark. • Kitty Wants a Corner is a picture of a cat. • Their maps should have a starting point, follow a chronological path, and end in the present. THE PATH SHOULD NOT BE A STRAIGHT LINE. • Groups will decorate their map, including all of the “locations” of memories. Encourage the groups to be as creative as possible when drawing their maps. Consider including: • A border/frame • Mythical creatures (fairies, sea monsters, yetis, etc.) • Geographic features such as lakes, rivers, and mountains • Groups will present their finished maps to the class, sharing why they chose the units/lessons they did, what made them memorable, and how they can take what they learned into future classes, or even into real life! • When all groups have finished presenting, display their maps in the classroom or hallway as a visual representation of how far the class has come. To help kickstart group discussions, download the End-of-Year Reflection sheet! Musical MemoriesThis project will allow students to interpret their memories of your class as a musical montage. • Put students into groups of five. • Lead a discussion reminding your students about various lessons and activities they participated in over the course of the year. What stands out? What did they learn that they could take into a different class? Or even into real life? • Ask each group to discuss and decide on five lessons or projects that were most memorable to them. What stands out about the lesson/project when they remember it? Groups are to write a description of each memory and why they chose it. • Tell students that each group is going to create a playlist of five songs that they believe best represent the memories they have chosen. • Each person in the group is responsible for one memory and its accompanying song. • Students may use either available classroom technology or personal technology to access their songs. • Groups will decide upon the final list and order of their songs. • Groups should also design cover art for their playlist and give the collection a title. • Once the groups have assembled their five songs, their order, designed a cover and decided on a title, their next task is to create a tableau (a picture using people) for each of the five memories and songs they have chosen. • Each tableau must include everyone in the group. • Each tableau is a single frozen image, not an active scene. • The person whose song/memory is being interpreted will act as the “director” of that tableau. They must also be included in the tableau. • When all groups have completed their five tableaux, each group will present their songs, their reasons why they chose them, and tableaux to the class. • For an extra challenge, have the groups present their songs and tableaux without providing any explanation, and challenge the rest of the class to correctly identify the memory they are presenting. Then groups can explain their rationale for each memory. To help your students kickstart their memories of your class, have them complete an End-of-Year Reflection Sheet. Download below!

The play adaptation project, where students adapt a text into a play, is a great end-of-year project for advanced drama students. It involves every aspect of the theatre process, from playwriting to performing. Students get to apply everything they’ve learned and they don’t have to worry about coming up with a story from scratch; they just have to focus on how they’re going to bring it to life onstage. Review the project steps and see if this is something that would work for your students and situation. Introduce the task and project criteria. 1. Introduce the task and project criteria.Students will work together to choose a text, write the adaptation, organize and execute technical elements, and perform it for a specific audience, for example, fourth and fifth graders from a nearby feeder school. The chosen text has to allow for a cast of a certain size (which will be specific to your own situations) and be appropriate for the specific audience. It also must be something that can be performed on a school stage and can be technically achieved by the class. Students are responsible for the entire process and are the actors, producers, directors, playwrights, and technicians. 2. Pick the source material.This is an area where you can give students ownership of the project from the very beginning, including picking the source material that they will adapt into a play. Once you have discussed the criteria, students should come to the next class with text suggestions. As a class, brainstorm title suggestions, discuss how each fits the criteria, make a final list, and then each student should be allowed a vote. The final text will then be chosen and students will read it as a class. 3. Cast the production.This may be a different step than you’re used to: casting the show before it’s even been written. In this process, the story is divided into scenes and the actors script their own scene during rehearsals. Do what works best for your situation and your students. Here’s how you cast early in the process: • Identify all the necessary characters. • Every student has to complete an audition “activity.” For example, they do a short improv scene related to the story. • Those watching take notes: What are the strengths of the actors in the scene? What are some areas of improvement? What character would be a good fit? • Students can identify a part they’d like to play. • All students then vote on who will play which part. All of the ownership for casting is on the students. • Consider having a conversation with students about how they may not get the role they want, or they may get a smaller role than they want. That is how casting works. Also, those who have smaller roles are given larger technical roles. 4. Assign technical roles.All students are assigned a technical role in the show. As stated above, if a student has a smaller acting role, they will have a larger technical responsibility. Students can choose what crew area they would like to work in (costumes, sets, props, sound, stage management, assistant direction), or if you feel it works better for your situation, you can assign roles. The role with the most responsibility is the stage manager. They will monitor progress across the different technical crews, and start writing daily rehearsal reports to identify what was done and what needs to be done. 5. Make a plan.Decide on and share a regular routine for rehearsals and technical work. For example, every Monday discuss with students the plan for the week when it comes to adaptation and technical work. Decide how students will divide their time between adaptation and tech responsibilities. During the week the stage manager will check in with each crew to see what they’re working on, what they need, and fill out the rehearsal report. These reports can let you know which groups need support or time management suggestions. Then Friday is the Production Meeting. Each technical crew will present what they have worked on and groups will share their scenes. More on the production meeting in a moment. 6. Begin scene-by-scene adaptation.Break the text into sections or chapters. The actors who are in each section are responsible for coming up with dialogue and determining action. To continue with the concept of student ownership, consider having a student director, or if you’re directing, assistant directors. Their task is to check in with each group, support consistency between the groups, and act as a coach. After scenes are presented on Fridays, the class will discuss and offer feedback. Groups will then rehearse scenes as they are finalized. The length of the play is going to depend on your situation, your selected audience, and how much experience you’ve had with this type of work with your students. Perhaps the first time you do it, it’s a 15-minute play. If you return to the project year after year, you can work up to something closer to an hour. Keep in mind that the longer the final product, the more time you will have to dedicate to the adaptation. 7. Have weekly production meetings.As mentioned above, every Friday is sharing day: a weekly production meeting. Each acting group will present the scenes they have worked on during the week, and each technical group will share their completed work and upcoming goals. As a class, students will discuss: • Continuity of story telling • Design cohesion • What is working and what needs adjustment • Any decisions they need to make Your directors, assistant directors, and stage managers will work as a team to take notes on these discussions and execute during the next rehearsals. 8. Facilitate rehearsals.The above routine should carry your students throughout the rehearsal process. Groups will continue building individual scenes, discussing and deciding on script choices, and directors/assistant directors will focus on consistency and cohesion of the overall product. As students finalize the script, they will then need to transition to traditional rehearsal activities, memorizing lines, solidifying blocking, practicing transitions between scenes. Your stage manager should keep an eye on how the different technical teams are progressing and if more time needs to be allotted during rehearsals to build technical elements. Your job is to remain as much of a facilitator during this process as possible, rather than a decision-maker. 9. Do final run-through and performance.Then it’s time for the final run-through and performance! Conduct dress rehearsals with a complete script and all the technical elements in place. Have students discuss what final changes need to be made. After students perform, emphasize how they did all the work themselves. Celebrate the ownership, collaboration, and final product! Final Thoughts for Teachers The first time you take on this project, you’ll probably experience a lot of trial and error. Let it happen and note any changes you’ll need to make for next time. Be open to flexible outcomes (like shortening the piece if needed). It takes time to build accountability and ownership. Students don’t always all of a sudden become self-managing and task-focused. Having a structure in place is helpful. Observe how students in leadership positions (like a director or stage manager) talk to their peers. Enjoy the process! It’s a great way to allow students to demonstrate what they’ve learned as well as practice important life skills like collaboration and communication.

Listening is an important skill in any classroom, but it’s especially important in the drama classroom. From classroom instruction, to game directions, to focusing on their fellow performers on stage, students are constantly required to listen. Active listening is a skill, and just like any other skill it can be improved with focused activities. Here is a simple activity that challenges students to actively listen in the face of increasing distraction. The game is called ABC-123-COLOR. Instructions:• Put the entire class in a circle • Choose one student to start the activity. • That first student will make eye contact with another student across the circle, walk across the circle, say “A,” and move into the second student's place in the circle. • As soon as they hear the letter, the second student will immediately choose a third student in the circle, make eye contact, and start to walk towards them. • The second student will say the letter “B” to the third student and move into that student’s place in the circle. • The third student will make eye contact with a fourth student, say “C” and take their place, and so on. • This will continue until the students have successfully made it all the way through the alphabet. • When the group has successfully made it through the alphabet, reset the circle and tell the students you will repeat the activity, and this time you will be adding numbers to the game. • Choose a student to start with “A,” have them make eye contact with another student, and start the alphabet layer of the game. • Once the alphabet is in play, turn to a different student in the group and say “1.” • That student will choose a different person in the circle, make eye contact, walk towards them and say “2.” • Two will make eye contact, move toward a different student, and say “3.” • Three will continue to four and so on. • If a student is given both a letter and number at the same time, they will make eye contact with one student and give them the next letter, then turn to a different student and pass them the next number, then take the place of that student. • The group will simultaneously continue with both letters and numbers until the letter Z is reached. • Reset the circle and tell the students that you are going to add colors to the game. • Choose a student to start the alphabet. • After that student begins, choose a second student to start with numbers. • After letters and numbers are in play, choose a third student to start with colors following the same sequence: eye contact, move to student, say a color, take their place. Students may repeat colors. • All three layers — letters, numbers, and colors — will continue simultaneously until students reach the letter Z. When you add numbers and colors, the game gets much more challenging. Encourage your student to concentrate on the information that is given to them (letter, number, or color), provide strong and deliberate eye contact, and hyper-focus on what is happening in the circle. Active listening includes eyes, ears, and body, and requires concentration. This game can be repeated on a regular basis throughout the semester. How do students improve their skills? Discussion QuestionsUnpack the exercise: 1. How did your listening change as more layers (numbers and colors) were added to the game? 2. What strategies did you use to stay focused when the activity became more challenging? 3. What role did eye contact and body awareness play in being successful at the game? 4. How might you apply those same skills when working with scene partners or receiving directions in drama class? 5. What caused the game to break down when mistakes happened, and what helped the group recover?

These games and exercises are my go-to activities for teaching beginning drama students. They’re fun, engaging, effective, and give students a well-rounded overview of topics such as drama classroom and theatrical etiquette, various nonverbal and scripted performance techniques, introduction to scene and character analysis, and more. First Week Essentials• You and your students can learn each others’ names using the Silent Line-Up game, the ABC Name Game, and the Action Name Game from 3 Tips to Learn Students’ Names Quickly, and get to know a bit more about them by playing Move Yer Butt and Mixer from Getting to Know You Games. • Practice and reinforce classroom rules and theatre etiquette guidelines with the Act It Out game. • Creating a set of Community Agreements is an essential first week activity for you and your students. • And here’s even more First Week Activities for you to use. Ensemble-building and trust-building are key topics to cover through warm-ups, games, and classroom exercises. Nonverbal Theatrical Techniques: Mime, Tableau, Dance & Creative Movement• Elephant Walk is one of my favourite nonverbal warm-up games. • Start by teaching students about neutral position (from 3 Tips to Help Student Actors Stop Fidgeting), which helps them learn focus and body awareness. • Our Middle School Miming series has great tips for teaching students about miming technique. Try Preparatory Skills; Big, Small, Heavy, Light; and Interacting with a Wall to start. And of course, the Mirror Exercise is a classic mime exercise that everyone should use. • We’ve got lots of tableau exercises here at the Theatrefolk blog, but my go-to is Tableau Scenes from a Book. • Dancing in the Drama Classroom is another way to explore nonverbal storytelling and creative movement. Group Scene and Monologue Preparation & Practice• Always be sure to warm up the voice for speaking and singing, including breath control and enunciation exercises. • Scene analysis exercises help students gain a deeper understanding of the character they’re playing and the scene as part of the whole play. Don’t start rehearsing without doing some preparatory work first! • Teaching Students How to Rehearse in the Drama Classroom helps them use their in-class rehearsal time effectively. • Students also need to know the basics of stage directions. Try playing Trapdoor to learn the difference between upstage, downstage, stage left and stage right. • Once students have a good foundation, they can start working on partner and group scenes (which are generally less nerve-wracking than jumping right into monologues). If you need some great scripts for students to study in class, check out Theatrefolk’s Top 10 Plays for Scene Work. Work on analyzing, rehearsing and then presenting their scenes for the rest of the class. • Then, move on to monologues, both for performance and as part of an audition. I always have my students do mock auditions, so they get to practice going through the audition process before actually auditioning for a show. Specialty Topics• Improvisation is a vital skill for beginning drama students to help them think on their feet and work as a team. Here are the Top 10 Tips for Teaching Improv. Some of my favourite improv games include Scenario Generator, Props and Word at a Time Story, Commercials, and “Yes And…” and “No, But…”. • Puppetry is a great topic for students of all ages and levels of ability. Puppet Dance Parties are a fun starting point for introducing puppetry to your class. • Stage combat should only be taught by a qualified and experienced fight director, but you can introduce stage combat safety, responsibility, and fight analysis without even throwing a punch or picking up a sword. • You can teach introductory technical theatre topics to your beginning students, even if you aren’t the most technically inclined teacher. Costumes, props, makeup, sets, lighting, sound, special effects — there’s a technical area for just about everyone. We’ve got a collection of 15 Tech Exercises for the Non-Technical Teacher that don’t require a lot of equipment or extensive technical theatre knowledge. • You can bring together and show off all the skills your students have learned and developed over your time together with a class showcase. It could be a private performance for just your class or a public presentation with an invited audience — whatever works for you and your students. You can end each class with a quick verbal check-in with your students, or give them a few minutes to respond in writing to an exit slip prompt. Check out the giveaway below for a collection of exit slip prompts that you can adapt to many different lessons. Related Reading: Curriculum Planning: Introductory Skill Building

Looking to bring some seasonal fun into your drama classroom? We’ve rounded up quick and creative activities — improv games, writing prompts, and ensemble exercises — that will keep your students engaged and energized during the holiday season. Warm-ups & Movement ExercisesThe Winter Weather Walk Guide your students through a physical exploration of the season. Have them move around the space as if they are: • Trudging through knee-deep snow. • Slipping and sliding on a patch of ice. • Trying to catch a single, perfect snowflake on their tongue. • Warming their freezing hands over a crackling fire. • Huddling together for warmth like penguins. The Holiday Machine The goal is for students to work together to create a machine that will make a holiday task easier. Have students choose a holiday activity (drinking hot cocoa, wrapping a gift, bringing home a tree and decorating it) and break it down into individual steps (choosing a cup, heating water, putting the cocoa in, stirring the cocoa, picking up a marshmallow, putting it in the cup). One student will start a repetitive sound and motion that represents one of the actions. One by one, other students will add their own connected sound and motion until the whole class becomes one clanking, whirring, festive machine. Then, divide the class into groups, have each group go through the process, and present their machine in front of the class. The class has to identify what the machine is used for and what steps are being visualized. Improv GamesThe Gift Exchange Get everyone to pair up and decide who's A and who's B. A will mime handing B an imaginary box. Based on the size/weight/shape of the 'box', B will open the box and pull out the gift, stating what it is (e.g., "A goldfish bowl!”). B will then put the gift on an imaginary shelf behind them before handing A a box to open. Continue going back and forth. After a while, they may start getting more scenic: talking about why they got someone a particular gift or playing with the object. Then change the situation so the gifts are unusual (a snow globe full of bees). How does the person receiving the gift react? Winter Weather Report One student is the “weather reporter” describing extreme seasonal weather while others act it out behind them onstage. Holiday Travel Chaos Have students improvise a scene set in a crowded airport, bus station, or train terminal during the busy season. Add escalating obstacles (delayed flights, lost luggage, mistaken identities). Gift-Giving Experts One student is a customer at a bizarre specialty store. They must describe an impossibly difficult person they need a gift for (e.g., “My aunt who is a retired astronaut and only likes the color beige”). The other players are the “experts” at the shop who must invent, demonstrate, and justify the perfect absurd gift. The Uninvited Guest Have each student create a character who is crashing a holiday party. They need to decide: 1. Who they are. 2. What their relationship is to the host. 3. Why are they crashing the party? What do they want (to get warm, steal the best snacks, profess their undying love, etc.)? Then, in pairs or small groups, have them improvise their arrival and attempt to blend in. Writing PromptsA Gift They Didn’t Expect Write a monologue from the perspective of someone who receives the strangest gift ever. How do they react to the gift? Season of Secrets Write a short scene in which two characters each try to hide a seasonal surprise from the other. New Year, New Me? Have students create a character who makes a bold resolution… then act out what happens when they try (and fail, hilariously) to stick with it. Festive Scene Starters Give these opening lines to pairs or groups and see what kind of scene they create: • "Did you regift that sweater I gave you?” • "I’m telling you, the snowman winked at me." • "This is the last one in the entire store. We have to work together." • "Okay, on the count of three, we all start singing and hope they let us in." Ensemble ActivitiesSnowball Scene Starter Have students write short scene prompts on slips of paper, crumple them up like snowballs, then toss them around the room. Each group will pick one “snowball” to perform. Winter Tableau Challenge Have small groups create frozen pictures (tableaux) of seasonal scenes (sledding, decorating, winter markets, etc.) with exaggerated emotion and physicality. Seasonal Soundscape Divide students into groups to create layered soundscapes of wintery settings (a bustling market, a forest in a snowstorm, a fireplace gathering). The Perfect Gathering… GONE WRONG In small groups, have students create a two-part tableau: • Picture 1: The perfect, postcard-worthy image of a holiday gathering (a family dinner, friends opening gifts, carolers singing in harmony). • Picture 2: On your signal, they instantly switch to a second tableau showing the moment it all falls apart in a hilarious or dramatic way. Encourage big, bold physical choices! The Assembly Line Divide the class into groups representing workers in a magical workshop. Give them an impossible toy to build (e.g., a "self-walking, cheese-making unicycle"). In a silent scene, they must use physical comedy and teamwork to assemble, test, and package this ridiculous invention. Just-for-Fun ActivitiesFestive Commercial Parody Students will create short parody commercials for outrageous “seasonal” products (e.g., glow-in-the-dark snow boots, self-singing mittens). Twelve Days of Drama Instead of “12 Days of Christmas,” brainstorm “12 Days of Drama” (e.g., “On the first day of drama, my teacher gave to me… one stressed-out stage manager!”). Students will then act out their version. The Great Cookie Debate Students take sides in an improvised debate: Which cookie reigns supreme this season? (Chocolate chip, gingerbread, sugar cookies, etc.) Each side must argue passionately in character. NOTE: Be sure to frame these activities as “seasonal” or “end-of-year” fun, so they’re inclusive for everyone while still capturing the festive spirit.

No matter what subject you teach, unacceptable behaviours can be found in every classroom. Because of how theatre classes are structured, some of these challenges may be more prevalent in the drama classroom. However, just like in any other class, strategies exist to help bring these issues under control. Here are two common unwelcome classroom behaviours and quick strategies to reset them. Going Off-TaskThe theatre classroom can be a chaotic space, and sometimes students take advantage of the chaos and get off-task. Here are three quick strategies to keep students focused: 1. Give clear instructions. If students aren’t sure what they’re supposed to be doing, they will fill the time in their own way. But if you give clear and detailed instructions, students will not have the excuse of not knowing what they were “supposed to do.” 2. Provide extra supervision. Students will get off-task if they think they can get away with it. If you spend too much time with a single student or group, or if you stay at your desk for too long, students will take the opportunity to let their mind (and sometimes their bodies) wander. Actively supervise your students during assigned work times as a way to keep them on-task. 3. Put consequences in place. Make sure students know that if they are not appropriately on-task, there will be consequences. The consequences do not need to be severe, but they do need to be unpleasant, and they need to be enforced. When students recognize that being off-task comes with consequences, they have a strong incentive to stay engaged. Refusing to ParticipateSome students are more than happy to disappear into the shadows of the classroom. They never raise their hand, never volunteer, never willingly participate in classroom activities. Here’s what you can do to address this unwanted behaviour: 1. Recognize. The first step towards fixing this behaviour is recognizing that it exists. As a teacher, you need to be aware of the students who are NOT calling attention to themselves: the student who only sits in the back of the classroom, the student who never raises their hand, the student who does not engage with their group during group work. Students like this are counting on the fact that if they stay quiet and small, you will overlook them when it comes time for participation. Once you recognize that these students are hoping you ignore them, you can take action to connect with them. 2. Require. After you identify a student who is actively trying to avoid participation, you can make a conscious effort to require them to participate. These efforts do not need to be confrontational or aggressive to be effective. Simply calling on a student who has not raised their hand and requiring them to answer a simple question is enough for that student to learn that you see them and expect them to participate. As a bonus, try to give a little positive feedback to the student’s participation. If the student feels like their input was valued, they may be more inclined to participate in the future. 3. Repeat. Engaging with a student one time might not be enough for them to break out of their shell. It may take a number of interactions before they begin to feel safe enough, or seen enough, to be more active in your class. Getting students to consistently participate in your class requires playing the long game. Build an environment of active participation, then gently, and repeatedly, encourage reluctant students to join in. Once a student knows that they can’t hide, and that it might actually be enjoyable to participate, there’s a better chance they will choose to participate on their own. A note on intentionally disruptive behaviour: When a student is off-task or not participating, it can often be disruptive to your class. That is why I have suggested the strategies detailed above. However, there are times when the disruptive behaviour in your class isn’t incidental or accidental; sometimes the disruption is the point. Whether it’s a cry for help or wanting to be the class clown, some students intentionally disrupt your classroom as a way to bring attention to themselves. No matter the reason, you need to deal with these students in a way that doesn’t feed the attention monster and make the problem worse. When a student is intentionally disrupting your class, you need to address the disruption immediately, calmly, and professionally, and then have a one-on-one conversation with the student at the first appropriate time. If you can, find out what is motivating this student’s behaviour, and follow up with conversations with parents, counselors, or admin as necessary. It is important to take action, because ignoring disruptive behaviour will not make it go away! Issues like this can simmer over time until you finally lose your cool and explode. So be sure to address intentionally disruptive students with admin and parents, and work with them to come up with an appropriate action plan.

The beginning of a new term is a busy time: getting to know your students, establishing classroom routines, building trust, and creating an ensemble mindset. While it may not be as fun and interesting as warm-ups or improv games, having the right paperwork in place will definitely help save you headaches later. Clear forms help establish classroom expectations for work and behaviour, communicate with families, collect important student information, and protect both you and your students. If problems arise in the future, having a good paper trail in place can help to iron out the situation in the moment. These forms can be physical or digital, depending on your needs; oftentimes both are useful and necessary. Here’s a list of some documents you may wish to use in your classroom, and how they can support you and your students: 1. A course overview / syllabus that describes what topics the class will be covering and when, so students know what to expect, what they need to prepare for, and when in the course they’ll be focusing on a particular topic. If students need to bring in any supplies from home or wear (or avoid) particular clothing in class, this information should be included with the syllabus. 2. A detailed calendar or checklist noting assignment due dates, test dates, performance dates and times, field trips, and so on. Some students may wish to have a digital copy that they can refer to on their phone or upload to a calendar app, while others might prefer a physical copy they can put in the front of their binder or stick on the fridge or bulletin board at home. For production classes with rehearsals or performances outside of class time, or actual school productions, a detailed schedule of rehearsal and performance dates and times in an easy-to-read format that families can post somewhere in their home is essential. Be sure to include all rehearsals, tech week, any special rehearsals such as sitzprobe, and all performances dates, including call times. 3. A getting to know you questionnaire, asking questions about how students like to learn, their previous theatrical experience and/or knowledge, and what outside commitments and other classes they have. Keep these forms confidential, in case students disclose any private or personal information to you. 4. Your classroom code of conduct or community agreements, illustrating behavioural expectations within the drama classroom. Community agreements can be a “living document” (editable throughout the course of the class) housed in your online class area, or a physical board displayed prominently in your classroom. If you use a code of conduct, you may want to include a section at the bottom for students to sign and date, to acknowledge that they have read and understood the classroom expectations. You can refer back to these documents with students, families, and admin if any behavioural issues arise in the drama classroom. 5. A brief family responsibilities document that the student’s parent/guardian must sign. This document describes how families can best support their students. You may wish to include a brief overview of what students will be studying during the term and reiterate the important dates and times in case students don’t share that information with their families. This way there are fewer excuses for missed classes or rehearsals. Again, you may wish for this to be a form that families sign and date to indicate that they are aware of what’s going on in the drama classroom. You’ll find a sample document in the giveaway below. 6. For auditions, you’ll need paperwork such as sign-up sheets for before the audition, sign-in sheets, actor information sheets, and copies of the scenes that students will read from if you’re doing cold readings. If you use digital files for students, have additional paper copies of all forms at the audition, in case students forgot or lost their initial form of communication.

Drama classes are chaotic by design. A good drama class should be an active and energetic environment where students are exploring and creating with their peers. That means groups of students spending a lot of time out of their seats and speaking loudly. In other words… chaos! With that in mind, how are you supposed to control a drama class? Here are three classroom management rules you need to follow to keep the chaos to a minimum: 1. Have clear rules and expectations.Even the most chaotic classroom should have rules and expectations. But where do these rules come from? They come from YOU! You are in charge and you need to be able to envision and articulate how you expect YOUR classroom to function. You decide the level of activity and noise you are willing to tolerate, and then create the specific rules, guidelines, and expectations that students need to follow to achieve your vision. Once you have defined your rules and expectations, share them with your students at the beginning of each new semester — both verbally and in writing. That way students will know what is expected in your class from day one. 2. Have appropriate consequences.Rules without consequence are tigers without teeth. In order for students to take your rules and expectations seriously, there need to be consequences in place for when rules are broken and expectations are not met. These consequences do not need to be harsh to be effective; sometimes a quick, private word with a wayward student is enough to get them back on track. What is most important is that the consequences are appropriate to the offense. Minor offences can be handled with smaller consequences, whereas completely unacceptable behaviour requires more severe consequences. However, keep in mind that your consequences cannot supersede school or district rules, and more importantly, must respect local laws. Again, make sure your students know both the rules AND consequences for their behaviour in your classes. Repeat this information early and often! 3. Be consistent.The most important rule of classroom control is consistency. That means that you need to call out infractions every time you see them and apply the appropriate consequences to the student, or students, in error. You cannot turn a blind eye or practise favoritism, or your students will quickly realize that your rules aren’t fair, and therefore they do not need to follow them. Consistency is the foundation of a well-managed classroom and allows students to fully participate knowing that rules and boundaries exist, and apply equally to everyone. Additional Reading: Round-up: All About Classroom Management Ordered Chaos: Balancing structure and creative activity in the drama classroom Establishing Boundaries With Your Students

If you need something fast and simple to fill those final 10 minutes of drama class, we’ve got you covered! Try these 10 time-filler activities to keep your students occupied until the bell rings. If you need even more ideas, there are 10 more suggestions in the giveaway at the bottom of this article. 1. Brainstorm a list of prompts for improv scenes or playwriting. (We’ve got lots of lists to inspire you. See if you can come up with more ideas.) 2. Play “Would You Rather…” in different ways: writing down the answers, raising your hand to vote, moving to one side of the room or the other, or as a problem-solving challenge. 3. Try one of the 3 Quick and Easy Warm-Up Games With a Drama Class Twist. Another drama class twist game option is Giants, Elves, Wizards, a human-sized version of Rock, Paper, Scissors. 4. You can’t go wrong with Scenes from a Bag or Lines from a Bag. Have a paper bag full of prompts at the ready whenever you need to fill up a few minutes. 5. Similarly, have a small box of random items handy to pull out for a game of Speed Props. You can also have students grab items from their backpacks, or use items found around the classroom. 6. Give students a problem-solving scenario and have them figure out what they’d do in that situation. 7. Have students write tag team scenes in pairs. Make it quick and easy by giving the whole class the same prompts for character identifiers, location, and starting line. 8. Tell a word-at-a-time story as a class. This is a great exercise for both in-person and online learning situations. 9. Have students complete a journal entry. Here are some great self-reflection prompts to get your students started. 10. When all else fails, tidy the drama classroom! Pick up garbage, alphabetize the script library, dust behind and in between all those nooks and crannies. Make the space sparkle.

Classroom management looks a little different in the drama room than in other classes. However, laying a solid foundation for discipline is imperative for you and your students so you can all work together towards success. No matter where you are on your teaching journey, there are always tips, tricks, and techniques to refine your classroom management style, as every class is going to be different. Here are 10 of our best articles on classroom management, including different approaches to teaching rules, establishing routines and rituals, practicing accountability, and more. Top 10 Classroom Management Tips for Drama Teachers It’s right there in the title. Matt Webster shares his no-fuss tips for establishing a solid foundation for discipline in your drama classroom, focusing on preparation, clear communication, and consistency. Plus, you’ll find a PDF download of emergency activities to help you be prepared in the classroom. Day One of the Drama Classroom For many teachers, the first day of class is the most important day of the year. It sets the tone for what’s to come and how things will run. This episode of The Drama Teacher Podcast features five drama teachers sharing what they do with their students to get started on the right foot and make the most out of that first day. Ordered Chaos: Balancing Structure and Creative Activity in the Drama Classroom The drama classroom is unique, and expectations are not the same as in other classes. Maintaining the balance between creative activity and structure can be challenging, but it’s doable. This article discusses techniques for classroom management through the elements of routine, behaviour, co-operation via group work, and peer leadership. Top 5 Discipline Mistakes New Drama Teachers Make (And How to Fix Them) Giving empty threats, repeatedly shushing students, and ignoring behaviour issues doesn’t work. If you feel stuck because your discipline attempts don’t work with your students, don’t fear — we’ve got solutions. This post also includes helpful video tips. Establishing Boundaries with Your Students You are one person with a finite amount of resources and mental capacity to do your job effectively. Boundaries are necessary to protect ourselves and our well-being. Setting boundaries with your students demonstrates how you wish to be treated, how your classroom is run, and the expectations that students must live up to. Developing Classroom Routines and Systems Classroom routines and systems make students feel organized and secure, and help them shift into the drama class mindset. Establishing clear routines can reduce behavioural issues, as your students know what to expect when they enter the room, even if they don’t know what the lesson will be about. Accountability: In Rehearsal, the Classroom, and as a Citizen Classroom management starts in the classroom, but it also teaches students how to function in the “real world” when dealing with part-time jobs, extracurricular activities, community involvement, and friends and family. Practicing accountability in school sets students up for success in their future life commitments. Community Agreements in the Drama Classroom Community agreements are a collection of guidelines produced by students and educators together, about how everyone agrees to work together in class. The difference between rules and community agreements is that rules are made and enforced from a position of authority (usually teachers, but also principals and/or school boards), while community agreements are created and maintained by everyone in the classroom. 5 Ways to Quiet Down a Noisy Drama Class without Yelling Take a bunch of students who have been sitting down in other classes for hours, fill them to the brim with great ideas, and then ask them to be quiet and focus on the work. Yes, drama class is fun, but you still need to have your students’ focus and quiet so you can teach amazing lessons without having to constantly raise your voice. Save your voice and your sanity with these five techniques. Learning the Rules: “Act It Out” Game During the first week of class, it’s imperative to inform students about classroom rules and expectations to start on a positive note. However, it’s boring to just lecture students about rules, or hand out and read a sheet full of rules. “Act It Out” is an active game that enhances students’ understanding of the rules by having them get up and present them in a theatrical manner. Bonus: 3 Tips to Learn Students’ Names Quickly and The Importance of Pronouns Want your students to respect you and your classroom? Start by demonstrating respect by learning your students’ names and pronouns quickly and using them correctly.

Drama classrooms come in a huge variety of sizes and styles. You may have a fabulous auditorium with a giant storage closet, a dedicated drama classroom, a shared space, or you may not have a classroom at all (hello, rolling supply cart!). No matter what type of space you have, you’ll need some essential supplies and equipment for your classroom. The items below are what we consider “drama classroom must-haves.” This article focuses specifically on supplies for the needs of the basic drama classroom, so you won’t see items like a lighting board or microphones. Those items are fabulous and necessary for productions, but here we’re talking about the day-to-day needs. It’s definitely possible to create beautiful theatrical pieces with an empty stage space and your students’ creativity, but the essential items below will make things easier: • As many pencils with erasers as you can get your hands on. Pencils, not pens — students need to be able to erase their script notes in the drama classroom. For bonus points, choose pencils with unique designs on them or put a bit of colourful tape or a dab of colourful nail polish on them, so they’re identified as classroom pencils and you’ll be more likely to get them back. • Highlighters, similarly labeled as your pencils. • Sticky notes in a variety of sizes and colours. • Clipboards, if you’re working in a classroom without desks. • A stopwatch or timer, for timing improvised scenes or rehearsals. • A noisemaker, such as a bell or horn, to let students know that their time is up. This saves you from having to shout over the classroom din. • Three to five small balls or beanbags, for various warm-ups and exercises. • A binder of monologues and scenes for classroom use. Organize your scenes and monologues with dividers indicating number of actors in the scene, comedic versus tragic, modern versus classic, and so on, for easy photocopying. • Scripts for students to study. Theatrefolk has a wonderful selection of play scripts to get you started. • A box of assorted hats for character work, costume inspiration, games such as Row of Hats, and drawing names out of a hat. If you’re short on storage space, consider soft, easy-to-fold-down hats such as bucket hats, ball caps, berets, or toques/beanies. • A box with a random assortment of small hand props for scene work and activities such as Speed Props. Some frequently seen onstage items you might include are a (non-breakable) mug/cup and saucer/tankard, a rotary phone, a magnifying glass, a lantern with a battery-operated candle, a hardback book, a newspaper, a wallet with fake bills/coins, a (non-breakable) hand mirror, a cafeteria tray, and a lightweight blanket or bedsheet. • Various types of tape — spike tape (in at least three different colours), gaff tape, scotch tape, painter’s tape. • A small portable sound system, such as a Bluetooth speaker or boom box with various adapter cords, for playing music in class. • If you have dedicated rehearsal space and/or storage, my number one classroom items are rehearsal cubes. They’re incredibly versatile for rehearsing and performing, and can be used as extra seating in your classroom in a pinch. If you have the type with hinged lids, you can also use them for temporary storage of props or costume items. What items would you add to this list? Let us know! Additional Resources:Your Drama Classroom Wish List Advice for New Drama Teachers: Planning Ahead

Directing first-time actors is both exciting and challenging. New performers often arrive with enthusiasm, curiosity, and a desire to belong. But they may also carry anxiety, uncertainty, or misconceptions about what theatre demands. For many, this is their first time stepping into a space that asks for vulnerability, discipline, teamwork, and imagination all at once. A successful experience depends on creating an environment where students feel supported, informed, and empowered to grow. One of the most important first steps is getting to know everyone quickly. Learning names as soon as possible helps build trust and creates a sense of safety in the rehearsal room. When actors feel seen and acknowledged, they are more willing to take risks, participate fully, and collaborate with others. Name games and group warm-ups help establish connection not only between director and actor but among the entire ensemble. First-time actors thrive when responsibility is shared. Instead of presenting yourself as the sole source of knowledge, let students become experts too. Assign groups to explore different theatrical styles, storytelling techniques, or production elements, and have them teach their discoveries to the rest of the cast. When actors help shape the learning process, they gain ownership of the work and deepen their understanding of the art form. This approach is especially useful in mixed-age or mixed-experience casts, where collaboration supports growth at every level. Another essential component is creating space for student voices. While directors may arrive with a vision, new actors benefit from being able to express what excites them, what confuses them, and what they hope to achieve. Invite them to suggest ideas, ask questions, and contribute to creative decisions when appropriate. For actors who are shy or apprehensive, build alternative pathways for communication: private check-ins, reflection journals, anonymous question boxes, or digital forms. These tools allow students to share concerns or seek guidance without fear of judgment. Finally, encourage consistent self-reflection throughout the process. Daily or weekly journals, exit slips, and rehearsal reflections help first-time actors articulate their progress, identify challenges, and recognize their own growth. Over time, this collection of reflections becomes a meaningful record of their journey. Directing new actors is not just about producing a show; it’s about helping students discover confidence, empathy, discipline, and joy. When you create a supportive and collaborative environment, first-time performers often surprise themselves with how much they can achieve.

Theatre teachers are often faced with staging productions in less-than-optimal spaces. Whether it’s on a platform in the corner of a classroom or the stage in the cafeteria, theatre teachers have to think ahead and outside the box when it comes to staging in these spaces. Here are some common challenges you find in three non-traditional performance spaces, and suggestions on how to solve them. Space: Your ClassroomFor many teachers, their classroom is also their performing space. Here are some of the biggest issues you may need to address when mounting a show in a typical classroom. • No stage Because there is no stage, the performers and the audience are on the same level. This makes sightlines challenging, especially if performers spend any time on the floor. SUGGESTION: If you have no elevated stage space in your classroom space, think about changing levels by adding blocks or other sturdy furniture actors can climb on. Think of ways you can creatively elevate performers or scenes. The more you can do to raise the performance above ground level, the more your audience will get out of the show. • No stage lights Regular classrooms were not designed with theatrical performances in mind, so not only are there no dedicated stage lights, there may be unshaded windows to contend with as well. Because of this, you will not be able to create actual “blackouts” during performances. SUGGESTION: If you don’t have stage lights, use this as a problem solving opportunity. How can students use found lighting (e.g., flashlights) to light their scene? And when it comes to alternatives to the traditional “blackout” at the end of scenes, work with students to create strong visual moments that definitively end scenes. It’s also a good idea to incorporate music or sound as a way to define the beginnings and ends of scenes. • No backstage With no backstage you have no dressing rooms, no wing space, and no crossover. Basically what you see is what you get! SUGGESTION: Without a backstage you will need to get creative with how you use your “stage” space. If you have the ability to put up simple flats, or hang material as a drape/curtain, it could buy you just enough space to function as a “backstage.” If you don’t have those options, try to set your performance space up in such a way that you can take advantage of existing doors and exits as your stage exits and crossovers. If none of that is possible, work with your students so they enter, exit, and cross over as invisibly as possible, and drill them on proper “backstage” etiquette so they are quiet and do not draw focus. SPACE: GymatoriumSome teachers are assigned to a performance space that is a combination gym and auditorium. These spaces have unique challenges when it comes to staging performances. • Stuff Unfortunately, it’s typical for these types of spaces to be catchalls for both gym equipment AND theatre storage. That means that any backstage space will be jam-packed with everything from kick balls to hula hoops and everything in between. Worse still, as the theatre teacher you will not have the authority to simply move these items to another location, as they are the property of another department. SUGGESTION: Negotiate and work together with those other departments. Plan on having meetings with admin and other faculty long before you start the rehearsal process. And be prepared to compromise — using half the space is better than not being allowed to use it at all! • Crossovers Like classroom spaces, these spaces were not designed with theatrical productions in mind. It’s very likely that either you will not have a designated crossover space, or that the crossover space is also your storage space for the production. SUGGESTION: As with the classroom information above, plan on being creative or clever with your crossovers. Have students cross through adjacent hallways or other nearby spaces, or address crossover issues with your blocking by having characters enter from where they previously exited. • Acoustics The acoustics in gymatoriums are poor at best. The walls and floors of these spaces are normally hard, and either are “dead” or have a lot of “bounce.” In other words, sounds will be echoed and absorbed in harsh and random ways and it will be difficult for performers to be heard clearly in the best of circumstances. SUGGESTION: Work with your performers from DAY ONE on volume, projection, and clarity. Don’t expect any help from a sound system — If there is any microphone equipment, it’s most likely either hanging choir mics or hand mics on stands, and in either case will most likely not provide adequate vocal amplification. Your best bet for your performers being heard and understood is a combination of speaking loud and clear, and whatever amplified assistance you have available to you. SPACE: CafetoriumCafetoriums are arguably even worse than gymatoriums when it comes to performances. This is because cafetoriums are located IN THE CAFETERIA and there is no acoustic separation between the working kitchen and the performance stage. These spaces are notoriously loud and chaotic and are considered the most challenging to work in. If you find yourself assigned to a cafetorium as your performance space, you can expect the same fundamental challenges you will find in a gymatorium (stuff, crossovers, acoustics), plus a few more to contend with…. • Really terrible acoustics The fact is that the acoustics in a cafetorium are by far the most challenging to contend with when it comes to staging a show: The kitchen is noisy, the floors and walls are hard and echoey, and worst of all, any sounds coming from the stage are usually swallowed up in the curtains before they ever pass the proscenium. Remember as well that even if you can hear your performers during rehearsal, once you add an audience it will deaden the sound even more, making it even harder to hear them. And when the audience cannot hear or understand what the actors are saying, they will eventually tune out and give up on the performance. SUGGESTION: If you are performing in a cafetorium, plan on using some kind of amplification system, even if your performers have to stand near a stationary mic. The audience will gladly give up basic blocking in favor of hearing what is being said. • Seating Cafetorium seating is likely going to be cafeteria seats, which are typically long tables with benches or seats attached. These seats are not designed for audiences. They are inflexible and uncomfortable, have limited sightlines, and can be noisy when in use. That’s why you need to have your seating situation in mind when you plan for your production. SUGGESTION: Keep your productions with this type of seating short and sweet. This will give your audience the best chance to enjoy the show, no matter what challenges you had to overcome to get it on the stage.

You did it! Your performance is done. But we don’t want all your students to just disappear after the curtain closes, especially if you’ve got more performances coming up. This article is focused on creating a quick and easy post-show routine for your students after each performance. If everyone chips in and helps out, it shouldn’t take longer than 10–15 minutes after the show ends. For more information about the big clean-up after your final performance (where the set is torn down, the theatre is cleaned from top to bottom, and the space is returned to its regular state — aka, strike), please check out this article: Four Tips for an Effective Strike. Teachers, share these tasks with your drama students so they know exactly what to do after each performance. Print this page out for students to keep with their scripts, or post it backstage to refer to. Feel free to adapt/eliminate any tasks as appropriate to your show. 1. All students: Complete all your assigned tasks BEFORE you go out into the house to see your friends and family. If one person leaves early, everyone will think they’re allowed to leave early, and then nothing will get done and the backstage will be a disaster. Many hands make light work — if everyone pitches in, then everyone will get to leave on time. Student actors: Before leaving the dressing area, remove your costume and get back into your personal clothes. Leave all props and equipment backstage; don’t bring anything show-related out into the public area. Technicians, stage management, and front of house can stay in their basic black clothing to complete their tasks, unless they wish to change. 2. All students: Clean up after yourselves! Every student involved in the show must contribute to keeping the theatre and backstage clean and tidy at all times. Clean as you go — you can tidy during the show, when you aren’t onstage, and during intermission. 3. Actors: Care for your costume. The costume team is there to help you, but they aren’t there to pick up after you. Ensure your costume is hung up neatly in its assigned position (on the costume rack, on a labelled hook, etc.) and all your shoes and accessories are accounted for. This will keep you from going back onstage the next day looking like a wrinkled wreck. If any part of your costume is broken or missing, let the costume team know right away. 4. Actors, props team, and assistant stage managers: Check to make sure all props are back in their storage area, especially any props that you yourself handle. Make sure they’ve been retrieved from wherever they were left (backstage, in the wings, onstage, etc.) and in good condition. If they need repairing or a touch-up, let the props team know right away. Make sure any prop weapons are safely stowed away in a locked container. 5. Technicians (lighting, sound, mic assistant, etc.), stage management, and front of house staff: Complete your individual closing duties as directed by the appropriate department head. Make sure all technical equipment is shut down correctly. Remove batteries from microphones. Remove any garbage from your workspace. Make sure any food items are stored safely and/or disposed of. Go through the audience area and pick up any items left behind (snacks, drinks, programmes, lost & found items, etc.). Sweep and/or mop the stage. 6. All students: take all your personal items home with you: backpacks, personal clothing, water bottles, etc. Student actors may want to take home costume items if they’re sweaty or dirty and wash them, but only do this with express permission from the costume team. They might have a laundry schedule already, and you don’t want to accidentally ruin or forget that item at home. 7. Stage management: Leave a “ghost light” on in the theatre before you shut off all the lights. A ghost light is a small, single-bulbed light (usually a floor lamp of some sort) that shines on the dark stage throughout the night when the theatre is closed and unoccupied. This is not only for superstitious purposes (you’re supposed to leave a light on to keep the “theatre ghost” company even when actors aren’t present in the theatre) but also for practical purposes — this way people don’t trip in the dark. Your school may have different routines for turning off the lights; either way, follow the proper procedure for closing up the theatre. 8. Be sure to SIGN OUT on the attendance form before you leave! 9. If you are meeting with friends or family members in the audience after the show, please keep these visits brief. Don’t linger for ages at the school; someone has to lock up (likely your teacher) and they want to go home too. Arrange to meet with your visitors somewhere out of the theatre after the show. 10. Hydrate and get a good night’s sleep. You need to be rested and ready to do the show again the next day! What other post-show tasks are your students responsible for completing prior to heading out for the night? Share your ideas with us!

Before the performers arrive at the performance space, the student technicians are already there and hard at work. For the purposes of this article, “student technicians” refers to the entire performance crew: stage management, sound and lighting operators, costume and props team members, set and backstage crew, box office team members, front of house staff (ushers, concessions, and house managers, and assistants of all kinds. It takes many people to make a show run smoothly, and having a strong, trustworthy crew makes that process much easier. Here is a list of 10 general tasks that student technicians should complete during their pre-show time. Each technician will have their own responsibilities that are specific to their department, but this is a good overview for the full crew. Print this page out and post it backstage, as well as in the various technical theatre workspaces. Feel free to adjust or omit any tasks as appropriate to your production. 1. Come to the theatre dressed appropriately for work. Technicians should wear black pants, a plain, long-sleeved black shirt, black socks, and comfortable black closed-toe shoes (no sandals, flip flops, or Crocs). These clothes should be easy to move in and close-fitting, so they don’t get caught up in any equipment (especially if you’re moving large set pieces). Depending on your role, you might need to wear protective gloves or steel-toed safety shoes. Front of house team members may also wear black, but a more elevated version, for example, a black dress shirt, dress pants, and smart shoes. Regardless of your role, if you have long hair, keep it tied back away from your face. 2. Arrive on time, which is actually a few minutes before your call time. Different technicians will have different call times for various reasons. SIGN IN on the attendance form, and get to your workspace. Don’t expect the stage manager to chase you down or have to text you to find out where you are. 3. Review any notes or updates that have been sent out or posted from the director and/or stage manager. Make note of them, ask for clarification if necessary, and review and practice any changes or adjustments before the house opens. 4. Tidy your workspace. Make sure the area is clear of debris and garbage. Sweep and/or mop as appropriate. 5. Do a safety check of your workspace and equipment. The specific tasks will vary from position to position; each department should have their own pre-show checklist and technical manual. If any of the equipment is damaged or malfunctioning, report it to the stage manager right away and follow the appropriate protocol for getting the item repaired, whether that is following a list of troubleshooting tasks to fix the equipment yourself, or calling the head technician to do the repair. 6. Make sure small technical items and safety/emergency equipment are readily available and in good condition, such as batteries, flashlights, glow tape, safety pins, and first aid items. Student technicians should also know where the closest fire extinguisher and nearest emergency exits are, just in case. 7. Complete any technical checks or run-throughs, with or without cast members present, as needed for the show. This could include doing microphone checks, adjusting band levels, reviewing lighting cues or set changes that are dependent upon cast members to do or say something, or practicing any special effects that need to be practiced prior to showtime (e.g., during fight call). Again, this will vary from position to position and show to show. 8. If you are on headset for the show, do a sound test to ensure you can hear and be heard by the rest of the crew. 9. Pitch in and help other crew members with their pre-show tasks. Many hands make light work. If you aren’t specifically asked to help, check in anyway and see if you can lend a hand. Otherwise, stay calm, cool, and out of others’ way. Stay out of the backstage area unless your workspace is back there; there’s already enough chaos backstage without additional bodies around. 10. Check in with your fellow technicians and see how they’re doing. If you’re an apprentice technician, check in with your mentor and ask for feedback or tips to improve your work. If you’re mentoring a new technician, give them some positive reinforcement to boost their spirits, or share your best practices and advice to help them grow. Get yourself into the theatre mindset — try to leave any worries or issues at the door and focus on the task at hand, which is putting on an incredible show.

The hour before a performance starts is always an exciting and potentially nerve-wracking time. Everyone is feeling their feels, there are many moving parts and tasks that need to be completed in a limited amount of time, and everything needs to be done as calmly and efficiently as possible. But some students don’t know exactly what they’re supposed to be doing when they get backstage, and inadvertently add to the chaos. For those students who need a little guidance, here are 10 tasks that student actors should complete prior during their pre-show time. Print this page out and post it backstage. Feel free to adapt/eliminate any tasks as appropriate to your show. 1. Know when your call time is. Different performers may have different call times for a variety of reasons. Always arrive a few minutes before your call time and SIGN IN on the attendance form. Don’t expect the assistant stage manager to chase you down or text you to find out where you are. 2. Review any notes or updates that have been sent out or posted from the director or stage manager. If the notes have been posted backstage, initial the sheet next to your notes to indicate that you have read them. If you need clarification on what the note means, be sure to ask the appropriate person (stage manager, director, costume or props team, etc.). 3. Stay hydrated. This will help you maintain your vocal health and keep you feeling well. Only drink plain water when you’re in your costume, because you don’t want to accidentally spill anything and stain it. Make sure your water bottle is labeled with your name, and be sure to take the water bottle home with you after each performance (water bottles are one of the most frequent items left in the backstage area). Never leave your water bottle on the props table. 4. Keep the backstage tidy. The backstage crew members are not your servants and should not have to pick up after you. Keeping the backstage area clean and tidy demonstrates respect to everyone involved in the show, and keeps the chaos level to a minimum. Pick up your garbage, clean up any spills immediately, hang up your costume neatly, stay away from the props area unless you’re checking to ensure your prop is in the right place, and keep your personal items to a minimum and out of the way. 5. Check in with your scene partners and see how they’re doing. Communicate and let each other know if anything has changed or needs adjusting prior to showtime. 6. Warm yourself up physically and vocally. Participate in group warm-ups and show circles, as they’re important not only for actually warming up, but for also community bonding. But also do your own warm-ups; you know your body and voice best, and you may need to do additional physical or vocal work to get your body prepared for showtime. That may involve additional stretching, running in place, jumping jacks, shaking your limbs, humming, scales, vocal exercises, checking in with your vocal director — whatever you need to do to be physically ready. 7. Warm yourself up mentally. If you’ve had a bad day, or you’re feeling tired or nervous, or you’ve got a test the next day, you have to do your best to set that aside for a couple of hours until the performance is done. There are exceptions to this rule; for example, if you’re genuinely sick or injured, or if there is a family or personal emergency, then you need to let your director and/or stage manager know as soon as possible so they can put a backup plan in motion. Otherwise, you need to get into the actor mindset and get ready to perform. You might prepare by meditating or doing breathing exercises, listening to some music that pumps you up, doing a silly dance with your castmates — again, whatever works for you to be mentally ready, that doesn’t interfere with anyone else’s pre-show preparation. 8. Do your own personal pre-show checks. The backstage crew will have tasks and checks assigned to them to complete, but mistakes may occasionally happen and things can be missed, so it’s always best to ensure that anything you personally wear or use is in place, for your own peace of mind. Make sure your costume is clean and complete (all accessories and both shoes accounted for), all your props are where they need to be, and everything is in good working order. Don’t touch anyone else’s stuff. If a problem arises, notify the appropriate person immediately; don’t wait until it’s too late to do anything about it. 9. Complete any special requirements for pre-show, such as fight call, lift call, intimacy check-ins, microphone checks, or special hair and makeup application. Do these as quickly and efficiently as possible and get off the stage. 10. Be a great team player. Respect your cast and crew mates by staying out of others’ way and remaining calm and cool backstage. Everyone has their own way of preparing for a performance, and their own tasks to complete prior to showtime. Don’t add to the stress and chaos. Avoid things like monopolizing the bathroom or the makeup mirrors, don’t run around backstage, stay out of the way of technicians and crew members trying to do tech checks and sweep the stage, and help each other out. You’re all working together to achieve the same goal: putting on a fabulous show. The more you can do for each other, the better the show will be.

When you’re creating a rehearsal schedule for your upcoming production, whenever possible you should only call student actors to rehearse for the scenes they’re actually in. There’s no sense in asking students to attend rehearsals for scenes they aren’t in, as they will likely feel like their time is being wasted and they may distract other students. However, there may be rehearsal days when some students are called for different parts of the rehearsal with breaks in between scenes being worked on (for example, Student X might be rehearsing for Scene 1 from 3–4 pm and Scene 3 from 5–6 pm, but they aren’t in Scene 2 which is being rehearsed from 4–5 pm), or perhaps your school has a policy in place that requires you to call all participating students for the full rehearsal time, whether they’re in the scenes being worked on or not. Whatever the case, you’ll need your students to keep themselves occupied during these times, so you can focus on the scenes you’re working on. So here are 10 tasks that student actors can do during rehearsals to improve their own performances and make the best use of their time, when they aren’t rehearsing the scene at that moment. Print this page out for students to keep with their scripts (see below for a printable pdf) or post it in your rehearsal space to refer to. Feel free to adapt/eliminate any tasks as appropriate to your show. NOTE: Please remain quiet and don’t disturb others, especially the students who are currently rehearsing. Stay in the rehearsal space or whatever the assigned location is; please don’t wander away or disappear, because even though you are not currently the focus of the rehearsal, you are still under the care and supervision of the teacher/director. If you’re needed for a part of the rehearsal later, be ready to go when it starts. 1. Review your lines and blocking for scenes that have already been blocked. A good rule of thumb is that if a scene has been blocked, you should be off book for that scene at your next rehearsal. We have lots of tips to help with line memorization as well as great advice from drama teachers to help with learning lines. 2. If you’re working on a musical, review your vocal lines, lyrics, and harmonies. Take recordings of your vocal lines during music rehearsals and listen to them over and over (with headphones, please, so you don’t disturb others). If you can, go to another room close by and practice your songs aloud. Review rehearsal videos for dance and stage combat choreography, again, with headphones. Get together with your scene partner and review everything in slow motion, paying attention to details such as pointed toes, what to do with your free hand, and avoiding looking at the floor. 3. Work ahead. Look at your rehearsal schedule and see what scenes are on the docket to be rehearsed soon, and read over those scenes so you’re prepared to come to rehearsal familiar with the scene and with ideas about how you might perform your role. Don’t memorize your lines ahead of time unless your director has specifically asked you to (you might memorize them in a particular way and your director might ask you to do something different) but do be familiar with the lines, entrances and exits, and overall purpose of the scene. 4. Do character work. The better you know your character, the better you’ll be able to portray them onstage. Try one of the following character analysis exercises: • A Quick Tip for Character Analysis • Character Analysis Exercise • Character Analysis: Your Younger Self 5. Go through your script and make a list or highlight any costume changes, prop needs, entrances and exits, and any other notes for yourself to remember. Colour code them if it helps. Having your own personal running list will come in handy during tech week and show week. 6. Do some research and deepen your understanding of and connection to the show. Many Theatrefolk plays have free classroom study guides available for this purpose. Read articles or books, watch videos, or listen to podcasts about previous productions of the show. Learn more about the playwright and why they wrote it. If the show is set in a particular time period, learn five facts about life in that era. If the play is based on a book or movie, read or watch the original piece. For example, the musical Cats is based on T.S. Eliot’s book of poetry, Old Possum’s Book of Practical Cats. Note any differences or changes from the source material to the current script you’re working on. 7. Advertise your show on social media in a positive way. Share rehearsal photos or videos, do TikTok trends (such as “shake my hand in character” or similar), or create a countdown to opening night. Always be sure to include a link to purchase tickets in any posts you share! 8. Observe the current scene being directed. Listen to notes and advice the director gives to your fellow students. See if you can apply those notes to your own performance. 9. Offer to help others. Get together with other cast mates and quietly practice lines, lyrics, blocking, and choreography together. Read in lines for another character for scenes you aren’t in, or watch each other perform and give each other feedback. Keep feedback focused on technical aspects such as line and lyric accuracy, clean footwork and correct steps, and so on. Avoid giving directorial notes; leave that to the director. 10. When all else fails, complete your homework or read quietly. Use your time effectively so you can go home feeling accomplished.

The following exercise helps students learn self-awareness (which is one of the categories of social and emotional learning) and apply it by analyzing characters in a play that they are currently studying. Seeing fictional character examples will help students gain a deeper understanding of the concept of self-awareness. This exercise can be done as a class, individually, in partners, or in small groups. It can be done in person, virtually via distance learning, or as a written homework assignment. 1. Introduction: What does it mean to be self-aware? What traits does a person who is self-aware possess? As a group, have students suggest various attitudes or characteristics that people who are self-aware display. These might include: • Identifying the emotions you’re feeling • Understanding the emotions you’re feeling and the thoughts you’re thinking • Understanding the connection between your thoughts, feelings, and behaviours • Having a realistic perception of yourself • Knowing your strengths and weaknesses • Knowing your limits • Having self-worth • Demonstrating a growth mindset and willingness to learn • Being able to reflect on your experiences and identify what you’ve learned • Believing that you’re capable of doing what it takes to achieve a goal • Recognizing your own coping mechanisms • Defining your own beliefs without being influenced by others Optional discussion: Do you or someone you know have these traits? How does self-awareness affect you in your everyday life? How can you improve your own self-awareness? Give examples. 2. Using a play your class is currently studying, have students identify one character who displays self-awareness. Give proof from the text. Answer the following: How does this character’s self-awareness benefit them? If students are having trouble finding a character that is self-aware, remind them that it’s a rare person who is fully self-aware all the time. Look for moments of self-awareness in the character to start. 3. Next, have students identify one character that lacks self-awareness. Give proof from the text. Answer the following: How does this character’s lack of self-awareness hinder or harm them? 4. Bonus Question: Are there any instances in which a character’s self-awareness hinders or harms them, or a character’s lack of self-awareness benefits them? Give proof from the text. 5. Students will complete and submit a final reflection (click below).

The following exercise helps students identify their personal strengths and make connections with characters in a play that they are currently studying in drama class. It could also be used for students who are performing in a school production, to help them gain a deeper understanding of the character they are portraying onstage. Being able to identify one’s own strengths is a part of cultivating self-awareness, and is important for students. At the same time, it’s an excellent opportunity to allow students to identify similar strengths in characters (even characters that are dissimilar to themselves). Making those connections helps students gain a deeper understanding of others as well as themselves, while examining their personal biases. This is an individual exercise, and can be completed in person or via distance learning. Find a link for a free printable worksheet at the end of this article. Instructions:1. To start, students will list a minimum of three strengths they think they possess. This may be challenging for some, who might think they aren’t good at anything. Remind them that everyone has strengths! Some examples might include: • • I always get my homework done and handed in on time. • I’m a great babysitter. • I always choose the perfect present for my friends’ birthdays. • My cash till at my part-time job is always correctly balanced at the end of my shift. • I speak loudly and clearly when performing in drama class. • I make excellent chocolate chip cookies. • I’m a really good listener. • I’m good at fixing things. • I’m great at braiding my sister’s hair. • I always give my best effort at football practice. 2. Select two characters from the play your class is currently studying. You may assign the whole class the same two characters, or let students choose which characters to analyze. (If you are having student actors complete this exercise for a show you are producing, have them do the analysis for the character(s) they are playing.) 3. Take a piece of paper and draw two columns, or use the provided worksheet. Write one character’s name at the top of each column. Underneath each character’s name, create three rows. Label them as follows: Their Strengths, My Similar Strengths, Connections. 4. Look through the script for scenes that the first character is in, or instances where other characters are talking about the selected character. Identify two to three strengths the character possesses. Write those strengths down under their name, giving proof from the script (such as the act and scene number, page number, or direct quote from the text). Repeat this for the second character. 5. Once students have identified each character’s strengths, they will identify at least one strength that they themselves also possess. Some characters will be easier for students to identify with than others. But it doesn’t have to be one of the strengths that the student listed in the first section, and it doesn’t have to be exactly the same strength. Challenge students to find even a thread of connection between the character and themselves. For example, a villainous character might be great at plotting schemes, while the student is a whiz at planning parties and special events. A shy, quiet character might always have their nose stuck in a romance novel, but they do share a love of reading with a student who enjoys comic books. 6. Finally, students will respond to the exit slip question: Was it easier to identify the strengths of Character #1, Character #2, or yourself? Why?

*Welcome to our Featured Play Spotlight. * Virtual Learning by Claire Broome is a perfect play to navigate the chaos of online learning. Life is absurd right now – time to embrace it! Online learning is a world of its own that doesn’t come with a map. Will Student be able to navigate this world of rotating classes, overwhelming assignments and classmates with initials? How can anyone make sense of a virtual platform? Why did we publish this play? We’re not out of the woods yet with the Pandemic and that means we still want to provide great material for virtual performance. I love the absurd nature of this piece – because it does feel like real life is more absurd than ever. Now is the time to channel all of life’s frustrations with something weird! Let’s hear from the author!1. Why did you write this play? I had the idea for this play in the fall of 2020, and was going to write it in the summer of 2021. I ended up sharing the idea with my grade 11 class, and they wanted me to write the play for them. We were in the last quad of the year, and my class wanted a fun script to work on. I wanted to write this play to celebrate and laugh at the absurdity of virtual learning. I also wanted to honour the experiences of various students. 2. Describe the theme in one or two sentences. The theme of this play is the absurdity of virtual learning and how this experience felt so chaotic. 3. What’s the most important visual for you in this play? I’m not sure how to answer this question, but Student says this line: “Kind of like this puzzle, but I don’t have all the pieces. I keep thinking I see what the picture is, and then all of a sudden, I don’t know if the piece I am holding is part of the sky or part of the sea, or even if the puzzle is a landscape.” 4. If you could give one piece of advice for those producing the play, what would it be? This play was meant to be performed online, but it could be performed in person with isolation staging; therefore just keep it simple. 5. Why is this play great for student performers? I hope it is a cathartic experience, a chance to laugh at how ridiculous their experiences have been. Also this is a great chance to play these characters BIG! 6. Why is this play great for online performances? My advice for performing online is to know that something may go wrong. Wi-Fi can be unpredictable, rehearse scenarios when things go wrong. But online performances are a wonderful platform to explore characters and experiment with ways of creating staging and focal points, even when everyone is on the screen. Get your copy of Virtual Platform right here, right now!Not right for your group right now? Search our play catalogue to find one that your performers will love!

This fun improv game challenges students to work together and think quickly on their feet to create a scene that solves a problem, using skills possessed by characters with different occupations. This game can be played live, in person, or online via distance learning. 1. Have students form groups of three. 2. Give each student in the group a different occupation, preferably in different fields. For example, a lifeguard, a chef, and an engineer. You can use our resource, Tons of Occupation Prompts, for occupation ideas. 3. Give each group a problem to solve as a group. Perhaps they’re on a sinking boat, or they’re trying to change a diaper, or a bear is chasing them. If necessary, brainstorm some scenarios with your students beforehand, or get suggestions from the class. 4. Students will need to use the unique skills of their character’s occupation to solve the problem. For example, if the scenario is that a bear is chasing the group, the lifeguard could use their whistle to distract the bear, the engineer could design and build a trap, and the chef could cook some food to lure the bear into the trap. Students can create a silly or serious scene while improvising, but they can’t just say something like, “I’m a doctor and I’m running away!” If students aren’t sure what their occupation’s skills are, make them up! 5. The scene is complete when all three students have contributed to solving the problem and figured out a way to exit the scene as a group. 6. At the end of class, each student will complete an individual exit slip.

The following improvisation game challenges students to stay in character, think on their feet, keep the scene going, and react to each other. They’re also likely going to laugh, because one of the characters in the scene isn’t what they seem — they’re an imposter! This game can be played in person or online via distance learning. 1. Have students split up into groups of three to four. 2. Give each group an occupation or job prompt: a group of kindergarten teachers, a group of dentists, a group of construction workers. You can use this list of occupation prompts for inspiration. 3. One student will play an actor who is studying the others to play a character with that job for an upcoming project. (For example, think of the character Joey Tribbiani from Friends playing Dr. Drake Ramoray on the fictional version of Days of Our Lives on the show.) The other students will play real versions of people with that job, who are experts in their field. 4. The group will start a scene where the experts are doing typical tasks associated with the job they’re doing. Using the examples above, the group of kindergarten teachers might lead their students in a craft or a song, the group of dentists might start examining a patient’s teeth, and the group of construction workers might start using their respective equipment. It doesn’t matter if the students playing the experts actually know what their job is — they need to act like they’re confident and knowledgeable, and keep talking and reacting to each other. 5. The imposter will desperately try to fit in, copying the others in an exaggerated manner, using terminology (real or made up) that they clearly don’t understand. The imposter kindergarten teacher may make up lyrics to a song (“Twinkle twinkle little star… would you like to drive my car?”) while the imposter construction worker might struggle to figure out how to operate a tool. 6. The group must have a specific beginning and end for the scene. Is the actor found out to be an imposter? Do they confess? Or does the imposter fool the rest of the group and escape? It’s up to your students. You may want to have each group perform the scene twice — once where the experts are fooled, and once where the imposter is found out. 7. At the end of class, have each student complete an exit slip (found below).

The following distance learning exercise challenges students to take their performances outdoors. Students will select a monologue, perform and film it outdoors, and submit it for evaluation. Instructions1. Students will select a short monologue (30 seconds to a minute) to prepare and perform. It must be set in an outdoor location and make sense to perform outdoors, rather than a monologue they just happen to present outdoors. If students are having trouble finding one, they could start with a show like Alice in Wonderland, A Midsummer Night’s Dream, or Lord of the Flies, all of which have outdoor settings. Alternatively, have students write their own monologues that are set outdoors. Check out our post, Tons of Outdoor Prompts, for lots of monologue-writing ideas to get your students started. 2. Before they film their monologue, have students submit a proposal to you, responding to the following: • Name and author of the play the monologue is from • Technical considerations: • Setting/location (optional: include a photo of the selected location) • Time of day • Weather • Props or costumes needed • Safety considerations • Why is this character outside? • How will you incorporate the outdoor setting into your performance? 3. Once their proposal has been approved, give students a deadline to prepare, memorize, rehearse, and film the monologue. Students should create a basic appropriate costume (as best they can using items they already have or can easily acquire) and include props if needed. Students will need to ensure they can be seen and heard while filming, as well as decide on appropriate framing of the camera. Students also need to perform safely. For example, while it would be visually cool to perform outside during a thunderstorm, it could be potentially dangerous! (See our posts: Performing Outdoors Part 1: Technical Considerations and Performing Outdoors Part 2: Safety Considerations for some helpful tips.) 4. Students will submit their completed videos to the teacher, along with a written or verbal (filmed) response to the reflection found below. If students are completing a filmed reflection response, it should be in a separate video from the monologue.

In the drama classroom, it’s important to foster a space where every student feels seen, safe, and valued. Here is a selection of practical resources for you to help support your LGBTQIA+ students with intention and care, all in one handy document. Safer Spaces• Creating a Safe Drama Classroom • Creating a Safe Rehearsal Space • Creating a Safe Space for Your LGBTQ+ Students • Tips for Building a More Inclusive Drama Classroom for Your LGBTQIA+ Students • Dressing Rooms: Solutions that Meet Student Needs Identity• Pronouns in the Drama Classroom • The Importance of Pronouns • Tips for Supporting Nonbinary Drama Students • Non-Gendered Honorifics & Group Greetings • Thoughts on Gender and Casting Class Work Resources• LGBTQ+ Inclusive Questions for Your Beginning of the Year Survey • Community Agreements in the Drama Classroom • Plays and Musicals for Pride Month • Plays to Celebrate Gender Diversity & Inclusivity • Current Events: Diversity in Theatre • An Introduction to Consent in the Drama Classroom • Inclusive Improv: Tips for Reflecting the Whole Spectrum Allyship• What Does It Mean to “Educate Yourself”? • Start With One Thing • The Drama Teacher as Ally: Advocating for LGBTQIA+ Students

Improv is meant to be a fun and creative way to express oneself in the drama classroom. It’s a great way to “try on” a wide variety of characters and situations in a fast-paced, low-stakes environment. For LGBTQIA+ students and others from marginalized communities, however, it can feel risky — beyond the usual risks we encourage our students to take. Stereotypes, assumptions, and other negative behaviour from students can creep in, unless we set a clear foundation for respect, safety, and inclusion. Inclusive improv isn’t meant to shut down humour or block creativity; it’s about opening up a wider and more respectful range of stories. When students know their identities are safe onstage, they’ll feel more comfortable taking creative risks and bringing their whole selves into the work. Here are some simple, practical ways to make sure your improv work reflects the spectrum of identities and experiences in your drama classroom. 1. Establish ground rules and boundaries as a group.Before you start improv work (or really, any collaborative work) with your students, come up with a set of community agreements that reflect what you want the classroom atmosphere to be. Include guidelines such as “We don’t make fun of people’s identities,” “We respect each other’s boundaries,” and “We remember to follow the ‘Yes, and…’ rule for improv, but we also reserve the right to say ‘No, but…’.” Remember, community agreements are a “living document” and can always be reviewed, updated, and adapted as needed. 2. Normalize all identities.Use neutral prompts whenever possible. For example: “Two students studying for a difficult exam” or “A group of scientists about to discover something terrifying,” rather than “A guy and a girl go to the movies together” or “A mom and dad discuss homework with their daughter.” This opens up more opportunities for interpretations of the prompts, on top of allowing students to play a role in whatever way they feel comfortable doing. You’ll find more neutral prompts in the giveaway below. If gender identity is relevant to the scene, let the students choose how they want to play it. For example, if a student says in a scene, “My moms are picking me up from school today,” or “Alex wants to help me bake a cake, but they’re not great in the kitchen,” affirm it in a neutral manner and go with it. Model this yourself when giving examples as well. Ensure students are portraying all identities in a respectful manner. Which leads us to our next point… 3. Interrupt harmful stereotypes.Sometimes students might unintentionally (or intentionally) portray a character in a stereotypical or caricature-like way, for example, “the sassy gay best friend.” If this happens, stop the scene gently but firmly and address the issue immediately. You might say something like, “Let’s pause here. This is leaning towards being a stereotype, and that’s not where we want to go.” Have a brief discussion to turn it into a learning moment: “How could we re-approach that character to be more honest and real?” 4. Encourage students to reflect.After improv sessions, have your students respond to reflection questions in a discussion or as journal prompts. For example: • Identify moments of inclusivity today. Why did those moments stand out to you? • Did we represent a wide range of people in today’s exercise? Why or why not? What could we do differently next time? • Were you a supportive scene partner/audience member today? If yes, give examples. If not, how could you be more supportive in the next class?

The drama classroom is a unique space with tremendous potential for allyship and advocacy. It’s often a haven for students who feel “othered” in more traditional school environments, especially LGBTQIA+ students. Being a conscious, active ally in your drama classroom goes beyond just being welcoming; it means intentionally creating a space where all identities are seen, respected, and celebrated. Here are some tips for advocating for your students both within and beyond the drama classroom. Advocating Within Your Drama ClassroomWithin your classroom, you have the opportunity to model allyship daily. Your drama classroom can be the space where it’s safe to take risks, make mistakes, and try again. It’s a place where, given the opportunity, students can truly be themselves. • Include a clear statement in your syllabus and classroom agreements about respect, inclusion, and anti-discrimination. • Let students know that misgendering, homophobic language, and transphobic behaviour won’t be tolerated. • Choose plays and texts that include queer voices and characters, and work by LGBTQIA+ playwrights. Include these choices as part of your regular teaching, not just in a “Pride unit.” Choose pieces that celebrate and uplift LGBTQIA+ joy, representation, and excellence. • Offer flexible casting options. For example, instead of saying “We need a girl to play Juliet,” try “We need someone comfortable with Juliet’s role — anyone interested?” • In playwriting, devised theatre, and improv, let students develop characters and performances that reflect their lived experiences, while still respecting their boundaries. • Always use consent-based practices in physical theatre exercises, blocking, and ensemble work. For example, always ask “Is it ok if I place my hand on your shoulder here?” rather than physically moving an actor into place. • Lead conversations on how theatre can be a tool for social change and visibility. • Introduce and discuss intersectionality: how gender, sexuality, race, and class all interact in performance and casting. Advocating Beyond Your Drama ClassroomExpanding your advocacy beyond the classroom is where real systemic change can start to take root. As a teacher and an ally, you can use your voice and position to improve the broader school culture for LGBTQIA+ students. • Collaborate with your school’s GSA (Gender & Sexuality Alliance), or help start one if it doesn’t exist. Volunteer your classroom as a meeting space, or offer to be a staff advisor. • Seek out professional development opportunities that centre on inclusive education and equity, especially ones taught by members of the LGBTQIA+ community. Look for topics such as inclusion, intersectionality, and trauma-informed approaches. Share these learning opportunities with your colleagues. • Support inclusive school policies, such as gender-neutral bathrooms, dress code updates, and curriculum representation. Push for school forms and databases to include preferred names and pronouns. • Speak up in staff meetings and curriculum discussions when LGBTQIA+ issues are being ignored or minimized. If necessary, partner with like-minded colleagues to present a unified front when advocating for change. • Be a mentor and visible ally to colleagues. Other staff might want to be allies but feel unsure or nervous. Your openness and willingness to learn can inspire others. When LGBTQIA+ students see their identities respected beyond one safe classroom (hopefully, yours!), it helps to build a school environment where they can actually belong and thrive. Even small acts of advocacy can and will ripple outward.

Inclusion is about what happens every day in your classroom. It goes beyond visibility (which is still incredibly important!). Your choices, your leadership, the materials you share with the class, and more shape the atmosphere of your drama class. When your LGBTQIA+ students trust that you see them fully, the drama classroom becomes more than a performance space; it becomes a safe haven for self-expression. Here are some simple, effective tips for creating an emotionally safe and affirming space where LGBTQIA+ students feel seen, respected, and celebrated: • Set clear, shared classroom agreements around respect, listening, and boundaries for all students. • Model curiosity and care when a student’s name or identity shifts. For example: “Thanks for letting me know. Want me to update my notes?” Here are some other inclusive questions you might ask. • Include opt-out language in emotionally intense activities, such as, “It’s okay to step back from this scene today” or “Let’s take a break and come back to this exercise when you’re feeling up to it.” Try the improv exercise “Yes, And… and No, But…” as an example of opting out of a particular topic but still participating in the exercise. • Use inclusive language. Refer to groups of students as “actors,” “performers,” “ensemble,” “friends,” “students,” “everyone,” or “folks/folx,” rather than “ladies and gentlemen” or “boys and girls.” Use everyone’s pronouns correctly. • Practice correcting gently but right away when mistakes happen, yours included. “Jason’s pronouns are they/them, Mr. Brown.” “Sorry Jason. Thank you El for the reminder.” Acknowledge your mistake, correct it, and move on. Focus on kindness over shame. Don’t get upset and make the student have to console you for your mistake. • Be affirming without making students feel like spokespeople for their identity. • Acknowledge LGBTQIA+ history months, playwrights, and trailblazers as part of your curriculum. • Seek out plays with queer representation, especially those that centre joy and complexity, not just trauma. • Make inclusivity the norm in classroom exercises and games. Let students help reimagine stories in new and different ways. Improvise a scene where Juliet has two moms. In a dance scene in your school’s musical, allow students to dance with the partner of their choice, regardless of gender identity. Offer monologue and scene choices that include characters of all genders and orientations. What are some tips and techniques that you use to create a safe, inclusive drama classroom? Let us know on Facebook or Instagram.

We want our drama classroom to be a safe space for our LGBTQ+ students. Within that umbrella are nonbinary students. The term nonbinary can mean different things to different people, but generally it refers to someone whose gender identity isn’t exclusively defined as male or female (regardless of the sex they were assigned at birth). Nonbinary identifiers can include genderqueer, agender, genderfluid, and more. Read on for some tips on supporting nonbinary students in your drama classroom. 1. Here are some basic reminders to keep in mind for all nonbinary students, not just those taking drama: • Use students’ names and pronouns correctly. If they've changed their name, don't use their deadname. If you or your students misgender another student, make the correction immediately. • A start of term survey for your students can be helpful for ensuring student safety and inclusivity. • Don’t make assumptions about anyone’s gender or pronouns. You can’t tell someone’s gender by looking at them. • Use gender-neutral greetings and comments when interacting with your students as a group, such as “Good morning everyone” rather than “Good morning boys and girls.” Even phrases like “You guys did a great job!” can be exclusionary. • Continue to educate yourself on how to be an ally to your students. The Trevor Project has many great resources that can get you started. 2. Representation is important. Study and perform plays and musicals that feature nonbinary characters. Some examples include musicals like & Juliet or Head Over Heels, or Theatrefolk plays such as Completely, Absolutely Normal: Vignettes About LGBTQ+ Teens, Red Tee, Passing Period Purgatory, Finding Jo March, and Thought Traps. Look for scripts with gender-expansive casting opportunities. Research and present profiles of nonbinary performers and playwrights. 3. When casting plays or scene work, don't make assumptions about your nonbinary students and what roles you think they’re comfortable playing. Oftentimes, nonbinary students are typecast as animals or fantasy characters, only cast in roles that are traditionally written as male, or only considered for roles that are specifically written as nonbinary or gender non-specific. Communicate with your students to see what type of roles they are interested in and comfortable playing. Some nonbinary students might be excited to play roles of any gender, while others may not be comfortable playing a character of the sex they were assigned at birth. You might introduce the idea through an exit slip in class, such as “Name your top three dream roles to play in the theatre” or “What roles do you think would be a great acting challenge for you?” For school productions, an audition questionnaire (found in the giveaway in this post could be useful for the casting process. You can ask questions such as, “Are you comfortable playing a role that is written as male/female/nonbinary (circle all applicable)” and “List the top three roles in this show that you are most interested in playing.” 4. Be aware of issues that affect nonbinary drama students. For example, many plays specifically indicate only male and female roles, awards are given specifically to male and female performers, and dressing room areas may not adequately meet students’ needs. Some students may not come from supportive homes, and, for example, might use one name at school and a different name at home. In this case you may need to ensure your show programmes indicate the name that the students’ family is ok with or aware of. Even schools and school districts can have different rules, regulations, or laws regarding LGBTQ+ issues, which may restrict what you’re able to teach and what students can learn about directly in school. There is a large possibility of exclusion (especially when you consider intersectionality — students may have faced additional exclusion due to race, disability, sexual identity, or class), and this may make your nonbinary students feel disrespected or unsafe. Some nonbinary students may feel like the only reason they were cast was to fill a “diversity quota.” Beyond acting, what opportunities are available for nonbinary student directors, designers, technicians, and playwrights? What steps can you take to find solutions for these issues? Additional Resources: Creating a Safe Space for your LGBTQ+ Students Thoughts on Gender & Casting Plays & Musicals for Pride Month

Welcome to our Featured Play Spotlight. The vignette play, Characters Behaving Badly, by Lindsay Price, asks students to look at the concept of what it means to be “good” and “bad”, as well as what it means to play a character with whom they might not agree. Perfect for class performances! If you saw a wallet on the ground, bulging with money, and no one around, would you take it? What’s the worst thing a person can do? Is it murder? Is it lying? Is it getting an A-? What defines “good” and “bad” behaviour? Can “good” people have “bad” thoughts? Let’s hear from the author!1. Why did you write this play? Over the years, I have witnessed a lot of young or student actors being reticent to take on a “bad” character because they felt it would reflect in their own personal character. “If I play a bad character, then I am seen as a bad person.” Which leads to a great question: What does it mean to be “good” or “bad”? And who gets to decide what is “good” or “bad?” And there was my starting point. 2. Describe the theme in one or two sentences. What does it mean to be “good” or bad?” What does it mean to play a “bad” character. 3. What’s the most important visual for you in this play? There’s a moment when a character holds up a wallet full of money and asks the other characters and the audience if they would take it if they found it on the ground. Would you? 4. If you could give one piece of advice for those producing the play, what would it be? It’s a vignette play so it’s easy to default to a blackout between every scene. If you look at the script, it’s specifically designed to avoid that. Blackouts suck the life out of the drive and forward motion of a play. Use choreographed transitions and music to move from moment to moment. 5. Why is this play great for student performers? Not only are the characters great for analysis in this play, the question around what is “good” and what is “bad” is an excellent topic for discussion. How do your students define the two?

Welcome to our Featured Play Spotlight. Snapshot: Bee-u-ti-ful is a competion-length version of Beauty and the Bee, and an awesome character piece for your next competition! Do you get along with your sister… or is she the freak? And more importantly, does she think you’re the freak? Meet Catherine: high school royalty. Cheerleader. Pageant queen. Meet Cosette: homeschooled genius. Spelling bee champ. Knows way too much about rats. When Cosette enters Catherine’s glittering, chaotic high school world, the collision is nuclear. A sharp, weird comedy about sisters, status, and the sting of standing out — where the pressure to fit in gets so intense it conjures GIANT TALKING BEES. Yes. Literal bees. With opinions. Witty, wild, and full of emotional honey, this play asks: what does it really mean to belong… and can one photo fix a fractured bond? Sisters. Spelling bees. Frenemies. Freak-outs. Say cheese. Let's hear from the author! Why create a competition version?The original, Beauty and the Bee, is just too long for most high school competitions. I love this play and I love the characters in it. I feel like I could go into any school and meet Catherine, Cosette, and Julian in the halls. And can I mention life-sized bees one more time? I want this play to have more productions and I hope a competition length version can make that happen! 1. Why did you write this play?This play can be found in a longer length on our site as "Beauty and the Bee." The inspiration was simple. I love spelling bees and watched them for years. I'm fascinated by spelling bee participants. How do they keep those words in their heads? Some participants are so charming. Some, so obnoxious. A unique and intriguing community! It was only a matter of time before such a character made it into one of my plays. It was a natural progression to throw an opposite character into the mix, make them sisters, and then make them have to talk to each other. 2. Describe the theme in one or two sentences?A play about family, relationships and learning how to hold on who you are. 3. What's the most important visual for you in this play?The characters talk about the photographs that have been taken of them throughout their lives and how pictures, frozen in time never really tell the truth, even if they want them to. Where does the truth lie? In the picture or just outside the frame? 4. If you could give one piece of advice for those producing the play, what would it be?This play is all about character and relationships, so do the work to make your actors bring these three dimensional characters to life. Spoiler alert - the mom is the most impactful character who never makes an appearance. 5. Why is this play great for student performers?This is a great script to show students strong character wants and what characters are willing to do to get what they want. It also theatricalizes abstract concepts: in the play the sister's heads are so full of conflict they manifest life-sized bees. And when are you ever going to have the chance to play a life-sized bee? 6. Who is your favourite character in the play?The Bees! They are the characters I would love to play. The bees represent the buzzing in your brain when you are trying to hide from something that you should really face. 7. What is your favourite line in the play?"And you are living in a dream world. A bubble. A dream world surrounded by a bubble wearing a sweater vest. There are no sweater vests in high school! It’s a vicious place where the weak get tossed onto the tundra to be devoured by wolves."

Welcome to our Featured Play Spotlight. Shakespeare's Sonnets come alive in Will and Whimsy: Sixteen Dramatically Illustrated Sonnets of Shakespeare by Alan Haehnel where modern scenes play hand in hand with the original text. Very flexible casting. Shakespeare stands before you with a book of his 154 sonnets. Will you read them? No way! Shakespeare isn’t meant to be just read. He’s meant to be performed, loved, fought for… lived. If the language feels overwhelming, start with Will and Whimsy. Modern scenes meet the original text, and the sonnets come alive. No bleeding required. Promise. Why did we publish this play?Shakespeare is meant to be performed and sometimes you need a doorway to get students to engage and connect. Will and Whimsy is just that door. The play looks at sixteen sonnets both in their original form and in modern scenes that illuminate what Shakespeare is trying to say. You get moments that are poignant, heartbreaking, comedic, and everything in-between. It’s perfect for competition because of its flexible casting, flexible length (you can cut and rearrange the sonnets as you choose) and easy staging. In short, we love how this play brings Shakespeare to life and how you'll be able to do the same. Let's hear from the author! 1. Why did you write this play/collection?I have long loved Shakespeare's sonnets, particularly for the way they use elegant language to describe timeless emotions and situations. I wanted to create a play that would help people appreciate the sonnets by pairing them with contemporary scenes. 2. Describe the theme in one or two sentences?To quote another famous text: There is nothing new under the sun. (But, I would add, there are endless ways to describe those not-new things!). 3. What's the most important visual for you in this play/collection?A juxtaposition of a classically-dressed Bard next to characters in contemporary costumes. 4. If you could give one piece of advice for those producing the play/collection - or studying it with their class - what would it be?Make certain that the person or people playing the Bard really understand every word of the sonnet they are reciting. It should be delivered with intention, with a need to communicate an important concept. And sometimes, if the sonnet calls for it, with humor! 5. Why is this play/collection great for student performers?Whenever students can have an opportunity to use poetic language as profound as Shakespeare's, it's a win. But when you can mix the poetic and classical with brief contemporary scenes featuring a lot of action and humor, then you really have a rich, multi-faceted theatrical opportunity! 6. Who is your favourite character in the play/collection?I'd love to be the Bard. 7. What is your favourite line in the play/collection?"If this be error, and upon me proved, I never writ, nor no man ever loved."

Welcome to our Featured Play Spotlight. Dead Highway by Christopher Evans is a pulse-pounding thriller set in the terrifying aftermath of a viral apocalypse. Six teenagers fight for survival against the undead, facing brutal realities and testing the limits of their bonds. Expect intense action, dark humor, and raw emotion in this gripping story of desperation and resilience. This high-stakes play offers flexible staging and unique opportunities for your makeup and costume team. Dead Highway delivers a visceral and thought-provoking theatrical experience, perfect for captivating audiences with its chilling portrayal of survival against overwhelming odds. Why did we publish this play?Dead Highway is both full on funny and full on horror. That horror piece was key for us. All our current horror/zombie material is more tongue-in-cheek and we didn't have anything straight up apocalyptic. Dead Highway is all that and more. Add to that, this play has a number of fantastic student tech opportunities. What do the zombies look like? How does the set crew put together the car the characters travel in? How is the apocalypse lit? We love this play and you will too! Let's hear from the author! 1. Why did you write this play?I am a big fan of the Walking Dead and wanted to see if their realistic style would transfer to the stage. 2. Describe the theme in one or two sentences?Teenagers can be resilient in the face of unending odds. 3. What's the most important visual for you in this play?The last one. Casey in the car surrounded by the dead lit only by her cellphone. 4. If you could give one piece of advice for those producing the play, what would it be?Keep it simple and keep it ,as much as you can, gore free. Bloody is good but some administrators might have a problem with gore. 5. Why is this play great for student performers?It’s so fun to handle this play. From being a Zombie (makeup!) to working as a tight ensemble made this a real joy. The play has sporadic humor in it so it’s not entirely a slog through heavy drama. 6. Who is your favourite character in the play?Brynn - a tough character to play because she is the one character who is mentally and spiritually broken by the Apocalypse. A very traumatic event broke her. Tough role but if you nail it it’s terrifying. 7. What is your favourite line in the play?Jennifer’s line: “So, according to you, the universe is a giant alien development plan?”

Welcome to our Featured Play Spotlight. The Truth or Dare Sisterhood by Jeffrey Harr is a sharp, funny, and unexpectedly emotional coming-of-age play that tackles identity, friendship, and the beautiful mess of growing up. Through jelly bean dares, wet willies, and late-night confessions, this band of middle schoolers learns what it really means to show up for someone–and just how powerful it is when weird kids stick together. Welcome to the wildest slumber party since the Great Guacamole Incident. When Serena and her tight-knit crew of thirteen-year-old misfits gather for a night of junk food, spooky stories, and sisterhood rituals, everything seems hilariously on track. That is, until Monarch shows up with a stuffed clown and more baggage than a carousel at JFK. Monarch isn’t just new to the group–they’re new to being themselves, and not everyone in the Sisterhood is ready for that. Why did we publish this play?We love this play for its combination of authenticity, humour, character depth simple staging, AND because it showcases all of these features in a middle school play. Yes, it has a smaller cast than many of the other middle school plays we offer, but we specifically chose this play to give students the opportunity to explore these bold characters: this play will give every actor in it a chance to shine. Did I mention how great the characters are? We could listen to Agatha and Raven talk all day long! A sincere, moving work with a clear message and a heartfelt voice. Let's hear from the author! 1. Why did you write this play?I wrote this play because as a teacher, every day, I saw small groups of kids who were friends that had next to nothing in common, except that they were empathetic, caring individuals who simply accepted one another, warts and all. Honestly, it was one of the best parts of teaching--the daily affirmation that as cruel and intolerant the world can be to kids who are just trying to be themselves, there are safe spaces and support systems and FRIENDS, in every best sense of the word. These girls are quirky as all get out, but man are they good people. The kind of people I saw in my school and the kind of people I want to be around. 2. Describe the theme in one or two sentences?Kindness is never wasted. 3. What's the most important visual for you in this play?The most important visual in the play is near the end when the girls and their new friend, who's crying, are in the circle when Serena's big sister comes in, sees Monarch crying, and immediately goes to console them before getting in the circle. It doesn't matter that she's older, that it's her little sister's group, she's one of them, and her empathy compels her to be a part of the circle. 4. If you could give one piece of advice for those producing the play, what would it be?Keep it light - it's a slumber party! Lean into the quirkiness, the comedy. It will make the impact of their support of Monarch at the end so much more powerful when the tone shifts. 5. Why is this play great for student performers?This play is awesome for student performers because these characters are soooo fun to play. They're all so sweet and honest and authentically themselves that a young performer can really sink their teeth into them. And, I honestly believe that young people - especially theatre kids - get it. They are among the most empathetic, supportive people I've ever met. 6. Who is your favourite character in the play?My favorite character is Agatha. Hands down. She is the Debby Downer, Eeyore of the group, but is so funny. It would be so much fun to play the kid who just happens to know every terrifyingly dark aspect of, well, everything - and is not afraid to tell you all about it. 7. What is your favourite line in the play?My favourite line in the play is when Monarch explains their name to the group by reciting a haiku: "A caterpillar /. This deep in fall-- / Still not a butterfly"--then says, "I know I'm not a monarch, yet. But I hope to be."

Welcome to our Featured Play Spotlight. Magic Fairy in the Microwave by Dara Murphy is a wild, fast-paced ride through imagination, identity, and a world that may or may not be real. There are knives. There is blood. There are kittens. Brace yourself for a darkly funny, physical theatre adventure that keeps you guessing till the end. You’ve been warned. Why did we publish this play? Fun fact - Dara Murphy wrote her first play in high school for a class project and her teacher submitted it to us. (The Plucky Pie Murder) She now has five plays in the Theatrefolk catalogue. Whenever we see a submission from her in our inbox, we know it's going to be dark, funny, and left of centre. It's good to have the crowd-pleasers. It's good to have the large cast plays for beginner actors. It's also good to have plays that are very out of the box, like Magic Fairy, where we have a normal teenager with a normal life and an unreliable narrator who's trying to kill her. I love this play. I love it because it’s funny, it’s absurd, and people die in a funny absurd way. Don’t bring this play to your Ultra PC Administrator - there’s guns and knives and blood. Kittens will be harmed and you have been warned. But did I mention that it’s absurd? And maybe everything doesn’t have to be happy rainbows? If you want to be fancy, you can tell your administrator that the play is inspired by the Grand Guignol style, founded by a theatre in Paris in the late 19th century. Which specialized in true to life horror plays. Wait, don’t tell them that part. Just read the play. Let's hear from the author!1. Why did you write this play? I wrote Magic Fairy in the Microwave as a fun project. I had just returned from a summer of tree planting and was waiting for school to begin. I started writing the Narrator's first monologue, and since it made me laugh, I felt inspired to continue (plus my body was sore from tree planting, so sitting and writing seemed like a good use of time). I was influenced by Grand Guignol style plays, and my goal was to write something light but "bloody". I remember giggling as I wrote each section, and I enjoyed surprising myself with the wacky twists and turns. 2. Describe the theme in one or two sentences? The theme is the power of imagination. The play also explores the mind-twisting process of writing or working on a creative project. 3. What's the most important visual for you in this play? The Narrator dying at the end with all of his dead characters around him. 4. If you could give one piece of advice for those producing the play, what would it be? I was lucky enough to see a production of this play where the cast spent a lot of time working on the fight scene choreography. The fight scenes between Tom and the Masked Villain were so electric! It was amazing to watch. If you've ever wanted to explore fight choreography, this would be a fun project. Since the fight scenes are in Sarah's imagination, they don't have to be realistic. They can be creative and over-the-top. Just make sure to warm up, go slow, and prioritize safety. Another thing I would add is that if you feel uneasy about using a prop gun, feel free to change the gun into a laser. A prop laser could light up, make pew-pew laser sounds, and it would probably be way cooler than a gun anyway. 5. Why is this play great for student performers? If your students get a kick out of theatre games where they have to die dramatically, they will certainly like this play! Student performers love the action, energy, and imagination of this play. There is a lot of movement and teamwork, and not much standing around. Yes, everyone dies in the end, but the violence is not realistic. They might also relate to the main character Sarah, a teenager who retreats into her imagination when life gets difficult. 6. Who is your favourite character in the play? I would happily be any character, but I would probably choose to be the Narrator because I like the Narrator's "bad guy" vibes and dramatic lines. 7. What is your favourite line in the play? It's hard to pick a favourite! I like the Narrator's line, "So as the last of Sarah’s blood leaks from her body, her mother dies of a tragic heart attack." That line is so ridiculous. I also love Sarah's last few lines at the end because they finish the play in a satisfying way.

Welcome to our Featured Play Spotlight. Agatha Rex by Lindsay Price is a modern high school adaptation of Antigone, transforming the Greek chorus into a dynamic ensemble opportunity. Available in a competition-length version too! Possible expulsion, expulsion, expulsion. Agatha is a girl who stands up for her beliefs, regardless of the consequences. As student council president at Thebes High, she vigorously defends a student who is unfairly punished. Based on her actions, she could be expelled and lose an important scholarship. Set in a modern-day high school, the play translates the original Greek chorus into a fantastic ensemble opportunity. Let's hear from the author! 1. Why did you write this play?I love adaptations, and Antigone is an epic play - adapting it is always a fun challenge. The original story translated seamlessly to the high school stage: Antigone defies the king to honor her brother, while Agatha defies the principal to support hers. Both Agatha and Antigone stand up for what they believe in, no matter the consequences. In this modern version, Agatha isn’t faced with a life-or-death choice—apologize or die—but her actions will still change her life. She risks losing everything she’s worked for, all for a brother who may not even be worth the sacrifice. 1b. Why did you also write a competition length version?Agatha Rex is one of my more popular plays for production and for classroom study because of its link to Ancient Greek Theatre. I've had many teachers ask for a competition length version of this play and it's been great to be able to adapt my adaptation! 2. Describe the theme in one or two sentences?Do you stand up for your beliefs, regardless of the consequences? How do you define right vs wrong? 3. What's the most important visual for you in this play?The "Greek Chorus" of students who observe the action and comment on it. 4. If you could give one piece of advice for those producing the play, what would it be?Agatha Rex is a great example of an ensemble that has a lot to do and can't stand around being wall paper. The Greek Chorus in the original is transformed into an ensemble of high school students. Frankly, it's the toughest part in the play – they set the scene, they set up the world of the play and its characters. The ensemble acts as foils for Agatha (both encouraging her to act and then backing away when she asks for their help) they are the atmosphere of the play. They act as the voice of the student body. And they have to do it in unison. 5. Why is this play great for student performers?This play has a lot to offer from offering a modern look into an Ancient Greek play, to the ensemble work, to the strong character development, to the discussion of the themes. How do you define right from wrong? What would you do in a similar situation? Should someone be punished less harshly because they are a good student? What are your thoughts on personal responsibility? 6. Who is your favourite character in the play? OR Which character would you be in this play?Eunice, the head hall monitor, is my favourite character! I would love to play her. 7. What is your favourite line in the play?Any time the chorus called Dr Creon "Cromagnon."

It’s that age-old drama classroom conundrum: Final projects have been completed, but there are still a handful of school days to fill before the year officially ends. This can be a challenging time for teachers who are expected to keep their students occupied in creative and appropriate ways. To help fill this drama class downtime, here are four activities to keep your classroom engaged all the way to year's end. Theatre Game RoundupIf your classroom is anything like mine, you know that some classroom activities are more popular than others. Whether they are warm-up exercises, focus activities, or improv games, these are the games and activities students want to participate in again and again. So why not fill these extra days AND provide an informal review of previous classroom activities by leading your students through a re-playing of your classroom’s “greatest hits”? • Work with your class to generate a list of their favorite classroom theatre games and activities. Help them remember activities that happened earlier in the year they may have forgotten. • Write each item on a slip of paper. • Place the slips of paper into a hat (or bag, box, etc.). • Have a student pull a slip from the hat and read it out loud. • As a class, go through the steps of the game. • Have a student lead the activity. • At the conclusion of the activity, have a lightning round discussion asking students why they like the game and what they learned by playing it. • Draw the next slip of paper and go again! Lip Sync BattleA classroom lip sync battle is an engaging, high-energy activity where students perform choreographed routines, lip-syncing to popular songs. Groups can compete head to head, or in a round-robin format where everyone goes at least once. Here is how to structure a classroom lip sync battle: • Students work in small groups, either chosen or approved by the teacher. • All lip synced songs must be approved by the teacher. • Song cuttings will be between 30 and 90 seconds long. • Choreography must be included and must be school appropriate. • Props and costumes are welcome but not required. Personal or common classroom items can be used. • Groups are given a set amount of time to choreograph and rehearse their songs. • Determine how winners are chosen (e.g., enthusiasm of audience applause, teacher input). • Awards such as Most Creative, Most Dramatic, or Best Use of Props can be presented, making sure that every group receives an award. • If you want to use a rubric, review with students the rubric criteria ahead of time. Of course, it can just be for fun too! Click below for a Lip Sync Battle Rubric! Improv OlympicsOrganizing a classroom Improv Olympics involves dividing students into teams, setting up varied improv game challenges, and scoring based on creativity, teamwork, and sportsmanship. Here are some quick, simple improv games that are great for head-to-head competition: • Questions only: Players create a scene in which they can only ask each other questions. The first player not to ask a question will get buzzed out and a new player will come in to challenge the remaining player. • ABC Game: Two players will create a scene in which they must start each sentence with the next letter of the alphabet. Students can challenge each other by trying to successfully get through the alphabet in the shortest amount of time. Mistakes in the order of the alphabet result in a five-second penalty. • Operation Gibberish: Two teams of two compete in this game. • Both teams are sent into “isolation.” • While they are in isolation the class determines a secret objective that must be completed by the team (say a word, perform a simple task, etc.). • The first player of Team 1 is retrieved and told the task they must get their teammate to accomplish. However, the first player may only speak in gibberish. • Their teammate enters and the scene begins. Player one speaks in gibberish trying to get player two to accomplish the assigned task. • The scene is timed and the time ends when the second player completes the assigned task. • Player one from Team 2 is then brought in and given the same challenge. • Player two enters and the scene begins. • Team 2 plays until the objective is met. Their scene is timed. • The team with the quickest time wins a point. Click below for more games! Shakespearian Insult PostersIf you have a group of students who are reluctant to engage in performance, you can set them on this fun design project instead. Shakespeare was famous for his clever and cutting insults, and the imagery he used was quite colorful. Consequently, his insults are a perfect vehicle for visual interpretation in poster form. Here’s how to bring it into your classroom: Materials • Poster-sized paper • Markers, crayons, or other art materials To create poster • Put students into small groups. • Give each group a list of Shakespearian insults. (A list of insults is available for free below.) • Have each member of a group choose one insult they would like to illustrate. • As a group, have the students design the layout of their poster. Have them think of the following: • A “frame” element around the edge of the paper • A title block for the poster • The design of their individual images • The location of each illustrated insult • The uniform size of each illustration • A coordinated color pallet • Have students determine who is responsible for each section of the poster. • Give students a set amount of time to work on their poster. (If you have a large amount of time to fill, require more elements and details on their posters.) • When time is up, have students present their posters to the class. Their presentation should include information about: • Their design process • Why they chose their insults • The most challenging part of the project • What they enjoyed the most Click below for a list of Shakespearian insults!

Blind Robot is the ultimate verbal communication game. It requires players to CLEARLY communicate verbal commands to a “robot.” The robot then has to physically interpret those instructions in a way that makes sense to them, even if it’s not what the instructor had in mind. This ‘command and respond’ cycle leads to an entertaining, thought-provoking, and sometimes challenging communication loop. It teaches students the value of communicating clearly. Here’s how you play Blind Robot: • Choose one student to be the Robot. • Blindfold the Robot and send them from the room. • While they are out of the room, the rest of the class will decide on a simple action for the Robot to complete (e.g., sit in a chair, stand on a box, write the letter A on the board, etc.). • The students will form a circle around the perimeter of the room. • Bring the blindfolded Robot back into the room and place them at the ‘starting point’ in the centre of the circle. • Starting with the student closest to the Robot, each student — one at a time, and in order around the circle — will give one, and only one command to the Robot as a step towards the assigned task. • Commands should be simple actions: “Take three steps forward,” “Raise your right hand,” “Touch the object in front of you,” etc. Each student will give ONE simple command with no follow-up instructions. • The Robot will interpret the information as they understand it, without the assistance of any other students. The Robot may NOT react based on what they THINK the instructor wants. For example, if a student says, “Raise your right hand” expecting the robot to raise their hand completely above their head, but instead the Robot only raises their right hand to shoulder level, then it is up to the next student to try and solve this problem. • The next student can give a clearer instruction, such as “Raise your right hand above your head.” • Students will go around the circle, one command at a time, working together as a group, to get the Robot to complete the task. • If the task is not completed by time you reach the end of the circle, return to the first student and continue in order until the task is successfully completed. • When the task is completed, unmask the Robot and have a quick discussion about what kinds of instructions the robot found helpful and which ones were confusing or insufficient. • Choose a new robot and start the game again. As students become more adept at this game you can add more difficult challenges. However, it’s a good idea to assign a ‘Robot Assistant’ who will keep the blindfolded robot physically safe during particularly challenging tasks. More advanced versions of the game might include: • Multi-step tasks such as picking up an object and putting it in another object. • Creating an obstacle course that the Robot must navigate to complete the task. • Adding physical challenges to the Robot’s movement. For example, the Robot must walk backwards or crawl on their belly from point A to point B as part of their task.

These games and exercises are my go-to activities for teaching beginning drama students. They’re fun, engaging, effective, and give students a well-rounded overview of topics such as drama classroom and theatrical etiquette, various nonverbal and scripted performance techniques, introduction to scene and character analysis, and more. First Week Essentials• You and your students can learn each others’ names using the Silent Line-Up game, the ABC Name Game, and the Action Name Game from 3 Tips to Learn Students’ Names Quickly, and get to know a bit more about them by playing Move Yer Butt and Mixer from Getting to Know You Games. • Practice and reinforce classroom rules and theatre etiquette guidelines with the Act It Out game. • Creating a set of Community Agreements is an essential first week activity for you and your students. • And here’s even more First Week Activities for you to use. Ensemble-building and trust-building are key topics to cover through warm-ups, games, and classroom exercises. Nonverbal Theatrical Techniques: Mime, Tableau, Dance & Creative Movement• Elephant Walk is one of my favourite nonverbal warm-up games. • Start by teaching students about neutral position (from 3 Tips to Help Student Actors Stop Fidgeting), which helps them learn focus and body awareness. • Our Middle School Miming series has great tips for teaching students about miming technique. Try Preparatory Skills; Big, Small, Heavy, Light; and Interacting with a Wall to start. And of course, the Mirror Exercise is a classic mime exercise that everyone should use. • We’ve got lots of tableau exercises here at the Theatrefolk blog, but my go-to is Tableau Scenes from a Book. • Dancing in the Drama Classroom is another way to explore nonverbal storytelling and creative movement. Group Scene and Monologue Preparation & Practice• Always be sure to warm up the voice for speaking and singing, including breath control and enunciation exercises. • Scene analysis exercises help students gain a deeper understanding of the character they’re playing and the scene as part of the whole play. Don’t start rehearsing without doing some preparatory work first! • Teaching Students How to Rehearse in the Drama Classroom helps them use their in-class rehearsal time effectively. • Students also need to know the basics of stage directions. Try playing Trapdoor to learn the difference between upstage, downstage, stage left and stage right. • Once students have a good foundation, they can start working on partner and group scenes (which are generally less nerve-wracking than jumping right into monologues). If you need some great scripts for students to study in class, check out Theatrefolk’s Top 10 Plays for Scene Work. Work on analyzing, rehearsing and then presenting their scenes for the rest of the class. • Then, move on to monologues, both for performance and as part of an audition. I always have my students do mock auditions, so they get to practice going through the audition process before actually auditioning for a show. Specialty Topics• Improvisation is a vital skill for beginning drama students to help them think on their feet and work as a team. Here are the Top 10 Tips for Teaching Improv. Some of my favourite improv games include Scenario Generator, Props and Word at a Time Story, Commercials, and “Yes And…” and “No, But…”. • Puppetry is a great topic for students of all ages and levels of ability. Puppet Dance Parties are a fun starting point for introducing puppetry to your class. • Stage combat should only be taught by a qualified and experienced fight director, but you can introduce stage combat safety, responsibility, and fight analysis without even throwing a punch or picking up a sword. • You can teach introductory technical theatre topics to your beginning students, even if you aren’t the most technically inclined teacher. Costumes, props, makeup, sets, lighting, sound, special effects — there’s a technical area for just about everyone. We’ve got a collection of 15 Tech Exercises for the Non-Technical Teacher that don’t require a lot of equipment or extensive technical theatre knowledge. • You can bring together and show off all the skills your students have learned and developed over your time together with a class showcase. It could be a private performance for just your class or a public presentation with an invited audience — whatever works for you and your students. You can end each class with a quick verbal check-in with your students, or give them a few minutes to respond in writing to an exit slip prompt. Check out the giveaway below for a collection of exit slip prompts that you can adapt to many different lessons. Related Reading: Curriculum Planning: Introductory Skill Building

Theatre games are a vital tool for drama teachers. They help build relationships in the drama classroom, teach important theatre skills, and give students a chance to practice those skills and take risks in a low-stakes way. But let’s be honest: sometimes, as teachers, we get tired of them. Maybe you’ve played the same games with different groups year after year. Maybe the games feel stale or chaotic. Or maybe you just don’t have the energy to lead yet another round of “Zip Zap Zop.” Burnout happens, but it doesn’t mean you (or your students) have to give up on games. Here are some ways to refresh your practice. 1. Reframe the purpose.When a game feels stale, remind yourself why you’re using it. Is it about focus? Active listening? Quick thinking? Ensemble building? Shifting your mindset from Ugh, this game again to This game builds X skill can reignite your sense of purpose with the game. If you’re not already doing so, try adding a short reflection question or exit slip after each game, so it feels less like “just playing” and more like skill-building. For example, you could ask: • What is one thing you learned from this game? • How does this game help you become a better actor? • How can you apply this game to the real world? 2. Put students in charge.Instead of leading every game yourself, assign students to run them. They can explain the rules, manage the group, run the timer, give prompts, or even invent different game variations. This not only takes the pressure off you, but also empowers students to take ownership of their learning and allows them to practice their leadership skills. 3. Rotate and/or retire.It’s okay to give yourself permission to retire a game for a while. Just like actors cycle through roles, teachers can cycle through activities. Rotate in new games, revisit old ones later, or give yourself a break from the ones that drain you most. For example, I can’t stand the game Park Bench (it always seems to devolve into students yelling), so I’ve retired it from my roster of theatre games. But other teachers love it. If you are one of those people, send us your tips for success! Additionally, why not ask students to teach you a drama game they know, or invent an entirely new drama game? You’ll expand your repertoire, and your students will get to bring fresh energy to the lessons and leave their mark in the classroom. 4. Layer skills and challenges into old favourites.If a game feels tired, tweak it by layering in a skill focus or adding a more challenging variation. This helps the “same old game” feel refreshed. For example: • Zip Zap Zop, Trapdoor, or Upstage/Downstage – Add a character voice or physicality for each word. • Word at a Time Story – Instead of single words, assign a word pattern (e.g., Student A can use three words while Student B must use five), or make a rule that students must start each phrase with the next letter in the alphabet. • Scenes from a Bag – Add new prompts to your bag or have students brainstorm new prompts. 5. Give yourself permission to skip games.You don’t have to do theatre games every class. If you’re feeling burnt out on theatre games, try something different: a mindfulness exercise, a storytelling circle, a written assignment, a student-led project. The magic of games will be there when you’re ready to return to them. Final ThoughtsBurnout is a signal, not a failure. If you’re feeling tired of theatre games, you’re not alone, and you’re not doing anything “wrong.” Review, refresh, or even retire your current roster of games, especially if you’ve been using the same ones for long periods of time. Remember: theatre games should energize you as well as your students. If they don’t, it’s time to shake things up.

Looking for a fun, low-pressure way to engage your students, review key concepts, or just bring some energy to a quiet day or the end of a unit? Try a trivia challenge! Using theatre trivia is a fun way to get students thinking and collaborating while also reinforcing what they’ve learned about theatre history, terminology, and performance. You can tailor the questions to any topic you want. What You NeedNot much! You can keep it simple or get creative: • A set of questions (see below for ideas) • Whiteboards or paper for teams to write answers • Optional: buzzers, a scoreboard, and a prize for the winning team Ideas for Trivia FormatsYou don’t have to stick with a simple Q&A. Here are a few ways to keep it interesting: • Classic Q&A: You ask questions, students answer individually or in teams. • Jeopardy-Style: Create a board with categories and point values. Teams pick a category and earn points. • Lightning Round: See how many questions each team can answer in 60 seconds. • Relay Style: One student from each team comes up at a time and answers before tagging the next teammate. Topics to TryThe great thing about theatre trivia is how flexible it is. You can create questions based on what your students are studying or introduce new topics to spark curiosity. Some possible categories include: • Theatre terms & stage directions (e.g.: What’s upstage? What’s a cue?) • Famous plays & playwrights • Broadway & West End fun facts • Shakespeare & classics • Musical theatre (songs, shows, composers) • Backstage tech & crew roles • Memorable characters & quotes • Questions regarding a specific theatre era • Questions about your own school’s shows Sample QuestionsNeed inspiration? Here are a few questions to get you started. Download the giveaway to see the answers. • What do we call the area of the stage closest to the audience? • Who wrote Romeo and Juliet? • What’s it called when an actor speaks directly to the audience? • Name one job of the stage manager. • Which musical includes the song “Defying Gravity”? • What is the theatrical term for where the audience sits? • What is the term for the imaginary wall between actors and the audience? • What do we call the last rehearsal before opening night? • Which side of the stage is “stage left” from the actor’s point of view? • What is a monologue? • What is “improv” short for? • What is the name of the playhouse that is most closely associated with William Shakespeare? • What is the theatrical term for turning off all the lights on stage? • What form of Japanese theatre uses wooden puppets? • True or false: The overture is played at the end of a performance. Bonus Ideas• Use trivia as a warm-up before rehearsal or a way to wrap up a unit. • Make a “Trivia Championship” and keep team scores over multiple classes. • Add movement or charades elements between rounds to mix it up. • Have students design their own categories and host the game themselves. Tips for Success• Mix easy, medium, and challenging questions so everyone can feel successful. • Encourage good sportsmanship — it’s about fun, not just winning. • Keep the pace brisk to keep energy high. • Have a tiebreaker question ready just in case. • If time allows, let students create their own questions to test the teacher or each other. Grab some questions, split into teams, and let the games begin!

This month, we’re going to be using the five senses (sight, hearing, taste, smell, and touch) as the basis for exercises and theatre games. This week, we’re looking at the sense of touch, through movement and physicality-based exercises. In the drama classroom, “touch” can refer to students physically interacting with each other, as well as focusing on movement, physicality, and sensations to tell stories, thinking about concepts and ideas such as textures, weight, and moving through the space in different ways. Group touch-based theatre exercises require clear communication and a lot of trust between scene partners, to ensure all students are comfortable and safe throughout the process. Here are some exercises to try with your students that use touch, movement, and physicality as their focus, with a group work participation rubric and reflection in the giveaway below. Important Note: Before any exercise is done onstage that involves students physically touching each other, be sure to obtain consent. This includes an instructor (teacher, director, choreographer, etc.) physically demonstrating or explaining a gesture, movement, or concept. Never assume anyone is comfortable with any sort of physical touch, even if the intention is casual or innocent. General Movement• In “Big, Tiny, Twisted”, students move around the room, meet up with various numbers of students, and create shapes with their bodies based on the titular prompts. Students are encouraged to be in physical contact with their group members when creating the shapes. • “The Human Knot” is a classic game that requires a lot of physical contact and a lot of trust. Students must maneuver their bodies with care and awareness of others in order to untangle everyone’s limbs. • Have students explore how their characters move from head to toe. How can students use their bodies to make their characters move and look physically different from how they move as themselves? How does the status of the character affect how they move and physically interact with others? How do the different movements make their bodies feel? Is it easy or difficult to maintain that character’s movement throughout the scene? Tableau• Do “Tableau Scenes From a Book” without speaking. Team members will stand still in a neutral position, or start the exercise curled up on the floor, as if they were lumps of clay. Group leaders must physically mould and sculpt their teammates into their tableau poses. • Try doing large-group or full-class tableau scenes with the caveat that each student must be in some sort of physical contact with at least one other group member when creating the frozen picture. Miming• To make the “unreal, real” in miming, it can be helpful to work with actual items in different sizes and weights so students can get crystal clear on how to physically manipulate the different items and then accurately portray them through miming. For an additional challenge, have students pair up and move items (actual or mimed) as a team. • “Still, Slippery, Sticky” explores how students’ bodies move and interact with the various substances in the room. Play additional rounds incorporating other textures into the game, such as rough, smooth, slimy, prickly, and icy. As an exit slip question, ask students how they might use these kinds of physical details in their character work.

My first blog post at Theatrefolk went live 10 years ago (check it out here). Since then, I’ve realized that the most valuable lessons aren’t always about curriculum, rehearsal strategies, or theatre history. They’re about people — the teachers who show up every day, the students who challenge us daily but also rely on the drama classroom as their safe space, and the communities built around the work we do. Here are some of the things I’ve learned from 10 years of listening to, writing for, and supporting drama teachers. 1. Drama teachers are some of the most creative problem-solvers on the planet.Give a drama teacher a classroom with no stage, a budget of zero, and 30+ students of wildly mixed abilities, and they’ll create magic. I’ve heard so many stories of teachers turning cafeterias, libraries, and gymnasiums into theatres, transforming the most mundane objects into sensational props and costumes, and teaching lessons with nothing more than a rolling cart and a lesson plan. Drama teachers don’t wait for the “perfect” conditions, they build something meaningful with what they have. That’s real artistry! 2. Students don’t need to become actors to benefit from drama class.Not every student will go on to pursue theatre, but every student who takes drama class can walk away with increased confidence, resilience, collaboration skills, and communication skills. Teachers frequently share stories of shy students coming out of their shells, anxious students demonstrating bravery, and loner students finding their place. Drama teaches social-emotional learning skills, teamwork, and empathy — all things that students will use in their everyday lives. 3. Ensemble mindset is key.Having an ensemble mindset is vital for success. I’ve said it again and again: Theatre is a collaborative medium. In the drama classroom, students learn and practice how to listen, support one another, give and take space, grow and build trust, and fail (and recover) together. A strong ensemble mindset can bring the toughest group together into a team, while a poor ensemble can make even the best lesson plan fall flat. 4. Simple activities done well are more powerful than flashy activities done poorly.You don’t need the most complicated activities to keep your students’ attention. Exercises like Tableau Scenes from a Book and Scenes from a Bag are simple, fun, and they work. They teach communication skills, active listening, and teamwork in a way that is easy for students to execute. There’s no sense using an elaborate activity that students don’t fully understand. Same with productions — yes, it’s nice to have a fancy set, glamourous costumes, and the hottest technology, but you and your students can also make magic with just a few rehearsal cubes and your imaginations. Sometimes, simple is best. 5. Students take more risks when they feel safe.Drama requires students to show their vulnerable sides, which isn’t easy, especially for beginning drama students. The drama teachers who build trust first and create safer spaces for their students tend to see those students eventually take bigger risks in the classroom. Students aren’t generally afraid of performing, they’re afraid of being judged by their peers. Creating a drama classroom that is safe and accepting makes students feel more at ease. 6. Teachers need community just as much as students do.One thing I’ve heard from drama teachers is that they often feel isolated, misunderstood, shuffled to the side, or unappreciated. Frequently, they’re the only one in their school doing what they do. That’s why online communities and resources (like Theatrefolk and the Drama Teacher Academy!) matter so much. Teachers thrive when they can exchange ideas, celebrate wins, vent, ask questions, and feel seen. Theatre is collaborative — theatrical education should be too. 7. Students don’t need perfection, they need presence.The most impactful drama teachers aren’t the ones with flawless lesson plans and the most impressive productions. They’re the ones who show up fully and authentically. Students remember the teachers who believed in them, who made them feel safe, who laughed with them, and who saw them for who they really are. 8. Theatre education keeps evolving — and that’s a good thing.There have been huge shifts in the realm of theatre education, including more emphasis on inclusion, better understanding of trauma-informed practice, the rise of intimacy direction, increased use of technology in the drama classroom and productions, and more focus on student voice and choice, as well as the temporary pivot to online learning and production during the pandemic. Drama education is not static; it changes as the world changes. And teachers keep rising to meet these changes. 9. Reflection is just as important as action.Reflection is vital for students to really absorb moments of learning. Exit slips, check-ins, and class discussions help students develop self-awareness, process emotions, track their growth, and consider what worked well and what could be improved upon. Reflection also gives teachers the chance to get to know their students better and helps them to better understand what students got out of the lessons. Reflections help everyone to pause, consider, evaluate, and then move forward. 10. Drama education is work that matters.If you’ve ever doubted your impact as a drama teacher, please don’t! Drama class is where students learn to collaborate, communicate, create, take risks, build confidence, and express themselves authentically. For many students, the drama classroom is the one place they feel at home. Drama teachers change lives! A final word from Kerry: Thank you, drama teachers, for everything you do. The long rehearsals, the lesson planning, the emergency fixes, the hours spent caring about students who really need you. It has been an honour to be part of the Theatrefolk community for the past decade, and to share in the incredible work of the Drama Teacher Academy community. I carry every lesson — and the deep respect I have for drama teachers — with me on my journey ahead. Giant thanks as well go to the incredible team at Theatrefolk: Lindsay, Craig, Christy, and the rest of the crew. I am so grateful for this opportunity to share my love of theatre education with such a dedicated and passionate group of people.

We see you, theatre teacher. Juggling lesson plans, rehearsals, last-minute casting changes, and everything in between. You do it all with creativity, heart, and a whole lot of patience. We know the job isn’t always easy, and that’s why we’re here. At Theatrefolk and the Drama Teacher Academy (DTA), everything we do is designed with you in mind. Whether you need a script that speaks to your students or a ready-to-go lesson plan that saves your sanity, our goal is simple: to support you in the incredible work you do. Let us show you why so many theatre teachers count on us as their go-to classroom and production resources. THEATREFOLKYou need more than just a script - you need support, flexibility, and resources that truly understand the drama classroom. That’s where Theatrefolk comes in. Our plays are written specifically for student performers, with relatable themes, flexible casting, and a wide range of genres. But we don’t stop there. From free classroom resources to study guides, production tips, and personalized customer support, Theatrefolk is here to help you bring theatre to life - in the classroom, on the stage, and beyond. 1. Plays Written Specifically for Students Our scripts are written with middle and high school performers in mind - age-appropriate, engaging, and classroom-tested. 2. Wide Variety of Genres and Cast Sizes Comedy, drama, large ensembles or small casts - we’ve got something for every production and program. 3. Physical Scripts or Digital Downloads Want instant access? Go digital. Prefer hard copies for your cast? We’ve got those too. 4. Strong Curriculum Support Many plays have cross-curricular connections and even free classroom study guides to help students dig deeper. 5. Relevant & Relatable Themes Characters that feel real. Stories that reflect your students’ experiences. Scripts that matter. 6. Incredible Support Responsive live customer service, script suggestions, and production tips that make your life easier. 7. Free Resources Articles, exercises, games, tips, monologues and more - all for free through our Free Resources and Learning Centre. 8. Flexible Casting Most of our plays allow for gender flexibility or creative casting to meet your group’s unique needs. 9. Competition-Ready Scripts Excellent selection of one-acts and short plays ideal for festivals and adjudicated events. 10. No-Royalty Classroom Use Every play comes with a digital classroom license option - perfect for in-class scene work, script study, and performance practice. THE DRAMA TEACHER ACADEMYReady to take your teaching to the next level? DTA is the online community you need! Classroom materials, educational resources, and professional development just for middle school and high school drama teachers. 1. Ready-to-Use Curriculum Resources Units, lesson plans, rubrics, and handouts designed to save teachers time and reduce prep stress. 2. Practical, Classroom-Tested, Standards-Based Content Created specifically for drama teachers with real classrooms in mind. Materials are connected with national and state theatre arts standards. 3. Professional Development on Your Schedule On-demand video courses help you grow as an educator whenever it fits into your busy day. Completion certificates provided for PD credit. 4. Something for All Experience Levels Whether you're a first-year teacher or a veteran, there’s always something new to learn. 5. Active, Supportive Community A private Facebook group provides space to ask questions, share wins, and get encouragement. 6. Aligned with Educational Standards Materials help meet curriculum outcomes and support administrative requirements. 7. Built-in Assessment Tools Rubrics and grading tools that match arts education needs - no more guessing how to “mark drama.” 8. Tech Theatre & Design Resources The Practical Technical Theatre digital curriculum is included - lessons on costumes, lighting, audio, design, and more! 9. Cross-Curricular Options Drama that connects with ELA, history, and social studies - ideal for interdisciplinary learning. 10. Community Building for Your Classroom Icebreakers, ensemble-building games, and strategies that build trust and collaboration. NOTE: DTA memberships start at $37/month, and there’s no minimum commitment. Stay for as long or as little as you’d like and we’ll still love you! Plus, there’s a 30-day money back guarantee - no risk involved. Click here to learn more and get a quote for your membership. Every theatre teacher’s journey is different, but having reliable, creative, and practical tools can make all the difference. Theatrefolk and the DTA aren’t about reinventing your entire program; we’re about supporting the work you’re already doing and giving you a boost when you need it. Whether it’s finding that perfect play, planning a unit that actually engages your students, or just feeling a little more connected to a community that gets it, these resources are here to help. If you haven’t explored us yet, now is the perfect time to take a closer look!

Welcome to "Playwright Spotlight" — your exclusive backstage pass to the creative minds crafting the incredible plays featured in our Theatrefolk catalogue. Discover the magic, quirks, and genius of the playwrights who help bring the stage to life. Let's meet one of these exceptional playwrights who offers the chance for your student performers to shine in their spotlight. What inspired you to start writing plays specifically for high school & middle school students?My life was changed when I discovered theatre in high school. I suddenly found my voice, and I still feel that excitement every time I see one of my plays performed by students. So long as I can inspire confidence in teenagers through my plays, I will continue to write for them. How do you balance education and fun in your scripts?I prioritize charactarization in all of my plays and try to mix as many different personities together as possible. If people learn something while watching my plays, I am grateful. If they have fun, I am eccstatic. Can you share a memorable experience or feedback from a student performance that left an impact on you?I saw a production of Fidget and was delighted by the performance. However, I was even more moved when I looked toward the audience. They were all kindergarten to grade 5 kids, smiling ear to ear. They were so engaged in the play, laughing and giggling and participating, that it reminded me why I do what I do. Any advice for teachers or directors looking to choose engaging and age-appropriate plays for their student performers?Give students the opportunity to read as many plays as possible. Access to play scripts allows students the opportunity to discover for themselves what they are capable of, and interested in, performing. What is your favourite play you've written so far?The play that sticks out as a favourite is Split. The characters are all unique and their stories are told in a purely theatrical way that allows a great deal of creative freedom for actors and directors. Anything else you'd like students and/or directors to know about you as a playwright?I never wait for the next great idea. Instead, I take the first idea that pops in my head and try to make it a great one.

Welcome to "Playwright Spotlight" — your exclusive backstage pass to the creative minds crafting the incredible plays featured in our Theatrefolk catalogue. Discover the magic, quirks, and genius of the playwrights who help bring the stage to life. Let's meet one of these exceptional playwrights who offers the chance for your student performers to shine in their spotlight. What inspired you to start writing plays specifically for high school & middle school students?I was working as a counselor at a theater summer camp. We needed more scripts with humor and depth that showcased the talents of all of our campers. Can you share a bit about your creative process when developing plays that resonate with students?I fell in love with theater through acting, so my approach to writing a script was to create a story I would care about as an actor, and to develop characters that would be super fun for young performers to bring to life on stage. One of the biggest struggles I remember facing as a kid was wanting desperately to fit in, while trying to decide how much I was willing to change myself to do so. I see kids today wrestling with this same dilemma. So my plays explore this tension between who someone is on the inside, and how they are seen by those around them. My misfit superheroes are a prime example of this. At the same time, middle and high school kids are some of the goofiest, most creative people you will meet. I wanted to give the cast and crew a chance to laugh together and show off their silly side by injecting plenty of humor and freedom into the script, too. So, for example, I gave my superheroes bizarre powers that landed them in plenty of ridiculous situations. Are there any challenges you face when writing for student performers, and how do you overcome them?The biggest challenge I face writing for student performers is how quickly their slang goes out of fashion. Kids are eager to use the newest trendy phrases, but then they are passé in a year (or less!). In order to make the characters sound like real, authentic kids I tried to write using their slang, but now I read over scenes from years ago and that language has become dated. To try to fix this I am super flexible with directors and actors changing my scripts to fit their needs, so I am hoping today’s actors update the lines to reflect the way they speak now. For example, in several scenes I leaned hard into the hashtag trend. Adults still think that’s funny, but kids moved on from that years ago. What themes or messages do you aim to convey through your plays?One theme that resonates throughout my plays is that you shouldn’t judge someone until you get to know them. We can be quick to make snap judgments about the people around us, but if we take the time to get to know their stories we may see them in a whole different light. Another theme that threads through my work is to stand up for what is right, and to help those who struggle to stand up for themselves. Gertie Greene, one of my main characters, is seen as a bully by the whole school. But eventually we learn that she earned that reputation by defending students who were too scared to stand up for themselves. How do you balance education and fun in your scripts?Kids learn by doing. So my scripts keep them busy. Nearly everyone is on stage for most of the show, listening and reacting to the experiences of the other characters. I swing back and forth between humor and teachable moments often during my shows. Laughter opens us up to learning, and we are much more receptive to tender or earnest moments if we’ve laughed together first. Can you share a memorable experience or feedback from a student performance that left an impact on you?I had the privilege of seeing a performance of The Redemption of Gertie Greene that moved me to tears. At the end of the show, the cast and crew came onstage with posters on which they had written cruel words that had been said to them, that they had heard, or even that they had said to someone else. Several students read a statement they had prepared about choosing to use our words to help and heal rather than hurt those around us, and then they all turned their posters over. On the other side were words of kindness, support and encouragement. It was beautiful! The students came up with this idea themselves. It was poignant to see them take the essence of the play from the stage into their own lives. Any advice for teachers or directors looking to choose engaging and age-appropriate plays for their student performers?I think one important thing for directors to keep in mind is that kids are astonishingly profound one minute and complete goofballs the next. A show that blends the two will bring out the best in your performers. Also, every actor in the cast deserves a chance to shine. Everyone needs a character they can connect to and make their own. And if your crew believes in the story, too, they will go above and beyond to make it amazing. What is your favourite play you've written so far?The Redemption of Gertie Greene will always hold a special place in my heart. Her transformation from outcast to celebrated classmate moves me every time. Anything else you'd like students and/or directors to know about you as a playwright?First, I want to give credit to my original campers who performed these shows before they were published. They breathed life into my scripts and improved them immensely! Many of the best one-liners and the most ingenious ideas came from them. Second, my goal is to facilitate a fun and meaningful experience for your cast, crew and audience. Having worked at a theater camp I know that flexibility is key. If you need to change names, genders, lines, etc. to better reflect your own actors’ experiences, or make cuts for time I am very open to that. As long as your changes are in line with the spirit of the script, you can adapt what you need so the show fits your team.

Welcome to "Playwright Spotlight" — your exclusive backstage pass to the creative minds crafting the incredible plays featured in our Theatrefolk catalogue. Discover the magic, quirks, and genius of the playwrights who help bring the stage to life. Let's meet one of these exceptional playwrights who offers the chance for your student performers to shine in their spotlight. What inspired you to start writing plays specifically for high school & middle school students?When I wrote my first play, I was a high school student! I really just wanted to write a fun play that I could be in with my friends. Can you share a bit about your creative process when developing plays that resonate with students?I enjoy writing characters, so I usually have a character in mind first, and then I go from there. Are there any challenges you face when writing for student performers, and how do you overcome them?Sometimes I struggle with plotting and structure. I read the book Save The Cat! Writes a Novel by Jessica Brody, and that helped me a lot. What themes or messages do you aim to convey through your plays?I'm interested in themes that explore perception, decision making, misunderstanding, and the environment. How do you balance education and fun in your scripts?I usually try to write plays that are fun for actors. Sometimes that means it's a fun script, and sometimes it means it's thought-provoking. Can you share a memorable experience or feedback from a student performance that left an impact on you?I once got the chance to meet a group of students doing Magic Fairy in the Microwave on Zoom. They were so excited about the play, and they had a great, encouraging drama teacher. They loved all the "fight scenes". I was pleased that the play could bring them so much joy. What is your favourite play you've written so far?I think I like Magic Fairy in the Microwave the best because it's so weird, and a little dark. I've always liked plays that are surprising. Anything else you'd like students and/or directors to know about you as a playwright?When I write, I drink way too much tea, and I chew way too much gum. Someone please break me of this habit.

Welcome to "Playwright Spotlight" — your exclusive backstage pass to the creative minds crafting the incredible plays featured in our Theatrefolk catalogue. Discover the magic, quirks, and genius of the playwrights who help bring the stage to life. Let's meet one of these exceptional playwrights who offers the chance for your student performers to shine in their spotlight. What inspired you to start writing plays specifically for high school & middle school students?I teach high school theatre, and I found that they enjoyed the spooky, the fantastical, the whimsical -- all the things I enjoy writing about. Can you share a bit about your creative process when developing plays that resonate with students?I pay attention to what amuses them, what kind of material they enjoy playing, so I build off that. Sometimes I'll ask them what they think of an idea or I have or if they're interested in a particular project. Are there any challenges you face when writing for student performers, and how do you overcome them?Usually it's words or references they don't recognize. Sometimes I simply cut the confusing word or offeding phrases. What themes or messages do you aim to convey through your plays?Good triumphs over evil; kindness prevails. Love is love. How do you balance education and fun in your scripts?Most of my plays are adapations of classic literature, so the educational aspects are pretty much built in. Can you share a memorable experience or feedback from a student performance that left an impact on you?While working on the adaptation of Little Women that became Finding Jo March, I relied heavily on dramaturgical advice from the lead, Elio House, who was themselves a non-binary person. Their input was invaluable to me while crafting the character of Jo. Any advice for teachers or directors looking to choose engaging and age-appropriate plays for their student performers?Trust your students. They're savvier than you might expect. What is your favourite play you've written so far?Dracula! Dracula is my evil bebe. Anything else you'd like students and/or directors to know about you as a playwright?I have a great time when writing (I'm a helpless addict); I'm excellent with time management, thank god, because I teach and direct and have a social life and still manage to maintain my writing routine. Feel free to reach out to me - I'd love to hear from you!

You’ve found the perfect play! It’s engaging, relevant, and a great fit for your students. BUT, you can’t produce it this year, for any number of reasons. Maybe your performance calendar is already full. Maybe your budget is looking more “two rolls of gaffer tape” than “full-scale production.” Or maybe your performance space won’t be available for months. What do you do? Good news: You don’t need to mount a production to make the most of a play. You can explore its characters, dialogue, and themes — minus the stress of auditions and tech week. That’s where Theatrefolk’s free Classroom Study Guides come in. These study guides are designed to help you get the most out of every script you read in class. And the best part? They’re totally free and ready to download whenever you need them. Before the Read: Build Curiosity and ConnectionsEvery guide starts with Pre-Read Questions and Activities to get students engaged before page one. These are short, focused exercises that: • Introduce the play’s themes and big ideas. • Encourage personal connections so students feel invested. • Spark curiosity about the story they’re about to read. Example: For Hoodie - a middle school vignette on self-image - the “Identity Chart” exercise asks students to explore how they see themselves, just as the characters do in the play. During the Read: From “What?” to “Why?”The Close Reading Questions are organized to guide students through three levels of thinking: 1. What happened? (Comprehension) 2. How did it happen? (Looking at language, staging, and character choices) 3. Why does it matter? (Making connections to playwright intention and personal experience) It’s a simple structure that works whether you’re reading aloud in class or assigning scenes for homework. You can use these questions as group discussion starters, exit slips, or reflections. Example: In Underwater, a powerful drama about a competitive teenage swimmer losing her love for the sport, students are asked to analyze the pacing and how it would affect an audience member. After the Read: Put Creativity Into ActionIt’s always important to have students explore a play beyond just reading the script. The Post-Read Activities give students the chance to bring the script to life without the pressure of a full production. They can: • Stage one key scene. • Design a poster that captures the mood of the play. • Write a brand-new monologue for a side character. It’s hands-on, it’s fun, and it keeps theatre-making front and center in your classroom. Example: In the adaptation of Lewis Carroll’s Alice, students can design costumes or rehearse a scene from a fresh angle, all while sharpening their performance instincts. Question: How do I find the free study guides for a play? Go to the individual play’s page and scroll down to the section with details like play length and cast size. There, you’ll see a message that says: Classroom Study Guide Download a free Classroom Study Guide for this play Just click the link to access your free digital guide! Ready to give it a try? Check out our full library of Classroom Study Guides, pair one with a Classroom Script License to bring the play to life in your classroom, and start building your next great drama class unit - no stage required.

Welcome to our video series, Calling All Theatre Teachers! In this series we’re going to answer questions that drama teachers have about stepping into a theatre program. QUESTION: What should be my first unit with an advanced drama class? Where should I start? Watch the video to see Laramie’s answer to this question. His first unit dives straight into a specific activity. Click the link below for a Reflection on Beginning of the Year Teaching Goals. Where do YOU start with your advanced drama curriculum?

Welcome to our video series, Calling All Theatre Teachers! In this series we’re going to answer questions that drama teachers have about stepping into a theatre program. QUESTION: What should be my first unit with a beginner drama class? Where should I start? Watch the video to see Laramie’s answer to this question. His first unit connects to the elements of theatre he wants students to learn: body, voice, and imagination. Click the link below for a page of voice warm-ups! Where do YOU start with your beginner drama curriculum?

Welcome to our video series, Calling All Theatre Teachers! In this series we’re going to answer questions that drama teachers have about stepping into a theatre program. QUESTION: This is my first year teaching. How do I get off on the right foot with students? I want drama class to be fun but I also don’t want to be seen as a pushover. Watch the video to see Laramie’s answer to this question. He has a philosophy on how to present himself in the drama classroom that is both “friendly” and “firm.” Click the link below for a Reflection about your teaching theatre philosophy. In your opinion, what should be a teacher’s relationship to their students?

The first year of teaching is the hardest: The job is new, the learning curve is steep, and the days are packed. New teachers can easily get overwhelmed, so here are 10 steps you can take to make it easier to survive your first year. 1. Plan AheadNo matter how many tasks are put on your plate, your primary responsibilities are preparing for and teaching your classes, and that means lesson plans. As a new teacher you will be expected to prepare and execute lesson plans at a staggering rate, so make sure you plan ahead. Aim to have your lesson plans ready at least a day before you need them. Writing lesson plans on the fly is stressful and ineffective, so make lesson planning a priority. 2. PreparePreparation goes hand in hand with planning. If your lessons require materials such as scripts or improv scenarios, make sure you have those materials in hand. If you’re introducing a design unit, be sure to have whatever art materials are needed to complete the assignments. If you have to rearrange your classroom for rehearsals or performances, prepare a detailed transition plan that teaches your students what is expected of them. The more prepared you are for the day-to-day operation of your classroom, the easier your first year will be. 3. Ask QuestionsAs a new teacher, you will have a lot of questions: How do I get supplies? When will I have to fill out required paperwork? Why are these students being transferred into and out of my class, and who do I talk to about that? Don’t be embarrassed to ask a lot of questions in your first year (and beyond!), because no one expects you to know how full-time teaching works on day one. Ask your department chair and fellow teachers as many questions as necessary to learn how to successfully function in your school. 4. Ask for HelpAsking questions may not be enough. From submitting purchase orders to dealing with a student melting down in the hallway, you will be faced with dozens of tasks and situations you have never dealt with before. When unexpected situations arise and you’re not sure how to deal with them, ask for help. Making an uninformed decision could have unintended consequences for everyone involved, including you! So when in doubt, ask for help. 5. Do the Important ThingsNew teachers are expected to do a lot of things — everything from supporting the sports teams to attending an open house. However, not all tasks are created equally. If you are given a specific responsibility by your administration — such as daily supervision of the bus lot or being in your classroom 30 minutes before the first bell rings — that is considered a “duty,” and carries far more weight than a simple request. Know the professional expectations your administration has set for you, be diligent, and complete them without fail. 6. Don’t OvercommitAs a new teacher it’s easy to put too much on your plate. That’s understandable when you think about all the exciting projects you hope to accomplish, like entering a show into a local theatre festival, staging your first musical, or starting a drama club. However, there are only so many hours in a day, and if you’re not careful you can become hopelessly overcommitted, and that’s when you find yourself in the weeds with regards to your work-life balance. Be realistic and choose your projects carefully in your first year. That way you will have the time and bandwidth to do your best work. 7. Say No (When You Can)As noted above, new teachers have a lot of responsibilities, but they also have a lot of projects and productions that are suggested to them in their first year. As a new teacher it is tempting to say yes to every great idea and opportunity that comes your way, but it’s not realistic. If you spread yourself too thin, you will be miserable and exhausted, and that will impact your work both in and out of the classroom. So give yourself permission to say no to extraneous projects during your first year of teaching. Or better yet, say “maybe later.” 8. Pace YourselfIf you have never taught full-time before, you may be surprised at the amount of energy it takes to be a professional theatre teacher. Theatre classes require you to be active and engaging, both mentally and physically, for an entire regular school day, and that can take a toll under the best of circumstances. However, not all school days are created equally. As a theatre teacher your “regular” school days can often include both teaching classes AND rehearsing productions. It’s not uncommon for “regular” school days to end up being 12 hours long, and that is why you need to pace yourself. Plan your schedule carefully to include breaks for meals and other basic self-care, and stick to it as best you can. Don’t burn yourself out. 9. UnplugIt’s easy for new teachers to find themselves grading papers or answering emails from students at 11 o’clock at night, but this is not necessary. If you manage your schedule carefully and don’t overcommit, your teaching work should not bleed into your personal time. More importantly, you shouldn’t share your personal contact information with your students — for both your safety and theirs. There is no reason for you to be available to your job and/or your students 24/7. Make a commitment to disconnect as part of your regular schedule, and let your students (and admin) know there are times when you are not going to be accessible. Give yourself permission to unplug and reset. 10. Practice Self-CareAs you can see, your first year of teaching is going to be exciting, challenging, and hectic, so give yourself the best chance of success by practicing regular mental and physical self-care. Eat healthy snacks, drink plenty of water, and get enough sleep every night. Unplug your phone, unplug your brain, and take the time to rest and recharge. Self-care is the foundation of a long and successful teaching career, so take care of yourself as you start this journey. You won’t regret it!

Welcome to our video series, Calling All Theatre Teachers! In this series we’re going to answer questions that drama teachers have about stepping into a theatre program. QUESTION: What kind of procedures should I be teaching students at the beginning of the year? Do I really have to walk through how to ask to go to the bathroom? Watch the video to see Laramie’s answer to this question. He has a very short answer, and a longer answer that connects procedures with theatre etiquette. Click the link below for a Community Building, Expectations and Procedures document. What do YOU think are the important procedures to set for the drama classroom?

Let’s talk about resistant students. They don’t want to be in your class, they don’t want to participate, they don’t want to do anything, except… write a play. Great! But is it? A resistant student who says they want to do something big like write a play may not understand all the steps involved. If they hate everything else in your class, you may come to find they hate writing too. So how do you deal with students who say they want to write a play but don’t want to put in the work? Start with small exercises that students complete individually, and repeat variations of them until they demonstrate they are ready to move on to something slightly bigger. Below are a few examples of such exercises. Free WritingFirst, have students get in the habit of putting words on the page with free writing exercises. Provide a positive topic (my favourite lunch, I loved this birthday present, my sports hero), set a timer for two minutes (or one minute, or 30 seconds), and tell them they must write the entire time. They don't have to worry about formatting or grammar or even writing sentences. It's all about putting words on the page. This is an essential exercise for student playwrights because so often beginning writers freeze up before they even begin. Free writing focuses on the act of writing rather than the content. Single-Sentence PlayAnother way to start small is the single-sentence play. Show students a picture and have them write down one sentence. Maybe it's something someone says, or it's something that is about to happen, or it's a comment on what's happening. Like free writing, this is a way for students to practice writing that is less involved than writing a whole play. Mini Response MonologueA third small playwriting exercise is the mini response monologue. Give students the first line, the character, and the situation. They must continue the thought of the first line and keep writing for half a page. Think about situations that will connect to your students. For example: CHARACTER: A teenager standing in a hospital gown. Give them a name! FIRST LINE: “Goodbye, I hope I never see you again!” SITUATION: The character is saying goodbye to one of their organs. What's the reason for it? Idea Sentence StartersFor this exercise, you’ll start by giving students a topic and having them free write on it for two minutes. Keep the topic in their wheelhouse: superheros, jealousy, expectations, grades, being judged. Again, it's all about the act of writing; they don't need to worry about grammar or formatting. Then give students four sentence starters. I like to use: • I wonder.... • What if.... • If only.... • Why does.... Tell students to complete the sentences using their source material. After they’ve finished writing, ask them to share one of their sentences. Finally, have students write a half-page response monologue using their sentence as the first line. Writing a SceneIf you feel students are ready to write a scene, again, keep it small. One page. Two characters. One location. (Students tend to write movies when they think they're writing plays, so it can be helpful to impose that location limitation.) You could even make it smaller: 10 lines, 5 for each character. And again, give students the first line: "I have something important to tell you!" It’s not doing the work for them, it’s opening the door to what comes next. Let them pick characters that they connect to. If you've reached this point successfully with your students, they’re well on their way to writing plays. But keep it gradual: One page becomes two. Start implementing proper play formatting. Always have them free write at the start of each class to get their brains in writing mode.

Sometimes you need a prompt that’s a bit more than just a word or two. “Oddly specific” prompts are great for improv, devising, and playwriting because they instantly spark students’ imaginations and lower performance pressure. For example, if you tell a student “you’re a pirate,” they have to invent everything from scratch. But if you tell them “you’re a pirate who’s allergic to treasure,” the idea is already partially formed. It’s a clear starting point that helps students jump into character without overthinking. Here are 50 gender-neutral, oddly specific character prompts for your students to explore, with 50 more in the giveaway below. 1. A hairstylist with an injured left shoulder. 2. A drama teacher with stage fright. 3. A professional golfer with an extremely bad temper. 4. A sad clown, but they just got a donut from their friend. 5. A math teacher who just dropped their coffee down their front. 6. A computer technician who wishes they were at home with their pet. 7. An executive trying to come up with the newest, coolest trendy toy for children. 8. The person who names different shades of nail polish. 9. A toddler who ate one too many pieces of birthday cake. 10. Your grandparent who thinks they know best (but do they?). 11. The person who has a crush on you... but they just got an upset stomach. 12. The newly appointed royal taste tester… but they just got an upset stomach. 13. A yoga instructor midway through their class… but they just got an upset stomach. 14. A dog-walker who overbooked themselves, again. 15. A TikTok influencer who can't stop advertising things, even offline. 16. A younger sibling on their way to annoy their older sibling. 17. An older sibling whose younger sibling is literally stuck to their leg. 18. A massage therapist who is secretly a germaphobe. 19. A writer with an URGENT deadline. 20. A personal trainer who chose the wrong shorts to wear to the gym today. 21. A student who is trying very hard to learn a new instrument. It's not going well. 22. A young child who is trying very hard to be patient while waiting to open their birthday presents. 23. A dog that is trying very hard to be patient while waiting to be taken for a walk. 24. A parent who is trying very hard to listen to their child who is going on and on about their current obsession. 25. A preschool teacher with a very bad headache. 26. A tiny mouse with a tiny, delicious bowl of soup. 27. A video game hero who wants to try being the bad guy for a while. 28. A vampire who faints when they see blood. 29. A children’s book author who is looking to branch into different genres. 30. A playwright whose characters keep coming to life and commenting on the playwright’s choices. 31. A baker or chef who mistakes random items (books, pencils, backpacks, etc.) for ingredients. 32. A store manager who is unwilling to bend the return policy, no matter what. 33. A garden gnome with aspirations of being a gardener. 34. A child’s stuffed animal that is feeling “hugged out.” 35. A therapist for horror movie villains. 36. A horror movie villain who feels misunderstood. 37. A parent who’s gotten caught red-handed eating their child’s Halloween candy. 38. A person who’s pretending to be a pair of twins. 39. A talk show host who is trying to hide the fact that they know nothing about their special guest. 40. An ASMRtist who can’t stop tapping on things, even when they aren’t filming a video. 41. An office worker who keeps sneakily stealing office supplies. 42. An office manager who can’t figure out why the office supplies keep disappearing. 43. A professional ear cleaner who is ready to help everyone. 44. A bird that has just discovered that running into a window hurts, a lot. 45. A sea creature that has just discovered “human stuff.” 46. A professional mover who has gotten stuck behind a large piece of furniture. 47. A scientist who has accidentally rendered themself invisible. 48. A student wizard whose wand turns everything into glitter. 49. A professional pillow tester who is really good at their job. 50. A student named Kristin, but everyone keeps calling them Kristina.

When you can improvise a scene about anything, why not focus on kindness? Incorporating kindness into drama class activities helps students develop the ensemble mindset and creates a more positive, joyful environment. Here is a selection of 20 two-person improv scene prompts related to kindness. Have students pair up and let them select one of the prompts to perform. Or, have them pick a random number from 1 to 20 to determine what prompt they’ll present. Feel free to expand the prompts with more details or add more students to the scenes. Give students a time limit for the improvised scene, or allow it to unfold until it comes to a natural ending. You can also use these prompts for playwriting or devising scripted scenes. 1. A person does something kind for someone else without their knowledge. 2. Two friends try to one-up each other with kind acts. 3. A person helps a friend with a difficult task. 4. Someone discovers the consequences of being unkind. 5. Two friends have a disagreement but are able to de-escalate and forgive each other. 6. A person shows kindness to an animal. 7. Two friends complete a volunteer project to help others. 8. How to show kindness at school. 9. How to show kindness to your family. 10. How to show kindness in your community. 11. One friend encourages another friend to pursue a dream. 12. A student is tempted to be unkind, but decides to be kind instead. 13. Two friends perform a random act of kindness. 14. Two friends participate in a “compliment-off.” 15. Superheroes whose power is spreading kindness. 16. A person welcomes and guides another person in a new environment. 17. A person takes care of a friend who is sick. 18. A person surprises a friend with an unexpected gift. 19. A person receives an award for outstanding acts of kindness. 20. A friend encourages another friend to take a risk and it pays off.

Stories about cherished toys and stuffed animals (plush toys, stuffies, cuddly toys, soft toys, etc.) are abundant: Winnie the Pooh, The Velveteen Rabbit, Paddington, Corduroy, Calvin and Hobbes, the Toy Story series, Knuffle Bunny, and more. Stuffies bring people joy, comfort, security, and calm. They also provide a common thread for us when we get older — who hasn’t shared a story about a special stuffed animal from their childhood? The following 20 prompts are all centred around cuddly toys. Students can base their writings on a toy that they owned/currently own, or invent a new cuddly character. These scenes and monologues can have any tone or mood, but must be either from the perspective of a stuffy or feature the stuffy as the main character. InstructionChoose one of the prompts. Write a monologue or scene (minimum length: one page) based on the prompt. 1. A very old stuffed animal that has been well loved. 2. A brand new stuffed animal. 3. A lone stuffed animal in a sea of different animals. For example, a stuffed pig who is a gift to a child who only has stuffed bunnies. 4. A lost stuffy. 5. A stuffy who is a prize waiting to be won from a game at a carnival. 6. A very small stuffy (pocket-sized, or one that could be clipped to a backpack). 7. A very large stuffy (one of those giants from the fair or an oversized Valentine’s Day stuffy). 8. A stuffy that needs/needed “surgery” (mending or patching). 9. A stuffy whose kid is all grown up. 10. A character sketch of a famous stuffed animal (Winnie the Pooh, Paddington, etc.). 11. A stuffy that is allergic to something (dust, lint, other stuffies, etc.). 12. A stuffy that feels lonely. 13. A stuffy that has been given away to someone else. 14. A stuffy that finds another stuffy that looks just like them. 15. The perspective of another toy (a fashion doll, action figure, toy vehicle, etc.) that wishes they were a stuffy or feels jealous of a stuffy. 16. A group of stuffies in a store. 17. A stuffy that is granted a wish. 18. A stuffy in the midst of a wash in the washing machine. 19. A stuffy that becomes famous. 20. A stuffy that is currently being cuddled.

It’s fascinating how many people can observe the same moment and have wildly different experiences, thoughts, opinions, and memories about what happened. In this exercise, students will write four different monologues featuring four different characters all talking about the same moment, but from their unique perspectives. Students will create a brief scenario featuring two characters getting into a short disagreement. Start by describing the scenario as simply as possible, boiling it down to the main points. For example: “Sundeep had an ice cream cone. Mary took Sundeep’s ice cream and dropped it on the ground. Sundeep cried. Mary ran away.” Select four different characters to write monologues for. Take a piece of paper and fold it into quarters. Open the paper and write each character’s name and relationship to the people involved in the disagreement in one of the quarters. Here are some ideas for characters who might be involved: • First character • Second character • First character’s friend • Second character’s friend • A character’s significant other (or ex) • Bystander • School gossip • Secondhand news from an authority figure (principal, parent, boss, etc.) • A newspaper or social media story Using the example above, one student may choose to write from the perspectives of Sundeep, Mary, Mary’s best friend Tate, and their classmate Jacqueline, who watched the event happen. Another student might choose to write from the perspectives of Sundeep and Mary’s teacher Ms. Dieter, a student named Chris who happened to be walking nearby, Sundeep’s baseball teammate Michael, and Sundeep’s sister Priya. On each quarter of the paper under the character’s name, write down some notes about the person and their thoughts and reactions to the incident, as well as any relevant details. Some things students should consider when they’re writing include: • Did the character experience the scenario firsthand, observe it, or hear about it from someone else? How much information do they know? • How does the character feel about the incident? How do they feel about the people involved? • What was the character doing during the incident? What are they doing as they speak their monologue? • Who is the character talking to? Are they talking to someone else, or are they expressing their thoughts to themselves? Or, is the monologue being presented through the lens of writing or social media (a letter, blog post, video blog, social media post)? • When does the monologue take place in relation to the incident? Is it in the moment, after the fact? How much later — the same day, weeks later, years later? • What are the character’s biases or alliances? A character’s best friend, significant other, or parent would likely be more invested in the situation than a random bystander or someone reading a news article aloud. • Each character should have a unique voice; it shouldn’t sound like the same person is speaking in each monologue. Consider things like tone, word choice, use of contractions/slang, and emotional arc. Once students have mapped out their plans and details, they can write their monologues. Each monologue should be approximately half a page at minimum. Allow time for students to exchange monologues with a partner and read them aloud, then make revisions as necessary. Hearing a monologue spoken aloud can help students to hear if it flows well, if something is missing, or if something sounds weird, unnatural, or out of character. Once students have completed their writing, they will submit all four monologues, plus their planning work, for evaluation.

Taylor Swift famously described categorizing her songs as having "fountain pen," "quill pen," or "glitter gel pen" lyrics, referring to how the songs were written and the feelings they were meant to evoke. According to Taylor, fountain pen songs are modern, emotional, and deeply personal. Quill pen songs are old-fashioned-sounding, historical, and finely detailed. Glitter gel pen songs are upbeat, light, and youthful. Her songs are always written and performed in her unique voice, but the tone, structure, and artistic approach are different. It makes for an interesting writing challenge, but also creates a sense of variety and fun from song to song. Let's take that concept and apply it to writing a scene for performance. In this exercise, students will come up with a premise featuring one or two characters, to be the basis of a short scene or monologue. The scene or monologue will be between half a page to one page in length. Students will write the scene three different ways, using Taylor’s three song categories as the basis for tone, style, and word choice. Start by coming up with a premise for the scene. Some ideas might be: • Someone preparing a favourite meal • Someone cleaning their room and finding a long-lost item • A parent and child going shopping for a particular item • A baseball player about to go up to bat • Someone sharing a secret with a friend Create a brief outline for the scene, decide on the name(s) of the character(s), and note any pertinent personality traits or necessary details. The outline can be as simple as “Susan (parent) and Demi (child, age 13) need to get a new pair of pants for Demi.” Then, students will write the scene three different ways: fountain pen style, quill pen style, and glitter gel pen style. As a reminder: fountain pen songs are modern, emotional, and personal; quill pen songs are old fashioned, historical, and detailed; and glitter gel pen songs are upbeat, light, and youthful. So for example, in the scene about the clothing store, in a fountain pen scene, Susan and Demi might disagree about what pants to get, and Demi has a monologue about how their parent doesn’t understand how the pants they want to wear represent their personality and how they’re viewed in the world. In the quill pen scene, Susan and Demi might have to purchase the materials and notions and sew the pants themselves, and have deep conversations while they work together to make the pants for Demi. In the glitter gel pen scene, Demi might break into song about all the different pants and how surprised they are to discover that they’re actually having fun with Susan, trying on the pants. In all three scenes, Demi is getting a pair of pants, but each scene is totally different in tone and structure. Now you may have students saying, “Three different ways? I can barely write a scene one way!” Not to worry, we have lots of ways to help students figure out how to approach the different styles of writing. Have students consider the following when they’re planning their writing: • Perspective: Think of writing from the perspective of an adult, an elderly person, or a child. • Time period: Write from the time of the present, the past, or the future. • Slang words or phrases: How would words like rizz, groovy, awesome, balderdash, or forsooth affect the scene? • Cultural references: Do the characters communicate using telephones, letters, or social media? Are they fans of lute music, The Who, or robo-trance music of the year 2347? • Amount of words used: “Why yes, of course mother” has a much different tone than “Yeah ma,” as does “Alas, I wish to possess that item” versus “I want that.” • Contractions: “Do not” versus “don't” sounds very different. • Types of words used: Think about simple words and phrasing versus complex language, and who is using the words. For example, a five year old wouldn't likely use the word "conversely" when they’re talking. • Amount of details you include, and which details. • Style of scene: dramatic, comedic, historical, musical… Once students have completed their writing, have them read their scenes aloud to a partner or small group (or have other group members read the scenes aloud to them). Listen for things like consistent details, tone differences, anachronisms, and whether or not the scenes flow well. If any edits or revisions are needed, students should make those changes, then submit their three scenes to the teacher. Alternate Exercise: If students are overwhelmed by the thought of writing one story three different ways, have them work in groups of three. The groups will come up with one scene premise, and each student in the group will write the scene in one of the three styles (fountain pen, quill pen, or glitter gel pen style). Groups must ensure that the details of all the scenes are consistent between group members; only the style of writing will change. Groups will submit all three scenes together as a package.

Episode 214: Theatre as a teaching tool The drama classroom is not just a place for games and play time. You can use theatre as a teaching tool – perhaps the most important one students will ever receive. That’s the philosophy of long time drama teacher Michelle Huerta and she has grown and changed over the years as her students have grown and changed.

Episode 213: Happy Birthday Frankenstein! It’s Frankenstein’s Birthday this month! Or more accurately, it’s the birthday of Mary Wollstonecraft Shelley, the author of the classic gothic romance Frankenstein. Drama teacher and playwright Laramie Dean talks about writing his adaptation of the novel (Frankenstein Among the Dead), what it’s like to take on this iconic work and writing for his students. How do you adapt it to the high school stage and high school budgets? How do you adapt it so there is more variety in the gender roles? (PS: there are great parts for girls in his play!)

Episode 212: Drama Teachers: Take back the classics Julie Hartley wants you to take back the classics. Lose the idea that Shakespeare is high brow and just for people who only have a grasp of the language. Listen in to learn a practical and classroom driven approach to a classical text.

Episode 211: Putting together a touring high school show How do you put together a touring show with your students? Drama Teacher Mike Yoson and his advanced production class completed their first tour this past year. Listen in to hear the successes and struggles of this fabulous project.

Episode 210: A Facilitating a student led production Have you ever sat back and let your students take control of a play? How do you let students learn from the struggles throughout the process, rather than making the decisions for them? Drama teacher Saran Hankins shares her experience facilitating a student driven production.

Episode 209: Page to Stage: What can you learn in 48 hours? What can you learn when you put up a show from page to stage in 48 hours? Teacher and playwright Scott Giessler shares his experience. If you want your students to have an immediate lesson in problem solving this is the conversation for you!

A 48-hour theatre project can energize students, build community, and teach collaboration under pressure. The idea is that you have a play, you have your actors, and you commit to being together from Friday night at 5:00pm until Sunday night at 6:30pm when the play is over. Read a play, cast a play, play games, develop techniques and characters, build sets, create props, set lighting, and put on a play in 48 hours. Go from script to a full production in this immersive weekend event by following our top 10 tips.  1. Use the project as an exciting launch to the theatre season.The 48-hour event serves as a motivating kickoff for students returning to school, and creates excitement for students new to your program. It builds early enthusiasm before a major production later in the year. 2. Keep the creative time short on purpose.A tight deadline forces students to make decisions quickly, trust their instincts, and avoid perfectionism. You have 48 hours and you have to make a choice. You can’t ruminate on what’s going to be the best choice; you make a choice and run with it. The time crunch boosts creativity rather than stifling it.  3. Choose material that balances familiarity, simplicity, and challenge.Pick plays that feature characters similar in age to your students and explore relatable issues. This helps students connect emotionally while still experimenting with new roles and perspectives. The structure is great for encouraging students to try something out of their comfort zone in this limited time frame. And always ask yourself the question: Can we technically manage this in 48 hours? You want to choose something that you can put on its feet quickly; don’t get bogged down by complicated technical elements.  4. Plan, prepare, and get permission.A project like this needs a lot of pre-weekend prep. You need to secure administrative approval; arrange parent communication, support, and permission (perhaps have an information meeting beforehand); organize food (do you have a parent booster group who could do this?), where and how students will sleep and who is going to supervise; find out and repeat over and over the rules for spending the night in the theatre. This is a special circumstance and you’re going to have a lot of people on board to make it happen. Add to that you want to have available simple props, costumes, crafting materials, and set pieces that students can use.  5.  Establish a clear structure for the weekend.The time frame should follow a specific rhythm: Friday - ensemble building exercises, read-through and casting, Saturday - blocking and design, Sunday - run-throughs and performance. Having a clear routine will help when things get chaotic. On that note… 6. Embrace the chaos.It will be chaotic and you will be racing to beat the performance deadline. It will be challenging but it will also be extremely rewarding. Your students will be proud of what they’ve accomplished.  7. Keep the group small enough to bond.It’s easy to expand the scope of this project to include everyone who wants to participate, but consider limiting the event to about 20 students. A small group fosters teamwork, ensemble building, and keeps supervision manageable. It ensures engagement over “crowd control.”  8. Make auditions informal and low-stress.It’s all over in 48 hours. The longer you take with auditions, the less time you’ll have to rehearse. One suggestion is to cast the play based on the initial read-through and student introductions. Have students volunteer for certain roles and then switch it up after a few pages. This keeps the environment welcoming and maintains excitement rather than introducing competition. 9. Emphasize student input in design and tech.Make the whole process about student ownership. Students should contribute set ideas, create props, manage lights and sound. Have a student stage manager. Do you have students who play instruments? Have them create live music for the show. Include a student choreographer. Let them do it all! 10. Prioritize support, trust, and peer collaboration.These types of events bring students together like no other. Students help each other with their lines, cues, and quick-problem solving all with the goal to bring a play to life. To make that bond happen, trust is essential. Do ensemble building exercises and make sure everyone knows each other. It may feel like it’s taking time away from learning the play, but it will help you in the long run. 

You’ve been there: The cast is fighting. No one knows their lines. The set isn’t finished, and opening night is in two days. Maybe the flu has swept through your cast, or maybe the whole production just feels cursed. You start thinking, “I just want to walk away from this play altogether.” But in educational theatre, every disaster is also a lesson in disguise. Here are 10 takeaways for every drama educator when a show doesn’t go as planned. Because in theatre, even chaos can teach us something. 1. Choose the right show for your timeframe.A full-length production might sound exciting, but it demands longer rehearsals than most in-class time allows. If you’re teaching during 40-minute class periods, pick a script that fits the rhythm of your school schedule. A one-act may save your sanity, and your students’ energy. 2. Understand the true scope of the script.Some plays look simple on paper, until you dive in. For example, dialogue-heavy scripts like Steel Magnolias are deceptively complex. Six actors sitting around a salon can feel endless when the pacing, overlapping lines, and emotional beats all need perfect timing. 3. Make sure you KNOW what you’re getting into with double-casting.It sounds inclusive: “Let’s double-cast so everyone gets a part!” But it can quickly turn into twice the confusion: competing interpretations, uneven rehearsal time, and unnecessary comparisons. Sometimes it’s better to expand the crew or ensemble instead. 4. Balance education and aesthetic.Every teacher faces this question: Are we teaching students or producing shows? The answer is both. But when chaos hits, remember: The educational process always wins. If everyone learned something, even from failure, then the production was a success. 5. Don’t try to do it all.Directing, designing, painting, costuming, lighting, and managing a cast? Impossible. Let students lead and own parts of the process. Yes, they’ll make mistakes. But they’ll also grow. Educational theatre is about the process, not perfection. 6. Celebrate hidden growth.Sometimes what looks like failure is just preparation. A student who struggled one year might come back stronger the next. One student who fumbles costume design might excel in makeup and hair design. It’s all proof that resilience builds artistry. 7. Let go (and laugh) when it all falls apart.The set may be finished minutes before the show. The lights might die mid-scene. You might perform half the show by lamplight. Laugh anyway. Adaptability is one of the greatest lessons theatre teaches. The audience will remember the story, not the chaos. 8. Ask for help.You don’t have to go it alone. Reach out to local artists, community directors, or other teachers. Sometimes a fresh set of eyes will spot the simple fix you missed. Theatre is collaborative by nature — lean into that. 9. Find your theatre tribe.Many drama teachers are “departments of one,” but that doesn’t mean you’re isolated. Online educator communities are full of teachers who’ve been where you are. When you’re two weeks from opening and everything’s on fire, sometimes all you need is to hear: “Me too.” 10. Remember: The show will open, and the show will close.No matter how chaotic things get, the show will end. You’ll breathe again, reflect, and even laugh about it later. BONUS: Failure isn’t the end. It’s the curriculum!Theatre is where chaos meets creativity. Lights will fail. Cues will be missed. Sets will wobble. But that’s the beauty of it, because in educational theatre, failure is just another form of rehearsal. When your next production starts to unravel, take a deep breath, trust the process, and remember: Every show, even the messy ones, make your students stronger performers, and you, a stronger teacher.

Marketing a production can feel overwhelming. How do you get people in the seats when your audience seems limited to friends and family? From creative social media campaigns to school outreach and immersive community previews, consider combining traditional methods with innovative approaches to engage audiences, build excitement, and make your show a success. Below are our top 10 marketing tips that any student or community theatre production can use to get more eyes on their show, fill seats, and create lasting buzz. 1. Build relationships with schools. • Send multiple mailings to principals, teachers, and drama departments. • Offer student discounts and tie them to extra incentives (e.g., canned food drives). • Include lesson plans aligned with state standards to make attending easy for teachers. • Repeat contact is key - five to seven touches increase engagement. 2. Use social media strategically. • Promote your show on platforms where your audience is active (Facebook, Instagram). • Use paid ads if budget allows; even small amounts can generate ticket sales. • Tie social posts to events and fun activities for broader reach. 3. Involve your cast in marketing. • Have cast members create a show hashtag and take photos for social media. • Make it fun and competitive. Consider small rewards for engagement. • Encourage sharing across personal networks to expand your reach. 4. Host community previews. • Perform excerpts or themed readings at libraries, cafes, and arts centers. • Give audiences a taste of the show without giving it all away. • Use previews to interact directly with potential attendees. 5. Create a show trailer. • Film rehearsal clips or themed teasers to post online. • Highlight the tone and mood of your show to generate excitement. • Share it across social media, ticketing pages, and newsletters. 6. Combine traditional marketing with new approaches. • Don’t abandon posters, newspaper ads, banners, and newsletters—they still work. • Layer new strategies like social media, school outreach, and community previews for maximum impact. 7. Tie marketing to incentives. • Student discounts, door prize raffles, or small awards encourage attendance. • Link marketing campaigns to charitable actions to create goodwill and engagement. 8. Leverage your strengths and team. • If you’re introverted or inexperienced in outreach, collaborate with an extroverted team member. • Play off each other’s strengths to execute marketing efficiently. 9. Keep marketing visual and fun. • Instagrammable photos, creative hashtags, and cast challenges make promotion engaging. • Recognize participants with small awards to maintain excitement and investment. 10. Learn and iterate. • Reflect on what worked and what could be improved. • Push community previews further, explore new venues, and refine social campaigns. • Success builds over time. Don’t expect massive turnout on the first try.

One of the most empowering projects you can take on in your program is to give your students the opportunity to run a production themselves from beginning to end. It shows students that theatre is not just about being onstage. It’s also about directing, designing, managing, problem solving, and supporting others. A student-led production will build leadership, confidence, collaboration, and ownership. And it doesn’t have to be huge or complicated. Start small and simple. Focus on the process of letting students lead themselves through each task rather than a perfect product. This is educational theatre at its finest. Here is an easy way to get started with your first student-led production. Step 1: Choose the right show.Discuss and decide with your students something manageable. For your first time out, pick a project that has some unique characters and a few tech options (e.g., vignette plays that need lighting and sound transitions from scene to scene, different character costume options) but keep it short and relatively “easy.” Good options include: • One-act play • Series of short scenes • Readers theatre presentation • Showcase of monologues or devised work • Student-written piece Look for pieces with: • Relatively easy tech requirements • Small casts or flexible casting • Simple costume and set requirements Keep reminding yourself and your students: The goal is not a Broadway spectacle, it’s growth. Get through all the steps with confidence, communication, and collaboration. Step 2: Assign student leadership roles.What roles will your students fill? Who are your leaders? Do you have students who have indicated what they’d like to do? First, you want a student leader in each of the following roles: • Student director • Stage manager • Tech designers: lighting, sound, costume, set, props, hair and make-up You may find that you don’t have enough tech students and have to combine roles. You may find that you need to simplify the tech and just focus on one or two, for example, lighting and sound. You may find that you have more than one student who wants to direct. Discuss and determine how the leadership roles will be assigned in your situation and with your students. Once you decide on your student leaders, determine who will assist your leaders. Emphasize to students that it’s important to work as a team. Theatre is not a solo venture! Will you have a student director and an assistant director? A stage manager and an assistant stage manager? Who will operate your lighting and sound board? Who will be on your stage crew? Emphasize to student leaders that they are in charge of communicating with their departments. For example, the costume designer must work with the costume crew to determine where the costumes will come from, how they will be organized, and who will execute any quick changes during the show. Another area of leadership which you could add to your student-led production is marketing and publicity. How will your students publicize the play? Your marketing lead could also do double duty as the house manager during the run of the show. Step 3: Set clear expectations.Students thrive when they know what is expected of them. You may find that many of your students have no idea of the many steps that go into a production beyond what they’ve experienced onstage, or how to execute those steps with regard to communicating and collaborating with others. Clarify: • Rehearsal schedules • Attendance expectations • Communication methods • Deadlines • How students are expected to collaborate with each other • What decisions students truly control • Your role as facilitator and when you will step in for safety or legal reasons Create a short written agreement at the start of the process outlining that students understand what’s expected of them. Nothing formal or scary. Just a reminder that they are taking on responsibility and that others are counting on them. The hardest part will be letting students make their own decisions. Your role should be more of an outside eye rather than a traditional director. For example, when students are blocking a scene, watch what they’re doing, ask questions, and only offer suggestions if asked. Step 4: Practice ensemble building.The biggest secret weapon to a well-run student-led production is a strong ensemble. If you want students to work together, communicate well, and collaborate, they need to feel like they belong in the group, that they are in a space that encourages risk and supports failure. Start the process by having your student leaders take the class through ensemble building exercise such as: • Improv games for collaboration • Warm-up games • Games that encourage communication • Trust building Step 5: Teach them how to plan.The last thing you want to do is throw a script at your students and say “See you on opening night!” There are parts of preparing a show that your students won’t have done before. Teach them how to plan out the needs of the different departments, identify who will execute tasks, and let your students take the lead. Some example tasks are: • Create a rehearsal calendar. • Identify props, costume, and set needs. • Assign specific tasks to crew members with deadlines. • Plan advertising or announcements. • Set goals for each rehearsal. Let students handle delegation, scheduling, and progress checks, using calendars and peer accountability to meet production goals, even when setbacks occur. Step 6: Rehearse the rehearsal process.Another area where students will only have experienced one aspect of the process is a rehearsal. Your student directors may have some great ideas, but do not assume they automatically know how to run a rehearsal that is both effective and efficient. Before you start your show, model a typical rehearsal, emphasizing basic skills such as: • Starting rehearsal on time • Running warm-ups • Setting clear goals • Giving simple, kind notes • Staying focused • Ending on time Then step back and let your student directors run a short practice rehearsal. Reflect together afterward on what worked and what was challenging. Step 7: Let students make choices.Again, the most difficult part of this for you as a seasoned teacher/director is letting students take the lead when it comes to making decisions for their show. They should decide on the artistic vision, concept, look, and mood for the production. Students will need to communicate their choices and collaborate across departments to ensure cohesion. Some decision making areas include: • Blocking and staging • Costumes • Lighting cues and music transitions • Poster designs • Program content And if students make decisions that don’t work, let them problem solve. How can they revise, adapt, and build on what they’ve done? You are still the safety net. You support. You ask questions. You redirect when necessary. But when possible, let them own the process. Even if the choice is not the one you would have made. Step 8: Build in reflection.Reflection helps students see how much they have grown throughout a process. Have students complete rehearsal tracking journal entries where they reflect at the end of each class on what they’ve done, what went well, and what needs improvement. How are they working on communication and collaboration skills? What is the next task? A performance can always evolve through feedback and reflection. After the project, ask students to respond to questions like: • What surprised you about leading or working on this show? • What did you learn about yourself? • When did you have to adapt? • How did you manage frustration in rehearsals? • How did you do with time management throughout this project? • What was the most challenging part of the process? • What is something you are proud of? • What would you do differently next time? Final ThoughtsA student-led production can be messy, imperfect, joyful, and powerful. Students will discover they are capable of so much more than they thought. Hopefully, the biggest takeaway for students is that theatre is a community effort and not just a spotlight. Here’s to helping your students shine in new ways! Want more? Don’t forget to check out: The Student Director’s Handbook

I love starting the rehearsal process on a new show! There is so much promise and energy in the room when the performers come together for the first time. And of course, I want to focus that energy into a working ensemble. During that first rehearsal, my highest priority is to get the actors to start thinking, and working, as a singular cast as quickly as possible. Here are two first rehearsal activities I use to help my cast start the process of becoming an ensemble. 1 to 20This is a simple but challenging activity. Sit the cast in a circle and tell them the objective is to count from 1 to 20. The catch is they can’t do it consecutively around the circle. And they can’t try to coordinate the order through any kind of obvious communication. Once the first number is spoken, any person can say the next number, and the next number, and so on, until they reach 20. However, if two people say a number at the same time, the game resets, the number goes back to 1, and the counting starts again. It can be surprisingly challenging for a group of people to successfully count to 20 if they are not focused on what is happening in the group, so encourage your cast to really pay attention to their fellow castmates and what is happening in the moment. WHY USE IT: This activity creates the foundations for a functioning ensemble and establishes the expectation of social and situational awareness throughout the rehearsal process. As an added challenge, you can have your actors close their eyes and try to get to 20 focusing only on the energy of the group. Keep It UpThis is another simple but effective ensemble building activity. Have the cast stand in a circle on the stage or your designated rehearsal area. Blow up a balloon, bounce it into the air, and challenge the cast to keep it in the air as long as they can. When the balloon touches the ground, the game is over. Tell them that no person can touch the balloon twice in a row, but that they are free to move around the stage as long as they do so SAFELY. Have the entire cast shout out the number of times the balloon is touched: ONE!...TWO!...THREE!...and so on. Encourage the cast to support each other towards the common goal of keeping the balloon in the air as long as possible. WHY USE IT: This game quickly turns a diverse group of people into a team. Better still, this activity can reinforce ensemble throughout the rehearsal process by making it an ongoing warm-up. Challenge the group to break their record each time they play, and emphasize encouragement and support throughout the process.

Every rehearsal is important, but not every rehearsal is created equally. Sometimes actors or spaces are only available for a limited time, or maybe you’re rehearsing in a class period. When rehearsal time is short, directors need to pack as much productivity in as possible. You also need to be super organized! Here are some thoughts for putting a play together with limited time. Choosing a PlayIf you’ve only got 30-minute rehearsals, a full-length or a musical probably isn’t going to work, unless that is your one and only project for the year, and if so, go for it! (Don’t let a blog on the Internet tell you what you can or cannot do). Consider a one-act as your play of choice with limited time. This will help with the overwhelming feeling that you’ll never be able to run the whole thing during a rehearsal. There are a lot of great 30-minute scripts out there (Check out these Theatrefolk plays!) that will give students a rewarding experience and fit into your rehearsal schedule. If you’re working with a class on a production, Vignette plays are another option. Vignette plays offer short scenes on a theme. This way, you could have several scenes being rehearsed at once, while you move from group to group keeping everyone on track. This is also a great job for a student stage manager or assistant director. If everyone is working, it’s amazing how much gets done! Director TypeThere are numerous directing styles, from collaborative to “my way or the highway.” With a limited amount of rehearsal time, a go-with-the-flow approach probably isn’t going to be your best option. If you want your rehearsals to be productive, you should know what you want, be clear with your rehearsal objectives, and execute accordingly. Having said that, you could also add a week or two at the beginning of your rehearsal schedule for exploration. If you crave collaboration from your student actors, build it in. Set time to play, discuss, experiment, fail, and try again. Then, when it’s time to get down to the nitty-gritty of putting a play together, you have all that collaborative knowledge at the ready to combine with your own rehearsal objectives. Set ExpectationsWhen you have limited time, everyone has to be on the same page. EVERYONE. It won’t work otherwise. When your students come into class or into your rehearsal space, they have to know exactly what to do. (For example, check in with the stage manager, put your phone away, get your script/pencil, go onstage and start stretching.) Just like classroom procedures, use a rehearsal or two to practice your rehearsal procedures. If things get lax and you realize you hardly rehearsed for five minutes, practice the procedures again. There just isn’t time for chatting and goofing off when you only have 30 minutes. 30-Minute Rehearsal Plan StepsWhat goes into planning for 30-minute rehearsals? Step 1: Make a rehearsal calendar. Start with your performance days and work backwards. How much time do you have? Don’t forget to include tech week, run-throughs, and blocking rehearsals. The typical rule of rehearsal is that for each minute of performance on stage, you will need one hour of rehearsal time. That means for a 30-minute rehearsal, each minute takes two rehearsals. Think about how you want to introduce the play at the beginning. Do you want a week of collaborative exploration? Or a week of ensemble building exercises? How much time do you need to set up procedures? Once you’ve put your calendar together, take a good, hard look at it and make sure you have the time to give this show all the attention it will need. Step 2: Lay out each rehearsal. Know exactly what you want to accomplish in a rehearsal and communicate it clearly to your actors and team (stage management, assistant directors). Then with that rehearsal goal, set up a framework that more or less runs the same way each rehearsal. For example: • 5 Minutes: Warm-up and Check-In Circle A vocal exercise, a physical exercise, and a check-in circle. Let everyone say something in one or two sentences. For example: “Say something good,” “Say how you’re feeling,” “Say something you want to do in rehearsal.” This will give you insight into the temperature of the group and whether you need to adjust your tone in executing your rehearsal goal. • 20 Minutes: Work Session In a 30-minute rehearsal, realistically you only have 20 minutes to meet your goal. That means you’re rehearing in small chunks: one page, or less than one page, at a time. Or you’re doing one character improv exercise (Click the download below for three rehearsal exercises!). Or you have the opportunity to fix one moment of messy blocking. Keep that in mind: What’s the one thing I want to achieve? It’s also suggested that you block your scenes ahead of time. It’s all about being efficient with your time. If you walk into rehearsal and say “I don’t know where you should go….” then your rehearsal will be over. Many directors make their rehearsal calendars and then tell actors whether or not they will be needed at any given rehearsal. For a 30-minute rehearsal, which is really just a 20-minute rehearsal, it’s suggested that you call your actors for every rehearsal. Because of the lack of time, there’s always something for your actors to do: rehearse the moment you went over with them in the last rehearsal, complete a character profile, run their lines, prepare to meet with you in the next rehearsal. This will all be noisy, but it will help you stay productive. • 5 Minutes: Show Session and Check-Out Circle Have one group of actors show something they’ve done (it should only be a minute or two) and then end with a check-out circle. Keep your check-out circle rehearsal-specific. What’s one positive thing they did or saw? What’s one thing they need to work on? What’s one thing they want to improve? Step 3: Remember, it’s a play! If all of this feels a little militant, you’re not wrong. It’s written with the objective of helping you be productive and keep your show moving forward. It’s so easy to get caught in a chat session and run out of time. But of course you can throw your plan away one day and do a character dance party. Or sit down and talk about the themes of the play for the entire time. Or play games because everyone is frazzled. Don’t forget that it’s a play and having fun is part of the experience. You know your students best. Do what works for you and your situation to get the play from auditions to opening night.

Divergent learning is all about extending from a common point in many different directions — seeing multiple solutions, embracing different ways of thinking, and acknowledging that every individual brings a unique perspective to the table. Few environments embody this more naturally than the drama classroom. Students arrive with different interests, backgrounds, challenges, and levels of enthusiasm. Some want to be there; some emphatically do not. Many have deviated from the traditional “path,” and some are searching for a place where difference isn’t just tolerated but celebrated. Theatre welcomes all of it. Unlike convergent learning, w/here standardized testing pushes students toward a single “correct” answer, divergent learning embraces the shades of gray. Drama work requires creativity, flexibility, empathy, and risk-taking. There is rarely one right way to play a character, interpret a moment, or solve a problem. Theatre asks students to explore possibility, and that makes it an ideal space for divergent thinkers. A central skill for fostering divergent learning is perspective shifting. Instead of viewing a room full of wildly different students as a challenge, it becomes an opportunity. When teachers approach variance with openness, curiosity, and flexibility, students feel valued as individuals rather than as a group that needs to be managed. Drama educators regularly encounter students with dramatically different lived experiences and emotional needs, sometimes moment to moment. Adaptability becomes not just an asset but a necessity. Relationships stand at the heart of this work. A drama classroom that embraces divergent learning must also embrace safety: emotional, creative, and interpersonal. When students feel safe, they take risks. They share ideas. They try something new without fear of judgment. Simple rituals like daily check-ins allow students to be seen and heard, building a “community of one” where each person retains individuality while working toward collective goals. Process-focused teaching further strengthens divergent learning. Activities like staging a short play without assigned roles or direction push students to collaborate, communicate, experiment, and struggle productively. Success is measured not in the final performance but in how students worked together, solved problems, and supported each other. Theatre mirrors real life: the product is unpredictable, but the process is where growth lives. Teaching divergent learners also means addressing resistance directly. When students struggle, become frustrated, or push back, teachers can approach these moments with curiosity rather than confrontation. Honest, individualized conversations help students take ownership of their behavior, learning, and role within the ensemble. This is not about fixing every problem. It’s about opening dialogue and modelling empathy, patience, and accountability. Brainstorming is crucial for strengthening creative flexibility. Students are encouraged to generate many ideas without immediately deciding which ones are “good.” They learn to play in the creative sandbox — to think like they did when they were four, when creativity flowed without self-criticism. Emphasizing the journey over the outcome helps students rediscover imagination and embrace the beauty of possibility. Divergent learning in the drama classroom isn’t just about better theatre, it’s about building better humans. Students who learn to see multiple perspectives, value others’ voices, collaborate across differences, and take creative risks leave the classroom not only artistically enriched but personally empowered. Theatre becomes a practice space for empathy, flexibility, resilience, and community — the skills that matter long after the curtain falls.

Even in the middle of struggle, the arts create space for laughter, beauty, imagination, and play. They remind us that humans are storytellers and creators, capable of imagining solutions, expressing emotion, and finding hope even in the darkest moments. They remind us that creativity still exists, that stories still matter, and that joy is still allowed. Sometimes, joy is not frivolous, it is a form of resistance. (We love this quote from Toi Derricotte: "Joy is an act of resistance.”) In challenging times, when stress, uncertainty, or adversity can feel overwhelming, the arts offer a way to pause, reflect, and reconnect with what makes life meaningful. And the way we experience the arts in these moments doesn’t have to be trauma-based: It’s okay to laugh. It’s okay to have fun. Joy is also a form of resistance. It gives us the capacity to withstand and recover. At Theatrefolk, we see this power of the arts in classrooms and on stages every day. Students discover confidence as they step into new roles, speak their ideas, or create characters and worlds from scratch. Teachers cultivate supported spaces where risk-taking is encouraged, collaboration is practiced, and every voice is valued. The arts are not simply extracurricular activities; they are essential spaces where learning, empathy, and human connection happen simultaneously. In difficult times, the arts do not disappear. They become even more necessary. We hear from teachers every day as they look forward to putting on their next play, sharing their competition successes, or asking questions. We are in awe of your resilience. Teachers, please keep doing what you do. You matter. Your work matters, the communities you build matter, the joy you create matters, now more than ever.

Ideally, we want students to study characters and bring them to life through scene work. But what if you have students who have been away during rehearsals and you need a related activity for them to complete? Or you need an emergency lesson plan that focuses on individual work? Character study could be just what you’re looking for. Analyzing characters in class is a great way to help students move from simply reading a text to truly understanding it. A well-designed character study lesson (click below to download one right now!) does far more than teach students to identify traits; it develops critical thinking, empathy, textual analysis, and self-reflection skills. From Reading to Critical ThinkingAt its core, a character study lesson invites students to ask deeper questions: Who are these people? What motivates them? What evidence supports our interpretations? To answer these questions, students need to engage with the text. This can be highlighting key details, lines, and moments; distinguishing between facts (unchangeable information directly stated in the text) and assumptions (interpretations that may vary from reader to reader); and inferring character traits. Have students support their conclusions with textual evidence. Instead of saying, “This character is selfish,” they must prove it with a quote from the script. Building Empathy Through PerspectiveCharacter analysis can also build empathy. Have students reflect on their analysis with questions such as: • Who do you connect with most? • Who do you connect with least? • Who would you want to play or not want to play, and why? This gives students the opportunity to explore identity, perspective, and personal values. Imagining what a character looks like, how they move, and how they think pushes students to see the world through someone else’s lens. The reflective writing component can transform analysis into personal growth. Students must synthesize what they’ve observed and explain their thinking clearly in their own words. This reflection reinforces self-awareness, independent thought, and ownership of interpretation. Because analyzing a character is subjective, and there is rarely one “correct” answer, students learn that their insights are important.

One of the most powerful things a theatre program can offer students is not just performance skills, but real empowerment. Empowerment in theatre education isn’t about giving students free rein without structure; it’s about creating a space where they are trusted with responsibility, supported through clear expectations, and allowed to experiment, and sometimes fail, within a safe environment. Empowerment began with the belief that every student deserves a place to succeed. Think of drama class and productions as laboratories: places where students can try ideas, take risks, and learn from the outcome without fear of punishment or embarrassment. That sense of safety makes it possible for students to stretch themselves creatively and personally. Leadership as a Learning ToolA major part of empowerment comes from intentionally developing student leaders. Let students take ownership of areas like costumes, props, publicity, and stage management of your theatre productions. Hold weekly meetings with student leaders, just like a professional theatre company would. Set expectations, timelines, and give students the tools they need to succeed. For example, perhaps your costume team needs a checklist of tasks to follow, or your stage manager needs a separate one-on-one meeting with you before rehearsals. If someone struggles or falls behind, as inevitably happens, address it as a team. Sometimes things don’t go perfectly. A costume design doesn’t come together, or a student couldn’t follow through. Problem solve with your students. If costumes aren’t ready, what can actors wear instead? Experiences like this reinforce a critical lesson: Responsibility matters, but collaboration matters more. The ensemble steps in. The work continues. Theatre as a Collaborative EcosystemEmpowerment also means recognizing that leadership doesn’t only come from the teacher. Is there a former student who can come in to choreograph? Is there a current student who wants to direct? That kind of trust sends a powerful message: You are capable. Your voice matters. This approach is intentional. You are doing a full year of teaching, plus shows, plus whatever else is put on your plate. Teach students that they are not just participants, they are collaborators. *How Does Empowerment Happen? *Student empowerment doesn’t happen by accident. It requires: • Clear expectations • Real responsibility • Consistent support • Trust in students’ ability to rise to the challenge When students are treated as artists, leaders, and collaborators, they begin to see themselves that way. Theatre education, at its best, doesn’t just produce shows, it produces confident, capable, empathetic humans who know how to work with others toward a common goal. That is the true power of empowerment in theatre education.

How do the arts make life more bearable? Click below to access a one-class lesson plan that uses this George Bernard Shaw quote as its starting point: “Without art, the crudeness of reality would make the world unbearable.” Here’s a sneak peek: ObjectiveStudents will be able to: • Analyze the quote and connect it to their own experiences. • Identify ways in which the arts help people process. • Create an artistic response to demonstrate understanding. DescriptionIn this lesson students will discuss the George Bernard Shaw quote and consider how the arts make life more bearable. Students will explore and analyze works in different mediums that demonstrate how art is used to express emotions in wartime. Students will then apply this knowledge through a short theatrical expression that reflects on how art can transform or interpret reality. Note: You know your students best. Pay attention to how they’re responding to these discussions and whether you need to take a break. The point is not to upset students. Time Management: This lesson is scheduled for 60 minutes. If your classes are longer or shorter, adjust accordingly.

Do your students know how to form their own artistic opinions without being swayed by others? Can they confidently stand by their perspective, even if they disagree with a show that has received glowing reviews? Critical thinking is essential for students, especially in theatre, where responses are inherently subjective and there’s rarely a “right” or “wrong” answer. Here are our top five takeaways to help students develop these skills. What would you add to the list? 1. Form your own artistic opinion.When you see a show, it’s easy to be swayed by critics, big names, or awards. But forming your own opinion is essential. Don’t assume a play is “good” just because it’s by a talented playwright or has famous actors. If something doesn’t connect with you, that’s valid! Just be ready to explain why. 2. Separate performance from play.Even in productions where the script doesn’t resonate, you can still appreciate exceptional performances. Observing how actors inhabit their character through emotional connection, focus, and physicality can deepen your understanding of craft and character work. 3. Define your “theatrical experience.”Theatre is hard to define because it means something different for every person who watches it. Where one person loves realism, another will live for musicals and another will only watch gritty abstract absurdism. This is what makes the live experience unique. When evaluating a play, ask: “What was my theatrical experience?” Did it engage you emotionally, intellectually, or visually? And why? 4. Question consensus and reviews.When a show receives glowing reviews but leaves you cold, don’t dismiss your reaction. Critics view productions through their own lenses; what seems “fresh” to them may feel flat to you. Critical thinking means considering perspective, bias, and timing. 5. Understand the reality of the industry.Behind every production are years of work, countless collaborators, and high stakes. Success and failure often hinge on timing, money, and creative compromise. Hearing professionals reflect honestly on their careers reminds us that perseverance, passion, and adaptability matter as much as talent.

How do the arts make life more bearable? Click below to access a one-class lesson plan that uses this George Bernard Shaw quote as its starting point: “Without art, the crudeness of reality would make the world unbearable.” Here’s a sneak peek: ObjectiveStudents will be able to: • Analyze the quote and connect it to their own experiences. • Identify ways in which the arts help people process. • Create an artistic response to demonstrate understanding. DescriptionIn this lesson students will discuss the George Bernard Shaw quote and consider how the arts make life more bearable. Students will explore and analyze works in different mediums that demonstrate how art is used to express emotions in wartime. Students will then apply this knowledge through a short theatrical expression that reflects on how art can transform or interpret reality. Note: You know your students best. Pay attention to how they’re responding to these discussions and whether you need to take a break. The point is not to upset students. Time Management: This lesson is scheduled for 60 minutes. If your classes are longer or shorter, adjust accordingly.

You’ve found the perfect play! It’s engaging, relevant, and a great fit for your students. BUT, you can’t produce it this year, for any number of reasons. Maybe your performance calendar is already full. Maybe your budget is looking more “two rolls of gaffer tape” than “full-scale production.” Or maybe your performance space won’t be available for months. What do you do? Good news: You don’t need to mount a production to make the most of a play. You can explore its characters, dialogue, and themes — minus the stress of auditions and tech week. That’s where Theatrefolk’s free Classroom Study Guides come in. These study guides are designed to help you get the most out of every script you read in class. And the best part? They’re totally free and ready to download whenever you need them. Before the Read: Build Curiosity and ConnectionsEvery guide starts with Pre-Read Questions and Activities to get students engaged before page one. These are short, focused exercises that: • Introduce the play’s themes and big ideas. • Encourage personal connections so students feel invested. • Spark curiosity about the story they’re about to read. Example: For Hoodie - a middle school vignette on self-image - the “Identity Chart” exercise asks students to explore how they see themselves, just as the characters do in the play. During the Read: From “What?” to “Why?”The Close Reading Questions are organized to guide students through three levels of thinking: 1. What happened? (Comprehension) 2. How did it happen? (Looking at language, staging, and character choices) 3. Why does it matter? (Making connections to playwright intention and personal experience) It’s a simple structure that works whether you’re reading aloud in class or assigning scenes for homework. You can use these questions as group discussion starters, exit slips, or reflections. Example: In Underwater, a powerful drama about a competitive teenage swimmer losing her love for the sport, students are asked to analyze the pacing and how it would affect an audience member. After the Read: Put Creativity Into ActionIt’s always important to have students explore a play beyond just reading the script. The Post-Read Activities give students the chance to bring the script to life without the pressure of a full production. They can: • Stage one key scene. • Design a poster that captures the mood of the play. • Write a brand-new monologue for a side character. It’s hands-on, it’s fun, and it keeps theatre-making front and center in your classroom. Example: In the adaptation of Lewis Carroll’s Alice, students can design costumes or rehearse a scene from a fresh angle, all while sharpening their performance instincts. Question: How do I find the free study guides for a play? Go to the individual play’s page and scroll down to the section with details like play length and cast size. There, you’ll see a message that says: Classroom Study Guide Download a free Classroom Study Guide for this play Just click the link to access your free digital guide! Ready to give it a try? Check out our full library of Classroom Study Guides, pair one with a Classroom Script License to bring the play to life in your classroom, and start building your next great drama class unit - no stage required.

In the drama classroom, it’s important to foster a space where every student feels seen, safe, and valued. Here is a selection of practical resources for you to help support your LGBTQIA+ students with intention and care, all in one handy document. Safer Spaces• Creating a Safe Drama Classroom • Creating a Safe Rehearsal Space • Creating a Safe Space for Your LGBTQ+ Students • Tips for Building a More Inclusive Drama Classroom for Your LGBTQIA+ Students • Dressing Rooms: Solutions that Meet Student Needs Identity• Pronouns in the Drama Classroom • The Importance of Pronouns • Tips for Supporting Nonbinary Drama Students • Non-Gendered Honorifics & Group Greetings • Thoughts on Gender and Casting Class Work Resources• LGBTQ+ Inclusive Questions for Your Beginning of the Year Survey • Community Agreements in the Drama Classroom • Plays and Musicals for Pride Month • Plays to Celebrate Gender Diversity & Inclusivity • Current Events: Diversity in Theatre • An Introduction to Consent in the Drama Classroom • Inclusive Improv: Tips for Reflecting the Whole Spectrum Allyship• What Does It Mean to “Educate Yourself”? • Start With One Thing • The Drama Teacher as Ally: Advocating for LGBTQIA+ Students

We see you, theatre teacher. Juggling lesson plans, rehearsals, last-minute casting changes, and everything in between. You do it all with creativity, heart, and a whole lot of patience. We know the job isn’t always easy, and that’s why we’re here. At Theatrefolk and the Drama Teacher Academy (DTA), everything we do is designed with you in mind. Whether you need a script that speaks to your students or a ready-to-go lesson plan that saves your sanity, our goal is simple: to support you in the incredible work you do. Let us show you why so many theatre teachers count on us as their go-to classroom and production resources. THEATREFOLKYou need more than just a script - you need support, flexibility, and resources that truly understand the drama classroom. That’s where Theatrefolk comes in. Our plays are written specifically for student performers, with relatable themes, flexible casting, and a wide range of genres. But we don’t stop there. From free classroom resources to study guides, production tips, and personalized customer support, Theatrefolk is here to help you bring theatre to life - in the classroom, on the stage, and beyond. 1. Plays Written Specifically for Students Our scripts are written with middle and high school performers in mind - age-appropriate, engaging, and classroom-tested. 2. Wide Variety of Genres and Cast Sizes Comedy, drama, large ensembles or small casts - we’ve got something for every production and program. 3. Physical Scripts or Digital Downloads Want instant access? Go digital. Prefer hard copies for your cast? We’ve got those too. 4. Strong Curriculum Support Many plays have cross-curricular connections and even free classroom study guides to help students dig deeper. 5. Relevant & Relatable Themes Characters that feel real. Stories that reflect your students’ experiences. Scripts that matter. 6. Incredible Support Responsive live customer service, script suggestions, and production tips that make your life easier. 7. Free Resources Articles, exercises, games, tips, monologues and more - all for free through our Free Resources and Learning Centre. 8. Flexible Casting Most of our plays allow for gender flexibility or creative casting to meet your group’s unique needs. 9. Competition-Ready Scripts Excellent selection of one-acts and short plays ideal for festivals and adjudicated events. 10. No-Royalty Classroom Use Every play comes with a digital classroom license option - perfect for in-class scene work, script study, and performance practice. THE DRAMA TEACHER ACADEMYReady to take your teaching to the next level? DTA is the online community you need! Classroom materials, educational resources, and professional development just for middle school and high school drama teachers. 1. Ready-to-Use Curriculum Resources Units, lesson plans, rubrics, and handouts designed to save teachers time and reduce prep stress. 2. Practical, Classroom-Tested, Standards-Based Content Created specifically for drama teachers with real classrooms in mind. Materials are connected with national and state theatre arts standards. 3. Professional Development on Your Schedule On-demand video courses help you grow as an educator whenever it fits into your busy day. Completion certificates provided for PD credit. 4. Something for All Experience Levels Whether you're a first-year teacher or a veteran, there’s always something new to learn. 5. Active, Supportive Community A private Facebook group provides space to ask questions, share wins, and get encouragement. 6. Aligned with Educational Standards Materials help meet curriculum outcomes and support administrative requirements. 7. Built-in Assessment Tools Rubrics and grading tools that match arts education needs - no more guessing how to “mark drama.” 8. Tech Theatre & Design Resources The Practical Technical Theatre digital curriculum is included - lessons on costumes, lighting, audio, design, and more! 9. Cross-Curricular Options Drama that connects with ELA, history, and social studies - ideal for interdisciplinary learning. 10. Community Building for Your Classroom Icebreakers, ensemble-building games, and strategies that build trust and collaboration. NOTE: DTA memberships start at $37/month, and there’s no minimum commitment. Stay for as long or as little as you’d like and we’ll still love you! Plus, there’s a 30-day money back guarantee - no risk involved. Click here to learn more and get a quote for your membership. Every theatre teacher’s journey is different, but having reliable, creative, and practical tools can make all the difference. Theatrefolk and the DTA aren’t about reinventing your entire program; we’re about supporting the work you’re already doing and giving you a boost when you need it. Whether it’s finding that perfect play, planning a unit that actually engages your students, or just feeling a little more connected to a community that gets it, these resources are here to help. If you haven’t explored us yet, now is the perfect time to take a closer look!

The Emergency Lesson Plans: Middle School Drama Class Task Sheets resource is specifically designed for the middle school drama teacher. Everything you need is at your finger tips: task sheets with activities in drama subjects such as playwriting, design, theatre jobs, and theatre vocabulary; a template lesson plan with substitute teacher fill-in forms; and teacher notes with activity time management and suggestions for how to address industrious students. You’ll never worry about being unexpectedly absent again!

You’ve chosen the play, paid the royalties, done the script analysis, held your auditions, and cast the show. Tomorrow is the first rehearsal. Are you ready? Really ready? The Rehearsal Companion can help! Will you be ready if an actor drops out? Will you be ready for the mid-rehearsal blues? Will you be ready to have your tech week run as smoothly as possible? Will you be ready with a comprehensive strike checklist? You CAN be ready for all these rehearsal situations and more. The Rehearsal Companion is a comprehensive e-book that will be your guide through problem-solving, getting organized, choosing the best warm-up for your play, giving notes, and keeping track of production goals. There’s more to think about than blocking and learning lines – be the director who’s ready for anything!

Drama teachers need to plan for unlimited creativity. Unfortunately, drama teachers don’t have unlimited space… especially when it comes to props! Here is a list of essential props every drama teacher should stockpile in their limited prop storage space. • Rehearsal cubes Rehearsal cubes are one of the most useful props in any drama classroom. Not only are they flexible, they are also much easier to store than actual furniture. • Hats A collection of unique hats can instantly help students create interesting characters. • Mug/cup and dishes (non-breakable) A set of simple, non-breakable tableware can be used for any domestic setting. • A rotary phone Students may never have seen this kind of phone before, but there is no substitute for having a good old-fashioned phone in your hand when you are “talking on the phone.” • Eye glass frames (without lenses) When a student puts on a pair of glasses, they see themselves as a different character. • Simple puppets A stockpile of sock puppets with googly eyes is a great introduction to both puppetry and character voice. • Hardback book, newspaper Like the rotary phone, students may not have interacted with many newspapers, but plenty of scenes and scenarios call for this bit of business. • A wallet with fake bills/coins For goodness’ sake, NEVER use real money in scene work! • Hand mirror (non-breakable) In addition to being non-breakable, the best mirror would also be non-reflective. This helps both with keeping light from being reflected where it is not wanted and making sure your students aren’t distracted by their own reflection. • A serving tray This is another multi-use object, especially if it is a nondescript rectangle or circle. • Lightweight blankets or bedsheets Perfect for everything from a couch cover, to a superhero cape, to a secret fort. Additional Reading: Creating and Maintaining an Organized Props Area How to Create a Master Props List 5 Props Challenges and How to Overcome Them Round-Up: All About Props

Every director knows tech week can be a triumph or a tragedy. When tech goes right, a production leaps off the stage and is ready for an audience. When tech goes wrong… well, let’s just say that it’s time to stock up on aspirin and antacids. So how do you make sure your tech week is happy, healthy, and headache-free? Most of it happens BEFORE tech week! PlanFirst and foremost, make sure you have a plan in place well before tech week starts. You should have the foundations of your technical elements in mind as part of the normal process of choosing a show. In fact, the technical elements of a production should always be a fundamental consideration in your play selection process. The concepts and designs for any show you choose should align with the skills of your workforce, the limits of your budget, and the capabilities of your space. Don’t bite off more than you can chew, technically speaking, by choosing a script that is beyond your capabilities to produce. Once you’ve decided on a show, keep your designs and technical expectations within the reasonable limits of what you can successfully execute, and you will remove a great deal of stress and doubt before you ever have your first rehearsal. PrepareOnce you’ve decided on a show, start preparing for the technical elements as soon as possible. Whether that means purchasing additional building materials or haunting thrift stores for the perfect props, start preparing for tech as soon as you can. That includes asking your students to be on the lookout for important technical elements as well. As a teacher, there are not enough hours in the day, and once tech week hits you will not have time to drive around town looking for that ONE specialty item that will make or break your show. Strive to be prepared for tech week BEFORE it begins so you can spend your time integrating and refining your technical elements, not desperately searching for them at 10 o’clock on a school night. TeachEvery show is new, and learning how to tech a show doesn’t happen by accident. From figuring out how to properly shift scenery to learning when to call light cues, your students will need to learn the technical elements of a show, and it’s your job to teach them. If you have students who have experience as running crew or board operators, you can quickly get them up to speed and give them the responsibility to solve problems as they arise. Teach them what needs to be done and delegate to them the training of their fellow students. However, if you are a newer teacher, or if you have a cast and crew of inexperienced students, plan on spending more time teaching your students both how the equipment works AND how they will operate it for that particular show. TrustThe last element of running a flawless tech week is recognizing that there is NO SUCH THING as a flawless tech week! Most directors are control freaks at heart, and it can be very difficult to see all your hard work and planning go down the tubes as you watch both experienced and inexperienced techies struggle through the learning process. However, keep in mind that tech week is a learning process, and that process is just as important, if not more important, than the final product that the audience sees. Sure, tech week can be messy: Issues will arise, mistakes will be made, cues will be missed. But in the end, trust that your students will rise to the occasion and perform beyond your wildest expectations. Trust that your students will band together, work as a team, and bring the best show possible to the stage. And most importantly, trust that what they learn in the process will be beneficial to them long after the final curtain drops. That is something everyone can be proud of! Additional Reading: Tips and Tricks for a Less Stressed Tech Week The Last Few Weeks Before Showtime

A prop, or theatrical property, is any object used or carried onstage by an actor that isn’t a part of the set or worn. Props can be made, built, bought, or borrowed, and the golden rule of props is that we do not touch them if they aren’t ours! (Honestly, just don’t muck around with props even if they are yours — it saves so much hassle.) Read on for a selection of tips, tricks, and exercises for acquiring, caring for, and working with props. Planning For and Acquiring Props• Start by creating a master props list. Sometimes you’ll be lucky and the script you’re using will have a props list already assembled, but you’ll still want to check it over and ensure that nothing is missing, and that any props you’ve added or removed are noted on the list. • Working with props can be challenging. Here’s a list of five common props challenges and how to overcome them, which includes dealing with a HUGE list of props, difficulty working with props onstage, and what to do with consumable props, broken props, and props that have mysteriously gone missing. As well, if you’re borrowing or renting props, here is a useful guide for communicating with rental sources. • If you’ve got a massive props list, you’ll need to amass a great props team and have them work together to divide and conquer the list. • If you’re working with a shoestring budget, check out this guide with 9 tips for acquiring your props on the cheap. Organizing Props and Dealing With Mess• Once all of your props have been acquired, you’ll need to create and maintain an organized props area, which will save so many headaches during the run of the show. • There’s no excuse for having a messy backstage area. Use this guide to help your students keep their props, costumes, and personal items tidy and organized. • Using real food and drink props onstage is a lot of fun, but comes with a few risks (including mess). Here are some pros and cons for using real, fake, or invisible food onstage. Props Exercises• A classic drama classroom improv game is called, appropriately, “Props.” Students sit in a circle. The teacher places an item (a cane, a stool, a hula hoop, a butterfly net — whatever you happen to have available) in the centre of the circle. Individually or in pairs, students go into the circle and use the prop in a unique way to portray any item other than what the item actually is. For example, the cane prop could be (gently) swung as a putter golf club, turned upside down and used as a boat’s oar or a fishing pole, held out like a limbo stick, or held out horizontally and “revved” like the handlebars of a motorcycle. The only limit is that once a prop has been used in a particular way, it can’t be used in the same way by another student. This is a great way for students to work on making clear acting choices and thinking creatively to use the prop in various ways. • Once your students feel confident playing the Props game, challenge them to try Speed Props. • Props can be used to create and animate characters, and can be a great way for students to explore using their voices and bodies in different ways. Try using props, puppets, and masks in your next classroom exercise. • Have your students try portraying their character using one single prop or costume piece. • A theatrical transition is the time between scenes during which actors and stagehands move props and set pieces on and offstage to prepare for the next scene. Transitions need to be quick and seamless, otherwise they bog down the pacing of the show. Prop Shift is an excellent group exercise for students to practice doing transitions safely and effectively. • In our Found Objects exercise, students are challenged to prepare and present a scene in one class period, using props found in the drama classroom.

If you’re working on a prop-heavy show, you’ll want to assemble a great team and get them to work right away acquiring all the items on the list, because it can be challenging and time-consuming to do so. And with some organization and planning at the start of the process, your props team will be able to divide and conquer the list in no time. Read on for some tips to help your team succeed. 1. Start by creating a master props list.Creating a thorough master props list spreadsheet is time consuming, but will save you a headache in the long run. The more details you can include, the easier it will be for your props team to make or acquire the items. For example, your script might say (Jennifer answers the phone). What kind of phone? A cell phone (smart phone or old clunky flip phone?), a home phone (rotary or push-button, corded or cordless?), an office switchboard system with a headset (modern or vintage?), or a space-age phone that doesn’t yet exist and will have to be created by your props team? Note the setting, time period, and day/month/season that the show is set in on your master props list, as that will affect the style of props needed. The more details and clearer descriptions you can give about each prop, the better. Write down how each prop is used and by whom, how many you need, how often it’s used, if it’s consumable or gets broken each performance, and any other important details about what the prop does or how it’s used onstage. If a prop is listed in the script and you aren’t actually using it in your production, list the prop on the master list, but cross it out/strikethrough it. This way your team is aware that you haven’t missed it; you aren’t going to use the prop in your version of the show. Finally, if you’ve added a prop that isn’t specifically noted in the script, be sure to include that prop on the list, in the page number order that you’ve added the prop to. For example, if you’ve added a “2L bottle of Sprite” and “two red plastic cups” to the party scene in Act 1, Scene 7 on page 42, indicate that prop with the rest of the props for page 42. 2. Label similar items in a logical manner.Create a column on your spreadsheet that is titled “Location” or “Notes.” In this column, indicate whether the prop needs to be pulled from stock, purchased, borrowed/rented, or made. You may want to colour-code each item (for example, props pulled from stock are blue, props to be purchased are red, props to be made are yellow, and borrowed/rented props are green) to know at a glance where items are coming from. The borrowed/rented section is especially useful to know, so items can be returned to the correct owner after the show. The person in charge of borrowing/renting items should indicate on the list where the item was borrowed from, as well as the name and contact information of the person they interacted with, to facilitate easy returns. If a particular prop is urgent or absolutely necessary for the show, be sure to note that prop with bold lettering or an asterisk indicating that it is * IMPORTANT , so it doesn’t get left until the last minute. You don’t want to get to dress rehearsal and find out that the giant tea set for *Alice in Wonderland isn’t quite complete or the Newsies’ newspapers are backordered. (See point #4 for more about due dates for props.) 3. Indicate who is in charge of acquiring each item.Create another column that indicates who on the team is in charge of acquiring each item. For example, Michael will be in charge of all the items that need to be made/crafted, Patricia and Aya will take on the props that need to be purchased, Jamal and Nattie will pull all the items from the drama class stocks, and Kelly will reach out to other schools and theatre companies to borrow particular items. Make sure every item has been assigned to someone. Note: Ensure that all team members who make purchases for the show keep their receipts so items can be reimbursed. Before any purchases are made, however, be sure that the team knows how much money they can spend so they don’t go over budget. If you have parent volunteers who wish to purchase items and donate them, encourage them to still submit receipts that are notated “donation” so you have a better idea of how much your show actually cost to produce. This will help you in subsequent years when you’re building your budget. 4. Set due dates.Now that all the props have been assigned, make sure everyone knows when they need to have the items at the school, ready to go. You don’t want all your props showing up during tech week and discovering that they aren’t quite right. You’ll likely want your student actors to rehearse with props as soon as possible, so make a note of which props are needed right away — so those ones take priority — and which ones can wait until later in the rehearsal period. If you’ve got some props that will take time to acquire, have to be customized, or are being ordered and will take a while to ship, you may need to ask your team to provide rehearsal props to use while practicing in the meantime. For example, you may have requested fancy gold plates with gemstones for the “Be Our Guest” scene in Beauty and the Beast, and the props team will need time to spray paint and glue the stones to the plates. In the meantime, have the team get some basic plastic plates or something similar for the actors to rehearse with until the actual props are complete and ready to go. Rehearsal props are also useful if certain props are particularly delicate or expensive, and the props team doesn’t want the items to get overly handled prior to showtime. Check in with your team every so often to see how they’re doing and if they need assistance. Encourage them to keep you up to date with their progress and to bring in props as soon as they’ve acquired them, so your actors can start working with them as soon as possible. Clear communication on all sides is vital. Additional Resources: Props Challenges and How to Overcome Them Creating and Maintaining and Organized Props Area

If you have students who are quick on their feet, great at math, and have a cheerful disposition, they might be excellent concession volunteers. Concession volunteers are responsible for selling snacks and beverages during the intermission of the show (sometimes before and after the show as well, if it’s deemed important) efficiently and accurately. Some schools choose to sell show merchandise, flowers for actors and crew, candygrams, or other items at the performances, so concession volunteers would be in charge of those as well. Volunteering to be in charge of the concession table for a school production is a great way for students to get involved in a non-artistic capacity. If you have students who want to get involved, use the following best practices to prepare them for the concession role. Note: Depending on what you’re selling and the requirements of your school/board/etc., concession volunteers may need to have a Safe Food Handling certification (or whatever your local equivalent is). Be sure to find out what the requirements are for your school before you start selling concessions. 1. Concession volunteers must arrive early and be dressed appropriately.When concession volunteers arrive will depend on when they are responsible for selling their wares. If they are only selling concessions during intermission, they can likely arrive just before the show starts, to have an adequate amount of time to set up their station. If they are selling before the show, they’ll need to arrive no later than 45 minutes prior to showtime to clean and set up properly. Feel free to adjust the start time as appropriate to your production and show needs. Students should be dressed neatly in an agreed-upon look, for example, wearing all black, white shirt and black pants, a show shirt, or a piece of school merchandise. Students should wear an accessory such as a lanyard or pin that indicates that they are a concession volunteer. If the items they are selling are open to the air (e.g., unwrapped baked goods), concession volunteers must wear gloves and perhaps even a face mask. In that case, you’ll need at least two concession volunteers: one to handle the items and one to handle the cash (do not let students touch both, even if they are gloved!). If students have long hair, it must be tied back neatly or controlled with a hairnet if required. 2. Concession volunteers must be efficient, organized, and immaculately tidy.The first thing concession volunteers need to do is ensure they have enough inventory to sell. There’s nothing worse than going to open your concession stand, only to discover you have three bottles of water and eight chocolate bars for a sold-out audience. Unless your students are in charge of providing concessions, the responsibility for getting the items will usually fall on a parent volunteer or the teacher/director. Don’t leave your students hanging; keep an eye on your supplies. Concession volunteers must have everything they need arranged in a way that’s easy to access: food together, drinks together, supplies together, and so on. Students don’t want to be scrambling to find what they need during a rush of customers. If you’re selling items that need preparation or specific equipment, such as coffee or tea, students need to be trained on how to prepare and use that equipment properly. Depending on what you’re selling, think about what items might be needed, for example, napkins, cups, lids, and/or straws, disposable utensils, disposable gloves, serving tongs, cling wrap or Ziploc bags for storage, or a means of refrigeration for cold items, whether that be a fridge or a cooler with ice. The concession area needs to be immaculately clean and tidy — students are handling food, after all. Surfaces must be carefully cleaned before setting out items to sell, and any cleaning supplies must be safe to use around food. Adequate trash and recycling bins should be available. 3. Concession team members must know how to accurately and responsibly handle money transactions.Concession volunteers have a very short time to serve patrons (generally between 10–20 minutes, depending on how long intermission is), so they have to be efficient, while still being pleasant to patrons. They need to know what the price point of each item they sell is, be able to add up the total cost of each patron’s order quickly, and count the correct change without using a calculator. If you’ve got a cash box, students must know how to keep the box tidy, accurately count change, and document what’s been sold for inventory purposes. If you also have debit or credit card sales options, students will need to accurately report the different types of payment. Again, ensure that you’ve got at least two students working the table, so the student handling the cash is not also handling the food. When the concession stand closes will depend on whether you allow food and drinks in the theatre. If items are allowed in, feel free to keep the concession area operating until the theatre doors close. If not, it’s best to close the concession stand a few minutes prior to shutting the theatre doors for Act 2, so patrons have time to eat their snacks and dispose of their trash. Once the concession stand is closed, volunteers should count the cash box, prepare a report of what was sold (so you can restock prior to the next performance as necessary), and then place the box in a pre-approved place for safekeeping. 4. Concession volunteers assist with other tasks as needed.Concession volunteers often double as box office team members or ushers or are asked to help out with those duties. It’s great if your front of house volunteers are cross-trained on each role, in the event that you are short-staffed for a performance. As a perk, you may wish to offer students who volunteer as a concession team member the opportunity to watch part of the show when they aren’t completing tasks, or a complimentary ticket to another performance. Just be sure to instruct your students on how to enter the theatre as unobtrusively as possible, if they are entering while the show is in progress. What are your best practices for your concession team members? Share them with us on our socials!

Ushers are a cheerful, welcoming presence at any theatrical performance. Their job is to check tickets, answer patron questions, and keep the theatre clean and tidy. Volunteering as an usher for a school production is a great way for students of any experience level to get involved in a non-artistic capacity. Students who wish to volunteer as ushers must be personable, knowledgeable, confident, and able to solve problems independently. If you’ve got some students who want to get involved, use the following best practices to prepare them for the role. 1. Ushers must arrive early and be dressed appropriately. Volunteer ushers should arrive no later than 45 minutes prior to showtime. They may need to help fold programs, set up concessions, or whatever else needs doing. They also must ensure the theatre and surrounding area is clean and tidy before patrons arrive. Feel free to adjust ushers’ start time as appropriate for your production and show needs. Students should be dressed neatly in an agreed-upon look, for example, wearing all black, white shirt and black pants, a show shirt, or a piece of school merchandise. They should also wear an accessory such as a lanyard or pin that indicates that they are a volunteer usher. 2. Ushers must be efficient, knowledgeable, and great communicators. Ushers are responsible for checking patron tickets, guiding patrons to their seats (if there’s assigned seating), and giving patrons their programs. If your theatre has special seating or supports, such as wheelchair accessible seats or booster seats for young children, ushers need to help patrons access those as well. Ushers need to complete all these tasks efficiently (the house usually opens only 10–15 minutes early) to ensure the performance starts on time. Ushers are also the ultimate source of knowledge about the full show experience for the audience, so they need to be able to answer patron questions while they help get everyone seated. They need to know the length of the show; if and when intermission will occur; the content of the show (without giving away any surprises or major plot points); any trigger warnings that need to be communicated to patrons, such as flashing or strobe lights, startling sounds, or content warnings; the location of the nearest washrooms; and any theatre rules, such whether or not food and drinks are allowed in the theatre. 3. Ushers must be able to solve problems in a tactful manner. Once the doors close and the show starts, ushers are responsible for seating any latecomers in a quiet and unobtrusive manner. Patrons will want to get to their seats quickly so they don’t miss anything, but ushers need to ensure that they do so at an appropriate time in the show, such as during a scene change or during applause following a musical number. This is to prevent patrons from disturbing other patrons or distracting the actors onstage. Ushers should have a small flashlight if the house seating is low, to ensure patrons don’t trip while they’re getting to their seats. If your theatre has assigned seating, occasionally you’ll have patrons who purchase tickets for the wrong performance date or time, or patrons who sit in the wrong seat. Ushers need to be able to politely guide patrons into the correct seats or find them unoccupied seats. They may have to direct the patrons back to the box office to see if they can switch their seats to the correct show date/time, especially if the show is sold out. If the performance is sold out but your theatre has unassigned seating, ushers will be responsible for ensuring that no empty seats are left between patrons (“No, sir, your coat does not get its own seat”) so everyone can fit. One of the more challenging parts of the job is ensuring patrons follow the rules of the theatre. Three of the theatre rules audience members most commonly break are: • No taking photos or videos of the performance • Turn cell phones off • No eating or drinking in the theatre Ushers need to be confident enough to quietly approach patrons right away during the performance and ask them to stop filming/turn their phone off/put their snack away, even if the patron is an adult. 4. Ushers assist with other tasks as needed. Ushers are responsible for tidying the theatre before and after the show — picking up and disposing of any garbage or recycling, placing any personal items left behind in the lost and found, putting seats back up, and sweeping, vacuuming, or mopping the floor as appropriate. During intermission, ushers must keep patrons from going onto the stage or trying to go backstage (it happens sometimes!), direct patrons to the concession area or restrooms, and re-seat patrons for Act 2 efficiently. Ushers might also be asked to help out with box office prior to the show or as concession assistants at intermission if those teams are short-staffed. At the end of the show, ushers should expect to stay approximately 10–15 minutes to tidy the theatre. Ushers generally get to watch the performance they’re volunteering for at the back of the theatre as a perk of the role, with the understanding that they cannot get so engrossed in the performance that they neglect their tasks. What are your best practices for your ushers? Share them with us on our socials!