No Ensemble Left Behind

Ensembles! It’s not about creating a divide about the leads and the chorus, it’s about a collection of parts that come together as a whole. Each element works in relation to the other. A production is not built on a handful of standout performances, but on the collective effort of everyone involved, onstage and off, working together to create something meaningful. 

But let’s say your ensemble doesn’t feel like they’re in a collective. What can you do? How can you convince them otherwise? 

1. The ensemble is the world of the play.

If your play takes place in a small town, your ensemble are the people who populate that world. If your play takes place in a post-apocalyptic time, your ensemble tells the story of survival in this world. A strong ensemble is no different from a strong cast: It is composed of actors portraying well-defined, intentional characters. The more developed your ensemble, the more you build the world of your play. 

The catch: It can be a challenge to convince your ensemble to recognize their importance. 

The solution: Foster an environment where every participant understands their value. Start each rehearsal with community building activities where everyone works together to achieve something. For example, do a unison vocal warm-up where everyone learns the “Modern Major-General” patter song from Pirates of Penzance. Do a line at a time until opening night!

Further, include character exercises for your ensemble so they have specific tasks to accomplish while you rehearse that help build the world. Every performer onstage should have a purpose, a point of view, and a presence. Click below for some rehearsal ensemble exercises.  

2. Ensemble thinking extends beyond leads and chorus.

The ensemble is not just a group of people, it’s a frame of mind. Ensemble thinking is rooted in a whole-show mentality. It rejects the traditional “us vs. them” divide, whether between leads and chorus, actors and crew, or experienced and novice performers. Instead, it builds a community of equals. Every participant, regardless of role, experience, or visibility, is vital to the success of the production and deserves equal respect. Achievements are collective, not individual. 

The catch: Crew members are often overlooked in discussions of the ensemble. Their work is less visible, less celebrated, and often lacks the public acknowledgment performers receive. But without them, there is no show. Lighting, sound, costumes, stage management—these elements are not supplementary, they are foundational. The absence of a curtain call bow does not diminish their contribution or importance.

The solution: Discuss the importance of the crew with your cast. Include your crew in your community building exercises. Embrace ensemble thinking for your whole collective, both on and offstage. 

Our favourite Theatrefolk plays with amazing ensemble opportunities:

• The Absolutely Insidious and Utterly Terrifying Truth About Cat Hair 
  This play needs between 8 and 100 cat hair characters to build the world in which cat hair is plotting the downfall of humanity even as we speak.
• The Blue and the Grey  
  Who are the Grey? Ghosts of lost Confederate soldiers. This play uses the ensemble to build the world that haunts the main character. 
• Swoop
  This adaptation of Aristophane's play The Birds has a chorus of birds that transform from angry and hostile to subservient followers of a dictator. A great emotional journey for an ensemble!
• Anonymous 
  A group of actors play Them, a collection of voices. This play is about teenagers feeling anonymous and invisible and what it takes to become someone. Hasn’t everyone felt at some point anonymous in a group of “them?”
• Slay  
  Any play that takes place in a specific world, like the fairy tale adventure world of Slay, needs the ensemble to bring that world to life. A ton of fun for all involved!
• Treasure Island
  Pirates are an essential part of world building in any play adaptation of this Robert Louis Stevenson novel. Join this scurvy crew on a thrilling adventure to Skeleton Island. A full-length version is also available.
• Life, Off Book
  The ensemble helps bring Jeb and Ophelia’s world to life as they figure out their identity beyond living a script. 
• Patterns and Power: The Female Edison
  How do you bring a 19th-century factory to life when you don’t have access to extensive machinery for your set? Your ensemble! Not only does the ensemble create three-dimensional power looms, they also act as the young factory workers. An awesome character development opportunity.
• The Wonderful Wizard of Oz
  There is so much for your ensemble to do in this play and every second of it is world building. Winged monkeys, poppies, crows, munchkins and more!
• Passing Period Purgatory
  In this play the ensemble plays a concept: the toxic. These are conventionally popular students who blend in with the crowd. Extremely theatrical and a great ensemble opportunity.