The Rehearsal Mid-way Blues: Feeling Stuck? Go Back to the Basics

When working on a production with students, one of the first rehearsals (if not the very first rehearsal) is often dedicated to a full read-through of the script. This generally consists of the full cast assembling together in a room, sitting in a circle, and reading the full show out loud, with the a stage manager reading the stage directions. While this initial read-through can have many benefits, I’m going to go out on a limb and ask the question: “Is the first read-through an absolute necessity?” I must admit that for the past few shows I’ve directed, I have skipped the read-through altogether. Let’s look at some pros and cons of having a first rehearsal read-through. Yay!First, and possibly most importantly, it brings the cast together for the first time so they can get to know each other. It gives them a chance to hear the full show, out loud. This is especially important if it’s a show students aren’t entirely familiar with. If the show is a musical, students can hear the music as it will be performed in the show. If possible, let them all sing along. This is a great bonding opportunity and, for many of the students, it might be their only opportunity to sing some of the songs (especially the solos). It gives students the chance to notice any cuts or changes to the script, particularly if the show is based on a book or film, or if it’s a school or “junior” edition of a famous show. It gives you, the teacher/director, the opportunity to listen to the cast’s initial interpretations and thoughts of the characters and situations. You can listen for how lines sound, how jokes land, how words might be mispronounced, and how students react to the show. You may also notice potentially difficult or problematic scenes to block or choreograph. It gives you the chance to explain your vision for the show, and answer any questions that students may have about the script or show. With the cast fully in attendance, everyone will be able to hear and understand your plans. This is your chance to get them really fired up about the experience! It’s also your opportunity to explain rehearsal procedures and expectations, and convey any important information that the cast must know about, like rehearsal and performance schedules (including off-book day). Nay!A full read-through can be a lot to sit through, particularly for younger students. While it’s good practice for being quiet backstage, sitting for long periods of time can get tedious (especially for ensemble members, dancers, or students with few lines). They may feel that they are less important to the whole of the show. While we know this isn’t true, it’s important to remind students of their importance to the team (no matter how small or big their role is). It can get confusing if any roles are double-cast. Will you have your double-cast actors read in unison, or split up the lines? (Perhaps one actor can read during Act One, and the other during Act Two.) It can be seen as more beneficial to the cast than the crew. It may appear that there isn’t much for the assistant stage managers, designers, or techies to do during an initial read-through. You may want to figure out an alternative activity for the crew– perhaps they can start working on designs and planning at the same time. If you have limited rehearsal time, it may be more helpful to your schedule to skip the initial read-through in favour of getting right to work. I rarely schedule a read-through in my rehearsals anymore; rather, I like to start my first rehearsals by learning a big group number, or blocking a full-cast scene. This way, the full cast gets together and gets to know each other, but they also get right down to work. What are your thoughts on the initial read-through? Is it a vital part of your rehearsal process, or something you leave out? What are your best tips and tricks for having a great read-through? Share them with us! Kerry Hishon is a director, actor, writer, and stage combatant from London, Ontario, Canada. Check out her blog at www.kerryhishon.com.

When selecting a show for your school to produce, you want to choose a show that is fun, appeals to your students, challenges them, and helps them grow as performers and technicians. But choosing a show has its issues. Perhaps your students have their hearts set on a musical, but you’ve selected a play. Or maybe they wanted a big name-brand show, while you’ve selected something they’ve never heard of. While they’re excited about the prospect of doing a show and are going to participate, they’re less than thrilled (or perhaps slightly confused) about what you’ve selected. What’s a director to do? At this point, it’s your responsibility to get your students to “buy into” the show–to agree with and accept the show. Think of it in terms of selling your show to your students. Let them know the show’s “selling features.” Demonstrate what’s in it for them. Let’s look at five suggestions to help get students enthused about your show from the get-go. 1. Show enthusiasmFirst and foremost–YOU need to lead by example and be excited about the production. If you aren’t thrilled to be working on the show, why are your students going to be? Focus on all the great things to look forward to–the juicy character work, the amazing songs and dances, the chance to learn new skills (like using theatrical effects or stage combat), the gorgeous sets and costumes, and anything unique or different about your show. For example, perhaps your school is going to be the first to produce your show in the district, or even the province or state. Maybe you’re going to enter a theatre festival with this production. Perhaps it’s going to be a show you take “on the road” to various other schools. Whatever makes this show unique, really emphasize that with your cast and crew. Make your enthusiasm infectious! “Kids don’t care how much you know until they know how much you care” is an appropriate quote for this topic. Help your students care about the show by demonstrating care yourself. 2. Explain the plot (and why it’s important/relatable/challenging/etc.)Maybe your students have never heard of the show you’ve decided to produce. This happened to me when I was directing Peter and the Starcatcher. I had seen the show on Broadway and had read the book series. Because of that (plus the fact it had won Tony Awards), I assumed everyone knew the story. Newsflash: just because you are intimately acquainted with the material does not mean that your students are. Take some time and explain the plot thoroughly to your students. Don’t assume they will get everything from just reading the script. If there is supplementary material (production guides, videos, book or film versions, and so on), make those available to your students. Help them to understand what they’re working on. What you perceive as indifference or a lack of enthusiasm may just be them not understanding or knowing what’s going on. 3. Explain your conceptIf you have a fun or different twist on your production (and really, you should!), explain it to your students right away. Let them know your ideas for the design of the show, how you’re going to approach the characters, and what is going to make this production really special. This, in turn, will make your students feel special for being a part of it. Both explaining your concept and showing enthusiasm are simple enough to do at your first rehearsal. But I actually did this for my most recent production ahead of time–digitally. I let the cast know that on a certain date and time I’d be presenting a Facebook Live Video in our private, “cast and crew only” Facebook group. I used that time to explain my concept for the show and how excited I was to be working with them. It was utterly terrifying, but a lot of fun, and a great way to connect with my cast through social media. Lots of different social media platforms have live video capabilities–check them out! 4. Get started right away with a big group number or blocking sceneThere’s no time like the present to dive right in! Get the full cast started at the first rehearsal. Consider getting them up on their feet with a big production number or a group scene that everyone’s involved in. Promoting teamwork and ensemble values helps to create a sense of community and helps ensure that everyone feels included. It gives students the chance to get to know each other right away. Plus, it’s fun! Inclusivity + community + teamwork = buy-in. 5. Issue a ticket-sale challengeA good competition can really help students to buy into a show. Encourage your students to talk up the show early and share updates on social media. Give a prize to the student who gets the greatest number of tickets sold, or offer a pizza party to the cast and crew if they can sell out their opening night performance. Bribery? Maybe. Or perhaps it’s a clever way to get your students to take pride and ownership in their show by advertising and getting audience members right away.

There comes a point in every rehearsal process when the dreaded “rehearsal blahs” start to set in. This tends to be mid-way through the rehearsal process, when the initial excitement of casting and read-throughs has become a thing of the past, off-book day has just happened (and the resulting stumble-through of the show was not pretty), and opening night seems like it’ll never come. This is the time of endless refrains of “do it one more time” and lectures about “if you don’t practice at home, it won’t be as good as it could be.” What’s a director to do?Next time you’re feeling the rehearsal blahs sneaking up on your cast, try this exercise called “Warm Fuzzies.” Many of my director friends use this in rehearsals and it never fails to brighten up a student’s day! The exercise is called “Warm Fuzzies” because it’s meant to make students “warm and fuzzy” inside upon receipt. The purpose of the exercise is for students to observe other students contributing positively to the rehearsal process and compliment them anonymously on it. This helps students to shake off the rehearsal blahs by refocusing their energy (giving them a small, different concept to think about other than the show itself and stressors that go with it) and giving them opportunities to both demonstrate good rehearsal behaviour and to catch others doing the same. At your next rehearsal, have a jar or small box available with small slips of paper and some pencils beside it. This is the Warm Fuzzies container. Bonus points if the container is decorated! During your rehearsal (when students are not onstage rehearsing or otherwise engaged), encourage students to quietly observe the actions and performances of their peers. During break time or when they are not working, students will write a positive note or a complement to another classmate on a slip of paper and put it in the Warm Fuzzies container. Students should not write their own names on the slip–the point is for the notes to be anonymous. Warm Fuzzies can be great for onstage performances or positive contributions to the class. Examples of Warm Fuzzies might include: • Devon always arrives early and helps to set up the rehearsal space. • Jenny did a great job projecting her lines. They were really clear and easy to understand, even when I was sitting at the back of the audience. • When he wasn’t onstage, Mark helped other students with their lines. • Sam was quiet and focused backstage. • Jeremy helped another student review choreography that they missed. • Mika’s accent was so funny; it made her really stand out onstage. And so on! At the end of class, take five minutes to select some Warm Fuzzy notes and read them aloud to the group. This exercise can be repeated at as many or few rehearsals as you wish. The Warm Fuzzies exercise can also be useful in the drama classroom to complement positive class contributions and skill improvement. Optionally, you may wish to collect all the Warm Fuzzy notes and give them to students on closing night or at the final class, as a souvenir of the process. Note: It’s important to keep track of the number of Warm Fuzzies that are given/announced out loud to the same people over and over, to ensure that students aren’t feeling left out. If you have a student acting as Assistant Director or Stage Manager, you might encourage them to keep an eye out for opportunities to create Warm Fuzzies for those people who may not have received one yet. Teachers and directors are encouraged to write Warm Fuzzies as well! During the rehearsal process, once a student has received at least one Warm Fuzzy note, they will complete a written reflection, to be submitted to the teacher.