Staging Theatre in Non-Traditional Spaces

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 Classroom

For 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: Gymatorium

Some 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: Cafetorium

Cafetoriums 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.